NYC band Restless World Music have recently released their new single “Second by Second.” The group is no stranger to melodic beats and emotionally driven lyrics, as they blend different musical styles and carefully-chosen words into a restless whole.
“These days I’m rebuilding my life / You could say I’m refilling my life” – how many have thought or said that over the past few years? So many self-empowerment songs make it all seem so easy – this song isn’t one of them.
For many on the road from doubt and despair to self-appreciation, one’s “gotta fight for every inch” and “Second by Second” makes the joy at the end of the journey, and this song, so much sweeter. “Second by Second” features stellar female vocals over an atmospheric fusion of trap, pop and a touch of jazz.
The lyric video for “Second by Second” builds on the song’s themes of rebuilding oneself after a crisis, and moving from doubting yourself to new heights of self-confidence. Produced by Restless World Music using Adobe After Effects software and a rich selection of 1080p video clips, the video delivers a cinematic feel that enhances the mood and meaning of the song.
Restless World Music’s songs have earned awards from the Great American Song Contest four times and have been recognized twice as top-five songs of the month in online music magazine SongwriterUniverse.com.
Albany pop-punk veterans State Champs have returned with their fourth studio album Kings of the New Age, a 35-minute montage of guitar-driven angst and lust that rarely slows down.
Kings of the New Age is the first release by the band to feature only one guitarist, after Tony Diaz stepped away in 2020. Nevertheless, the group’s sound isn’t any smaller, with the other four members nicely filling in the gaps. This is aided by some tight production from California based Drew Fulk a.k.a. WZRD BLD, whose collaborations include Lil Wayne, A Day To Remember, and Ice Nine Kills. Cleanly mixed, the band’s full arrangement shines through on Kings of the New Age, with no instrument or vocal sounding unclear, choppy or overshadowed.
While production does play a significant role in the band’s presence standing tall with a smaller lineup, credit has to be given to Tyler Szalkowski for his increased duties as both lead and rhythm guitarist. Songs like “Here to Stay” and “Just Sound” showcase guitar work that both maintains a loud presence while enhancing the song melodically.
Cover art for Kings of the New Age.
Lyrically the album generally focuses on topics of romantic lust and strife. “Being with you is like working on the weekend,” sings lead vocalist Derek DiScanio on the chorus of “Everybody But You,” the album’s lead single. Even though romance is a major focus of the record, songs like “Here to Stay,” which begins the album, reinforce the idea behind the album’s title. “The kings of the new age, the wrong time, the right place,” sings Discanio in the track’s opening lines.
With State Champs entering the scene of pop-punk after the genre’s boom in the late ’90s and early 2000s and before its recent renewal with Machine Gun Kelly’s pivot towards the genre hatching new commercial attention, the optics of this timing might not be great, but they don’t mind. “On our own it’s safe to say, we’re here to stay,” DiScanio sings at the end of the opener’s chorus.
State Champs attempt to reinforce this footprint on Kings of the New Age with four features scattered across the album, with appearances from Neck Deep’s Ben Barlow, Against The Current’s Chrissy Costanza, Nashville country pop singer Mitchell Tenpenny, and Four Year Strong’s Alan Day & Dan O’Connor.
Each artist is given a bridge to sing or maybe a little more on the tracks which they have feature duties, which is something that holds back the effort and impact of these guest contributions. Chrissy Costanza’s contribution on “Half Empty” slightly stands apart in this regard however, with her bridge and chorus near the song’s ending adding another perspective to this track about a struggling relationship.
And even though part of this album’s mission is clearly dedicated to not changing up the band’s formula, this leads to Kings of the New Age sounding repetitive at points. This is why slight deviations on songs such as “Act Like That,” which functions more as a straightforward pop rock track, and closer “Some Minds Don’t Change” with its loud, waltzy chorus are easily appreciable moments.
Nevertheless, State Champs’ classic pop-punk formula works out well overall, with loud anthemic choruses and relatable melancholy lyrics shaping a strong album for the seasoned band. Kings of the New Age doesn’t reshape the punk genre or push too hard on any boundaries, but it’s good enough on its own to prove that State Champs deserve to hang around.
Key Tracks: Here To Stay, Just Sound, Act Like That” (featuring Mitchell Tenpenny)
Today we celebrate the anniversary of the first Phish show ever held at New York City’s esteemed Radio City Music Hall. Fresh off the heels of a New Year’s Millennium celebration in the Everglades that made headlines worldwide, Phish was ready to take on the year 2000 with a Spring Tour of Japan on the books. But first, they would play a few gigs in New York City to dust off the cobwebs and help support their album Farmhouse which was released just days earlier. On this the first of a two-night run here, Phish would wind up playing about half of the new album’s songs while mixing in other classics in a show that certainly lived up to the anticipation surrounding it.
Phish seems to soak in the applause for a bit from a raucous Radio City Music Hall before starting the show with thunderous “First Tube” that seemed to move the ground itself. Mike Gordon’s constant, unwavering bass line dominates this one pulled from Farmhouse that continues to be a mainstay at shows to this day. A familiar first set face in “Wolfman’s Brother” gets played next, adding a veritable dose of funk to the revered music hall, with sound coming through in pristine fashion thanks to Radio City’s amazing acoustics.
An early show “Squirming Coil” then makes an appearance. The “Little Jimmy’s off to camp” line seems to get a noticeable roar of approval from the crowd, perhaps in respect to last summer’s legendary (and sweltering) Camp Oswego festival in Upstate New York. After a fairly brief Page McConnell closing piano solo, the opening to “Possum” emerge which reenergizes Radio City and then some with the floor once again seeming to have a discernable bounce to it, especially on the upper levels of the building. After a brief pause, the funk returns once more, this time courtesy of a bubbly “Moma Dance.”
Once “Moma” comes to a rolling stop, the opening chords to “Limb By Limb” ring out, a fellow Story Of The Ghost selection. “Limb” elicits one of the finer jams of the first set, one that slowly increases in fervor and intensity, with McConnell and Trey Anastasio on guitar musically sparring back and forth, before it closes with Jon Fishman alone on drums. “Character Zero” then wraps a bow around the much anticipated first Phish set at Radio City, a spirited and well-played one with fairly standard selection of songs for 2000.
The second set stays very much in that same vein, beginning with a “Gotta Jibboo” that produces the next standout moment of the evening. The band is instantly locked in on a blissful jam that takes off right away, aided by Anastasio’s signature digital delay loop running underneath it the entire time. This momentum carries squarely into the “Down With Disease” that comes next. The band rips through the composed section and jumps immediately into an aggressive high-octane jam that starts strong and never really lets up, with Fishman pushing both the tempo and the limits in a masterclass of drumming. Eventually, Trey reintroduces the digital delay loop with Page adding in some harrowing organ fills as the band takes their time crafting this one. It all adds up to a 20-minute “Disease” that’s the highlight of the show and one of the better ones ever played to date.
In a true case of juxtaposition, Phish lets the crowd catch their breath a little and trots out the introspective “Dirt,” yet another Farmhouse selection. This would actually begin a three-song run from the new album (and four of five including “Jibboo”) in the second set as “Twist” follows and brings with it a mellow, groove-infused jam that turns into near ambience.
This lays the foundation for “Piper” and its customary (at the time) slow build introduction. “Piper” goes from slow to lightening quick in a hurry, with Anastasio shredding out the main chords in rapid fashion with Fishman, once again, doing some otherworldly business on the drums. Instead of stretching “Piper” out further, it comes to a rather abrupt stop and Phish pivots to “Harry Hood,” much to the delight of the Radio City crowd.
Phish doesn’t mess around with “Hood” and delivers a splendidly euphoric version of one their signature songs, a slow build of emotion before cresting perfectly. A second set full of music and memorable jams could have easily ended right there with few complaints. But from the ashes of “Hood,” McConnell emerges alone on piano and begins “Wading In The Velvet Sea” to add another emotion-provoking song to the list. Afterwards, both he and Trey expressed their appreciation for being able to play at Radio Music Hall, where they had both been able to see the great Stevie Wonder perform, with Trey making some especially poignant and heartfelt remarks about the current state of Phish and the scene it has created.
With that said and done, the resurrected “Guyute” then closes out the second set in grand fashion. The “I hope this happens once again line” at its completion gets another extra round of applause from the crowd. For an encore, Phish trots out one last Farmhouse selection with the acoustic “The Inlaw Josie Wales” before “Loving Cup,” the lone cover song of the night, sends the Radio City crowd home glowing, eagerly anticipating what’s to follow in round two tomorrow.
Take a listen to the whole show below or song by song at PhishTracks.
Phish Radio City Music Hall – New York, NY 5/21/00
Set 1: First Tube, Wolfman’s Brother, The Squirming Coil, Possum, The Moma Dance > Limb By Limb > Character Zero
Set 2: Gotta Jibboo, Down With Disease > Dirt, Twist > Piper, Harry Hood > Wading In The Velvet Sea, Guyute
Celebrating 518 Day on May 18th, bass-heavy psychedelic prog rock ‘bastards’ Primus made their triumphant return to Albany. Amidst a special 46 date, coast-to-coast tribute tour paying homage to fellow prog-rock legends Rush and drummer Neil Peart, the influential Bay Area trio performed two distinct sets; one of original music and the other, a full cover set of Rush’s seminal 1977 album A Farewell to Kings.
Curated by charismatic Primus front man and bass playing virtuoso, Les Claypool, the only logical venue suited for an occasion of such royal proportions was downtown Albany’s historic Palace Theatre.
Les Claypool of Primus performs at the Palace Theatre in Albany 5/18/22
The man, the myth, the compulsive entertainer, Les Claypool has arguably been one of rock’s most influential players of the last thirty years. Creating a mythical, almost cult-like following through his multitude of side projects, some may know him from his time with Trey Anastasio and Oysterhead , or with Buckethead and The Flying Frog Brigade, or more recently with his “Delirium” collaboration with Sean Lennon, son of Yoko and John. An impressive pedigree to be sure, but make no mistake, Primus has always been the bread and butter for Les and also his most successful.
But what made him want to start playing music in the first place?It all goes back to a single day in 1978 when a young Claypool attended his first ever rock concert. Performing that night was a young Canadian banned named Rush. Mesmerized by what he saw on stage, it was then Claypool decided music was what he wanted to do with the rest of his life. 14 years later and now spearheading a colorful band of his own dubbed “Primus,” things came full circle when they were offered a supporting slot on Rush’s 1992 tour. They say never meet your heroes or you’ll be disappointed, but in the case, the two bands shared an instant connection and would develop a close friendship organically through years of touring together. According to Claypool, paying tribute to Rush is simply a way to say “thank you” for all of their inspiration.
Primus performs at the Palace Theatre in Albany 5/18/22
Bringing the “Tribute to Kings” Tour to the Palace Theater this past Wednesday, fans turned out in droves, but not necessarily to see Primus. With the passing of iconic drummer Neal Peart, Rush played their final show in August of 2015, yet based on the sheer amount of vintage Rush t-shirts and memorabilia that was present at the Palace, it’s fair to say there is still a significant demand for their music. If there is any three-piece unit that has the talent and the chops to fill that void, it would have to be the mighty Primus.
Taking the darked Palace stage as the customary Danny Elfman “Pee-Wee’s Big Adventure” theme piped in over the PA, Claypool, along with guitar player Larry “Ler” LaLonde and frummer Tim “Herb” Alexander, wasted no time in letting their intention be known. Playing the type of songs that don’t exactly fit well with the radio format, class was in session early as Primus opening their performance with an “American Life” history lesson. Complete with a massive rear projector high above the stage displaying hypnotic video loops and depicting things like immigrants registering at Ellis Island, the Statue of Liberty, along with images of Mount Rushmore and Honest Abe, the projections would subtly change to a ‘military marching orders’ theme during classic Primus cuts like the songs “Too Many Puppies” and “Sgt. Baker.
The low-end pulse would beat a little louder (and darker) on the next song, 1989’s repetitive, percussion-heavy trance educing song “The Pressman,” after which Claypool claimed the band had not played in a while. One of the highest highlights of the first set came next with a rare “Professor Nutbutter’s House of Treats” which segued nicely into a “Del Davis Tree Farm” bust-out, played for the first time since 2017. Sensing an opportunity to slip in something new, Primus then unloaded their brand new sprawling and groovy single, the covid-inspired, tongue in cheek eleven minute opus “Conspiranoia.” The opening set concluded with a condensed mash-up of “Welcome to This World” and the always awesome “My Name Is Mud.”
Primus performs at the Palace Theatre in Albany 5/18/22
From there the Rush was on, literally. In an evening billed as a “Tribute to Kings,” Primus would honor their musical heroes by performing the 1977 classic Rush album A Farewell To Kings in its entirety. Other than a minor wardrobe change and Claypool trading in his signature Carl Thompson ‘Rainbow’ bass for a black and white Rickenbacker model, Primus tore through the set with such complete confidence it almost made you forget these were someone else’s songs.
Technically proficient, it was the vocals that proved to be the biggest challenge for Claypool. At one point addressing the audience between songs, acknowledging Geddy Lee’s high pitched (and often polarizing) vocal style isn’t exactly “easy” to mimic and then encouraged those who knew the lyrics to try and help sing the next one, then launching into one of Rush;s biggest radio hits, “Closer to the Heart.” For a brief time during “Xanadu,” both Claypool and Ler could be seen wielding a pair of huge, double necked axes. Allegedly the first to ever play an electric 12 string bass, Geddy Lee claims Rickenbacker specifically built the first one for him.
After witnessing Lee perform with the mammoth instrument at his first ever concert, Claypool confessed he’s wanted one ever since and joked that it took him all these years to finally be able to afford one. Always cracking wise, Claypool would also make several light-hearted jabs at the people in the first few rows who were still inexplicably sitting down, saying “it’s that mutual exchange of energy that [he] feeds off and that if he has to remain standing through the entire performance, everyone else should be up off the asses too.” Les then dove into his favorite Rush song of all time, the set closing “Cygnus x-1.” Just prior to the encore, Claypool would later apologize to anyone who may have been offended by his heckling and then proceeded to drop into the opening notes of Primus Frizzle Fry fan favorite “Groundhog’s Day” from 1990. Still not satisfied, fans begging for “just one more” were treated to a tune Claypool introduced as “a true story about a friend…who was addicted to crack.” His name was Harold.
Primus performs at the Palace Theatre in Albany 5/18/22
Coming to a close a little before midnight, most people stayed all the way to the end as the theme from the original “Charlie and Chocolate Factory” helped send them home with a smile. There was a little something for everyone at this show. Sure, real Primus fans want to hear all Primus all the time and the faithful Rush fans were probably a little overwhelmed by the undeniable heaviness and some of the weirdos the Primus scene tends to attract, perhaps even hoping for another radio hit like “Tom Sawyer” or “Spirit of the Radio.”
The real winners on this night were the scores of young fans in attendance. Similar to the way Les Claypool’s life was forever changed by his first concert, you couldn’t help but notice the abundance of skid fathers who brought their boys with them. Perhaps the sentimental notion of passing the prog-rock crown from Rush to Primus? Or maybe they just couldn’t find a babysitter? Or maybe, just maybe the next great virtuoso bass player was sitting right there in the Palace Theatre all along, absorbing the magic of live music at their very first concert. One thing is for sure, Primus most certainly does not suck.
Primus | May 18th, 2022 | Albany, NY | Palace Theatre
Set 1: American Life, Too Many Puppies(>)Sgt. Baker(> ‘Too Many Puppies’ reprise), The Pressman, Last Salmon Man, Conspiranoia, Professor Nutbutter’s House of Treats, Del Davis Tree Farm (First time live since 2017), Welcome to This World, My Name Is Mud
Set 2: A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: Groundhog’s Day, Harold of the Rocks, Follow the Fool >Harold of the Rocks Reprise
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 from, Shane Guerrette, That Girl w/One Free Don 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.
That Girl featuring One Free Don – “Cherish”
Shane Guerrette – “Here’s Hoping” & “How was I to know”
Albany’s Glass Pony continue a hot streak that has seen the group persevere through a pandemic to build an audience and unique sound, and return from the studio with a strong sophomore album, Nowhere Daydream.
Comprised of Chanda Dewey (drums), Eddie Hotaling (guitar, lead vocals), Jeff Picarazzi (bass), and Greg Pittz (lead guitar), Glass Pony has used the last two years wisely, honing their craft in practice and performance, preparing for the return of live music and hitting the ground running. Expanding their touring area to Central New York and the North Country puts Glass Pony on an upward trajectory, fueled by Nowhere Daydream.
The album begins with the Hotaling composition “North Bound,” giving an early Ominous Seapods feel to the album, which dips quickly into a track that has quickly become a fan favorite, “Something Good.” The first notes to the album’s first single have a “Let’s Dance” intro vibe, a soaring guitar hook throughout from Pittz and serves as an upbeat post-pandemic anthem for an uplifting 7+ minute ride, .
“House on a Hill” has a happy, upbeat jamgrass vibe, with lyrics by Keith Drinkwine. “Mortimer” brings in a “Wife Soup” feel in the intro before entering a swing-revival section – this fiery instrumental segues neatly into the brief and ambient “GN-z11.” The guitar groove of “St. Atocaster” from Pittz fits snugly into a pocket created by Picarazzi and Dewey, a track that captures the Glass Pony sound that has developed these past three years.
Nowhere Daydream was recorded at Jellystone Park in Pound Ridge, NY; Blue Sky Studios, Delmar, NY; and Glass Pony Stables, Albany, NY. The album was mixed and engineered by Eddie Hotaling and mastered by Raelynn Janicke at Infrasonic Mastering, Nashville, TN. Matt Richards (Annie in the Water) is featured on keys on all tracks, with Will Hayes playing cello on “Lunar Flare.” Visit Glass Pony on Bandcamp.
Key Tracks: Something Good, Mortimer, St. Atocaster
Glass Pony will hold an album release show on May 21, 2022 at Parish Public House (388 Broadway, Albany. Tickets are $15, with 3 sets and doors at 7. Tickets are available via Glassponyband.com or guthriebellproductions.com
Ricky Persaud Jr.’s discography is stellar, to say the least, and is ever-growing as his versatility continues to elevate his status. Although, the multi-instrumentalist is a recent graduate from the prestigious Berklee College Of Music in Boston, his professional music career has been years in the making. The talented musician is known to cover a multitude of genres ranging from pop, rock, reggae, funk and more, while providing fans with a unique experience.
Michael D. Spencer
At two-years-old Persaud Jr., began his musical journey with the banjo. Since music was his main priority, he became a child prodigy within a short period. By four-years-old, Persaud Jr. had begun playing percussion and while attending the Newark School of the Arts, studied the drums.
At the tender age of 9, he played the guitar for the first time and realized there were no limits to how he could express himself. After receiving professional training, he was not only a proficient guitar player, but was able to add the bass, as well as the piano to his repertoire.
Thanks to his mother, Valerie Persaud, there were no limits to Persaud Jr.’s ambitions as she encouraged him to excel at each instrument. She dreamt of playing the piano herself, but was denied the opportunity, so she ensured her children would not have the same experience. Besides, music ran in the family.
Persaud Jr.’s father, Ricky Sr., engineered Caribbean albums and often played Bob Marley, The Wailers, and Third World, which quickly influenced his infant son. Contrarily, his mother favored classic-rock music, particularly the Beatles, who are Persaud Jr.’s favorite musicians along with Michael Jackson, Nirvana, and Bob Marley.
I never paid attention to music until I heard the Beatles. With them it’s not just about the sound of the instruments, but the message being relayed. Their music is all about love and inspiration.
Ricky Persaud Jr.
While his love of instrumentation was fostered at home, his songwriting exploits were a way to escape the outside world. As a victim of bullying, Persaud Jr. was encouraged by his mother to express himself through songwriting. Soon enough he realized this was a powerful way to overcome the social adversity he dealt with. In the end, songwriting became his main coping mechanism, which only made him a better musician.
When you bottle up everything inside you are hurting yourself. Therefore, I truly believe people should use platforms like music and sports to release their emotions and express themselves. Songwriting was like a diary for me.
Valerie Persaud
Having built a great amount of mental fortitude over the years, his self-belief even applies to his music. While on quarantine during the pandemic, he was faced with the obstacle of connecting with other musicians without physical touch. It was during this time that an already tight familial bond continued to grow. He connected with his mother and brother to continue their musical work as a band, by the name of Ricky Persaud Jr and Crossroads.
Outside of his immediate family, the Indie Collaborative (IC), an organization for independent musicians and professionals to come together as one, has been essential in Persaud Jr.’s development. On April 25, he performed alongside other IC artists at Carnegie Hall.
The Indie Collaborative helped me as far as my artistry, confidence, networking, and exposure to other talented artists. I will always be grateful for them and the opportunities they presented me with.
At such a young age, Persaud Jr. has been awarded a 2016 Governor’s Award for Excellence in Music, the Artist of The Year in Pop award at the 2019 Josie Music Independent Awards, a 2020 Global Music Award, he was named 2020 Best Male Artist in Pop at the Indie Music Channel Awards and is a Grammy voter. However, according to him, his most heartfelt achievement was not only being accepted into the reputable Berklee College of Music, but being awarded a full four-year scholarship.
The people who selected me for the full four-year scholarship, said they chose me because of how active I was with my work on social media. If I was to give others advice, it would be to take pride in their work, show off their craft, and post professionally.
Persaud
Persaud Jr.’s most recent album, Enlightenment, relays the message of “shining some positivity into the world.” Meanwhile the featured song “Cease Fire”, sheds light on racism, Black Lives Matter and police brutality.
If there is any advice I would give other musicians of color, it’s that there will be a lot of discrimination along the way, but no matter what believe in yourself and use what God instilled in you.
Although Persaud Jr. has proven himself within the music industry, he feels that he has only scratched the surface of his potential. With plans on becoming a Grammy-award winner and having a “musical connection worldwide,” Persaud Jr.’s future is nothing short of promising.
On Friday, Brooklyn-native band Superbloom released their new single “Falling Up,” the group’s first new music since their 2021 debut album Pollen.
Superbloom first promoted the single via Facebook and Instagram on April 29, saying “something short, fast and loud coming soon.”
Promotional artwork for “Falling Up” done by Patrick Turk.
Produced by Superbloom, the two-minute “Superbloom” is a grunge track also features mixing & mastering from Zach Tuch, a Los Angeles-based engineer who has worked with Touché Amoré among many others since 2016.
The song’s structure is simple enough, consisting of two verses and choruses each before the moody but melodic track quickly wraps up.
While glossily produced, the song doesn’t remotely shy away from being loud. Shades of My Bloody Valentine-esque shoegaze are there, with Dan Hoon’s soft, layered vocals competing against waves of dirty guitar noise.
“Falling Up” is at its best when it leans into this noisier side. This is on point during the pre-verse/post-chorus section, where vigorously alternating guitar chords blend with an explosion of drumming.
This energy is matched by the angst of the lyrics, which are somewhat ambiguous. “Shit may hit different if you’re sipping off the pain,” Hoon sings at the end of the second verse.
“Falling Up” does a good job showing awareness for pop-grunge conventions of songwriting while not sounding restrained.
Caffe Lena will host the first annual Sing In The Streets music festival on May 22 to celebrate the venue’s 62 anniversary.
Music will take place at six sites in the historic downtown Saratoga Springs neighborhood, with each site having display photos and memorabilia associated with each decade of the venue’s operation.
Carolyn Shapiro, a Caffe Lena staff member and one of the performers for the afternoon, spoke in a statement about the festival. Shapiro also won an Eddie Award for Folk/Traditional Artist of the Year.
Sing in the Streets celebrates our venue’s history but it’s also a celebration of the community that helped our historic venue survive the turmoil of the last couple years. We’re encouraging people to visit every stage and get their Folk Passport stamped for a chance to win an Emcee Membership, which entitles you to two free shows a month for an entire year,
Also, Kira Favro, Caffe Lena’s Board President, spoke of the anniversary celebration.
We have a lot to celebrate this year. We marked our 60th during the peak of the pandemic. Now it’s time to gather in person and enjoy music and survival. Caffe Lena has a long history, but its future is going to be even longer.
The festival features various musical styles, like pop, country, folk, bluegrass, and children’s music. The festival is free, but people can donate to support Caffe Lena’s community services, like free shows for kids, music in nursing homes and homeless shelters, free music lessons, and more.
Rochester’s Boy Jr. is gearing up to unleash their debut album Pay Attention to Meee next month. In anticipation of the release, they’re giving us a taste of the synthy-pop ear candy to come.
Inspired by Chairlift and Caroline Polachek, the bedroom pop ditty “Hey Sorry” ensconces girl power in the face of heartbreak.
“‘Hey Sorry’ is a sonic showcase of how fucked up I get when I have a crush.”
– Boy Jr.
Boy Jr. is the songwriting/production project of Erica Allen-Lubman (she/they). To celebrate the release of “Hey Sorry” they will be opening for Aryia at The Knitting Factory, Brooklyn tonight (May 18). Follow on Instagram.
