Wonderville, the arcade/bar/performance space located on the edge of Bushwick and Bed-Stuy, is known for hosting electronic music, but more traditional bills of local pop and indie bands are not unknown there, and this past Tuesday night offered a trio of acts for enthusiasts of such music.
In the first slot was Weird Magazines, a quartet from Brooklyn, performing in their debut. The first show for a band is always a nerve-wracking event, but fortunately for them, it seemed to go off without a hitch. Weird Magazines play lush, reverb-laden songs filled with glittery strumming and some top notch guitar noodling, bringing to mind The Clientele or Felt, which pairs nicely with singer Sean Beard’s baritone voice. They started the set off slower, building energy as they went toward more upbeat songs, and included a languid cover of Lindsay Buckingham’s “Trouble.”
Pastel Hell are the experimental, sometimes psychy, occasionally surfy pop outfit and project of Alex Fox Tschan, who performs all the instruments on their latest album but is backed up live by a trio of musicians on keys, bass and drums. His influences reach back to such greats as Bowie and Destroyer, and dare I say I hear some Television in here? The live set is presented to the audience as one continuous track, each song moving into the next, an interesting contrast to their latest studio album Ruthie. Tschan’s guitar work is certainly something, and it’s fun to see a Gibson SG being wielded to create such tones rather than the harder rock it’s sometimes associated with.
Headlining the night was Devon Church, who recently released the album Strange Strangers (that we covered here). Unlike the release show, where Church was joined by a number of musicians, here he performed a solo set, with the addition of Ada Roth on backing vocals for a few tracks as on the album. Church took advantage of the change and the intimate venue to debut a number of new songs, including one that will possibly be called “Neon Genesis Fidel Castro” that went hard as nails despite being performed by only one man and a (albeit electrified) guitar. “Ephemera” and “Winter’s Come” from Strange Strangers took on new life when broken down their bones, highlighting Church’s masterful songwriting skills.
Sometimes on a Tuesday, you don’t want to go hard, but you do want to go out, and this bill provided the perfect midweek treat.
Scroll down for pics of the show (photos by Kate Hoos)
Hi! Hello! Here we are with some bite sized goodies and a taste of a some new things that we dug that came out in the last week (ish), quick fire responses to some great new music we think you should check out. This week we have a full house and lots of the crew—Chantal [CW], Kate B [KB], Kate H [KH], Kevin [KM], Mike [MB] and Ray [RR]—weighed in on some killer songs and have the scoop on plenty of new tunes, give ’em a listen!
Beach Fossils– Seconds. With yet another single from the upcoming Bunny, Beach Fossils continue to build anticipation for their first studio LP since 2017. This track is the band at their most classic dream pop sound, verses interspersed with instrumentals, and along with a video of candid tour footage edited by singer Dustin Payseur it shows the band in their element. Bunny will be out on Bayonet Records, the label co-founded by Payseur, on June 2nd. [CW]
Big Bliss– Tether. Somber in nature yet almost joyous in tone, Big Bliss released a new single about letting go, and like most of the work from their forthcoming record Vital Return (8/18 Good Eye Records) it lives somewhere enveloped inside the storm of active addiction and it’s aftermath. Singer/guitarist Tim Race shares with us:
“I’ve learned one of the most harmful things an addict/alcoholic can do is to disintegrate in front of the people who care about them. I’ve been on both sides of the coin. In these situations, love breeds fear, which breeds frustration; helplessness breeds rage, and then rage breeds contempt. We try everything: we try boundaries, begging, or bargaining, but eventually we learn that the only person who can save an addict is themselves.”
Race, who’s often very open about his struggles through addiction—along with his brother Cory (drums) and Rose Blanshei (bass)—create soundscapes often as complex as their lyrical content. There’s an airiness due in large part to the wonderful bass melody (provided here by former bassist Wallace May) punctuated by angular beat disruptions by the elder Race. In Big Bliss the guitar often serves to fill and smooth washing over the band’s cool rhythmic textures. Lyrically, the band has never shied away from the deep dive: “I am on your side. Untying the tether. That is a deeply tragic notion, but there is also a complicated catharsis in knowing and accepting that a situation like this is out of our control.” [MB]
Big Girl– Instructions 2 Say Sorry. Big Girl is a band that should always be experienced live. The larger than life sextet, led by wild front-woman Kaitlin Pelkey, knows how to command a stage and quite frankly any room they occupy with their wonderfully electric and often times frenetic live sets. But short of that, cranking the newest single full volume while sliding across your kitchen floor in your socks will definitely suffice. From the onset of its first piercing note, it’s a helluva banger that holds no punches, immediately siren-signaling itself as a call out track for those who refuse to take accountability in both form and fashion. Weaving between impassioned sarcasm, frustration, rage and rhetorical disbelief, Pelkey makes it clear she’s not relinquishing her power in face of other people’s bullshit.
The song’s release coincides with a raucous music video (directed by Sydney Tate) that gets up and close with the band who in turn get up and close with each other and bunch of their friends. This prog-jazz-pop opus manages to create movement in its sound that’s become so intrinsic to their live shows. The hard-panned interlaced guitar chop, the driving drag n’thump of the rhythm section, and escalating urgency in vocal discharge will leave you sorry you haven’t yet caught them live, but there’s still time to rectify such a mistake… with or without instructions. [MB]
Debbie Dopamine– Swimming Pool. We here at Full Time Aesthetic got an early quick peek at the new Debbie Dopamine video for their latest single, “Swimming Pool,” and we are thrilled that it’s now officially out for public consumption. Directed by guitarist/vocalist Katie Ortiz herself and the ever-skilled purveyor of image, John Burgundy Clouse, it’s all the perfect feels for warm weather, swiftly ushering us in to the summer season. Constructed around the ebb and flow of a galloping guitar riff, it finds the trio—rounded out by Dylan LaPointe (bass Debbie) and Zach Rescignano (drum Debbie)—filling misguided space, occupying their time between bleachers and goal posts, and trying to make sense of a lazy summer afternoon in the middle of nowhere USA. Full of adolescent angst and tension, the song’s lyrics throw back to a world of high school summer breaks, curfews, flip phones, and swimming pools.
There’s a ongoing sense of chasing time and grasping at fleeting unfocused freedom. Ortiz (guitar Debbie) sings “In a borrowed car, we wander thru the dark. Let’s get drunk and climb the roof of the high school.” The guitars are impressively clean yet incredibly full, the bassline ultra smooth and melodic, and the drums are quick and crisp. The humid sticky haze to the tone and coloring feels just like a hot August day, as the three Debbies grow restless and make their way thru the fields, scampering through the brush and swept up by the ocean waves. Debbie Dopamine is a band that always finds a unique twist on the smart and clever, asserting here that you’re doing well whether or not you actually are, and that’s just goddamned okay. [MB]
Fishbone– Estranged Fruit. With help from Fat Mike of NOFX, Angelo Moore and Fishbone have released the second single from their upcoming LP, an homage to Billie Holiday’s immortal “Strange Fruit,” a song which came out in 1939 that addressed racially motivated violence and in my humble opinion is one of a very few that should never be covered because it’s just not possible to do the original any justice. I don’t know if Moore feels the same way (I’m going to guess that he does) but his “Estranged Fruit” is what I would consider a reprise to Holiday’s tune (read more about the original here). And unfortunately, we still live in a world where such racial, economic and societal injustices still need to be brought to the forefront so they can end once and for all.
“Estranged Fruit,” with its muted trombone, is a vampy jazz romp that ought to have fans of ‘Bone sashaying and second lining in the aisles; this is even before the song’s closing verse which breaks into a classic Fishbone free-form crescendo. For these ears, we have a potential anthem for the summer of ’23. [RR]
Geese– Mysterious Love. The latest single from NYC’s own Geese, “Mysterious Love,” from their forthcoming album, 3D Country packs in so many styles it’s amazing that it comes in just slightly over three minutes. From its aggressive 90’s era opening punch to the mid-song jam that goes from spoken word to dreamy backing vocals, while frontman Cameron Winter wails “Some people are alone forever,” to the final series of hits that closes it out, their latest release is a banger. And check out the wild video that accompanies it and find out what happens to their poor drummer, Max Bassin. [KM]
Gouge Away– Idealized. The crucial Florida hardcore band (whose 2018 album Burnt Sugar was one of my favorite of that year and would have been on our list had FTA existed then) has just released a new song, their first in three years, that sees them exploring more airy territory, leaning more towards post hardcore and even post rock than straight up hardcore. No complaints from me though, this is an exciting development and direction to see the band going in. The band shared in a statement:
We wrote this song in a Florida storage unit, somewhere on the timeline between tons of touring and the world shutting down. It’s a culmination of everything we like and always wanted to write, and fits the vibe of where we were at mentally at the time. “Idealized” almost never saw the light of day but we like this song so much we felt the need to properly record it and put it out into the world. We have been absolutely dying to play it live.
And you’ll soon have the chance to see them play it live as they also announced an East Coast tour along with the single. They will hit the stage in Brooklyn at Market Hotel on 8/5. [KH]
Happy Death Men– Trying To Say. Picture it, Queens, NYC 2023. It’s late at night and I’m doing some photo editing listening to music when via the Spotify “radio” feature, the shriek of feedback and buzzsaw bass hits my ears. I was intrigued and as the song progressed, I took pause and absolutely had to look up more music by the band coming through my headphones right away. It turns out it was the Portland based band Happy Death Men and the song was called “Kyle.” It stopped me in my tracks and I listened to the rest of the EP, Famous Plane Crash, right away (which incidentally had come out mere days before me finding it). I loved every moment of it but was bummed that it was only five songs long and hated that the band lives on the other side of the country from me because I immediately wanted to see them live.
All other commentary on Spotify (and weird algorithms) aside, I do still use it precisely because I need it as a tool for running a blog and I actually kind of like that feature because it’s led me to some cool discoveries of bands that I might not have found otherwise, this one being a very big highlight of that. (The internet/technocratic world we live in fucking sucks in general and it often feels like there’s no escape. But there can be upsides like this that make it more bearable sometimes.) That’s not the point here though, the point being that this week, the band put out a video for one of the other tracks on the EP, another highlight of the release, “Trying to Say,” and it gave me the excuse to talk about them more in FTA (I listed them as a BC Friday pick for April). Soaked in big dirty bass riffage, pounding drums and as much feedback as a noise punk’s little heart can desire, this one is an absolute fucking ripper. Like I said before in the BC post, this may have just come out, but my greedy ass is already ready for a full length and a tour to NYC. Fingers crossed that all comes to pass soon! [KH]
Hnry Flwr– Cathedral of the Pines. Hnry Flwr frequently draws influence from all over the place, and on their newest single takes us back with a concertedly more retro vibe than on previous endeavors. Chunky synths are married with distorted electronics and overblown percussives, forcing the guitars deep into the background layers. Frontman David Van Witt’s vocals majestically ride the taut bassline allowing them to soar together. The song, quite rich lyrically on its face, draws upon seemingly spiritual components, ideas of Mother Earth woven into imagery of traditional middle America. It’s got an almost Springsteen quality with a Johnny Dynamite delivery with a bit of a Billy Idol twist. It’s a bit of a shift from their earlier material, even from last month’s “The Mystery,” but if there’s one thing I’ve come to expect from Hnry Flwr over the years, it’s to never stop guessing. [MB]
La Sécurité– Serpent. The Montreal-based art punk five-piece La Sécurité creates an angular layered groove here, catching you immediately with driving drums and tambourine shakes with bass, guitar, and synths playing with syncopation, and light and flirtatious vocals in French— it gets you bouncing from the first beat. As for the lyrics, Google translate to the rescue: “I am not the herd. I am the storm serpent.” Complicated friendships are the inspiration for “Serpent,” when words fail and all you can do is have a dance battle. The band says in a statement, “The person it is directed towards loves dancing. It’s a pretty dancy song. We hope they dance to it.”The song also has a fun video of the band playing live and running around Austin at SXSW. Their upcoming debut album Stay Safe! is out June 16th on Mothland. [KB]
Leathered– Prayer. The jangly Americana twinged band from Brooklyn released one of my favorite albums of 2022 and this week FTA premiered their new video for the single “Prayer.” Read more here. [CW]
Night Beats– Thank You. The latest single from the upcoming album Rajan is a psychy tune with a groovy slither and funky beats that when paired with the mysterious Jowdorosky-esque video directed by Vanessa Pla takes on a surreal edge. Night Beats maestro Danny Lee Blackwell writes of the video “Vanessa’s vision… was to highlight the power of transformation as an alchemical process, which reinforces the significance of the simple gesture of saying “Thank You.” Rajan will be out July 14th on Fuzz Club and Suicide Squeeze Records. [CW]
Petal– You Really Love Me. Petal, the musical nom de plum of Philadelphia’s multi talented Kiley Lotz just dropped their latest single, “You Really Love Me” on May 5th. With the help of multi instrumentalist and producer Zack Robbins, “You Really Love Me” has been transformed into a fun bouncy pop tune which ought to be included on everyone’s Summertime Playlist. Long a staple in Petal’s live setlists, “Really Love Me” according to Lotz is a song about them coming to grips with their need for external validation of their artistry. And while previous live iterations of the tune were slower and more somber, this single version clearly reflects Lotz’s appreciation of Stevie Nicks and Fleetwood Mac and thus is a lively soundtrack for fun in the sun. [RR]
Safe Houses– Someday Is Starting Now. This Brooklyn based quartet are stalwarts of the Brooklyn DIY scene and this week we premiered their brand new video “Someday Is Starting Now.” Read more about the song here. [KH]
Tightwire– One Foot in the Grave. Heavy and fast, and clocking in at under two minutes, “One Foot in the Grave” encapsulates the adrenaline and violent fun of a moshpit. But as the song’s title reveals, the frenetic energy here is pushed by dark thoughts. The lyrics reveal a desperate desire to give up: ”’Cause every time I try it just gets worse, can someone please just put me in a motherfucking hearse?” This is the second single off of Tightwire’s new album Head Full of Snakes, out on June 9 via Red Scare Industries, and is the first full-length release from the Minneapolis-based pop punk band since 2018. The band shot and edited the video for the song themselves, where we see them rock out thoroughly inside what looks like a plywood shed. Fuck yeah! [KB]
Tilden– Alone with Someone.Brooklyn’s resident groovemasters are back with a smooth dark funk that feels like it belongs to the late night world from which the Brooklyn collective hails. But eventually the sun comes up and Juju and the gang will make you want to grab a tambourine, head to the beach, and fall asleep in the sunshine. With an almost 60s mod spy-track in feel, Jenna Mark carries this one on the keys, with a cold melancholy yet incredibly powerful lead vocal delivery that will make you shiver. Masquerading under the cover of sonic espionage, you can literally hear the casual tension of Di’s fingers on the bass strings while Kallan Campbell and Ryan Laetari’s delicate guitars play like echoes on glass, before tearing thru the ice with a ripping lead to carry you out of the track and back into the light. Tilden is no sleeves on your shoulders, warm sand between your toes, and cool hangs with the real homies, and that’s why we keep coming back. [MB]
Water From Your Eyes– 14. Plucky string-like synths tiptoe at the beginning of “14,” the electricity building and pulsing under Rachel Brown’s vulnerable vocals. “I traced what I erased…I’m ready to throw you up,” they sing. The song feels like reaching back in memories, searching for reasons why. The band describes the song as a “quasi-serial inkblot signifying submission to personal demons and the realization that change is both necessary and inevitable.” Brown also directed the haunting black and white video, featuring them and bandmate Nate Amos contemplating existence on the precipice of waterfalls, while close by masked figures lurk. This the third single from the Brooklyn-based duo’s forthcoming album Everyone’s Crushed (May 26 Matador). They will play a free show at SummerStage with Horsegirl, Iceage and Lifeguard on 7/20. [KB]
Wombo– Slab. Pairing jagged post-punk guitar riffs and percussion along with singer Sydney Chadwick’s smoothed out vocals, “Concrete Slab” manages to create an aural version of the song’s title object, while lyrics like “I was in a field, I had a camera on me / I was practicing balancing for everyone but you / on a wire crossed way up above a building / and when I come down, I’ll be a different person” hint at something deeper than just construction materials. The Slab EP will be out June 9th on Fire Talk. [CW]
Hi! Hello! Here we are with some bite sized goodies and a taste of a some new things that we dug that came out in the last two weeks (ish), quick fire responses to some great new music we think you should check out. Chantal [CW], Kate B [KB], Kate H [KH], and Mike [MB] weighed in on some killer songs and have the scoop on plenty of new tunes, give ’em a listen!
A Very Special Episode– 5 Dollar Cover. Roll call! Wearing your blackest clothes? It’s like they already got my number. I don’t know a single person left in Brooklyn’s music community that hasn’t already drank the very special kool aid, forcing our favorite grifters…errr purveyors of self discovery to expand their reach beyond NYC’s five boroughs and up the Hudson Valley. The noise trio made up of Kasey Heisler (vocals, bass), Patrick Porter (guitar, vocals), and Chayse Schutter (drums, vocals) teamed up with King Pizza himself, Greg Hanson, to direct a pleasant-on-the-surface but disturbing AF new video for the third single,“5 Dollar Cover,” off their forthcoming record Freak Me Out (June 23 EWEL Records/ Hidden Home Records).
Beautifully shot and wonderfully vague in placing its retro era, the video is really a visual work of art. Hanson and the band gathered much of the KP family and friends together for a classic dinner party graciously hosted by Heisler herself. Playing with themes of conservative American suburbia and mid-century modern imagery, this soirée almost immediately displays an undercurrent of something far more sinister. The seemingly innocuous gathering shifts quickly toward the dark and chaotic as Heisler and her minions entrance the group absorbing them into mind collective.
The song itself cleverly plays on many of the bandnames woven thru the Brooklyn DIY scene/Bandnada/EWEL fabric, but it’s in fact details like those that speak volumes to the trio’s constant dedication to uplifting and supporting the community of which they are a cherished part. Whether or not you want to meet them at the rock show, you can always definitely count on them to play way too loud, but never too long. [MB]
Bethany Cosentino– It’s Fine. Best Coast is now on “indefinite hiatus” and singer Bethany Cosentino is about to release her debut solo album, Natural Disaster. The first single is the twangy, pop rock “It’s Fine” and she shares:
“When I look at all the artists I find most influential, the common thread is that they take risks and continue exploring different versions of themselves. My goal is to keep growing and challenging myself and living outside any kind of box, to keep on evolving as an artist and a person. And if anyone’s feeling stagnant, I hope this record inspires them to see what else life has to offer. It’s really scary to take those risks and make big changes in your life, but what you find on the other side can be so magical.”
She also shares on the decision to take a step away from her best known project:
My identity as a human being, and as an artist, has been so wrapped up in Best Coast for over a decade. The decision to pause the project indefinitely, and explore a new side of myself, was a very difficult one to make—but it felt necessary for me. Life is too short to not give yourself what you feel you need and want. I am excited about being just Bethany Cosentino for a while and figuring out who I am outside of the “Bethany from Best Coast” box I’ve lived in for such a long time.
I look forward to learning more about who Cosentino is outside of “Bethany from Best Coast” too. Natural Disaster will be out July 28 via Concord. [KH]
Boris and Uniform– You Are the Beginning. When multi genre metal heroes Boris went on tour with industrial rockers Uniform in 2019, the two bands fell into the habit of sharing an encore, and something clicked. So what happens when these two relentless groups combine forces on a full-length recording? “You Are the Beginning” gives us a first taste. Heavy metal chug, otherworldly solo guitar lines, dueling vocals—this track is a solid mid-tempo headbanger for the first half, and then the tempo picks up around two minutes in, and a double-time/double bass-drum frenzy erupts. The rest of the song churns punishingly like the world is fucking ending.
Fittingly, Boris and Uniform recorded “You Are the Beginning” in July 2020, with the pandemic still raging outside the studio walls. Despite the impending doom, the mood of this track is triumphant and fun, controlled chaos, kind of like harnessing the power of several tornadoes and living to tell the tale. The full album, Bright New Disease, will be out on Sacred Bones on June 16. [KB]
Claud– Every Fucking Time. The lead single from Claud’s upcoming second album, Supermodels, is a slice of singer-songwriter indie rock that pairs a catchy guitar tune with their melodic voice, and also features a fun video co-starring comedian Grace Kuhlenschmidt. Supermodels will be out 7/14 on Saddest Factory Records (Phoebe Bridgers’ personal label—Claud was actually the first artist signed on); catch them live 9/12 at Bowery Ballroom. [CW]
_Corvallis– Slate Wall. The instrumental post rock/shoegaze project of songwriter Matt Irving is back with a new single, “Slate Wall” and it picks up where the previous single “Union” leaves off, giving us a hypnotic, almost funky intro before heading into the sweeping wall of noise guitar sounds that are hallmarks of the genre. Fans of Caspian or Red Sparowes will find a lot to love here. [KH]
Gorgeous– Raindrop.Last week, the newest track from Gorgeous (the only band that’s ever made me love to count) errrr rain-dropped into my Spotify rotation and has been on heavy repeat ever since. We first heard a rougher take of this track on a 2021 split the band did with EIEIO, but this slicker reimagining is now the first single off their upcoming LP Sapsucker due out on 6/2. Unique in both style and sound, the NYC duo who calls themselves “a pop band because rock is dead and experimental noise punk in half and waltz and quintuple shuffle time is a hard sell,” is back with heavier lumbering swagger.
There’s deeper riffage this time around, making for a much more ominous showcasing of Dana Lipperman’s thicker and complex octave guitar tones while drummer Judd Anderman still holds down the fractured spine and odd timing breaks for which the band is well known. Their late 2019 LP Egg was one of my favorite releases that exploded into my universe before the world from apart, and these early indicators suggest a darker monster awaits us on this next record, and I’m both thrilled and terrified for its release. [MB]
High Pulp feat. Daedelus– (If You Don’t Leave) The City Will Kill You. Jazzy, groovy, and glitchy all at the same time, this track takes a hard left turn at the end, as the LA experimental jazz collective keeps listeners guessing. From the upcoming album Days In The Desert, which features such guests as Brandee Younger, James Brandon Lewis and Jeff Parker, and will be out July 28th on ANTI-. [CW]
The Hives– Bogus Operandi. Oh man, I was so excited to click play on this, and I was not disappointed. Energetic garage rock with fun hooks and frontman Howlin’ Pelle Almqvist’s charismatic yell? Sign me up. Almqvist had this to say on The Hives first album in over a decade: ““There’s no maturity or anything like that bullshit, because who the fuck wants mature rock’n’roll?” Fucking amen. The Death Of Randy Fitzsimmons will be out on August 11, and The Hives will be live at Racket on May 16th. [CW]
Hot Face– dura dura. Riffy, psychy post punk from the London trio who was just signed by Speedy Wunderground. The song takes a big turn around the 2:30 mark with wild guitar and a frantic arrangement kicking in that I can only imagine will whip live audiences into a foamy frenzy. This is the band’s debut single for the label and its got my attention. [KH]
Leone– Kiss Em Bye Bye. It’s not going too far out on a limb here to say Richie Bee Leone has one of the most beautiful voices in all of New York City right now. Following the success of his queer glam rock band, Deitre, LEONE marries elements of dance and pop with a alt-rock delivery. Much of last year’s “(thisbodyisntmine)” served as a heartbreaking debut and stunning display of raw emotion and true vulnerability to pain and loss many artists dare not explore so publicly in their work.
“Kiss Em Bye Bye,” signals LEONE’s return with masterfully anthemic pop-rock debut single prominently showcasing the same sharp-witted silver tongued delivery. More than an open heart goodbye song, it screams fuck you and struts forward wearing its scar tissue draped across its shoulders like a magnificent armor against past lovers. Not only does it feel that Leone has arrived and hit his stride here, but now standing alongside Tarik Merzouk (bass) and Brian del Guercio (drums), LEONE also feels like they’ve hit their stride and the day is not too far off that everyone is going to come running to say hello. [MB]
Monograms– Hi Low. One of the things I love about Monograms is that they’ve continued to regularly churn out music for the better part of as long as I can remember. This not only makes for quite an expansive and robust catalog of music in which fans can immerse themselves, but also has allowed frontman and multi-instrumentalist, Ian Jacobs, to really hone and perfect their sound. “Hi Low” is a metallic post-punk tune layered with electro-dancy bursts that explode in pockets over the driving backbeat. Think Big Bliss meets New Myths but also landing somewhere between Joy Division and The Bravery, and you’ll have nearly tapped into the the synaptic fibers Jacobs has so expertly pressed and connected to build out the Monograms universe. [MB]
Rancid– Don’t Make Me Do It. I admit the nostalgia factor got me on this one. I also admit that Rancid is a band that I have honestly had more of a tepid relationship with over the years because I’ve never particularly enjoyed any of the singers in this band. I’ve often said if they just had someone else singing, if even for just the ska songs, I’d like them a lot more…alas. But this song did hit me in the right spot and I loved Matt Freeman’s slinky bass sliding out on top of the racket of the guitars right from the get go.
Tim Armstrong takes lead vocals and the rapid fire pace of the song lends itself well to his tone/style; Rancid did ska pretty okay, but the punk bangers are always where I felt they excelled the most. (Its the slow songs that really grate on me when anyone in this band is singing; they’re punk vocalists and should write songs that play to those strengths rather than try to stretch themselves to a place where their vocals don’t fit, but I digress.) This one doesn’t exactly invent the wheel for the genre or the band but that’s not what people listen to Rancid for these days, is it? It will scratch that street punk of yore itch and that’s enough for me. Taken from the upcoming album Tomorrow Never Comes out June 2nd. [KH]
Sleepy Kitty– Do It Without Me.St. Louis turned NYC duo (sometimes trio), Sleepy Kitty, is quickly moving toward their long anticipated follow up to 2016’s Flux aptly titled Blessing/Curse due out later this year. The band is currently in Europe for the Summer playing shows in the UK and Paris and recording new music. This is the second single from the upcoming album (see our thoughts on “Bigger Picture” here), and it is concertedly more subdued and full of brooding simmer than its predecessor. The steady undercurrent of quiet feedback is washed over in strikes of textured tremolo, but wastes no time building quickly unnoticed to the epitome of grungy pop goodness.
Paige Brubeck (guitar, vocals) wonderfully layers her voice as the song opens up on the chorus, but it’s Evan Sult (drums) that continues to push the track forward and eventually pulls the whole thing sideways spinning into crescendo. The final minute of song is a storm of tightly wound chaos that Sult expertly unwinds unraveling into abrupt resolution. Sleepy Kitty is exploring exciting new song structures on their latest work without sacrificing their hook-driven pop sensibilities and still retaining the post-90s alt/indie elements that make them so damn good. [MB]
Strange Ranger– She’s On Fire. This song begins with floaty, effervescent synth ripples and a Cure-esque guitar hook, and by the time Isaac Eiger’s vocals kick in, you’ll be dancing, but wistfully. All four members of the band weave electronic layers throughout the song, playing with dynamics and complexity throughout the track for dramatic effect. In a statement from the band, Eiger describes the new single as an exploration of the disillusionment of growing up, and the realization that music is a grounding force in his life:
“When you’re young, it feels like life has a kind of arc to it and up ahead in the future, there’s some point where all your experiences converge and this fog of confusion will lift and you will have arrived. This is definitely not true and increasingly, music is the steadying hand I lean on when looking for meaning.”
The song has a mysterious video directed by Ben Turok, featuring the band on a night road trip through various parts of New York City. “She’s On Fire” is the second single off of the upcoming full-length release, Pure Music, due out via Fire Talk on July 21. [KB]
Suzie True– Keep in Touch. This is an incredibly catchy pop-punk song about having a crush that lives hundreds of miles away. The vocals start out dreamy and soft, but then the chorus kicks in with stronger guitar riffs, and the lyrical longing turns into frustration with the distance: “Maybe it’s just a stupid dream / I know you’d never change your life to be with me…I just wanna be touched, this distance is too much / I think of you all day and it fucks me up.” The single has an absolutely adorable video directed by Rae Mystic, which comes off like a sugar high at a slumber party full of giggles. Long distance heartache is actually fun with Suzie True. “Keep in Touch” is the second single off of the L.A.-based trio’s forthcoming album, Sentimental Scum (June 30 via Get Better Records). [KB]
Sweeping Promises– Eraser. I’ve been waiting for this single (and the forthcoming second album) from Sweeping Promises for a couple of years now, and at last, it’s here! “Eraser” begins with Lira Mondal’s fantastic voice (harmonizing with herself), and then the beat kicks in, Caufield Schnug’s guitar thrums with rhythmic precision, and the song bounces off the walls with the near-perfect post-punk energy we’ve come to expect from the duo now based out of Lawrence, KS. New developments in their sound here are a more prominent exploration of synths in the mix, as well as keen attention to how their recording environment impacts their sound. The band now lives and records in a large, airy studio in Kansas with high ceilings, and you can hear the natural reverb of their new space in “Eraser.” The full album, Good Living Is Coming For You, will come out on June 30, a co-release from Feel It and Sub Pop. [KB]
TEKE::TEKE– Doppelganger. These Canadian psych rockers just keep building excitement for their next release, Hagata. “Doppelganger” is a laid back, cinematic tune that brings to mind 60’s spy movie soundtracks with trembling guitar chords and moody woodwinds. Maya Kuroki sings about seeing our reflection in other people (“we’re all doppelgangers that don’t look like each other / but from the beginning / perhaps we’re all the same / each our own body / each our own story“) and I keep turning the line “outside the aquarium is the ocean” over and over in my head. Hagata will be out via Kill Rock Stars on June 9th. [CW]
Hello and welcome to FTA’s list of what we are excited for this Bandcamp Friday, aka every music nerds favorite day! A bunch of us weighed in on what we’ve been into lately and we’ve got plenty of goodies old and new for you to dig into over a wide range of genres. But don’t take our word for it, dive into these tracks/albums and judge for yourself. Feel free to let us know what you think and tell us your suggestions.
Goblin Daycare– Q: EP? A: EP!! If you follow me on social media, you’ll likely know my nickname at work (and increasingly otherwise) is “the Goblin,” so you can imagine my reaction when I first saw the name of this band and that I thought it was very funny; of cooooourse I had to listen! The project of “Mama Goblin” (I’m okay sharing names here, ha!) it’s billed as “lo-fi punk for low-life punks/bedroom punk,” and sounds like it was recorded in said bedroom’s closet beneath a layer of cozy blankets. It’s fast and freaky and indeed very lo-fi—in all the best ways—with standout songs about killing landlords, “Landlordocide!” and hating cops “Officer Down!:)” so right in line with my world view too. This is a really fun way to spend eight minutes and thirteen seconds.
Necking– Cut Your Teeth. In the last year or so, it seems like I keep hearing a ton of great stuff coming out of Canada (Bad Waitress, The Dog Indiana, Hot Garbage and Gloin to name a few), and when I recently watched an episode of a popular TV show on Showtime (aka Yellowjackets) I discovered yet another addition to my list. Necking performs their song “Big Mouth” in a scene on the show and while watching I thought “this is pretty good I should look it up,” which I did after the episode. Turns out the full album, Cut Your Teeth, is in fact really good and right in the wheelhouse of bands I already like anyway. The song in the show, “Big Mouth,” is definitely a standout, but my favorites from the album are “Still Exist” and “No Playtime.”
As an unabashed champion of all things DIY and local bands forever, I tip my hat to the music supervisor from Yellowjackets for picking a Vancouver local to get the nod to be on the show instead of bringing in a bigger more well known act. Here’s hoping a new album and perhaps a visit to NYC will not be too far off in the future for this “febreze punk” foursome.
Promyki– jeb jeb jeb. It’s noisy and raw, a bit lo-fi and also a little bit weird, almost like a riot grrrl band from 1992 and a noise rock band (from a nebulous time period) jammed in a blender. And I fucking love it. I was recently introduced to this Polish band via a music sharing “club” aka group on Facebook (one of the last remaining reasons I remain on that trash heap of a platform truth be told) and loved this, their brand new EP just released in March. They have a solid album, Plastik, which came out in 2022 that I also recommend. How do we get this band across the ocean and into a dive bar in Brooklyn? Asking for a friend.
Jenifun- Webmistress
The Anchoress– Versions EP 3. There’s just so much good stuff coming out of Wales right now. The Anchoress being one of them and so absolutely sublime.
Maid of Ace– Maid of Ace. Great stuff from England’s south coast.
Pigs Pigs Pigs Pigs Pigs Pigs Pigs– Land of Sleeper. So loud, so good, such decent blokes too! I say this album, and especially the first track “Ultimate Hammer” on repeat! Check out our coverage from their recent NYC debut.
REZN– Solace. REZN released this album in March, and it’s six tracks of sludge metal goodness filled with heavy guitars, psychedelic vocals, and even the occasional saxophone. The whole album is great, but the standout track for me is the title-track, Solace. Recommended if you like Sleep, Monolord, or Dozer.
Lachlan Denton– Furnishings. Lachlan Denton hails from Melbs (as the Ausies call it). Sort of a follow up to his 2019 release, A Brother, which dealt with the grief of losing his brother the previous year, Furnishings continues with this grieving process. This time its four years down the road and we find Lachlan in the acceptance stage of the process. Furnishings provides the listener with a beautiful lo-fi set of songs which still has the sadness of loss looming over it but with a feeling of hopefulness and optimism creeping through the edges.
LoOn, The Jansen, & The Caroline’s– Flowery Melancholia. This six-song, three-way split-EP released on Indonesia’s Paska Records offers up a nice mix and indicative representation of what each of these three bands have to offer. (Side note: I was drawn to this EP solely based on the name off of the record label. Paska is also the name for Slovakian Easter bread and it brings fond memories to my brain). With Flowery Melancholia you get the fluffy feel good power pop of LoOn (think late Veronica Falls) and The Caroline’s (RIYL Allo Darlin‘) juxtaposed with the somewhat heavier and rockier feel of The Jansen (imagine The Ramones singing in Indonesian).
The Sprouts– Eat Your Greens. This Melbourne quartet makes jangly bedroom powerpop for the sad and lonely crowd. Simple melodies accompanied by just as simple instrumentation make this album sound like it was in fact recorded in a bedroom using Garageband. But in the case of Eat Your Greens, less is very much more and better; the lack of sonic clutter suits the material just perfectly. If you’re already a fan of the so-called Melbourne sound, Eat Your Greens ought to be an album that’ll tickle your fancy. And if you’re not, but still love some good old understated jangly power pop, use this one to start your journey down that Aussie rabbit hole.
Hi! Hello! Here we are with some bite sized goodies and a taste of a some new things that we dug that came out in the last week (ish), quick fire responses to some great new music we think you should check out. This week Chantal [CW], Kate B [KB] Kate H [KH] weighed in on some killer songs and have the scoop on plenty of new tunes, give ’em a listen!
Anklebiter– Pearl. This song roars right out of the gate, all cylinders firing .05 seconds in, LET’S FUCKIN GO! The North East straight edge band declares on their Bandcamp “Fast, loud hardcore will never get old” and I’m inclined to 1000% agree. A minute and a half of warp speed beats, accentuated with solid as a rock breakdowns, this is the first song from their upcoming seven song EP To Live and Withstand which the band says “is full of rageful recollections of life, detailed with harsh imagery and expressed with bursts of spite. Anklebiter continues to resist, calloused, growing and withstanding.” Look for the release in full on 5/26. [KH]
Beach Fossils– Run To The Moon. On this dreamy, laid back track, Dustin Payseur sings about becoming a parent and moving from being terrified to joyful at the prospect, “having absolute freedom, the fear of losing it, but then tapping into myself in a way that felt more real.” That happiness is reflected in their dreamy, pastoral music video for the single. The band says their upcoming album Bunny is their most vulnerable and personal to date; it releases 6/2 on Bayonet. [CW]
Buggin– Not Yours. The Chicago hardcore band has a new album coming, Concrete Cowboys, which will be released on June 2nd via Flatspot. This song takes a direct punch at the tokenization in the hardcore scene of all those who are not cis men, with the lyrics “Call us female fronted, you can eat my fist” really nailing the point home. Front person Bryanna Bennett shares that this song is:
“a more personal one about dealing with the tokenization of being seen as a girl in hardcore. I’m non-binary, and I hate being thrown in “female fronted” categories. We just want to rock without people making it weird or only liking us for that reason.”
The Clientele– Blue Over Blue. For their newest album, The Clientele wanted to incorporate musical elements that have inspired them, but not really found their way into previous records, such as contemporary classical or post-pop jazz. “Blue Over Blue” finds them using percussive samples and varying time signatures, but still retains the easy-going, lush sound they have perfected. Pop sensibilities blend with unexpected drumbeats throughout the “playing hide and seek” bridge, while Alasdair MacLean sings a lovely melody about what’s actually a rather frightening experience: getting lost in the woods with his young son. I Am Not There Anymore will be out 7/28 on Merge. [CW]
Flasyd– Shit Goes. You better get ready to hold on for dear life because Flasyd, the noisy garage punk band that describes themselves as “always fast, hardly accurate,” (a documentary of the same name was released about the band in 2021) is back after breaking up a year and a half ago declaring “these bitches are back!” And back they are with a fucking vengeance, a yell of “FUCK YOU RANDY!” to start things off lets you know right away this song ain’t holding a thing back. A scuzzy bassline kicks in, accented by acrid guitars on the upbeat, then it’s off to the races; a chaotic frenzied dash to the finish line two and a half minutes later will find you gasping for breath as you skid to a halt and quickly reach a shaky hand up to hit play, starting the song all over again. The band says this song is “just the first in a whole lot of shit that is to come,” and I’m more ready to be dragged along on whatever wild ride Flasyd has in store for us. [KH]
Girl and Girl– All I See. The Australian garage band just signed with the iconic Sub Pop and most pleasing to me, also features the fun combo of vocalist Kai James and his Aunty Liss on drums, with the quartet rounded out by longtime friends Jayden Williams on guitar and Fraser Bell on bass. That being said, after hearing this fun romp of a song, I may or may not have immediately texted my 18 year old nephew to share it and say “we should jam sometime” (he plays bass and sings, I play drums…the possibility is there!) Jangly with a lithe post punk rhythmic sensibility, James shares:
“Lyrics came last for ‘All I See,’ about 3 years after the track, and when I finally sat down and wrote them, I was pretty anxious about whether I had them right or not. A new Mylie Cyrus track played on the radio that afternoon, she too, was singing about houses burning down, and I took that as confirmation. So I thanked Mylie Cyrus and her great new track ‘Flowers’ and never looked back.”
The band is currently working on their full length debut album and will soon tour in the UK and Europe. Here’s hoping they hit the US soon too so one potential aunt and nephew musical duo can head out to support their kindred spirits from Down Under. [KH]
Greg Mendez– Best Behavior/Hoping You’re Doing Okay. Contemplative acoustic guitar with dreamy quiet vocals soften the sharp pain in Greg Mendez’s lyrics. In “Best Behavior,” he struggles with feeling hurt as he and a friend grow apart: “And it’s true, sometimes I’m wrong but I’m on my best behavior, do you like it?” The easy swing of “Hoping You’re Doing Okay” shuffles along cheerfully while the lyrics tell a story of addiction and living on the streets: “Couldn’t feel, couldn’t convince myself I was real cause it’s not the way that you are it’s what they wanna see, Oh Lord.” These are the last two singles released in advance of Mendez’s most recent eponymous album, coming out on May 5. [KB]
JOHN– Trauma Mosaic. I’ve loved this London based band for a few years now after being introduced to them by our webmistress, Jenifun, who lives in the UK and gets to see all the good bands there regularly. I have also unfortunately managed to miss JOHN on every trip I’ve made to the UK since first hearing them (and trust me, I’ve tried to make it line up when planning trips), but lucky for me and connoisseurs of fine punk rock songs in 14 select cities in the US (and one in Canada), the band will be making their maiden voyage to the hellfire shores of ‘Murica this October. Read more about it and their new single “Trauma Mosaic” here and check them out on FTA’s favorite two piece band list here. Tickets for all dates are currently on sale via their website; they will wrap up the final date of the tour on 10/26 at Saint Vitus. [KH]
Laura Wolf– Paper and Plastic. Ethereal synth and fluttering cello riffs undulate under Laura Wolf’s lilting vocals, the lyrics full of longing: “Sadie, come back to me.” Soft intoxicating alt-pop with an early Bjork vibe from the Brooklyn-based producer, cellist, and singer. The inspiration for the track came from Wolf’s family:
“This song was inspired by my conversations with my late maternal grandmother, where her creative understanding of time, place and identity was nevertheless penetrated by the underlying sentiment of her memory…I repitched and manipulated an 808 bass drum sample to become my core synth for the song and decorated the fabric of the arrangement with manipulated, resampled, and chopped fragments of lead vocal and cello from throughout the album.”
Libby Quinn– Bob. The first single since 2021 from the eclectic five-piece from Long Island, “Bob” immerses you in the band’s skillful chaos which transcends genres. In just under four minutes, the song has alarming discordant guitars, heavily grooving bass lines, charismatic spoken lyrics and then a descent into a free-form chaotic beauty that’s a mix of free jazz and prog, with a Coltrane-esque saxophone coasting over it all before the song falls back into a spiral of driving guitars and screams at its conclusion. [KB]
Palehound– The Clutch. Queer artist El Kempner aka Palehound has announced a brand new album, Eye On The Bat (July 14, Polyvinyl) and shared the first single “The Clutch,” an infectious mid-tempo rocker which also shows off their sweet guitar chops quite nicely with copious shreds in the middle of the song. Slinky bass from Larz Brogan is the glue that holds the rocking jam together, keeping things steady and driving alongside the drums.
About the song Kempner shares:
“‘The Clutch’ is the very first song I wrote for this album, back in 2020 right when lockdown started. I had been on a tour that was sliced in half by the onset of the pandemic and we had to apocalypse road trip back to New York across the country from Oregon, where our next show had been scheduled for. While that was happening, I was also having a triggering romantic experience with somebody I didn’t know too well, and by the time I got home my whole body seemed to be spinning in turmoil. Writing and producing this song grounded me and helped me process a new future and self that I hadn’t anticipated.”
This is the first new Palehound album since 2019’s Black Friday, and also follows Kempner’s 2021 collaboration with Jay Som’s Melina Duterte, Bachelor, which released the album Doomin’ Sun. [KH]
PJ Harvey– A Child’s Question, August. The incomparable Polly Jean Harvey has released the first single off her upcoming tenth album, I, Inside the Old Year Dying (July 7 Partisan). “A Child’s Question, August,” is haunting, almost dirge-like, like a traditional English folk song with a goth/post-punk filter, but ever-so-gentle. Harvey’s voice (which can do anything) drifts high and ghost-like in the verses, and then drops to a fuller more throaty tone during the choruses (doubled by deeper vocals from Ben Whishaw). Together they intone: “What says dunnick, drush, or dove? ‘Love Me Tender’? Tender love.” The song has an equally hypnotizing video by photographer Steve Gullick and PJ Harvey has me completely spellbound. [KB]
RVG– Midnight Sun. The latest single from this Melbourne band is fast without being frantic, has classic riffage without being classic rock, and generally feels like being on the edge of something, as Romy Vager sings “yeah I know / that talking to you doesn’t work anymore / but if you change your mind / I will be waiting for you to come home.” Their third album Brain Worms will be released on 6/2 on Fire Records. [CW]
Sorry Mom– Shaving My Legs. The latest from the snotty New York based femme queer punk band who “like[s] to hang out and play music and Mario kart,” it feels like a rough hewn throwback to rapid fire 90s skate punk, minus the sweaty boys and dick jokes. This song, along with their absolute instant classic banger, “I Fucked Your Mom,” are the kind of in your face shit made by other queers/non men that I wish I’d had when I was subjected to those same sweaty 90s boys in real time and the punk rock songs of that era that catered pretty much only to that demographic but the rest of us had to accept too if we wanted aggressive rock music.
Aside from a few notable exceptions (Bikini Kill, L7, Lunachicks, Babes In Toyland…ya know the rest), bands that really spoke to me on this level were still two decades off into my future. But thankfully the songs and the bands are here now; Sorry Mom is exactly the kind of band I didn’t get to have back then and really savor now so hey, better late than never! Their debut album babyface is due out on 5/12 and yeah, you can say I’m pretty stoked for it. The band will embark on a short tour after its release which will hit Saint Vitus on 5/20. [KH]
Sorority Grrrls– American Sicko. The Newcastle, England based feminist punk band recently released their debut single, “Dead Babies On The Floor” (read our thoughts) and now have followed it up with the b-side “American Sicko” which continues in the same 90s inspired vein that the first single did. (I swear I didn’t plan for this to appear back to back with the Sorry Mom song, but they are indeed very fitting companions on a list of songs.) I’m very much hoping I can catch this band play live on my next trip to the UK later this year. [KH]
Winter Wolf– Blue Lights. This song is part of the stand out EP Unwell (which was one of my favorites of 2022) and Winter Wolf are some of the most exciting performers in the NYC punk underground today, hands down one of the best bands you’ll see live. Huge bass and drums drive the song, accompanied with perfectly matched dual vocals from Tony $ixx, providing the high falsetto, and bassist/vocalist Jey Winters serving up the full low end with intense growls to match his killer riffs. A sharp condemnation to cops and police violence, they mince no words when they yell FUCK YOUR BLUE LIGHTS! They’ve now released a music video to accompany the song and share:
Our music video “Blue Lights” is about the everyday reality of Black people which includes our struggles in dealing with the police. All throughout the video, we show hope and strength thereby encouraging people to stay unified in their power while continuing to see another tomorrow. You can see from the clips of our performances the smiles of the crowd still persevering and finding joy during these troubling times. This video is a call for solidarity for what we’ve all gone through and a love letter to the New York underground scene.
Keep up with what the band is doing via Instagram and make sure you are heading to a show to catch their impeccable live performance. Unwell is available on all major streaming platforms. [KH]
