Indie rock sensation Japanese Breakfast played four sold out shows at Brooklyn Steel last week (October 14-17, 2021), continuing their North American Fall 2021 Tour.
Japanese Breakfast at Brooklyn Steel, photography by David Reichmann
Luna Li opened for Japanese Breakfast the first three nights, her last involvement after having also opened for them throughout the first leg of the tour. Bringing a lot of warmth and enthusiasm, Li performed several of her biggest hits including “Alone But Not Lonely“, “Cherry Pit“, and a few energizing instrumentals from her Jams EP.
Luna Li remarked on how deeply thankful she was for the fans and for the huge opportunity to go on tour. She also mentioned how seeing Japanese Breakfast in concert several years ago had inspired her, stating,
as a Korean . . . seeing Michelle, another Korean, on stage meant so much to me.
Luna Li
Japanese Breakfast started their set with “Paprika,” the opening track from their latest album, Jubilee. Each time Michelle smashed the gong, the crowd screamed and cheered. They went immediately into the second track of the album “Be Sweet,” which lifted the crowd to an even louder chorus of cheers.
Apart from their successful run of performances, Japanese Breakfast front-woman and songwriter, Michelle Zauner, not only released an all-new soundtrack to accompany the video-game,Sable, last month, but had also launched her memoir Crying in H-Mart earlier this year as well.
You can listen to their music and follow the rest of their North American Tour here.
Indie artist Phoebe Bridgers made a stop in Lewiston for her Reunion Tour. On September 15 the witty lyricist filled Artpark with skeleton suits and serenity.
Photo Credit: Maddie McCafferty
In a surprise turn of events, Phoebe Bridgers’ guitarist ended up opening the show. After two long years, Harrison Whitford finally got to perform live again. His guitar skills and soft vocals captured the crowd’s attention. His sense of ease on stage meshed well with his heart felt lyrics. The performance made the audience even more eager for the following act.
Photo Credit: Maddie McCafferty
Fans screamed with excitement as the group dressed in skeleton costumes ran on stage to the iconic Black Eyed Peas song, “I Gotta Feeling.” Phoebe Bridgers immediately grabbed her guitar and opened up the show with the viral single “Motion Sickness.” The Grammy nominated musician has an ethereal presence on stage. Her angelic voice and smooth guitar strums carry the audience through these complicated yet all too relatable human emotions.
The new tour has allowed Phoebe to perform her latest releases that haven’t been heard live before. In 2020, she dropped her second solo album Punisher. Fans got to hear a lot of these newer songs like “Kyoto,” “Halloween,” and “Savior Complex.” Phoebe’s dreamy hooks make her ability to capture the different brands of depression that much more hard-hitting.
Photo Credit: Maddie McCafferty
The renowned musician described her show in Buffalo as “a rock concert with no rock music.” This is a perfect way to define the rare environment Phoebe creates at her concerts. She can pull at very specific heart strings that entrance her listeners into a seemingly new world. Through struggles with depression, a turbulent relationship with her father, and lack of faith, Phoebe doesn’t shy away from raw honesty. She further opened doors of vulnerability as the night closed with “I Know the End” and the buzzing Bo Burnham song “That Funny Feeling.” A sensation of awe swept over the whole venue that night.
Setlist: I Gotta Feeling (Black Eyed Peas), Motion Sickness, DVD Menu, Garden Song, Kyoto, Punisher, Halloween, Smoke Signals, Chinese Satellite, Moon Song, Savior Complex, Funeral, ICU, Scott Street, Me & My Dog (boygenius), Graceland Too, I Know the End
The inaugural First River Festival will bring big name indie talent to the Hudson Valley this October.
The two-day music festival will take place on Saturday and Sunday, October 9-10, 2021, in downtown Peekskill, NY at the Paramount Theater. Its aim is to build a new music experience in the Lower Hudson Valley.
Headliners include Parquet Courts, Guided by Voices and Waxahatchee. The festival’s lineup blends these headlining indie rock stars alongside smaller acts and rising artists with flares of folk, pop, electronica, Americana and even post-punk.
Unlike a traditional festival, the headliners’ sets are long–90 minutes each–to ensure the audience gets their fill. For a taste of folksiness, audiences can enjoy a performance by New York alt-folk legends, The Felice Brothers, complete with plenty of accordion and gritty vocals. First River Festival will also bring some good old fashioned rock and roll with North Carolina-turned New York Catskills band The Nude Party, Chicago alt-rock trio Dehd and Nashville/Brooklyn’s Liz Cooper.
Brooklyn favorites Small Black are set to play favorites from their new, critically acclaimed album Cheap Dreams, while California-based rising star Jelani Aryeh will share his dreamy, sunny blend of pop, rock, and indie. To round out the lineup, Nashville newcomer Katy Kirby will join the stage and showcase her light, airy vocals.
Live Goods Music and G4D Productions have joined forces to produce the festival, which they hope places Peekskill on the map as a premiere destination for live music and entertainment. First River’s audience numbers will be kept small to help the festival feel intimate.
“We wanted to see what would happen if we brought a bunch of bigger-name, indie bands to Peekskill. We think the region is ready for it, and that this festival will be the ideal stepping-stone back into life as we knew it.”
Liz Goodyear, First River’s Executive Producer
Peekskill, located just one hour north of New York City in Westchester County, boasts a historic arts community which has continued to thrive. There is also plenty of great food and beer to be enjoyed at local restaurants near the Paramount throughout the festival.
Presale tickets go on sale July 8 at 10AM with code “LITTLEPEEK”. Check out First River Festival’s website for more information.
Standing at only a mere 4 days old, “Chaos! Chaos! Chaos!” the new single from Arthur Moon has already amassed thousands of streams and landed on playlists alongside huge artists like The Japanese House, Sufjan Stevens, and St. Vincent. Before the mark of their one year anniversary, they earned themselves an NPR Music Tiny Desk Concert.
It’s clear this band is praised for their excellence, and their new single hits the mark the very same.
The Brooklyn avant-pop group, led by composer and singer Lora-Faye Åshuvud with collaborators Cale Hawkins, Martin D. Fowler, Dave Palazola and Aviva Jaye, released the single while announcing their new album to be released in the fall under the same name: “Chaos! Chaos! Chaos!“
And that’s just what the single is: a beautiful and haunting chaotic musical masterpiece. Boarding on the genres of indie and electropop with elements from jazz and a choral influence, Arthur Moon is able to seamlessly meld these opposing musical soundscapes in a captivating and genius way.
“Avant-pop group Arthur Moon are more than happy to deconstruct the conventions of typical pop music”
-Billboard Music
Not a single time during my first time listening through to the single did I know where the next note would land. Against dissonant to resolving vocals and piano vamping that explored multiple keys sometimes within the same measures, there was a sense of peace in the chaos. The droning electronic sounds complimented rather than clashed with the more organic instruments.
The vocals evolved from melodic singing to speak-singing with a metallic overlay, creating chaos in the mix. But never did the chaos not resolve, paving the way for a beautiful jazz piano solo overtop the synth drone.
Rather than staying in the confines of one genre, Arthur Moon seems to reconceptualize boxing artists into one genre over another. They explore so many different soundscapes that at one point, I scrapped the idea of attempting to label them as alt or pop, instead praising their ability to operate outside of anything I’ve ever heard before.
“Dump the heteronormativity and get on Arthur Moon’s wavelength instead”
-Refinery 29
“Chaos! Chaos! Chaos!,” sung by lead Ashuvud who identifies as queer, was released for Pride Month. The music video captures two queer women dancing alone together in the purple light, expressing themselves and their love unequivocally. Their music shows the same queering of pop, electronic, and experimental music. Ashuvud is not afraid to defy traditionalism, bringing a unique approach to timbre, melody, and rhythm throughout all of her pieces.
The unpredictable nature of Arthur Moon’s music alludes to a rejection of heteronormativity within music and a huge step towards the acceptance of queer music which is so very crucially important, particularly in a month honoring our LBGTQIA ancestors. Following the accolades from monumental influences in the music industry, including Billboard and NPR Music, it’s clear Arthur Moon is on the verge of blowing up. If you want to secure bragging rights of knowing their name and following their music before they’re the household name they’re bound to become, stream their new song asap!
It has been four years since the members of Melt came together as a band. Co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) both NYC natives, started playing music together in High School. They and some of their friends entered a local battle of the bands competition and won. They took the prize money from that competition and used it to produce the band’s first song“Sour Candy” which was released as a single in 2017.
Melt is a septet, which is comprised of an additional five members: Marlo Shankweiler (Guitar), Josh Greenzeig (Drums), Coulou (Trumpet), Lucas Saur (Bass), and Nick Sare (Saxophone). Melt’s successful debut single propelled the band into the limelight with the strategic utilization of social media and substantial exposure on various internet streaming services. “Sour Candy” holds the distinction of having over 5 million streams on Spotify since it’s initial release. Between this heavy exposure and the band’s high energy live performances, Melt has been successful in establishing themselves securely in the rough and tumble NYC music scene.
Melt has a reached another important milestone with the February release of their Debut EP West Side Highway, which includes six tracks of previously unreleased music. Recorded at the Bunker Studio in Brooklyn, West Side Highway reflects a new level of maturity that Melt has been successful in developing as a band. “Coming into the studio with the goal of creating a longer work, we thought more intently on how each track worked with one another and used the opportunity to weave together the wide set of influences helping to shape a seven-person band,” said Josh Greenzeig (Drums).
“We used the EP format to create a snapshot of what that moment in time was for us, cementing elements of our sound that we love and finding new ones worth exploring.”
West Side Highway starts out with opening track “Don’t Want Me,” a moody number that details a love affair that has gone bad and is still painfully lingering in it’s final death throes. The masterful guitar instrumentation by Shankweiler and the melancholic vocal by Stewart-Frommer both work in concert to create a setting of sad desperation with a longing to be released. It was a great way to start the record and one that was interesting in it’s selection. It set the meditative tone of the EP which is soothing, comforting, and introspective in it’s entirety. This on going theme is again illustrated with third track, the EP’s title track, “West Side Highway,” which can be considered a love letter to pandemic ravaged NYC. This thought evoking number features a wonderfully muted trumpet solo by Coulou that is enhanced with Gabriel’s creative keyboard playing. his type of musical craftmanship results in another gem of a track on the record.
We were able to get some time with Melt co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) in order to discuss the band and it’s debute EP – West Side Highway.
Tim Bopp: How did the band Melt form and what were the circumstances that caused the genesis of the band.
Eric Gabriel: Veronica and I went to High School together and towards the end of high school we had some more time to kind of start playing with people around the city and that was really the first iteration.
Veronica Stewart-Frommer: The first call we made was Marlo who is our guitar player.
TB: How did you come up with the band name Melt?
VS-F: The funny thing about that is that we actually had the song even before we had the name for the band. Suddenly we were sitting with this single and we were like, “Alright and we kind of want to put this out there but we don’t have a name.” So we went down this very long list of random names. The night before we were going to release “Sour Candy” we actually made a Facebook page called Big Deli Chain. We were like, “That is it! That is the name! We are going to be Big Deli Chain (laughing).” At some point between 2AM and 4AM that night I was just like this band can’t be named Big Deli Chain and we changed it to Melt. It was so random.
TB: How has the Pandemic Affected the band and the new EP West Side Highway?
VS-F: The EP really is a product of the Pandemic. In a lot of ways, it feels like an entirely new Melt. This was such a unique time for us. Something that is interesting about us is that during the year we are all either doing our day jobs or even in school. A lot of us are still in college. So we do this kind of funky long distance band thing where we unite for these crazy weekend shows and then go our separate ways. In a lot of ways due to the Pandemic, if we wanted to work, we had to live together for multiple weeks in order to justify moving anywhere. It was kind of the first time since four years ago when the band started that we were able to settle down and really be together for weeks on end and write and hang out. We are such a live band that our songs are usually tested over months and years at live shows and they are based on what the audience reacts to and how we are feeling at the show but there was none of that this time.
EG: We have mostly been thought of as a live band. On most of our singles we typically try to document that energy that we all love about playing together at a live show. This EP we kind of wanted to go into a different direction. I think it is much more chilled out and doesn’t really have as much of that live band sound. The individual tracks we kind of wanted to take a different approach in the crafting of the songs.
TB: What are some of your musical influences?
VS-F: Part of what makes up the Melt sound is that we are seven people and some of us went to school for Jazz music and some of us studied political science and were raised on the Beatles and Bob Dylan. A lot of us have been into the Jam scene. That is actually how I met Marlo, through Phish and the Grateful Dead. I think we are kind of all over the map on that. Obviously as a singer I really adore a lot of artists like Aretha Franklin, Etta James, Otis Redding. That is where I fell in love with that genre and that type of singing. We are really all over the place. Right now a lot of us are into Phoebe Bridgers and the more Indie scene. I think that comes through on this EP.
EG: I grew up with a ton of Bruce Springsteen. More recently I listen to more folk music like Adrianne Lenker and also bands like the National. That kind of music.
TB: So, are you two the predominant the songwriters for Melt?
VS-F: Typically, that is how it has been. In the past, Eric and I usually write the lyrics to the songs that we sing, but we edit with each other and with other members of the band. Usually, it will either be one of the two of us will start a song and then bring it to the band. It evolves into a completely different direction from there. For this EP, since we were all together and couldn’t perform live, we wound up focusing a lot more on the production side of things as a band. Our bass player Lucas is really skilled at recording and in engineering production. He played a huge role in creating the foundation for the songs on the EP. We experimented a lot on this record this time around.
EG: This time around we started with Josh the drummer literally laying down songs, sometime just on his own. Then we would add the bass track and then that leads us into the guitar and usually vocals at the end. We really just build it up.
VS-F: We don’t know which way we like better. Maybe in the future we will go back in and play everything as if we are playing live. I think part of the beauty of Melt is that we are so young, so we don’t feel tied to any of our ways and we like to try out new things and see how it goes.
TB: How long did it take a band like Melt to complete the West Side Highway EP?
VS-F: Start to finish it was like two months. We were really lucky to be able to record the EP at the Bunker Studios in Brooklyn. We had a really wonderful producer and engineer named Aaron Nevezie who mixed some of the tracks as well.
EG: Some songs were written earlier, like Hours I wrote about a year ago.
TB: What does the future have in store for Melt?
Eric: We cannot wait to start playing shows again. We are really looking forward to playing out. The last real show Melt played was at the Sinclair in Cambridge last February. It felt like that at that show we all came together and we were fully on it. Our trumpet player Aaron even stage dived at the end of the “Sour Candy” solo that night.
VS-F: That show was awesome. It wasn’t the biggest room we have played, but just the layout of the place was great. It went straight back so you could see everyone and there was great energy that night. I also think the Knitting Factory show we played in Brooklyn. That was the first time we played “Waves.” Before a show we are always saying to the band don’t go too fast let’s keep the energy contained. Once we get out there it is just like an explosion and we are always playing at 100%. We don’t have many moments during a set where we just drop back and take a moment to breathe. In the bridge in “Waves” there is a moment where everyone drops out and it is just me and Eric. That was really a special moment. I always think about that moment when I picture live music coming back. It was the first time that we had ever played the song and I think the audience was psyched to hear a new song and it was kind of a sentimental little moment. It was really cool.
Key Tracks: Don’t Want Me, West Side Highway, Waves
boys cruise has released “Room for Reason” as their first single off of their upcoming self-titled sophomore album.
Their new jangly, poppy, but also garage-rock song is the first taste of boys cruise’s music since their acclaimed 2019 debut record Jerry. Mastered by Felix Davis, who worked with artists such as Lana Del Rey, HMLTD, and Swim Deep, added extra flair to boys cruise’s unique, playful sound. Their musical style combines several genres, creating a colorful blend that could make anybody want to dance. Zach Bloomstein produced their upcoming album.
Drummer and bassist Jack Parker spoke about the newest single: “Johnny Clarke (lead vocals/guitar) and myself, Jack Parker (bass/drums), wrote the main ideas before linking up with Sammy Josh (guitar) to really flesh everything out. I wrote Room for Reason over the span of a few days this past summer when I fell terribly ill with 102 degree fever.”
He continues that “the song is about how I felt trapped in my mind palace and how I was longing for rest. This past summer was a generally manic and confusing time for all of us in boys cruise, and the lyrics are just sort of a reflection of that confusion and some of the weirdness that was simultaneously going on in my personal relationships.
Based in Burlington, VT, boys cruise had its genesis in 2018 in the Northeast DIY scene. Their wild stage presence and riveting shows made them a notorious and beloved name in the northeast underground circuit. From cutting the lead singer’s hair mid-set to boxing matches between members on stage, they began selling out Vermont venues.
Their sound has evolved on their upcoming record in a new artful and noisy direction, compared to the poppier 2019 LP Jerry. boys cruise is Johnny Clarke (lead vocals/guitar), Jack Parker (vocals/bass/drums), and Sammy Josh (vocals/guitar).
Alternative duo Yo Kinky is in its nascent stage, with members Tom Unish and Laura Wight meeting in early 2020. The duo immediately felt a musical bond, and started crafting songs together.
Laura Wight and Tom Unish of Yo Kinky
Queens-based band Yo Kinky follows their first single “Somebody That I Used to Know,” with the second single, “Resistance.” The song is delicately created, yet exudes a confidence created by Tom Unish’s spaced-out guitar licks. The sonic landscape undulates with hypnotic layers of sound; the song yearns for the intimacy long lost by social isolation.
Laura Wight sings “Love is all we breathe,” and “Swing me off my feet,” transporting the listener to a beautiful place where love is all-surrounding. “Resistance” is an ode to the sanity one has during this time by finding delight in the small things in life.
“Resistance” follows their first single “Somebody That I Used to Know,” which, albeit its darker vocal passages, is playful, seductive and clever. It has received heavy play on WFMU’s radio station, as well as named as one of the best tracks of 2020 by Three Chord Monte. The band is beaming in their own path as they create and release more infectious music.
Over 2020, Yo Kinky self-produced and are releasing their first, self-titled EP. This collection of songs addresses trust, communication, love, loneliness, freedom, identity, and expectation. The group combines drum machines and bright, buzzing synths and guitars that shimmer with reverb and delay.
Yo Kinky’s music is reminiscent of Blondie, X, Mitksi, and Soccer Mommy, as they blend the pop and rock elements of indie into an incandescent artwork. When shows are possible again, Yo Kinky looks forward to playing locally, nationwide, and beyond.
Yo Kinky’s debut EP is due out on February 26, 2021.
