Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders.
Artwork by Robert Beatty
Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.
Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”
Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.
Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.
His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.
Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.
New York City’s own Joy Buzzer released their debut album, Pleased to Meet You for Wicked Cool Records on October 25th. Recorded in the heart of New York City, the LP boasts 10 tracks that clock in at just over 30 minutes. Pleased to Meet You is defined by the power-pop songwriting of Jed Becker, sending the listener on a blast to the past through a fresh lens.
Formed in 2021, Joy Buzzer is a collaborative project merging the minds of The Lord Calverts and The Doppel Gang. The band consists of Jed Becker and KG Noble on guitars, Nick DeMatteo on bass, Mark Brotter on drums, and Kevin Lydon on lead vocals. This release welcomes the return of Lydon, and features guitarist Askold Buk, who helped produce the record alongside Becker. Half of the record was mixed by Grammy and Emmy award winning mixer, engineer and producer Carl Glanville. The remaining tracks were produced by Eber Pineiro.
Photo by Nancy Adler
Pleased to Meet You is front to back catchy hooks and tasteful lead guitar lines. The band references artists like Fountains of Wayne, XTC, and Todd Rundgren as their source of songwriting inspiration. Tackling themes of introspection and relationships, Joy Buzzer’s arrangements and harmonies showcase their unique voice and individualized perspective, all while staying true to the genre. The musical chemistry between each member is on full display for this release.
Well-crafted synthesizer and guitar solos, alongside memorable choruses fuse rock and pop influence to create the undeniable sound that is Joy Buzzer. When commenting on the album, the band says it’s a “bold, declarative statement of [their] intention to deliver super high-energy songs, with witty lyrics and huge hooks.”
Pleased to Meet You is currently available on all streaming services here. Find out more about Joy Buzzer and support them directly at joybuzzerband.com
On December 19, Brooklyn-based softcore/alternative rock band Boston Flowers release their highly anticipated EP, Afterlife, featuring the title track alongside previously released singles “Soul Creature,” “Fever Dream,” and “Cancer Man.”
This introspective collection invites listeners to delve into profound themes of life, death, and the mysteries that lie beyond, making it a compelling addition to the band’s discography. The music video for “Cancer Man,” directed by James Morano, is already available for fans, alongside a lyric video for “Fever Dream,” showcasing artwork by Ellis Gale.
Photo by James Morano
Boston Flowers emerged from the vibrant Brooklyn rock scene, establishing a signature sound with their debut album, Mondegreen, released in 2023. The band draws inspiration from a diverse range of influences, including The Strokes, Arctic Monkeys, Turnover, Kid Bloom, and Mk.gee, blending melodic alternative rock with softcore grit. Their name pays homage to the iconic film character Austin Powers, infusing their identity with a touch of groovy nostalgia.
The band Boston Flowers consists of a talented lineup, each member contributing to their unique sound. Sam Trestman, the vocalist and rhythm guitarist, brings a decade of experience in healthcare and insights from a personal near-death experience that deeply inform the themes explored in their Afterlife EP. Zaid Khan adds atmospheric layers with his synth work, enhancing the band’s melodic richness. The driving force behind their rhythm is Rio Kelemen on drums, delivering dynamic beats that propel their music forward. Alejandro Ortiz, the lead guitarist, provides intricate guitar work that adds depth and texture to their tracks. Finally, Michael Agazzi on bass guitar anchors the band’s sound with solid bass lines, creating a strong foundation for their music.
Photo by James Morano
As Boston Flowers prepares to release Afterlife, they look forward to expanding their reach and continuing to engage with fans through live performances across the tri-state area. Their local NYC show lineup has included popular venues such as Arlene’s Grocery, The Delancey, Berlin Under A, and Bar Freda, as well as their own rooftop shows in Brooklyn.
Photo by James Morano
With the release of Afterlife, Boston Flowers invites you to join them on a journey through the complexities of human experience, celebrating the cycles of change and the exploration of what lies beyond. Pre-save the title track on Spotify and stay tuned for the official release on December 19!
Singer-songwriter Cosby Gibson has returned for her seventh album, the poetic and wonderfully whimsical The Hollow Crown.
Hailing from near the Adirondacks, Cosby Gibson is a singer-songwriter who specializes in unique and original folk-style songs on guitar and dulcimer. With multiple Capital District Music awards among many other trophies on her shelf, she spins whimsical tales on life in all of its aspects- the beautiful and the less than so.
Returning for her seventh album, Gibson has released The Hollow Crown– an album capturing the chase for something empty that she aptly dubs a “hollow crown”- something ultimately fruitless or unimportant.
At its core, however, the album tackles what is worth one’s time- remembering. Remembering the good, to remind oneself of the foundation you stand upon, and the bad to untangle the brambles of negative emotion.
Entwined with a sense of the magical between Gibson’s gentle vocals, deft acoustic guitar, and vivid lyricism, tracks like “In This Kind of Rain” and “Asking The Lilies” craft a sense of imagined adventure through the woods, pondering the complications of meanings of life while observing babbling brooks or blooming flowers.
Imagery is also rich in “Spinning in Spirals,” a song full of roses and sparkles and a sense of excited wanderlust, which is contrasted in the vulnerable and insightful “What’s Happening Is You” that decides that lyrical honesty is best for the frank conversation being had.
Wonderfully poetic and positively teeming with flora and fauna, The Hollow Crown is a beautifully crafted collection of tracks that balance emotional honesty with the whimsical. The full album is available now both in digital and physical format through Gibson’s Bandcamp page here.
To learn more about Cosby Gibson, listen to more of her work and The Hollow Crown, and keep up with all of her latest endeavors, be sure to explore her official website here.
Buffalo based singer-songwriter Ian McCuen has returned with their latest release, the utterly emphatic and scathingly topical As the Oceans Rise and the Empire Falls.
Buffalo-based Ian McCuen has been wowing listeners since 2017 with the release of their debut album Songs of Fleeting Permanence, Vol. I, the next two installations following in 2019.
A master of the soundscape, McCuen is no stranger to telling tales with their musical skill- which is a strength that lends itself perfectly to their latest release, the 22-track album As the Oceans Rise and the Empires Fall.
Utterly cinematic, As the Oceans Rise and the Empires Fall pulls listeners through each and every notion of emotion with an admirable span of instrumentation, tracks full of lyricism and others left purely instrumental- all-encompassing in an admirable and awe-inspiring critique on the state of the United States and its politics today.
“A Fairy Tale for the Obedient” makes deft use of the Omnichord, drawing upon sounds of whimsy and childhood nostalgia alongside haunting horns which carry directly into the simmering brush percussions and foreboding baselines of the instrumental “Indoctrinated, Propagandized.”
The omnichord returns in “I Don’t Know What Will Kill Us First,” this time taking on an undertone of grimness as McCuen ponders which environmental disaster will be the one to finally do us all in over the sounds of acoustic guitar and later horns, which have evolved into a sound almost funerary in sentiment.
“The Intermission” and “The Underture,” unsurprisingly enough mark the midpoint of the album, at which point McCuen takes the time to remind you that as much as their lyrical pieces stun, soundscapes are well within their wheelhouse too.
“Fear & Loathing (in the Home of the Brave),” while certainly not subtle in its messaging, makes a staunch statement regardless. McCuen pulls no punches in critiquing the hypocrisy found in defending the status quo blindly and existing in fear of anything new without interrogating the reason as to why either of those reactions were elicited- as they conclude, “in the home of the brave, it’s all we’ve got.”
They lean fully into the ominous for “A Ghost Story for the Sheltered,” telling a horrifying story of some untold monster that’s sweeping through your town, hunting you down- a haunting parallel to the paranoia kicked up and experienced by the “Sheltered” of America and a striking narrative on fear-mongering and its consequences.
“Death Is a Business and Sales Are Up” is not only incredibly topical but stunningly produced- headphones are highly recommended for this track, as the panning utilized creates an all-encompassing listening experience that’s practically impossible to pause.
The final lyrical track “A Swan Song for Quittin’ Time” feels like a conclusion in every sense of the word. Featuring a line that became the album’s title, this track feels simultaneously hopeful and hopeless, as McCuen struggles to come to terms with the state of the world- even for those with so much fight in them, there comes a point where the draw of nihilistic acceptance is unavoidable.
The song concludes in an anthemic culmination of all of the album’s instrumentation as McCuen accepts the state of the world as one full of strife and struggle, yet finding a determination to go on in the hope for a better future, they sing “just in case, stick around for the encore.”
There’s a certain cognitive dissonance to Ian’s work- if you let yourself be distracted by their calming vocals or gentle instrumentation, you may just miss their scathing critiques on today’s society. Haunting, scathing, and effortlessly engaging, As the Oceans Rise and the Empire Falls captures the full range of emotions felt within and in critique of the United States today.
To learn about Ian McCuen’s past work, more about As the Oceans Rise and the Empire Falls, and all of their future endeavors, be sure to keep up with them on their official Instagram page here.
Jerusalem-native Avinoam Ettun, currently based out of Brooklyn, has announced the release of his latest EP Looking Into Your Soul, released on December 6.
Avinoam Ettun is a contemporary music performer-composer and improviser based in New York City. With a focus on creating compositions for large ensembles and his own string quartet, Avinoam combines the sounds of electric guitar and chamber music. Ettun actively collaborates with animators, painters, filmmakers, and dancers and explores the intersections of different art forms. Ettun holds a Bachelor of Music in Composition from The Jerusalem Music Academy and a Masters from the New School.
The EP features three instrumental tracks inspired by portrait imagery, recorded in collaboration with pianist Itamar Dahan, with Avinoam on guitar. The project combines jazz, contemporary sounds, and visual art. The first song on the EP, “East West” features a powerful piano riff, coupled with somber guitar tones. The track grows and morphs, hits highs and lows, before coming to a blissfully peace-laden ending.
Similarly, the title track, “Looking Into Your Soul” presents a hearty and emotional piano with an accenting guitar that adds little nuances to each section of the song. Each song sounds familiar, like it has a classic, vintage sound of talent that existed in the past. Avinoam Ettun takes this sound and makes it his own with a blend of notes of eastern instrumentation, and golden era classical music.
Finally, the last track of the EP, “The Dreaming Kid in the Sand” tells a story without using words, as Ettun’s other songs on the album do. The title perfectly encapsulates the theme and vibe of the song. The song truly feels like a child daydreaming in a peaceful yet whimsical place. Avinoam’s music is dynamic, powerful, unique, and inspiring. This kind of music is what today’s soundscape lacks in my opinion. True compositions about true, heartfelt, spiritual themes.
For more information on Avinoam Ettun and to check out his newest EP, “Looking Into Your Soul,” click here.
With Phil Lentz Presents… Vol. II, New York City-based jazz composer and pianist Phil Lentz returns with his signature sound, crafting a genre-blending album with new emotional heights and technical finesse.
Building on the warm reception of his 2022 debut, Lentz delivers a fresh, diverse, and uplifting listening experience that feels both timeless and unmistakably current.
Featuring standout tracks like “Play Your Melody,” “I Remember the Early Days,” and “Bebopping Along,” the album weaves jazz, pop, folk, and classical influences into a seamless tapestry, making it an instant favorite for music lovers of all backgrounds. The album’s lush arrangements blend alto saxophones, violins, and rich vocal textures, creating a soundscape that invites listeners to lose themselves in a melodic journey filled with nostalgia, joy, and introspection.
“This time, I wanted to step beyond the boundaries of traditional jazz,” Lentz shares. “Drawing in elements of folk and classical felt natural, adding layers of texture and depth to the compositions. Each track aims to capture those fleeting moments of peace and joy we all seek.”
Phil Lentz Presents… Vol. II is brought to life by a talented ensemble, including Dennis Harte on guitar, Wolfgang Lugomarsini on bass, Dave Young on drums, and features the soulful sounds of Red Heller and Richard Philbin on alto sax, with Bob Cohen’s violin adding a dynamic flair. Produced by Dennis Harte, recorded at Studio Mozart in New Jersey, and expertly mastered by Tom Hutten at Bionic Mastering, the album offers a finely crafted and resonant listening experience.
Released on November 22 on CD and across all major digital platforms, Vol. II is more than just a follow-up, but rather a testament to Phil Lentz’s artistic growth and his boundless vision for contemporary jazz.
New York City based synth-rock band The FMs have released their junior album 51122, a commemorative project for their late member Frankie Rex.
Photo: Dylan Mars Greenberg
Originally a musical partnership between high school friends Matte Namer and Frankie Rex, The FMs have curated a tight-knit community over the years with their synth-infused sound, unapologetically queer narratives, and underground shows held atop a ferry boat in the industrial canals of Bushwick.
Not only did the ferry shows introduce many to the sound of The FMs, the boat provided the duo a space to record and self-produce three full-length LPs. Debuting in 2017 with Machinacene Epoch, The FMs quickly established their ethos of a rather traditional album creation process in which each release exists with its own personality and sonic statement.
PINK + BLACK, the duo’s sophomore double-LP began taking shape quickly after Machinacene Epoch’s release in 2017 and saw promising progress into 2020, amassing 2,000 hours of recording, producing, and tinkering. However, PINK + BLACK was delayed after the news of a devastating loss. Frankie Rex passed away from an overdose in 2022, understandably putting the project on pause as the loss was processed.
This was not the end for The FMs, however. Matte Namer was determined to continue Rex’s legacy and prove that not even death could stop Frankie’s voice from being heard- a sentiment that came to fruition with the posthumous release of PINK + BLACK in 2024, which was met with acclaim from critics and LGBTQ+ advocacy organizations like GLAAD.
In preparation for this new chapter of The FMs, Namer gathered Ithaca-based trans musicians Bubba Crumrine on guitars, Basim Hussain on synths and keys, and Nick Scollard on drums. Now reformed, The FMs have returned for their newest album, 51122.
The title coincides with the date of Rex’s passing, and in many ways is a simultaneous goodbye and thank you to Rex’s incredible contributions to the band and the world as an artist throughout their life and musical career. 51122 contains the last recordings of Frankie’s voice to be published ever, including in a pre-release single that came in the form of a Joy Division cover– a tribute to one of the original duo’s favorite bands and Frankie’s favorite track of theirs.
“It’s also a bit somber being the last music that I think will ever be released with Frankie’s incredible, powerful, unique voice. I think there’s something about that that makes me remember they are really gone, like an orchid blooming from a coffin nail. 51122 is the date Frankie passed away, but is also a type of symbol in a way, or perhaps a word. I’m not sure what that meaning is yet, perhaps the orchid needs to grow.”
– Matte Namer
With influences ranging from lo-fi all the way to disco, 51122 is a dreamy, gritty, synth-y collection that stands as an undeniable testament to how far the band has come while simultaneously honoring where and with whom it all began.
Tracks like “You Feel Like God” and “A Means To An End” take listeners on a guitar-infused synth adventure through space and complex interpersonal relationships, while songs like the rock-ballad “Deviant” reflect upon and reject concepts of deviance and societal other-ing over acoustic guitar and floating piano.
Photo: Dylan Mars Greenberg
“Domino” cuts to the bone with unforgettable vocals, gritty guitars, and a sharp bass line, putting what The FMs can do when they lean full-on into the punk sound on full display- and the impact is undeniably felt.
Throughout 51122, the skills of Namer, Rex, Crumrine, Hussain, and Scollard are on full display- not a moment goes by where there’s a lack of sonic interest. Whether it be a dystopic cyber-future like in “Future Pope” or the wistful nostalgia of “Record Store”, each track off of the album paints a vivid picture effortlessly. 51122 is above all a triumph- a sign that The FMs will go on, and so will Frankie Rex and their unrelenting musical spirit.
In celebration of 51122’s release, The FMs have announced a set of album release parties on November 22 and 23. On Friday the 22, the band will pay a visit to Angry Mom Records in Ithaca, and on the 23 they’ll grace the stage of Berlin in Manhattan for a joint album release party and queer rock showcase. To learn more about these shows and how to attend, check out The FMs’ tour page here.
To learn more about The FMs, listen to their past releases, and keep up to date with all of their future ventures, be sure to explore their official website here.
White Plains born and New York City-based singer-songwriter Sabrina Monique has released her debut album It’s Not Me, It’s You.
Born and raised in Brewster, Sabrina Monique has been performing to brighten others’ days since the beginning. Living with her single mother and grandparents in a tense environment, she quickly realized how much value there is in the power entertainment holds over someone’s emotions, and before long she was skipping high school classes for auditions in New York City.
Moving into an apartment in Manhattan at 17 with 12 other girls, Monique was determined to see her dreams through- and that she has. While auditioning, performing at the iconic Ellen’s Stardust Diner, and developing her personal sound, Sabrina auditioned for American Idol 2020 and landed herself a feature on the show’s nineteenth season.
While incredibly exciting, this opportunity proved to be challenging. Her entry into the pop industry came with subsequent body image issues as she felt the pressure to fit the “pop star ideal”. Emotionally tense and creatively stifled, the 2020 pandemic that put the world to a halt offered Monique a unique opportunity to create without inhibitions.
“I wrote everything I held in my body—it was like a faucet you couldn’t turn off.”
– Sabrina Monique
Tucked away in a Nashville studio, the songs seemed to just flow out of her. These tracks would eventually become her newly released debut album, It’s Not Me, It’s You.
A collection of dance songs, ballads, and seething guitar-heavy tracks, It’s Not Me, It’s You is a powerful series of battle anthems. Artistically liberated both in personal creativity and industry restraint, Monique tackles and gives voices to the stories of women fighting sexism, body imaging, the patriarchy, and the archaic stereotypes perpetuated throughout the music industry.
Tracks like her debut single “It Was Always You” take heartbreak and wrap it into an upbeat reggaeton-inspired dance-pop anthem, while “Love Again Unplugged” strips the layers of production and pretense down to their most raw forms in a vulnerable show of emotional honesty and growth.
“I needed to write this album to move forward. It’s been cathartic for me, and it represents stepping into my power. I pick my producer. I write my own music. I am the captain of my ship.”
– Sabrina Monique
A stunning collection of songwriting with contributions from hand-picked producers, It’s Not Me, It’s You is an admirable show of raw emotion and poetic ponderings from the mind of Sabrina Monique.
To learn more about Sabrina and keep up to date on her latest ventures, visit her official website here.
Amber Martin returns to her country roots with her latest album, the highly anticipated Unbreakable Heart.
Musician, producer, writer, curator, choreographer, and star of her own shows, Amber Martin has worn many hats over the course of her career- and has balanced each and every one with grace. Having toured the United States and beyond, held residencies, hosted cabarets, and performed on several festival stages, Martin is a tour de force of both the creation and performance of music.
Returning for her second album, Martin has tapped into her country roots with Unbreakable Heart. A masterful balance of boot-stomping, slow-swaying, and deeply heartfelt songs, the album feels every emotion to its fullest regardless of how bright or blue.
Described as a series of independent tracks, Unbreakable Heart crosses the full span of the lived experience all while coming together in its own beautifully eclectic way.
Martin balances the floaty strings and can-do trucking-on attitude of “The Moon’s A Reminder” with the spark of tracks like “Devil Came Down The Dancefloor” that contains all the swinging energy you’d expect from such a title with absolute grace.
The utterly nostalgic Pawpaw’s Yodel features floating vocals and finger picking over a warming conversation with her grandfather on his yodeling passion and skill that plucks all the right heart strings.
Other tracks like the hilariously witty breakup piece and final pre-release single “I Left My Weed In Texas,” in which Martin is resentful over a breakup but is left grieving the weed she’d left behind rather than the ex-lover, are effortlessly counterbalanced by the slower movement of songs like the titular track “Unbreakable Heart,” which is full of crooning vocals and brushed percussions that bring a beautiful sway to the listening experience.
In addition to her own handiwork, Unbreakable Heart features a sparkling set of her long-time friends Rufus Wainwright, John Cameron Mitchell, and Jake Shears. All co-writers and vocalists on their subsequent tracks, the culmination of the artists’ skills and evident passion for their craft results in a set of three songs that round Unbreakable Heart into completion.
“Every song on ‘Unbreakable Heart’ is a standalone in its uniqueness. No two songs are alike. It’s brightened by the fine musicianship of some truly talented Texas musicians and collaborators in New York City. Everyone involved in this album, whether as writer, backing vocals singer or musician is a dear friend and ‘family’ member. It’s truly a love letter.”
– Amber Martin
Rufus Wainwright’s collaborative track comes in the form of “I Want You To Be A Real Man”, a hauntingly honey-warm duet that dissects concepts of masculinity over waltz-y piano and guitar licks that enchant.
Opening over crooning birds beneath the soft sounds of a guitar is “Second Heart” with Jake Shears. With swaying instrumentals and beautifully penned lyrics, “Second Heart” pulls listeners into a sense of pensive peace.
“Call Me Joe” concludes the collaborative trifecta, a bittersweet track made in partnership with John Cameron Mitchell that feels more like a ‘see you again’ in place of a ‘farewell’- a hopeful goodbye and nod towards the future.
Closing out the album with “Until Marianne,” a song filled with longing and love, Martin leaves listeners with a feeling of fond persistence with her moving vocals floating over the simple guitar instrumental.
A well-rounded experience of country twang highs and lows, Unbreakable Heart is a testament to Martin’s ability to put the intangible into lyrics and the indescribable into sound.
To celebrate the release of Unbreakable Heart, Amber Martin will be taking the stage at The Cutting Room in Manhattan on Tuesday, November 19. Supported by her band and several special guests, the evening will be host to an unforgettable night of live performance- not to mention the after-party with some of Amber’s own special DJs.
For more information on the celebration and how to attend, visit the event page here.
To learn more about Martin’s story, other releases, and future endeavors, be sure to visit her official website here.
