PLAYING DETROIT: Mayer Hawthorne “Cosmic Love”

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Detroit-adopted Ann Arborite and premier Motown revivalist, Mayer Hawthorne, returned this week with another funk infused groove, “Cosmic Love” from his fourth solo studio LP (his first in three years) due out this spring. If you’re unfamiliar, you might think Hawthorne is just another white boy relying on soulful affectation. What you should know is that Hawthorne has built his reputation on authentically modernizing funk, soul and Detroit’s signature Motown sound in a way that has always felt fresh and fun but with a soothing melancholy that speaks to what Hawthorne does best: croon and groove.

This time around, however, I feel as though Hawthorne missed an opportunity. “Cosmic Love”, for me, is borderline comical. It could fit into a shaky Shaft-esque 1970’s amateur porn or a montage scene from an Anchorman movie with equal fluidity. It’s satirical in its literal interpretation using galactic twinkling synths, Hawthorne’s spacey echoed vocals, and the breathy female background chorus, all of which makes “Cosmic Love” feel more like a store-bought Halloween costume than a reinvention of your parent’s vintage wardrobe.

Am I a jerk for longing for heartbroken, lovelorn Hawthorne circa 2009’s A Strange Arrangement? Or story driven, assertively dreamy Hawthorne from 2013’s Where Does This Door Go? Considering Hawthorne is an artist who begs us to turn the clocks back, isn’t it natural for me to want to do the same? It should be said that I like “Cosmic Love.” I do. I can appreciate its playful, candied kitsch. The single opens with the lyrics “If I had a dollar/For every dream of you and me/I’d buy myself a rocket/And shoot into your galaxy” and by the end all I can think is that I wished he would have shot a little further.

Listen to “Cosmic Love” for yourself below:

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#NEWMUSICMONDAY: New Madrid “Don’t Hold Me Now”

New Madrid

Today we have a fresh track from Athens-based indie rock quartet New Madrid for New Music Monday. What a delightful sentence to type, with delightful music to back it up. Coming at you from their third album, magnetkingmagnetqueen, due in April via New West Records’ imprint, Normaltown Records. “Don’t Hold Me Now” is a dreamy rush of endorphins, fitting, as the song is about “that sensation when someone or something pulls you from a dream at what can feel like the worst or the best time. Your last moment of the dream before being woken up. Don’t hold me now, I’m dreaming,” writes Stereogum in their premiere of the song.

New Madrid is made up of Phil McGill (guitar/vox,) Graham Powers (guitar/vox,) Ben Hackett (bass/vox,) and Alex Woolley (drums/percussion). They are currently on tour with Nashville psych-rockers All Them Witches.

Listen to “Don’t Hold Me Now” below.

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#NEWMUSICMONDAY: The By Gods “On The Radio”

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It’s Monday, and I don’t feel good. I’m cranky. My birthday was the weekend and I feel a year older and none the wiser. Riffing on my angsty vibes, yet pulling me out of my I-don’t-wanna-work lethargy, is Nashville’s The By Gods with their first single “On the Radio.” A trio made up of George Pauley (vocals, guitar), Natalie Pauley (bass), and Tye Hammonds (drums), the “no frills” rockers give it to you straight with a 90’s-alt attitude and just the right amount of ass kicking so you might actually accomplish something today.

Listen to “On the Radio” below and shake off your moody blues. Their upcoming album Get On Feelings will be out January 22nd.
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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 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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ALBUM REVIEW: Lindsay Kupser “Quiet Songs”

Lindsay Kupser

Vancouver singer-songwriter Lindsay Kupser recently released her new record Quiet Songs. A Berklee College of Music graduate, Kupser created five tracks that walk the line between poetry and lullaby, with a fitting description “quiet singer-songwriter” from the artist herself. While at Berklee, she studied jazz composition and performance. The album begins with the raw lyrics of “All of my Bones Broke on Thursday Evening,” a song composed of brutally honest and direct observations on love and heartbreak paired with calm and relaxing guitars. Immiedetely the listener understands why Kupser’s style has been compared to idols such as Sufjan Stevens, Joni Mitchell, and John Mayer. It is stripped down, and while still developing, strives for an exploration of turning one’s anguish and demons into relatable and lovely folk lyrics.

The stripped down soundscape continues into “Couldn’t Move to Brooklyn” where Kupser waxes poetic about her current backyard and decision not to follow suit of so many young artists and make the trek to Brooklyn. While the 23-year-old singer-songwriter may not see Brooklyn as a fitting home, we’re sure that her album will find its way into the ears of many Brooklyn residents. Brooklyn is a noisy and busy city, with sirens blaring and the hubub of bar conversation continuously spilling into the streets. If the landscape of her current location of Vancouver works for Kupser, the romantic artist might as well stick with her current locational muse.

“I’m not afraid of the light or the pain” sings Kupser on “It Is My Turn,” a mournful yet elegant track and our favorite of Quiet Songs. On “Tough Country” we get a peak into Kupser’s childhood memories, as she describes sitting on a floor of the home she grew up in unpacking and observing old photographs.

At times, the rough simplicity of the tracks leave the listener wanting more, and wondering what will come next. She is a skilled poetic writer with a lovely voice and an ear for a calm melody. Such a young artist, the women of AudioFemme look forward to keeping our eyes on her and what the future holds for Lindsay, even if she never does move to Brooklyn. The five-track Quiet Songs concludes with “Everything Feels So Hard Always,” an elegant and simplistic musing into the difficulties of big life decisions all young adults, in particular artists, grapple with.

The minimalist recordings of Quiet Songs feature Alec Watson of Absolute Paradise and Ethan T. Parcell of Vesper Chimes. Previously, Kupser released “The Boston EP.” Quiet Songs was released on March 14, 2015 and self produced and mastered by Alan Douches. Listen to “It Is My Turn” below. For more Lindsay Kupser, find her on Facebook, Twitter, and visit her website.

TRACK PREMIERE: Jojee “Unravel Me”

Jojee

Our girl Jojee is back with a sultry track “Unravel Me” and we get to share it with you first. The moody number invokes the same sensuality as a candle-lit stoned shower, smoke and steam obscurring skin on skin. The “future soul” artist has a kaleidoscope of sounds that all zoom into the same focal point claimed by R&B in the 2015 musical landscape. Relax and allow yourself to come undone with the latest – “Unravel Me” slows things down to the tempo you want to bath in every beat.

Indulge in the heady high of “Unravel Me” below. The song is produced by Mickey Valen.

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TRACK OF THE WEEK: Controller “Midnight Man”

Controller

It’s Labor Day. The end of summer, time for last call and make outs with the friend you’ve been eyeing all these hot months. Our Track of the Week “Midnight Man” is the new single from NYC-based Controller. With layers of synths and resulting smile upon smile, this song is all about having a good time and enjoying the moment. It’s the third single from Controller’s sophomore release, the No Future EP.

Jon Bellinger (Controller‘s frontman) says the song is: “A shameless club banger, but sung from the perspective of someone you would never ever, ever, ever, ever, ever even consider going home with. Like, he thinks he’s really smooth but he’s the only one not in on how ridiculous he is, and it’s getting closer and closer to last call.” With that, take a listen and go forth.

Listen to “Midnight Man” below.

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TRACK REVIEW: River Tiber “Let You Go”

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There’s an over-used quote on Tumblr that goes something like: “She looked like art, and art wasn’t supposed to look nice; it was supposed to make you feel something.” With River Tiber‘s (aka Tommy Paxton-Beesley) latest track “Let You Go,” the Canadian producer created a piece of art that defies this statement. It’s a beautiful song filled with tried and true R&B sensibilities, yet manages to still make you think with unexpected beats popping like bubbles. The way he bluntly sings, “I only love you when I let you go” will resonate with anyone who has been that asshole in a breakup, which is, all of us.

His EP When The Time Is Right comes out September 16. Listen to “Let You Go” below.

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Album Review: Tunde Olaniran “Transgressor”

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Named as one of Rolling Stone Magazine’s “Artists to Watch” this month just a week after his wildly anticipated sophomore album Transgressor (Quite Scientific Records) dropped to an outpour of local and national praise, Flint, Michigan native Tunde Olaniran is making seismic waves with no end in sight.

Much like Olaniran himself, Transgressor is ambitious. The album treads on territory once explored by pop/hip hop/rock greats, but through his own vocal ferocity and audaciously layered beats. Olaniran manages to pave a path all his own (and in doing so, has reset the bar for breakout artists and seasoned vets, alike.) Transgressor achieves a rare feat: each track stands confidently on it’s own. Although the album is bound by a consistent textural experimentation, this allows each track to resonate with a unique reference point. Freddie Mercury vocals here. Early Missy Elliott vibes there. With Antony and the Johnsons meets Yeezus with a kiss of Squarepusher scattered throughout.

Trangressor is theatrical and strange, but never boring. The track “KYBM” incorporates pulsating tribal drum rhythms and chanting, yet there are moments that feel like a Baz Luhrmann film as heard on “Don’t Cry,” and others transport you to church like the standout breakup track, “Let Me Go.” These influences make Transgressor hard to categorize but help keep the album consistently curious. “Experimental pop/hip hop is the simplest way to categorize my sound,” Olaniran explained to me on the set of his music video for “KYBM” this past February. “I’m always trying new sounds, new ways to use my voice. But I like how it’s a little crude at the same time. With Transgressor I try to limit myself because I don’t want it to sound super polished.”

My favorite example of this methodology is the album’s alternative-broke-baller anthem “Diamonds” featuring iRAWniQ and Passalacqua. With lines like “I’m a fiend for a discount/ while I dream of a penthouse” and “Ima keep it real/nothing in my pocket but a $5 bill/guess I’ll go to Taco Bell and get a combo meal” (even including a line referencing the mass water shutoff controversy in Detroit) Olaniran makes even the downtrodden and relevant, funny. “At my core, I’m a ridiculous person.” He explained. “I don’t want to denigrate other artists or music but it can seem a little heavy handed when you’re trying to get a message across. I don’t want there to be a barrier. I want you to have music you can enjoy.”

TRACK REVIEW: Long Beard “Porch”

Long-Beard

Sleepwalker is the debut album from New Brunswick singer-songwriter Leslie Bear, except we’re calling her Long Beard, despite no evidence of said beard. It’s an album four years in the making, produced by Chris Daly, and joined by Devin Silvers and Tom Christie on bass, and Stefan Koekemoer on drums. On the single “Porch”, Bear’s vocals crawl delicately like a spider across a web spun by the guitar lines. The song paints an aural portrait of the most beautiful time of the 24 hours we spend circling ’round the sun, when the light is dim enough to see fireflies, but not too dark that you’ve lost your lover’s features.

Sleepwalker is out via Team Love Records October 23. Listen to “Porch” below.

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TRACK REVIEW – Jesse R. Berlin “How Did You Sleep Lady Kite”

Jesse R. Berlin photo

“How Did You Sleep Lady Kite” is the second single from Jesse R. Berlin’s debut album Glitter Lung, out August 14. Jesse R. Berlin first kicked up some dirt in the Tex-Mex blues scene of 1980s Houston, TX. After a rather roundabout series of adventures, breakups, and shakeups, Glitter Lung was recorded by Berlin as he isolated himself in his San Marcos studio for three years.

So about the song. The psychedelic nuances hint at a creation of odd hours – locked in the studio, perhaps with insomniac revelations and Ambien creativity. “Give me your love” the lyrics demand, a sentiment we’ve all felt, but that only come off (slightly) less creepy when sung from a sexy odd artist like Berlin. It thrusts you into that heady space of horniness as disco balls melt and your knees grow weak –  ultimately giving way to passion and heading home – but not to sleep. Listen to “How Did You Sleep Lady Kite?” below.

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TRACK REVIEW – Gallant “Weight in Gold”

Gallant

Art lives on heartbreak. I was first introduced to Gallant, the young soaring R&B star when I saw him perform at the Westway earlier this summer. I can be socially anxious, and the tight-packed, beer-drenched  crowd wasn’t helping. Until he began performing, and then everything was okay. His music is like Xanax. We’re on the comedown from an Era of Frills, when artists’ teams put a lot of attention on “everything else,” choreography, costumes, perhaps a fashion line. Gallant hints that as a community we’re ready to get back to the soul of music. As a performer a sincerity burst through, an honesty to his vocals and organic dancing that melded the passion in the music.

His new single “Weight in Gold” is an exemplary introduction to the artist if he hasn’t crossed your radar. The overflowing ballad pairs crunchy hip hop beats with an R&B soul we’ve been craving. “I’m pulling my weight in gold/but I can’t lift this on my own.” Lyrics translate the agonizing frustration of realizing sometimes a partner can only meet you as far as they’re willing to meet themselves. That being said, his voice is beautiful enough to make you believe that love is actually enough.

He has the right look, at the right time, with more than enough talent; keep an eye on Gallant and listen to “Weight in Gold” below.

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VIDEO REVIEW: Of Clocks and Clouds “What You Need”

of clocks and clouds

Brooklyn’s Of Clocks and Clouds just premiered a new music video for “What You Need,” and it’s hella captivating. The video opens with a girl waking up in a hotel room, appearing hungover, disheveled, and heartbroken – eye liner smeared. She showers, applies make up and classic black lingerie, and the curiosity sets in for the viewer. She looks stunning. The same cannot be said for her costar – a slimy looking man she meets in a hotel room down the hall. Oh yeah, she’s getting ready for a porn shoot. The song itself features elegantly placed vocals over dark, driving, electric guitar. Guitars and porn, it’s rock ‘n’ roll, but not for shock value. The video watches like a well-directed short story that does what the best art is meant to: raises questions and leaves you wanting more.

Listen to the track via Soundcloud here:

TRACK OF THE WEEK: Wolkoff “Going Back”

Wolkoff

Joanie Wolkoff, former vocalist of Her Habits (and my forever crush) has moved onto something new and isn’t going back. She recently released “Going Back,” the first single from her new project, named straight to the point – Wolkoff. If Her Habits was a persona, from the name alone I’m excited to fall in love with the person.

Putting aside all music blog jargon – I love this song. Like, listen on repeat love it, play it on a rooftop in the summer love it, put it on my sex play list love it, cry in the shower love it. “Of the lies you told when you kept me down now I’m building speed just cant turn around…Not going back again.” It breaks my heart to hear about anyone hurting the goddess that is Joanie, but dear girl, your artistic expression of pain (with a triumphant ‘tude) is musically pure pleasure. It’s slowed-down synth pop that hits the soul, something pop music rarely achieves, but when it does it’s enough to make you dizzy.

Wolkoff is finishing up her new EP, a collaboration with producer Icarus Moth that we can expect to see out in late August.

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TRACK PREMIERE: Sara Curtin “Careless”

Sara Curtin
Sara Curtin, one half of the DC folk-pop duo The Sweater Set just released the single “Careless” from her forthcoming sophomore solo album Michigan Lilium, and AudioFemme is pleased to premiere it. Strummed like the folk star she is, the song both sounds pretty yet carries some seriously emotionally intelligent lyrics (“Boy I’m troubled, I should know). It’s smart yet delicious, like a kale smoothie as yummy as a milkshake. Listen to “Careless” below.

TRACK REVIEW: Jojee “I Don’t Give A”

Jojee_1
Breathe in and exhale a new track from Jojee produced by Mickey Valen. The song was inspired by forbidden love, an unfiltered reaction so magnetic sometimes you just have to let go of social constructs and allow it to swallow you up. According to an inside source, the song “…is the declaration of not giving a f*ck anymore and following your heart.”  A lot of people often mistake love for joy, but the definition that resonates with me, is an acceptance. Acceptance of passion, acceptance of flaws, acceptance of situation, and learning to just go with the flow – an emotion, perhaps both the most basic yet difficult for humans, that Jojee perfectly pins down musically. The New Yorker has been described as “future pop,” but this sounds more like modern day soul to me. The intersection of dream pop and R&B (Wet, Banks, FKA Twigs) has created an exciting new corner of music. Like, what you’d make love to post-abduction on an UFO.
Listen below.

LIVE REVIEW: Plague Bubonika @ Trash Bar

Plague Bubonika

Meet Plague Bubonika. They play thrash-psych-surf-rock, so basically the auditory form of eating sand as a wave tosses your body-surfing ass: oh fuck I think I might die but this is really fun. Fitting for their sound, I was introduced to them in a rad turn of cosmic events, a Twitter friendship and micro family reunion at Williamsburg’s Trash Bar – a perfect night for the memory shelves as the music venue is slated to close due to raising rent price. The show caught you off guard in that sense where you had to hold your breathe as you felt something important was happening. Strings popped off a guitar, the boys conjured a new one from the arms of the sweaty audience and continued playing with a mere brush off the shoulder. Plague Bubonika is Tony, Dreamy, Atilla Hunk and Zacky Boy coming live from Wilmington, DE. As if it wasn’t a rockin’ special time already, they dedicated a song to yours truly, which I must shamelessly brag about and request you listen to below.

The take away from this post is that nepotism is fine with the talent and originality to back it up, and journalists are attention seeking narcissists who can absolutely be won over. Oh yeah, and get sick on Plague Bubonika without losing eye contact – I see big things ahead.

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ARTIST INTERVIEW: PINS

PINS band photo

In an age where genres seem to only exist as a conduit for music journalists to flex their encyclopedic knowledge of rare stratified sub-genres or inventing hollow multi-hyphenated descriptors: PINS is a breath of fresh air. The red-hot Manchester quartet are putting out straightforward punk with refreshing pop sensibilities, and doing it all with that effortlessly cool flair that made rock ‘n’ roll sexy to begin with. They’re touring the States now and are set to release their sophomore album Wild Nights June 9th (on Bella Union). While out on the road Faith Holgate (vox/ guitar) and Lois McDonald (guitar) took the time to answer a couple burning questions about the band, their style, and what music gets their gears turning.

AudioFemme: First an easy one – what’s the origin story behind PINS?

Faith: I wanted to do music my whole life! I tried to join a bunch of different bands, but nothing felt good and I’d end up quitting after two practices. So I decided to make my own band. It took around a year to have a stable line up, but it was a lot of fun. We had a small rehearsal space in Manchester where we would meet up, drink beer, and play music all night.

AF: What are some of your major musical influences?

Faith: My go-to bands are Suicide, Velvet Underground, Spacemen 3, the Fall, Modern Lovers, and the Brian Jonestown Massacre. But I go out to see live music all the time and constantly feel inspired. For instance we toured with Drenge and I was like we totally need a baritone guitar, or when we saw Sunflower Bean and we were like we need to do some psych bass!

Lois: I think the Beatles at the moment, there’s so much music they made and so many different techniques they used it’s amazing. But influences for me change day to day with my mood. I try to listen and soak up as much as possible. There’s the garage girls from the 60’s which are collectively like an anonymous enigma of attitude, but most recently I’ve been listening to Wire, The Fall, Drenge, Girlpool, Timber Timbre and Deap Vally.

AF: What’s touring with four girls like?

Faith: For the most part it’s like a hen party.

AF: On a more serious note, being a “girl-gang” group do you feel a sense of responsibility to be visible and vocal for young female, and otherwise, musicians out there?

Faith: Yeah, myself and Lois run Haus Of Pins, which is a cassette label, and although it’s not exclusive to women at all we do like to champion girls. Our shows are often girl-heavy too, again, we don’t exclusively ask female acts to open for us, but it’s something we are aware of.

AF: How’s the music scene in Manchester?

Faith: It still needs the ladies to join the party! The local scene is very male heavy. New bands to listen to are Peace and Love Barbershop Muhammad Ali, whom I recently played keys for, and Black Lung, they seem to be conjuring up something exciting.

Lois: There’s lots of different scenes happening here, and it’s nice to be near so many other cities that are thriving creatively too. Bands from here I’m into are Kyogen, Bernard and Edith, and Bad Grammar.

AF: What’s your favorite city to play?

Faith: Paris!

Lois: That’s a tricky one, we did two very different shows in two days recently in Berlin and both were amazing, but I’ll always love playing Manchester.

AF: You guys are constantly being praised for your slick fashion sense, how does fashion fold into your music?

Faith: The aesthetics of our band has always been important to us, from the way we make the stage look to the videos we make, to the covers of our records and the clothes we wear. I suppose image is both a reflection of who we are and another extension of our personalities. However trivial putting makeup on and getting dressed for a show could seem, for us it has become a ritual, it’s a uniform that visually unites us.

AF: What were some of the driving forces behind soon to be released LP Wild Nights?

Faith: Dave Catching and Hayden Scott were great driving forces. They showed us how to enjoy recording. Most of it was done live and then we played around adding textures, it was so much fun.

Lois: The album is sort of summed up by the title, going with the moment and enjoying every minute whilst you can.

AF: What’s everyone’s current favorite jam?

Faith: I’ve got Crocodiles Boys album on repeat.

Lois: Probably the entire of Drenge’s album Drenge. I love “Let’s Pretend” and “Fuckabout” live.

AF: What comes next for you ladies?

Faith: We’re touring the US in June, then playing some festivals in Europe and doing a headline tour in the UK and Europe later in the year. Still writing music and working on different projects.

AF: And last, but not least, if the band had a theme song what would it be?

Faith: Cyndi Lauper – “Girls Just Want To Have Fun”.

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VIDEO REVIEW: The Jane Doze “Lights Go Down”

The Jane Doze

When music’s spun by women, it just sounds better. The Jane Doze is not one, but two beautiful – and more importantly, stupidly talented DJs. The duo has shared the stage with legends such as Calvin Harris and Diplo, although we think the real stunners here are Jane Doze. These heart-breakers also have a heart of gold, their new video for “Lights Go Down (feat. Curtains)” shares the story of their fan and friend Kirby who was diagnosed with cancer. After connecting with her through Twitter the two traveled to meet her in her hometown of Houston, Texas. Thankfully they were also able to recently celebrate her cancer remission.

Watch the video for “Lights Go Down” below. It will not only get you dancing, but give you the warm fuzzies. A portion of the song’s proceeds will be donated to First Descents, an organization that provides outdoor adventures for young adults affected by cancer. Cheers to hope and healing through music and nature.

TRACK PREMIERE: Howth “Leonardo”

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Howth
Photo by Bryan Bruchman

 

What if childhood never had to end? Despite an increased need to clean and an ugly habit of paying bills, I’ve learned it doesn’t have to. We have artists using their madness to keep the world beautiful for those who walk the line (and those who don’t). And sometimes, to keep things a little more funky, that art is inspired by the Teenage Mutant Ninja Turtles. Their new track “Leonardo” might have a muse that’s a crime fighting giant reptile from your childhood bedroom, but the song inspired is a mature and moving listen displaying the emotional insight and talent grown ups can make when they don’t take themselves too seriously.

Howth is releasing their new album Trashy Milky Nothing Town on June 2nd via Bandcamp, and is available for pre-order. In the meantime, listen to “Leonardo” below. And – don’t miss their premiere show June 2nd at Shea Stadium.

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VIDEO REVIEW: Oddisee “Counter-Clockwise”

oddiseemusic

In anticipation of his upcoming The Good Fight LP, Maryland-based artist Oddisee has released a video for the single “Counter-Clockwise.” The black and white video is directed by Brandon Black. It shows Oddisee make his way through New York City neighborhoods, as the world behind him unfolds in reverse. He wanders slowly, with an inquisitive expression, as if stuck in another dimension of Manhattan away from the crowds and ambulance sirens, where one can truly examine the world around them.

“Stay a while and take a break,” he sings. In Oddisee-fied Manhattan we just might. The slowed-down pace of the video is an excellent canvas to present his crisp rhymes and breathless beats.

The Good Fight comes out May 5. Enjoy the video for “Counter-Clockwise” below: