With their synth pop and laid back vibes, California-based Day Wave’s Governor’s Ball Late Show was anything but a drag. While lead singer, Jackson Phillips, mentioned after the show he was nervous to play a crowd with some old friends, he also joked he would probably feel more comfortable at Gov Ball the next day with a crowd of thousands of strangers. Regardless of nerves, energy was high as the band played late into the night.
For this week’s New Music Monday, we have the debut single “Porcelain” from the stunning new artist Skott.
Legend goes that Skott grew up in a commune within a forest run by ‘outcast’ folk musicians. While we can surmise that folk music was a cornerstone of her childhood, the first time she heard contemporary music was through adventures into the city as a teen. The story draws instant curiosity on what her own music would sound like, considering her isolated upbringing. The answer is just what you’d expect.
Appealing to fans of Edward Sharpe, Birdy, and Say Lou Lou, “Porcelain” is a magical, modern take on traditional folk sensibilities. We can’t wait to hear more from this mysterious newcomer. Her 7″ vinyl is slated for release this summer, July 29.
Mother Nature rained heavily down on this year’s Governor’s Ball, which took place on Randall’s Mud Pit Island. It was a test, and us New Yorkers proved that we sure have some spunk, staying true to the festival’s slogan: “You’re doing great!”
I earned personal emblems of a successful music festival: purple bruises made to look like sunsets on my skin, irreparably damaged white Air Force Ones, and an inevitable cold from being wet for the duration of Saturday. The last one, I deserved. That morning, the weatherman and I were adamant that I wouldn’t need a jacket.
Then, there was Sunday’s disappointing full-day cancellation that left legions of fans angry because they traveled x amount of miles to see Kanye or Death Cab for Cutie. When I got the news, I remained motionless on the couch, silently crying the tears I’d have shed at Death Cab’s closing set.
And the biggest curse of a festival, as always, is not being able to be in two places at once. I was sad to have missed Big Grams or another fun show from Matt and Kim because I parked myself at the main stage all of Friday. And even on Sunday while I was camping out for a last-minute Two Door Cinema Club ticket, I was also committed to missing two surely phenomenal performances by Courtney Barnett and Prophets of Rage, both just a walk away.
But I digress. Let’s end this one with some highs, shall we?
The Strokes covered “Clampdown” for the first time since 2004 To be fair, I could peg the whole set as my favorite part of the festival. When I was 11, I used to blast this Clash cover on my iPod, fantasizing that I might one day hear it live. That, and “Red Light,” which they performed for the first time since 2010. Everyone and their mothers know that The Strokes are my favorite band, but even I can objectively say that lately, they haven’t been at their best. However, on the heels of a new EP whose songs fit seamlessly into their set, New York’s finest garage rockers showed that they’ve been revived with a new positive energy. The best feeling was watching the expressions as all five of them performed with unrivaled mastery, looking truly happy to be together.
Getting intimate with Two Door Cinema Club Though it’s been a minute since their last album (almost four years, but who’s counting), 15-year-old me would’ve never forgiven present-day me for skipping Two Door Cinema Club’s make-up show at Music Hall of Williamsburg. Adrenaline distracted me from the cold air and the rain drenching me through my flimsy windbreaker during the four hours I waited out (tip: phone a friend who’d be willing to bring you a lox bagel while you wait. You’ll need it). It proved to be worth it; there surely is no better venue to see a favorite band than one where from every angle, you feel like you’re in the front row. Plus, even through moshing with grown men and crowd surfing during the encore, my glasses survived the night.
Beck being Beck A live Beck experience was yet another realized fantasy from my fleeting youth, ignoring the fact that his breakout hit “Loser” is a couple of years older than me, and “Where It’s At” is less than a year younger; in any case, they all fit seamlessly into one animated set. And during “Hell Yes” I couldn’t help but laugh, overhearing the guy next to me ask, “Is he rapping?” And it’s only been two years since “Blue Moon” reduced me to tears, and only a little more than a month since Prince’s tragic passing. Beck recalled accepting his Album of the Year award and a hug from The Artist himself, which he described as one of the “strangest, most amazing moments.” His cover of “Raspberry Beret” was easily the best of myriad Prince tributes this weekend.
Este Haim getting wet with the crowd Midway through Haim’s set, rain came down yet again. Gratefully, the Gov Ball NYC stage was on cement rather than grass, so mud was the least of our concerns, but that didn’t stop some people in the crowd from seeking shelter in lieu of enjoying the music. Este, the oldest of the Haim sisters, stepped out in between songs to pour a full bottle of water on herself in solidarity before continuing a stellar set that culminated in another fantastic tribute of Prince’s “I Would Die 4 U” and a wild drum finale.
Easy afternoon with Catfish & the Bottlemen Being the perpetually late person that I am, I had to sprint not only across the bridge, but to the complete opposite end of the island to make sure I didn’t miss a minute of Catfish & the Bottlemen on the main stage. They drew a much larger crowd, with more than enough energy to wildly dance along, than one would expect for a 3 pm set. Their set encapsulated exactly what it would’ve felt like to see Blur at a hole-in-the-wall venue in the early ’90s.
A rainy rave with Miike Snow Just after receiving a notification from the official Gov Ball app that the worst was behind us, rain came down yet again for Miike Snow, weeding out the weak and prompting we, the thick-skinned, to go all out. Everything I owned was drenched. The cash in my wallet is still damp as we speak. With feel-good music, a brilliant lights show before us, and nothing to lose, we embraced the feeling of wet skin on wet skin as limbs flailed in the muddy flood. Missed connection: the guy in the tropical print shirt who came back into the crowd with a slice of pizza and let everyone within three feet have a bite.
The best moves from Christine and the Queens I caught Christine and the Queens completely by accident as I made my lap around the island on Friday and saw that someone happened to be getting set up on stage. I’d never heard of her before, but “WOW” wouldn’t even begin to cover my reaction when Christine (real name Heloise Letissier) and her Queens (four male backup dancers) took the stage in trousers and tees, performing synchronized dance routines and tossing flowers into the crowd. Now that’s what a festival performance should be.
[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]Christine and the Queens, via governorsballmusicfestival.com
Nostalgia with The Killers Wrapped in a wet blanket as my only protection from the cold, I was about to head home midway through M83 as I could feel a sore throat coming on. But, as I made my way out, I could faintly hear The Killers from across the park, and I knew I had to catch a little bit, even if I wasn’t going to immerse myself in the crowd. I was more than happy to dance in the middle of the field with several hundred strangers, singing along to “Jenny Was a Friend of Mine” off of 2004’s Hot Fuss and admiring the fireworks behind the stage to round it all up.
[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]Fireworks and “When You Were Young” by The Killers. Photo by Ysabella Monton for AudioFemme.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
That means, there’s amazing shows everywhere. From Greenpoint to Bushwick to Far North East Williamsburg, or whatever the newest, cool made-up neighborhood is. Feeling overwhelmed? We even wrote you a guide to cool shows. Look at how much fun everybody had last year:
Other Music Farewell Shows
As we’ve written about before, Manhattan record store Other Music will be closing at the end of this month. But, you can catch an awesome goodbye show at Bowery Ballroom on 6/28. Performers will include Yo La Tengo, Julianna Barwick, Sharon Van Etten, Frankie Cosmos, Helado Negro, Menahan Street Band, Matana Roberts, and John Zorn’s Simalacrum (with John Medeski, Matt Hollenberg, and Kenny Grohowski). Check out this performance by Regina Spektor at the store in 2009:
New Brooklyn Venue Opens, Two Set To Close
The Glove held their soft opening on Wednesday, and Facebook posts state that their calendar will be opening soon. From the venue’s page: “Members of The Bohemian Grove present a new space: The Glove… an experimental venue, theater, gallery, and multimedia studio space.” It is located in Bushwick between the Kosciusko and Gates stop on Broadway.
However, posts today indicated that both the Grand Victory in Williamsburg and Secret Project Robot in Bushwick will cease operating at their current locations, because of rising rents.
Stream Mitski’s Puberty 2
The Brooklyn-based singer songwriter has received rave reviews for her new album, Puberty 2. It comes out next week via Dead Oceans, but you can listen to the stream on NPR and check out the video for “Your Best American Girl” below.
Lithuania Single Benefits ‘Women Against Abuse’
This week the band premiered “Kill The Thing You Love,” a song that wasn’t included on their last album, Hardcore Friends, but will be released as a single. All proceeds from the song will benefit ‘Women Against Abuse,’ an organization that provides domestic violence services. Listen to the song on Post-Trash, and check out our interview with the band here.
It’s that time of year again- Northside Festival is back in Brooklyn, and while you’ve probably heard about high profile artists like Conor Oberst and Brian Wilson playing in McCarren park, or Deradoorian covering Black Sabbath at Rough Trade, here’s ten other shows you shouldn’t miss.
Cloud Becomes Your Hand makes slightly weird, unapologetically different music that sounds like it came from a different world. Or, if you go by the band’s own description, “a renaissance faire acid trip underwater in grandma’s winnebago.” Stream their latest release, Rest In Fleas, here.
Cindy Lou Gooden fronts the Brooklyn band Very Fresh, which plays 90’s inspired alternative rock. It’s a little reminiscent of Speedy Ortiz, but with a lo-fi twist.
This amazing guitarist brings the energy of punk rock to improvisational music, creating a seamless blend of genres and moods that vary from jazzy to psychedelic within seconds. Check out Director here.
PWR BTTM @ The Lyft Stage (Williamsburg Walks, 4pm)
This free event takes place on Bedford Avenue and N. 5th Street and on Saturday will feature acts Petal, Benny Sings, Pity Sex- and of course PWR BTTM, who needs no introduction; their glittery reputation precedes them wherever they go.
Katie Lau records each part of Painted Zeros’ music before bringing it to a live band to learn and perform.Her latest release, Floriography, is a beautifully earnest album. Lau also recently participated in a performance piece orchestrated by Naama Tsabar on the 14th Street High Line; musicians would stand on their amps throughout the area and all play the same composition at once.
Turbo Goth is a duo originally from the Philippines that specialize in dark electronic music- and as we learned from our interview with them, frontwoman Sarah Gaugler is also an awesome tattoo artist as well.
From Ohio, Yowler creates pop music that recalls the hazy aftermath of a dream you can’t quite remember- meaning, it’s really pretty, ok? Catch them at the stunning new venue National Sawdust.
Sometimes the only way to talk about a band is to quote directly from their bio: “Haybaby is a band of total babes that play honey-ass heartbreak crooning sometimes screamy sludgy pop & slop rock that will make you have some feelings.” If that’s not enough, check out “Joke/Rope.”
This Brooklyn rock band plays tunes that are dark and sinister, yet somehow irresistible as well. Catch them at Palisades before they leave for a mini tour of the Northeast.
Up-and-coming electro-R&B artist and producer, Oktavian (who has written on the past two Lara Maxen tracks), released a brand new velvety-smooth summer jam today on Audiofemme. Starting off with a soft, low beat underpinning Oktavian’s airy vocal track, “Truth Hurts” unfolds and transitions into synthy instrumentals before incorporating his voice back in and dissolving into an array of electronica, perfectly complimenting these NYC summer climes.
Three years ago, on a dim June morning at 6 AM, I sat next to some toast at a shoddy Formica table. The table was in a damp, smelly kitchen exploding with mounds of used tea bags, soiled dishes, and sagging cilantro. Only, the latter wasn’t called cilantro, it was called “coriander,” because this kitchen was in Hackney, East London. Clapton Pond to be exact. And you couldn’t find “cilantro” in all of England, let alone in Clapton Pond. These early hours were perfectly serene for me. The moments before my two hour bus commute to the Southwestern tip of the city were quiet and sad, but most importantly calm. Sometimes I would see a little fox in the garden, foxing around. Other times I would sit with a journal and stare at its blank pages as if my retinas could burn words into them. Whatever occurred on a given morning, silence was crucial for peace. So there was a real hiccup in this pre-work routine when my affable flatmate Tom would bounce into the kitchen, pour himself a stout cup of coffee, and flip on the radio to BBC 6 Music
There couldn’t have been a more disruptive gesture with which to stab my lame little ritual. It made me uneasy, serrated with nerves – until I took a moment to actually listen. When I did, it struck me that what was playing was good. Really good. It wasn’t an online podcast, or a publicly funded radio station with biannual pledge drives. This was the BBC, once the home of John Peel. A government subsidized program, playing the likes of Wire, Kiran Leonard, and Stump at six in the morning. Was it for real?
Before long I was the one turning the dial to 6 Music at the crack of dawn, beating Tom to the punch. On weekends, all of my desire to get out of the neighborhood was extinguished by that four hour round trip commute Mon-Fri, and I would often sit in the kitchen for half of the day with a notebook and the radio. I pretended it wasn’t 2013, pretended that the DJs were my only source of know-how, like when Peel ruled the airways.
It is rare that we ingest contemporary culture alongside a hearty helping of surprise. We know the T.V. schedule, we oversee our own Netflix and HBO viewings, we cherry pick song by song on Spotify. Independent radio stations-not Top 40, but rather the few programs that exist outside of the mainstream-are true arbiters of surprise. You never know what will come next, and that is a scarce thing to come across today. The anticipation that perhaps the following track will be by your new favorite band…there is some dose of fate in that, even for someone who doesn’t really believe in fate.
I eventually became obsessed with the station, rolling into work a little later because I simply had to hear the end of that song, and find out who sang it. I began making unwieldy lists of everything I heard, a habit I maintain to this day. The dawn’s greatest priority was still coffee, but the radio was a close second. I was transfixed…how could something so perfect, so seemingly tailored to my tastes exist?
Founded in 2002, BBC 6’s slogan claims that it is “The place for the best alternative music. From indie pop and iconic rock to trip hop, electronica and dance with great archive music sessions, live music concerts and documentaries.” Somehow that statement still seems to be putting it lightly.
Their roster of DJs boasts names like Iggy Pop, Jarvis Cocker, The Fall’s original bassist Marc Riley (my personal favorite) and John Peel’s own flesh and blood: his youngest son Tom Ravenscroft, who turned me on to the likes of Girl Band and Maribou State. This is of course, the tip of the proverbial iceberg, as every host I’ve come across is either a renowned musician, journalist, or producer of some merit. Brush gently at the surface of any 6 Music presenter and you will uncover a rich history in popular culture. These aren’t merely critics, but fans; giddy enthusiasts with the entire BBC archives, Peel sessions, and exclusive interviews at their fingertips.
Their 24/7 programming spans every genre imaginable, sometimes encapsulated in more flavor-specific shows like Stuart Maconie’s Freak Zone and Nemone’s Electric Ladyland. Other times musical styles seem to be picked at random, the only consistent link being the superior quality of each track. One time I heard The Fall in the same set as Tribe Called Quest, which was only to be followed by Kate Tempest. It’s this kind of unfaithfulness that I can appreciate when it comes to record collecting.
If you and I have had a chat about music since June of 2013, chances are you’ve endured me waxing fanatical about this radio station. Not everyone dove right into it, but those who did always mention it when we cross paths. And often, they’ve found their own pocket of programming that I myself have yet to explore. One such convert informed me that he is hooked on Jarvis Cocker’s Sunday Service, a real Christmas dinner of a show featuring not only oddball tunes, but short stories, bits of radio plays, off-kilter sound effects, and of course, Jarvis’s velveteen voice to guide you through it all.
It seems safe to say that if it weren’t for 6 Music, it may have never occurred to me to have a crack at music journalism. Beyond that, I wouldn’t know or enjoy as much, and this goes for contemporary as well as veteran bands. My world would very likely exclude newcomers such as Happyness, Ezra Furman, and Meilyr Jones, all of whom have cropped up on my “Favorite New Artists” list. Some I’ve seen live, others I’ve interviewed; all have moved me to write about them in the hopes that some searching eye will come across my enthusiasm the same way my ears heard the excitement of the 6 Music DJs.
Although the more obvious takeaway has been finding more music to cram in my brain, there has been a much greater reward from listening to this station, and that is the optimism it’s restored in me as a music lover. A good decade of my pre-college life was dedicated to the discovery and devouring of music, and yet when I moved to New York something snapped. I assumed everything was over. There would never be another Smiths, blah blah blah. It was a juvenile stance to take, and one I hope I’ve completely scrubbed myself of. Because if there is anything that BBC 6 has taught me, it’s that people will never stop making music, and through the science of probability, there will always be at least some good music, some great music even. There never was a “day the music died,” just a constant costume change in a perpetual sonic play. There will never be nothing to listen to. You’ve just got to look harder.
[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]Photo by Chantal Elise as part of the “In the Band: Michigan Music Behind a Feminist Lens.” For more of her work, head to www.chantalelise.com.
If Siouxsie Sioux and the cast of Hedwig and the Angry Inch shared a seedy punk venue greenroom where they exchanged Bowie impressions and candy necklace bites, you might have a slight grasp on what Dear Darkness sounds like. Self-described as somewhere between “kitsch and oblivion,” Detroit drama queens Stacey MacLeod and Samantha Linn released their latest pleasantly demented and perfectly untamed EP Get it Here earlier this week. This perplexing polyamorous marriage of grit, grime, glitter and gorgeously unique explorations of voice (both internal and external) revel in a self-made turbulence much like a wave pool in a motel bathtub.
Don’t mistaken aforementioned “kitsch” as a dismissal of sincerity. Although riotously playful, Get it Here provokes a teeth grinding, guttural exorcism that just happens to be covered in frosting and sprinkles. Lyrically, the EP kicks and screams but not without cracks where a beautifully strange vulnerability pushes through. The swollen, voice breaking delivery of the lyrics: “Why don’t you notice me? I’m right here” from the track “You Ain’t Tried it With Me” encompasses the tug-of-war vibe of the entire collection. The drums are scathing, the guitar restless. and the warbled and tortured ferocity of MacLeod and Linn’s harmonizing fuse to redefine punk, pop and human fragility in one fell swoop. Yes, the EP is shockingly consistent but that observation seems to belittle the entirety of what Dear Darkness is attempting to do here. More than consistency, what they’ve managed to do in five songs and under 18 minutes is, above all else, really fucking special.
Indulge in Dear Darkness’s rare breed of strange on “Get it Here” below:
Ryan Egan’s new video for his single “Finest Hour” showcases some groovy dance moves, hypnotizing falsetto vocals, and an overall air of mystery.
The video sees Egan decked out in a white turtleneck showing off simple yet perfected dance moves. Once the chorus hits, some shadowy background figures shimmy out from behind him and bust into their own more fluid moves. It’s the perfect contrast between black vs. white, light vs. shadow, simplistic vs. ornate. And Egan’s airy falsetto only reinforces the video as a mysterious yet enticing piece.
The New York songwriter will be playing a show at Rough Trade on June 16 with Coast Modern. Make sure you check out the video below before catching him in person!
Lara Maxan returns with a much-anticipated, bright new electropop jam, “Bite The Bullet”, produced by Mickey Valen. Listen to our exclusive premiere below!
This week’s pick for New Music Monday is SATE‘S “Feel,” off her debut album Redblack&Blue. “Feel” is a raw and swaggering slice of unfiltered rock ‘n’ roll. The brilliantly edited political and powerful music video perfectly accompanies the infectious rock track – hot enough for summer, and brilliant enough to be blasted all year round.
SATE, the Toronto-based rock star with signature mohawk and black lipstick is sure to energize and shake up the end of your workday. Her full-length album will be available this Friday, June 10. For now watch the video for “Feel” below.
Last Superbowl, while Peyton Manning cradled the Lombardi Trophy and showered Budweiser with delicious, beery shout-outs, Jersey boys Billy the Kid and Nickey Knoxx (of Camden and Trenton, respectively) were huddled around their family televisions with baited breath. A music supervisor had more or less greenlighted the duo’s song, “Champion” for use during the annual football bonanza, but as as lives go, those of professional musicians are rife with uncertainty. Plans are made and changed, nary a certitude. At last, they both heard it: their track echoing behind Manning’s words while confetti rained down in Levi’s Stadium. And just like that, Epoch Failure (pronounced epic) turned over a new leaf.
Joanie Wolkoff for AudioFemme: What was that fateful moment like for you guys?
Nickey Knoxx: I was about to give up and zone out cuz the show was wrapping up, but then while Peyton Manning said something about going home and drinking a lot of Budweisers, all of a sudden I heard our song. I definitely lost my shit.
Billy the Kidd: I mean, Superbowl is the mecca of American sports. I’m gonna be honest, I’d been drinking tons with my family and I just teared up.
The American American Dream came true!
Billy the Kidd: We always say we didn’t do too bad for two kids from the inner city.
Nickey Knoxx: When I was growing up, my mom- being from South Carolina- listened to a lot of country and gospel…Dwight Yoakam, Dolly Parton, Travis Tritt, Donnnie McClurkin, James Brown, Reba McEntire… I’m a Brown American. My mother’s Native American and Black and my father’s Black and Puerto Rican with a Jewish-German mom. So, I am the melting pot.
Billy the Kidd: I’m just Puerto Rican, first generation American. My dad’s a South Philly guy, so I grew up on Frank Sinatra, Dean Martin, Billie Holiday, John Coltrane, a lot of Harlem renaissance swag, also Bellamy Brothers, Earth Wind and Fire, the Bee Gees, Bon Jovi and Metallica. Every Friday my dad would pour a glass of gin, smoke a cigar and listen to the Stones on vinyl for hours.
So you guys cut your milk teeth on American music?
Nickey Knoxx: Definitely. Then, when we started exploring other music in high school it was all hip hop- Biggie, Naz, Wu Tang Clan, Mobb Deep, Tupac, Jay Z. My sister also got me into rock and a lot of Prince.
Billy the Kidd: I loved all the heavy hitters in rap but I also got into punk and pop. It’s just that at the time… well, you can’t tell people in the hood you listen to five white boys singing in harmony. I love Iggy Pop, too. Saliva, Limp Biscuit, Slipknot- I went the rock route.
Your live performances are bursting with kinetic energy. Did seeing any of your influences in concert shape how you carry out your music in front of an audience?
Nickey Knoxx: We go apeshit! After watching all those pop-punk bands growing up, seeing the energy those guys bring to the music- the way they pour their heart and soul into it- that’s what we do. We end up chest-naked.
Billy the Kidd: You could say we get that full blown rock energy combined with the hip hop demeanor. It’s urban pop: full of hooks but still very much blended with hip hop elements, because this is the time we live in. We’ve got a dope drummer- Mad Mike- and our bassist Lowdown Dirty Shane and DJ Big Jay. We’re each other’s hype men.
Is it possible that a band name like Epoch Failure might come across as… anti-hype?
Nickey Knoxx: We’re from the inner city and we’ve been on this musical journey together for four years together. It’s been a new epoch for our failures (laughs)… but we’re gonna make it epic! I’ve lived on both sides of life but it’s what made me and it’s what made Billy. It gave us the drive to see the other side.
What does the other side look like?
Billy the Kidd: Music is a grind. You have to treat everybody you meet like a somebody because you never know what they’re gonna bring to the table. I think young musicians need to know not to quit their day job. If you’re an artist, living by the skin of your teeth can’t work that way…. but as Will Smith said, if you focus too much on plan B, you’ll forget about plan A. The dream is music. To live it, breathe it every day, wake up and do it.
What do you do to supplement your music career?
Nickey Knoxx: I’m a combat photographer in the US Army. Billy is an electrician.
Billy the Kidd: Our day jobs feed our creativity. My work is blue collar- it’s the way I was raised. It motivates me. When I get off of work I’m all dirty and grimy and sweaty and I just want to go home and make the best song ever, so that maybe tomorrow I won’t have to go and get dirty and grimy and sweaty.
Did anyone in particular transmit this wisdom to you?
Billy the Kidd: When I was in seventh grade and my grandfather was ill and on his way out, he said, “Never give up.” Whether you’re making music or in the military or marketing or flipping burgers… be the best fucking burger flipper there is. Have some pride. We were meant to be great in what we do. A guy with a million dollars could have a penny attitude, so stay humble and dream big.
Nickey Knoxx: The best advice I ever got was to floss my teeth and wear underwear. Clean underwear make the world go round.
“I don’t care what the papers say/ It’s just another intern with a resume.” The new Angel Olsen track has a soaring, cinematic feel to it, as if was created for the emotional climax of a vintage movie. The accompanying video features Olsen donning a sparkly silver wig as she sings into a headset and is interviewed on a movie set. Check it out:
Brooklyn Events
This weekend is all about Bushwick- here are some cool events for those of you in the area:
Color Me Bushwick – This event combines style and sound, in the form of a three day, free music, art and hair festival at Pickthorn Studio salon. Performing artists include Sharkmuffin, Cosmonaut, Milan to Minsk, Gingerleys, The Teen Age and many, many more. More details here.
Bushwick Collective Block Party – Another three day festival, this event will feature a live performance by Jadakiss, DJs, food trucks, live graffiti painting, and an art exhibition. Details here.
Turntable Kitchen Launches New Project
Turntable Kitchen “is a site connecting food and music” that aims “to introduce food lovers to music and vice versa.” While I’m pretty sure most people have already discovered that both food and music are pretty awesome, their new project, Sounds Delicious, looks great. Artists like The Pains of Being Pure At Heart, Mitski, Skylar Spence, Mutual Benefit, Quilt, Jonathan Rado, Yumi Zouma, GEMS, Salt Cathedral and others will pick an album, and then record a full length cover of it to put on vinyl; it’s currently in the Kickstarter phase.
End Your Week With A New Music Video
“You And I” by Margaret Glaspy is a fun, rowdy track with a bright, playful video. Check it out!
There is a fetish for everything. Balloons. Urine. My Little Pony. Robots. Uncertain of the latter’s existence, I confirmed my suspicion via google. Sure enough, sexbots, cyborg fantasies, AI cosplay…all real things. And why wouldn’t they be? Films like Simone, Her, and Ex Machina, to name a few, haveall addressed bot-positive love; the bond between man and machine. It’s only natural. At the end of the day it’s no shocker that a niche of the fetish community is reserved for Bicentennial Man’s nuts and bolts, but I was dismayed by two things during my research: 1) That the robot erotica community somehow missed the opportunity to coin the phrase “Robotica,” (which turns out to be a journal of the International Federation of Robotics) and 2) that there was no specific group dedicated to the ultimate robots, the droids that stole my heart: Daft Punk.
Are they not the sexiest bots to grace this planet? Their helmets, so shiny, their Frenchiness, their little matching outfits often made of leather-it’s all quite similar to certain costumes of the BDSM world. And yet, the closest thing I could find on the web alluding to the link between the French house duo and kink was an inflatable jacket with their name dubiously smacked on the title. Is it just me? Am I the only person who has a hard on for the helmet twins? It cannot be!
My introduction to Daft Punk, as with all good love stories, was at first pained. Their name was deceiving. “Punk, you say?” Popping in a friend’s copy of Discovery did not yield the expected results. It was plain false advertising.
House music? Techno? This was the noise I heard bleating up from my sister’s bedroom at 2 am. This was the soundtrack to her flirtation with “candy” bracelets and insufferably baggy jeans. This was not punk. Little did I know that within a decade the duo of faceless Frenchmen would steer me through my college thesis, teach me the subtle elegance of chair dancing, and open my eyes to a whole new kind of sexy: Robotica.
It was actually Stardust’s “Music Sounds Better With You” that first flipped my French Touch switch. The song was a one-off collaboration between Daft Punk’s Thomas Bangalter, the legendary bassist Alan Braxe, and Benjamin Diamond. It was, for me alone, the unofficial anthem of a half-assed relationship I was in while studying overseas in 2012/13. But it became the spark that set off a whole new set of synapses in my brain, the thing that allowed me to enjoy an entire genre I’d brushed off for ten years.
The mystifying thing about French house music is its ability to sound both undeniably cheesy-dated, even, and unassailably cool at the same time. It is nothing short of irresistible. Given the genre’s component parts-Giorgio Moroder-era disco glitter and more aggressive synth technology, it can be intoxicating if you just give in and let the boundaries of what “music” means melt away. There is a brilliant monologue by Mr. Moroder in 2013’s Random Access Memories that speaks to this perfectly: “Once you free your mind about a concept of harmony, and of music being correct, you can do whatever you want…” It is a succinct ideology, but when applied can truly boost the enjoyability index of any given song.
Random Access Memories hadn’t quite hit the shelves when I was tripping over “Music Sounds Better With You,” but I was intrinsically learning Moroder’s philosophy. Though the sparseness and repetition of the lyrics in “Music” could easily be mistaken for lazy writing, I found it more akin to poetic device; beats building, cresting like waves and crashing again, all while anchored with a simple phrase: “I feel right. The music sounds better with you.” A romantic but familiar notion, I related to the image of everyday experiences being elevated at the side of a loved one. Then again, they could have been singing about drugs.
Stardust’s hit sufficed for a while, but eventually I needed to dig deeper. I spent the better part of a year at school by day, and by night at a little glass table facing the wall of my fun-sized kitchen in Milan. The sewing rooms close early in Italy, as does everything else, and I had to make do with this makeshift studio. Sitting in a wooden chair hand sewing buttons or basting seams into the wee hours, I needed a specific sound to keep me going. My initial regimen of 69 Love Songs by The Magnetic Fields and Vietnam War documentaries were somehow not doing the trick-but maybe electronica would.
Compartmentalizing music into task-oriented playlists is not my ideal listening experience, but sometimes it happens without thought. You don’t tend to put on speed metal if you want to relax, or Yoko Ono if you want to make sweet love. Seeing as my driving mission at the time was to stay awake, keep moving and remain somehow upbeat, Daft Punk inadvertently scored my final year of college. Posted at my little table I would sew until three am nightly, dancing vehemently from the waist up in my chair.
I began with 1997’s Homework, in part for chronology’s sake, but also because I couldn’t resist listening to something called Homework while doing homework. It’s an album that continues to impress me every time I hear it, including right now as it accompanies the formless staccatos of my keyboard. At the center of the record is the duo’s breakout club hit “Around The World.” It is the cleanest moment on the LP, foreshadowing Bangalter and Guy-Manuel de Homem-Chritso’s prowess at the soundboard. If you were being reductive, you could again call the song repetitive, but a closer listen reveals the early inner-workings of two helmets who know how to make you dance. The steady funk bass line, the flitting synths, the unrelenting beat…it’s one of many masterpieces on the album.
Homework is a landmark record not only for its evident genius, it is also the only time we get to hear Daft Punk this raw. Most of the record is unpolished, combative even. The p-word in their moniker seems to fit here, as the songs threaten a new era of relentless partying, and an unforeseen way of writing music. Tracks like “Da Funk,” “Rock’n Roll,” and “Rollin’ and Scratchin,’”-with its hostile beat and shrieking synthesizers, are nothing if not punk as fuck.
I kept going. Discovery, TRON: Legacy (the soundtrack), Human After All. I loved each for their own qualities, and appreciated that not one was like the next. Up to Random Access Memories, which cleaned up at the Grammy’s in 2013, Discovery had been Daft Punk’s pièce de résistance to many. And it’s easy to understand why. Where Homework is full of blood and gristle, Discovery is glittering and out of this world. Made by robots yes, but robots with crushes, robots programmed to party. It has admittedly become my go-to workout record, and though it’s a rare occasion that I do workout, I never tire of hearing it. Instead of remembering how boring and ultimately pointless one hour on the elliptical can be, I can instead focus on the intricacies of each song, the little riffs that slip away when you hear it at a bar, the madcap attention to detail that is palpable throughout. The way it makes your body move…I catch something new with each listen.
As someone who used to vilify the “non-traditional” instruments of electronic music, learning to love them has been an uncanny experience. I never have any idea what’s going on. What just made that sound? I don’t know. It is an endless source of surprise and wonderment for me to hear an aural universe unencumbered by the traditional triad of bass, drums, and guitar. The element of surprise is always rife with Daft Punk; it’s a consistent aspect of their compositions, their helmeted appearance, and their ability to pop out of nowhere with new music and annihilate the charts.
May 2013 was the month I graduated, but it was also the month the robots unleashed Random Access Memories, their first non-soundtrack, studio album in eight years. The music world was abuzz. Leading up to the record’s release the duo dropped a 15-second sample of “Get Lucky” as a sort of mini-commercial during an SNL broadcast. The blip oddly enough is still my favorite part of the song-that tasty Nile Rogers guitar riff in the bridge. And thanks to the wiz who looped it on repeat for 10 hours, I can still enjoy it in a vacuum. “Get Lucky” became the song of the summer, and though it’s by far not the best track on Random Access, it was infinitely superior to the summer jam of 2012: “Call Me Maybe.”
“Get Lucky” followed me to a fashion internship in London, where it became the only song on the top-40 radio station the seamstresses listened to that didn’t make me want to put my face under the industrial iron press. Needless to say it holds a special place in my heart, as does the entire record. The platinum hands that were lent to its creation-Rogers, Moroder, Pharrell, and Panda Bear to name but a few, are met with the gilded genius of Bangalter and Homem-Christo, creating a record that truly sounds like nothing else.
Returning to the States, I was shameful and amused that I’d spent a year in Europe and suddenly discovered electronic music. How lame. On the flight from Heathrow to Detroit a woman sat next to me flipping through the September issue of Vogue. There on the page were two dashing robots in gleaming helmets and YSL suits, sandwiching a supermodel. I got excited. Too excited. “Had I known Daft Punk would be in the new issue,” I thought “I would have bought it!” I glanced over the woman’s shoulder until she retired the magazine, hoping she hadn’t noticed. She probably had.
I was changed. My friends were concerned. One time, in the late night last sips of a friend’s house party, five of us were dancing to Paul Simon. “Wait!” I urged. “Lemme put something on!” Going from “You Can Call Me Al” to Daft Punk’s “Face To Face” was not the wisest DJ move. Everyone looked puzzled, but I persisted: “Hold on guys! It gets really good! Just wait for the BASS to drop!”
They still haven’t forgiven me.
Another time, while in a record store in Seattle, I stood in front of a Daft Punk cardboard cutout for twenty minutes, devising a way I could get it back to New York without feeling like a complete psycho, or worse, a 43 year old man who lives in his parent’s basement.
Certain idiosyncrasies don’t develop until adulthood. Certain affinities are never explained, but they can be admitted:
Daft Punk, I love you. You can leave your helmets on.
In the 80s, Detroit took on Chicago House and European electronica and quickly became pioneers in the creation of techno and the myriad of sub genres that followed. As an adverse counterpart to popular music, techno challenged radio ready hits and the contradictory exclusivity of punk while maintaining a sonic political retaliation against inner-city struggle. In doing so the city created a sphere in which bass lines and drum beats invited the world to move both inward and outward.
This past weekend marked what most of Detroit consider to be more holy than Christmas. The Movement Festival honors the birthplace of techno and electronic music by throwing the most playfully outrageous three-day party where freaks can be freaks and non-freaks can unearth their spiritual resonance. Whether you’re finding yourself, losing yourself or just curious enough to feel something new, there is no better opportunity than Movement. Yes, like any festival you can anticipate $4 bottles of water and over policing and under-supplying of toilet paper, but what Movement offers the techno community is a true celebration of one of the most unexpectedly poetic musical revolutions in the history of the city and quite honestly, the world. A culture was born. People found home. And while our pillowcases may feel abandoned as we collectively remove glitter out of our tear ducts, we are still coming down from the trip. Below are some of my favorite sedated, ambient tracks for the end of the after-after party (or just as suitably for the beginning).
Stacey “Hotwaxx” Hale “The PeeKs” (2016)
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Jon Zott “Make Plans” ft. Yellokake (2015)
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Most notably one of the busiest most desirable producers in Detroit, Jon Zott has a remarkable ear for bass line heartbeats. “Make Plans” flirts with pop vocals and muffled beat subtlety that feels sexy and sad.
Carl Craig “At Les” (1997)
Carl Craig is one of the most influential producers and DJ’s in Detroit’s rich techno history. His catalog swells and deflates with a subversive consciousness that gives the aural illusion of time travel; sounds bouncing back and forth off of one another like a psychedelic paradox. “At Les” is a prime example of this restraint vs. release vibe while still remaining stoned and ambient.
4. Cybotron “Techno City” (1984)
Formed in 1980 by Juan Atkins and Richard “3070” Davis, Cybotron paved the way for the echoing, intergalactic seduction that has been a cornerstone of Techno for years. “Techno City” feels grimy and sludgy yet invites you into their underground with a sexual pulse.
5. Kevin Saunderson “E-Dancer” (1996)
One cannot mention techno without recognizing one of the most detrimental founding fathers of the genre, Kevin Saunderson. Having reshaped electronic music with his insatiable knack for channeling both the past and future through trance-like grooves and dizzying tremors, Saunderson’s “E-Dancer” is a great example of his distorted snake funk.
6. BLKSHRK “Arm Floatties (Night Swim)” (2015)
Eddie Logix and Blair French teamed up to form BLKSHRK, an underwater groove that pulses and pumps with a delicacy suited for a tangled dance of sea amoeba and space-age mer-folk.
7. Stone Owl “Chemtrails” (2013)
An elusive twosome, Stone Owl is a local techno cult favorite. Although dance-able, Stone Owl latched onto an underlying sinister playfulness that pokes and prods the darkness out of the light. “CHEMTRAILS” is calming with bursts of anxious energy that sizzles like electricity in water, creating a chasm that shakes you from your hiding place.
Brooklyn-based songstress VÉRITÉ creates empowering, emotion-packed music that has a tinge of surrealism, which can best be seen through her latest EP, Living.
The EP kicks off with “Constant Crush,” starting out slowly then steadily building up, both as a song and as a perfect intro to the album. It features Kelsey Byrne’s hauntingly beautiful vocals over an almost dark and foreboding backing. From there it moves onto single “Underdressed,” which tells a vulnerable story shielded by poppy synths and a danceable beat. “Rest” is a perfect midpoint for the EP and is where it changes from a typical synthpop album to one that holds a more eclectic sound. It’s easy to see that Byrne takes inspiration from other genres, like R&B, and weaves that into her tracks “Rest,” “Gesture,” and “Living.” From the beginning of the album to the end, it changes from upbeat singles to a collective piece of varying sounds, showing that Byrne’s isn’t willing to be confined to just one genre.
I was able to sit down and chat with Kelsey for a bit about her new EP as well as her musical influences.
Nicole for AudioFemme: You recently released your EP Living. What were your inspirations behind it?
VÉRITÉ: It’s strange in the writing process because you don’t think that much during it. I think it came together more in the editing process where I was taking moments and hyper-analyzing them and blowing them up. There weren’t any specific inspirations, and it was more me wanting to push myself and elevate myself.
I do a similar thing when writing. Like when I’m editing, it all comes together and seems to make more sense then.
Yes, exactly.
What sort of headspace were you in when you were coming up with the EP? I know you said you didn’t have any specific inspirations or a “Eureka!” moment, but was there anything that led you to these songs?
This was really the first time in my life that I had time to write. It’s an odd struggle to have—the luxury of time. It’s difficult, and there was a lot of anxiety and hyper-analyzing. I was really neurotic about it.
What is your favorite song off the EP?
They’re all my babies. I want to give five different answers. When I wrote Living, it was a good moment for me in life. I wasn’t hiding behind anything, and it really shows when I perform. I love them all.
I had a feeling that was the case! Is there anything you wanted fans to get out of your new EP?
My goal is to have people feel anything. I don’t care what they feel—hopefully it’s not violent anger—but any sort of emotions. I don’t want them to feel nothing.
Do you think your sound has evolved since starting out and the release of your EP?
I hope so. I think that with this EP especially I wanted to move away from “electro-pop.” It’s easy to get lost in the alt pop world. I wanted to really push it sonically. “Gesture” was more laid-back, “Living” is a downtempo R&B style. I was trying to really push it more.
What does your musical history look like? And what brought you to writing and performing?
Performing was always in my nature. I’ve been playing little shows since I was eight or nine when my dad was my band. I lived in a small town in upstate New York, and it was a conducive environment for that. I began writing more at 16 and 17. I developed this probably more into how I want to be interpreted. It’s been a slow process.
If you could collaborate with anyone—living, dead, whatever—who would that be?
Oh shit. Loaded question. Just, so many. I feel like lately my number one is James Blake. I feel like I’m supposed to say The Beatles or something, but based on what I’m listening to right now, I’d have to go with him.
Tell me about your plans for upcoming shows and releases.
Right now it’s just mainly finishing my current tour. Chicago last night was incredible, and I’m going from Minneapolis to Seattle to LA. I’m holding off on doing any festivals this summer and am focusing more on an album. I’m slowly plotting for future plans.
English duo Slow Club are back with a new folksy single, and it’s exactly the sort of song you needed to improve your week.
Slow Club are experts at creating music that helps you slow down and get a little introspective, offering the pause that we tend to be oh-so hesitant to take. And “Ancient Rolling Sea” is no different in that sense. It starts off with a rustic, twangy feel and advances into a classic chilled out Slow Club tune. It primarily sees entrancing vocals from frontman Charles Watson alongside a heavy bassline that’ll reverberate within your core.
They’re currently touring through the UK, and we’re hopeful for an upcoming U.S. tour. For now, get your sway on to “Ancient Rolling Sea” below.
Part French, part Iranian Cocovan disappeared for about a year—leaving her fans in the art and music world wandering through empty social media sites. Then, like the reincarnations of Madonna’s various styles, Cocovan reemerged as the glam-pop empress that she is now. She then released “Mirage Of Us” to rave responses. Yesterday, she put out the video for her brand new single “Chic (Someone To Love.”) And, yes—it’s just as electric. Cocovan is the creative drive behind the new material, directing the one-shot-behind-the-scenes video. Besides a few seconds of her holding a white hula-hoop and taking off her glam-ed-up leather jacket, it’s all her—dancing so gracefully, swishing her perfect short black hair, and posing like a goddess. This song puts me in the highest spirits, while making me feel like I could’ve been the coolest chick in the 80s. Check out her BRAND NEW video and lovely interview with Audiofemme below. You can also listen to her track here. Did I mention that she is also the biggest sweetheart? We LOVE her!
Greetings, love! The femmes are super excited to have you featured on our page!
It’s great to meet you too! And I am equally excited to be featured on Audiofemme, thank you so much for your support!
Q: First off, “Chic” is rotating nonstop, I love it. I’ve been blasting it in my car. I feel like I’m in the movie Drive, and I’m living in an 80s-esque film. If you haven’t seen the movie, I feel like you would totally enjoy it.
Oh thank you! I’m glad to hear that – It makes me happy to think “Chic” is playing somewhere in Brooklyn right now! I love the movie Drive. It’s funny you reference it, because even though I can’t actually drive (I know…), the imagery of driving is somehow a big inspiration to me. While I was writing my EP, I had videos like this one– playing on loop in the studio on a TV while I was writing, as a visual inspiration.
Q: I read that you are influenced by Madonna, Cyndi Lauper, Prince. How has it affected your own unique style? (Or any other influences)?
I think it affected me in the way that it liberated me. I can’t find a way to say it without sounding cheesy- but basically to embrace my quirkiness. Beyond the fact that their music and style have inspired me to create my own, all these artists are muses to me- they guide me. My muses motivate me to push myself everyday, to push myself to always try and create better art.
Q. Your recent project was you directing the video for “Chic.” I can’t wait to see it. Can we expect your creative drive in more videos, etc.?
Hehe! The video is out now! I hope you will enjoy it!
I’ve always been very involved in the visual side of my project. From logos, to artworks, to videos… To me, “Cocovan” is both a visual and musical project. In more recent news, I just shot two new music videos for the next singles! I love making videos, eventually I’d love to direct videos for other artists too.
Q. And in your new song, it gives a very confident look into the future of crushed hearts. Does this come from personal experience?
Well, I guess I’m still on the “crushed heart” side for now, I haven’t found “the one” yet. But yes, it absolutely comes from personal experience. I think it’s even harder to find love in the modern dating world. People treat each other like we’re disposable. It’s difficult to find depth. Or maybe it’s just that I’m entering the Sex And The City age! Anyways, I’m convinced there’s a perfect match on this planet for each one of us. So it’s just a matter of time now!
Q. When can we expect “The Club” to be released? And why have you said this EP is your most important yet?
The Club will come out in the fall. This EP is my most important yet because it is my artistic “rebirth”. Indeed I released a first EP in 2012 that I have since taken down from the internet. At the time, I needed to take time to sit at the studio and allow to evolve sonically. So The Club will be the first EP to be released since that break.
Q. Are you coming to the US (mainly NYC) anytime soon? We would love to have a dance party!
I’ll probably be back soon as I always have NYC withdrawals. I miss the 99c pizzas and the JMZ train. You know I have lived in NYC actually? Here’s a list of all the neighborhoods I have lived in in NYC: Lower East Side, East Village, South Williamsburg, Williamsburg, Clinton Hill and Fort Greene (thank you Craigslist). Anyways, I’d love to have a dance party too!
Q. Looks like you love Snapchat. Any favorite filters? And thank you for taking the time out to show us a little bit about you <3
I really love Snapchat, it’s my favorite social media. My snapchat is iamcocovan by the way! Fave filter is the purplish one. I don’t know how to describe this filter, so I figured I’d make a very special exclusive Cocovan x Audiofemme snap just for you guys! See you soon in NYC!
There was a ton of great new music released this week. Here’s four of the best singles we heard:
The Strokes: “Threat of Joy” is the latest single from The Strokes’ upcoming EP Future Present Past.They take an easy-going beat and infuse it with tense energy, the lyrics quietly seething. The EP will be released via Cult on 6/3; check out the single below.
HOLYCHILD: The shimmering “brat pop” duo are back with “Rotten Teeth,” which features Kate Nash. Their music sounds like it comes from whatever pop factory churns out radio friendly hits these days, but pulls at the stray threads of culture, exposing the darker side with lines like “I know I’ll never be the girl I want to be” and “Do we eat or just starve ourselves tonight?”
Cass McCombs & Angel Olsen: McCombs and Olsen teamed up on “Opposite House,” a faintly jazzy track that creates a mystical space for guitar riffs to flutter in and out of and gentle harmonies to float through. Look for its accompanying album, Mangy Love, on 8/26.
Dinosaur JR: On Tuesday, Dinosaur Jr. debuted “Tiny,” the single from Give a Glimpse of What Yer Not, on Later… With Jools Holland. It’s classic alternative rock typical of the band.
Bob Dylan Celebrates 75th Birthday
In honor of Dylan’s 75th birthday on Tuesday, Animal Collective released their own, remixed version of “Don’t Think Twice, It’s Alright.” Other artists honored the folk legend by covering his songs, such as Kesha. She sang“It Ain’t Me” at the Billboard Music Awards and “I Shall Be Released” at Dylan Fest in Nashville.
Watch Mitski’s New Video for “Happy”
On Monday Mitski released her music video for “Happy.” It takes a lot of twists and turns: a romance blossoms, then turns to heartbreak, with a gory ending that’s unexpected and somewhat terrifying. The song itself is a contemplative look at love and loneliness, and as a bonus, has an awesome saxophone part.
You know what the world has been seriously lacking? New music from Savoir Adore. Well luckily, the dry spell seems to be broken with the latest release of their new single, “Giants.”
In the time since we last saw a lot of activity from the group, there have been some changes, which includes the departure of cofounder Deidre Muro. Fortunately, their music is as electrifying as ever, and you’ll be instantly hooked on this new version of Savoir Adore.
Unsurprisingly, “Giants” lives up to its name and makes a huge impression. The track is full of colossal drums and perky vocals from frontman Paul Hammer. It’s an anthemic jam that’ll have you amped up from start to finish, without any wavering in between. The overall feeling of the song encompasses optimism and embodies an eagerness for the future—or maybe that’s just how we feel waiting for more teasers from their upcoming full-length, The Love That Remains.
Currently the group is planning a brief tour for August with hopefully more dates to be announced. The album drops on August 12, so try to contain your patience for just a few more months!
London-born, Seattle-raised and now here in Brooklyn – songstress Merrily James has a brand new track titled “Another Day” off her upcoming debut EP, “Opia,” set to drop June 3.
Since in Brooklyn, Merrily has collaborated with local favorites such as Brian Kelsey (Parlour Tricks) and Zac Taylor (American Authors) and even shared a stage with industry icons such as Bobby McFerrin and Phillip Bailey (Earth, Wind, & Fire). But we’re going to talk about her here.
“Another Day” is a comfortingly catchy indie pop tune, that along with being an impeccable selection for your summer playlist, shows off more impressive vocals than we’re used to hearing from up and comers. Her talent combined with knack for writing songs, that are delicious as ear candy yet resonate with realities and truth, is sure to secure grand things to come.
Merrily’s EP release show will be held at Rockwood Music Hall Sunday, June 5 with special guest performers Ross Clark from St Lucia and Lily Cato from Parlour Tricks. See you there, and listen to “Another Day” below.
Von Sell’s official video for the track “I Insist” can best be described as strangely beautiful—and yes, that is absolutely a compliment.
The video follows a man who appears to be living in an abandoned building as he attempts to write, trying to please his companion, a stone-faced mannequin. As a seasoned explorer of abandoned buildings, so much of me envies this man’s lifestyle while being simultaneously terrified by it. And that’s a feeling the entire video radiates: It gives you chills, but in a good way.
The man takes breaks from writing to dance around his abandoned building home in a simple choreography that aligns perfectly with the synthy sounds of Von Sell. Each breakdown shows the man dancing it out, seemingly waiting for inspiration to strike. And it does, only once he breaks apart his mannequin friend and throws him piece by piece out the window. With that, the song really picks up its ethereal pace and both video and song become more trippy.
After discarding the mannequin, the man really gets into the zone and is able to finally relax—and can you actually blame him? I don’t think many people would be able to write well with an unblinking face always lurking in the shadows, appearing mysteriously in doorways and just…watching.
Check out Von Sell’s video for “I Insist” above, and keep an eye out for an upcoming tour!
Dreamy, nostalgia-heavy four piece, Double Winter returns with the sugary and elusively heartbreaking track “XO, Skeleton” off their upcoming EP Watching Eye. The track sounds pleasantly unfinished, the production slightly tinny, the vocals wistful and monotone. “XO, Skeleton” doesn’t overthink and in doing so delivers a sweetly melancholic, hair-twirling, window-watching serenade. The hook “see you when you come back home” is, in context, is universally applicable. The ambiguity of the subject’s lovers distance and the duration of their stay could be as simple as hours, days or months and it could just as easily be in reference to the hypothetical never/someday. It isn’t until a little more than halfway through when the track strays from its straight line and swerves into a thrashing outburst that illustrates the inner chaos of having to wait for someone. The shift from patience to urgency is what makes “XO, Skeleton” a surprising pre-summer petit four.
Today, for our New Music Monday selection, which highlights the debut track from an artist, we bring you Yoke Lore’s “Heavy Love.”
Yoke Lore is the latest project from Brooklyn multi-instrumentalist and song writer Adrian Galvin. Along with stretching minds with music, Galvin also works as a yoga instructor, and spent a year studying meditation in India. The practice has paid off; “Heavy Love,” is a slice of emotive dreamy indie pop that is on-point with the complicated pain that is modern love.
“Heavy Love” may be his debut single, off the “Far Shore” EP released earlier this month, but it’s not the only track worth checking out, “Hold Me Down” is another chilling tune worth clicking on.
Keep your eyes on Yoke Lore, and watch the video for “Heavy Love” below.
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.
