For a college band from University of Connecticut, making it to the point where you can finally move to NYC is cause for celebration — and what better way to celebrate than with a new single dedicated to the whole experience. “High Line,” released today, October 21, is Kids That Fly doing just that. “High Line” is a song for the proud transplant: listen to it on your first couple Subway rides, blast it with windows open when you first drive over the Brooklyn Bridge. “You made it,” the song promises, “you’re really here.”
Kids That Fly is a pop band bridging on indie, composed of four friends from college: Nick Smeriglio on vocals and guitar, Blake Henry on guitar and synth, Braden Frandino on bass and Ryan Hendry on drums. The four started out just playing live shows in and around their school in Connecticut, but soon started commuting in and out of New York for gigs. Finally, the band’s front man, Smeriglio, moved into the city, prompting their optimistic new single.
The song evokes a more technical The 1975, a less sad Backseat Lovers. It’s pop with enticing guitar chords and a synth that fits right in.
For the older crowd, the synth keyboard conjures 80’s nostalgia, to neon-soaked teenage years. But for the younger generation, Kids That Fly’s newest feels nostalgic, too, for different reasons. Because it’s so much like The 1975, the synth-y beat and fast drums brought me back immediately to the yearning that defined being a teenage girl between 2013-2016. I remembered how I spent hours on my computer scrolling Pinterest and Tumblr, daydreaming about NYC, imagining my apartment, the parties I’d go to, the friends I’d make, even romanticizing my morning commute. It’s a universal phase for the American teen, the day dream about moving to the city, the bright days, the long nights. “High Line,” captures all that fantasy and its long-awaited fruition in one clean sweep.
Though the song calls out the High Line, a revamped New York Central Railroad track that was turned into an elevated park to overlook the westside of Manhattan, the “High Line” music video is filmed deep in the ground, in Subway stations and even on the train. Complete with vintage filter overlays the video sees the foursome walk into the station, set up their drums, guitars, mics and bass and play the single, while tourists watch from the MTA machines; you can almost hear them thinking: “Only in New York.” Listen to the song here, and see the video below.
NYC’s cult funk ensemble Brooklyn Funk Essentials have just shared a playful video for their irresistible new jazz-funk jam “AA Side Single.” The music video was just released October 16th, in follow up to the critically acclaimed recent single “Scream!” released on Dorado Records.
The tongue in cheek video is full of vibes and features legendary lead singer Alison Limerick, BFE founder and bassist Lati Kronlund and the entire BFE lineup.
Brooklyn Funk Essentials is a music collective who mix jazz, funk, and hip hop, featuring musicians and poets from different cultures. Across a career that stretches 28 years and six albums, Brooklyn Funk Essentials have established themselves as an audacious project fusing soul, hip hop, spoken word, jazz, Latin and of course, funk. BFE have built up a loyal international cult following on every continent since its inception in 1993 by iconic producer Arthur Baker and bassist Lati Kronlund.
The band was born out of New York’s buzzing hip-hop, jazz and slam poetry scenes in the early 90s, rotating some of the finest musicians, DJs, poets, rappers and singers. BFE’s debut album Cool & Steady & Easy is a classic underground hit with the version of Pharoah Sanders’ “The Creator Has a Master Plan,” while tracks like “Take The L Train” and “Big Apple Boogaloo” became DJ favorites.
“The cult funk ensemble Brooklyn Funk Essentials share the playful video for their infectious new jazz-funk jam “AA Side Single” today”
– Ghettoblaster
The songs “AA Side Single” and ‘Scream!’ are both taken from the BFE’s hotly anticipated seventh studio album Intuition, which will come out in early 2023 on Dorado Records. Thus, the original label who first signed Brooklyn Funk Essentials in 1994.
BFE are on a European Tour through summer to autumn, with European festival dates across Sweden, Norway, France, Belgium, Czech Republic, Turkey and more.
To watch the video for “AA Side Single,” click here. To listen to Brooklyn Funk Essentials, click here.
When Sid Seth moved to NYC from Ahmedabad, Gujarat in India five years ago to attend the Manhattan School of Music he shortly found that “the city that never sleeps” seemed to have gone into hibernation. In a new city, at a new school and without friends, Sid Seth turned to art and music, his longtime companions. It was during this time that Seth wrote “Simple Yet True,” his just-released debut single.
“Simple Yet True,” trickles in with acoustic guitar and Seths clear vocals, before building to a cathartic emotional release. The song is yearning but bright, a song for slow mornings, paired with coffee and cream.
Seth made the song using his own multi-instrumentalist talents on guitar and piano and with the help of Kris Crawford — who has produced for Ariana Grande and Shawn Mendes — and Alex Psaroudakis — who has won a Grammy for master engineering. In addition to these industry veterans at his back, Seth has experience playing live in NYC at such venues as the Bowery Electric, Feinstein’s 54 Below and the Green Room, and at venues in India as well.
But he’s not just a musician. Seth’s inspiration for “Simple yet True” actually came from painting first. In his room during the pandemic, when the city seemed to stand still, Seth felt drawn to the page, he said. He ended up painting a long-forgotten scene from his childhood onto the canvas, and that artful nostalgia translates in clean sweeps off the canvas and into his music.
Sid Seth’s next show is at Kobrick Coffee Co. in NYC on October 20 at 7:30. He will be playing with Justin Charles, an 18-year-old song-writer and producer. Tickets are available here. And, on December 8 Seth will play Rockwood Music Hall.
Westchester rock trio, Shining Faces, released their debut single, “Worthless” on Wednesday, September 28. The music group with origins in the Upper Westchester County area transitioned their involvement in the rock scene in New York City.
Shining Faces
A unique feature of the band’s start-up counts their spawnage from the upstate-based Pow! Burger joint. The collaboration between the burger restaurant and the rock band helps to carry the representation of the DIY cultural aspect of the Upper Westchester community.
‘Worthless’ debut single cover art
The members comprising the band are vocalist, guitarist and songwriter Clinton Meekel, bass player Kevin Giachetto, drummer Austin Flynn and guitarist Nick Trujillo. The artists opened about their experience working at the independently-established Pow! Burger joint, their music career and the connection between the workplace they were previously employed at and the punk and surf rock performances made in the Metropolitan area that are supported by former co-workers from the Pow! Burger.
Heather Occhino: How did the band meet?
Clinton Meekel: So, Austin, Nick, and I met while working at Pow! Burger. Nick and Austin actually had a project together called “Block Tape”, and the three of us had a project together called “Anklebiterz”. Kevin and I had played drums a lot together growing up with Kevin’s brother, Justin. I had put out some stuff solo during COVID, but I really wanted to be able to play live. I put together a trio with Austin and our other friend, Sean. When we moved to the city, Austin moved over to drums, we added Kevin on bass, and Nick is our newest addition on a second guitar.
HO: What inspired the band members to pursue making music?
CM: I always grew up around music. My dad repairs guitars and collects records and just has a really extensive knowledge on all kinds of eclectic rock and punk music. I started playing when I was five years old and haven’t stopped since.
HO: What was the group’s reason for relocating to New York City?
CM: Basically, I moved here to finish college. It’s new and there’s a lot of awesome stuff happening down here musically. I used to drive down here all the time to go to shows and it’s really cool to be living in the midst of all of it.
HO: What influenced Shining Faces to add more contemporary-based punk-rock influences to traditional songs, such as Joe Cocker’s “The Letter” and Hound Dog Taylor’s “Give Me Back My Wig”?
CM: I had listened to those songs a lot growing up, and I wanted to pay homage to those musicians. There’s something timeless about those songs in particular, and I love being able to take something old and mess around with it and make it fresh. Those songs translate really well live too, because people recognize the songs but maybe have forgotten about them. Then it creates an opportunity to bond with people over those songs too. People come up to us after shows and bring up The Letter, and it’s just really great to get to talk with new people about songs that we all love.
HO: When Pow! Burger was established, did the then-employees plan on choosing a direction toward music?
CM: It was totally by chance that so many of the people who work there, who I now consider very close friends, were also interested in making music. But it definitely became a commonality for all of us there. There aren’t really any venues in Yorktown or record stores, so it’s hard to find any sort of musical community. I’m lucky that all my time at work could be spent with guys who do care about music and have a taste that aligns with mine.
My friend from Pow! Leapfrog Jones actually opened for us a few weeks ago at the Bowery Electric, and I just saw him play the other day at another venue. We all just kind of had bands on the side, but everyone is really supportive. Even the owner Dave, he comes to our shows. And Yorktown isn’t close, but he’s invested in our success. It’s honestly not very often you see a business owner who actually cares about the success and security of their employees beyond the workplace, so we’re all really lucky. And just to have this community of people who have our backs and are rooting for us.
HO: What was the transition like leaving Pow! Burger and moving to the city?
CM: It’s a little bit crazy actually. We’re all friends, so I see the guys from Pow! all the time. They all make their way down to the city for our shows. I think some more of them might even move out here too, and I love having them on bills with us or vice versa. I remember overhearing someone after a show say, “What is this restaurant they all work at?” Because basically the entire staff was in the audience. It’s pretty awesome to see.
HO: As mentioned in the biography about Shining Faces, their aim is to find “authenticity in a world in a world where our lives are becoming increasingly commodified”. In which ways is this sentiment expressed in their musical work/artistic expression?
CM: Punk has always been about rebellion. I’m really inspired by guys like Iggy Pop, the Sex Pistols. Punk has always been a vessel for counterculture. I think we and most other people in our generation feel like we’re getting screwed. We’re losing faith in our institutions. There’s so much pressure, especially with social media to make yourself marketable. To make every bit of yourself something that can become profitable. It’s easy to feel helpless. And we’re angry. So our aim is really just to create and give a raw reaction to what is happening in the world. We’re young and people want to dismiss us but we’re the ones who will grow up in the world that policies being passed right now are shaping.
HO: What ultimate message/(s) does the band want to spread to their listening base?
CM: I think what we wanna get out there, especially with “Worthless” is just to not let the world get you down and cling to your passions. What we kind of pose in this song is am I worthless? In a world where everyone is supposed to be doing a million things at once, how valuable am I beyond what profit I can produce? Or is all of that worthless and the bits of the humanity within us are what is actually significant? We’re kind of grappling with things like “what is all of this for?” It’s a question that only yields more questions, but we’re going to keep asking.
NYC‘s Baby Got Back Talk, one of AfroPunk’s “Top 8 Punkest Bands on the Planet,” have just announced their new debut EP Existential Shred. The EP will be dropping later this Summer 2022 on Wiretap Records. They have been named one of Alternative Press’s ’17 black alternative bands leading the next generation.
Photo: Kate Hoos
Formed back in 2017, Baby Got Back Talk initially consisted of vocalist/bassist G’Ra Asim, synth op/vocalist Rhiana Hernandez, and lead guitarist/vocalist Jake Lazaroff. After years of sharing bills with local compatriots like Choked Up, Universe Ignore Her, and Gibbons (acts that were all anchored by the propulsive stick work of drummer Wes Ruiz) Baby Got Back Talk welcomed Ruiz into the fold. Now, they are an inseparable pair named one of The Utah Daily Chronicle’s top 5 Black Alternative Bands You Need to Know in 2021.
“We’re what punk looks like in the 2020s: driven by a DIY ethic, conversant with social issues–especially as they pertain to gender and race, enabled by inter-web, bankrolled by day jobs, powered by a rad likeminded community, resonant with the most venerable iterations of rock ‘n’ roll but firmly committed to injecting some new flavor into the mold.”
“On their upcoming EP Existential Shred New York pop punk band Baby Got Back Talk delve into the very nature of human existence. They tackle death, life changes, and the state of the world with excellent literary lyrics, plenty of synths, and a healthy dose of hope.”
– Punk News
Baby Got Back Talk is a D-I-why?-because-we-gotta punk party from New York City. The band teamed with producer John Naclerio (Just Surrender, The Audition) at Nada Recording Studios for their latest EP, ‘Existential Shred’ due out later this Summer 2022 on Wiretap Records.
“A catchy pop punk hook-fest that throws the middle finger to anyone claiming that being marginalized is “in” these days. “Model Minority” could become an anthem of importance for queer folks and POC in the punk scene today.”
– Tuned Up
The band has released a pair of EPs in 2017’s Take This The Wrong Way and 2018’s Up In Open Arms. Their full-length debut, 2020’s Genre Reveal Party, was mixed by Paul Leavitt (All Time Low, Senses Fail, Yellowcard).
In an interview with Loverboy magazine, Bentley Robles uses a term I really liked: Catastrophize. When he’s in a relationship, Bentley Robles tends to catastrophize. As he put it in his hit single “i hate the weekend,” when his boyfriend goes out on the weekend and the possibility of him sleeping with other men looms, Robles might equate that with the end of the world.
The penchant to catastrophize is a defining characteristic of Gen-Z and Millenials. It’s that ever-present subconscious panic of dystopian apocalypse: climate change, hurricanes, facism, nuclear war. All of those anxieties linger in the back of the youth’s mind, bursting out instead in little catastrophes: break-ups, petty fights. Robles’ new pop-punk break-up anthem, “don’t listen to this song” with fellow queer pop singer Gregory Dillon indulges those little catastrophes with all the weight of something larger.
The chorus of the song is about the antagonist sitting in their car outside the singer’s house — something pretty mundane and inoffensive. But in this case, the tone describing this scene is malicious: “You’re so f***ing stupid / sitting in your Honda, in my drive way.” It’s that crude and irrational anger that sets the song up as a break up song; it communicates the particularly delicious, insatiable feeling of hating on your ex.
“Don’t listen to this song” indulges in those feelings momentarily, but it’s not quite satisfying. It’s oversaturated — like a little too much perfume, too much creamer in your coffee; you’ll lose those woodsy base notes, you don’t get quite enough caffeine. Or maybe it’s too much because it’s not enough. The song is aggressive, confident and proud, but it’s not articulate. That invigorating emotionality and expression is played down by kitschy guitar and trendy all-lowercase titles, it comes across as aloof but forced.
This song lies somewhere between Machine Gun Kelly — pre-Travis Barker — and Charlie XCX, with a big inspiration from Gayle’s “abcdefu.” The guitar’s pace is very MGK, and Robles and Dillon’s voices are auto-tuned to sound sparkly and cyber-y, in a more diluted version of Charlie XCX’s vocals.
Robles and Dillon are constructing their own image as modern pop stars. They are still pretty fresh on the scene, with their spotify’s going back to 2019 and 2018 respectively. Though neither has released a full length album, both have put out EPs and several singles. Robles is from LA, but now based in Brooklyn; he’s played at some of NYC’s iconic spots, such as The Bowery Electric, Mercury Lounge and The Delancey. Dillon is a native East Coaster from New Hampshire. He’s said he moved to Brooklyn in search of confidence as an adult, and has now been featured in numerous publications such as GAYTIMES, BILLBOARD and PAPER.
“don’t listen to this song” is pop-punk, marking a turn for Gregory Dillon from his usual “‘80s stained” sound. Though the instrumentals in “don’t listen to this song” sound computerized, there’s no synth or nostalgia; the song is very present.
With lyrics like “Hate when you hit your vape” and “get the f*** out my face” the duo bridges on satirizing the whole fad of made-for-TikTok songs with obvious lyrics, 15 second choruses and missing bridges. But when the absurdist lyrics are paired with visuals of Dillon and Robles running suburban streets dressed as teletubbies as they do in the promotional materials for this song, it’s more absurdist than mocking, in a fun, albeit unoriginal, way. To see them play live, Robles and Dillon will be at The Public Theater on October 2 and C’mon Everybody on November 15. Pre-save the song here.
NY-based pop band Enrose has dropped their new single “Disease,” the group’s first release since their debut EP Wait, Create in April.
Led by saxophonist-songwriter Gabi Rose, the band’s genre-blurring aim brings together a track with impressive instrumental and tonal variation.
Promotional art for “Disease.”
“Disease” features glossy production from the band’s Anthony Lopardo, with the song opening up with warm saxophone notes and watery guitar chords. The first verse touches on personal isolation, with lines such as “it all came knocking at my door, and now I’m medicating all alone.”
Lyrics such as these come with current event context, with the single’s cover art being a video game depiction of Rose’s struggle through the Coronavirus pandemic, a period of unique difficulty for musicians.
This connection is more explicit on the chorus, on which she sings “no don’t you touch me, I’ve got a disease.” This section displays “Disease” at its most explosive, with blown out drums and interesting EWI touches (electronic wind instrument) leading a catchy and infectious hook.
The track’s vocal performance is just as strong as the instrumental one, as Rose sings smoothly and hits high notes when they come. Verse two shows off the R&B influences on “Disease,” with her adopting a sing/rap vocal delivery that reminisces of genre contemporaries such as SZA.
Switches between musical approaches like these are found from front to back, with the outro featuring a “guitar-inspired” saxophone solo according to Rose.
While relatively new, “Disease” isn’t a rookie effort from Enrose, and it shows. This track that displays a cohesive effort from a group of talented musicians, and it’s one that’s easily enjoyable too.
The newest release from New York bred ambient duo MoonTree, “Lullaby For Our Last Night,” is the anti-single: it lacks a catchy chorus, surprising bridge or album teasing theme. Instead, the haunting new track finds meaning in its formlessness, hitting a chord that though familiar, is truly singular. The song is saying goodbye, and though drifting, aimless and without structure, it still feels final.
MoonTree is made up of Purchase College students Ben Cuomo and Jaya Franceschini.
MoonTree is composed of Ben Cuomo and Jaya Franceschini, two 18-year-olds attending Purchase College. They released their first song last year, followed by an EP, For The Time We Have Left, of eight songs. The group shows an inclination toward odes in their song and album titles; each piece feels dedicated and specific to a time, place or person. Their tone has been honed in on since that album but their harmonic, off-kilter melodies and slow, paced-out rhythms have remained consistent through their discography.
In “Lullaby For Our Last Night,” Franceschini is droning and repetitive, probing the listener over and over “Will you say goodbye?” Then, “Be on time,” she orders, repeated by her counterpart Ben Cuomo’s technologically distorted voice. With their voices layering; they are begging — eachother, themselves — “Be on time.” The song, an ode to goodbyes, to the act of leaving, comes down to not wasting time, to honoring last moments. Though slow, the song is steady, not one second of its four minutes are wasted.
MoonTree’s sound is self described with many hyphens: avant-garde, neo-jazz, ambient-soul. Their sound doesn’t lend itself to most existing music genres; it’s easier to describe visually: like a glow and a glower, like a dark room over a busy street. MoonTree’s artist bio says they are “creating a soundtrack to twenty-first century city life,” and its true, but this new song more references the specific loneliness of a night in New York City — not just the sadness but the allure and dreaminess that loneliness holds. “Lullaby For Our Last Night” is out on all streaming platforms, and you can find MoonTree on Instagram.
Fake Dad, a Brooklyn alt. pop duo just released their new single “Painkiller,” about struggles with mental health and addiction, and how hard it is to support someone as they struggle with both.
Fake Dad is made up of Andrea de Varona and Josh Ford. They make music out of their tiny Brooklyn apartment, and since the beginning of 2018 have been inseparable with a love of music at the center of their relationship long before they started writing together.
Their music has a signature production sound with distinct voice styles and is there to give you a friendly pat on the back after a long day, and they want you to know everything is going to be okay.
We hope listeners feel understood and not alone in their respective battles with anxiety, depression, substance abuse, self-harm or really any kind of mental health struggle. Sometimes our connections with others, and a sense of belonging alone are reasons to stay on this earth and try to get better.
Fake Dad
Their new single “Painkillers” is a nod to the 80s synth-pop era, with uplifting lyrics about trying to break free from inner demons, and an ode to a relationship between two extremely anxious individuals desperately looking inward for ways to love each other better.
The lyrics that get repeated a lot throughout the song are “Someone tell me I’ll survive this/please just tell me I’ll survive.” These set of lyrics are very emotional and fans have actually thanked the band for writing it, as it helps those going through a mental health crisis tell themselves they will get through it.
Overall, the song is very well produced, and Varona’s vocals are very haunting and make you feel like you will make it through anything. “Painkillers” by Fake Dad is out now on all streaming platforms.
NY-based solo artist ALYXX released her newest single, titled “Serenity.” The emotional track reminds listeners it is okay to put mental health first and take time for yourself amidst the chaos of life.
Based out of Rockland County, ALYXX wrote the track in March of 2022 and recorded “Serenity” at her home studio and at Cinderella Man Studios with Zaki Ali. The song is haunting, starting slowly with piano and backing vocals before building with an impressive vocal style and rock instrumentals.
Drums from Ali and guitar from Brandon Hawkes contribute to the single’s intense sound. The accompanying music video showcases all three musicians performing the song alongside moody lighting and visuals.
“Serenity” is powerful not only in sound but also message, with ALYXX singing, “Let the weight of the world / Fall on someone else’s shoulders / Cause I’m tired of taking on the responses of others” as part of the track’s bridge. The melodic metal single is catchy, and the artist’s talent as a singer and songwriter shines.
It’s about putting yourself and your mental health first. Wanting to do something and being able to do something are two different things. Sometimes you have to say no, for your own well being. Life will always be hectic, but one must find the calmness within the chaos.
– ALYXX
Take a listen to ALYXX’s latest musical release and video below. “Serenity” is out now on all streaming platforms. To keep up with ALYXX, find her on Instagram, Facebook, and Twitter.
