On Thursday, July 18, Cola and Galene gave us a night to remember at NO FUN in Troy. They played the perfect show for local indie rock fans.
NO FUN is a live music venue on river street in Troy, an amazing place to hear live music and enjoy some drinks. NO FUN has a full schedule of upcoming concerts, so despite the name there’s lots of fun to be had.
Galene opened the night with tons of energy that they kept thought their whole set. Cola followed close behind and ended the night leaving us all searching for their next congratulations . Be sure to visit NO FUN when you’re in need of good music or a new favorite song.
Upcoming Shows at NO FUN
August 1: Joyer, Shower Curtain, Stroma, and Cooper’s Hawk at 7 PM
August 2: Nailed Shut, Frozen Sun, Torpedo Lane, and Greyfleshtethered at 7 PM
August 3: Planetarium Party (Virgo SZN) at 8 PM
August 4: Coquette, Trepidation, Vaexus, and Beasteliaphiliac at 7 PM
August 8: The Thing, Native Sun, and Attack Dogs at 7 PM
August 16: Big Scary Indian, Adequate Phil, and Otobo from 7–11 PM
Saturday, July 27 saw Andrew Hozier-Byrne, better known as Hozier, play a sold out show at the historic Bethel Woods Center for the Arts. Hozier is currently touring across North America with opener Allison Russell to celebrate the release of his Unreal Unearth album.
Hozier, photographed by Sarah Hyun
Hozier, born in Ireland but popular worldwide for his songs, “Take Me to Church” and “Too Sweet,” has made many stops in NY while on tour. He recently played four nights at Forest Hills Stadium in June. Hozier is well known for his powerful voice and honest songwriting, touching on themes of heartbreak, abuse, love, and humanity through his deeply personal and self-aware lyrics.
Hozier, photographed by Sarah Hyun
Fans flocked to the concert in the early afternoon, tailgating with friends and family in white skirts, floral tank tops, and Hozier merchandise. While the majority of people sat on the lawn, those who were lucky enough to snag good seats in the 20 minute period before completely selling out the show sat under the pavilion, with a clear view of Hozier and the stage. During the concert, friends, family, and couples danced freely, truly taking in the night. Hardly any phones were present—people were truly living in the moment.
Hozier, photographed by Sarah Hyun
During his song, “Like Real People Do,” Hozier experienced a guitar malfunction and quickly moved on to the next song on his setlist. He stated, “This is how you know I’m playing live,” followed by a few laughs from him and the crowd. He recognized a familiar face and shared a sweet interaction with the fan, stating, “Is that you? Yeah, yeah! Good to see you again… I love you too.”
Hozier, photographed by Sarah Hyun
Finally, he wrapped up the night with a surprisingly long, yet beautiful encore. He left the stage after “Take Me to Church” and snuck off to a separate makeshift area closer to the people in the nosebleeds, and performed a beautiful rendition of his song, “Cherry Wine.” Fans waved their phone flashlights in the air, looking up in awe, crying, and swaying peacefully to the eclectic music as Hozier entranced the crowd with his gentle vocals and intricate guitar playing.
Crowd, photographed by Sarah Hyun
Finally, to finish off the encore, he stopped to talk to the audience about the current social and political issues affecting the world. Hozier has always been vocal about his support of the LGBTQ+ community and in the importance of voting, protesting, and recognizing the violence that is happening in other countries. He stated, “I’d only like to see Palestine free from occupation, free from violence,” before leading into song, “Nina Cried Power.” Although Hozier does not have any more New York dates scheduled for the rest of his tour, he is sure to return in the future.
Hozier – Bethel Woods Center for the Arts – Saturday, July 27, 2024
Setlist: De Selby (Part 1), De Selby (Part 2), Jackie and Wilson, From Eden, Angel of Small Death and the Codeine Scene, Dinner & Diatribes, Francesca, It Will Come Back; I, Carrion (Icarian); Abstract (Psychopomp), Like Real People Do, Wildflower and Barley (with Allison Russell), Would that I, Too Sweet, Almost (Sweet Music), Eat Your Young, Movement, Take Me to Church
Encore: Cherry Wine, Unknown / Nth, Nina Cried Power, Work Song (with Allison Russell)
Billie Marten played a surprise show at Union Pool on Wednesday, July 24. The British indie/folk singer-songwriter announced the show in a handwritten note on Instagram teasing “mostly new stuff” to be played. Marten began her set with an announcement of a new record that she had just spent ten days recording down the street from Union Pool. She didn’t give a solid idea of when this new album might be coming out, but Marten’s last album, Drop Cherries, released just over a year ago on April 7, 2023.
Opening for Billie Marten was writer and musician Jana Horn. If you like Big Thief and Adrianne Lenker, you might also enjoy Jana Horn’s work. Intimate, interpersonal talk singing poetry over folksy drums and unique bass lines. She rode the line between banter and awkwardness perfectly, and the crowd had a great time. Marten then came out quietly onto the stage in Union Pool’s back room, which has the vibe of a Christmassy saloon. One pink light drenched Marten onstage with her acoustic guitar in her spaghetti strap top, light wash jeans, and red converse.
The show was very low-key. Marten’s pickup came loose and the sound engineer scrambled down from his spot up on the balcony as the crowd parted around him. Billie Marten told the audience to talk amongst themselves, and the room filled with a buzz until she was ready to play again. There was plenty of audience banter as Marten changed tunings between each song. We only got to hear four or five new songs, so there is definitely more to come down the road. Hopefully, Billie Marten will be able to put the finishing touches on her album soon, as we are all eagerly awaiting her next show in NY.
According to Webster’s Dictionary, a spectacle can be defined as “A visually striking performance or display.” If one were to add an addendum to this, they could add “The Flaming Lips in concert” and anyone would be hard pressed to dispute this.
The Flaming Lips brought their 2024 tour to Beak & Skiff in LaFayette on Tuesday, July 23. The psychedelic rockers from Oklahoma City were continuing a tour which has seen them play the 2002 album Yoshimi Battles the Pink Robotsin full, each night. most recently at Lewiston’s ArtPark. The album, one of 16 in The Flaming Lips catalog, brought the band their biggest commercial success, and has long been the centerpiece of the Lips’ highly regarded live performances.
As the 7:30pm start time drew close, a palpable energy set in across the apple orchard’s concert field. Front-man and equally skilled hype-man Wayne Coyne did his part to energize and excite the crowd as he sat side stage. Once the clock struck half past seven, Coyne moved to center stage and the band wasted no time getting the spectacle started. With the acoustic opening strums of Yoshimi’s “Fight Test”, and a large bust of confetti from the multiple confetti canons placed around the stage, the evening’s festivities were underway. As Coyne sang the song’s opening lyrics, giant pink robots inflated around the stage, dwarfing Coyne and his bandmates.
The spectacle would continue to take new heights as the band worked their way through the 2002 album. Dramatic lights draped the stage and the audience. Coyne shot copious amounts of confetti into the crowd, and tossed giant inflatable beach balls (again, filled with confetti) into the pit. He sang under a giant inflatable rainbow during “Do You Realize”, a song about cherishing the time you have with your loved ones.
Following the performance of Yoshimi Battles the Pink Robots (and a short intermission), the band returned for a second set, which paid homage to the many other stand out tracks through out their career. The band returned to the stage and launched into their 1993 hit “She Don’t Use Jelly”. Other highlights of the second set included “Flowers of Neptune”, “The Spark that Bled”, “Yeah Yeah Yeah Song”, and “Race for the Price”.
It would be easy to anticipate musicians merely going through the motions after 40 years of performances. The Flaming Lips did anything but this. Coyne donned a giant smile between each song, and regularly summoned more and more energy from the crowd. He told stories of the inspirations behind the music, and urged a message of peace and love. In all, the band seemed to take great pride in delivering their spectacle to the audience at Beak & Skiff.
Folk-rock band The Felice Brothers and Dead Gowns performed at the local historic bar and venue, Mohawk Place on Tuesday, July 23.
Dead Gowns, led by Portland songwriter Geneviève Beaudoin, opened the show with an intimate acoustic set. Geneviève Beaudoin’s voice is the right mix of haunting and enchanting that hypnotized the audience into patiently waiting in the hot and intimate Mohawk Place on this steamy Tuesday evening. Dead Gowns will continue to tour with the Felice Brothers for the rest of July.
The Felice Brothers launched their Mohawk Place set with “Crime Scene Queen” to a packed room of die-hard fans erupting in cheers. One fan we spoke to even scheduled their summer visit to Buffalo around this show. They blended their set with their latest release songs from their 2024 album Valley of Abandoned Songs and an assortment of songs from their 19 albums and EPs.
Some notable songs performed were “Love me Tenderly,” “Whiskey In My Whiskey” and fan-favorite “Frankie’s Gun!” Lead vocals and energy by Ian Felice and James Felice were infectious. Ian’s vocals and guitars paired with James’ accordion and piano talent paired seamlessly with the talented Jesske Hume’s fluid bass and Will Lawrence’s steady drums.
One of the memorable aspects of the night was the request from a newlywed couple to perform “A Wonderful Life.” The band gladly performed the song and sang along with the couple, enjoying their moment of happiness. The band, all dressed in their finest blazers, were sweating along with the audience so Buffalo shared their hospitality by offering them all a nice, cold PBR to cool them off during their set. It almost felt like we were all invited to the couple’s wedding and we were celebrating all together, a beautiful moment of music, family and happiness.
Regardless of how well you know the Felice Brothers, they put on a show that makes you feel like you have known them for years. The Felice Brothers will be playing the Hollerhorn Distillery in Naples, New York on August 23rd.
The Crane Wives, a four-piece indie band hailing from Grand Rapids, Michigan, took the stage at Lark Hall in Albany, for a sold-out show that resonated with energy, uniqueness and charm.
Opening for The Crane wives was American performer, composer and guitarist, Yasmin Williams from northern Virginia who landed on the Billboard Heatseekers chart with her debut album, 2018’s Unwind and released her second album, Urban Driftwood, to widespread critical acclaim in 2021.
Yasmin Williams
Founded in 2010, The Crane Wives,composed of Emilee Petersmark (guitar/vocals), Kate Pillsbury (guitar/vocals), Dan Rickabus (drums/vocals), and Ben Zito (bass), has been weaving their unique sound through the fabric of the indie music scene, which makes their ever-growing popularity compelling to witness live.
From the moment the lights dimmed and the opening notes of “Queen of Nothing” filled the room, it was clear that the audience was in for a night to remember. The Crane Wives’ upbeat sound is infectious; they expertly blend folk influences with catchy melodies, creating an atmosphere that had even the most reserved attendees mesmerized and dancing to the rhythm. The use of three-part harmonies is particularly noteworthy, allowing them to create a textured sound that sets them apart from the myriad of other indie rock outfits. Songs like “Queen of Nothing” set the tone for the evening, transitioning seamlessly into the rest of their impressive 17-song setlist which was finished up with an encore of “Scars” and “The Hand That Feeds.”
The lyrics penned by the band are often deeply introspective, tackling themes that many of their dedicated listeners can relate to, yet they are always delivered with an upbeat musicality that defies the weight of the words. This juxtaposition between lyrical depth and energetic rhythm is what makes The Crane Wives so captivating; it’s a celebration of life, even in the face of hardships that connects their music to their ever growing fan base.
Throughout the concert, it was evident that The Crane Wives prioritize creating a sense of community within their fans. Their engagement with the audience was sincere and heartfelt. Between songs, the brief banter flowed effortlessly, allowing for moments of connection. This warm approach made the sold-out venue feel intimate and welcoming, as if you were sharing the experience with friends rather than watching a performance from a distance.
As the night unfolded, the crowd danced, sang along, and echoed the bandâs harmonies, creating an exhilarating sense of unity. With the anticipation of their upcoming album, Beyond Beyond Beyond, set to release on September 6.
The Crane Wives at Lark Hall was not just a concert; it was an immersive experience that combined exceptional musicianship with a passionate connection with their fans. If their performance is any indication, the band’s trajectory is set to rise even higher.
With their ability to captivate audiences and create a vibrant community around them, The Crane Wives are poised for an even brighter future, and one can only hope there will be more opportunities to enjoy their lively and poignant music in concert.
When it comes to NYC’s D.I.Y. rock scenes and their club catalysts, CBGB wasn’t the only game in town. In the late 1980s, when the now uber-glitzy and fully gentrified borough of Brooklyn was still mostly grit, grime and crime, there was one incredibly unassuming dive bar on the fringes of Park Slope where a handful of bands built a scene that captured the attention of the indie rock world.
Now this bar and the many bands it birthed are set to be the subject of an in-the-works documentary, Before It Was Cool: The Brooklyn Beat from Lauterbach’s, with an online crowdfunding campaign and reunion concert set for September 14.
Several years in the making, the nearly completed film is the passion project of three people who knew the scene best. Executive producer and director Michael West was there from the beginning, as a member of The Original Rays. Today a DJ and music director at Radio Free Brooklyn, Rachel Cleary stumbled into this seedy venue when she went to see her boyfriend’s band play and was floored by what she heard but saw in the way of the unforgettable characters who were habitues of the bar. A Brooklyn native, Cleary is a producer and the on-screen interviewer who relates the tale through interviews with several dozen musicians and fans who religiously frequented the venue. Another Brooklyn musician who emerged a decade later, Jeannie Fry of the band My Little Eye, also serves as a Producer and Technical Advisor for the project.
Lauterbach’s had a direct connection to CBGB’s. It all began in 1988 when Bob Racioppo, a former member of one of the original CBGB bands, The Shirts, walked into his neighborhood bar after a shift as a cab driver. In a 2023 interview with the Red Hook Star, Racioppo said: “It had a small stage and looked just like a mini-CBGB’s. It also had a pool table, just like the original CBGB’s. And in those days, the neighborhood was white and Puerto Rican working class, not yet upscale and gentrified.” Housed on the ground floor of a two-story building on an otherwise residential block, Lauterbach’s was a true curiosity in the early days of Park Slope’s gentrification.
With the blessing of the owners who lived upstairs, George and Alice Lauterbach, Racioppo began to bring in bands. “I brought in money and knew how to treat bands, so it took off right away.” The club soon began to attract aspiring bands from the borough and beyond.
These D.I.Y-minded bands weren’t content to just play; they began issuing a series of self-financed compilation CDs, starting with 1988’s Today Brooklyn, Tomorrow The World. Bearing the works of up to 20 bands in each CD, these compilations garnered national buzz, including radio airplay from popular stations like K-Rock and WNEW-FM and feature stories in outlets including The New York Times.
This down-and-dirty but big-hearted scene is coming to life via in-person interviews with well over two dozen musicians and the locals who made this downscale tavern a must-stop every weekend. All totaled, there is 60 hours of footage being culled for the project including many archival performances taped at Lauterbach’s and at Brooklyn Beat events at other venues including CBGB.
While artists including Joan Osborne and They Might Be Giants graced the stage in their early days, this film focuses on the bands who were the heart of the scene, with some musicians who have continued to perform professionally and others for whom their glory days in music are a cherished memory. Interviewees include members of Racioppo’s band, Chemical Wedding, The Fields, Frank’s Museum, Formaldehyde Blues Train, Al Lee Wyer, The Moe, Squirrels from Hell and more.
While much of the film is in the can, the producers are launching a campaign to secure completion funds for the film. They will use the monies to finalize its editing and to promote the documentary at leading film festivals in 2025.
The crowdfunding effort, housed at gofund.me/38eb3334, will be kicked off with an event on Saturday, September 14 at 8 pm at Young Ethel’s at 506 5th Avenue, South Slope, Brooklyn. The event will feature performances by reunited Brooklyn Beat bands including Kenny Young and the Eggplants, Squirrels from Hell, Chemical Wedding, Medicine Sunday, Frank’s Museum and Hari Karaoke Trio of Doom. Info at youngethels.com (Ed. note: This writer was a member of the latter two bands in the lineup).
“This film has come together much like the Brooklyn Beat scene itself,” begins West, “with a group of artists collaborating to create something more beautiful than any could’ve imagined or created on their own. This team, the interviewees and the subject matter have put us well on the road to producing a high-quality documentary about a fondly remembered corner of New York City’s rock history.”
Rachel Cleary adds: “Trying something new can redirect the trajectory of a person’s life. In our interviews, people spoke about breaking their routine to go into Lauterbach’s and that it led to their lives taking a completely different course, for the better. I hope people will leave this film with an appreciation for the power and importance of community, shared experience, and especially music made for the love of it. The Brooklyn Beat crew is a family that lived and continues to thrive well beyond the walls of a bar.”
The 2024 Pleasantville Music Festival was held on Saturday, July 13, marking its 18th anniversary. The festival presented eighteen performers on three stages, all within the boundaryof one day.
Affectionately referred to as “New York’s Backyard Jam” because of its proximity to NYC, the festival takes the approach of blending up-and-coming, established, and national touring acts. A cornerstone of the festival’s success is its strategy of not repeating performers, offering returning attendees something new each year.
When The Wailers took to the stage, they transformed Pleasantville into Kingston
2024 was the second year that The Garage at Lucy’s in Pleasantville was a gatewayfor local acts to perform at the festival. Through a series of battle-of-the-band competitions held at the club, three acts were selected to open the multiple musical stages at the festival.
The Collection / Pamnation Party Stage
The battle-of-the-band winners were comprised of: Gavin Mitchell & Lauren Mian who performed on the Chill Tent Stage, Mainline who played on the Pamnation Party Stage, and all-around winner Blue Moon Band who shared their music on the Main Stage. These opening acts set a high standard for future performers, demonstrating they are more than capable of sharing the stage with major acts.
… opening acts set a high standard for future performers, demonstrating they are more than capable of sharing the stage with major acts.
Situated in the heart of Westchester, the festival is also a family-friendly affair. Attendees brought chairs and blankets to enjoy a relaxing day out. This year, Kenny Green gave a special children’s performance at the Chili Tent. Alongside the musical performances bounce houses, kid-friendly activities as well as food and other vendors lined the festival’s perimeter.
2024 saw Northwell Health joining as a sponsor of the festival. In conjunction with Northwell Health, the band N.E.D. performed. The band is comprised of gynecological oncologists, including Dr. Gizelka David-West of Northwell’s Northern Westchester and Phelps Hospitals. Their band name is derived from the medical acronym for “no evidence of disease.” After their set, N.E.D. gave everyone a clean bill of health and prescribed a daily dose of rock ’n’ roll for all.
The Wailers / Main Stage
With three stages, the festival offered a mixture of musical styles. The stages and act performance times were aligned in such a way that you could experience all eighteen acts if so desired.
The Chill Tent, situated at the far end of the park, offered an open-air big top where you could sit in chairs with large fans circulating the air. This stage hosted singer/songwriter, blues, and jazz performances featuring Jesse Terry and headliner Jill Sobule.
Better Than Ezra / Main Stage
The Pamnation Party Stage served as the place to dance till you dropped. Talon, an all-girl band fromBrooklyn and Armonk tore up the stage, while Dead Tooth from Queens added fuel to the musical fire. Jersey City’s Widely Grown (who also hosted the after-party at Lucy’s) and The Collection (from North Carolina) closed out the stage in fine fashion.
The Main Stage featured national performing acts. Indie rockerMargaret Glaspy, with her haunting raspy vocal tones, shared songs from her 2023 release “Echo The Diamond.” When The Wailers took to the stage, they transformed Pleasantville into Kingston. Performing hit after hit, lead singer Mitchell Brunings led the crowd in sing-alongs throughout their set.
…the ‘burbs can rock
Grammy Award winner The Record Company followed with their straightforward rock ’n’ roll. New Orleans-based headlinerBetter Than Ezra wrapped up the night delighting the audience with a surprise abridged performance of David Bowie’s “Space Oddity” during their set.
Jill Sobule / Chill Tent
With eighteen years under its belt, the Pleasantville Music Festival continues to put its mark on the music scene, proving that the ‘burbs can rock.
Main Stage
Better Than EzraThe Record CompanyThe WailersMargaret GlaspyN.E.D.Blue Moon Band
Pamnation Party Stage
The CollectionWidely GrownDead ToothMojo & The Mayhem TalonMainline
Chill Tent Stage
Jill SobuleJesse TerryThe Robert Hill Band w/Rae SimonePlane StationGavon Mitchell & Lauren MianKids Music w/Kenny Green
Starting July 2, Tuesdays at Main Beach celebrates its third year in East Hampton Village. The summer concert series is now in its third year, and to commemorate the anniversary, 10 artists are featured from a variety of genres, ending on September 3. Concerts are from 6-8 pm, located at Main Beach.
Tuesdays at Main Beach – East Hampton Village Foundation
Presented by the East Hampton Village Foundation, Tuesdays at Main Beach reached mounting success during its first year. Now, three years later, the summer concert series draws crowds from all over Long Island. From Montauk and Southampton to Ocean Avenue, Tuesdays at Main Beach is enjoyed by thousands of people, celebrating local and regional artists ranging from brass bands to yacht rock.
In addition to the concerts, Tuesdays at Main Beach acts as a fundraiser. Several charities, foundations, and non-profit organizations are available at every show throughout the series, raising awareness for an abundance of causes. Organizations such as Kiwanis Club, Warrior Project, Springs Food Pantry, Meals on Wheels, East Hampton Education Foundation, LVIS, and East Hampton Food Pantry all participate, offering activities and raffles to promote their cause and raise money.
During the concerts, attendees can enjoy swimming with the safety of lifeguards on duty and can grab dinner right on the beach at Main Beach’s own Beach Hut. Concerts are held weekly on Tuesdays, and begin at 6 pm and end at 8 pm. While the fun has already started, there is still time to catch REEB (Real East End Brass), funk outfit Candy Shop, and more until September 3.
The full lineup of artists is listed below. Main Beach is located at 101 Ocean Ave East Hampton, NY 11937.
For more information, visit the East Hampton Village Foundation’s website, linked here.
Do you ever wonder what happens to all the art that is castaway or disavowed by an artist? Where does it go and what stories do we miss in the process? Once in a while this unsettling question dawns upon me, and I get innately queasy in my bones thinking about all the ideas I will never know and understand.
It is rare for these art pieces to ever likely be perceived by the world, yet even rarer for a band to make a whole album out these pieces, let alone so exquisite it warrants the creation of a whole new label for special release.
Photo by Alisha Goel
Comprising of 13 euphonious and whimsical tracks, often featuring bizarre and enigmatic other-worldly characters, Catskills-based folk and rock quartet The Felice Brothers impressively accomplished this feat with the release of their latest album Valley of Abandoned Songs. Recorded live in an 1870’s church, this collection incorporates unreleased songs from their previous releases 2019’s Undress and 2023’s Asylum on the Hill.
Photo by Alisha Goel
Instrumentalist James Felice described this collection as “little snapshots of places that we were at and ideas we had over the years,” and we talked more about Valley of Abandoned Songs before their show at Bowery Ballroom on July 11.
The interview has been edited for clarity and length.
Photo by Alisha Goel
Alisha Goel: People often categorize your music as folk and Americana. What are your thoughts on it? How do you describe your band style?
James Felice: When we first started, the label Americana or folk was so annoying to us. We didn’t want to be pigeonholed, or we thought that we were too cool for it. But honestly, we are. All of our music, the way we play and the music we grew up with is folk music. It’s the music that we are most connected to. So yeah, I’m okay with that. I think we’ve been doing this long enough to have our sort of thing.
Ian Felice fixing his broken guitar string on stage. (Photo by Alisha Goel)
AG: Describe the Valley of Abandoned Songs in three words.
JF: It’s abandoned songs. These are songs that we recorded over the course of the last few years. Most of them did not fit any records, but they were songs or demos that we’ve loved or felt connected to. We didn’t have high hopes for it and we didn’t know if it was worth putting out in the world. It’s surprising that it exists and that people are listening to it. Sometimes you’re not the best judge of your own work.
Photo by Alisha Goel
AG: There is a lot of vivid imagery and distinctive characters in this album. How do these characters come alive? Are there any particular literature or media sources that acted as your inspiration for this album?
Ian Felice: The characters come alive through the act of songwriting, which is an esoteric process that I don’t fully understand. They grow in my mind. Sometimes they are versions of myself or people that I know. Sometimes they are ghosts that appear and vanish at will. The songs span over a six-year period of writing so I cannot say there was a particular writer that inspired the album as a whole. I recall having certain writers in mind for specific songs, Elizabeth Bishop for example, when I was writing “Raccoon, Rooster and Crow.”
Photo by Alisha Goel
AG: Since we are in NYC, we have to talk about “New York By Moonlight.” You have a rich history with the city itself, from starting your journey as subway buskers to now playing at the Bowery. How do your personal experiences in this city tie into this song?
IF: Yes, when we first started our band we lived in the city and busked a lot in the subways. The song brings to mind some imagery and feelings from those days. It’s a dreamy rainy song about loneliness in the midst of so many people, but the gloom is pierced by moments of beauty, hopefully. It’s like daisies blooming in a prison yard. The character is a lost old man who walks with a cane and scares the pigeons.
Photo by Alisha Goel
AG: I know your writing process and creation process mutates a lot for every project you work on. Can you walk me through how the writing and production process was for a project that was so unique?
IF: A lot of the songs were intended to be demos and were never meant to be heard by anyone outside the band so the production process was extremely loose. We recorded them by ourselves with usually only one or two takes.
JF: We had these sweat sessions, which was like five or six songs recorded in one session. It was so hot, even higher than it is now, and we were just dripping sweat. A couple of the songs on the album are from the sweat sessions. Musically, this record is very simple. It’s very raw, live and just trying stuff to see how it feels. Sometimes when I hear it, I wish I played something differently or better, but if people are enjoying it, it’s fine.
Photo by Alisha Goel
AG: I imagine there were a lot of abandoned songs. How did you thematically decide which ones are going to make the cut for this album?
IF: They were all castaways that lived in a remote valley. They grew to love each other and their stories were made more rich by their interrelation. Obviously, this wasn’t a conscious decision but it’s how it worked out somehow. It’s a record about reincarnation and imperfection.
Photo by Alisha Goel
AG: What are you working on next and do you have any plans of ever stopping?
IF: We are touring a bit this year. I’m also working on a painting show for Half Gallery in NYC this November.
JF: I don’t ever want to stop. I get more joy every year. I really do. I find that playing music is the best part of my life. Maybe the music will change as we get older. Maybe we will stop hopping around so much on stage. Maybe we will get quieter or weirder, hopefully. I have nothing else I would like to do. Just this music and playing it with the band.
