Tom Gluewicki is the one-man force behind the Brooklyn based music project, Tender Glue. His debut EP, Wait For Steady Light, came out in September 2015 and now, one year later, after acquiring more live performance, song writing and recording experience, Tender Glue is set to release its anticipated follow up album, fittingly entitled, Steady Light.
Tender Glue is known for his acoustic, indie-rock style meshed with a post-punk stripped down sound, all of which comes across in Steady Light. “West” the first single, is a slow, guitar-driven ballad that evokes Gluewicki’s heart felt intentionality, pouring through his music. Each guitar chord seems to drag, emphasizing his clear emotion and meaningfulness, and right when the listener would expect the track to come to a close, a beautiful moment of clarity opens up with the freeing simplicity of Gluewicki’s airy guitar work. This sort of nifty composure is heard throughout much of Steady Light and it appears that Gluewicki’s knack for not only song structure but skill in both the acoustic and electric guitar world has significantly improved over the year. It’s heard elsewhere in his music too with “Hope Street,” where acoustic chords are contrasted by the eerie drone of electric rambling. With its moments of dismay this song can definitely come across as somber, and maybe a little too dreary at points, but this also seems to be a part of what Tender Glue strives for in his music. It’s the longing for something that might no longer be there. Or it’s leaving a place you’ve come to know well, as with “Goodbye Bushwick,” yet recognizing to always carry home. Whatever it is, Gluewicki is quick to transmit that emotion into music.
Tender Glue’s somber, acoustically spacious and slight 90s grunge influence is what makes this one-man band such an honest delight to dive into. Steady Light is sure to be a must-listen throughout the upcoming autumn nights and straight through into the winter. And be sure to look out for Tender Glue’s album release show set for August 26th at City Reliquary in Brooklyn.
Key Tracks: West, Goodbye Bushwick, Hope Street
It was an interesting scene, seeing Disco Biscuits heads mingle among the usual weekend patrons of Coney Island. Roller coasters whipping past, the wafting smell of the salt water battling for dominance with the odor of the famous boardwalk hot dog, and good ol’ White Castle Express. It reminds you of a time past, but the New York City energy is still unmistakably crackling up and down the worn boards just as much as in the asphalt a few boroughs away. The Ford Amphitheater opened its doors at 6PM, revealing state of the art facilities and high quality monitors flanking the stage.
The Hungry March Band provided a nice introduction for the Biscuits, with members of the headlining act slowly joining as the March proceeded into a familiar melody. Both acts broke into “Spectacle,” and as the Biscuits began to take over the groove the Hungry Marchers exited stage left. Jon “The Barber” Gutwillig seemed to have some intonation issues during the opener, stopping abruptly to re-tune during the noodley 11/8 time section. He wasted no time getting his mojo right back in line however, as his solo during “¿Donde?” melted more than a few faces. The song was extremely put together considering the last time they played it live was September of 2010. Keyboardist Aron Magner provided a surreal acoustic piano introduction for a stunningly tight “The Very Moon,” which gave way to an absolutely raging “Tempest.” The segment transitioned into a flawless inverted “Digital Buddha,” continuing seamlessly into the funk section of “The Very Moon.” Seguing into the end of “And the Ladies Were the Rest of the Night” would complete the unfinished version from the previous evening, as well as bring the set to a dramatic close.
The Biscuits chose the Beastie Boys classic “No Sleep Till Brooklyn” as a perfectly apt opener for the second set, giving a nod to the Hip Hop titans as well as the location of the evening’s show. Having only played it out one other time in October of 2009, bassist Marc Brownstein seemed positively giddy to play an anthem from one of his childhood influences. “Run Like Hell” provided back to back covers for the last set of City Bisco. Without a single standalone song the entire set, the boys seemed to get into the pocket and stay there for a few songs after “Run Like Hell,” playing off of each other effortlessly but effectively. “Cyclone” seemed an obvious choice considering the name of the local minor league baseball team who’s stadium was about a quarter mile down the board walk and was a complete shredder.
After yet another weekend of unexpected bust outs and crazy set list arrangements, Bisconauts both tenured and amateur have a lot to look forward to. The Biscuits have proved that they’re back on the right track, 2016 seeming their comeback year. They’ll be headlining this upcoming Saturday, August 27 at Imagine Festival in Atlanta, as well as two nights in September at the Great North festival in Maine. This should give curious jam fans plenty of time to relax with the Disco Biscuits. And remember…they nasty, but they good.
Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).
The second set ignited with keyboardist Kyle Hollingsworth’s gritty and groovy original “You’ve Got The World.” The electronic influence on this once stripped down group shined through on “Hi Ho No Show” where drummers Jason Hann and Michael Travis showcased their talents alongside Hollingsworth’s synth playing. Bassist Keith Moseley would take his turn at vocals during the uplifting song he wrote known as “Joyful Sound,” Perhaps the most favorable cover came with the encore of the classic folk song “I Know You Rider” that many in the crowd were familiarized with by the Grateful Dead.
Night two continued the theme of uplifting pockets of exploration and danceable music. The synthesizer and techno beat laced Irish trance opener “Valley of the Jig” picked right back up from the previous night and showed that the band was eager to put on a great performance. Moseley took the lead on “Sweet Spot” midway through the set, holding down the microphone and bass at the same time. To close out the set, the Cheese men reached into their bag of tricks and pulled out an age old classic known as “Round The Wheel.”
Set number two was filled with brilliant covers and SCI originals to close out the run. Hot off their performance at Peach Fest where they performed an Allman Brothers Band set, Nershi and the boys were joined by Greg Allman’s guitarist Scott Sharrad while they ran through the instrumental “Hot Lanta” followed by Cheese’s “On The Road,” and finally the Allman’s “Southbound.” The set ended with “Way Back Home,” the bluegrass standard “Whiskey Before Breakfast,” and the Led Zeppelin staple “Kashmir,” pushing the envelope on all three. A three-piece encore emerged featuring Nershi leading his bandmates through “Honky Tonk Heroes” and “Hobo Song,” and sharing the mic during “Rosie,” which was highlighted by Kyle Hollingsworth’s finger work.