PLAYING DETROIT: On the Road With JR JR

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It all started when I was a kid. My dad taught me that if I want to meet the band, I should wait by the tour bus after the show. I never abused this knowledge and I never became a groupie (even though the thought of becoming one was a strangely enchanting dream of mine; I was too sheepish to ever make it happen). My hours of waiting at backdoors and waving my hands at tour bus windows were completely innocent out of admiration for the artist. I drove around various parts of the midwest as a teenager, with my best friend, to follow Phantom Planet and Black Rebel Motorcycle Club with the only intention of snapping a photo or snagging a setlist. But never once did we make onto a bus. Fast forward to today. I am typing this in the back lounge of a matte black tour bus while the drummer and bassist sleep in their respective bunks, while the rest of the remaining members tackle a radio interview somewhere outside of Columbus, Ohio. I’m living out multiple fantasies via multiple realities and all I can think of is how this is not at all what I expected.

JR JR (Yes, once called Dale Earnhardt Jr Jr and no, we don’t want to talk about it) hails from Detroit but has gained impressive momentum across the country with their single “Gone” off their latest self-titled release on Warner Bros. The album is truly reflective of the band’s new trajectory into new territory, and an infectious collection of pop anthems that is relatable to anyone who has ever shed a previous self. I’ve lost count of how many times I’ve had to answer the question, “What band are you with?” and when I respond, more people know who I’m talking about. Comprised of Josh Epstein, Daniel Zott, Bryan Pope and Michael Higgins (my ticket onto the bus and the key to my heart….awwwww), JR JR is not just a flash in the pan, forever-on-the-verge band. They’ve affected people. I’ve been lucky enough to see proof of this. And I think even the band would agree that this is the most coveted goal of being a band.

I first stepped aboard the bus when I kissed the drummer good bye, wishing them a safe and happy tour. This was at the end of September. Not five minutes after watching the bus disappear into my rear view, I remember pulling into a McDonalds parking lot to cry into my steering wheel. I was going to miss him. Everything I had ever known to be true about touring musicians (the girls, the parties, the general debauchary, the girls) fed into the fits of sadness that followed their departure. Despite knowing that these boys never once fit the description, I was haunted by films like Almost Famous. There was jealousy, too, that I did not anticipate. He would get to travel the country while I was forced to work my shitty 9 to 5  and live in my shitty apartment with my shitty cats (just kidding, I love them). This was shaping up to be the most challenging two months of my life. We talked every day, though I would often shut down and not answer texts or calls because I was too scared to know if he was having the time of his life without me. I can be selfish, sometimes. After a few weeks we decided in time and in tune that I would join the last leg of the tour. This solved several curiosities and satisfied my deprivation since his departure. I told my boss (never did I ask permission) that this was something I needed to do, and that he had no choice other than to be okay with it because I already bought the plane ticket to New York City and had already arranged for someone to care for my cats (see, I told you I loved them). I was warned of a few things while packing and frantically rearranging my life for this temporary escape. Packing was impossible as I realized I was at the mercy of the tour bus, the tour schedule, and that I had absolutely no control over anything that would likely happen. I had to let go and say yes, advice I have spent years giving other people would forcibly become my wayward mantra.

I landed in New York City last week. JR JR was gearing up to play Webster Hall and all I cared about was being reunited with my person. I had no idea that my life would forever be changed. My path was being unknowingly rerouted and my goals were silently one-uping each other.  I was no longer a voyeur to a life I once dreamed of, but an active participant. This was more than tour. This was more than music. This was an adventure.

Things you might not know about tour:

1. There is no pooping on the bus.

This might not seem like a big deal (and it isn’t) until you have to actually go. Pissing is fine, as long as your aim and balance are in check. You are at the mercy of whatever city you’re headed to next and the speed of the driver. Sometimes it’s best to sleep through the discomfort and pray you can hold it another 5, 6, sometimes 8 hours. Once we’re parked, we usually collectively spend the first part of our morning/afternoon looking for Starbucks bathrooms (for which I would like to publicly apologize for the havoc we have wreaked in aforementioned restrooms).

2. Sleep. Is. Everything.

Before I joined the crew, I would get so pissed at Michael for sleeping until two or three in the afternoon, as I had already been awake, at work and productive for hours before him. Now that I am a bus rat, I find it easy to sleep undisturbed until early afternoon because I know that load in (the literal loading of equipment into the venue) is going to be brutal, and the day is non-stop from the moment the tour manager shakes us awake. This leads me to point number three.

3. Bunks are NOT comfortable.

The size of a coffin, perhaps with a bit more leg room, the bunks are not ideal for anyone. Period. Even though I have my own bunk (I use it for storage mostly) I have chosen to cram into Michaels and it took three days to find our Tetris-like synchronicity during sleep. I’ve bumped my head, kneed him in the ribs, rolled out and off and on night one I had a panic attack induced by claustrophobia. I thought I was dead and had been buried. This is a common feeling while on tour. On the rare occasion that a real bed is available to us, we take it. We nap in it. We spread our limbs and jump on it. Beds are a luxury. Despite the stiff necks and sore limbs, the bus is our home and our bunks, most nights, are heaven. The curtains provide pitch blackness so that sleep at any hour is possible. Waking up disoriented is normal and actually grounding, if you can believe that.

4. You will get fat on tour.

I had a plan going in. I’m going to eat healthy and light and find ways to exercise along the way. This made no sense considering I don’t even do those things in my normal life. Well, it’s day seven and my clothes are fitting tighter, my face is noticeably a bit puffier and we even Uber’d from our hotel to a Taco Bell because, well, dinner wasn’t enough. It’s not that tour makes you fat, more so tour makes you hungry. You’re forced to think ahead every single day. If we woke up at 3pm, load in is at 3:30, soundcheck is at 5, that means we won’t have an opportunity to eat again until we load OUT sometime after 11. And of course there are bus snacks and green room hospitalities (booze, pizza, and cupcakes to name a few) all of which are contributors to this few extra pounds. A huge part of it, for me, is wanting to eat food in every city we go to. We ask the locals where the best tacos are or where their favorite pizza joint is. We indulge and are thankful for our generous per diem that allow us to be fat, happy, and well, fat.

5. There’s no time to party.

I think it’s a universal image. The band. The bus. The parties. Girls waiting to fuck you. We have been fed this story time and time again and in a lot of instances it’s true (if you’re Motley Crue and it’s 1987). Not only do I know the JR JR boys personally enough to know they do not fit this description, I have learned that there just isn’t time to be bad. Half the band is married and the other half are in relationships, and as a whole the shared goal is always the music. Between promo and press visits with radio stations, gigs and meetings with managers, and long bus hauls, we are lucky if we get enough time to wash ourselves in venue sinks (because showers are just as rare as beds and pooping opportunities). With rigid tour schedules, most of the time sleep is valued over night life exploration. Playing Xbox in the back lounge is preferred over drinking with fans. And visiting local museums and zoos is more appealing than Tinder’ing and scoring drugs. I can’t speak for every band, but I can speak for JR JR. We like burritos and nature walks, when time permits.

As I said earlier, I am somewhere in Columbus, Ohio. The bus has finally stopped near our venue for the night, and the boys are in search of breakfast. In just a few days my life will return to its normal speed and I will be forced to apply what I’ve seen and what I’ve learned to making my life back home more exciting. I will undoubtedly miss the lulling sway of the tour bus and the excitement of waking up somewhere other than where I fell asleep. I’ve walked the steps of Harvard and played drums during soundcheck at 9:30 Club in D.C. I’ve felt the vibrations of the roaring fans from the green room and I’ve watched hundreds of people sing along to every word. Beyond everything I’ve learned I’ve fallen even more in love with Michael, music, and this strange country than I ever thought possible. Tour is not what you think, not for a minute. But it’s that shift in perception and these sweeping realizations that have brought me closer to myself in ways that are still unfolding, still indescribable. The tour wraps in a few days in Chicago. We are all excited to go home and to sleep in real beds and shower for as long as the hot water allows. Collectively I know we will miss this strange, ever moving adventure…until the next time the bus pulls up.

TRACK PREMIERE: Emi Meyer “Galaxy’s Skirt (Soul Catalyst Remix)”

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Emi Meyer‘s debut album, Curious Creature came out in 2009 and reached #1 on Japan’s iTunes Jazz Charts, and lead her to be crowned as iTunes Japan’s Best New Artist. Now America has caught up to speed, and AudioFemme is here to premiere her new track, “Galaxy’s Skirt (Soul Catalyst Remix).” It’s jazz, but with the most delightful tropical pop twist which makes it the best song to dance to, alone out of happiness or out with a lover, that we’ve heard in some time. Emi comes from an interesting background full of accolades. Born in Kyoto to a Japanese mother and American father, she moved to Seattle as a child, and went on to win the 2007 Seattle-Kobe Jazz vocalist competition. Now, she’s kicking ass with her music being featured on the likes of MTV’s “Awkward.” 

Her upcoming album Galaxy’s Skirt: Deluxe Edition is out December 4. You can catch her before then playing New York’s Club Bonafide Friday, November 13.

Upgrade your work day with the dance-infused jazz track below.

VIDEO REVIEW: BRAIDS “Bunny Rose”

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Canadian art rock trio BRAIDS collaborated with animator Stephen McNally on a music video for their track “Bunny Rose”, off their record Deep in the Iris, released in April.

It’s impossible not to be entranced while watching the veins of a person gradually metamorphosing from dust to water.  The animated likeness of frontwoman Raphaelle Standell-Preston gracefully makes her way through the city before finally making it home in human form.  Dense beats along with Standell-Preston’s delicate vocals seamlessly carry the character through the scenery.

The stunning animation conveys the lyrical meaning of the track with ease, which as described by the band themselves, is: “the desire to be loved yet a longing to be whole on one’s own.”

Check out the video here:

LIVE REVIEW: The Harpoons @ The Delancey

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Bec Rigby of The Harpoons.
Bec Rigby of The Harpoons

In the basement of The Delancey in the heart of LES, The Harpoons quickly got the groove going late on a Saturday night. Music export initiative Sounds Australia put together an edition of their Aussie BBQ, a showcase of Australian bands, right here in New York City.

Funk and R&B vibes with a techy-modernized twist is the best way to describe the way they warmed up the dingy little room. Clad in a relaxed white power suit, gorgeous lead singer Bec Rigby swooned and crooned while the energy from brothers Henry and Jack Madin and Marty King’s harmonies get the crowd to melt right into the beats.

The Aussie BBQ showcase put each band on a pretty tight schedule, as all day, they had each of the twenty-one acts coming out one after another since 2 pm.  Still, by midnight, the crowd had plenty of energy up until the last song of the set, where we begged for one more, and The Harpoons were happy to oblige. It was a quick set, but the band were around to chat and enjoy the other Aussie bands up next, like Pearls and friendships, both of whom I really came to enjoy.

The Harpoons are headed back home to Melbourne soon for Melbourne Music Week, and will be playing a few shows around Australia to close out the month. Check out their latest music video for the single “Ready For Your Love,” made to accompany the video diary for their Japanese tour:

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VIDEO REVIEW: Dilly Dally “The Touch”

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If your band practice doesn’t include hazy shadows, falling feathers, slinking felines and unbridled pain, you’re doing it wrong. Or, you’re just not on the same level as Toronto’s Dilly Dally (which would be admittedly hard to achieve). Led by long-time friends Katie Monks (vocals/guitar) and Liz Ball (guitar), the band has been bursting through unsuspecting earbuds everywhere after releasing their debut album Sore in early October and making waves at New York’s CMJ music festival.

Now they’ve shared their music video for “The Touch,” a song that Monks revealed was written with a very specific, urgent purpose: “I wrote this song for a friend of mine who was having suicidal thoughts… the song attempts to reach him in his dark place, and then lure him away from there.” Monks makes his pain her own in the black-and-white video by yelling, practically swallowing the mic, and holding onto her guitar like a life preserver. In the background, there’s a calming influence via her bandmates, their heads down as they focus on their instruments as feathers float and swirl around them.

As the band plays the heavy, fast beat and snarling guitars, the video occasionally cuts to a figure dressed in black, brandishing a whip: some sort of dominatrix superhero. While Monks sings about healing someone with a “woman’s touch,” she knows that sometimes, a soft touch won’t cut it. Sometimes, it takes a figurative slap in the face.

ARTIST INTERVIEW: A Dream, A Coast

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Recently I sat down to chat with one of the coolest and most talented musicians around, Aimee Bessada. Toronto-based Bessada is the force behind the solo project A Dream, A Coast. After being discovered by legendary musician and producer Linda Perry, Bessada was quickly signed to her Custard Records label and has recently released her first eponymous EP. Aimee also happens to be a close friend.

In light of all those fascinating details I figured I’d regale our readership with a candid conversation she and I had on her music, muses, and life.

AF: So Aimee remember when we used to live together in like 2013?

Aimee: When we were on, umm, Willoughby? Yeah.

AF: Yeah. So just to start us out from then until now, you know “What’s happening?”

Aimee: I really think it’s very nice of you to phrase it like we were living together, because I feel like was just sort of sleeping on sheets that were maybe or maybe not washed before, and I did that for like, I don’t even know how long.

AF: I would say if I had to guess it was approximately four months.

Aimee: Oh my God.

AF: But also it was during the time you were filming Make or Break.

Aimee: That’s right, so well that’s actually very helpful to anchor my brain in the timeline that you just brought up. So yeah I met up with Linda Perry through that show Make or Break. And then over the course of like a year living in New York I wrote a bunch of songs for an EP, recorded them, my visa ran out so I moved home, thinking that someone would stop me from leaving New York. Nobody did.

AF: Mhmm mhmm.

Aimee: And since January of 2015 I’ve thought that every two months that like within those two months I would be back in the States. And it is now October.

AF: So you’re right on track is what you’re saying?

Aimee: Oh yes. I can’t see my life further than three months ahead. So I just assume that in three months I’ll be where I want to be, and then if I’m not it’s just like, ok.

AF: And then there’s just the next three months right?

Aimee: Yeah. For the most part though that hasn’t been the worst. It always allows me to be ready to leave wherever I am, to get up and go, or whatever I want. So in that sense it works, but in the other sense of like having backup plans for the future, it doesn’t work.

AF: Right.

Aimee: precious giggling

AF: Around then you began A Dream, A Coast. I remember sitting down with you and writing out lists of names, one of them was Ames I think. Remember this? We were just coming up with all sorts of bullshit and like you were texting them to Linda’s people and stuff. How’d you pick this name?

Aimee: Oh yes! That went on for months. So first of all I will say that biggest heartache with coming up with a name is if you’re not using your own name or you bought a domain in like high school, because you always knew you wanted it – it’s really hard to find. There’s inevitably some band in Sweden or Norway that’s already got it and has 4,000 followers so you can’t do it. Eventually we settled on Deer Sounds, and that was from Linda. And I liked it. I didn’t think it had a super lot to do with me and my project, but it was cool and no one had it. And as we were sort of working towards putting the EP together I had one of the songs that I wrote for it called “A Dream, A Coast” and I always liked the name of the song. I thought I identified more with that and that song than anything else I’d come across on the pages of text messages. So I told them you know what, I don’t really connect with Deer Sounds, I want to be A Dream, A Coast. And they were like it’s too long, it doesn’t make sense, why is there a comma, and whatever. But I think that once they saw the album artwork that I got a friend to do and they started saying aloud more often it was like oh, ok. It just is what it is, which is really all that ends up happening with a name.

AF: I think that one of the only things in the entire world where you can call it whatever the fuck you want, and it doesn’t matter. At the end of the day all that matters is whether or not the music is good and then people will be interested in it. But it matters for you that you believe in it.

Aimee: Exactly, and you know the thing is the cool and the name is cool because it’s what you use to refer to it. I mean I imagine if the name Aerosmith didn’t already exist and I want to my friends today and I was like, and I don’t think Aerosmith is the coolest name ever, well it kind of is, and I was like I wanna call myself Aerosmith, people would be like what are you talking about that sound medieval.

AF: Right – it’s up to you to make it cool. Well if it matters the name does evoke what it seems like you’re going for. Kind of these California nights, not to quote Best Coast, but that vibe and I think even Best Coast isn’t a bad comparison. Totally different. But not unrelated.

Aimee: Yeah Best Coast is one of the bands that I always look to. But to sound like them would be to rip them off. They’ve really captured that sound, but I really respect them.

AF: I guess I’m saying that you’re also capturing a similar motif or vibe, but it doesn’t sound like you’re Best Coast derivative, but it does sound like you’re in a similar world. So that’s cool.

Aimee: Yeah thanks Anne.

AF: How’d you produce this EP. Did you do it all yourself? Or how’d that work with your relationship with Linda?

Aimee: I think this is one of the most interesting things about the EP, because I was living with you and I also spent like a month in like different friends’ apartments who weren’t occupying them for one reason or another. I physically think of which place I was in when each song was written. And a lot of them were done on GarageBand, because that’s all I had. I got pretty efficient at editing drum patterns and putting down bass. Then at the end of the day when I sent all of those songs into Linda and the people at Custard I was sending them full songs in that there was drums, bass, maybe a synth, my vocals as well as all the guitar parts. So when I went into her studio I wasn’t sure what we were gonna do. I guess I thought we were gonna re-record everything. And we did do drums, because the GarageBand drums never survived mixing and mastering and moving into iTunes – not in the way I was doing it anyways. So we went into the studio and we had a drummer come in and trace over the existing drum parts where possible, because sometimes I wrote drum parts where he would have had to have like five hands. So a little unrealistic. But we kept everything pretty much other than that. We do redo some bass lines also. “Tell A Lie” and “Culebra” were pretty much all entirely in Linda’s studio. “Empty Beaches” is all original guitar and original vocals, which is the most funny thing to me, because I recorded the vocals on my Apple iPhone headphones.

AF: Cool.

Aimee: Yeah, sort of weird and the fact that it’s half GarageBand half multi-million dollar studio I never would have had access to otherwise, that’s not to say anything against Linda’s studio. It’s incredible. But yeah you just do it with GarageBand.

AF: It just goes to show that the quality of the work itself, not necessarily the tools you use to create it.

Aimee: I think it works as well with the songs. Something just worked.

AF: Well now that the EP is out what’s next for you?

Aimee: Tour. Hopefully by 2016.

AF: Ok last thing. Since we’re friends, what’s one thing that you know that I don’t know about you?

Aimee: I don’t know if we’ve ever talked about how much fan fiction I use to read as a child. I don’t know.

AF: What do you mean by fan fiction though? Are you talking about creepy like two female characters from a CW show that have a tryst? Is that what you mean?

Aimee: I’m talking about specifically X-men. In fact exclusively X-men.

AF: Ok then.

Look for A Dream, A Coast on tour in 2016 and in the meantime you can find the EP here: iTunes  and all of her links here: A Dream, A Coast.

ARTIST INTERVIEW: GEMS

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(image: Kristen-Wrzesniewski)

GEMS is the shadow pop brainchild of Lindsay Pitts and Clifford John Usher — two Virginia bred musicians– who met while simultaneously attending the University of Virginia. After years of playing together, their vision coalesced under the moniker GEMS in 2012. You probably remember them as one of the mysterious internet bands whose music was gracing nearly every atmospheric playlist from Silverlake to Berlin and beyond during 2013 with their stellar four song EP Medusa. The duo just released their first full-length album Kill The One You Love (Carpark Records) and are currently touring the country to support the record. The new release unravels R&B sensibilities that were a mere thread in earlier recordings. Pitt’s vocals are as evocative as memory serves and Usher’s production showcases a level of restraint that is astounding in the current pop landscape — as a unit choosing understated to overwrought. Which is equally evident in the stark, often black and white visuals that the band employs alongside their music. I caught up with them while they were barreling towards Denver to discuss the new album and the evolution of the band.

AF: Cliff I see you have a 703 number. So do I. Where are you from exactly?

Cliff: We’re both from the Washington DC area. I grew up in Vienna, Virginia and Lindsay is from Woodbridge. We just moved to Los Angeles four months ago.

AF: How did the two of you meet and start playing together?

Cliff: We both went to University of Virginia. Right around graduation we met. We played music together for years, but we started GEMS at the end of 2012. We knew we wanted to do a band thing the two of us and so we started to lay down tracks as GEMS then.

AF: What’s your favorite fact about one another?

Lindsay: Well I have kind of an obvious fact, but I love it. Cliff is really, really tall. He’s 6’7”. You can’t tell in pictures, but he’s a giant.

Cliff: Lindsay used to play the drums. When I first met her she was taking drum lessons from some old dude who lived in the woods and she would bake him muffins in exchange for lessons.

AF: In listening to the new album your sound seems to be more restrained than on Medusa — how do you see your musical evolution?

Cliff: I feel like for the new album we put a lot of emphasis on trying to carve out our own sound. It’s always an ongoing process, but I feel the new album is more our own thing for better or for worse. I like it. I feel like there’s this thing in music where it’s a lot easier to be successful if you sound like something else that’s already successful and it’s something that’s always frustrated me because I want to make our shit sound like us, you know? I constantly have this thing where I hear some new band that I’m like this is obviously just ripping off this other thing that is already popular. And every single time without a doubt that band gets huge. I’m not knocking things that sound like other things. I just mean it’s a weird phenomena. I guess people just like what they’re familiar with. So I don’t know, maybe people won’t like it as much. But I feel like we’re doing our thing more.

Lindsay: Sure that’s how it works.

AF: Was there a most exciting moment in production on the album?

Cliff: Not really. It was something we were working on for a long time.

Lindsay: Yeah, I felt like it was a bonding. We also reworked so many of the songs. One of the songs on there I think we re-recorded four times over a couple years. We just kept thinking it wasn’t right yet. Eventually we were like ok. We could have reworked it forever. You’re always reaching for something that’s just a little bit ahead of you.

Cliff: This is the only downside of working ourselves. We do all the recording stuff and songwriting ourselves. Sometimes it’s hard to know when to stop. But I like where we ended up.

AF: Can you describe your songwriting process?

Cliff: We always have a bunch of stuff that we’re working on. Since we’ve been doing GEMS I’ve taken on more the producer role, but we still go back and forth a lot. Lindsay with often start with a song idea where she’s real focused on the emotion and what she’s trying to convey. A lot of times it’s more like about the chords, or the feeling in the chords, or even a non-verbal melody. And I’ll make the beats. We always talk about honing in or sharpening in to the core emotion of each song. A lot of times when we start the lyrics are just gibberish, it’s more about the vibe and the emotion that’s coming through. And then as we rework it we hone in on some kind of thread lyrically.

AF: As a unit you have a pretty chic aesthetic, can you tell me a bit about how visuals factor into the project?

Cliff: Yeah it’s not really a conscious thing so much as it’s all an extension of us in our own weird little world. Actually I think it might also be a product of growing up in the suburbs of DC and living around DC. DC is a pretty cool city, but there’s not really like a lot of cool stuff around. The city is cool especially for the architecture and stuff. But the suburbs of DC, like Fairfax and Tysons Corner, it’s not like you’re growing up in New York or LA and you’re surrounded by cool shit. I felt like we felt like we had to create our own world as an escape from all that.

AF: Are there other projects you’re into?

Cliff: I’ve been really digging the new Autre Ne Veut album. We’ve been listening to that on the road here on tour with them. It’s been fun. I feel like we haven’t listened to any new music in a while. We listen to the radio a bunch, because the aux input on our van is broken, so our options are CDs or the radio– and we can’t even burn CDs now because our laptops don’t have a CD burner. We try to see live music a lot. Like Holly Herndon, we saw her at FORM Arcosanti, this festival that another band we toured with called Hundred Waters put on– that was pretty mind blowing. And recently we went to FYF in LA. FKA Twigs, Mac DeMarco and D’Angelo were some standout acts.

Lindsay: Yeah D’Angelo. He has such control over all of these other musicians. He addresses this group of musicians and they all read each other’s minds everything is so fluid. Great performance.

AF: I know you’re on tour right now, is there anything else exciting on the horizon alongside the release of the album?

Lindsay: We have an apartment in Highland Park right now, that I really like. And I’m excited for when after this tour we go back and to record and make music again. Keep working on new stuff really. Because we’ve been working so hard on this album, getting it out and getting ready for tour, and I’m really excited to sit back down and start writing again.

You can find more on GEMS on their website.
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#NEWMUSICMONDAY: Late Nite Cable “All Nite Girl”

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We’re staying local and upbeat for this week’s New Music Monday. Williamsburg-based Pete Roessler and Severine Casati make up Late Nite Cable, the voice of jaded generation who may piss and moan but still know how to love and live as their 20’s creep into 30’s. “All Nite Girl” sounds like a late night walk home down Kent when the streets are clear and you’ve had a night so ridiculous and wonderful that you realize maybe everything’s not shit.

Listen to “All Nite Girl” below.

TRACK REVIEW: Fried Monk “Heartbeats”

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One thing I’ve learned from musicians like Steve Choi from RX Bandits, is that there are entertainers… and then there are true artists. While musicians can intertwine both elements, it’s rare to truly find an artist at core—not focusing on making a brand in music, but rather making music a brand. I’ve discovered Lucas Kozinski (alias Fried Monk) as one of those artists, who like the members of RXB, branch sideways to invent sounds uncharted to their own. But that’s really the artistry in all of this—there are no boundaries to this music thing. Kozinski’s studio in Germantown, Philadelphia gave him a chance to really jaunt out of his comfort zone. Philly is one of the best places to do it, really. There is no shortage of culturally driven neighborhoods and glorious people. The music scene is rad and there’s plenty of people keeping it dynamic, him included.

His studio, Sleepless Sound, was barely running when his latest project, Introduces, was recorded. “The idea of the record came about when I wasn’t super happy with how the instrumentals sounded by themselves. It was also while I was in the process of opening up Sleepless Sound Studio,” Luke explains about the collaborative venture.

Also based in Philly is Moonshine Heather; Maura Mullen and Alex Berenson, committed the vocals to “Heartbeats.” The track is synonymous with downtempo affectionate. Maura has a reverberating voice, only overshadowed by her sultriness — and while she’s not piercing the ends of your auditory canals, she shoots a fiery “There’s a lot of love out there, but none of it’s for me.” And while “Heartbeats” is a condensed version of what the rest of Introduces has to offer, you’ll dig it a hundred times over. Also, the beginning guitar vibrations will bring you back to early 2000’s John Frusciante.

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TRACK REVIEW: Old Sea Brigade “Love Brought Weight”

Old Sea Brigade

It’s a rainy Wednesday night the week leading up to Halloween. I sit in bed in a sparely decorated Brooklyn apartment. The cold is seeping through the grey cotton sheets, but the comforting voice of Old Sea Brigade make me feel a little bit warmer. Atlanta-based Old Sea Brigade is the product of musical artist Ben Cramer. His debut single, “Love Brought Weight” reflects the vibe and “inner potency” of his upcoming EP. Like a cold room washed out with one big florescent light, when what it needs is candles and a lamp, the heart can feel as sparse and frightening as an empty operating room in times of loneliness. With his ethereal and experimental take on folk rock, Old Sea Brigade sings and strums of that feeling when someone enters your heart and fills you with enough warmth that you don’t care about the room’s temperature, the too-bright light, or the cold rain outside. It’s a beautiful feeling, and a credit to Cramer’s artistry that he is able to express such a distinct human experience in such an equally beautiful song.

Listen to “Love Brought Weight” below.

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PLAYING DETROIT: DJ Duo Haute to Death

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It was the day of my grandmother’s funeral. Having spent the better portion of my day mourning the loss with my father and chain smoking while driving familiar streets of my hometown where the old bars had new signs, I was unnerved with realizing not everything was as I left it when I moved out and to Detroit two years ago. By the end of the day, I was disheveled and still dressed sullenly in  black. My face was puffy from crying and both my body and mind were fevered with exhaustion. David Bowie’s “Changes” came on the radio as my boyfriend at the time asked what I wanted to do. It was late. It was Saturday. I was tired. But without hesitation I stared out of the passenger side window at a sky that threatened snow and said, “I have to go to Temple.” This was not some prolific religious sentiment, although looking back maybe in some ways it was. Temple is “Temple Bar,” one of Detroit’s most unassuming vestiges and my salvation was (and still is) Haute to Death; a monthly dance party thrown by Ash Nowak and Jon Dones.

Creators, curators, and collaborators in life, love, and the dance floor, Nowak and Dones are more than DJ’s, they are partners and hosts to what will undoubtedly be your favorite night (if you’re lucky enough to remember it). Emotional electricians, they are instigators of catharsis with a killer record collection and an undeniably thoughtful approach to weaving a tapestry of people, environment, and sound. What started as a search to throw the best dance party for friends is now celebrating it’s eight year residency this month. “We’ve developed a family of people here,” says Dones.  “Ash and I don’t have a lot of family. We feel so connected to the people that show up that I don’t necessarily have to know where they came from, or what they do for a living because we’re all here together. What we do isn’t about us, it’s about you.”

For eight years, Haute to Death has called Temple Bar its home base and in some ways its birth place. A pock marked parking lot surrounds an institution colored building with the name painted crudely above the door, Temple Bar is the last place you would expect to find the city’s most welcoming and unapologetic dance party. The DJ booth sits high above the dance floor where Nowak and Dones are glassed in and silhouetted by neon genitalia (one of many idiosyncratic details of Temple Bar’s landscape). The aforementioned dance floor is contained by a half wall and is no bigger than a few handicap accessible bathroom stalls side by side. The intimacy is the most intimidating quality of a Haute to Death event and paradoxically is what invites you in to stay. Since it falls on the third Saturday of each  month, the T.V. sets are tuned to SNL (which seems meta in context) and the awkward pool table wedged between the bathrooms is always strangely occupied as people aim their pool sticks into the air because rarely is there room to make a real shot (hell, you’re lucky if can stand with your feet apart). Sometimes a dog shows up, and no one has ever seen anyone actually play the Sopranos pinball machine near the entrance. Skin will touch skin, sweat will converge with other spilled fluids, and your hair will refuse to hold whatever product or styling you came in with. The air is promised to be thick and salty and each party is not without its share of playful dance offs, fits of cinematic twirling and even the occasional new wave twerk-a-thon. Without fail there will be at least one tangible moment where the music finds temporary shelter within you and shakes something loose (or perhaps pieces something back together). You can be yourself, someone else, or no one at all.

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“Jon and I like a lot of the same things. We ultimately have the same end goal but have extraordinarily different ways of getting there,” explains Nowak on their ability to collaborate. “You can’t play candy all night long. It’s fun and tempting, but it’s not sustainable.” Even under the shimmering lights and the waves of glistening skin, there are periodic points in the set where things go from moody, to dark all the way back to desert-like electro pop. “We focus on thoughtful sets with emotional arches,” Dones adds.

Over a bottle of wine, I tell Nowak and Dones (now considered my friends and creative cohorts) what I love most about their monthly sweaty soiree. “What is the more interesting story is your experience,” Dones says. “We’ve never been to Haute to Death. We don’t know what it’s like.” I walk them through the first time I showed up. I felt like a squad-less orphan until they spun a New Order mix that I would have never heard anywhere near my hometown suburb and how when I stand under the disco ball and Kraftwerk’s “Telephone Call” bleeds into Azealia Banks “212” (one of Nowak’s staple mixes) I feel like I’m being transported to another planet (yet feel completely grounded). I remind them of the time the speakers blew during their annual “Bosses and Secretaries Edition” and a resident babe and H2D’er dressed in an all white suit, booted up the jukebox to save the party with Madonna’s “Like a Prayer” and how everyone felt this shared emotional rush of relief, gratitude and well, praise to this unworldly little slice of party heaven that we all feel has been gifted to us. These magical moments are exclusive to what Nowak and Dones do which is far more than spin records or craft playlists. They provide a setting, a mood, and a warmth that encourages each person in attendance (whether they are actively participating or not) to formulate their own memory and to use the floor as their own therapy. (Nowak even adds that they’ve only had ‘one fight in eight years’, which is pretty impressive.) I recollect all the times I danced with a broken heart, physical injury, and creative malaise and how by the end of the night, even though I end up with my lipstick kissed off, my eye makeup running down my cheeks and my clothes adhered to my skin, Haute to Death never fails to stir me back to life. A confectionary and visceral collision, Nowak and Dones are artists of experience and Haute to Death is their torrid and glittered canvas. “It’s a mess,” Nowak says, “and it’s really fantastic.”

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#NEWMUSICMONDAY: The Gloomies “LSD”

The Gloomies

The Gloomies is a fitting name for the ever-feared Monday, but despite the grim name, these surf punk rockers were formed in “a sun-bleached surf town in southern California.” Indeed their debut single “LSD” is a delightful blend of gloom and glow, like Halloween in paradise. Consisting of Andrew Craig, Blake Martz, Chris Trombley and Grant Martz, lead singer Andy Craig spent a brief period in our New York grey concrete jungle before heading back west in 2014, a year which he lived out of his suitcase most of the time. A rite of passage for many of the creatively inflicted, and an experience that would become the inspiration behind the single.

“LSD” / “Groves” is available on October 16th courtesy of Thrill Me Records. Listen to “LSD” – and don’t miss their second newly released single – “Groves.” Both will set the tone for a Beetlejuice celebration of a week.

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ARTIST INTERVIEW: Sarah Gaugler

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“Our sound isn’t necessarily bound by a single genre,” says Sarah Gaugler, the vocalist of Turbo Goth. It’s true – the band can’t quite be called electronic rock, though it’s the easiest way to categorize the duo which also includes Paolo Peralta on guitar, synths, and drum loops. Gaugler speaks and sings each word in a carefully, calculated way, while during live performances, Peralta swings his guitar around wildly. Some songs sound like a blues-rock band from outer space, others are industrial, slightly frightening. It takes more than one listen to get a handle on them.

As well as fronting the band, Gaugler is an accomplished tattoo artist with her own studio in Chelsea called Snow Tattoo. Though she was busy preparing for Turbo Goth’s CMJ show at Left Field last week, she took some time to answer questions about her music, art and the origins of Turbo Goth.

AF: Where did the name Turbo Goth come from?

SG: Personally, I don’t think it describes our music at all because I don’t know exactly how to label our music. We certainly aren’t playing traditionally “Goth” music, but I do think it describes our live performances, or the attitude of the band. It’s like we created a personality that is still growing and evolving as we continue to make more music. The name is more of the “concept of the contrast.” We love the contrast of aggression and beauty, heavy rock sound with heavenly, graceful notes. 

When we were developing our band, we suddenly noticed the word “turbo” on old appliances, like an old electric fan. The humor was that back in the day, if you put “turbo” on something it meant it was top quality and intense, or high powered!

The “Goth” name originally came from the Visigoth conquerors who invaded the Roman Empire, just as we aggressively invade the stage when we perform. It was also derived from our admiration of Gothic architecture, long and pointed aches that stand tall and monumental. This type of architecture was named after the Visigoths due to the abandonment of classical Romanesque lines and proportion, just as our music is an abandonment of the typical rock band style.

AF: You’re originally from the Philippines- what brought you to New York?

SG: We felt it was time for us to share our passion with a bigger audience and got attracted to the city’s energy. After playing festivals around Asia and SXSW, we decided to go to New York where the music world is much more diverse and alive.

AF: How did you meet your bandmate, guitarist Paolo Peralta?

SG: Paolo Peralta was a sous chef at a fine dining restaurant in Manila and already the lead guitarist of a punk rock band…We had common friends and then eventually we started hanging out.

Knowing that I was a Fine Arts student and Visual Artist, the original plan was for me to create art on stage, while he played beats and music. But one day he heard me singing along to music I was playing in my car and said he liked my voice and we ended up making music together instead.

AF: Who are your biggest influences as a musician, and what are your biggest influences as a visual artist?

SG: When I was a little girl I was exposed and inspired by Madonna and Michael Jackson. I appreciate their pop tones and grooves. My dad used to listen to the Beatles so I feel like that is a part of my influences. My favorite music in college were songs by Go Sailor, Muse, the Mars Volta, Radiohead, and the Sundays. This is just from the top of my head, there are a lot more.

When it comes to illustrations or tattoos, life events and nature currently stimulate me. My thesis, however, was based on pen and ink, and crosshatching techniques, so my research was on Edward Gorey and Bernie Wrightson. When I was a child I loved watching movies by Tim Burton. These were some of my significant influences as I was developing my art skills.

AF: Do you think music and visual art are more effective when used together?

SG: Yes, for expression and for the viewers who are engaging with the performance. Music and visual art are married to each other…the complete experience of music is when you are seeing the performance live and feeling the energy face to face.

AF: What was your first tattoo? Have you ever tattooed yourself?

SG: My first tattoo was my bandmate’s name. After a couple of months, when I finally had my own machine, I started doing my illustrations on friends’ skins instead of paper. 

The first tattoo that I inked on someone was one of my stylized girl illustrations, holding the word “pag-asa” (hope) in her hands above her. I never thought that I would tattoo myself but just as 2015 was about to start, I finally felt the urge. It’s a heart with arrows on my left thumb and three letter Vs on my left middle finger.

AF: In the past, it seems like women were underrepresented in both the music and tattoo industry. As a woman who is involved in both, what are your thoughts on this? Do you think women with these careers are more accepted now than before?

SG: I’m very happy to be in this age where women and men can be treated as equals in an industry that used to be dominated by men. Sexism for me is so much a thing of the past, and I have been fortunate enough to have not had any bad experience with it.

AF: Who parties harder, musicians or tattoo artists?

SG: I don’t think it matters if you are a tattoo artist or a musician. I think you party hard when you are young and in time we grow and learn through experiences. As time goes by, for me, being creative and productive stimulates me so much that beats the fun of partying too hard.

ARTIST INTERVIEW: Nicole Dollanganger

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You might not know her name yet, but that’s soon to change. Nicole Dollanganger is the 24-year-old Canuck who set Grimes’ musical heart ablaze and is the very first signee to Boucher’s brand spankin’ new label Eerie Organization. As a matter of fact she’s the very reason behind the label’s creation. Boucher told Billboard in late August she created Eerie because she felt it was “a crime against humanity for this music not to be heard.” Big praise coming from one of the biggest successes in the indie music world in the past decade. Knowing what we do about Grimes’ sound, the relationship seems nearly inevitable. Dollanganger’s polished, airy, and macabre sound is a glove on Boucher’s practiced hand, and she’ll be joining the mercurial popstress on stage opening for Lana Del Rey on select dates during her Endless Summer tour. Thanks to Eerie Organization you too can hear that very music which was just released in the form of a full length Dollenganger is calling Natural Born Losers.

Beyond the music Dollanganger is an enigmatic young creative who’s firmly planted in the digital realm, with an internet presence that’s all but been perfected showcasing her own drawings, morbid stills and low-fi photos. And yet she still cites her family and hometown as having influenced her art greatly. Right now she’s focused on imbuing her work with visuals to enhance the experience of consuming her sound.

I recently caught up with her to chat a bit about her influences, the relationship she has with Eerie and some of her other passions.

 

AF: So I see you’re from Stouffville, Ontario. Where exactly is that and what’s it known for?

ND: Stouffville is about an hour from the city of Toronto, right in the downtown area. It’s not too far. It would be known for being a bit of a farming community. We have a strawberry festival; I guess that’s the other thing.

AF: When you’re writing music do you think about how you want it be consumed or is an exercise solely in creation and catharsis?

ND: It’s definitely more of an exercise in creation. Initially my thoughts are with making it and only after it’s done do I sort of wonder about releasing it and all of that.

AF: I know your parents are both doll collectors and that that imagery has factored into your art and music. What’s your relationship to the dolls now and what do they signify for you?

ND: Dolls are a big deal to me. I love all different kinds, but especially the ones that I began collecting through my mom. I love the history behind them, dolls especially from the 20’s to 50’s were so delicate, a lot of them were made out of chalk. For them to have survived to this time means that someone loved them and cared about them enough to see that they are here now. I always feel like they come with a deep loving history. The first item ever that I was given was a doll and I still have it. I have a lot of sentimental history with that doll. I always find it kind of weird when people say they’re scared of dolls because I just think there’s like nothing less scary than an object that was made for a kid to take care of, you know?

AF: What’s your relation and fascination with the macabre?

ND: My dad always says it’s the way I’ve always been. Even as a child it was always the horror cartoons I wanted to watch. I guess I was always inclined. I’ve been interested in exploring things that scare me forever, because it makes it less scary to face head on and to try and understand it rather than to put my back to it.

AF: How does your internet persona translate to you in real life?

ND: Sometimes well and sometimes not. I do think that there is a lost in translation nature to it, especially if you’re speaking to someone or getting a question online. At least with me I’m a bit paranoid so I often misinterpret tone or I think someone is meaning something some way and they probably don’t. I’ve kind of struggled with that. But in other respects it’s really fun to be able to explore things without feeling like you have to. It’s a really creative world where you can surround yourself with the things that interest you and you can kind of create something new by putting them all together, and that really helps to storyboard and to create concepts based on art you like.

AF: Where did you draw inspiration for this album?

ND: With this record I was drawing it off a lot from the town that I grew up in, I also spent a lot of my childhood in Florida and that was a huge influence. I didn’t have the best high school experience and I’ve struggled with that. I’ve also felt that a lot of the people that I’m closest to also struggled, and we all came into ourselves post high school. I was kind of rolling of that past and present and the different selves. It’s also where the name itself comes from, like loser is one of the easiest things that someone can call another person as an insult, and I want to almost reclaim it as a positive thing. It was almost like an homage to a lot of really amazing, fascinating people that I know who were the losers of high school. Essentially it’s a sentimental album a lot about the past.

AF: Your music has a very specific visual aesthetic approach – beyond the obvious sonic one – can you touch on how you approach those visuals and what inspires them.

ND: I usually see things, like a song, kind of visually as I’m writing the lyrics. And I read them over or I listen to a freestyled recording and I usually get strong visuals, or even just strong colors and sometimes they’re not the right colors. I know that sounds kinda wonky, but I’ll listen to a song and if I was seeing pink in my head and it’s feeling more like an orange I know that I’ve got to change something. It’s almost more of a visual thing that dictates the direction the song goes. When working with other people I’ve found that it’s easiest to describe what I’m going for with visuals rather than sound because I’m not a trained musician so I really struggle sometimes to vocalize what I’m after.

AF: I know you also create comic books, can you talk about that a bit?

ND: I’ve always liked to draw, but I’m not the best, so for me I avoid realistic drawings. I recently just put out like a comic/zine and I pretty much tried to form a narrative around images that I really just wanted to draw and I created this story around a few specific images that I saw. It was really fun because it was the first time I’ve finished a visual art, hand drawn thing, ever. Normally I get halfway through a sketchbook and give up. This the first thing that I can say I finally completed and that felt really good.

AF: I’m sure you’ve been asked a bunch, but how does it feel to be the first artist signed to Grimes’ Eerie Organization?

ND: Amazing. So wonderful. Claire and James (Brooks – formerly of Elite Gymnastics) are living angels. It’s been a surreal dream ever since it happened. I mean it’s two people that I really admire and respect and that I’m a huge fan of their creative work, so to have them be supportive of mine is incredible in and of itself. But then you’ve also got two people who are really smart, they really know the industry and they’re very interested in helping other musicians that they believe in.

AF: With the album out next month what comes next for you?

ND: The tour’s gonna happen. And then I would love to explore being more able to create videos and visuals to go with the songs. I’ve always felt like the idea’s never been fully baked to an extent so the idea of being able to create things that are 100% what I initially saw is a really exciting prospect. I’m also just so excited to write again.

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#NEWMUSICMONDAY: Denley “Following A Lie”

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It’s Monday, which means a panic attacking-induing amount of coffee and new music to aid your late afternoon crash. Coming from San Francisco via Leeds, UK producer Denley (Matt Holt) is here with a debut tune “Following a Lie” off his forthcoming EP – “Close, Within Reach.” The EP is inspired by “the feeling of wanting to replace mundane drudgery with freedom of expression and emotional betterment; the idea that when we feel at our most downtrodden, that something else is out there waiting to be tapped into.” Monday goes with “mundane drudgery” like peanut butter goes with jelly – but this chilled out electro number is just the ticket to soothe your jitters. “Following a Lie” features vocals from Jagjaguwar artist Briana Marela: “The visions I seek, are close within reach, and yet I find, I’m losing time, I’m afraid I’ll be here my whole life.” Sure sounds like concerns of missed opportunity and wasted youth we’ve all experienced – but a reminder of the value of music as therapy to combat such anxiety.

Denley’s five-track EP “Close, Within Reach” is out 10/16 via Yellow Year Records. Listen to “Following a Lie” below.

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VIDEO PREMIERE: Kimberly Wyma “Hit and Run”

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With the turn of winter and the fall of snow, everything is encased to appear more magical, more romantic. As the seasons change we’re here to kick of your week with the premiere of singer/songwriter Kimberly Wyma‘s video for “Hit and Run” from her EP “Escapistry.” It was filmed in the now New York City-based artist’s hometown of Grand Rapids, Michigan, the day after “a huge, magical blizzard.” We see Wyma running through a Narnia-like white forest and playing her heart out on a piano in an abandoned and graffiti-splattered building. The contradiction of the romance and brokedown palace quality of the video are both ethereal, always raw – much like the truth in the lyrics of a romance gone awry.

Watch “Hit and Run” below.

ALBUM REVIEW: Williamson “Backesto Park”

Backesto Park, a new electro-post rock record from San Jose California artist, Williamson, is the ultimate record to put on as the workday ends and Friday melts into the weekend. Williamson has had his work featured in films like Cameron Crowe’s Aloha and in Joss Whedon’s TV series, Dollhouse, and now it can be the soundtrack for your unwinding. Named after his neighborhood, the 14-track record Backesto Park is an epic undertaking. Without discounting the value of individual songs, to this listener, it works best as a cohesive listening experience. There are times when you want words to sing all the things you feel but haven’t found the language or courage to utter, and there are times when you want the beauty of music without words to just let you be. I like to think of it as an enhancement, as music is a drug, is it not? It can evoke aggression, or calm you down faster than a benzodiazepines. In my experience of listening to Backesto Park it acted as a beautiful enhancement, in line with the caramel that may also contain THC and CBD – to mellow out the experience of getting home at 5PM, with nothing to do but relax.

The album invokes electronic more in the realm of psych such as the sounds created by the electronic collective Soundtribe Sector 9, yet is delightfully mellow, like the natural hallucination that comes with the sounds of an electronic jam band such as Lotus. It took me back to the time right after I graduated college, before moving to New York City, somehow in the woods of Vermont at a music festival whose name I could not tell you, collecting sunflowers and basking in the freedom of an unknown life ahead of you – with the naivity being 22-years-old requires.

Samples of word appear on some tracks, such as “You Don’t Understand,” coming in like radio static as you change the channel back to your favorite song. “You Don’t Understand” seamlessly melts into the terrifically-named “Jellyfish Hustle.” Indeed, like a magical creature (I know jellyfish exist, but in that awesome way that I don’t understand) the song inhales and exhales with the fluidity of water. Taking a moment to chill on the discussion of the music itself, each song title will make you smile, and look forward to learning the answer to: “What does ‘Aspiring Mooncropper Seeks Work'” sound like?” It sounds awesome.

If you don’t have any weekend plans yet, it’s okay. Simply put this record on and sit for a moment to breathe it all in, and know that things are just as they should be.

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TRACK PREMIERE: Storming The Beaches With Logos In Hand “Soldier Grey”

Soldier Grey

Don’t you love when through an abundance of PR emails you learn of a new song that not only shakes you in the best way possible, but you have the delight of introducing it to the rest of the world as well? With AudioFemme’s discovery and resulting premiere of Storming The Beaches With Logos In Hand‘s new track “Soldier Grey” we’re here to inject some delight to your Wednesday. Described as a “sci-fi new media opera and post-punk percussion ensemble,” STBWLIH are worth the mouthful of a title. Founded in Santa Fe, New Mexico by Luke Carr in 2013, the group makes lovely chaos from multiple drummers, guitar, bass, and both male and female vocals. “Soldier Grey” catches your attention from the get-go, indie-punk rock that’s both calm and collected yet pregnant with higher conscious wisdom, exactly the kind of music I want to hear from Santa Fe, a magic city in my mind of occult and desert magic ripe for creative achievements. Listen to “Soldier Grey” below:

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PLAYING DETROIT PLAYLIST: Detroit On The Road

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Sitting on an over-packed suitcase that refuses to shut (yes, I really did need five pairs of shoes) as I compile neurotic checklists, compulsively looking at ten day forecasts and somehow I am already missing Detroit: my beloved mother-ship. I’m hitting the road and heading west to camp in the Grand Canyon and some 27-year-old debauchery in Vegas as some ill planned rite of passage in honor of my birthday. I’m going it solo, but not without bringing a little bit of Detroit along for the ride to keep me company.

Iggy Pop and The Stooges – “The Passenger”

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My mom likes to boast that my first concert was Iggy Pop. She was seven months pregnant and claims that Iggy waved to her belly (that’s me, you guys)! This, to me, is the pivotal road trip song to end all road trip songs. As a Detroit legend and my personal savior of all things badass, it only seems appropriate to bring a little bit of Iggy with me to Sin City.

Danny Brown – “Grown 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”]https://youtu.be/NHfWY0is3rE

Okay. So I’m already imagining me rolling out of the Hertz car rental in my 2015 Ford Focus with this song blasting. If you’re from Detroit, Danny Brown is a household name and using his lyrics as punctuation is the norm. “Growing Up” is (quite literally) fitting for this birthday adventure.

Human Eye – “I Feel Mean”

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Since moving to Detroit, nothing compares to the ferocity of seeing Detroit punk band Human Eye live. This song is ruthless, raw and unrelenting. “I Feel Mean” is unpredictable and messy in the way punk is messy, but with enough control to make it insanely catchy. Frontman Timmy Vulgar is an icon and is undoubtedly doing it right. I’m eager to let this song bounce against some desert rocks (as I think about smashing an ex boyfriend’s window…or something).

The Silent Years – “Someone to Keep Us Warm”

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I was a ripe 18-19 when I was introduced to the Silent Years. I still lived with my parents but I latched onto seeing every Silent Years show I could. They were sincere and the songs had beautifully designed rising and falling, which suited my love of cathartic build ups and bands with lots of members. They were Detroit’s answer to Arcade Fire. This song was the first I heard of theirs and it still ignites something, which seems perfectly suited for my cold canyon nights ahead.

800beloved – “Go”

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Okay. So I really love 800beloved. As a friend and fan, I couldn’t think of a better song to chain smoke in my rental car to as the desert landscape bursts through my windows while talking to myself as both passenger and driver. While adding this to my playlist I am reminded of my long history with this song and the album “Bouquet.” Seven years ago, I was still living at home and just had my heart broken. I was never one to do spontaneous things at that age and always favored the safe route. But then this album came along and challenged all of that. The song implies a listlessness and a burning desire to leave shit behind and that’s exactly what I’m doing.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

#NEWMUSICMONDAY: Greg Uhlmann “It’s Not Your Fault”

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Los Angeles-based Gregory Uhlmann of Fell Runner has released his first single under his own name, and it is divine. With a Bon Iver lullaby quality, “It’s Not Your Fault” is the perfect love song for the romantic skeptic. Too many love songs seem to be written in that first month dopamine-high of a new relationship, where you’re waking up in strange farmhouses feeling lucky to have found the person you’ve been dreaming of all your life and giving each other life-changing oral sex. That part’s awesome but easy. The hard part is sustaining beauty once you’ve smelled each other’s bad body odor and figured out what you find annoying. Chemical come downs, shitty cigarettes, and frozen over lakes – “It’s Not Your Fault” is the dreamy yet honest love song you’ve been missing.

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CMJ 2015: Top 10 Parties Not To Miss

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Unless you’ve been living under a rock or completely off the grid since fall started, you know that CMJ, possibly the best festival for discovering new music, is taking over NYC next week. There’s no way to see everything, but here’s some CMJ parties you definitely cannot miss (including ours):

10/13 – 7:30 pm – Good Room – Garage Land CMJ Showcase

The Garage Land CMJ showcase features some of the best acts to perform at the Good Room this year, including Watermelon Sugar, Gods, Casey Hopkins Duo, Acid Dad, Navy Gangs, Worthless, Savants, Surfbort and Tall Juan (bands listed in order of appearance, from first to last).  For a preview, check out Acid Dad: 

10/14 – 7 pm – Baby’s All Right – Brooklyn Vegan + Collect Records Showcase

Baby’s All Right is turning two soon, but before they reach toddler status, they’re throwing some awesome CMJ parties. One of those is hosted by the Brooklyn Vegan and Collect Records, with artists such as No Devotion, Wax Idols, Creepoid, and Foxes In Fiction.

10/14 – 7:30 pm –  Santos Party House – NME+PopGun+House Arrest Present CMJ Party

Two floors of acts, including Perfect Pussy*, Protomartyr*, Yung*, Seratones*, Hooten Tennis Club*, Dilly Dally^, Downtown Boys^, Shopping^, NICO YARYAN^, Car Seat Headset^, Yak^. RSVP on Facebook here.

(* upstairs, ^ downstairs)

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10/15 – 8 pm – Palisades – KXLU FM + Burger Records CMJ Showcase

The cool California record label Burger Records is hosting the showcase with Michael Rault, Cool Ghouls, Dirty Ghosts, Slim Twig, Modern Vices, Howardian and UNSTOPPABLE DEATH MACHINES. RSVP here, and check out a psychedelic track from Cool Ghouls below.

10/15 – 7 pm – Cake Shop – Thursday Night Showcase

Featuring Robbing Millions, S, Tricot,  Shopping, Diet Cig, , Sweet Spirit and Weaves at Cake Shop in the Lower East Side. Listen to all the bands quickly in the event’s creepy promo video:

10/16 – 1 pm – Palisades – Exploding In Sound Records Official CMJ Showcase

One of the best, most interesting record labels around, Exploding In Sound is throwing their CMJ showcase  at Palisades. Go and see Palehound, Big Ups, The Spirit of the Beehive, Greys, Palm, Stove, Washer, Kal Marks, Dirty Dishes, Swings, Flagland, Leapling and LVL UP. 

10/16 – 7 pm – Pianos – The Deli Magazine/Pianos CMJ Showcase

The Deli Magazine and Pianos have teamed up to bring you Vunderbar, The Fluids, Controller, Stolen Jars, Diet Cig, Eternal Summers, Beverly, Weaves, mild high club, ohnomoon, Paperwhite*, Yes Alexader*, MY BODY*, Solvey*, and The Golden Pony* (* means free/upstairs, the rest of the bands are in the main room for $10).

10/17 – 6:30 pm – Cameo Gallery – Audiofemme + Atypical Beasts Agency Showcase

We can guarantee this party will be amazing, because it’s being thrown by us! Come to the Cameo Gallery (which is unfortunately closing soon) to see some great acts like TOW3RS, Von Sell, The Prettiots, Lena Fayre, Beverly, and Monika. RSVP here, and get your tickets here!

10/17 – 12 pm – The Shop – Stereocure + Drunken Piano Showcase

Featuring Flamingosis, Moon Bounce, SUI ZHEN, A Sol Mechanic, Novelty Daughter, My Body, Bollywood Life, Crystal Ghost and more TBA. RSVP here!

10/18 – 3 pm – Palisades – Father/Daughter + Miscreant Records CMJ Showcase

Come to one of the last of the week’s events to hear Hiccup, Nicholas Nicholas, Bad Cello, i tried to run away when i was 6, Downies, Romp, Comfy, Vagabon, Fern Mayo, Bethlehem Steel, Diet Cig, SPORTS and PWR BTTM.

https://www.youtube.com/watch?v=BldOLNcbeGo

PLAYING DETROIT: Moonwalks “Lunar Phases”

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Few bands are as aptly named as psychedelic Detroit four piece, Moonwalks, whose upcoming release Lunar Phases could act as a wild, yet tailored, road map to uninhabited galaxies and black holes, alike. The band’s first LP, scheduled to release via cassette tape and digital download later this month (MANIMAL Vinyl) is as warm as it is cooly intergalactic and is as 1960’s retro as it is refreshingly modern. Collectively, Jake Dean (guitars/vocals) Kate Gutwald (bass), Kerrigan Pearce (drums) and Tyler Grates (guitar) admit to being moved by the production of old Lee Hazlewood records, which makes sense, considering Lunar Phases has an undeniably sultry, Western-shootout vibe. (If the shootout was between aliens and cowboys, directed by a 90’s Tarantino respectfully.) “We’re becoming more collaborative as a four piece,” says Grates. “When making music, it’s important for me not to consider any influences I have at the time. Anything can sound like everything. However, it’s a little different in the recording process. We all have similar taste but different ideas, so we’re constantly coming up with different landscapes of sound.” More than Brian Jonestown Massacre-esque jam rock moments or sedated Jeffry Lee Pierce vocals, Moonwalks’ sound is the figurative dusting off of something once lost. Like water on Mars, Lunar Phases taps into what you thought you knew, but with an exploratory freshness best suited for lovers of reverb, distortion, and unexpectedly emotive cosmic collisions of past and present.

What is most surprising of their debut LP is the seamless cohesion not only between tracks, but in Moonwalks’ shared cadence, notably in their confidence in letting each instrument/effect have space to swell, breathe, and explode. This is glaringly apparent on vocal-less track “Cream Cheese Ashtray,” a demanding instrumental that gives the aural illusion of bending time; warped but never “off,” askew but never elementary nor hesitant. Delay heavy track, “Painted Lady” (one of two songs named after beloved Detroit bar/venues) is reminiscent of early Black Rebel Motorcycle Club minus the cliche hook/verse progression, artfully distorting your notion of what comes next; another example of Moonwalks’ ability to give new life to the already familiar.

Lunar Phases is, for the lack of a better word, mature. The album, a richly dynamic and attentive mosaic just under thirty minutes long, manages to achieve the robust fluidity that most bands don’t find until their second or third release (if at all). With extensive touring planned for the coming year and by the sounds of it, more studio time, too, Moonwalks exudes a completeness but with ample room to morph, grow, and reimagine. “I think were becoming tighter as a band,” Grates explains. “We’re getting more comfortable with playing shows and touring around the country. I think if the four of us weren’t in a band together, we’d still be hanging out all the time.”

While we await the release of Lunar Phases, satisfy your hunger by checking out Moonwalks’ 2014 EP:

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ALBUM REVIEW: Louise Aubrie “Late 44”

Louise Aubrie

New York and London based indie-pop rising star Louise Aubrie has released a new album this summer titled Late 44. With an initial release date of July 13th, the punk-influenced album has the right amount of kick to transition into a new season with a new soundtrack. With Aubrie on vocals, Louise is joined by Tom Edwards (Adam Ant) on guitars, Boz Boorer (Morrissey, The Polecats) on additional guitars, Joe Holweger on bass, David Ruffy (The Ruts, Adam Ant, Dexy’s Midnight Runners) on drums and percussion, and James Knight on piano and keys. The album was recorded at Abbey Road Studios in London.

Louise Aubrie was born in London, where she began recording music at the notable Mill Hill Music Complex. She eventually spent some time in New York where she further developed her sound, which would evolve into the edgy indie-punk rock found on Late 44, her third album. The record is preceded by her 2010 debut, Fingers Crossed… followed by 2013’s Time Honoured Alibi. This time around on Late 44, Louise has written all her own material.

One of our favorite tracks is the aptly named “Perfect Battle Cry.” Aside from having a title that makes us want to put on our warrior paint, it blends pleasing pop sensibilities with a cheeky punk edge. It’s the indie punk femme anthem, the 2015 evolution of “Love is a Battlefield.”

Forget love and begin thrashing in the in-your-face “Too Late.” The song melts into the warmer “Next to Nothing.” “I know next to nothing…” wails Aubrie, with a slight ska sound reminiscent of early No Doubt, and lyrics with tongue-in-cheek self deprecation. Speaking of No Doubt, along with Aubrie’s cool indie punk chick vibes all her own, her debut album was was mastered by Dave Collins Audio in Los Angeles, former Chief Mastering Engineer of A&M Studios, who has worked with Madonna, No Doubt and The Police.

Proving you don’t have to be weak to be romantic, or even conform to traditional female pop star standards, Aubrie bears her heart on “Candlelight.” “Where thunder struck down we stopped, in awe with our promises to keep. Playing games by candlelight…” The album closes out with “Please Don’t Touch” – an apt warning to conclude what is a feminist punk-pop album that becomes increasingly intimate with each play. If there’s a message any woman can relate to – it’s “Please don’t touch me!” Yet despite its seemingly aggressive message, the song is soul-wrenchingly beautiful. With an abundance of radio songs of romance that aim to please the male, a cohesive work of art that hits every emotion from wanting distance, to being wooed, to the scariness of allowing oneself to fall in love, the femmes of AudioFemme thank Aubrie.

You can stream Late 44 below.

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