Enjoy a new track “Diamonds” from German-based duo MALKY. The song saunters into your ears slowly, sexily, before we realize it’s a song of sadness: “Don’t you know how much it hurts me?” asks singer and pianist Daniel Stoyanov, who together with producer Michael Vajna makes MALKY. Their name means “little boy” in Bulgaria, where Daniel emigrated from to Germany as a child. Apparently the two are inseparable “brothers in spirit” and share a nostalgic yearning that’s woven in the thread of their music. The 60’s-era blues on the track is bejeweled with modern beats to create a well-rounded songthat allows the boys to strut their stuff. Add them to your playlist that flows from Otis Redding into Twin Shadow.
Listen to “Diamonds” below. Their debut EP, also titled “Diamonds” comes out in the US April 7.
From Austin Texas duo Coeds, Meredith Munoz and Ryan Kailath, comes a new track titled “Sensitive Boys.” Infectious indie rock pop, the beat bounces like a determined kick ball straight out of an 80s high school – propelled by classic synths. Drums drive and Munoz’s confident voice captures. Cue the opening credits to Coeds’ rise to stardom.
“Sensitive Boys” is the A-side and title track off the bands’ upcoming 7,” slated for release via Old Flame Records on May 19. Take a listen below.
Elevate your Friday with the premiere of Led to Sea’s new track “Breathe Some.” It’s the first song from the upcoming album, The Beautiful Humming of Ms. Fortune, set to drop May 5. Led to Sea is the solo project from the Seattle-based violinist, violist and singer Alex Guy. In a sea of recycled pop production grey seagulls, Guy soars like a dove. Her sound merges her classical sensibilities into an experimental package with a pretty pop bow. Some of that shining production quality is likely due the engineering and co-producer role of notable Jherek Bischoff (David Byrne, Amanda Palmer, etc) who Guy worked with over the past two years creating the project.
Us femmes always enjoy anything that expands our music education while pleasing the senses – and “Breathe Some” does exactly that. Cheers, Alex Guy. We must add we get a kick out of imagining how many fans will be surprised to learn you’re a classically trained woman with striking eyes, rather than another bloke, with a name like Alex Guy.
I had the pleasure of being introduced to garage rock/power pop band Janelane. Making waves on the local scene in Los Angeles, it’s only a short matter of time before their nostalgic rock sensibilities eventually take over America, and then…the world. “I’m just killing time now, baby.” Swooning vocals envelope you like a love spell before gritty rock riffs snap you out of your haze (and male gaze) to scare you into remembering that women absolutely run the world. This delightful two-track EP will have you feeling like a rebellious teenager with the whole world ahead of you.
Meet Sugarmen. The Liverpool band was formed by Luke Fenlon and Chay Heney, who then caught the eye of drummer Sam McVann and bassist Tom Sheilds.
The song opens with the line “…You get what you desrve,” mouthed methodically in a warehouse covered in geometric graffiti. Sugarmen‘s “Dirt” was produced by Mick Jones of The Clash and BAD. Performed with a deliberate and confident aura, you can tell they’ve brought in the big guns. Along with a visual style that’s rich in rock ‘n’ roll, tight jeans and leather jackets accented with dark glasses, “Dirt” delivers classic riffs with the right attitude. The black and white video provides a retro feel that allows the music to have its moment. The only thing monochrome here is the cinematography.
Missing a music festival due to travel delays caused by a snow storm is worse than the brown frozen crunchy puddles that fill Brooklyn. Rather than escape the cold concrete jungle for warm Savannah, where New York City-based “pretty/gritty” pop rockers Parlour Tricks were performing, I had to settle for an interview, which was a chance for a lovely conversation of intelligence and insight. Although, I continue to look forward to the day I can see Parlour Tricks, an AudioFemme favorite, live. Before they head out for this year’s SXSW,I chatted with band member Lily Cato about life on the road, their upcoming debut full-length album, and how cool it would be to perform with Chance the Rapper. .
Audiofemme: Your hometown is New York – how did you all end up in the city?
Lily Cato: I grew up in the city. Everyone else moved for college. I’m lucky they did.
AF:What is your favorite New York City venue?
LC: Mercury Lounge.
AF: Best neighborhood?
LC: I love the East Village and Chinatown in Manhattan and Park Slope in Brooklyn. But then all the museums are uptown…
AF: How did you meet and form ParlourTricks?
LC: We met in college. I started writing music in my third or fourth year, and asked these cool kids to play with me to see if the songs were any good. It was a crapshoot.
AF: How do you enjoy life on the road?
LC: Genuinely love it.
AF: Your set up of three vocalists is rather talked about, how did the band formation come about?
LC: First it was just me, Brian, Terry and Angelo, no other women. But I’d hear these thick three-part harmonies in my head in every song I wrote, and finally realized we needed to expand the family. Deedee and Morgane gave me everything I was looking for.
AF: What do you miss most from home while traveling?
LC: Not having to load and unload gear every day is a simple pleasure.
AF: Who were your musical icons?
LC: Elvis Presley and Tom Waits. Still are.
AF: If you could have anyone join you on stage – who would it be?
LC: Chance the Rapper.
AF: Could you tell me a little bit about the band’s visual style, and fashion sense as noted on stage?
LC: We put a lot of work and care into how we sound. How we look is just an extension of that. We’re putting on a show, you know?
AF: Where did your band name come from?
LC: I always loved the idea of “parlourtricks.” People used to get together in someone’s living room and entertain each other. The intimacy of it. Make your own fun.
AF: Your music has been described as much retro and built for the future, if you could see yourself thriving in any time but the present what would it be?
LC: Any time that will have us, I guess. I think we’d do OK amongst the dinosaurs. Really get back to basics.
AF: What’s next for ParlourTricks?
LC: We are so, so psyched to be releasing our debut full-length album with Bar/None Records this June
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For a taste of what they’re like live, watch Parlour Tricks’ recent Audiotree session below:
Anyone that’s been likened to Bikini Kills lights up our radar. The Bay Area-based scuzz rockers Happy Fangs consists of Rebecca Bortman, Michael Cobra (Mr.Cobra), and Jess Gowrie. A name of dichotomy, Happy Fangs recently released their debut LP, Capricorn to critical acclaim. It’s the sort of music that will have your body thrashing before your brain knows what’s going on, lighting the way with the bridges you burn. We spoke with Happy Fang about Tina Turner, lack of sleep, and penning songs inspired by Jeff Goldblum’s lazer bears.
Audiofemme: So how did you guys meet and form a band?
Happy Fangs (All): Rebecca & Mr. Cobra met while playing in San Francisco bands that had one thing in common—Room 13, a practice space in The Tenderloin in San Francisco. We started out as a two piece with a drum machine but soon realized we wanted a live drummer to help kick up the energy. We searched so far, we ended up all the way out in Sacramento where we found Jess Gowrie, the best drummer in the world.
AF: Where does the name Happy Fangs derive from?
HF: When you have a bandmate with the legal last name of Cobra, you’ve gotta have a ferocious band name. When you have a bandmate as giddy as Rebecca, sometimes the band names itself. Jess joined after the band was named but she is truly the perfect third fang.
AF: Where is your favorite hometown venue to perform in?
HF: We just played we just play Great American Music Hall as the hometown show on this tour. Imagine playing in a Great-Gatsby-style 1920s venue with all the grandeur, gold, and velvet that you’d expect! Mr. Cobra was warming up on guitar before our set only to look over to see a picture of Robert Plant warming up on his guitar in the same spot. It’s so awesome to play at a venue that’s had so many amazing musicians grace the stage!
AF: How does the city of San Francisco influence your sound?
HF: We are actually a duel city band. Jess lives in Sacramento. That being said I think the urban environments that all three of us choose to live in contributes greatly to the pace and drive of our music.
AF: You’re currently on tour – What do you miss most from home while traveling?
HF: Sleep! What is that again?
AF: Can we expect to catch you on the East Coast anytime soon?
HF: Plans are in the works!
AF: Who were your musical icons?
Rebecca: Tina Turner has influenced me before I only understood that singing was different than talking. Her moves & her glamour & that incredible stage presence!
Mr. Cobra: Mine are an amalgamation of King Buzzo, Pepper Keenan, and Ian MacKay.
Jess: I’ve been called many names: Phyllis Collins, Joanna Bonham, Donna Henley. Singing drummers aren’t easy to find!
AF: If you could have anyone join you on stage – who would it be?
HF: David Bowie, Beth Gibbons from Portishead, and Jesse Keeler of Death from Above 1979 could join us on stage anytime.
AF: You’ve been called the next coming of Bikini Kill, are you fans, and how does the comparison make you feel?
HF: We’ve started covering Rebel Girl at our live shows and I’m not going to lie to you: all the girls are upfront! Come see us live and see for yourself!
AF: How would you as a group describe your sound?
HF: Hard on the outside, soft in the center, BYOearplugs.
AF: The visuals of your performances have often been noticed – can you tell me a little bit about that?
HF: We take the duality of our name to heart. You will never find color on stage with us. Everything on stage is black-and-white. If you take a picture of us at one of our shows there is no mistaking that it’s Happy Fangs. You will always find us warpainted at the start of our set and most of it sweat off by the end.
AF: What was the inspiration behind the first album?
HF: We are all three continually inspired by each other. We are also all three Capricorn seagoats–stubborn and persistent. We were gung ho on finishing this album and releasing it to the world as soon as possible, and January 27 was that perfect time at right after the Capricorn cycle!
AF: I read that you create a new song based on the audience’s suggestions at each performance. What’s the wildest suggestion you’ve gotten?
Punk! How I love thee. Stomp your Monday in the face with Everything Ever‘s new album “Solid Ground.” The group consists of John “Trotta” Trotta (bass, vocals), Zach “Champ” Sandel (drums), and Andrew “dNo” Paladino (vocals, guitar). Gotta love those nicknames. It sounds of rebellious self assured freedom, hinging from the experience of being set in Staten Island, New York City’s ignored borough. Yet with the in-your-face spirit of “Solid Ground” Everything Ever makes it damn clear they will not be ignored.
Hump day isn’t usually this sexy, but it’s fashion week. I’m not even fully through the door of Baby’s All Right and I’ve already spotted a woman with a balloon animal headband and another in a tomato cape and Zorro hat (no sign of Waldo yet-oh, there he is). And to think I almost didn’t wear these sparkle pants.
All this seems appropriate considering the members of Brooklyn electro-pop outfit Body Language are no strangers to the fashion industry. In 2013 they played a show hosted by makers of brightly colored, suspiciously low-priced socks Joe Fresh. The foursome are themselves a put-together bunch, but in a way that suits their music as opposed to distracting from it. There are so many bands tangled in designer imagery these days, it’s nice to see a group of talented musicians who have their priorities straight.
Before Body Language could get everyone frenzied, we needed to warm up our muscles. Fortunately the night’s opener was Figgy, a.k.a Mike Ferringo, the Massachusetts-born NYC based DJ/producer who’s been making the house rounds lately. Despite the clout, he seemed to be a pretty normal guy who got as much dance out of his set as any good DJ would desire from his audience.
Love or hate the genre, house remixes are still relevant, perhaps more than ever before considering our cultural urge to hunt-hoard-curate, and Ferringo’s background in Jazz is a testament to the rising craft of the remix and the resilient presence of R&B music.
In a recent interview with LA Canvas, he made a simple but pertinent remark when asked to explain R&B’s recent “comeback” and why people love the genre so much:
“The honesty of the vocals, and I don’t necessarily mean lyrics. Soul music will be around forever, it’s not a trend.”
Figgy played for about an hour – or pushed, or programmed for about an hour. I don’t really know the right verb for what DJs do these days, but whatever he did it was great, and the crowd seemed to agree with a nod of their hips.
I wish I could relay the litany of samples I recognized instantly by ear, but while I enjoyed every moment of his set, I could only pick out “Heart of Glass” and “No Diggity.” The rest was a well-spun web of disco claps and house keys that made it impossible to stand inert. Hats off to you Mr. Figgy.
I was well warmed at this point, but unable to break out of stationary head bobbing. This being the second installment of “going to a show with the cold/flu” I was afraid to dance…could dancing give me pneumonia? Typhus? Scarlett Fever? And then a more jarring question arose: When did I turn into an elder from Footloose?
The great thing about dance music is that you don’t have to think about these things once you hear it. It’s airborne, relentless and contagious…at least it was for the frontal half of the audience. Five minutes into Body Language’s set there was crowd surfing, a shoe to a man’s head, and the all-around pelvic gyrating our grandparent’s feared. Body Language had a few technical errors in the beginning of their set, namely producer/everything-player Grant Wheeler’s Bass acting up, and producer/vocalist/everything-player Matt Young’s levels needing to be more upward pointing.
I don’t mean to get hyperbolic (it just happens) but this is a group of incredibly talented musicians, and that’s not an overstatement. They’ve managed to combine the unpretentious fun of dance music with attentive producing, landing a sound almost as exciting to listen to on headphones as it is to see live. Not a small feat.
Lead vocalist Angelica Bess is in a word: charismatic. She sings with as much ease as she does professionalism. The rest of the band was equally humble, focused and impressively proficient musically. As it turns out, this is no act. After a brief Q+A with the group, AudioFemme discovered that the members of Body Language are not only feel-good beat geniuses-they’re also super nice and down to earth. Kudos times two.
Turn up your Tuesday with a psych-pop infused coffee break and watch the new video “Evil” from Avers. The Richmond-based rockers cry “Evil’s in the garden and nobody wants her…” Well, I want her. I am evil. Today, we are all evil. In burlesque masks and creepy (yet oddly seductive) clown costumes, guests dancing with chains, the six-piece group cranks up the amps and throws a party for all the freaks and monsters in their new video decked out with just the amount of creep. It’s the prom you always wanted, complete with lavish tongue kisses, and rather than fear teachers smelling the booze on your breathe all you’ve got to worry about is a possible apocalypse and the night ending with an orgy. “Dark echo rock” is the best-fitting label I’ve heard to describe these guys, couture if you will.
Meet Nashville-based Penicillin Baby. They recently released a new single ““Stick It Out.” These psych-pop rockers (Jon Tyler Conant, Charlie Davis, Taylor Lowrance, and Wesley Mitchell) describe themselves as “Space-Trash.” Listening to the single, one wonders if they are indeed from outer space, sifting through the Southern-infused surf rock vibes that burst with classic punk inclinations. Note: causing writers to wonder if you are space aliens is always a good thing; Earth is overrated. As Hesh told Christopher on The Sopranos, “Now that is a hit.”
Fingerpicking patterns and Chicagoan Ryley Walker’s slightly mumbled, yet melodic and crouched angelic voice make for his latest premiere, “Sweet Satisfaction.” By way of Dead Oceans, listen to the some of the most amazing guitar work fleshed into a little over six minutes. His rarity is artfully shown in the new track, crafting together his different melodies. He can obviously jam out too, then whelping out towards the last minute, before he ends—whigging and fast percussion.
You can catch all this live March 15 at Baby’s All Right, right here in Brooklyn.
We will be awaiting for his sophomore installment, Primrose Green, on March 31.
“Spirit might give you a grand vision – like a spiritual carrot for you to chase,” says Santiparro. “It leads you onto a straighter path, to the people who will pass on good and useful teachings for your life.” Santiparro means “the lens that sees many things not usually seen.” Alan Scheurman earned the name during a 2010 pilgrimage with a Wixatari (Huichol) family to Wirikuta, the sacred desert where Peyote originates. Originally from Detroit, his debut album True Prayer is the result of such useful teachings he has sought from elders such as Maestro Manuel Fufino, his teacher at Brooklyn’s Golden Drum. The album featured collaborations with guests such as Will Oldham (Bonnie ‘Prince’ Billy), Kyp Malone (TV On The Radio), Adam Wills (Bear In Heaven), Melati Malay (Young Magic) and Ben Bromley (NewVillager).
We spoke to Santiparro about his debut album, cosmic meetings, and and ayahuasca ikaros.
AudioFemme: The debut album features collaborations from a lot of great artists – how did they come about?
Santiparro: Well, they’re all friends of mine. I recorded the second half of the record in the house where Young Magic lives and records. Adam Wills and I have been attending spiritual ceremonies together for years. There’s already been a history of collaboration with Kyp and I. I didn’t know Will that long before we worked together. I first met him in a dream while finishing up a plant diet in Peru. Two days later I went to his show in NYC and gave him some Palo Santo. It was a really brief but deeply cosmic meeting. He asked me if I was releasing any new music, as a mutual friend had already turned him onto my previous band Ka. I said that I was considering it, and he looked me in the eye and said something like, ‘You should be recording music, and releasing it prolifically.” So, needless to say, it lit a fire under me.
AF: The album invokes a lot of personal spiritual questions – will you brief me on your spiritual awakening?
S: Well, we awaken a little bit sometimes from the amnesia of life. Spirit might give you a grand vision – like a spiritual carrot for you to chase. It leads you onto a straighter path, to the people who will pass on good and useful teachings for your life. This happens to everyone eventually, in this life or in another. So it’s nothing new. I’m just another seeker following my path, fortunate enough to have the wisdom of elders guiding the way.
AF: How did you get turned on to music? Who are your biggest influences?
S: My dad played guitar and sang while I was in the womb. That’s the same guitar I play today. Artists that really made an impact on me in my youth were Paul Simon, James Brown, Black Sabbath, Led Zeppelin. All those guys have high voices, like mine. The past few years I’ve listened to a lot of drone music, African guitar music, native chants, and ayahuasca ikaros.
AF: A lot of effort went into producing this album, how does it feel now that it is finally being released?
S: It feels like i’m crossing a threshold but I know it’s only the beginning.
AF: Fun fact – I live a few blocks away from the Golden Drum and have attended many events there. How did you become involved in that community?
S: Brooke Gillespie, Matt Canale, and I once rolled a ceremonial tobacco and prayed with it together. The intention was to build exactly what Golden Drum has become. We went to Maestro Manuel Rufino with the vision which he also shared. He helped make it a reality as other students of his came to help with every single thing that was needed.
AF: What do you like best about community living?
S: I no longer live in community in the way that I did at Golden Drum for five years. It’s not all sunshine and rainbows. The purpose of living that way is to learn about your self, to heal, and to overcome your negative projections. A community is a hall of mirrors – a place to train yourself to handle life’s obstacles.
AF: Tell me about how Maestro Manuel Fufino impacted your life (and as a result, this album).
S: He saw in me from the beginning what I was meant to do and he challenged me through a process of initiation. He still challenges me, and will for the rest of my life. He’s a trickster and is very wise. His prayers and blessings have led me to many very profound meetings and realizations. Many of the lyrics are reflections of the teachings imparted through his vessel.
AF: You’re about to embark on a tour; does tour life suit you?
S: I have always been a man of the road.
AF: Do you ever get back to Detroit or feel any connections still to the city? Where do you consider to be “home?”
S: I go to Detroit about once a month to pass on the teachings that have been imparted to me by the elders. There’s a spiritual study group I work with there. They’re growing a lot. It’s very rewarding. I live in the catskills now. I love it there. But we are putting our things into storage for this tour, as we go to Peru right after. At the moment my home is the open road. My wife and I are using this tour to help gage where we’d like to really plant roots.
AF: And I’m curious, what is your favorite meal of all time?
A precursor to SXSW, Savannah Stopover takes place March 5-7 in downtown Savannah, a haunting and iconic boutique neighborhood. As far as music getaway’s go, we couldn’t be more stoked to attend the 5th incarnation of Savannah Stopover. Check back for full festival coverage as it unfolds, and make sure to follow AudioFemme on Instagram and Twitter as we abandon the brutal Brooklyn weather for warmer scenery with one fantastic soundtrack. We’re still anxiously plotting our schedules to see how we’re going to catch as many acts, including some featured local bands, as possible, but here are five that we’re sure to see.
The Chicago-based folk artist Ryley Walker has been causing the music scene to bat their eyelashes. We can’t wait to tap our feet to these tunes in agreement. His sophomore release Primrose Green, the follow-up to the well-received full-length debutcomes out next month. Rambling and soulful, inspired both by jazz and noise music, the 25-year-old creates a collage of the Chicago music network to come up with a sound that’s wholly his own.
We’re going to want a front and center spot for Brooklyn’s Fort Lean. The vastness of their sound can surprise you they’re from Brooklyn, as if the city is too crowded to produce such chill expressions. Play into type, grab a craft beer, and see if you can fight through the seduction to stick around for the late-night shows rather than back to your motel room with a lover after listening to these dreamers.
Amythyst Kiah and Her Chest of Glass Saturday, March 7 5:00pm
Friday, March 6 7:00pm (solo show)
Tennessee singer-songwriter and roots artist Amythyst Kiah is joined with friends Her Chest of Glass for the ultimate Saturday afternoon cocktail hour time slot. “Gothic Southern Folk” is about the most exciting mix mash of adjectives I’ve ever seen to describe music, in researching artists Mythyst has to be one we’re most thrilled for (not to mention she’s got killer style).
Parlour Tricks Saturday, March 7 7:00pm
Parlour Tricks have made the AudioFemme front page before, and this editor thanks her lucky stars (as Parlour Tricks might say) to see how the New York City pop rockers translate their buzzed-about stage presence to serene Savannah.
Saturday, March 7 12:00am
After you’ve shaken off any visuals invoked by their name, Nashville’s Diarrhea Planet are downright delightful. The punk rockers promise to deliver the climax of the festival with their Saturday late-night time slot. With bold vocals, wild lyrics, and grimy guitars, we’re sure to get sweaty for this one.
Generationals, Southern Culture On The Skids, San Fermin, ASTR, Matthew E. White, Computer Magic, Diarrhea Planet, Reptar, All Them Witches, French Horn Rebellion, Donald Cumming (of The Virgins), Dumpstaphunk, Parlour Tricks, Hiss Golden Messenger, Heavenly Beat, Gap Dream, Rocco DeLuca, Lee Bains III & The Glory Fires, ISHI, Bombadil, Rose Quartz, Family and Friends, Capsula, Tall Tall Trees, Born Cages, Beach Day, Fat Tony, Horse Thief, Fly Golden Eagle, Mothxr, Young Buffalo, Jack + Eliza, SALES, Mainland, Christopher Paul Stelling, Clear Plastic Masks, Ryley Walker, Buxton, Fort Lean, Corners, PitchBlak Brass Band, Cobalt Cranes, Alanna Royale, Baby Bee, Lilly Hiatt, this mountain, Dreamers, Reputante, Caleb Caudle, Axxa/Abraxas, Suburban Living, Avers, Amythyst Kiah + Her Chest of Glass, Adia Victoria, Margo and the Pricetags, The Prettiots, Guthrie Brown & The Family Tree, ELEL, Grounders, BLKKATHY, Blank Range, White Violet, What Moon Things, Fire Mountain, Emilyn Brodsky, Needle Points, Lace Curtains, Music Band, Las Rosas, Semicircle, Ruby the RabbitFoot, Little Racer, Bedroom, Grand Vapids, Bond St. District, 100 Watt Horse, Cusses, Triathalon, Velvet Caravan, Damon & The Shitkickers, Penicillin Baby, Wet Socks, Crazy Bag Lady, Sunglow, Coeds, Wave Slaves, Beneath Trees, Paving Gravy, Nightingale News, Saint Corsair, A.M. Rodriguez, Boy Harsher, Blackrune, Black Water Choir, Heavy Boots
With a name inspired by a Kafka story, it makes sense The Harrow would be well-spoken. Yet even with the bar set high the mysterious Brooklyn coldwave/post-punk band impressed with their bewitchingly intelligent interview. The Harrow is Vanessa Irena (vocals, synth, programming), Frank Deserto (bass, synth, machines), Barrett Hiatt (synth, programming) and Greg Fasolino (guitar). They are currently working on an upcoming LP that we’re already gnawing to hear. I spoke with our Artist of the Month about gothic art, nerdy influences, and selectivity of gigs.
AudioFemme: How did you guys meet and form a band?
Barrett: We all seemed to have traveled in the same circles for some years, and it seemed like it was only a matter of time for this band to come to fruition. Frank and I became close friends during our previous band, and we had shared stages with Greg’s previous band as well. Vanessa and Frank met through their respective DJ gigs, and the timing just felt right. Frank had some demos kicking around, I jumped in and we started fleshing things out. We then invited Greg to add his signature sound, and Vanessa was the perfect last piece to the puzzle.
AF: Who do you look up to as musical inspirations?
Frank: As far as sound is concerned, bands like Cindytalk, And Also the Trees, Breathless, Cranes, For Against, and of course, The Cure and Cocteau Twins are hugely inspirational, as well as most of the players in the French coldwave and early 4AD movement. Belgian new beat and ’90s electronica have been influences that I’m not quite sure have fully manifested yet, but are definitely something I’d love to explore further in the coming years.
Greg: For me, the 4AD sonic universe is definitely a place we all intersect and Cocteau Twins are the ultimate touchstone. As a musician, I am particularly influenced by classic ’80s post-punk bands like The Chameleons, Comsat Angels, Banshees, Bunnymen, Sad Lovers & Giants, and The Sound, as well as ’90s genres like shoegaze (Slowdive, Pale Saints, MBV), trip-hop (Massive Attack, Portishead), and alt-rock (Smashing Pumpkins, Suede, Radiohead, Jeff Buckley). Lately I am very inspired by a lot of modern neo-shoegaze bands, who seem to be carrying the torch for dreamy, effects-heavy music now that much of the post-punk revival has dissipated, as well as more atmospheric metal stuff like Agalloch and Deftones/Crosses and creative, hard-to-categorize bands like HTRK and Braids.
B: I’m not sure if I can get through an interview without mentioning Trent Reznor, but he has always inspired me, through his recording methods as well as his choice of collaboration, and just his general attitude towards music. Of course: David Bowie, Chris Corner, Depeche Mode, Massive Attack, The Cure. I do have a tendency to lean on bands from the ’80s.
Vanessa: I’m a huge fan of Karin Dreijer Andersson (Fever Ray, The Knife) and Elizabeth Bernholz (Gazelle Twin). These days I’m mostly listening to techno and textural stuff (Ancient Methods, Klara Lewis, Vatican Shadow, Function, Profligate, OAKE, Adam X, Mondkopf, etc.).
AF: What about other artists: poets, painters, writers – who else has influenced your sound?
F: Literary influences are as important to me as musical influences. There’s the obvious surrealist and nightmarish nods to Kafka, but other authors such as Isak Dinesen, Robert Aickman, Albert Camus, Charles Baudelaire, and William Blake have inspired the lyrics I’ve written for the band, some more directly than others. As for art, the same applies; Francis Bacon seems almost too obvious to mention, but his work is incredibly moving. Francisco De Goya as well. I’m also drawn heavily to bleak, medieval religious art, usually depicting the crueler aspects of Christianity. Perhaps a bit cliché as far as gothic influences are concerned, but lots of imagery to draw upon.
B: David Lynch, John Carpenter, Jim Jarmusch, Anton Corbijn, just to name a few. These guys paint wonderful pictures through film, and I always find it very inspiring.
V: Frank and I have pretty similar tastes in art, so I definitely agree with him on the above, but I think it’s worth mentioning that we’re also all a bunch of huge fucking nerds. I’m not ashamed to admit that lyrical inspiration for me can come just as easily from The Wheel of Time or an episode of Star Trek: TNG as it does from Artaud.
AF: What do you credit to be your muse?
F: My bandmates.
G: Posterity.
V: My shitty life/Being a woman.
B: Dreaming.
AF: Blogs love labels, but how would you describe your music?
F: I don’t ever attest to reinventing the wheel. We all draw from different influences and I mostly consider our sound to be a blend of shoegaze/dream pop, 4AD, and early ’80s post-punk vibes. We generally err on the dreamier side but have no qualms with getting aggressive if the mood calls for it. At this point in the game, creating a new sound is out of the question, but our varied tastes and interests have led to some cross-pollination of genres that hopefully proves to be interesting amidst dozens of modern bands operating in a similar medium.
B: I’m still trying to get a little saxophone in there.
AF: Will you speak to the darker element of your style?
F: Operating in this medium is less of a conscious choice for me than it is a catharsis. Therapy in a sense – a method of expressing otherwise unpleasant thoughts and feelings to make something creative, rather than letting my shadow side consume me.
B: Darkness is way more interesting. And real.
AF: If you could collaborate with any artist, who would it be?
F: At this point, the idea of collaborating with someone famous is an overwhelming thought. Sorry for the cop out, but I can say that we’re looking forward to some collaborations from some of our peers, both original and in remix form. More on this as it develops!
B: Sorry Frank, but I’m going with Pee-Wee Herman.
AF: Will you tell me about your current LP you’re working on?
F: We spent the majority of 2014 hunkering down and working on the record. We recorded Silhouettes in piecemeal form over the course of the year, layering synths and guitars and drums as they fell into place. The record is currently in the can and is being mixed as we speak by the uber-talented Xavier Paradis, and will hopefully see release this fall via aufnahme + wiedergabe.
AF: How does it differentiate from previous work?
F: The new record is incredibly diverse – there are ambient segues, the occasional industrial/hip-hop hybrids, and plenty of other eclectic sounds to go around. There are more complex rhythms that are the result of Vanessa and Barrett’s superior drum programming talents, for starters. We also took turns writing lyrics this time around, with Barrett, Vanessa, and I all contributing. It’s truly The Harrow as it’s meant to be – a band hitting their stride as a full working unit with equal love and collaboration driving us.
AF: Can we expect any live shows for you in the future?
B: While we enjoy playing live from time to time, it isn’t the primary focus of the band. We are at points in our lives where making the music is more important and rewarding in and of itself than performing it on stage. Our goal with the band leans much more toward the creative side. When we do play though, we want to make sure it is an event, and something to look forward to, not just the typical four random bands on a Tuesday night thing.
Raindear is the Swedish indie-electro artist 25-year-old Rebecca Bergcrantz. With dark purple lipstick, a septum piercing, and hair so fine someone would steal it to make extensions, the artist transcends her personal style through music and visual aesthetics to create a fairy tale with a perfect built-in soundtrack. We’ve seen a lot of this particular genre of music emerge from her homeland, so to say that she’s caught our attention isn’t so much jumping on the bandwagon, but rather finding someone who sticks out of the herd. “Veins” (WTNSS Remix) is a moodier take on the original, a well-tied version of lumbering bass sewn with joyful synths, all decked-out with her enchanting voice.
The title of Hailey Wojcik‘s single “XO Skeleton” presents an excellent opportunity to examine the artist as a whole. It’s cute yet creepy, with a wink of charm that rightly earned her the description “the Wednesday Addams of her genre,” a characterization I wish I had come up with myself. Currently on tour with the Shondes, On March 3rd Hailey releases her upcoming EP Book of Beasts. The singer-songwriter described the five-track work as a “feminist album,” an empowering step in her career. She recorded the EP after a traumatic break-up, fleeing the country, then reclaiming her voice with the help of one of her best friends, fellow singer-songwriter Julie Peel. The result is a bold yet intimate look into a enchantingly wild mind. Hailey describes crushing a moth into powder in “XO Skeleton,” which has a clever music video chock-full of insects to accompany. As for all the animal references, after all, Hailey was raised by zookeepers.
Of all her musical skills, her song-writing talents shine the brightest on Book of Beasts. Her songs draw on raw experience, and always come across original and darkly amusing, like smoking a lover to the filter in “Cigarette.”
I caught up with Hailey on the road to talk about growing up with zookeepers, inspirational friendship, and thrift store clothing.
AF: Do you enjoy life on the road?
HW: Yeah, well this will be the longest tour I’ve ever done so I guess we’ll see. But I really do like being on the road and traveling. It’s good to be moving. It’s just nice to have a change of scenery.
AF: Any cities in particular you’re looking forward to visiting?
HW: I’m glad we’re going to several warm places. I have never been to the Pacific Northwest, and we’re going to Seattle and Portland and I’m very excited to see those places. Portlandia.
AF: What is the inspiration behind the songs that are coming out?
HW: The record is called Book of Beasts. I feel like I always, not intentionally, but have some kind of animal theme. My parents were zookeepers, and we’ve always had a lot of animals around. They’re mostly about, well some of them do deal with animals like “XO Skeleton” and “Dog Vs. Man,” so I guess I should say that it does inform the content. I’m a singer-songwriter who writes about my own life. Some people sort of look down upon “confessional songwriting” but that’s pretty much what I do. It’s mostly based on my life and experience, and I recorded it myself. This is the first time that I’ve done that, that I’ve engineered everything, and I played everything except for the drums, which were played wonderfully by Brian Viglione of The Dresden Dolls. He’s obviously a genius, and I’m super happy to have a drummer on this. But yeah, everything else was me.
It was recorded in the wake of a traumatic breakup. I had fled the country sort of impulsively, and was in France to see one of my best friends, Julie Peel who is also a singer-songwriter. She has a studio set up in her room, it kind of felt like an empowering thing for me. And really like a record that’s about self-reliance and female friendship. She was the one who encouraged me and told me I could do it. I had gone a year without playing a show. I hadn’t recorded, I hadn’t done anything, I was really depressed. She was like, ‘You can just figure out how to use logic, and you can do this in your bedroom.’ I’ve never made something without a bunch of dudes, not that they were trying…I’ve just never been navigating the entire thing. That was really important to me. It feels like a feminist record in that sense.
AF: What was it like growing up with zookeepers for parents and how did you discover music as a child?
HW: Until I was in about fourth grade my parents were both zookeepers, and I would go to the zoo like pretty much every weekend. Then after that my dad continued to work with animals in another educational program where he would take animals around. We had monkeys sometime in the house, we had a beaver, dogs, birds, snakes, all over the place. I started writing…I still kind of consider myself more of a songwriter. That’s the thing I identify the most with. So I started trying to write songs when I was in like 7th grade or something like that. I moved to New York to kind of pursue music a few years ago. I’m not there now, I would like to go back at some point but I’m trying to just be on the road as much as possible.
AF: There’s been a lot of commentary on the darkness in your music.
HW: I really identify with dark subject matters mixed with humor. Dark humor, I guess. I think that kind of shows in some of my stuff, like the video I made for the song “XO Skeleton.” I had insects that a lot of people are grossed out by moving around in a cute sort of way. Like jittery stop motion. I like to do stuff like that, I’ll have fake blood incorporated into videos and photo shoots as much as possible. The biggest compliment in the press I got is that was called ‘The Wednesday Addams’ of my genre. I identify with my inner-goth girl. She’s still there even though I don’t always look it on the outside.
AF: How would you describe your personal look?
HW: I do like things that are dark I guess. A dark wardrobe. Right now it’s so crappy because it’s so cold out; I feel like it’s the worst time of year for clothing. But yeah, I think I kind of have a little bit of a darkness. I like a lot of black clothes, and I obviously, well, music’s not particularly lucrative so a lot of my stuff is second hand.
AF: If you could collaborate with anyone, who would it be?
HW: So many people, but I love, I feel like everybody loves this person but I love John Darnielle of the Mountain Goats. Doing anything with him would be a dream. But I also love St. Vincent.
AF: Where would you see yourself if you weren’t working in music?
HW: Living under a bridge? That’s like the quarter-life crisis question, because music is not totally secure I guess. I would like to think I would be involved in writing in some capacity. I went to school for creative writing and that’s sort of have thought about trying to get things published. Short stories, non-fiction. I feel like I would be doing something writing related.
CaveofswordS is a dreampop project based out of St. Louis, led by vocalist Sunyatta McDermott. They released their lead single, “Lately” today, off of their forthcoming album, Sigils due out on 3/10. Dark and atmospheric, McDermott’s vocals are simultaneously breathy and soaring, accompanying an elegantly dreamy, sinister minor melodic synth and electric guitar. Within the track, there are nods to both 80s new wave and late 90s pop rock thanks to the seamless blend of infectious electronic drums and McDermott’s vocal prowess, underpinned by a grittier guitar line than we’re used to hearing in this brand of electro.
We’re super excited to hear what CaveofswordS has in store for us with their upcoming full length; in the meantime, check out our premiere off “Lately” here via Soundcloud.
Dig the fresh dirt and check out the music video for Chelan‘s “Before It All.” The new video is the first off the Californian electro-pop duo’s new LP Equal Under Pressure via Echo Phono. The video amps you up from the first frame with celebrating beats over harmonic vocals framed with kaleidoscope camera work.
Chelan is composed of Jen Grady and Justin Hosford. Most of what you hear was created in Hosford’s studio in the high mojave desert, which explains the terrific trippy nature cinematography, as does learning that Hosford composes films scores while Grady teaches classical music. Joining the energies of a classical background and a knack for the video world allows the two to create videos such as this, that allow you to see all that their music makes you feel.
Lyrically, the song focuses on modern relationship struggles, and other sorts of anxieties that come with being a 2015 human. Some warped problems for the emotional human of today, and Chelan presents them beautifully in this video with delightfully warped shots to chill your eyeballs on as your heart enjoys the music.
For those of you not too familiar with the DIY whirlwind that is Burger Records, it is a Fullerton, California-based independent record label founded back in 2007 by Sean Bohrman and Lee Rickard. Burger is most well known for taking the off kilter route of releasing most of their material on cassette. This year marks their fourth year hosting the Burgerama music festival, which this year seemingly has their most impressive lineup yet. Held at the Santa Ana Observatory, it is quickly approaching on the weekend of March 28th and 29th. Other than the duh-worthy ripping main acts, here’s a list of bands us West Coast femmes are stoked to see.
Froth
For a band that was supposedly formed as a joke, their record certainly doesn’t sound like one. Froth emulates a well done version of the garage, surf, psych, and drone-sounding rock that is consuming the Southern California music scene right now. They definitely throw a little twist in their sound, though, with the use of an omnichord. Here’s a new track Burger uploaded on their Soundcloud a month ago titled, “Postcard Radio.”
Mr. Elevator & The Brain Hotel
These Los Angeles-based, wacky psychedelic dudes, sound exactly like what you’d think a band playing a similar festival set in the Sixties would sound like. We are so okay with that. Here’s them performing, “When the Morning Greets You With A Smile” for the video series Jam In The Van from last year’s Burgerama.
The Coathangers
The always badass Atlanta-based trio, The Coathangers, are a longtime AudioFemme favorite (they headlined one of our showcases last year). Yes we’re biased, but with good reason. From their 2009 full length, Scramble, to their recently released cover of The Gun Club’s “Sex Beat,” their set is bound to be seamlessly chock full of dance-y punk hits.
White Fence
Tim Presley is the blast-from-the-past prolific psych band that is White Fence. With almost all of his past releases recorded in his home, Presley helps to emulate what Burger Records seemingly stands for. Here’s a stream of his most recent album titled, For The Recently Found Innocent. Smoke a bowl and enjoy.
Meatbodies
Fronted by Chad Ubovich, guitarist of Mikal Cronin as well as the bassist for Fuzz, Meatbodies is a guitar heavy Jay Reatard lovers dream band. With their first album just released in October, this band’s buzz is about to explode. Highly suggested set to see for all of your head banging pleasures. Here’s a live video of them performing “Mountain” on KEXP Radio.
Jeff The Brotherhood
The always killer Jeff The Brotherhood, who recently announced being dropped by Warner Brothers Records, are releasing their new album (coming out just a few days before the festival) on Infinity Cat Recordings. With all of the excitement of a new start for the band as well as a new album, their set that weekend will not be one to miss. Here’s their new track featuring Ian Anderson of Jethro Tull on flute titled “Black Cherry Pie.”
La Luz
La Luz is a Seattle-based surf rock band. These girls’ mellow beach vibe is danceable and to blatantly put it, fun. La Luz, which translates to “light” in Spanish, perfectly emulates their vibe during live performances. This is their beautifully hazy video for their most popular track, titled”Call Me in the Day.”
How I (Rhythm Love Affair) is the upcoming effort of Anglo-Mauritian producer Mo Kolours. The five-track EP is the follow-up to his self-titled 2014 debut. Repetitive tribal percussion are accented with low-fi vocals and dashed with shakes from a rain stick. Drum-circle advocates will certainly enjoy it, but dreadlocks are not needed to enjoy the strong dub influences of the EP. To those unfamiliar world music, the EP offers a Tribe Called Quest-influenced introduction to sega, the traditional music of Mo Kolour’s homeland.
How I (Rhythm Love Affair) comes out March 9th. Listen to the single “How I” below.
Aradia embodies a style similar to 90’s electronic freestyle without being dreadfully cheesy. Perhaps it’s because she is a multi-instrumentalist, a unique song-writer, and a woman of many sounds. She may be originally from New York City, but she is now based out of Seattle, where she released Citizen of Earth. Her new album is completely harmonious, electronic-driven, with dashes of striking guitar to create a capsule of mystical art.
While the 11-track album may sound playful, inspired with electro-beats and percussion, her lyrics deliver meaningful positivity. “To trust your instincts they’re always right. And now you know that you walk in the light. Don’t hold your breath ‘cuz another day is coming. It’s different now, you don’t have to keep running.” “The Light” was charged by Aradia—showing her fans that her new-wave electronic music isn’t only about dancing, but dancing in luminosity. She seems very in-tune with her natural surroundings, frequently citing examples from fire, starlight, and the how she is one with the sky and sea. “Isolation is a tragedy. The idea that we’re separate is just illusory,” she also remains poetic in “Trouble.” And being that she is in search of another “M-Class” planet, is she also revealing her dark side—a loss of hope?
Her complexity in the album can also be reflected by her unreal style, where she is known for out of this world (literally) fashion designs and style. When she’s not busy writing new songs or putting together a space-travel-star-princess costume, you can catch her performing in an upcoming West coast tour. In the meantime, check out one of my favorite tracks off Citizen of Earth below, “Trouble.”
Bang Gang, the Icelandic composer Bardi Johannsson you may of heard of from Starwalker and Lady & Bird fame released a new single, “Out of Horizon.” As someone fascinated by Icelandic culture, one day hoping to travel there and live inside a mountain with a colony of elves, I’m always on the hunt for what’s emerging from their art scene, and therefor stoked to receive a heads up that Bang Gang (what a name) released his first single in over seven years.
“No regrets” advises the song, an entrancing demonstration of what Bang Gang’s indie pop is made of. The phrase “No regrets” is sort of the original YOLO, but Johannsson encourage the message with such grace not a pinch of cliche made it into this brew.
Protecting us like a fluffy new jacket from the harsh cold as we walk to and fro happenings, a pair of headphones playing a proper album will do a lot more than ear muffs. Girls and God is Dave Scanlon of Leverage Models live band joined by Alena Spanger from Tiny Hazard, Angelo Spagnolo of Parlour Tricks, and Rob Lundberg from killer BOB. They just got together and created a lovely new album, You Are Copper Greening in Open Air. The result of their labors is a soft yet warms-your-soul-like-whiskey coherent album that stays true to taste and form open to close.
“As you stay, loosely committed.. ” Dave and friends observe, on the aptly titled “Loosely Committed.” The album is tailored with comfortably fitting reflections on snapshots of minute details of life and reserved relationship revelations.
Rhythmic yearnings and inner dialogue entrances on “New Bodies.” “Don’t tell her, don’t tell her…” the lyrics warn, leading into the powerful muse described in “Woman with her Hair Down to her Down to her Waist.” Girls and Gods indeed, the female form and all its mystery’s influence on the album is obvious, but gracefully so. The musings and stories sung are enough to make you fall in love.
You Are Copper Greening in Open Air comes out February 27 (via soundcloud, youtube, bandcamp, etc).
