Doctor Lo Faber, formerly of celebrated jam band God Street Wine, shared the title track from his upcoming folk/Americana-leaning LP Claiborne Avenue. He’ll hit the road for four shows in June, starting at The Hollow Bar and Kitchen in Albany.
Faber has a rich musical history; prior to adding the “Doctor” title to his moniker, he founded legendary jam band God Street Wine in 1988. GSW landed a record deal with Geffen in 1994, and later with Mercury. During that time they toured nearly constantly, pausing only to record. Ultimately, GSW hit a wall of burnout and played their farewell show in December 1999.
Faber went on to form the Lo Faber Band, composed and recorded the double-CD concept rock operas Henry’s House and Friday Night Freakshow in 2001 and 2003, respectively. Meanwhile, the age of social media led to GSW fans congregating in a Facebook group that successfully brought the band back for a series of annual reunion shows beginning in 2010.
When the pandemic hit the US in full force back in March 2020, Doctor Lo took to his YouTube channel to connect. While at first he was hesitant to embrace live streaming, by June 2020 he was all in and now continues to broadcast twice a week to his social media pages.
The album, Claiborne Avenue, features musicians, such as Dave Eggar (The Who, Coldplay, Beyonce) on cello and string arrangements, Jason Crosby (Phil Lesh, Jackson Browne, Tedeschi & Trucks) on piano and fiddle, God Street Wine’s Jon Bevo and Aaron Lieberman on keys and lead guitar, New Orleans musician/DJ Marc Stone on slide guitar, Blake Collins on mandolin, and Ted Marotta and Tom Pirozzi, who worked with Ominous Seapods in the 90s, on drums and bass.
Faber is set to celebrate the release with a limited run of live shows, including a sold-out performance at Albany, NY’s The Hollow on June 18.
DOCTOR LO FABER UPCOMING LIVE DATES
June 18 – The Hollow – Albany, NY
June 20 – Gabe-Gate – Sussex, NJ
June 22 – The Tap Shack – Duck, NC
June 23 – The Tap Shack – Duck, NC
Listen to Claiborne Avenue on Bandcamp or Spotify out on June 18.
Andy Frasco and The U.N. have announced their 2021 US tour dates, taking their live act across the country this fall. To open each night, Andy is featuring the World Saving Local Talent Search – a variety show searching for each city’s most talented Frasco fans, hosted by Nick Gerlach.
Andy Frasco & The U.N. have released a series of acclaimed records, share bills with the likes of Leon Russell, Galactic, Gary Clark, Jr., The Revivalists, and Marcus King among others, and slay festival stages everywhere from Mountain Jam in the U.S. to Rock am Ring in Germany and COTAI Jazz & Blues in China.
Frasco began writing poetry that eventually became songs. He wrote about despair and anxiety, about friendship and growth, about accountability and potential, transforming the poems into defiant rock and roll anthems. These songs became his most recent album ‘Keep On Keeping On’ released at the beginning of the pandemic in April of 2020.
Like many, the pandemic hit Andy hard. He was once again feeling that ‘breaking point’ and he quickly transformed his high energy road show into a year long digital blitz of new music, a 33 episode variety show (Andy Frasco – “World Saving Sh*tshow”) which garnered 20 millions views, a digital Dance Party and Andy further developed his Andy Frasco’s World Saving Podcast. His variety show and podcast included interviews and musical performances by many notable guests such as Tony Hawk, Kurt Vile, Nathaniel Rateliff, Kamasi Washington, Pigeons Playing Ping Pong and more.
Additionally, Frasco recently scored ‘The Great Depresh,’ an HBO documentary about Gary Gulman exploring the comic’s struggles with depression that was produced by Judd Apatow and directed by Mike Bonfiglio). This summer, Frasco will perform at multiple summer festivals including Summer Camp, FloydFest and hopefully many more to be announced.
9/8: Cain’s Ballroom – Tulsa, OK
9/9: Last Concert Cafe – Houston, TX
9/10: Deep Ellum Art Co – Dallas, TX
9/11: Antones – Austin, TX
9/14: Rebel Lounge – Phoenix, AZ
9/15: Belly Up – Solana Beach, CA
9/16: Jammin’ On – Las Vegas, NV
9/17: Lodge Room – Los Angeles, CA
9/18: The Chapel – San Francisco, CO
9/22: Crazy Horse Saloon – Nevada City, NV
9/23: Sessions – Eugene, OR
9/24: Mississippi Studios – Portland, OR
9/25: Tractor Tavern – Seattle, WA
10/9: Ogden Theatre – Denver, CO
10/19: Elevation – Grand Rapids, MI
10/20: The Magic Bag – Ferndale, MI
10/21: Iron Works – Buffalo, NY
10/22: Spirit Hall – Pittsburgh, PA
10/23: Madison Theatre – Covington, KY
10/24: Beachland Ballroom – Cleveland, OH
10/28: Lincoln Theatre – Raleigh, NC
10/29: Greenfield Lake Amphitheater – Wilmington, NC*
Songwriter Peter Bogolub under the moniker Loops & Loops has created the album, Fake Face, released on June 11.
Knowing that this project was recorded during quarantine and almost entirely in the closet of his NYC apartment, listening to it feels like even more of a personal experience. Aptly so, Pete took a dive into analyzing failed relationships throughout his life, relying on his affinity for shoegaze-style indie rock while merging elements of pop synths and melodic guitar/ukelele loops.
Citing Yo La Tengo, My Bloody Valentine, and The Magnetic Fields as his biggest musical influences, Fake Face can be seen as a return to his DIY/ indie roots. A self-taught musician and collaborator in bands for over 20 years, this album showcases a side of Pete that could only be brought out as a solo act.
So far, the singles for this album have been “County Fair”and “Pain In My Heart”.
“Dark Clouds” is the opening of the album, a slow soft beginning to a melancholic motif. A stand out lyric being, “People see what they want to see / They can tell there’s something wrong with me.”
“The Light,” the second song, has bright happy guitars with a familiar beat. Telling the story that sometimes the end of something is really the beginning. None of the songs on the album are really happy but they’re neither all doom and gloom either, this song really highlights that.
“Down in Mexico” is almost wistful but similar to how I do not speak Spanish beyond a high school level I could understand about 50% of the words in this song. That isn’t a dealbreaker considering what could be heard clearly is, “Someday it’ll be okay,” which is comforting.
“Things Are” is the focus track, an indie anthem reminding us how to get by in life. Sometimes things just don’t go our way, but not sweating what we can’t change. The line “Things are what they are no matter how you feel” a lament to the unchangeable nature of life and the relationships within them. An acceptance of the hard truths despite the hope that it won’t be true.
It’s a song about accepting things as they are instead wishing circumstances were different. Written during the pandemic when life was rather chaotic, the upbeat melody offers a glimpse of hope.
Peter Bogolub
“Pain in my Heart” with its squishy beat as if hitting a cartoon frog stretched into a banjo. Echoey vocals are a heavy feature on this album but they really shine on this track. The lines “There’s a pain in my heart / Why are we so far apart” painting the picture of when you make a promise with someone and find it is no longer being kept and you’re alone.
“Outta Control” has the vibe of the opening track to a lighthearted coming of age movie that will inevitably take a turn and have a sad ending or the two best friends will fall in love after much trial and error. “Making bad choices too many times”
“Gaslight” a slow track in tribute to society’s general growing awareness to the toxic trait of gaslighting. With the lyrics “that’s not really an apology,” there’s a realness. Very reminiscent of mooseblood, joyce manor. “Run To You” is very instrumental heavy where the vocals seem to be more of a background element to the song. Gives the same vibes as an underwater town being explored.
“Drawn To You,” with the acoustic guitar being the star of the track and johnny cash style, is about being drawn to someone without control. Whether for better or for worse the attraction is there.
“Not Yet” feels like the end credits to a comedy show. Which is ironic considering the line “You ain’t catch me yet.” “County Fair”, if “Not Yet” felt like the end “County Fair” is the after credits scene.
Overall the album delivered on what Pete set out to do, which is to tell the stories of relationships and their messy ends in a way that is pleasing to the ears. Stream Fake Face on your chosen platform.
Brooklyn-based electronic dream-pop duo Corbu has released their Lost & Found EP. The EP reimagines the title track with five new remixes, along with the original version.
Corbu, comprised of Amanda Corbu and Jonathan Graves, focuses on bringing an ethereal, even other-worldly sound to their psychedelic and ambient pop tracks. They have previously toured with Bloc Party, performed with Goldfrapp and played both Austin City Limits and Electric Forest festivals. Last year, Corfu released their debut album Crayon Soul, featuring mixing by Tame Impala and MGMT collaborator Dave Friedman.
[Corbu is] trying to lure their audience deeper into their own subconscious while giving them something to sing along to.
Corbu
On the original single version of “Lost & Found”, Corbu collaborated with Doves frontman Jimi Goodwin. Goodwin produced the track and added reggae and electronic flares, creating a laid-back yet energized soundscape.
The EP features “Lost & Found” redone five times over and explores new genres and sounds. On the “Seaside Version”, the track goes vintage and utilizes upbeat 80s synth to create a sound that could easily fit into an episode of Stranger Things. On the “JKriv Remix”, Brooklyn DJ JKriv remixed the track to fit a more booming club sound evocative of traditional house music and drum loops. The EP as a whole is perfect for the summertime.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music fromthe Grandstand Jockeys, Timbre Coup and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
The Grandstand Jockeys
The Grandstand Jockeys’ debut EP, Win, arrives on June 18. Its first single, “Better Days,” is a nostalgic call to long-past good times, holding out hope for their eventual return. The song is especially timely in the wake of many COVID-19 restrictions being lifted: “Time to begin, the time is now / Get yourself off the ground.” The Grandstand Jockeys’ Facebook page describes their sound as a mix of Tom Petty, Nirvana and QOTSA, but “Better Days” has the former written all over it.
Timbre Coup
Timbre Coup’s latest single, “Running Always,” is an indie rock piece that occasionally delves into prog and funk. The song’s scarce lyrics contrast its vast, sometimes trippy soundscape, replete with a sweeping electric guitar that wouldn’t sound out of place on OK Computer. The four-piece band from Albany will release their fourth studio album, Sudden Urge, on June 25.
Ciarra Fragale
Indie-pop singer-songwriter Ciarra Fragale’s self-titled EP is out on July 2. Described by Fragale as “a love letter to my anxiety (and yours),” single “It’s Only Raining” isn’t concerned with the weather so much as the stressful hypothetical situations our brains create for us. Fragale’s vocals are effortless yet passionate, and the staccatoed keys will stay with you long after listening.
Preference in music is the very definition of subjectivity, definitively so in fact. Whereas reviewing a live show is more of a this is what happened and what it felt like to be there kind of thing, album reviews, on the other hand, tend to read like conclusive statements of what the reader will hear, feel, or whether the album’s intent will resonate with the reader/listener in any deeper sense. Really though, who am I to lay claim on how an artist’s creation might reach you?
That ledge is the only thing I ever see
I am the sum of my experiences, each and every one of which led me to this time and place and all serve to inform my unique perspective. So to feign objectivity or pass off an album review as anything more than my proprietary interaction with an artist’s intent would be to serve the reader a forced helping of bullshit.
Born in the heat to keep it always out of my reach
Rick Mitarotonda, lead guitarist, vocalist, and chief songwriter for Goose, had this to say with respect to the intent behind his art, “Music at its best form, really encompasses everything that its creators are experiencing. But yeah, it comes back to the point that I think if there is a spiritual intention behind the music you create, whether or not it’s being spelled out… but trying your best to express what’s authentic to you, if that happens to be a spiritual thing, maybe someone will resonate with it and maybe it will open some kind of door for them in some way.”
Grab on a hold each treasure while you gobefore they turn to sand this man is all alone
*Perhaps* as intended by the artist, but *definitely* as needed by my circumstance, Goose’s latest album reached this audience of one in a heightened state of readiness. “A nine-track collection of music written over the past decade, Shenanigans Nite Clubpresents musings on a journey through life and a quest for fulfillment, all while saluting the important figures along the way.” As this past year has been one of pervasive loss followed by global healing, never has my quest been more heightened. Perhaps our suffering has differed on both an individual and global scale, but as sure as you’re reading these words, we’re still here, which isn’t to minimize the permanent loss of death experienced by so many, but rather to celebrate the collective transcendence and fulfillment of those who remain.
So ready for this
The opening track to Goose’s first album in five years actually debuted six years ago. A live staple of the modern era setlist dressed up for the studio, “So Ready” and its accompanying instrumental, “(s△ttelite),” are high-energy, disco funk dance tracks whose message is short, sweet, and, like all good art, timely as hell.
Take it slow, I’m burning baby you know
In addition to having an exponentially high fun quotient as a live offering, “Madhuvan’” references the story of Dhruva and his quest for enlightenment, originally written in the Bhagavata Purana. The song is an exploratory journey, examining life’s most beautiful offerings and most dangerous pitfalls.” Wait, what?!?!
If I had it all, if I had it all, what life would leave me satisfied?
Even as its live counterpart often clocks in at twice the length, “Madhuvan” jams twenty minutes of perfection into a ten-minute track, reminding us that on the path to enlightenment, the joy *is* the journey. “SOS” (Same Old Shenanigans)–another old, new song that debuted in 2018 and has only been played live three times–will likely see more play and exploration once summer tour resumes. In the narrative of the album and the pursuit of higher awareness, it warns of the perils and false idols draw our attention.
The power of bottles and cans, when do the answers arrive?
As “Dawn” metaphorically ushers in a new day, that ledge is no longer the only thing I see. Beginning with a reverse chorus, Dawn is the album’s pivotal track, bridging past, present, and future. Says Mitarotonda, “[I] envisioned someone stepping away from this crazy party scene (SOS) and having a moment of self-realization and growth occurring.” One of just two tracks to debut on the album, this stunning and reflective track has yet to be performed live.
It’s a new life creeping out
Literally speaking, “Flodown” could very well be the end of the very same day ushered in by the rising sun of its predecessor, but to me is more likely the backend of a symbolic pilgrimage. While these consecutive tracks couldn’t be more divergent sonically (think square dance vs. acid trip), they are more connected than at first they appear, especially with ambient drones bridging the tracks as lyrical day turns to night.
Been sweatin’ in the haze all day, and somethin’s gotta take this edge away
On the heels of what is likely the most fun song in the Goose catalog, “Spirit Of The Dark Horse” brings an abrupt end to the “rowdiest shindig I ever seen,” at once snapping our attention back to serpentine spirits lying in wait and hiding in plain sight–the devil you know and all that. A serious track, the levity of its intent is inextricably woven into Mitatotonda’s piercing guitar even as Anspach’s keys lighten the outro. Written in 2014, “Dark Horse” and its newly named but accompanying jam “(7hunder)” have recently returned to the live rotation with widespread fan approval after being released as the album’s first single in March of this year.
Dark he fights, won’t let the night steal our soul
If one singular track is to define this record, let it be “The Labyrinth.” A musical odyssey and compositional masterpiece, this wordless juggernaut leaves all interpretation to the listener. Personally, I imagine it to be a reflective trip back through time, not just through the previous eight tracks but through the lifelong journey that brought me to this time and place. You know the old saying, “If I knew then what I know now?” Well, with its happy chords and its bounding solos, its acoustic sentiment and its electric joy, “The Labyrinth” hearkens that passage of time with a heavy sense of accomplishment, of knowing. And what could be more appropriate for a song first written by Mitarotonda for his *high school* band–The Shenanigans, ha!– that we are just hearing now for the first time. “It’s the very old, new thing,” he admits. And while its title suggests a complicated irregular network of paths in which it is difficult to find one’s way, its effect is to imbue the listener with a feeling of having conquered the maze that is life. Transcendence. As the song reaches its conclusion and the track fades away, Peter Anspach’s heartfelt laughter is the last thing we hear. Perfect, just absolutely perfect.
An intricate composition, “The Labyrinth” is an ambitious track even for the studio. Having never been performed live and with summer tour just a few days away, my loins tingle with excitement as I contemplate how this compositional piece will debut in the improvisational setting of a live show. This could easily be the best piece of music in the catalog.
Deep into the forest he will go
I came for the party in the woods, but I stayed because I found a place where my insides match my outsides. The Flodown may have drawn me in, but The Spirit Of The Dark Horse cast its spell. The Universe makes no mistakes, and the emergence of this music and the people it brought into my life are amongst the beautiful offerings that elevated me as I confronted my demons. The human body is an incredible machine, the mind the world’s finest supercomputer. Given our instinctive ability to adapt, getting stuck in The Same Old Shenanigans is almost too easy. Echoing Rick Mitarotonda’s thoughts, “It’s hard to really need to dig, to need to seek when you’re comfortable. Life has a way of driving you to certain places. You’re not going to … start asking questions in a very poignant way until (you) need to.”
No more demon roars
A forced helping of uncomfortability left me So Ready for heady excavation. Now, over a year later, revelations on the personal front, coupled with a change in national leadership and baby steps toward Uniting our States have freed us from our collective Labyrinth. In addition to a seemingly overnight emergence from a year-long pandemic, the stage has been set for an artististic, cultural, and individual Renaissance of biblical proportion. Dawn. If you find yourself unwilling or unable to experience the beauty of the rising sun, consider this timeless quote, “A skeptic is a person who, when he sees the handwriting on the wall, insists it is a forgery.”
Pure pure pure
In a world where authenticity is in woefully short supply, Shenanigans Nite Club is refreshing and honest. But it wasn’t easy. “While we’ve been touring, the record has been happening in the background,” says Mitarotonda. “It’s been quite the process. At times, it was difficult. The record is a companion to those growing pains.” A testament to longevity, focus, hard work, growth, and friendship, it’s also proof positive that everything happens for a reason. Darkness both follows and precedes light. And vice versa. But don’t take the meaning that I found in it, give it a listen and let it speak to you. Can’t wait to see y’all out there as we trudge the road of Happy Destiny.
Bad Business Club is prepping for a groovy Summer by releasing a new single, “Flip Me Over.” It’s the first single from their upcoming album, Naked Neighbor, out August 13, 2021. The Brooklyn collective’s daytime disco stomper marks the beginning of a new pulsating direction for the band.
Single Artwork by Blake Wilton
“Flip Me Over” aims to be a theme song for moments like those. Written in Puerto Rico during a week-long writing session shortly before COVID-19, the band gathered to write disco music inspired by the smooth daytime dance sounds of poolside and leisure.
With their instruments in hand, they talked about their ups, downs, successes, and mistakes all while living in New York City. What came out of the week-long writing escape turned out to be a lot more than a set of smooth grooves.
Away from the band’s home base in Brooklyn, Bad Business Club started collaborating on the theme of leaving old baggage behind. “Flip Me Over” revels in nighttime excitement and morning confusion, but ending with a sense of no regrets, and pride in our experiences – all wrapped around a dreamy synth to intensify the almost beach-like psychedelic vibe.
Produced by Morgan Wiley of Midnight Magic, with remixes to follow by Woofly and Tsutro, this daytime disco stomper marks the beginning of a new direction for Bad Business Club.
The band is set to debut a full year’s worth work in this summer’s Naked Neighbor album, due out in August.
Bad Business Club is a Nu-Disco collective with some old-school Yacht Rock touches, producing a “style that will take some back to the late 70’s, with harmonies larger than life.”
The group is primarily influenced by classic Giorgio Moroder-style Disco, and Modern Daytime disco al la Poolside and Holy Ghost!, while combining the harmonic influences of Yacht Rock. Their smooth sound transports listeners to another place, to summer breezes and early morning champagne.
They’ve been also known to collaborate with electronic artists such as Midnight Magic, Woolfy, and James Curd to help get the dance floor by the pool. They are also the hosts of the Imbibe the Vibe podcast, where they combine classic cocktails with a different music genre every month.
Woodsist Festival is returning to Arrowood Farms in Accord, NY for their 2021 season. The festival is to take place on September 25th and 26th and will be enhanced since its last run in 2019 with more music, more food, and more space. Yo La Tengo and Parquet Courts will be welcomed to the festival as headliners.
Woodsist Festival leaders found that because of the unnatural state of the world in 2020, they were listening to slower, more contemplative, more intentional music. This pattern inspired them to add slower artists to the festival, such as 75 Dollar Bill Big Band, Joshua Abrams’ National Information Society, and Laraaji. Other featured artists include Kurt Vile, Kevin Morby, and Woods.
Arrowood Farms is located at 236 Lower Whitfield Road, Accord NY 12404. Tent and RV camping is available at the Rondout Valley Campground one mile away from the festival site. A carefully curated selection of local Hudson Valley-based food vendors will be on-hand serving all day long. Tickets are on sale here
The festival’s first edition in 2009 was a collaboration with label Captured Tracks, and was one of Real Estate’s first shows. The most recent Woodsist Festival lineup from 2019 included Whitney, Real Estate, Woods, Kevin Morby, Waxahatchee, Hand Habits, Bonny Doon, Wet Tuna, and Anna St. Louis.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music fromSara Devoe, Blackcat Elliot and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Sara Devoe
Albany artist Sara Devoe blends a dream pop aesthetic with the songwriting sensibilities of Phoebe Bridgers and Lana Del Rey. “Big Night” is the first single off her debut EP, out this summer. Chill and slightly aloof, it’s tailor-made for solo summer drives.
Blackcat Elliot
Inspired by the CBGB punk scene of the 1970s with a side of 90s grunge, Albany garage band trio Blackcat Elliot is still going strong after 20 years. Made up of Fast Eddie on bass, Marky Balboa on drums and Gus on guitar and vocals, they’re self-proclaimed “troublesome, working class heroes.” Their 2019 album There Is No Good In Us features “Take It Back,” a hard rock number with Grohl-esque vocals.
U.C.
Toronto prog trio U.C. released their album Time Distortion in March. Quirky and experimental, “Magnanimity” pays tribute to the titular five-dollar word with daring production choices. While relegated to the background, the shimmering piano that enters halfway through makes the song. At times, “Magnanimity” appears to pay homage to Freddie Mercury and “Bohemian Rhapsody.” If the listener didn’t know its release date, it could easily be mistaken for a song from the past or even future.
Brooklyn’s alternative rock band Superbloom has dropped Live at Studio G, a 3 song live EP made up of tracks off their upcoming studio LP ‘Pollen’ out June 1st. The EP includes the live version of a new single, in fact, the title track, off the upcoming LP Pollen.
Superbloom: Live at Studio G was recorded at Studio G in Brooklyn, engineered by Jack Counce, and mixed & mastered by Brian DiMeglio. The EP contains three songs off the new album Pollen including the title track itself, “Mary on a Chain,” and “Whatever.”
Superbloom’s recent singles “Muzzle,” “Whatever” and “Mary on a Chain,” needed a good follow-up considering those landed on Spotify’s All New Rock, Alternative Noise playlists and more. They definitely lived up to the hype with both Pollen the single and the album.
Recording at Studio G was a dream. We’re huge fans of live studio recordings like Audiotree, KEXP and Live at Studio 4 and we sort of threw ourselves at the idea with our own resources. The studio itself is unreal and Jack is a longtime friend of the band. We spent the day hanging out, messing with tones, playing through the songs and eating pizza. Can’t imagine a better day for a band.
Their debut album, Pollen is a 12-track love-letter to heavy alternative music. A mixture of old and new make up every song, if you’re looking for something fresh that somehow still sparks nostalgia Pollen has got it. Perfect for road trips or hangs by the water.
With all the vibes of Seattle moved to the east coast this Brooklyn based band brought grunge into 2021 in a great way. If you have any sort of Nirvana, Smashing Pumpkins, Soundgarden, or Pearl Jam shaped hole in your heart Superbloom is the sound to fix that. Most of the album is face paced but if you want to slow it down Muzzle or Twig are the songs for you.
The album was mastered by Will Yip (whose credits include projects with The Menzingers, Turnstile, Quicksand, Mannequin Pussy, Code Orange), mixed by Joe Reinhart (Beach Bunny, Remo Drive, Joyce Manor, Hop Along), artwork by Patrick Turk Collage Art, and produced by Superbloom.
While the album’s feedback-laced instrumentation is hard-hitting at every turn, the band’s sonic signature is embedded in the vocal performance that fills each track with complex layering, earworm melodies and lush harmonies that deliver discoveries of nuanced detail with each listen. The sounds span from infectiously bouncy hard rock, instantly nostalgic acoustic songs, sing-along choruses, and undeniable hooks.
Pollen released on all streaming services on June 1, and is available for digital and pre-orders for the 180 gram blue with white marble vinyl, on June 14.
