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Mustardmind - Saving Face
Mustardmind - Saving Face

Mustardmind - Saving Face


“Saving Face,” the latest single by Brooklyn-based indie-rock band Mustardmind, jumps head first into a rhythmic pattern of guitars and drums, before softening down to a strumming of a guitar. Then enters the raw voice of lead singer, Bobby Lewis, which serenades alongside the purposeful clashing of instruments. Together, they rise and fall throughout the entirety of the song. “Saving Face” moves through moments of quiet, acoustic melancholy, followed by an almost-brash aching and then back again, giving the listener a sense of being in two places at once. Mustardmind will be playing in Brooklyn this month, you can catch their performance at Our Wicked Lady on October 24.

Tiffany Hernandez on October 4, 2018
Men I Trust - Seven

Men I Trust - Seven


The gentle grooves swirling around on “Seven,” the latest single from Montreal-based indie trio, Men I Trust, makes for a charming, smooth-rock sound that you might hear while rummaging around in a thrift store. Fueled by the bounce of Jessy’s bass line, keyboardist, Dragos, and vocalist, Emma, all bring their layers to culminate to a calming warmth. The track is understated but has a distinct brightness and is complete with a soothing guitar solo at the end. Let this track accompany you as you break out your favorite fall sweater and soak up the rest of the season’s sunshine!

Deanna DiLandro on September 27, 2018
Nighttime - II (The Space Between)

Nighttime - II (The Space Between)


Brooklyn's Eva Louise Goodman better known as Nighttime, describes her sound as "haunting and ethereal folk." With the release of her latest single "II (The Space Between)" off of her new album set to release next month, one is able to see exactly how this description came about. Not only does this song really embrace the essence of the artist's sound, but also her name. As the first verse repeats "Night after night after night" the image of nighttime fills our minds accompanied by a bright moon that illuminates the darkness while also drawing attention to it. Goodman tastefully utilizes loops and layers, many of them echoing one another in lullaby-like fashion. There is a mystic wonder in "II (The Space Between)" as if the one who is leaving "you with this in mind" is not of this world. Like a vision or a dream, Nighttime's hazy voice subconsciously enters your psyche leaving you to wonder what is real. Be sure to see Nighttime take the stage with fellow Brooklyn artist Mutual Benefit and catch the release of Hand in the Dark out October 12!

Dara Bankole on September 27, 2018
Iron & Wine - What Hurts Worse

Iron & Wine - What Hurts Worse


There isn't a better coupling than autumn and new Iron & Wine. While the temperature chills there is a warmth in Sam Beam's voice and lyrics that is comforting and familiar. Whether he is singing about a flightless bird or asking a former love to not forget him in the nine minute and thirty-one second masterpiece that is " The Trapeze Swinger," Beam's skill of imagery is unmatched. In "What Hurts Worse," Beam looks inward in a more practical way urging us to become better than the ones that hurt us. "Let's become the lovers we need," he says, a cry to break the cyclical nature of hurt people hurting other people. Beginning with just a kick drum, there is a sort of tossing sensation that occurs, similarly to the way we can throw around negative emotions and experiences to rid ourselves of them. Beam is impassioned with these thoughts when he sings them, showing that they are coming from a genuine and knowledgeable place. "What Hurts Worse" ends with a droning effect that repeats the lines "Let's become the lovers we want / Let's become the lovers we need." in hopes that the repetition will stick in your head and make its way down to your heart. Check out the rest of the Weed Garden EP out now!

Dara Bankole on September 26, 2018
Surf Rock is Dead - Away Message

Surf Rock is Dead - Away Message


Brooklyn new-wave alt-rockers Surf Rock is Dead have released the first single from their upcoming debut LP. "Away Message" is an ode to a fallen friend — that friend being AOL Instant Messenger. Up until December 2017, AIM was the last vestige of a simpler age of technology. Before iMessage and Facebook, the application was the sole hub of all instant digital communication. SRiD's new song evokes nostalgia by sweetly recalling the days of using the service as a way to chat with a crush for the first time and what a thrill it was to hear that ringing bell alert when they signed on. The band's genre, which is often lumped in with other gazey Brooklyn indie-rock bands like DIIV or Beach Fossils, actually often incorporates elements of '90s alt-rock in a way many of their contemporaries do not, which is a fitting backdrop for the subject matter. Surf Rock is Dead's new album is due out next year.

Bobby Lewis on September 26, 2018
Helena Deland - Lean on You

Helena Deland - Lean on You


Hailing from Montreal, 26-year old singer-songwriter Helena Deland recently released her latest single “Lean on You” off of her upcoming EP, From the Series of Songs “Altogether Unaccompanied” Vol. III and IV. “Lean on You” begins slowly with Helena Deland singing along to the cooing of a guitar. The Montreal singer serenades, “Holding back, putting away / every perverted thing I’ve thought of saying / to you,” and with a gentle purpose, echoes the last line. In her hazy, thin-as-smoke voice, this line hums like a spell she is reciting to herself. Deland’s most recent ballad is quiet, but filled with urgency. Helena Deland’s voice is strong when she pushes, “I don’t need / to lean on you, no,” but there is a soft underbelly to the song, that suggests otherwise. “Lean on You” ends with Helena Deland humming softly alongside a steady rhythm, like waves crashing onto the shore — consistent, but somehow still mystifying and beautiful. 

Tiffany Hernandez on September 25, 2018
Kalle Mattson - Fades Away

Kalle Mattson - Fades Away


“Folk is dead,” Kalle Mattson proclaimed, and he clung to this mantra throughout the recording of his newest album, Youth. His morbid proclamation is less of an ultimatum and more of a challenge to himself to stretch the limits of what he might reasonably call folk music, the type of rule you set just so you can break it. “Fades Away” begins in a style not at all surprising for fans of Mattson, with floating synths filling out the space left empty by his tender fingerpicking and whispered vocals. Before long, however, these synthesizers are no longer content to simply float — they throb, they crash, and they announce a new era for Kalle Mattson. With his new bag of tricks, he sings of lost love and “making do with small-town fate,” caught in a helpless struggle against the relentless passage of time. Four minutes into his painful trek down memory lane, he pulls his most devious trick yet, cutting the track off mid-syllable and asserting control over his own fate once and for all. Folk isn’t dead, it just needed some new life.

Daniel Shanker on September 25, 2018
Fake Dad - Glory Days

Fake Dad - Glory Days


Nostalgia is a powerful theme in music today. Artists hailing from well-known major labels to the internet’s smallest crevices alike have commonly used it to provide warmth and resonance to their music. But it’s also no secret that modern-day culture has a nostalgia problem. With Hollywood relentlessly pumping out reboots of beloved franchises and the recent obsession of ‘80s culture in music and media, it's easy to feel as though we are a generation without identity; consumers of endlessly recycled material.

On “Glory Days,” Fake Dad take listeners on a trip down memory lane — but it feels closer to a cautionary tale than a fond retelling. Over a woozy synth and distorted bass, Fake Dad remember a simpler time when “we would all dress the same” and were “shallow minds living underneath the gutter.” Although we're practically trained to interpret the words warmly, it's hardly an affectionate look at childhood. Fast forward to today, and we are now “living vicariously through the screen” and “flipping through old photographs.” The song’s sonic landscape constantly shifts underneath — children giggling, pitched down vocals and overblown static are all thrown into the mix to give “Glory Days” a rich and effective texture. It’s a critical take on our nostalgic tendencies without being overly cynical, a promising highlight from an exciting new act.

Sam Reynolds on September 25, 2018
Grapetooth - Violent

Grapetooth - Violent


Grapetooth, a recent project that’s 50% Clay Frankel of Twin Peaks, has only released two singles so far. However, rumor has it that they’ve been causing a raucous over in Chicago playing live shows, leaving venues with holes in the ceiling and stained with wine (Grapetooth is a nickname that originated after a night of drinking a ton of red wine). The other half of the duo, Chris Bailoni, has been producing music for much longer than this group has been around. “Violent,” a dancey, synth-studded, irresistible banger that’s oddly reminiscent of the 80s, could only be the child of a rock n’ roller like Frankel and an electronic producer like Bailoni. It’s packed with energy and leaves you eager to hear more. Luckily, they’re working on a record to be released soon. Until then, this should be on heavy rotation.

Grace Eire on September 24, 2018
Autumn Days - Ben Rice

Autumn Days - Ben Rice


Brooklyn based singer-songwriter Ben Rice has perfectly captured what a fall day in New York City feels like as well as the emotions experienced during times of transition with his appropriately named song “Autumn Days.” With warm toned acoustic riffs and a gentle voice, he sings “Oh Dear, I’m getting too tired to run / I’ve seen what life has done / to all these places / familiar faces, they have gone,” speaking to the anxiety felt towards unwanted but inevitable change. With its well-blended acoustic guitar, steady bass lines, gentle keys and vulnerable demeanor, the track resonates with listeners on an emotional level before breaking into a bluesy guitar solo. As the song comes to a close, Rice expressively sings the chorus one more time before coming to an abrupt stop, signaling that change has finally arrived.

Alessandra Rincon on September 24, 2018
Adeline Hotel - Looking for the Same Thing

Adeline Hotel - Looking for the Same Thing


“Looking for the Same Thing,” the latest track from Brooklyn's Adeline Hotel, pairs the calm, familiar sound of Nick Drake with quiet audacity of Wilco’s “Yankee Hotel Foxtrot,” whose instruments test the waters as the song progresses before finding their true place in the arrangement. Like the instruments themselves, singer Dan Knishkowy has been “trying hard to figure shit out” on a couch, through a sleepless night, drinking alone and any which way he can. “Everyone I know / Been looking for the same thing,” sings Knishkowy, before acoustic and electric guitars sing out the same solo in their own voices, serving to remind us that we are not quite alone, just living in parallel, experiencing the same solitary confusion at the same time. He doesn’t have any answers, though. He leaves us wanting more, leaving the last chorus unfinished and launching into the song’s most transcendent moment, an instrumental outro forgoing answers for the simple reassurance that it, whatever it is, is alright.

Daniel Shanker on September 24, 2018

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