by Meredith Schneider | Dec 14, 2017 | wolf tracks
Brooklyn-based rock collective Lovehoney – comprised of Alysia Quinones (vocals), Tommy White (guitar), Tom Gehlhaus (drums), and Matt Saleh (bass) – might just be getting their start together, but they have already melted faces at some prominent venues on the east coast. Their recent single “Try to Get Rid of Me” really flourishes in that aggressive rock soundscape, a nostalgic 70s twinge to the vocal recordings throwing us back to a time where leather vests, fringe, and long, flowing locks dominated. Whirring guitars keep the energy consistently badass as Quinones belts out honest and compelling lyrics anyone could relate to.
Keep up with Lovehoney here.
by Meredith Schneider | Dec 13, 2017 | wolf tracks
New York-based art rock collective Heroes of Toolik – comprised of Arad Evans (guitar), Jennifer Coates (violin), Moppa Elliott (bass), John Speck (trombone), and Michael Evans (percussion) – has chosen to take the band in a different direction from their previous two album releases. Not only did they add Elliott and Evans to the lineup, but they’ve also added a noticeably more experimental layer to their work that both captivates and encourages the listener. They’ve really brought that to light with a short film they recently released of a studio performance as the official video for their track “Quincunx”.
The word “quincunx” translates to “an arrangement of five things,” so they take that meaning in the most literal sense just being a band together. The band and the word are simple, yet intrinsically complex. The video itself mirrors this concept, as it is a relatively simple live performance but is built of its own instrumental complexities. Bathed in warm light in the heart of summer – June 22nd, 2017, to be exact – Heroes of Toolik find their groove together in a way that just insists on provoking an ambiance. And it’s absolutely beautiful.
Keep up with Heroes of Toolik here.
by Meredith Schneider | Dec 13, 2017 | wolf tracks
Los Angeles-based duo Swimsuit Issue – comprised of Miles Garber and David Gagliardi – may have based their name from the fact that Garber’s initial introduction into the entertainment industry was as a relatively prominent model in the fashion world, but that’s not the initial takeaway from their art. In fact, as good looking as both guys are, their career has the ability to stand on its own based purely on their talent. It’s obvious to see why if you just listen to their debut single, a mid-tempo indie pop/rock track whose guitars give it edge while the vocals reside in more of a Kurt Cobain-meets-Sting ethereal sphere, replete with reverb.
The song itself is about addiction, the lyrics melancholic and sensitive, as one would expect. And though the duo has admitted to having a more somber tone to their music, we’re thrilled to hear what’s to come from their upcoming record.
Keep up with Swimsuit Issue here.
by Meredith Schneider | Dec 12, 2017 | wolf tracks
Los Angeles-based rock quintet We’re No Gentlemen – comprised of Amanda Gabel (vocals), Rikki Juarez (rhythm guitarist), Daniele Boneddu (bass), Vince Gudino (drums), and Dan Schiz (lead guitar) – debuted the official music video for their track “Night” just today. This song wraps you up in intricate guitars while Gabel’s vocals claim a Kelly Clarkson-meets-Amy Lee sound to them, dragging us into this rock ballad with its ferocity and beauty.
The video is no different, directed by Henry Arres and shot with a dim and intense feel to the visuals, as we follow each member of the band through times of stress and turmoil. Between visually stunning shots of each individual’s distraught facial expressions, we get a look into the band’s live performance chops as frames of them playing the song together in a dark room almost hold each story together like a thread of escape from this twisted world and the issues we face.
We’re No Gentlemen is out now. Keep up with We’re No Gentlemen here.
by Christie McMenamin | Dec 12, 2017 | snapshot
The line wrapped around Times Square, making a mess of Broadway. Swarms of fans covered themselves in swaths of red and green, draping blinking Christmas lights across their bodies and topping them off with Santa hats. And some were decked out another way: t-shirts with pictures of three smiling brothers were the most common, and even fashionable, accessory.
Right on the heels of their Middle of Everywhere tour, honoring 25 years as a band, Hanson was intent on closing 2017 with a bang. With October 27th’s release of their new Christmas album, Finally It’s Christmas, Hanson added an implicit nod to their fanbase. Every year since the release of their first Christmas record twenty years ago, Snowed In, Hanson’s fans have been eagerly and incessantly clamoring for another. And this year, an early Christmas gift arrived, complete with celebratory shows in select cities, almost all of them sold out. November 28th was the first of Hanson’s two-night run at the PlayStation Theater.
The stage was set, adorned with lights and garland, readying the audience for what was to come as greetings were given, drinks were purchased, and laughter wafted through the air. Projections of snowflakes swept across the floor, lending a more wintry feel to a surprisingly warm November night.
And then the lights were lowered. Screams, cheers, and claps commenced as Hanson stepped out, each formally dressed as if on the way to a holiday party; guitarist Isaac Hanson sported a green tie, drummer Zac Hanson a red bowtie, and pianist Taylor Hanson with a blue scarf dotted with white, resembling the snowflakes on stage. Immediately breaking into “Finally It’s Christmas,” the triumphant first track kicking off the new album, the crowd began singing along at the top of their lungs; they already had it memorized. Accompanying Hanson was a saxophone player, who often danced in coordinated movements with their bass player, laughing as they did so and giving a new meaning to the word “merry.” With this inclusion, Hanson’s sound was more jubilant than ever before, an elevation to a fuller, louder plane, similar to 2010’s Shout It Out, which features horns on many of its tracks. Hanson crafts each song in a different way, and are always up for experimentation. With 25 years under their collective belt, they search for new and innovative ways to enhance their music, and this new record is proof.
Hanson not only played songs off Finally It’s Christmas, but also songs off Snowed In. Though they were only children at the time, they still penned three original Christmas tracks, “At Christmas,” “Christmas Time,” and “Everybody Knows The Claus” as well as their own medley of “O Holy Night,” “Silent Night,” and “O Come All Ye Faithful.”
There were too many highlights of the show to count: you could say the best part was Taylor walking to the front of the stage during “Christmas (Baby Please Come Home),” shaking a tambourine and encouraging the crowd to sing background vocals with Isaac and Zac. Or when Isaac issued a challenge to the audience during “Til New Year’s Night,” one of the most standout tracks on Finally It’s Christmas, imploring the crowd to name each reindeer before launching back into the song Chuck Berry-style. Or maybe it was when Zac took over the piano during “Please Come Home,” his voice soaring over the keys while Taylor played drums. Objectively, however, it was “Joy To The Mountain” a capella that stood out the most, with Hanson’s harmonies in flight, echoing from floor to ceiling in the near-silent theater. It grabbed the audience and arrested them into a quiet trance, the lull of a Christmas lullaby.
The end of the show featured “Everybody Knows The Claus,” one of Snowed In’s most beloved tracks. Everyone was dancing with abandon, recalling the days of childhood and the mad dash to the local record store on the day Snowed In was first released, relishing every bit of it, second after second, minute after minute, meticulously taking it all in on cassette tape. And 20 years later, those experiences and memories are still emblazed in the brain and heart, which is what made this show so meaningful. Hanson always delivers to their fans, giving them nearly two hours of music, finally ending the encore with “Have Yourself A Merry Little Christmas.”
It was the perfect note to end on, allowing a moment of reflection and pause before the final bow and goodbye—until 2018.
by Meredith Schneider | Dec 12, 2017 | 5 to 7
Though they started their respective musical endeavors on the same page – they began writing music together at the age of 11, only to pursue different paths beginning in high school – twin sisters Leila and Omnia Hegazy were on opposite ends of the spectrum as they explored music careers independently of each other. But after graduating college in 2012, they chose to combine Leila’s R&B influence and Omnia’s pop rock intensity to create a unique and wonderful sound in a collaborative effort. It was years later, in 2016 shortly after their father passed, that the project now known as Hegazy – their surname chosen in honor of their father – .was born.
Hegazy’s debut EP Young is due out in early 2018. In honor of that news, we fired some questions at the budding stars to get their thoughts on mindfulness, the writing process, and the upcoming release.
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What was the first album or song you remember ever listening to, and who introduced it to you?
Most likely Billy Joel, although we can’t remember which album/song we heard first because our Mom was a super fan and she played ALL of them. We also heard a lot of Oum Kalthoum growing up (renowned Egyptian singer) thanks to our Dad. He was Egyptian and played her music all the time. There’s a classic song called “Alf Leyla Wa Leyla” that every Egyptian knows.
Was there a moment that you realized you had the talent and the drive to pursue music? What is the origin story of Hegazy?
We were both super young when we started singing, probably around five. We were band and chorus geeks all throughout elementary school and beyond, playing clarinet in school band and then taking up instruments outside of school (Omnia learned violin and Leila learned piano). We were eleven when we started writing songs at our great-grandmother’s piano, singing gibberish until it sounded like something. We wrote our first songs together and when Omnia started playing guitar a year later, we started writing separately. Creating on our own made a lot more sense logistically as we got older because we went to different high schools and colleges and weren’t together as often. Leila studied jazz and got into R&B and soul music, while Omnia wrote angsty pop/rock songs on acoustic guitar and flirted with singing in Arabic here and there (our Dad was the language coach throughout that process). So needless to say, we became very different people as we grew up, in personality and musical style. When Leila moved back home from college after graduation, we became roommates again and continued to work separately until at some point our styles started to meet in the soul/pop realm. We started collaborating again, co-billing at shows and sometimes even playing together. After our Dad passed away in late 2015, we decided to officially become a duo under his last name, Hegazy.
We know you work together in homage to your father, and that’s such a beautiful and unique thing to offer. But we do wonder, as twins, is it difficult working together? Are there any quirks or rules to the relationship?
That’s a great question! Twin relationships are really intense, and probably even more intense than that of normal siblings. There are no secrets, and there’s no filter because you’re so comfortable with each other, so it requires a lot of mindfulness to express disagreement constructively, without being too blunt. And because each of us participated in differing musical genres before we became a duo, we definitely have artistic differences when we write songs together. So if one sister doesn’t like the other’s idea, the rule is to sleep on it before ruling it out. A lot of times, one of us will be so opposed to the other’s idea in the beginning, but after sitting with it, she’ll realize that the idea was actually pretty darn good, even if it’s not what she would have opted to do on her own. The power of the pause is real and compromise is so important in order to make any kind of partnership work! We’ll be real with you guys and admit that we are still working on this.
What is your writing process like? Take us inside it all!
Our songs almost always start with melody and chords first, with the understanding that everything is subject to change. Even though we’re a duo, we rarely start writing a song in the same room. We still work on our own, and after coming up with a song, one sister takes those ideas to the other for feedback. Very often, one of us starts a song, and the other finishes it. Sometimes finishing it means completely reimagining it and sometimes, it just means tweaking it, either lyrically or in terms of form. Both of us agonize over lyrics – it’s probably the one thing we argue about most. Regardless of ego, two heads are almost always better than one and we know our music is better for it.
Your debut EP is expected in early 2018. What have you been learning through the production process? Any fun memories or anecdotes?
We had so much fun recording this past summer with such a kickass band and producer. Our producer Jon Seale of Mason Jar Music in Brooklyn did an amazing job of taking our differing influences and bringing them to life in a way that represents both of us. We recorded most of our vocals the same way we practice: facing each other and watching each other’s mouths so that we could match each other with precision. We have of course learned, that everything does take longer than you think it’s going to. Creativity takes time and patience is key. Fun thing: While we were recording, our producer Jon had just gotten an adorable Australian Shepherd puppy. She wasn’t there most of the time because obviously puppies make noise, but seeing her always made our day.
What do you think is the most important advice you have ever gotten regarding your music?
Our Dad was the one who constantly suggested that we work together and like typical teenagers, we didn’t listen at the time. But he is the reason we are a duo today. We know he’s up in the clouds somewhere saying he told us so.
Anything else you’d like to add?
We released two singles with music videos this Fall called “Alive” and “Here to Stay” and we are so passionate about both of them. “Alive” was written about quitting a day-job to pursue music, and for the video we actually followed around 5 real people with a camera crew as they went about their jobs and their passions. We wanted to show that how people pay their bills isn’t necessarily who they are. This video is so New York, and so us.
Our recent single “Here to Stay” is political satire about xenophobia in America and the video features the most adorable child cast. As Arab-American women, we have a lot to say about what is going on in the US right now in terms of the Muslim Ban, the removal of DACA, and anti-immigrant sentiment in general. We felt a moral responsibility to speak up through our music, and couldn’t have made a record during these crazy times without acknowledging the hateful rhetoric that has been normalized in the past few years. But the song/video is actually really uplifting and playful, despite how serious this topic is. We had a small, but amazing film crew for both videos, and we need to shout out our director Steph Ching, who took our concepts and ran with them in the most beautiful way. These projects truly came from our hearts and we’re so proud of them.
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Keep up with Hegazy here!
by Meredith Schneider | Dec 8, 2017 | wolf tracks
Garage rock/power pop collective The Hell Yeah Babies – comprised of Mike Pfeiffer, Julian Ames, Dylan Roth, and Sam Paxton – might call Astoria, New York home, but we’re thinking that just might change if they continue in the direction they’ve been going. Their first release was just last year, and they’ve already developed
We always talk about how songs make us feel like we’re a part of New York City nightlife, but “Grenadine Nosebleeds” was actually written about New York City nightlife. While the band croons “I don’t wanna go home,” we get lost in surf-like guitar riffs that somehow – mysteriously – make us feel like we’re dancing around the city in the summertime. Which is quite a departure from the cold, winter vibes we’ve been tripping all over as of late. It’s got this anthemic feel to it, and by the end of it you feel like you’re claiming your own dance territory in the face of opposition.
Aggressive, beautiful, fun.
“Grenadine Nosebleeds” is out now. Keep up with The Hell Yeah Babies here.
by Meredith Schneider | Dec 7, 2017 | 5 to 7
Just last month, Massachusetts-based indie pop/punk rock four piece Kindling released a particularly impressive and instrumentally heavy 10-track album titled Hush. Though the intro to a lot of the tracks starts in a different soundscape, eventually the meat of most of the songs hits with multiple guitars that create an almost cacophonous ambiance around the chorus of vocals. It’s quite the experience, and while we certainly suggest showing off your dance moves while enjoying the album, we also kind of hope you have access to a starry night sky, dope lawn chairs, and string lights to enjoy “Rain”.
We got the chance to catch up with vocalists/guitarists Stephen Pierce and Gretchen Williams shortly after the release of Hush.
What was the first album or song you remember ever listening to, and who introduced it to you?
Stephen Pierce: I don’t know exactly the record, but my parents were always listening to a lot of British Invasion stuff —
Yardbirds,
The Animals,
The Kinks.. My dad liked the
Stones and my mom liked
The Beatles. There’s in particular this one tape my dad had of The Yardbirds’ BBC sessions that is seared into my consciousness, right down to the hammy BBC announcer’s voice.
Gretchen Williams: When I was about seven or so, I had a camp counselor that had my troop perform the
Shangri-Las‘ “Leader of the Pack” in a talent show. Naturally, I was assigned to be part of the motorcycle gang and made a construction paper leather jacket to wear. I really loved the sound and doomed-love-story subject matter as a kid, and played my cassette of the recording a lot at home.
What is the Kindling origin story?
Gretchen: In the winter of 2014, Stephen and I formed Kindling after he asked me to contribute to a few songs he’d written. Initially, we didn’t really have a sense of where we might be headed; we just wanted to write a bunch of catchy songs quickly. Our demo was just the two of us, and we subsequently self-recorded a 7″ before recruiting others to the band.
How would you say you’ve developed your sound and your relationship with each other since your first EP?
Stephen: I think Hush is definitely bigger and more ambitious than the previous stuff, which was probably bigger than the stuff that preceded that… Each recording we’re one step closer to being a fucking prog band or something. But seriously, the more ya work at anything, I guess the more comfortable it’ll feel, and I feel pretty comfortable these days with the band, from our process to our songs to how I communicate with my bandmates – communication hasn’t always been an easy thing for me. But, like: You figure out what works best for everyone, and try to do things that way.
Gretchen: Despite a lot of the lyrical content of Hush focusing on uncertainty, I think we’ve found a little more confidence on this record. We reached for a bigger, more complex sound and integrated some new instruments (mellotron and sitar appear on a few tracks throughout the album).
What is your writing process like? Do you start with a melody, start with concept, brain dump lyrics? Take us inside it all!
Stephen: I usually sit with a guitar on the couch and just, like, watch tv and if something good appears, I’ll hit mute on the tv and record it on my phone, then revisit it at the practice space, or sometimes maybe just, like, loop it and vibe it out. Lyrics come afterwards, usually I’ll demo the instrumental stuff with Andy, our drummer, and spend a lot of time listening to the instrumentals while, like, riding my bike or something. Then Gretchen and I will work on vocal phrasing and words. Or we’ll have ideas and throw them back and forth between each other, usually what we come up with is pretty similar.
How do you imagine people listening to this album?
Gretchen: Late at night when you can’t sleep; or on a long bus trip; or walking through the woods; or just trying to get through the day — basically any time you might feel a little bit wistful and restless.
Stephen: I like the thought of Hush playing annoyingly loud while quitting yer shitty job, or something. Tell off the boss in a giant spectacle with the assistance of Hush.
Who is your favorite superhero? Substantiate your claim.
Gretchen: The only comic I ever read growing up was Archie, so I guess my favorite superhero is Jughead? He always seemed pretty impervious to the stresses of modern life in Riverdale–a trait I admire.
Stephen: Spider-Man, because he was such a loser and I find that highly relatable.
What is your favorite word?
Gretchen: Probably a toss up between “somnambulance” and “goblin.”
Stephen: Mine is “Goblinambulance”
Perfection. Anything else you’d like to add?
Stephen: Thanks so much!
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Hush is available now. Keep up with Kindling here.
by Meredith Schneider | Dec 6, 2017 | 5 to 7
In August, New York based rock trio Upright Man – comprised of Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals) and Max Yassky (drums / percussion / background vocals) – released their debut self-titled album. Packed to the brim with guitar-driven psychedelia and well-rounded, intense – yet somehow innately relaxing – vocals, the ten track album made a strong impact on its audience almost immediately. Exploring a wide soundscape with the prowess of a much more experienced band, we’re under the very strong impression that Upright Man is here to stay, and they’ve certainly left a mark.
We caught up with the guys briefly before the holidays to get a little insight into their process and more. Check it out below, and get your ears on Upright Man if you haven’t quite yet!
What is the first song or album you ever remember hearing, and who introduced it to you?
Max: It’s either “Only The Lonely” by Roy Orbison, or “Busted” by Ray Charles. Thanks Mom.
Aidan: Though I had heard music everywhere before I knew what it was, the first album as a whole that I became aware of was probably Jimi Hendrix’s “Are You Experienced?” It was in the CD player in our car that we took to and from school. The attitude and badassness was so obvious to me as a little kid and I still feel the same way.
Nick: Probably “With The Beatles” or “Help!” Though I discovered at 14 that I already knew all the words to “In My Hour of Darkness” by Gram Parsons even though I had no memory of listening to the record before. So I think I heard a lot of music before I was really making memories.
We know you met at NYU, but what is the Upright Man origin story like? Was it a meet-cute?
Max: I had to look up meet-cute. No it wasn’t anything like a romantic comedy, but we all did hit it off pretty quickly. We met and hung out as peers in school and then started making music for other people’s projects. We – all three – started making prog-jazz-classical music before we moved on to the space-rock music we’re making now.
Nick: Yeah, what Max said.
Your self-titled debut just released. What has that been like for you?
Max: Releasing an album feels like the most foreign part of making music to me. We play and write so much that sometimes I forget the end goal is for other people to hear it. I’m kind of stunned when I imagine strangers listening to it.
Aidan: It feels good to enter a new stage of development for the band. Now that we have a completed product, we have to get it out there and take the band on the road. Our passion is music and creating it, but as musicians and a band, we have to take responsibility for so many aspects of the business of being a band as well.
Nick: There’s inherent satisfaction in seeing things finished. Having people seem to like it is just a nice little bonus.
Do you have any fun anecdotes from the recording process?
Max: We had a fight with a very obstinate restaurateur. We ordered enough tortilla chips and guac to fuel a small force of underpaid interns, but got zilch. When we called up the restaurant, instead of your expected “Oh we’ll fix it”, we got put on hold while the owner checked the security tapes and assured us that all the chips left with the delivery fella. What do you do, right? Try and explain the laws of physics? Zero tortilla chips delivered to us = zero tortilla chips delivered to us. We each tried to explain this to the owner and finally our producer hung up dejectedly.
Aidan: While we were recording at Avatar Studios in NYC, we decided to use the physical reverb chambers, which are located somewhere in the stairwell of the building. We realized the mics in the reverb chambers were picking up this whole class of elementary school students playing outside, creating a really eerie far away sound of children screaming and laughing. We decided to record that and even took it a step further by running outside and asking them all to make as much noise as possible to be on our record! It sounded awesome, but we never found a place for it. Maybe next record..
Nick: It was awful and I hated every minute of it … I’m just kidding, I love being in the studio.
If your album were any Thanksgiving meal dish – an appetizer, main course, side dish, dessert, drink, whatever – what would it be and why?
Max: It’s the unidentifiable yet delicious troth of hot mash brought by that one obscure work friend of your cousin’s.
Aidan: Dat bomb gravy.
Nick: Guys, you’re really selling it short, it’s the whole turkey, stuffing, drippings and all.
We really love the composition and overall sound of “Ecstasy”. What inspired that song – if we may ask – specifically?
Max: Thanks. When we were writing it I remember thinking of this image I had in my head from a news clipping. Apparently some of the older folks in Gaza would sit on this one couch on the edge of the city, eat watermelon, smoke cigars, and watch the chaos as if it were a television program.
Aidan: It started off on guitar as the little intro chorus/riff. The lyrics sort of came from describing a feeling of pure resignation and disconnection from the world, while still being ironically blissful in its comfort. There is a moment of self realization and hopefulness in the song, but some things never last. The form has an interesting way of mirroring that emotion in a developmental way.
Nick: It was born of self restraint in a way.
Being a musical project located in NYC has its advantages and disadvantages, of course, just as any place else does. Have you been able to navigate the highly saturated music scene in NYC to find some of your favorite gems?
Max: That saturation is one of my favorite things about the city. It does make people cynical about exploring new music, but for studios, venues, stores and new people to meet, being here is a total boon. Of course you meet great people everywhere and there’s plenty of shit here too.
Aidan: The saturation is advantageous in the way that Max says, giving you so many options to experience many different types of music at a high level musicianship, but as a band in its nascent stage, you have a lot of other bands and forms of entertainment to compete with on any given night, so it’s hard to grow beyond the audience of your family, friends, and friends of friends. There is a very elusive sense of a scene and you have to really make a ruckus to get people to come to your show over something else.
What are you most excited about with your debut album?
Max: Having a copy.
Aidan: Seeing and hearing other people’s reaction to our music.
Nick: Getting to the next one.
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The band will be playing a show in honor of an upcoming video release and Aidan’s birthday at Mercury Lounge. Tickets are available now. Keep up with Upright Man here.
