Brooklyn’s 4-piece indie band Tennis Courts have just released their latest single “Am I Not Talking Enough” on May 3rd. The song is about the realization of how it feels to be not young anymore, but also not old either.
Consisting of the singer/songwriter duo of Pat Walsh and Andrew Clarke, lead guitarist Brian McKenna and bassist Spencer Brigman, the band started writing songs together in college in Charleston, SC before moving to Brooklyn in 2022. Tennis Courts’ sound overall offers a delicate mix of indie, folk, and power pop.
Of the new single, Walsh says, “This song is probably the most personal song we’ve ever put out. It’s about a lot of things, but I think it’s mostly just about how I have felt over the last year. I’ve spent a lot of time coming to terms with myself, how I fit in the world, and how I fit into other people’s lives. I spend a lot of time examining my relationship with myself, family, friends, and partners. And at the end of the day, maybe I am just thinking too much.”
“Pensive and gorgeous, opening with acoustic strums accompanying subdued vocals, swelling with atmospheric treatments until the full band kicks in for a stunning final movement.”
– Tuned Up
The band has played countless shows with Dogwood Tales, Sun Room, Hotel Fiction, Sonic Blume, Mo Lowda + The Humble, Wakelee, Daddy’s Beemer, Teenage Halloween, Easy Honey and many more. Tennis Courts forthcoming LP, which will come out later this year, was produced by Erik Kase Romero (The Front Bottoms, Lorde, Dogwood Tales).
Tennis Courts will also be accompanying Charlie & Margot on June 22nd at the Bond Street Basement in Asbury Park, NJ. For more information on this upcoming event, click the link here.
To listen to “Am I Not Talking Enough,” click the link here.
For more music by Tennis Courts and more information on upcoming shows, click the link here.
On Thursday, April 20th the Fruit Bats returned to New York City, having not played on the island of Manhattan in three years. The East Village’s beloved Webster Hall slowly filled with an eclectic crowd.
Photograph by Emma Dowd
People of all ages mingled and spoke about their relationships to the band, as they sipped wine and other elixirs. The energy was timid and sweet, emulating the same experience the Fruit Bats create with their sound.
Photograph by Emma Dowd
Hums of conversation and the movement on the floor fell to a still hush when the openers, H.C. McEntire took to the stage. The lights glowed golden and a light fog rolled onto the crowd, as the lead singer transitioned the night into an experience. Slowly, each instrument organically introduced itself into the song. Multiple guitars, a bass guitar, and a percussion set melded together to create a culmination of bluegrass and folk. The audience was entranced as they drank in the band’s filling guitar riffs, and weighty vocals.
Photograph by Emma Dowd
When H.C. McEntire humbly exited the stage, they were rewarded with hoot and holler applause. After a half an hour set change, the Fruit Bats made their way onto stage. Each band member made themselves comfortable behind their instruments. The keyboardist, Frank LoCastro, even poured himself a tall glass of red wine. Multi-instrumentalist Josh Mease, bassist David Dawda, and drummer Josh Adams situated themselves as their lead singer, Eric Johnson, approached the mic. He greeted New York City warmly, expressing his gratitude for having returned to “the big island.”
The show commenced with Johnson’s raw voice dueting with the melody pulled by the guitar. The first lyric to be sung was from their song, “The Pet Parade”: Hello from me to all you out there. The crowd waved back to Johnson, their swaying hands casted a moving pattern of shadows across the notorious Webster velvet drapes that frame the stage.
The Fruit Bats’ sound felt like a location. It held a midwestern kindness that could not be missed, as they performed songs tributing their roots in Chicago, Illinois. Though, the music was transient. As Johnson told stories through his lyrics, the audience was brought along with him to his muses. The journey was a long one, given that the setlist expanded over a vast culmination of records dating back to 1997.
Photograph by Emma DowdPhotograph by Emma Dowd
The band performed songs from Johnson’s early career all through their newest record, “A River Running To Your Heart,” that was released last week. The record’s first debut to the world happened in New York City. Johnson asked if the crowd minded if they played something new. The audience welcomed the proposition with open arms and open minds, as they listened to the fresh record. He sang of “proverbial shame,” “chosen family,” and the thread of most albums “love.”
Photograph by Emma Dowd
The show concluded peacefully, the audience fulfilled and the Fruit Bats doused in gratification. Claps and utters of “thank you’s” vibrated in the crowd. Their goodbye was swift as they stilled their instruments and waved to their listeners as they made their way backstage. The stage emptied and the lights came on, but the crowd stayed awhile. Ushered to the bar, they stayed carrying on the story of the music they just heard.
Upstate NY’s The Parlor have just announced their newest LP You Are Love And I Am You, a psychedelic dream-pop record about ecstatic realizations associated with what some call the mystical experience, unitive consciousness, or loving presence.
In celebration to the release on May 19th, they will also be hosting an album release show May 20th at Indian Ladder Cidery & Brewery’s Upper Biergarten.
You Are Love And I Am You is like a dream-pop relief compared to their more recent release in 2018 titled Kiku which chronicled the experience of grief and loss. It is meant to be listened to as an album, front to back. There were many that influenced the making of this album, such as The Mamas and the Papas, Tame Impala, Broadcast, Warpaint, Mazzy Star, George Harrison, Velvet Underground, Khruangbin, The Brian Jonestown Massacre, Len, Cults, and Fleetwood Mac.
As a neo-psychedelic dream-pop project made by husband and wife Eric Krans and Jen O’Connor, The Parlor was named after a room in the 19th century farmhouse where they live, farm, and create. The multi-instrumentalist, producer-composers express some of the most powerful aspects of the human experience. Immersive sound scaping and aural synesthetic composition is the vessel through which they share their existence.
The song that has been released as a tease for the album, “Underneath the Universe,” is an absolute hit. It is very reminiscent of Tame Impala, with pretty indie visuals in the video to accommodate the dreamy-like melodies in the song itself.
The band stated, “Things got gloomy for us while touring on the Kiku record. Playing songs about trauma on a nightly basis, and the grueling nature of touring just sort of wore us down. (Jenn Pelly wrote an incredible piece for Pitchfork that relays a lot of what we experienced). Together these experiences ushered us deeper down a dark tapering claustrophobic tunnel with only a pinhole exit. We squeezed through somehow, thanks to meditative practice and sharing our deepest vulnerabilities with each other.”
During the pandemic, additional darkness ensued, but there was only one way out and it was through. We found a deepened sense of presence that felt sacred. By accepting the seemingly unacceptable we were paradoxically filled with awe and wonder. Living was imbued again with light, love and gratitude. That’s the experience this album captures. Us finding ourselves again. The heart of this album is the enigmatic realization that we are and always have been the universe experiencing itself. We exist as manifestations of the universe just as everything else. And when we allow ourselves to be whole and unique, we express the universe in hi-fidelity authenticity. Something about holding that in imagination produces a sense of reverence and a desire to sing and share.
“We got into Carl Jung, archetypal symbolism, alchemy, medieval Christian mysticism, Taoism, Sufism and found hundreds of esoteric philosophical characters that seem to be sharing similar mystical experiences of their own. This album is for them. Our new long dead friends. And everyone we ever met or wished upon. You shaped us. And to anyone out there who has had, or who hopes to have, a mystical experience in their lives that orients them toward abiding presence, awe and wonder, and gratitude for all existence. We celebrate you as us. Everything and nothing is one shining-forth ineffable non-dual eminence. Like dust in the light // Both the dark and bright.”
To pre-order You Are Love And I Am You, click the link here.
NYC indie-pop artist Olivia Reid is getting ready to release her newest single “Wounds (Healing)” on Friday, April 14th. The track is an introspective, ethereal reflection that sees the budding singer-songwriter questioning the layered, complex healing process.
Olivia Reid stated about the single, “I recognized how much I had to heal from, but simultaneously feared that truly healing it would leave an absence or a blankness in me. When I’m in fight or flight mode long enough, wounds in the form of anxiety or sadness can mistakenly feel like a crucial part of who I am. The wounds feel familiar, so starting the healing process made me feel so much weaker at first.”
Based in NYC, Olivia Reid’s production style blends indie acoustics with exploratory electronic pop soundscapes, landing listeners in a visceral sonic world. Reid’s interests are diversified, exploring areas such as screenwriting, neuroscience, digesting current events, advocating for nature.
Currently, Olivia is involved with Brian Eno’s charity EarthPercent, and listening to podcasts, she formerly hosted Spotify For Artists and Notable’s Song Start podcast where she interviewed artists like Sam Smith, Victoria Monet, Hayley Williams of Paramore.
As a self-proclaimed “chronic collaborator,” Reid has connected with audiences around the world via collaborations such as “Time is Mine” with Kidswaste, “What You Came Here For” with Jae Luna, and “Above the Clouds” with SŸDE.
As stated in a previous article by NYS Music, Reid’s music serves as a self-reflection and dedication to her path to success, above all of the challenges. Olivia Reid’s debut EP Earth Water hit streaming platforms in 2021, with new songs on the way in 2023. Fueled by deeply personal lyrics and boundary-pushing production, the new project conceptually details an artist’s slow descent into madness.
Jamestown, NY’s Natalie Merchant debuted her new single “Tower of Babel” recently, alongside a soul-infecting indie video to paired alongside. The single anticipates Merchant’s forthcoming album Keep Your Courage, set for an April 14th release. Merchant stated, “For the most part, this is an album about the human heart.”
“Tower of Babel” is soul-inflecting, featuring horn arrangements by trombone player Steve Davis, and follows the first single and video, “Come On, Aphrodite.”
As much as I had wanted to not let events in the world intrude, I couldn’t disregard the prevailing atmosphere of fear and confusion that we have been living in as a result of the pandemic, climate crisis, economic instability, insane politics, violent insurrection and the shocking fallout from the conservative-stacked reactionary Supreme Court.
Natalie Merchant
Keep Your Courage is the Natalie’s ninth solo studio album, and the latest new material since 2014’s self-titled record. In the words of Uncut, “‘Keep Your Courage,’ almost a decade in the making, finds Merchant as witty and welcoming as always, turning her gaze to what helps us endure life’s ups and downs.”
The eclectic album features contributions from Celtic folk group Lúnasa, Syrian virtuoso clarinetist Kinan Azmeh and jazz trombonist Steve Davis. There are lush orchestrations by seven composers throughout, including: Gabriel Kahane, Stephen Barber, Colin Jacobsen and Megan Gould. The new record is comprised of nine original songs by Merchant as well as an interpretation of “Hunting the Wren” by Ian Lynch of the Irish band Lankum.
In celebration of the new music, Merchant will embark upon an extensive tour this spring, going into the fall of 2023.
NATALIE MERCHANT TOUR—U.S.
April 14—Poughkeepsie, NY—Bardavon, 1869 Opera House‡
April 15—Poughkeepsie, NY—Bardavon, 1869 Opera House‡
April 18—Pittsburgh, PA—Byham Theater
April 19—Charlottesville, VA—The Paramount Theater‡
April 21—Philadelphia, PA—Kimmel Cultural Campus
April 22—Hershey, PA—The Hershey Theatre
April 24—Greenville, SC—Peace Center Concert Hall
April 26—Clearwater, FL—Ruth Eckerd Hall
April 27—Fort Lauderdale, FL—with The South Florida Symphony Orchestra
Au-Rene Theater – Broward Center for the Performing Arts†
April 28—St. Augustine, FL—The Saint Augustine Amphitheatre
April 30—Atlanta, GA—with The Atlanta Symphony at Atlanta Symphony Hall†‡
May 9—Portland, ME—Merrill Auditorium
May 10—Boston, MA—Emerson Colonial Theatre‡
May 11—Boston, MA—Emerson Colonial Theatre
May 13—Cleveland, OH—Keybank State Theatre
May 14—Cincinnati, OH—Taft Theatre
May 16—Carmel, IN—The Palladium at the Center for the Performing Arts
May 17—Ann Arbor, MI—Michigan Theater
May 19—Chicago, IL—Chicago Theatre
May 20—Milwaukee, WI—The Pabst Theater
June 2–3—New York, NY—Lincoln Center for thePerforming Arts—Alice Tully Hall, Lincoln Center†
June 25—Newark, NJ—New Jersey Performing Arts Center†
June 28—Providence, RI—Veterans Memorial Auditorium†
June 30—Washington, DC—John F. Kennedy Center for The Performing Arts†
July 1—Washington, DC—John F. Kennedy Center for The Performing Arts†
July 8—Chautauqua, NY—Chautauqua Institution Amphitheater†
September 20—Spokane, WA—Martin Woldson Theatre at The Fox
September 22—Seattle, WA— Chateau Ste. Michelle Winery
September 23—Portland, OR—Keller Auditorium
September 26—San Francisco, CA—The Masonic
September 27—Saratoga, CA—The Mountain Winery*
September 29—San Diego, CA—Humphrey’s‡
September 30—Los Angeles, CA—Walt Disney Concert Hall
NATALIE MERCHANT TOUR—EUROPE
November 2—London, UK—London Palladium
November 3—London, UK—London Palladium
November 5—Glasgow, UK—Glasgow Royal Concert Hall
November 6—Manchester, UK—O2 Apollo Manchester
November 8—Dublin, IE—Olympia
November 11—Bath, UK—The Forum
November 13—Amsterdam, NL—Carré Theatre
November 14—Brussels, BE—Cirque Royal
*On-sale timing TBA
†With symphony orchestra
‡Sold Out
To listen and watch “Tower Of Babel,” click the link here.
NYC-based singer-songwriter and actor, Homeschool, has just announced the release of his newest EP Just Now. As a follow-up to the EP’s first track and lead single which documents D’Agustino’s burgeoning sense of self, today finds the release of another new track entitled “Loving You To Death.”
It has been a tumultuous year for Tom D’Agustino, also known as “Homeschool,” a solo project of NYC singer-songwriter. As an independent artist with unfettered control of the creative process, Homeschool has spent the past year experimenting with music and masculinity, inching closer to what they feel is an “authentic” way of being in the world. As a newcomer to acting, D’Agustino is reveling in the opportunity to explore the worlds of different characters, to “experiment with who I’m able to become,” he states.
Formerly known as the front person of the garage pop quartet, Active Bird Community, Homeschool pokes fun at traditional masculine rock archetypes by blending bedroom pop textures with anthemic, self-aware hooks to tell detailed stories of loss, identity, and self-exploration.
Just Now, the new 6-track EP slated for May 19th, is the result of this new exploration. AsD’Agustino’s first foray into self-producing his own music, Just Now showcases their independence and shameless autonomy as a gender-fluid person, while taking ownership over all aspects of their creative life, whether it be songwriting, production, acting or writing.
In celebration of these new releases, Homeschool sold out their debut headlining show at Mercury Lounge in NYC and received positive press from outlets such as Ones To Watch, Brooklyn Vegan, FLOOD, Under The Radar, Paste, Stereogum, Our Culture. Now, D’Agustino announces the upcoming release of a long-awaited brand new EP entitled Just Now, due May 19th. As a follow-up to the EP’s first track, he has also relased the single “Loveing You To Death.”
D’Agustino wrote, “‘Loving You To Death’ was written during the tail-end of the Covid lockdown when my partner and I had just moved into an apartment together. We had spent a year living with her parents before that, and this song explores my neediness, clinginess, and overall attachment to her. It’s a fun, upbeat way to interrogate my constant need for love and reassurance that I have value. I think by reminding someone how much I love them, I can be sheltered from how I don’t love myself enough. I’m sure all that affection can get annoying though, so in the song I am trying to convince her of all of these positive things about me so she won’t think I’m a needy little baby. But I so am.”
To celebrate the EP on its release day, May 19, Homeschool will play an EP release show at Baby’s All Right with fellow NYC rocker and queer/non-binary TikTok champion Libby Larkin. Tickets are on sale this Friday, March 31th click the link HERE to purchase.
Homeschool’s Just Now weaves genre-bending stylings into self-aware reflections that paint the pain of life with a surprisingly upbeat and humorous brush. “While some of these topics are heavy, I think a lot of this record turned into me poking fun at myself,” they say. At the end of the day becoming “just now,” doesn’t have to be a bummer. It can be a dance, a laugh. It can be the glitter on your eyes that make the tears sparkle.
To listen to “Loving You To Death,” click the link here.
For more music by Homeschool, click the link here.
Hudson Valley’s Sam Kogon has just shared a hauntingly beautiful music video for his track “All I Wanna Do,” directed by G.W. Duncanson. Kogon said he was inspired to write the song after moving into his Westchester Apartment in a 1920’s era building, soon realizing that he was not alone yet found comfort in his uninvited guests.
The Hudson Valley is home to lots of tales of creepy crawlies and wandering spirits. Hometown singer/songwriter Sam Kogon grew up listening to them all and has brought that ghostly history alive in his latest music video.
“Intertwining a retro charm with a modern perspective, Sam Kogon has mastered the art of fusing something you already love with something you’ll love even more, pushing his psychedelic influences into fresh new landscapes anyone can enjoy.”
Thus, “All I Wanna Do” tells the story of an impossible love story between a mortal and a house spirit. The classic love story of unrequited love takes on an unusual twist with Kogon’s smooth vocal styling and catchy melodies.
Filmed at several undisclosed location in Yonkers in Westchester County, Kogon enlisted a talented troop of creative technical and performance artists to produce the alluring cinematic offering that utilizes the crumbling remains of an historic Hudson River Estate as a backdrop.
In the video, Kogon stars as a Phantom character, singing in an old-fashioned living room while the action takes place elsewhere. Spirits of child brides, beautiful witch temptresses (one of which is played by Violet Hetson aka Powerviolets), a trapper played by Danny Christmas, and even a frisky bear tell the story of an impossible romance between the two realms.
Fun fact: the aforementioned bear costumed character is the same one that appeared in numerous episodes of the David Letterman Show. Hwtson made the witch dress herself, and all other fashions used in the shoot come from Beyond Costumes, also located in Yonkers.
You may also remember Kogon’s last video from 2022 for his international hit “Barbed Wire,” filmed in Kingston, where his family hails from. That storyline included scenes filmed in Sam’s Swap Shop, his family’s business for over one hundred years, before it fell victim to gentrification and high rents. Both “Barbed Wire” and “All I Wanna Do” made their appearance in his 2022 self-titled 4-track EP.
Sam Kogon describes his new approach as that of an “Upstate country rockabilly crooner,” a sound he had once put off while playing in Brooklyn’s psychedelic scene. Kogon lived and played in New York for several years, but nowadays lives in Westchester and spends more time in LA.
To watch and listen to “All I Wanna Do,” click the link here.
Brooklyn indie/emo trio wakelee have just released a tease of their upcoming album by unveiling their newest single/video “Tug Of War.” The new single and music video show a sneak peak into the upcoming self-titled 12-track album out April 14th.
Front man/guitarist Alex Bulmer talks about the newest single by stating, “We had the structure for this song since 2021, but it took so long to land a vocal melody. We got so frustrated with it that we decided to get into a room together and loop the instrumental over and over again. We would then present our individual verse and chorus ideas to each other. We played the theme from “Shark Tank” as we did our pitches. It was ridiculous, but it turned out to be one of our favorite tracks from the album.”
When asked about the music video for “Tug Of War,” Alex says, “We wanted to film a music video ourselves, so we put our iPhone on cinema mode and spent 3 hours in our rehearsal space putting it together. We love how it came out! We wanted it to look like one continuous shot. It was really fun to make.”
“Don’t sleep on rising indie-emo trio wakelee…”
– The Honey Pop
Formed in Brooklyn in 2019 by Bulmer, his identical twin brother David (drums) and Elliot Shiang (vocals/bass), they met at a friend’s show in NYC and immediately bonded over Halal food and indie music. The trio has since released an EP, a healthy batch of emo-tinged singles, including the recently released tracks “Mood Rings,” “Everything Under The Sun” and “Outside.”
With some more news to look forward to, wakelee will play a special album release show. The band will play on Saturday, April 15th at NYC’s Mercury Lounge with special guests Tennis Courts.
Brooklyn indie-pop artist Oropendola has just released a music video for her newest single “Rorschach Sky.” This is the third and final single off her upcoming album Waiting for the Sky to Speak which has just released today, Friday, March 17th.
Oropendola, who has played with singer/songwriters Half Waif, Barrie, and Samir Langus, stated, “Rorschach Sky” points to the missed opportunity of spending your life waiting for something when life is happening all around you. If you’re waiting for some kind of answer from the sky, you’re not seeing the beauty and the motion in every passing moment.”
“I paused Twin Peaks to watch the kitchen clock,” said Joanna when thinking back on writing Rorschach Sky. “It was moving backwards. A slow, disorienting, luxuriously surreal countdown. April 7th, 2020, which I only knew because I grabbed my phone to type a bunch of exclamation points in my notepad. I had barely changed out of my pajamas for three weeks. I was happy for Time: being able to veer off course. Stretch like silly putty until becoming shimmery and translucent, changing color and sequence like a kaleidoscope. Shifting identity like the clouds.”
Joanna Schubert’s debut album is titled Oropendola, which is a bird whose name translates to “golden pendulum.” These tracks shimmer with bursts of energy and emotion, swinging from playfulness to earnestness with deft, technicolor brushstrokes. The album is a celebration of choosing life even in the face of its ephemerality, and of finding motion even in the midst of stillness.
The album title, which comes from the album’s opening track “Rorschach Sky,” is a fitting one then: the phrase points to the missed opportunity of spending your life waiting for something when life is happening all around you.
On lead single “Knocking Down Flowers,” Schubert finds life in the least likely of places: a construction site. Here, she recognizes and illuminates the power of living at the intersection of contrasts. The album’s emotional core comes through on roiling ballad “Trust the Sun” and clear-eyed album closer “When You Carried Me.”
While much of the rest of Waiting for the Sky to Speak careens across black-ice patches of inner conflict, both these songs offer a tentative hand outward, towards love, friendship, and family. Overall, Waiting for the Sky to Speak is an imaginative and colorful chimera of a collection that marks Oropendola’s triumphant arrival.
To watch the video for “Rorschach Sky,” click the link here.
To listen to Waiting for the Sky to Speak, click the link here.
Manhattan’s Nai’a has just released a very vulnerable and passionate single titled “Newman Beauty,” on February 16th. This heartfelt single is part of Nai’a’s craft; with head turning, shocking visuals, and raw, emotional compositions, Nai’a isn’t just making music, but art.
Being a pensive and exploring artist in the space of adventures circling through his life, Nai’a’s creative mind comes to life as he creates music. By intertwining the melodies and wordplays appealingly, he knits his song flawlessly.
There’s a dichotomy of thoughts and escapades he powders his songs with. Nai’a meanders by his beliefs finding the meaning of life through the songs that he writes. “Newman Beauty”, Nai’a’s latest record, is an intimate closure of thoughts with simply him and a guitar. The yearning guitar riffs & his voice overflowing with a thousand stories culminate into an emotionally strong tune.
“I was in love, now you’re just a memory”
– Nai’a
The song acts as a journal of his emotional journey when dreaming to be in love. His encumbered voice carries the weight of ardor. The single is a straightforward, easy, unadorned yet brilliantly crafted song that Nai’a has released.
While talking about the song Nai’a stated, “Writing Newman Beauty has been the biggest risk I’ve taken as a songwriter. I had to tell my story in the most honest way, with no sugar coating,” and he’s given it justice by keeping both his lyricism and the music minimal and honest.
The song feels like he’s floating on a sea of vulnerability, as he sings the words. He paints the picture of him longing for something that isn’t his.
The ambiguity of his mind preoccupies the thoughts that flow, as he communicates through the music. It’s like Nai’a is fixated on a person he can’t let go of, from a place of love and affection. You can hear the tenderness and pain along his dreamy melodies. “Newman Beauty” is a way of healing himself.
