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.
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.”
“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
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.
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.
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).
Mexico City Blondes are a musical duo from Santa Barbara, CA, that know how to place the packaged whipped cream with the homemade cherry pie, so to say, lovingly delicious. Or, put more succinctly, “Sort of marriage between the electronic and organic sounds,” says Greg, one-half of the Blondes.
The group recently released the single “Shot the Moon,” a delicately sewn sultry couture dress of a song with layered synths laced with Allie Thompson’s seductive vocals.
“It’s definitely a snapshot of our dark side,” says singer/songwriter Allie of the single. “A musical confrontation of some of my deepest fears, a way to address nameless faceless foes who don’t have the power to hurt us unless we let them. Even going to the dark side is more satisfying to me when there is redemption and light in the darkness, hence the imagery of a white moon in a dark sky.”
We spoke with Allie and Greg from Mexico City Blondes about fashion influences (Gwen Stefani of course, power to the blondes), the power of Black Sabbath, and getting in touch with their dark side.
AudioFemme: How’d you come up with the name Mexico City Blondes?
Greg Doscher: I came up with it on a flight to, of all places, Mexico City. Really loved it for the project, and Allie liked it immediately when I suggested it. It has a meaning to me, but I don’t like to spell it out for people. It can be whatever comes to anyone’s mind when they hear it, and it’s more fun that way.
AF: How did the band form?
GD: Allie responded to an ad I put on Craigslist a year or so after the last band I was in dissolved. I advertised myself as a local producer looking for singers/songwriters to collaborate with. I can handle the production and recording, but can’t sing to save my life. Allie and I hit it off immediately and seemed to be on the same page as far as influences and the type of music we wanted to make. She’s also a great songwriter and we’ve had a lot of fun collaborating.
AF: Who have been your primary musical influences?
Allie Thompson: Growing up, I was exposed to a lot of folk music with introspective lyrics. Joni Mitchell, Dylan, Paul Simon…The art of crafting a song was always revered in my childhood home, and the production was an afterthought. It wasn’t until I started writing songs that I began to experiment with production style in order to bring the songs to life in the way I wanted to hear them. Around that time I was listening to a lot of Portishead and Beachhouse, and around that time I met Greg who was able to translate my rudimentary descriptors into the songs I wanted to hear!
GD: Aside from those above, as a teenager I picked up a guitar because of Black Sabbath and that’s still with me. Was really into the big 70s groups like Sabbath and Floyd, David Bowie and Zeppelin of course. As I grew up my tastes evolved a bit and realized that electronic music could be as sonically nuanced as some of the rock I grew up on.
AF: Do you have any fashion influences?
AT: I grew up with posters of No Doubt all over my walls, and I guess I never really got over Gwen! 15 years later I still look to her for fashion influence both on and off stage. I’ve always been a sucker for red lipstick, and it sure is convenient that she’s a blonde!
GD: Haha, my wife.
AF: Much is made of labeling sounds, what words do you like best to describe your music?
GD: Hard to say, but from a production standpoint I’ve always been really heavily influenced by groups like Massive Attack and someone like DJ Shadow who’s made incredible music with a sampler. That being said, I’m a guitarist with a pretty extensive rock background, so there’s always going to be some elements of that in there. Sort of marriage between the electronic and organic sounds I like and that we try and use. “Shot the Moon” is a good example of that mix. The electronic elements are the Moog synth that pulses throughout and a drum machine, but we also recorded live drums and live piano on top of those.
AF: Will you tell me about the meaning behind your new single “Shot the Moon?”
AT: It’s definitely a snapshot of our dark side. A musical confrontation of some of my deepest fears, a way to address nameless faceless foes who don’t have the power to hurt us unless we let them. Even going to the dark side is more satisfying to me when there is redemption and light in the darkness, hence the imagery of a white moon in a dark sky.
AF: How much of your personal life gets worked into your songs?
AT: The songs are always personal. Sometimes I write in a moment of acute emotion, but often a song will take me a few months to complete. It takes me that long to process emotions and gain perspective. The songs have the most power for me in understanding a situation as a whole, and that often takes time to unfold.
GD: Just about all of it. Hard to separate the two because of course whatever you’re feeling emotionally or going through personally is going to bleed into the music in terms of the sounds you pick, the chords you play and more obviously the lyrics that get written
AF: What’s next for Mexico City Blondes?
GD: We have a single that’s sort of the B-side, companion to “Shot the Moon” called “Yellow Sunshine” that we’ll release soon and a video for “Shot the Moon” on the way. Aside from that, lots more music in the pipeline and we’ll try and get out and perform these songs wherever we can.
Pearl and the Beard are some of Brooklyn’s finest, the pearl in our oyster. The band consists of Jocelyn Mackenzie (vocals, drums, percussion) Emily Hope Price (vocals, cello, keyboards) and Jeremy Lloyd-Styles (vocals, guitars, percussion) who all met an An open mic night. As a hint of what’s to come for their much anticipated forthcoming album, Pearl and The Beard recently released their new single “You,” a fuzzy-love pop rock track that will have your heart glowing and your booty bouncing.
Shortly after their sold out show at Rough Trade, we spoke with Jocelyn about their upcoming third album, drunk voicemails, and self-love. “It’s humbling and overwhelming to feel the love of hundreds of people directed at you all at once, like a giant Care Bear Stare being rainbowed directly into your heart. That’s a high we’ll ride on for a long, long time.”
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AudioFemme: How did the three of you meet?
Jocelyn Mackenzie: Open mic nights. That shit works!
AF: What are your favorite words used to describe your sound?
JM: Intense, cinematic, sexy… we love feeling powerful through our music and it’s amazing when other people feel that too!
AF: What was the inspiration behind “You?”
JM: My husband left me a (drunk) voicemail one night while we were away on tour, ‘I love you! Get it through your f*!king skull!’ I thought it was really sweet that he was so determined to profess his love for me that it made him angry. It’s funny that the ones we love the most usually need the most convincing of that, so we turned that feeling of raw desperation into a chorus and verse.
AF: Who is the “You” in the song?
JM: Well, originally it was my husband, but as the song grows and takes shape, I also relate it as someone speaking to him or herself. Self-love is an undervalued practice, and it can be hard to convince yourself that you’re worthy of your own care and praise. The song is becoming an anthem to me about proclaiming your love for yourself as loudly as you would to another human being.
AF: The track is pretty romantic. A bit cliche, but What are your relationship deal breakers?
JM: Hatefulness and closed-mindedness. Also I dated someone once that didn’t like birds. That didn’t end well.
AF: As a group you have a very distinct fashion sense, who and what are your style inspirations?
JM: Thank you! We talk a lot about how we want to FEEL rather than how we want to look. If an outfit makes us feel confident and sexy, we wear it. Normally we pick a color or two and then each of us picks out our own outfit based on the color limitations. Putting together a more stylish element, like something from ASOS, with a handmade item or something from the thrift store creates a look that’s unique and personal. We really inspired by Sia’s sleek and modern art-meets-fashion look that intertwines so flawlessly with her music. I also have a background in textiles and fashion, and I’ve done some styling for other bands too.
AF: You’re currently on tour – what has been the most memorable moment so far?
JM: We absolutely loved the show in Brooklyn at Rough Trade. It was truly incredible to be home, playing a sold out show in our home town, with people singing along, really getting into every single minute. It’s humbling and overwhelming to feel the love of hundreds of people directed at you all at once, like a giant Care Bear Stare being rainbowed directly into your heart. That’s a high we’ll ride on for a long, long time.
AF: What comfort of home do you miss most while touring?
JM: My bed! I have a mountain of amazing pillows and a very snuggly husband back there who is really good at keeping me warm… and other stuff.
AF: Can you speak to the sense of accomplishment that must come with selling out shows, such as your performance at Rough Trade in your hometown of Brooklyn?
JM: Every show is like hosting a party: beforehand there’s always that little fluttering worry of “Is anyone REALLY gonna come?” After seven years of touring that feeling still hasn’t gone away! This tour, thanks to being paired to support Wild Child, has been almost 100% sold out. It’s just awesome, and kind of indescribable. We’re very aware that we can’t do our jobs without the support of music fans, and knowing that they’re all going to be there before we even walk in the door lets us pause and feel grateful without those jitters. We can then be more fully immersed in the moment and it helps us host a better party.
AF: What’s next for Pearl and the Beard?
JM: In March we’re thrilled to be touring in support of Ani DiFranco, for our first time out on the west coast. Can’t wait! Then after that probably Disneyland, then death.
AF: How does your third album differentiate your sound from your pervious records?
JM: You’ll just have to get a copy when it comes out and tell me yourself…
I live in Brooklyn. Despite years in the entertainment industry, I don’t know L.A. So if I were to die there, I imagine it would be in the air above in a plane crash or by having given into all my vices and overdosed in a mansion dressed still wearing my black leather pants. Either option sends me out at the rock star age of 27. That’s just where my morbid mind goes.
Lower Dens are an “entropics” band from Baltimore. “To Die in L.A.” is hot off their forthcoming third album Escape from Evil, to be released on March 31 via Ribbon Music. A preview of what to expect from the whole damn thing, “To Die in L.A.” is dark; it’s whimsical. The voice of Jana Hunter reverberates loud and bold over an experimental track that standing alone could work as the theme for an indie horror flick. “I wish I could count on you…” echos Hunter’s vocals in the opening line.
Lower Dens will play a release show at Baby’s All Right in Brooklyn on Tuesday, March 31. Buy tickets here.
Hayden has released his first single “Nowhere We Cannot Go” from his forthcoming eighth full-length album Hey Love. The Toronto-based musician humbly pulls back the curtain allowing listeners into his heart and home studio with the elated lyrics and conquering piano, saved from the accidental corniness that sometimes happens with triumphant ballads with rock ‘n’ roll shreds of synthesizer and electric guitar.
“It’s been so rough, we have been through more than enough / But without this love, there would be no reason for either of us,” reminds Hayden. In an industry of cynicism such encouragement may be hard to believe, but then you learn that the Canadian spent this fall making music with his wife Christie Greyerbiehl who happens to throw benefits for Toronto’s Beverley St. School for developmentally disabled children. We look forward to hearing the rest of Hey Love to investigate further what lies behind those kind eyes, ’cause when this guy tells you there’s nowhere we can’t go, we tend to believe him.
Dream-pop, garage-rock, black-punk. In an era where the blogosphere battles to name genres, sometimes it’s nice to simply return to rock ‘n’ roll, which is just what we have for you in the first Artist of the Month profile of the new year. “As cliche as that is, I think that’s what we’re going for. A fun rock and roll band,” said Penny, a newly-minted member of the Oklahoma rock group, who recently joined with her partner Mandy, adding a much appreciated feminine flavor. They do after all, have a sky-rocketing new album titled Just Enough Hip to be Woman.
BRONCHOperforms at Beacon Theatre tonight supporting the one and only Billy Idol. Shortly before they hit the road, Sophie Saint Thomas caught up with Penny as she was getting ready to embark on a six-week tour.
ST: What is your experience with touring?
P: Honestly, I’ve loved it since I started doing it. I went on my first tour as a solo artist with another friend of mine who was also a solo artist at that time. I just love it, I love traveling. I love kind of having everything I need with me girl scout style. I see it as not much different than outdoor survival camping. I just kind of see it as the urban woods.
ST: Is this the first tour you guys as a group have done together?
P: No, Mandy and I just joined the band this last summer. We did our first tour with the guys I believe in August. It was like a five week run. We were basically touring from August to December with a few breaks and then we had December off, and now we’re at it again.
ST: How did you end up joining the band?
P: I’ve known Ryan for a few years now. I grew up in Norman, which is the town that they’re based in. Where they were hanging out and went to school. So I had hosted house shows at my house with them, and I’ve been to a lot of shows, just between musical mutual friends I guess. When I met Mandy we started playing music together. I heard that their old bass player was leaving the band. So I kind of pursued it a little bit, and six to eight months later I talked to Ryan, and he invited both of us to be in the band which is awesome because we live together and we’re partners. She’s kind of the only thing that keeps me from being on the road. So it’s really awesome to be able to bring her with me.
ST: How is it being with all those guys?
P: It’s good. The bands I previously was working with and touring with was much different. Musically, and also socially I played with two girls. And so I was mainly traveling with three girls which was a totally different experience. All three of us were around the 21-24 age so needless to say we were kind of crazy all over the place. I think the energy of this current group is like… I just feel like they’re my brothers. I have always been a tomboy so we just feel really comfortable.
ST: “Class Historian” is really blowing up and getting a lot of attention. How has that experience been?
P: I definitely feel lucky to be with them at this time. I’ve been watching these guys tour kind of parallel to my former musical life, and to be able to be in this band at this moment in time is pretty amazing. I do my best to not take too much credit for any of the actual success that’s going on right now. But it is super exciting. And I’m just constantly being flattered by people always hearing it on the XM Radio or wherever they’ve heard it. It’s kind of far out; We had a spot in the local paper recently, which was definitely the first time I’ve been called out like: “You’re that girl in that band!” It’s very weird, it’s very new, I’m trying not to get too used to it.
ST: I hope you’re enjoying it!
P: Definitely. I’m just trying to let it in and let it be real.
ST: I’m sure you and Mandy joining has changed the dynamic, can you speak to what you’ve brought to the band?
P: One obvious change is certainly the vocal presence. I think we’re moving to a really awesome place vocally where Mandy and I get to be sort of this more angelic presence over kind of the rougher vocals of the guys. It rounds it out really well. I was definitely worried at first about the former fans…I don’t know, it’s probably just girl insecurity. I never wanted people to be like, “Oh you’re good for a girl.” I think especially as the bass player like their former bass player, I respect him a lot. So the first show I was definitely watching a lot of people like, “You approve right?” I’m less about seeking approval now, and I’m just having a really good time with the guys. I’m no longer feeling like I don’t fit in anymore.
ST: I enjoy the female aspect; I love how it’s all come together. The album title Just Enough Hip to be Woman – were you part of the creation?
P: I honestly was not there but I totally can imagine how it came up, and it was probably the guys and some friends totally joking around and one of them probably said it in one way and another one said it in another way and then it went around in circles because it’s worded so strangely. I thought it was funny when I found out what it was because I didn’t even hear the new record or know the title until he had already asked me to be in the band. So part of me was like “Maybe he knew…” but I don’t think that he did. I think it’s just that perfect.
ST: How would you label your sound? I’ve read the term “garage punk” thrown around a lot on the internet.
P: Anytime we’re asked that at a border crossing, because they always ask “What band are you in?” and then “What kind of music do you play?” We all collectively answer with “rock and roll.” As cliche as that is, I think that’s what we’re going for. A fun rock and roll band. We’re all just having fun and ideally we just want everyone in the audience to be loose and crazy. I think “punk” is a bit of a stretch I think “garage rock and roll” is kind of where it’s at.
ST: Well, rock and roll is a cliche for a reason, it’s great. Are you excited to play with Billy Idol?
P: Yeah, I’m so stoked.
ST: Well congrats on everything that’s happening, and thanks for taking the time to speak with me.
The first single “Black Cat White Cat,” from Annalibera’s debut full-length Nevermind I Love You is here. Have you ever had an experience I’ve heard referred to as a “crygasm,” where you’re crying so hard you burst out laughing, shaken awake with the knowledge that even though your life situation may be currently twisted and fucked up, that the absurdity is actually rather hilarious because it’s all going to be okay? Our track of the week, the tune for the blizzard, sounds like that: a crygasm. Not to mention, it’s named after a couple of cats, and who doesn’t want to curl up with a couple of cats while working from home and questioning life decisions as our city is blanketed with snow and pelted with ice?
According to Anna Gebhardt of Annaliberna, the voice and mastermind behind the track, “It became an anthem for me about how we all treat the ones we love like shit sometimes, and wishing I could go back and treat everyone I love as perfectly as they deserve and enjoy every moment I ever had with them, instead of focusing on the future.”
Gebhardt studied classical music in college, and after being thrown into the fine arts found herself seeking salvation in her creations, such as the synth-enhanced folk tune “Black Cat White Cat.” The folk influence is a nod to her roots, Gebhardt spent her childhood on a farm in Nebraska.
So grab your cat, stock up on wine and grilled cheese supplies, and hunker down for the blizzard to the soaring joyful melodies paired with dark lyrics of human flaw and redemption.
Nevermind I Love You is set for release via Sump Pump Records on March 24. Listen to “Black Cat White Cat” below.
Faith Healer is Edmontonian Jessica Jalbert. Her follow-up album to 2011’s self-released solo debut, Brother Loyola, is titled Cosmic Troubles and comes out March 31st on Mint Records. Cosmic Troubles is the artistic result of Jessica’s pairing with producer Renny Wilson.
With lovely forlorn lyrics over a psych-pop melody catchy enough to invoke a dance that starts with a head bob and ripples down your body even while riding a notoriously slow subway during your morning commute on a gloomy winter day, “Again” will have you marking your calendar and counting down days until Faith Healer full album is released.
Apparently the duo bathed themselves in the spinning of psychedelic rock from the ‘60s and ‘70s while creating Cosmic Troubles, an ingredient adding a gloriously happy retro-rock vibe to an already satisfying combo-platter of moods.
