I can vividly remember the night I met Brook Pridemore. It was many years ago in a shitty Brooklyn dive bar that’s now a shitty nightclub. Their stage banter was awkward and authentic. Brook shared their experiences regarding death, depression, and self-harm, with a seemingly singular focus simply to make sure no one in the room felt odd or alone. They played a song called “Guitar Bomb,” of which I’d later go on to pay lyrical homage in my band. Brook closed the set as they always do with “Thank you my name is Brook Pridemore from Brooklyn, NY”
But Pridemore, the Detroit native musician, is so much more. Internationally known, recognized across the US, and a pillar of NYC’s anti-folk movement, over the years I’d go on to hang out with Brook in countless basements and DIY spaces, stand on street corners and rooftops. We’ve played the same stages in numerous local venues, and we’ve shared meals and couches on tour. I’ve come to feel connected to them on a number of levels. Some obvious and some less so. Some we talk about and some we don’t need to.
But what’s far more interesting than any of my individual memories of Pridemore, is how their music impacts my collective experiences as a complex human being traversing this planet. Brook Pridemore the musician seems to be an endless mystery, a series of fascinating anecdotes sieved through different phases and prisms of perspective. Yet the human never wanders too far from completely relatable beyond expectation.
I’ve seen them acoustic and wired, solo and with a full band, but the one constant you will always get is a raw no-punches honesty quite unlike anything else you’ll come across in the Brooklyn music scene, and their new release, Glad to Be Alive, is no different.
Almost Dylan-esque in its storytelling but with a Mountain Goats delivery, Pridemore’s use of imagery and rhyme (and sometimes lack thereof) is truly and uniquely their own. There’s a calm sadness that permeates throughout the record with lyrics such as “Sometimes I wanna leave the living, and I take a ride out to the beach. Wet sand could not be more forgiving. My problem not more out of reach,” from “Leave the Living”
There’s a wisdom to their words and and tenderness in their candor. Fans of Jets to Brazil’s Perfecting Loneliness era will appreciate the simple and delicate composition of hyper-specific detailed experiences that the same time somehow feel universal to the human condition. It’s romantic and beautiful and painful: “They’re lying if they tell you it’s a short life you’re living. It’s the longest thing that you’ll do… But the water wouldn’t take you away. It’s like you were determined to stay,” from “Charlie Watts”
Brook Pridemore
Pridemore worked extremely closely with Ben Hozie (of BODEGA) on this project to get those rich textures with extremely stripped down instrumentation. Most of the record at its core is Brook’s signature acoustic guitar hugging the vocal. But the 15 track LP is dotted with blankets of fuzz, varied bass and percussion, and a lot of different elements on keys that completely define the tone of many of the songs.
They explained to Bands do BK that “Glad to be Alive was written in the (literal) dark and Ben Hozie and I brought it into the (figurative) light. The songs poured out of me at 3am (or later), like letting blood. Ben took the skeletal demos and transformed them into big pop songs. What was depressing/depressed became anthemic. If sad songs are nature’s onions, pop songs are nature’s caffeine pill. Most important to me, though, was the DIY aspect of Glad to be Alive. This is almost entirely Ben and I, working together in his bedroom on a simple interface. Making this record proved to me I can make a record at home, with just a couple of mics and a lot of ideas. The future of music is in our hands, and the future is now!”
It’s really hard to review this record by breaking it into its individual songs, it’s best listened to a collective whole.Not only are there A LOT of songs, but the LP unfolds like an autobiographical anthology of tales that tell a larger story of the artist. But even from the start, the title track sets the tone, laying out the verses to criss cross thin timelines between being dead and being alive. Sometimes the darkness is palpable, whether it’s in the haunting noises and jarring strings of “No Music” or through the prose itself of “The Man Who Tried to Kill Me.” Other times there’s a somber optimism and light of acceptance just short of regret: “I remember crashing east and west across your yard. The thing about Midwestern kids is that we make the most of it, and no one else goes even half as hard” from “Learned to Play the Drums”
To say Brook Pridemore is an interesting character is an understatement and a disservice. Over the years I have definitely found myself with more questions than I have answers. And they are the kind of person who would just tell you if you only asked. But even then, it’d still probably open up more questions for me. The longer I know them and the more I learn and more the I listen to their story through conversation and their music, the more I want to connect, and and the more I feel that connection straight into the center of my soul.
Ever since that first night in that dark bar back in 2015, when I locked eyes with that odd fellow and we inadvertently became little pieces of each other’s strange stories, I can honestly say I am richer for having known them. Existence is strange that way. Sometimes we can play a small role in something that has a much more far-reaching impact in ways we don’t even consciously consider. At least one version of Brook Pridemore is glad to be alive, and I can honestly say I’m glad they are too.
Glad To Be Alive was self released and is available on Bandcamp and all major streaming platforms.
Hi! Hello! Here we are with some bite sized goodies and a taste of 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, Kate and Mike weighed in on some killer songs, so give em a listen!
As always, if you’re in a band or from a label, don’t hesitate to reach out and let us know about you! If we dig ya, you’ll get a nod in the column. Read on to find out what we dug the last week or so:
Bonny Light Horseman– Someone to Weep For Me. A bit of a supergroup, Bonny Light Horseman is the trio of Eric D. Johnson (Fruit Bats) Josh Kaufman (Muzz) and Anaïs Mitchell (Hadestown), all of whom have long resumes as artists and collaborators. The three come together seamlessly on this folk Americana track, the fifth and final single from their sophomore record Rolling Golden Holy which will be out next week. I’m a big fan of the vocal melody on this one. Catch them December 14th at Music Hall of Williamsburg. [CW]
Color Tongue– Good Science/Little Gray Cloud/Berries. The Brooklyn indie psych dream poppers just released an ambitious series of three new singles which we adored. Listen below and read more in depth thoughts here. [MB]
Ghost Funk Orchestra- Why? Why? Cuz Brooklyn’s favorite big band ensemble hits us this week with the track “Why?” a follow up to their recently released “Scatter.” Full on funk bass-lines and robust but soulful vocals again carry this track through from start to finish. Dotted with walls of horns, this track has a slightly crisper feel than its predecessor “Scatter.” Masterminded by Seth Applebaum, “Why?” has given the perfect space in the song’s mix to pan and sprinkle bits of percussion and keys in all those little cracks and crevices. Crank the track through your best set of headphones for some top shelf ASMR dreams. Looking forward to the upcoming full length release, A New Kind of Love, as Applebaum and crew really know how to pump out those big scale sounds. [MB]
Gloin– Work Patrol. This band was one of my favorite discoveries of 2022 and I first encountered them when they opened for Snapped Ankles earlier this year (see our coverage). Now the Toronto based noise rock post punk outfit is gearing up to release their debut full length, We Found This, and just dropped the second single “Work Patrol”. Featuring lead vocals from bassist Vic Byers (who splits lead duties from song to song with guitarist John Watson) it’s a noisey rager which sees her taking on the role of an asshole boss giving each and every one of their employees a hard time just for the sake of it (you know the type!). The song comes with a “very bitchin video” directed by Phil Osborne and pairs nicely with the previously released single “Shoot To Kill.” They self describe as “drawing inspiration from Sonic Youth’s nonchalant verve and Lightning Bolt’s aggressive sonic constructs” and I’m not sure about anyone else, but that ticks a hell of a lot of boxes for me. We Found Thisreleases in full on 10/21 via Mothland. [KH]
Lucy Dacus– Home Again/It’s Too Late (Carole King covers). Lucy Dacus just kicked off a US tour (that will unfortunately not make a stop in NYC) and in conjunction, her two Carole King Tapestry covers have hit streaming services. Released earlier this year as part of a limited 7inch that came with Third Man Records’ Carole King Home Again vault package, the songs are now widely available. Elaborating on her feelings about King in a Guardian feature on the legendary artist, Dacus said “When I listened to Tapestry from my mom’s CD collection, I was young enough that it didn’t register as good or bad – it just defined what music sounded like to me, and it’s still a foundation of how I understand songwriting. She’s clever in the good way – queen of internal rhyme – and I love how her melodies reinforce the tone of the lyrics. She keeps it simple, but that’s what makes it universal,” adding that when she was asked to perform the covers “it was a no brainer. Her work feels like part of my DNA and I’m grateful for it.” [KH]
Nation of Language– From The Hill. Brand new music from the New York post punk wunderkinds, this one is a dreamy addition to their already impressive new wave-esque synth pop rock catalog. Of the song singer Ian Devaney said “‘From The Hill’ is a song reflecting on times when friendships fall apart over romantic entanglement, accompanied by the sensation that you’re somehow watching it happen from above with a more zoomed-out perspective. It can feel at times like certain parts of life are a story with which you’re just following along – the characters enter, they play their role, and then they leave. Often it’ll feel sudden and catch you off guard, and other times you’re able to see that it’s the only way things could have played out despite what you may have wanted.”
This song appears to be a stand alone and has not come with the announcement of a new album to follow up 2021’s A Way Forward. Devaney added “For us, we’re in a moment right now where it feels good to get this out into the world. It’s one that didn’t really feel like it fit the vibe of A Way Forward, nor is it any real indication of where the next record is likely heading. When that situation arrives we like to use these 7″ releases to step outside the larger framework that the albums provide and just release a track that we love, so this is us doing that once again.” [KH]
Meat Wave– 10k. The final single from the upcoming album, Malign Hex (10/14 Swami), this is packed with the classic Meat Wave anxious vocal snarl, driving drums, and intense guitars I love about this band complete with a cool subdued break in the middle of the song that is over and right back to the drive before you know it. I can’t wait for the full album. [KH]
NOFX– Darby Crashing Your Party. Is NOFX breaking up? Are they not breaking up? Fat Mike recently alluded to that fact on Instagram saying 2023 would be the band’s final year, but now they have announced a new album, Double Album, the follow up to 2021’s Single Album. So at this point it’s anyone’s guess what will happen but the record is due out December 2nd (via Fat Wreck Chords) and they have some fest dates for the rest of the year. As for this song, it hardly breaks any new ground for the band either musically or lyrically, and is very firmly that classic NOFX pop punk sound, but I did enjoy the lithe, high on the neck bass line from Fat Mike, showcasing his skill on the instrument. [KH]
Pearla– About Hunger, About Love. The third single from Pearla’s upcoming debut album Oh Glistening Onion, The Nighttime Is Coming is a lushly produced slice of folk rock, with the singer’s lovely voice buoyed by the music, including layers of guitar both acoustic and electric. The song is a tale of longing, with modern loneliness juxtaposed against nature (“And nobody told the woodpecker to knock all day for bugs / So what should I know? What do I do for love?”) Pearla will be at Union Pool on October 21st. [CW]
Restraining Order– Fight Back. Channelling their classic 1980s hardcore forefathers, the Massachusetts based band have released a track that feels nostalgic and familiar but brand new all at the same time. This is primed and ready to become a super fun sing along staple at their shows. [KH]
Smut– Let Me Hate. Like the first single, this new offering is another emotional gut punch, with singer Tay Roebuck reflecting on recurring dreams she had after the death of her younger sister. In a press release she shared “For years after my sister’s death I could not dream about her. I’d hear my family members talk about her visiting them in dreams and telling them she’s okay or misses them, there was a lot of mysticism going on in the first few years. When I did start having dreams she was always out of reach, walking into another room as I entered or people would be assuring me she was present somewhere if I could find her. ‘Let Me Hate’ is about the first time I had a dream where my little sister spoke to me after she died. I knew if I let her go she’d slip away and when I woke up I was angry at myself. So it’s a very literal song.” The song came paired with a lyric video created by band member Aidan O’Connor and utilizes photos from the band’s recent summer tour with Wavves.
How the Light Felt will be released on 11/11 via Bayonet Records; the band will play Brooklyn a day later at Alphaville. [KH]
Snapped Ankles– The Fish Needs A Bike (Blurt cover). The wonderfully weird band is back in the US for a short run of dates around the Desert Daze fest (and sadly will not make it to NYC this time around) and while here have also released a brand new single, a cover of the pulsing 1979 cult classic by English post punk/no wave act Blurt. On their Bandcamp, Snapped Ankles shared “Blurt are a big deal back in the forest. We focused our logs on a band that we’ve always admired for their dedication to the simplicity of groove, and their outsider stance. They’ve been Blurting out primal rhythms and absurd poetry for over forty years. They’re an example to us all!” While they don’t change the arrangement all that much structurally, the modern recording techniques make it sound bigger and they replace the sax with synth (and go heavier on the synths throughout) for a song that could easily fit within their own catalog. Listen to both versions below. [KH]
Titus Andronicus– Baby Crazy. The esteemed rock institution released their seventh album The Will To Live today and just day ahead of it, they dropped “Baby Crazy” as the final preview single accompanied with an official lyric video featuring singer Patrick Stickles in the recording booth with the lyrics scrolling over top like movie credits. In a press release Stickles elaborated “As inscrutable as some of my artistic choices may sometimes appear, I do wish to be understood, as communication is the purpose of all art. This led me to approach this song as something of a user’s guide for the album, wherein I explicate as clearly as I can the meaning behind the recurring symbology I utilize throughout—the mother, the father, the baby, etc. It is my hope that this will lead the listener to a richer listening experience…or they can just tap their foot to it, whatever works” [KH]
Do you ever wonder what it feels like right after waking up from inside a cartoon, only to find you’re still lucid dreaming, eating a banana yogurt and wearing a top hat? Brooklyn’s most innovative psych-rock indie dream poppers, Color Tongue, are back with a new twist, having released a trilogy of singles (one each week leading up their recent performance on the Bands do BK book release festival at Our Wicked Lady). The quartet, made up of George Miata (guitar, vocals), Eddie Kuspiel (bass, synth, vocals), Ray McGale (synth, piano, vocals), and Kevin Urvalek (drums), is no stranger to the weird and trippy and are one of the tightest bands musically you’re likely to find in NYC.
Maybe it’s because Kuspiel and Miata have been writing music together since before they even had hair on their color tongues, or maybe because until recently they lived together in what’s been called a “busy apartment with twice as many paintings on the walls than windows,” or maybe it’s just because these longtime friends enjoy spending time with each other making sounds. Whatever the reason, they are a really good band. They can write a batch of great songs and know how to really perform them live.
Maybe that’s also why I’ve long considered Color Tongue one of the punkest bands in NYC. Over the last seven years or so since I met these guys, I’ve marveled at the way they’ve executed their unique sonic infusion. More Flaming Lips than Fugazi, more Animal Collective than Anti-Flag, if you dig into their discography, they paint beautiful soundscapes that evoke swashes of reverb-drenched colors that seep into the cracks of your mind responsible for cranking up your serotonin and dopamine levels.
But in the same breath I’ve seen them rip through a dingy DIY basement show set with a guitar growl onslaught and pummeling pace that’s kept up with some of this city’s fastest, loudest, and heaviest bands. The point is Color Tongue has always done things their way, they have fun doing it, and it shows.
So instead of dropping a classic EP, as they have in the past, this time around they decided to release a new single each week leading up to the big rooftop show.
First came “Good Science” which feels like a pleasant two and half minute jog warming up to what was to come. Urvalek skillfully holds back the drums for the entire song, allowing the synth and bass lines to swell, stretch and contract over the soft quick constant rhythm of the arpeggiated guitar. The song feels much like the morning after the rain storms have washed away all the dirt and grime, and everything feels fresh and everything seems possible. There’s comfort in Kuspiel’s vocal as Miata delivers the hook, “I’m not alone. Take me somewhere I know. It’d be nice to see anywhere. I’m not alone” and stretches out like taffy over gooey synthesizer.
Next, “Little Gray Cloud,” takes us back into “stormy weather.” Quicker and more ominous in tone, Kuspiel delivers the vocal inflection with slightly desperate urgency.
“I hope the the words that leave your mouth are good and they are well thought out. And you can sleep without losing a wink.” The real magic is the way they are able to break that tension and pull it back with periodic breaths of soothing melody. Devil’s chord be damned, this band knows how to stack layers of rhythmic harmony turning black licorice into sugar gumdrops. The dark sugar fuzz builds and piles on washy guitars with teeth until it crescendos in one of the most satisfying movements in the entire series.
The final single “Berries,” however, which dropped the day before the big show, plays like a preschool song for children except all the kids are on drugs. For almost four minutes we are lulled into the naptime trip allowing the bass and drums to shuffle us through easy lope of gentle tones. But, just before the four minute mark, Urvalek kicks the track up a few levels as McGale, Miata, and Kuspiel pile on top of the beat. It’s all hands on deck here, with the heavy lifting by McGale and Kuspiel’s musical bedrock for Miata to rip in with the wild guitar lead. Everything in that moment was designed to payout in triumph ending in satisfyingly haunting multi-tiered vocal harmony and goosebumps in true Color Tongue fashion. The band knows how to deliver on an idea and how to roll out a concept. So when they take the time to make some noise, it’s best to stop and pay attention.
“Berries” (collage art of dogs submitted by fans of the band)
Additional author’s note: for fans of the band’s beloved pooch, Thunder, Ray McGale has made a super cool “Berries Game” you can play thru Instagram filters that’s definitely NOT a bad way to waste your time while listening to the new Color Tongue songs which you can take a listen to below:
Hi! Hello! Here we are with some bite sized goodies and a taste of some new things that we dug this week, quick fire responses to some great new music we think you should check out. This week Chantal, Kate and Mike weighed in on some killer songs, so give em a listen!
As always, if you’re in a band or from a label, don’t hesitate to reach out and let us know about you! If we dig ya, you’ll get a nod in the column. Read on to find out what we dug the last week or so:
Belaire’s– London. Indie rock with a power-pop shimmer for the last dregs of summer. They’ll be at Gold Sounds with Komodos, The Tarrys, and Gun on 9/23 (aka tonight). [CW]
City of Caterpillar– Paranormaladies. The third single from the Mystic Sisters album (9/30 Relapse) is a noisy stripped down track that reminds me a bit of Blood Brothers. Apparently the band tried to re-record the song in studio but found the original demo impossible to top, and I think they’re on to something. Catch them at St. Vitus on October 2nd with Foxtails and Michael Berdan. [CW]
Death From Above 1979– Don’t Stop Believin’ The Journey classic got a makeover from the Canadian dance punk duo who recorded the song for Amazon Music last year. The song has now made its way to Spotify and YouTube and being that I love DFA1979 and a great cover, I wanted to share it. They took it from an 80s anthem and made it sound frantic and unhinged in the best way possible. At the time of its initial release, the band said on Twitter “We made a kind of witchy version of the song that would make Steve Perry magically join Journey again.” Only time will tell if Perry heeds the mystical call, but we’ll be rocking out to this version in the meantime. [KH]
Guts Club– Cliffs/Walls. Brand new music from the New Orleans based band and the first single/title from their upcoming track album. This one is a ten minute opus of a “little doom muffin” (singer Lindsey Baker’s cheeky description on Instagram) and it’s fucking HEAVY. A dirgey drone with relentless feedback and funeral march drums, this is reminiscent of doom metal greats Divide/Dissolve, though unlike the instrumental D/D, anguished vocals really nail the massive sound home and add a nice contrast to the dissonance. The full album releases in January 2023 and is available for pre-order now. [KH]
Hammered Hulls– Boiler Maker’s Notch. The second single from Careening, the anticipated debut album from this DC punk/post hardcore super group which includes members of Helium, The Make Up, The Faith, Ted Leo and the Pharmacists and many more. This song delivers more of that classic DC/Dischord sound and ranges from experimental to full on traditional rapid fire punk. Read more on their debut album here. [KH]
Miss Grit– Like You. After two EPs, this project of Margaret Sohn has signed to Mute Records for their newest track. Featuring layered vocals weaving together with distinct bass and guitar lines over hypnotic synth, the song has a good beat without being clubby. With lyrics like “there’s no escape the world they simulate / they want a hold of you to dominate / and I try to abide so I won’t be denied like you,” Sohn muses on outside expectations and self-identity, themes they’ve dealt with elsewhere in their work. [CW]
natural born kissers– ephemeral at most. natural born kissers have described themselves as “bubble grunge” and “picnic punk,” and their newest single does justice to those descriptors, a fun fuzzy track bursting with enthusiasm, pushed along by singer Mika Itkin-Weinstein’s energetic yet emotional vocals. The band is also a great live act—check out our recent coverage here. [CW]
Sean Spada– Set Up to Self-Destruct. The next installment of the Sean Spada Doppleverse which we premiered earlier today. Read more here. [MB]
Sunnyboy– The Recipe. The debut single from NJ’s Sunny Boy aka Patrick DeFrancisci (ex Tru), it’s a catchy slice of emo power pop and if you’re a fan of bands like Tigers Jaw and Jimmy Eat World, you will definitely dig this. In a press release DeFrancisci said this project came about during the pandemic and shared that when lockdown hit “It was the first time I wasn’t actively in a band practicing and playing shows in around a decade. It felt awful, it felt lonely and I needed to do something about it,” continuing “I wanted to make sure I was being productive and doing something with all of that free time so I learned how to demo songs on my laptop and it snowballed from there.” On the future of the project, he says he’s “all in” and just recorded another song and is in the process of demoing more at home, ready to be out performing them. We look forward to what comes next for this project. [KH]
Live From the Poison Factory, the debut album from the noise punk band Anxious Wave, takes you on a frantic, thrashing, and often pained journey. Featuring Mikey Belcastro on guitar (formerly of Product of Waste and Violent Sons), Sam Okon on bass, Dylan Lagory on drums, and aggressively anguished vocals and lyrics from Brandon St. Pierre, this record often feels like a fever dream, or a nightmarish hallucination. They spent the majority of the 2020 lockdown writing and recording the album and the psychic stress of the pandemic (and life in general) is certainly percolating here, but with plenty of surreal fun and a sense of humor, too.
The opening track, “Complex Needs,” sets the tone of panic bordering on the grotesque with driving drums and bass, relentless guitar noise, and St. Pierre’s tortured lyrics: “Gotta lotta stuff going on…and I’d be better at it without my cognition on…Drowned to death, in my own shit, my own piss, my own kids…Complex needs. For a complex disease. / I’ve spent weeks, am I the cure or am I the weak?” The song has a fantastic video as well, created by Monster Makeup Productions, a Providence-based collective of horror filmmakers that focus on LGBTQ storytelling.
Beyond “Complex Needs,” standout tracks to me included “Mirror Bed,” a danceable, more light-hearted song about good old-fashioned relentless sex, with a great almost jangly guitar hook from Belcastro in the verses, that explodes into a more raw wall-of-sound chorus: “Put my foot on the floor,” St Pierre bellows. “To stay steady, move steady / She always wants more. I’m ready. She’s ready.” Other faves of mine include “Carnivore” and “Void Boyz,” both catchy punk anthems driven by Okon’s ever-undulating bass lines, Lagory’s steady prowess on the drums, and Belcastro’s wide range of guitar sounds. His guitar work reminded me of The Cure, Nirvana, and Helmet at different points on this album…that’s a lot of different guitar sounds…my head is spinning!
Of all the songs on Live From the Poison Factory, though, “Executive Dissector” will be the track I listen to on repeat the most. With additional vocals from Marina Phom of Panzerchocolate (who shared a split seven-inch with Anxious Wave back in 2019), I can’t help but scream along to the raucous repetition in the chorus: “Controlling, controlling, controlling, controlling me / Patrolling, patrolling, patrolling, patrolling me.” The final lyrics of “Executive Dissector” give the album its name: “From the poison factory, the boy is satisfactory.”
Live From the Poison Factory is loud, frightening fun, and far better than just satisfactory work from Anxious Wave.
Live From the Poison Factory is out now via Nefarious Industries and available from Bandcamp and on all major streaming platforms.
Hi! Hello! Here we are with some bite sized goodies and a taste of some new things that we dug this week, quick fire responses to some great new music we think you should check out. This week Chantal, Kate and Mike weighed in on some killer songs, so give em a listen!
As always, if you’re in a band or from a label, don’t hesitate to reach out and let us know about you! If we dig ya, you’ll get a nod in the column. Read on to find out what we dug the last week or so:
Algiers– Bite Back (feat billy woods & Backxwash). Algiers is a band that can’t be pinned down by any one sound, constantly pushing boundaries and making music that is bold and defiant. Band leader Franklin James Fisher goes back back and forth and trades verses with rappers billy woods (of Armand Hammer) and Backxwash, with all three vocalists pulling imbalances of power into sharp focus. On the song multi-instrumentalist and producer Ryan Mahan said: “Shit’s been so real the past few years, we really needed to grow our community of collaborators and make solid the bonds we’ve always felt, particularly with rap heads. And to have the two best rappers around, billy woods AND Backxwash, on the same Algiers-produced track? Pinch me, for real.”
Fisher followed up with “Ryan showed up one day with this beautifully epic instrumental and said, “I’ve got this song and I want to call it ‘Bite Back’. It immediately reminded me why I joined this band and the rest of the song seemed to write itself. It’s a classic example of our Lenin-McCartney dynamic.” With woods adding “Working with Algiers was a dope experience on many levels, and I was even more excited when they said they were shooting a video. Plus knowing Backxwash was involved, I had to do it,” and Backxwash: “This feels like the soundtrack to revolutionary struggle. I am honored to participate side by side with an incredible array of artistry.” While as of now this appears to be a one off and no album was announced along with it, the band teased on Instagram with the song announcement “so much more to come,” exciting new indeed. [KH]
Angel Olsen & Sturgill Simpson– Big Time. Fresh off the success of The Wild Hearts tour with Sharon Van Etten and Julien Baker (see our coverage), Angel Olsen has released an updated version of the title track of her superb new album, Big Time, this time collaborating with celebrated songwriter Sturgill Simpson for a gorgeous new rendition of the song. Of the collaboration Olsen said “It’s crazy to write a song and then watch someone you really admire sing your words; kinda turns the whole thing on its head,” continuing, “I loved the song already, but hearing Sturgill’s take on ‘Big Time’ made me smile ear to ear, he made it come alive on a different level.” Olsen will soon head to the UK and Europe for a month of tour dates, with Tomberlin supporting. [KH]
Babehoven– Stand It. “Stand It,” the second single from Babehoven’s upcoming debut album Light Moving Through Time, is a bittersweet little slice of shoegaze with 90’s vibes. The lo-fi look of the video leans into this, as the visuals evoke the album title. There’s an autumnal feel to this song, perfect for moving into that season. [CW]
Bass Drum of Death– Say Your Prayers. Brand new music from the garage rock greats who just announced a brand new album Say I Won’t (1/27/23 via Fat Possum), it’s a more low-key and nuanced affair than the fuzzier chaotic rock n roll the band is known for. It was co-written with Mike Kerr of Royal Blood, his influence being very obvious on the track, but also a welcome presence in the mix, pushing BDOD to a whole different level.
On their website the band says of the new album “The music still rips, with blown-out guitars and drums that sound like bombs going off, and the melodies are catchier than ever, hollered in [John] Barrett’s trademark yelp. But the music hits differently now, more at peace with itself, propelled by a new swagger,” and that is absolutely evident here in this first offering. This album will also mark the first time the entire touring band was in the studio in the process of making the record rather than singer/guitarist Barrett completing the recordings alone. A compelling change for sure and one I’m very excited to hear the end result of when the album drops next year. See our coverage from their recent show at Market Hotel. [KH]
The Bobby Lees– Ma Likes To Drink. Full of fuzzy mega riffs, nasty bass and busy drums, this last preview taste of their upcoming album, Bellevue (10/7 via Ipecac Recordings), is full of goddamn attitude with an assload of swagger and we are HERE for it. The garage punk wizzes will play a sure to be raucous release show at Baby’s All Right on 10/25 with support from Native Sun and Dead Tooth. [KH]
Dehd– Eggshells. On the heals of their album Blue Skies which was released this past May, Dehd have returned with a brand new stand alone single, “Eggshells.” Expanding upon their bedroom pop aesthetic, they touch the edges of alt country and indie gloom, soaking everything in reverb along the way. Via a press release they also share that they took cues from “escapist fantasies and Jodorowsky films,” and that their “melancholic euphoria turns off all the lights and lets the Utopian tableaux come to life, with the band roaming the desertion search of catharsis and freedom.” The band will soon embark on a lengthy tour that will see them criss cross North America and Europe; they will hit NYC on 10/21 at Brooklyn Steel. [KH]
Hammered Hulls– Rights and Reproduction. The first single from the debut full length by this post hardcore/punk supergroup and it’s already one of my most anticipated records of the final quarter of the year. Read more here. [KH]
Heavy Lag– Splitting Headache. A hot and fresh two minutes from the Brooklyn power pop meets pop-punk wunderkinds. This song is part of their debut full length, Another Year Closer to Whatever, which arrives 10/31 via Bloated Kat and though brief, it’s chock full of hooks and packs a melodic punch. Just try and listen to this without it running around your head for hours afterward. Catch the band on 9/22 at No Aloha. [KH]
Ian McCuen– Lonesome Homesteader. Buffalo based singer songwriter Ian McCuen has released “Lonesome Homesteader,” the thoughtful first single from their upcoming album, Westward, To Nowhere. McCuen tells us the album “Combin[es] elements of history, folklore, current events, and personal experience, Westward, To Nowhere is a concept album with a loose narrative that follows a drifter on a futile journey across the country; it deals with themes of isolation and searching for purpose against the desolate reality of American life.” Pulling from the deep well of Americana music, this first single shows off not only McCuen’s chops as a songwriter but also their beautifully subdued voice which is layered in parts and a single presence in others, set against the backdrop of lovely finger picked acoustic guitar, fiddle and mandolin. The full album releases on November 11th and is highly anticipated here at FTA. [KH]
Keefchamber– The Smoke Deity/Hands of a Wizard. NJ’s Keefchamber comes at you with a brand new two song demo that sees the band expand beyond their blackened stoner doom sensibilities. Normally a duo of bass and drums, these two songs feature guitar which adds a depth to the band’s already heavy sound and really shows off their songwriting prowess. “The Smoke Deity” recalls some of the psych drone qualities of a band like Queen Elephantine, while “Hands of a Wizard,” hits a straight up punk feel before heading into a slowed down psychy interlude before swinging back again to driving punk. I love this turn in their sound and am very much looking forward to an eventual full length from this group. [KH]
Laurel Canyon– Drop Out/Tangiers Laurel Canyon’s newest double single “Drop Out/Tangiers” would fit in well on an 80’s Sonic Youth record, with distortion, fuzz and a bit of jangle pushing forward under the shouted vocals. In fact, the cover art was done by Savage Pencil of “Death Valley ’69” fame. Their Steve Albini-recorded debut album will be out next year on Agitated Records. Catch them live on 10/1 at Sovereign. [CW]
Mauskovic Dance Band– Bukaroo Bank. A spacey, funky post punk meets dub jam from this Dutch outfit (who are all IRL family and related), it is the wonderfully weird title track from their upcoming album, Bukaroo Bank, due out 10/28 via Bongo Joe Records. Synth, sax, guitar and bongos all weave together with an incredibly infectious bass line, recalling the late 70s collision of no wave and post punk as it careened full on into the new wave of the 80s; there’s a little something for everyone in the mix here. This band is known for their unique take on post punk and “make madcap music intent on expanding musical universes,” and “ecstatic music for the body” that can be “escapist if you wish it to,” all of which feel totally on point and the most apt descriptors for this eccentric band. Keep your ears ready for this full length which is sure to be a wild ride. [KH]
Metz– Come On Down (feat. Joe Talbot)/Heaven’s Gate. Any day there’s new music from Metz is a good day for me. And combine that with IDLES, then life has just gone and made my week as both of these bands are massive in my life. The band said via their Instagram “‘Come On Down’ was originally recorded during the Atlas Vending sessions but never fully finished. During the pandemic collaboration was a way to fill the void left by the loss of live music and get that feeling of community that gigs provide. We reached out to Joe Talbot (IDLES) who is a longtime friend and who METZ has shared the stage with many, many times, and this song was a very natural and fun way to catch up with him and do something positive with our time off the road.” For fans of both groups, it is quite the treat to hear the signature raging noise of Metz with Joe Talbot on the mic, with Alex Edkins jumping in with his urgent yells on the choruses for the cherry on top. The song is accompanied by a striking music video directed by Arturo Baston.
The flip side of comes in the form of “Heaven’s Gate,” which the band says is a song they “wrote back in 2019 that was originally released in the Cyberpunk 2077 video game, we’re super excited for it to be widely available now.” Both songs fit in neatly within the Metz canon and come just ahead of their tour in celebration of the 10 year anniversary of their self-titled debut album. The tour will hit Warsaw on 10/22. [KH]
My Son The Doctor– Mesh. Brooklyn’s favorite power punks, My Son The Doctor, are back with a fresh new track this week. Chock full of smart lyrical humor, quirky delivery, big guitar highs, and rhythmic valleys, all wrapped up in gang vocal hooks, and neatly packed into two minutes, it fully delivers on what’s become a signature sound for the quartet. Complete with a super satisfying stop-go a quarter way thru, “Mesh” will be your go-to for all your playlists this Fall. [MB]
Niño– Call Your Number. This synth disco pop track is the latest from drummer/vocalist/producer Roger Cabrera aka Niño. An infectious bop that recalls the disco grooves of the 1970s blending seamlessly with the new wave glam of the 1980s, this is a mini party ready made for the dance floor or for getting yourself pumped up on your morning commute. [KH]
Salamander– Water. A combination of synthy glitch core meets laid back indie rock styling, Brooklyn’s Salamander brings us an ode to drinking water. Yes water—though my take is, perhaps, it’s actually a self care anthem because hydration is important after all! The band tells us “it is a unique spin on the sort of experimental pop songwriting and production that has gained momentum in the 2020s,” and indeed, it does contain a deep vein of experimentation and the nuanced layers of texture to match. They will soon release a four song EP, tooth/waste, so keep your eyes peeled on their social media for announcements. [KH]
Show Me The Body– We Came To Play. The genre bending hardcore band just announced their third album, Trouble The Water, and have shared the first single, “We Came To Play.” The song is built around acrid guitars and nu-metal inspired bass for heeeeavy feel and plenty of floor punching in the pit vibes. [KH]
