by Abby Trapp | May 31, 2018 | albums, review
Tancred is excited to release their latest album, Nightstand. The release of Nightstand follows up on the well praised 2016 album Out of the Garden. The album rounds out with eleven tracks, the first fittingly titled “Song One.” It is slow, sweet, and at 1:44 it is all too brief. Jess Abbott (Tancred) shows off her vulnerability on this track. “I will not lie to you, these words will be true,” leads the first line of Nightstand. “Why must she love someone else?” wonders Tancred. “Apple Tree Girl” has a folk indie vibe to it, with some interesting lyrics. “Drink my heart out, drink it up,” and “send me a photo, the two of us in the unknown,” make for interesting and almost emo lyrics.
I really enjoy Tancred’s “Underwear”. The song starts off slow and self-loathing, almost punk. “I don’t want to fight you, I’m already fighting me…and I’m losing,” sings Jess before the guitar comes in. The quirky title comes from the electric song line: “Remember when we were in the halls at 5am in our underwear running from ghosts and in my room I was learning that you were soft.” “Rowing” the last track on Nightstand, equally mirrors “Song One” and again shows the artist’s honesty and vulnerability. “I am crude and sweet in bed, I am gentle in a dress,” sings Tancred. With a taste of rock and tambourine, tinged with Tancred’s simple vocals, “Rowing” is a series of positive, gentle thoughts.
Nightstand, in one word, is diverse. It shows Tancred’s ability to navigate through a series of genres and styles, while remaining true as an artist.
Look for Nightstand which will be out June 1st 2018. Keep up with Tancred here.
by Christie McMenamin | May 29, 2018 | snapshot, visual
Slenderbodies headlined Brooklyn’s Rough Trade on May 7th. The indie/electronic guitar duo, made up of Ben and Max, were met with success quite quickly, scoring opening slots for both Passion Pit and PVRIS. For anyone who’s listened to Slenderbodies, it’s not much of a surprise. Not only is their guitar work deeply intricate, boasting a trademark wispiness that sets them apart from their peers, but they also sing, write, mix, and produce all their tracks. They fully own and control their creativity without anyone else interfering. It’s a rare feat in the music business, one that Slenderbodies deftly navigates with a seeming effortlessness.
Setting the mood prior to their set, two large lava lamps were placed to the right and left of the stage while a scarf swirled around a mic stand. The room was packed, and as Slenderbodies began to play in the near-darkness, the audience swayed and danced as the music gently wafted through the air. The only light came from brightly-colored, psychedelic graphics floating across a projector screen behind the band. The atmosphere was relaxing and peaceful; Slenderbodies delivered their fans a perfect ending to a Monday night.
Slenderbodies has a new LP coming out mid-late summer. Check out their latest single, “Anome,” here and for more Slenderbodies music, including a cover of MGMT’s “Electric Feel,” check out their Soundcloud here.
by Meredith Schneider | May 29, 2018 | snapshot, visual
On May 25th – otherwise known as Day 1 at Sasquatch! Music Festival in Quincy, Washington – The Suffers made a phenomenal performance overlooking a beautiful crowd at The Gorge close to sunset. It was an invigorating set, adequately preparing us all for a long night of wonderful music. We got some photos of the set, as well as a couple of portraits with leader singer Kam Franklin and drummer Nick Zamora.
Keep up with The Suffers here.
by Christie McMenamin | May 23, 2018 | snapshot, visual
Jeff Rosenstock is a household name in the New York area, particularly in Brooklyn. Touring in support of his new record, POST—, he sold out his Warsaw date so fast that another needed to be added. In his thirties, Jeff has fans both older and younger. Teens crowded the front row, pressing their bodies against the barricade to be as close as possible. Their eyes were on the band as they set up, smiles slowly creeping up their faces and eyes widening.
Before the band made their official entrance, the Foo Fighters’ “The Best of You” boomed over the speakers with only one line on repeat: “the best.” The entire audience chorused those words at the top of their lungs, fists pumping, invisibly puncturing the air.
Tearing into “USA,” POST—‘s first full track, the mayhem immediately began.
A Jeff Rosenstock show is like one collective headbang. The crowd sways and undulates back and forth like a wave with the force of fans crowdsurfing, jumping, pushing, and shoving. Beer dribbles down chins and over the mouths of metal cans in the midst of cheers while heads furiously nod to the beat, hair swinging like violent vines. Sweat beads across foreheads, bleeding down into soaked shirts. Rosenstock himself is a direct participant, a man of nonstop movement who spends more time in the air than he does with his feet planted on the ground.
The majority of the setlist consisted of both POST— and 2016’s WORRY. Every song was sung in unison, both band and crowd uniting in perfect harmony.
Towards the end, during “We Begged 2 Explode,” Rosenstock grabbed the mic and jumped into the pit, making his way down the front row where his youngest, most elated fans were located. He was not only singing to them, but with them. Their eyes sparkled while their grins shone in the light. They were hurriedly taking selfies and videos, excitedly waiting for Rosenstock to come to their particular spot.
At one point, Rosenstock suddenly disappeared. Everyone looked at each other in confusion. From the back of the crowd, there was a lot of noise and a brief clamor, causing the audience to turn around. Rosenstock had somehow gotten to the balcony in the very back of the venue by the front doors, saxophone in hand as he began to play. The crowd roared, and did so a few moments later, when Rosenstock jumped in and joined them, surfing on the weight of their hands.
Making his exit soon after, Rosenstock left the audience wanting more. That wasn’t a problem, however; many of them, as exhibited by a show of hands, were returning to see Rosenstock again the following night.
by Abby Trapp | May 22, 2018 | albums, review
As a well known actor for 25 years on TV, film, and Broadway (receiving praise for the role King George in Hamilton) Jon Patrick Walker has leapt in the music scene of songwriting and singing after the release of his first album The Guilty Party . Soon after Walker released his second album People Going Somewhere. Now, the multi-talented artist is thrilled at the release of You & I, his latest EP. The EP is composed of six tracks, including the title track “You and I.” The first track “Your Open Hand,” is an innocent love song. Jon is joined by actress and his wife, Hope Davis. Their voices blend perfectly together and the lyrics are touching as Hope and Jon sing to each other “Your open hand- and in your open heart, a brand new start.”
“I Can’t Not Do the Robot (When I’m Dancing With You)” is drastically different from “Your Open Hand,” as the song pays homage to early rock and is a funky bop. “I can’t not do the robot when I’m with you!,” Jon enthusiastically shouts. Some tracks take a somber more reflective note like “I Won’t Sit Around & Cry.” Singing on the love that he wishes he had, Jon realizes that while he waits- he won’t be sulking in the meantime. “I want a real love…I want to feel love- but I won’t sit around and cry,” laments Walker. My favorite line is “Say it’s not the destination, it’s the journey no matter how lonely I am.” The folky song will have you feeling wishy washy but a little lifted as you listen to Jon patiently wait, with no tears in the meantime.
My favorite track is “You and I.” This jazzy title track has a little bit of everything; Jon’s soft airy vocals, love infused lyrics, the feeling of a live jazz band in a coffee shop, and even some whistling. “Raise the flag, just so long as it is black- I’ll make it green for earth, blue for sky, red for love- for you and I,” Walker sings on “You and I,” as his beautiful use of imagery shows not only his knack for writing but also for creativity. The EP holds a variety of folk, alternative, and jazz and has something for all music lovers alike.
You & I is available now. Keep up with Jon Patrick Walker here.
by Abby Trapp | May 21, 2018 | albums, review
The Brooklyn based rock band Language, just released their latest EP Plymouth via Good Eye Records. The rock band consists of Omar Afzaal (guitar), Charles Sloan (bass) and Wes Black (drums). After self-released EP’s, Plymouth is the product of their signing with Good Eye Records. Plymouth has five tracks, including the title track “Plymouth.” The album encompasses all things rock and kicks off with the track “Where To.” With no vocals and only lasting at 1:21, “Where To,” holds up to its name. It really serves as an introduction to the band’s sound which include notes of bass, guitar, and a steady drums. “Game Piece” shows off the band’s vocal talents, far-reaching as they are. The band’s vocals remain gritty and angsty with true rock feel. “Fingers small, in a father’s hands,” Language sings on “Game Piece.” The song has a punk-rock feel and definitely is something to jam out to.
“Plymouth” remains creepy at first, with a distant sound of buildup to the drop of the beat. The song soon changes pace halfway with calming vocals– “Landed on a new rock, kinda like the old one.” I believe that the “rock” is in reference to Language’s new album, their signing with Good Eye Records, and coming full circle as a band and artists. Plymouth remains the band’s “new rock.”
Keep up with Language here.
