If there’s anything I’ve learned about Boy Jr., it’s to expect the unexpected. Rochester native Erica Lubman has been experimenting with music since childhood, combining her love for garage rock and indie pop with a flair for dramatic fashion. She’s equally likely to turn up on stage in a retro matching tracksuit as a leather skirt and torn T-shirt. As with her wardrobe, she shows off a wide range of songs in her repertoire – from punk to grunge.
Boy Jr.’s latest release “Anyway” shows her ability to continue to stretch and grow in innovative ways. “Anyway” pairs guitar-driven rock with spunky girl power (think Cage The Elephant meets Caroline Rose). Give it a spin!
Go to Spotify to hear more by Boy Jr. and follow on Facebook for upcoming shows.
On December 6, Rubblebucket brought their tour through Lucky Strike in Albany in support of their new album, Sun Machine. The duo in Kalmia Traver and Alex Toth are keeping the Rubblebucket name alive after a long, tough road. Sun Machine is an album that literally follows their own struggles as an on and off couple and keeping their personal issues aside as they continue to work together. The songs are incredibly powerful and make for what is being considered quite the theatrical performance.
And The Kids from Northampton, MA opened the show. They’ve been on tour together a few times now as Kalmia and Alex have become close with the members, even having the “Kids” come out on stage with them for a couple songs. Rubblebucket backs themselves with an incredible touring band that changes from time to time but generally stays the same. Mixing their old classics like “Came Out of a Lady” and new ones like “Party Like Your Heart Hurts,” the band puts on an incredible production with shadow screens and, at one point, literally bringing the crowd to its knees and crowd surfing over them while playing their horns.
Rubblebucket just announced their spring tour, coming back through New York in late January and mid-March before heading west.
Individually Rebecca Loebe, Grace Pettis and BettySoo are established singer/songwriter/performers, each with a Kerrville Folk Festival New Folk Competition winner title in their pockets. In 2017, Rebecca suggested a joint tour by the three “just to share the road, share our audiences and have a bit of fun.” That one-off idea was followed by a homemade promo video, a songwriting session, a record deal, and the birth of Nobody’s Girl.
NYS Music spoke with all three members by phone in late November after a scheduled return to the Towne Crier in Beacon, N.Y. was “snow-poned” due to a heavy dumping of white stuff, canceling the evening’s show and taking our pre-show interview with it.
After “announcing” ourselves on the line, we were ready roll.
Mickey Deneher: I think of this as the evolution of Nobody’s Girl. You guys started out as friends. When did you first meet?
Grace Pettis: We first meet around 10 years ago at the Kerville Folk Festival.
MD: Each one of you is an award winner (at Kerville.)
GP: We did all win the (New Folk) competition in different years. (But) that was the first year we all were there and hanging out and just became pals.
MD: You go to Kerville, do song circles, a one-off tour, a writing session, and then a record deal from the session. Was this just a flash or the progression you where looking for?
Rebecca Loebe: You pretty much nailed it, the progression of it. Basically it just happened organically and very quickly. That as soon as we got together and started singing together we had this great sort of harmony and chemistry together and just sort of opportunities kept presenting themselves really quickly.
You know our first co-write was pretty magical. We wrote 3 songs in basically 18 hours that we really liked. When we played them for the folks who owned the recording studio where we had gone to write, they offered us a record deal. At that point we had not even played a gig together. We didn’t have any plans of touring or plans of becoming a band. I think that made it all develop really naturally, the fact that it wasn’t something that any of us where all gunning for. We didn’t have, you know, aspirations to make this the coolest band project ever. We just thought it was fun when we sang together.
Rebecca Loebe
MD: Let’s talk about the writing for the EP. All three of you are credited (for the originals). Is that because it is the writing process or do you all have to get in pieces?
Grace Pettis: We are an equal collaboration at the writing table. Which is such a new and cool experience. I have written with a lot of people. I love co-writing. But I have never been in a band, where all three members are professional songwriters and get so much joy out of that process and can kind of meet each other at the same level as co-writers. That’s just been really fun. All of the songs are true, true collaborations. Like honestly, nobody really takes the lead. Maybe somebody will have an idea, somebody will take it and run with it, and then somebody else will chime in with a different direction and we write them from scratch. Together. Equally.
MD: You went in for a writing session. You didn’t go in as a band, but you came out as a band.
BettySoo: We were writing for the three of us to sing together. We definitely had that in mind. I don’t think we were writing like we would scrap a song if it was good and it didn’t feel like it was going to suit the trio that well. But definitely, that was definitely sitting in our minds as we were writing. Whether it was subconscious or whatever, that this was a song for the three of us.
Grace Pettis: Definitely.
BettySoo: I’m sure that shaped the process some, whether we were that conscious of it or not.
MD: So you had the “voices” in your head that you were writing for.
BettySoo: Absolutely.
We turned our conversation to the band’s recently released debut recording “Waterline,” which contains 4 original compositions, two covers, and a bonus acoustic rendition of the title track. It was recorded at Studios at Fischer with assistance from some of Austin’s top session players. The EP was released on the Lucky Hound label.
MD: I’ve enjoyed the EP. The writing, the harmonies, there are different voices in there. I’ve grouped them as I hear the different voices. Tell me about “Waterline” and “Riding out the Storm.” Metaphoric songs? Deep things happening to you guys? Am I thinking correctly?
BettySoo: “Waterline” is an interesting example of a song that started with one idea and ended up in a completely different place. It started with, I remember really clearly, a chorus idea that I had on Christmas morning last year. I would sing it for you but you would not recognize it. It did not end up in the finished song. I brought the chorus to the group and we thought oh yeah that’s a good starting place, we’ll start with that. We wrote some verses and then we liked the verses that we wrote so much more than that chorus that we had to write a better chorus to match the song.
I think there is a metaphor in that song about how things change slowly and you can use the waterline as a reference. Gauge how things have changed over time.
BettySoo
MD: “Bluebonnets” (a Raina Rose composition) is an opening up of what I want to become? I haven’t been there? This is what I’m going to be?
Grace Pettis: That’s an interesting take. I think at the time, we were left kind of writing toward a theme in terms of let’s write five songs that all fit into a theme. We just were all writing from out experiences in life and some themes just came naturally out of that. When we decided to play “Bluebonnets,” it was mostly just because we all loved the song and we loved the songwriter Raina Rose. Rebecca suggested that one. I tried it on, cause it kind of fell to me. It was time for another song where Grace is singing lead. I was sort of tooling around with it. As I was playing it, I had always liked that song and I had know of it for maybe a decade, as I was playing it, I fell more in love with it as I was singing it because it just sounds like this classic Texas country song. To me it sounds like a Willie Nelson song or Townes Van Zandt song or something like that. It just sounds like classic and there is so much heart in it. So I feel like it sings itself almost.
MD: “Call Me,” (Blondie cover) fun song, great song. What brought that to the EP?
Rebecca Loebe: I think it came out of a conversation on what kind of songs we wanted to cover. We were talking about writers who inspire us; women who inspire us. We sort of all stumbled into our admiration of Debbie Harry, who is the driving force behind Blondie and an absolute badass, and Grace mentioned that she had been rehearsing “Call Me” and thinking of covering it. We pulled it up and listened to it and it really clicked with all of us. We sat, spent an hour working on an arrangement, and it was just so much fun using all our voices and BettySoo’s incredible electric guitar to come up with a version of that song that really feels like us.
Grace Pettis
MD: Let’s talk about the band name. Who came up with that? (All three start laughing.)
BettySoo: That may have been the most full on equal part labor.
Grace Pettis: Yeah.
BettySoo: That thing (band name) that we wrote, even more than the five (songs.) Because we didn’t intend to be a band at first, we just thought we’re three pals going out on a kind of co-bill tour; that was nothing that we spent a lot of time working on. We were writing songs thinking it would be a special moment in a show. All of a sudden we find ourselves with this record deal, and realized we were a band and like, oh shoot, if we are going to put out a record, we have to have a band name.
None of us were quite satisfied with the first name that we had, Sirens of South Austin, because we really just thought of that as a tour name. And, oh my god, we went through dozens and dozens and dozens of band name ideas. I think if we all didn’t love each other so much we would have killed each other (laughs.) What a way to come up with a band name. That was the most angst-ridden discussion we probably had as a band. Maybe that’s fitting, because your name is really such an identity marker. It’s how people will judge you before they meet you, trying to make that impression about having a name you are proud of. That you feel conveys all of your personalities but also who you are as a new entity. It was really hard to land on one thing. We also started listing a bunch of songs and albums and different titles of books and all kinds of things that were references for us. I think Grace at one point had mentioned the Bonnie Raitt song “Nobody’s Girl” and surprisingly it was something all of us could agree on. As time goes by, I think we have all gotten even fonder of it.
Rebecca Loebe: It definitely says something. It says something quickly. It speaks to all of our character and the roots were building as a band.
Grace Pettis: I liked it because it was versatile. It sounds fun. Sounds like it could be a pop band. But then it also has a bit of a bite to it.
MD: It’s a statement.
Rebecca Loebe: Definitely.
MD: What’s on tap for 2019?
RL: We’re doing a few international trips in 2019, including a tour in Europe (that) we are really excited about. We are going to be touring The Netherlands, Germany & Ireland. We’ve gotten some sweet requests to play shows. We will be in Texas in March and touring in the summer.
Nobody’s Girl’s “Waterline” is available on the band’s website, ITunes, and at their shows. As for that canceled show at the Towne Crier, they’ll be back (but I think there is an no-snow rider in the contract).
Blue: the color of emotion. Savage: a primitive ferocity. Put together, “Blue Savage” is an apt title for a song that juxtaposes emotive vocal styling with heavy, driving riffs. While the four-piece indie rock project Old Fame is brand new, the players are seasoned veterans of the regional music scene: Ben Armes (vocals / guitar), Evan Clark (guitar), Jay Asarese (bass), and Doug Kelley (drums).
“Blue Savage” will be featured on Old Fame’s debut self-titled EP due out January 7. The songs for Old Fame were engineered and mixed by Josh Pettinger, and mastered by Greg Thompson at Wicked Squid Studios.
Rubblebucket‘s sound may be hard to pin down with influences spanning the umbrella of pop but Talking Heads for the modern age gets you close.
Of course the best way to experience such a sonic celebration is in concert and a celebration is just what happened on a cold winter night on December 5 at Buffalo’sBabeville.
Horns blared, polyrhythms took hold, lines between stage and crowd blurred while dance parties sprang to life.
Los Angeles trio LANY brought their SoCal indie pop sound from LA to NYC to celebrate the release of their second studio album, Malibu Nights, for two sold out nights at Terminal 5 on Nov. 4 and 5. Opening the evening as the crowd continued to roll in was Anna of the North, stage name for Norwegian singer-songwriter Anna Lotterud and her band.
LANY hit the stage with the same energy seen on the 2018 Governors Ball main stage, condensed into the three-tier music club in midtown Manhattan. Frontman Paul Jason Klein’s charismatic stage presence gripped the ebullient audience throughout the entire show, navigating the dynamic between the effervescence of their pop sound and mellifluous melodies of their other songs.
Malibu Nights was released a month prior on October 5 and met some quick success reaching #3 on Billboard’s Alternative Albums Chart and even bumped the band up to #11 on Billboard’s Emerging Artist chart.
LANY’s brief 8-stop North American tour concluded at Terminal 5, but after a short break, the band began an aggressive tour of Europe which returns to the US in April and continues through Summer 2019. They’ll be back in NYC at the Hammerstein Ballroom on May 17.
Setlist:
Thick and Thin, Good Girls, 4EVER!, Babe No Way, I Don’t Wanna Love You Anymore, Taking Me Back, Made in Hollywood, Hurts, Run, 13, If You See Her, the Breakup, Pink Skies, Hericane, Super Far, Malibu Nights
For those familiar with the progressive, ukulele-heavy tunes hailing from Brooklyn’s Cousin Earth, then you may be well acquainted with their fun, quirky sound and pleasing melodies. It’s with heavy hearts that Cousin Earth announces Tara Lawton’s decision to part ways with her role as vocalist and keyboardist with the group she’s flourished with over the last five years.
After months of preparation, Lawton will soon take her final bow with the musical collaboration. The Brooklyn outfit will then welcome Melissa Raye to officially take over vocals, following months of filling in and manning the mic. Celebrating five years of connection, growth and music, Cousin Earth will perform their last gig with Lawton on Thursday, November 29 at Mercury Lounge in NYC with Albany’s own Formula 5.
NYS Music chatted with Tara Lawton, reflecting on her 5-year stint with Cousin Earth.
We’re sad to see you go, but know there’s tons of fun memories to dwell on.
Alyssa Ladzinski: What’s something you wish you could tell yourself 5 years ago at the beginning of this journey?
Tara Lawton: Nada. The journey was and has been exactly what we needed it to be. The amount of growth I’ve experienced personally, musically and emotionally these past 5 years with Cousin Earth is unsurpassed. I wouldn’t change a thing. Every element, every unexpected twist and turn led to the creation of some amazing collaborative musical art and I think our full length album Human Music shows just how eclectic and electric our journey together has been.
AL: Try to sum up your experience with Cousin Earth in 5 words or less.
TL: Crazy-ass music-making life-changing musical expedition. (See how I cheated with the hyphens there…)
AL: How have you changed as a person/musician in this timeframe?
TL: How many pages do you have for this article? No really….! I’ve changed immensely. From learning how to write collaboratively (let me tell you it takes love and patience), to playing keys with a band for the first time (I’ve played piano since I was 7 but never with a band before), to making sure we take care of each other as well as we take care of the music we create together. I have become a much fuller and more musically-rounded version of myself as compared to 5 years ago.
Joey Calfa (ukelele, vox) and I met in Corey J. Feldman’s (U-Bass, vox) project Mercury Landing in May of 2013 and Joe asked me to sing a few duo gigs with him playing ukulele. It’s all a bit blurry now how exactly it took off from there, but the whole of Mercury Landing ended up jumping on-board and shifting into Ukulelien (the band you now know as Cousin Earth). I remember bringing the melodica to the table with this unique idea that I could use it as a rhythm instrument to compliment the uke (who does that?!)…then came the keyboards and it’s all history from there. I cannot express how my musicianship has grown from working with these guys, particularly within the writing and keyboard spaces. I’m eternally grateful for their patience and encouragement as I blossomed into a keyboard player within the band.
AL: We hope to hear more music from you. What’s coming next for your musical future?
TL: Great! Me too! The decision to no longer perform with Cousin Earth wasn’t made lightly. I have been given the opportunity to make a living with a full-time singing job which just didn’t leave time to remain a full-time member of Cousin Earth. The collaboration deserves full commitment and I understand why the decision we reached needed to be made. The new singing job is mostly private events, but I am working on some solo stuff to remain in the music community publicly. I’ve never been the singer/songwriter type, so get ready for some one-woman band kinda stuff with tap shoes, accordions and other insanity. In the meantime, you can catch me making an appearance with David Schnurman, writing and singing on Teddy Midnight’s EPFrench Press (my rapping debut – yes, that is me spitting the rhymes I wrote at the end of the song “Come Over” with the magic of an Ableton Live filter!), playing live original keys and vocal loops for Vinyasa class at Daya Yoga Studio on Monday nights and teaching private voice lessons from my home in Bushwick, Brooklyn. I’m looking forward to further exploring what I can do musically as just one person.
AL: What do you think Melissa will bring to the group next?
TL: I’m not overly familiar with Melissa’s work, but from what I have heard her voice is incredible, soulful and full. I will be most interested to hear what she brings to the writing collaboration process and I wish her the best. She seems to have a soul of golden kindness which I’m sure precedes her onto every stage she lights up.
AL: Which Cousin Earth song has the most meaning to you?
TL: Again, how many pages you got?! Let’s start from the beginning:
“Hey Ya” Cover – This was our first musical collaboration making a YouTube video all together as a ukelele band & it will always hold a special place in my heart. I found that glockenspiel used in the video in the trash outside of our rehearsal space in Bushwick, Brooklyn, NYC and we affectionately named her “Trash Glock.” She currently resides with me in Brooklyn.
“Universoul” -Our first music video! What a time we had making that music video. All of the palpable love shared in that room and the cinematic brilliance brought by Michael Varley and Jessi Highet! I was in the T-Rex suit in the video because our good friend and super-fan Evangeline Rera wasn’t feeling well enough to be in full dino costume. The “viral” T-Wrecks Tap Dancing video came from that day as well. They made me into a meme! Crazy. What a time to be alive!
“Alive” (Track 7 on Human Music) – Writing this song was truly our first full-band collaborative experience. Corey wrote it on ukelele, hence the trading of uke for u-bass live, and brought some lyrics that Joe & I worked with to turn into the song you hear today. I remember work-shopping the song at Corey’s Williamsburg apartment and writing a rough melody that we recorded a scratch track of and sent off to the others. Next rehearsal Joe shows up with a killer bass-line, Nate (always) brings the finesse with that smooth beat and Terry adds stellar interesting, echoing harmonies…bam. Alive.
“Peculiar Patterns” (Track 1 on Human Music) – This song is particularly special to me because of the vocal work and harmonies. I wanted an opportunity to improvise vocally in a similar manner to how Joey improvises on uke and it was provided for me in the middle section of this tune. (Thanks, guys!) Corey came into a rehearsal one night with awesome lyrics and a vocal line over Joey’s beautiful ukulele composition. Terrence Brennan (vox, keys, kazoo) throws on a harmony and I remember having missed that rehearsal because the next time I was in rehearsal I heard for the first time what Terry and Corey were singing and I didn’t even have to think twice about my high harmony part. A harmony that follows the curves of the verses, adds a smooth lyrical element over the dancey B-sections and “falls” down from the top like the rain as the other parts rise slowly from underneath to meet the challenges of that very rainfall. That rehearsal was magic for me and I remember it vividly. There was no thought, the song wrote itself.
While recording “Peculiar Patterns” with Matt Einsidler at Audio Workstations, Inc. where we recorded the album, I was going through honestly probably thee hardest experience of my lifetime and I poured my soul into the singing and recording of this track. It’s actually difficult for me to listen to still to this day, particularly around 4 minutes and 18 seconds when I let out a large vocal wail. I can hear and feel all of the pain I was experiencing…so fresh and so raw at that time in my life and it remains a doorway to that place of intense longing, vulnerability and inability to understand. I can’t help but feel for my younger self as she struggled to accept the circumstances. It’s a story for another time, but this song has my heart in a way that is so very, very special to me and it always will. My boys in Cousin Earth also allowed me to NOT BE AUTO-TUNED on this album (which is unheard of in 2018) and so here I shall use my bragging rights I have reserved. I will forever be grateful to them for allowing just me, my voice to be captured on Human Music.
“Keep On (Show Me the Numbers, Ian)” [Track 9 on Human Music] – My baby. My first tune I’ve written and recorded with a full band. Dope. The weirdest song you will ever hear; I admit I wrote it to be difficult. I wanted a very challenging musical piece and I got it, but in hindsight I definitely would have done some things differently while writing that piece to make the listening experience more fluid. What is life experience if we do not learn from it, eh?
The guys were lovely enough to indulge this crazy idea – a theatrey, jazzy sounding A-section juxtaposed by an off-tempo eerie sounding B-section that I originally wrote as a vocal loop with my Boss Loop Station. Drummer Nate Searing helped to pull this song together by mastering the challenging tempo changes and developing the syncopated hits in the middle section of the song which Corey brought to the table (a true collaboration!). The lyrics are odd, but if you listen closely it tells our Cousin Earth love story. This song is the only sort of love song I would willingly write, and it is for my love of the four amazing men, my brothers that make up Cousin Earth. I am proud and grateful to have this song on Human Music and we will be playing it live for my last show with Cousin Earth at The Mercury Lounge in NYC on Thursday, November 29 (doors at 9pm; show at 9:45pm with Formula 5 of Albany, NY). It’s likely to be the last time the band ever plays the song live. Please join us in celebration!
AL: Do you have a message for the fans?
TL: I’m not going far. If you’ve read this entire article, I promise I love you and I thank you for your support both of my personal career and Cousin Earth. Whether at shows of my fellow musician family, sitting in or performing solo, I’ll see you out there…in the words of Cousin Earth…WAY out there.
Music is one of the most inclusive interests humans are able to appreciate and share. Genres expand to any identity or personality you could think of and easy accessibility make it available for any to enjoy. But what if you couldn’t hear? How do the deaf listen to music? Unfortunately some would say they simply don’t. However, this September those barriers were broken and deaf fans got to experience music on a level like never before. A collaboration between music group Palaye Royale and Music: Not Impossible Technology led to a test launch at their Las Vegas show.
The four year long technological advancement has been described as a five-piece device consisting of a vibro harness, two wristbands and two ankle bands. The device syncs with the live performance accordingly and each of the five areas vibrate along with it. The vibes have several settings which can be adjusted from low, medium or strong vibes and immerses the listener in a “surround body” sensation. In addition, a sign language interpreter was also involved on stage for the convenience of other hearing impaired attendees.
Check out a video below from Music: Not Impossible that exhibits the technology during its first real-world use.
Dubbed “The hottest band of 2018” by the English music press, Palaye Royale is entertainment at full volume. A combination of musical and artistic expression with immense popularity on all different streaming platforms. They have amassed over 30 million views on smash songs like “Higher,” “Don’t Quite Feel Right,” and “Ma Cherie.” This stands among the achievements of their albums titled Boom Boom Room (Side A) and this year’s highly anticipated follow-up Boom Boom Room (Side B). The Canadian fashion rock-trio is currently on an expansive tour all throughout the states and several parts of Canada. Tickets, both general and VIP, are on sale now.
The brothers will visit the Lost Horizon in Syracuse this Friday. See below for announced dates.
Palaye Royale Tour Dates:
Nov. 15 – Le Ministere – Montréal, QC Nov. 16 – The Lost Horizon – Syracuse, NY
Nov. 17 – Beachland Ballroom – Cleveland, OH
Nov. 18 – Metro – Chicago, IL
Nov. 19 – Loving Touch – Detroit, MI
Nov. 20 – Rave – Milwaukee, WI
Nov. 21 – Skyway – Minneapolis, MN
Nov. 23 – The Rec Room – Edmonton, AB
Nov. 24 – The Legion – Calgary, AB
Nov. 26 – Rickshaw – Vancouver, BC
Nov. 27 – El Corazon – Seattle, WA
Nov. 28 – Bossanova Ballroom – Portland, OR
Nov. 30 – Slim’s – San Francisco, CA
Dec. 1 – Holy Diver – Sacramento, CA
Dec. 2 – Glasshouse – Pomona, CA
The Revivalists will be performing tracks from their soon-to-be released LP Take Good Care at NYC’s historic Beacon Theatre on Jan. 16 and 17, 2019 as part of their recently announced upcoming tour.
The 18-date escapade starts Jan. 11 in Washington, DC — see full list of dates below — after which the popular alternative group will soon head for NYC. The Beacon Theatre performance is a must see. Cultural commentators from online magazine Uproxx and longtime Los Angeles magazine Flaunt both recognize the group’s talent, spirit, and virtuosity by observing:
“…elements of just about every classic school of American music…it feels as new and engaging as it does familiar and comfortable…” – Uproxx
“… a raucous American band making big-hearted music with an ear for instant-classic hooks…a thick, soulful musical gumbo…” – Flaunt
Tickets for The Revivalists tour went on sale earlier this month. The highly anticipated tour is a celebration of their upcoming album Take Good Care, which will be out on Nov. 9 via Loma Vista Recordings. The 14-track LP is available for pre-order now, along with instant downloads of hit single “All My Friends” and “You and I.”
Click here to pre-order or pre-save the album and listen to “You & I.” Every purchase of Take Good Care concert tickets includes a digital download of the album. For all ticket details,visit the band’s website.
The Revivalists are considered to be, as USA Today states,“among the hardest-working bands.” Steadily gaining recognition for the past ten years, Take Good Care highlights the dynamic group in a bold, new, charismatic light. The track list reflects deeply personal songwriting; it is a reflection of the high-and-lows, of the kind of life that ten years of collaborative music making creates. Far from an “overnight success,” this very quality is what endears The Revivalists to dedicated fans and the music community as a whole.
The Revivalists performed the soulful hit single “All My Friends” on The Late Show with Stephen Colbert on Oct. 18. Billboard reviewed the track stating that:
“[‘All My Friends’ is a] rollicking floor-stomper that digs into the raw core of the band’s rock and folk roots that flawlessly frays the ethereal sheen…”
Looking for a new genre of music? Try Funeral Pop, and the sounds of New York based duo MXMS who have recently released their new single “Gravedigger.” The self-produced duo from New York City and small-town Oklahoma have created their own genre, which fuses classic melodic songwriting with dark, unfiltered chaos, driven by a thousand forms of fear. Just in time for the holidays. They’ll perform in Hollywood, CA at underground nightclub Cloak & Dagger on October 30.
MXMS is short for “Me and My Shadow” and brings together singer Ariel Levitan and multi-instrumentalist Jeremy Dawson. MXMS’ debut untitled album will be released on We Are:The Guard/Kobalt Records in early 2019.
MD: What’s on tap for 2019?
“Blue Savage” will be featured on Old Fame’s debut self-titled EP due out January 7. The songs for Old Fame were engineered and mixed by Josh Pettinger, and mastered by Greg Thompson at 
