United Sounds has announced the inaugural United Sounds NYC Festival which kicks off in Red Hook, Brooklyn on October 25 and 26. The show lasts from 4pm to 12am both nights and is 18+ to enter.
The festival was created to fill the significant gap for independent music in New York City’s fall cultural calendar. The two-day event will feature performances by Blonde Redhead, Sunflower Bean, Les Savy Fav, Model/Actriz, Man Man, Monobloc and Peel Dream Magazine, with additional artists, DJs, neighborhood events and more to be announced in the coming weeks.
The United Sounds NYC Festival takes place at Pioneer Works in Brooklyn. Pioneer Works is an art and science-led cultural center that hosts various exhibit, performances, and workshops throughout the year. This fall, United Sounds brings an otherwise musically barren autumn a blast of vibrancy and sound.
Also performing at the festival is the notable indie rock group The Dismemberment Plan who have just recently played their first show in a decade. The group sees the stage during the festival, making it their first full-length festival performance in many years. This is definitely not a performance to miss.
The Dismemberment Plan
Friday, October 25th Line-Up
The Dismemberment Plan
Sunflower Bean
Model/Actriz
+ more
Saturday, October 26th Line-Up
Blonde Redhead
Les Say Fav
Man Man
Monobloc
Peel Dream Magazine
“We wanted to start an annual music festival in New York City during the fall season, in the spirit of great indie-focused events of the past like CMJ. Our goal is to bring celebrated independent artists and music fans together for a fun weekend in a great setting. We were drawn to Red Hook to launch the event because it has such a welcoming seaside community vibe, that feels like you’re out of the city, yet it’s right there across the water from lower Manhattan.”
Diane Perini, talent booker
For more information on the United Sounds NYC Festival and to purchase tickets for one or both nights, click here.
Snailosaur, consisting of NYC natives Paul and Dean Criscitiello, along with Jason Sabshon, released two brand new singles – “Nature” and “Kaleidoscopic Mind” – on September 13.
These two singles follow the release of Talk Therapy, the trio’s debut album which came out at the beginning of this year.
Snailosaur define themselves as “90s-tinged indie guitar poetry, incorporating elements of alternative rock, noise, art rock, shoegaze, and spoken word to create their distinct sound.” The band focuses on blending catchy melodies, distorted guitar solos, and vivid, relatable lyrics with psychedelic undertones. Snailosaur’s unique approach to their vocal arrangement’s create the fuzzy feeling of being wrapped up under a warm blanket.
“Nature & Kaleidoscopic Mind” was recorded by Nate Jasensky in Brooklyn. “Nature” encapsulates the feelings of longing to get away, and in Snailosaur’s case, needing a break from the chaos of city life to take refuge in Upstate New York. Spoken word, deep vocals pair with alternative rock and pop influence to round out the first of two singles.
This transitions into ““Kaleidoscopic Mind,” a more introspective piece, which hones in on feelings of doubt and acceptance. This single’s indie and alternative rock influence, most notably in the main guitar part, builds upon a unique soundscape of effects before dissipating as the song fades out.
“Nature & Kaleidoscopic Mind” by Snailosaur is available on all streaming services here. Find out more about Snailosaur here.
NYC band Starcleaner Reunion have released “Plein Air” and announced the release of their Cafe Life EP, out September 20.
Photo Credit: Catrina Kokkoris
New York City-based, New Jersey natives, Starcleaner Reunion have released their second single from their upcoming EP, Café Life, due Sept 20. Singer Jo Roman, guitarists Pat Drummond & Neil Torman, and bassist Adam Kenter have been making music together since high school in New Jersey, After meeting drummer Sam Unger in New York in 2022, the band released their debut EP Club Estrella, a collection of their earliest ideas. The band has received praise from magazines such as FLOOD, Stereogum, and Paste in the recent past.
“Café Life is indebted to a certain slowness, a ‘not-hurrying’ – title is a reference to a certain European way of life – refusing to rush anything and taking one’s time.”
Starcleaner Reunion
This new EP was recorded in a makeshift home studio that allowed the band more time to experiment during the recording process. Including bringing on Ruben Radlauer of Model/Actriz for mixing duties. Last month the band released their first single of the cycle, “The Hand That I Put Down.”
The band refers to themselves as “Euro-pop,” and it is a shockingly fitting moniker. French band Air immediately comes to mind while listening to their music, but Starcleaner Reunion puts it on the dancefloor. Jo Roman’s lyrics describe feelings rather than events which produce images that seem to only be viewed through a warped, foggy, mirror. “Take it back/stepping back the time/Every step back and every single moment.”
If you like, Stereolab, of Montreal, The Hit Parade, Broadcast, Sweet Trip, or Air, you’ll love Starcleaner Reunion.
Starcleaner Reunion Upcoming Tour Dates:
Sep 20: Binghamton, NY @ The Bundy Museum
Oct 24: New York, NY @ Bowery Ballroom w/ Hello Mary
Nov 1: Philidelphia PA @ Spruce Street Harbor Park
Indie rock fans flocked to the State Theatre in Ithaca on Tuesday, September 17 as Band of Horses wrapped up their summer tour with a performance in the picturesque town.
This show was a long time coming for fans of the Seattle rockers, as illness forced postponement of the originally scheduled show in February. The delay did not deter a strong contingent of fans from turning out, as the show was nearly sold-out.
The evening kicked off with a passionate performance from singer-songwriter Nolan Taylor. The Ohio native performed forty minutes of what he called “sad songs”. Taylor strummed an acoustic guitar and was flanked by friend and bandmate Clarke Sexton, also on guitar.
Taylor’s vocals soared through the theater, as he performed heartfelt tracks such as “Wicked Ways” and “68” the later of which oozed with emotion and previously served as the introduction to Taylor for many, when a video of him performing the track in the woods went viral last year.
After a brief set change over, the audience took their seats for Band of Horses. Singer Ben Bridwell took his place behind a pedal steel while his four band members gathered round. Bridwell began the opening strums of “Monsters”, a stand out track from the band’s 2006 debut release. The band would follow with “The First Song” and “The Great Salt Lake” all from their debut album, and serving as an impressive 1-2-3 punch to open the evening.
Bridwell and his band mates performed a set spanning the band’s 20 year career. Ballads like “Is There a Ghost” and No One’s Gonna Love You” brought the audience to their feet and illuminated the lower portion of the theater in cell phone lights, while “The Funeral” had the audience shouting the song’s anthemic chorus.
After a 17 song main set, the band returned to the stage for one final number; the rollicking, foot stomping “The General Specific”. The track saw the band calling members of their crew to the stage to join in on the fun, grabbing a hold of tambourines, cowbells, and what ever else could be used as a percussion instrument. It was a fun end to the evening in Ithaca, and a celebratory way to end a long tour for Band of Horses.
Acclaimed Brooklyn based musician and composer Sandra Kluge has released her third single, “Beholden to No One”.
Brooklyn based tap percussionist, performer, educator, and musician Sandra Kluge channels the deepest parts of her heart and soul in every piece and performance. Wrought with self reflection, honesty, and contemplation, her works channel what she wants to put out into the world using the full breadth of her skills across music and dance.
Kluge began dancing at the age of 10, spending the following years learning under the greats and endless hours of self-study that would later lead her to stages at the legendary Tap Ahead Festival, tap club Cologne, and Soundspace Philadelphia. In addition to performances of her own, Kluge shares the results of her years of practice and routine with her students at the American Tap Dance Foundation and Mark Morris Dance Center, in addition to teaching students from around the world virtually.
Just as reflecting the self is a through line in her lyricism, Kluge reflects all aspects of her life in her production. Utilizing her life-long passion in tap, Kluge channels the sounds of the dance into her percussion- the tap shoes themselves transcending the role of dance equipment to become instruments as she performs.
Her newest release “Beholden to No One” centers this unique and deeply personal form of percussion, a steady constant under the lyrics and mantra of “I am my best friend, beholden to no one”. The sounds of dance intertwine with ethereal synth textures, multidimensional guitar arrangements, and serene vocals above an odd time signature and intricate polyrhythmic structures that all culminate in a stirring experience of emotional self-determination.
A piece entirely its own, “Beholden to No One” originated from a therapy session in which Kluge realized that her existence is not tied to the permission or approval of anyone else. Empowered by the realization of all that she is capable of when no other voice is given the time of day, she is “beholden to no one”.
In addition to the track’s release, Kluge has published the official music video for “Beholden to No One” in which she walks through countless city settings in flowing bright clothing and an effortless yet quiet confidence, truly embodying the self-sufficient and self-loving attitude reflected in the song’s lyrics.
Only the third song of Kluge’s musical career, “Beholden to No One” marks her as an artist carving her own path- and an artist that needs no one’s permission but her own to do so.
To learn more about “Beholden to No One,” her other releases, and her story, please visit Sandra Kluge’s website here.
On September 19, the West Side Tennis Club welcomed Kings Of Leon to the borough of Queens with open arms on a picturesque Wednesday evening.
The 18th stop on their ”Can We Please Have Fun” summer tour, the indie rock quartet from Mount Juliet, Tennessee are touring in support of their ninth studio album of the same name, released on May 10.
Kings Of Leon | Photo Credit: Michael Dinger Photography
One of New York City’s best concert venues, indoors or out, Forest Hills Stadium is truly a gem with a rich, storied history that is now one year removed from its centennial anniversary. Originally designed in the early-1920s as the original home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. Beginning in the 1960s, the tennis club began booking concerts and quickly attracted some of the most culturally significant artists of our generation, including The Beatles, Jimi Hendrix, The Rolling Stones and Bob Dylan.
In August 2013, after decades of neglect and narrowly escaping demolition, the 14,000-capacity facility re-opened with Mumford & Sons performing the inaugural concert (my wife and I were there!). Not yet satisfied with their face lift, over the next few years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, the installation of a permanent stage and redesigning and expanding the concourse to twice its original size.
Forest Hills Stadium | Photo Credit: Michael Dinger Photography
Providing opening support for Kings Of Leon on this 28-date tour of North America, which launched in Austin, Texas on August 14, was Phantogram. Formed in 2007 and hailing from Saratoga Springs, just a few hours’ drive up the NY State Thruway, the electronic dream pop duo are comprised of multi-instrumentalists and vocalists Sarah Barthel and Josh Carter. Friends since their preschool days, Barthel and Carter were joined by a touring drummer and keyboardist as they mesmerized the steadily growing audience filling up the stadium with their swirling guitars, spacey keyboards and airy vocals.
Over the course of 40 minutes, Phantogram presented a 10–song set spread evenly across their soon-to-be five album discography, including their opening song “Don’t Move” from Nightlife, an EP released in 2011. Their fifth studio album, Memory of a Day, is scheduled to drop on October 18 via Neon Gold. The 12-track LP is preceded by lead singles “All A Mystery” and “Happy Again,” both of which were performed live onstage as if they were already classics in their storied repertoire.
Phantogram | Photo Credit: Michael Dinger Photography
Barthel and her hypnotically engaging lyrics were perfectly complimented by Carter’s atmospheric guitar work (who was sporting another one of his signature baseball hats, this time with “NY” fittingly represented) and mastery of his beat sequencing machinery, for a captivating, dreamy set. Stand-out numbers from Phantogram’s trip hop setlist were “Fall in Love” and “Black Out Days,” released more than a decade ago on their sophomore studio album Voices.
As the night’s festivities continued to move briskly along to comply with the strict 10:00 pm curfew (an effort implemented in April by the State Supreme Court order to appease residents in the surrounding neighborhood), I secured my position back in front of the mixing soundboard and readied my camera. The sun having completely set, Kings Of Leon took the stage at 7:45 pm, led by frontman Caleb Followill. As “Ballerina Radio” got underway, the lead track from Can We Please Have Fun, brothers Nathan (drums) and Jared (bass), along with cousin Matthew (lead guitar), suddenly appeared from the dark shadows. Accompanied by touring musicians Liam O’Neil (keyboards, percussion) – who was also celebrating his birthday – and Timothy Deaux (rhythm guitar, keyboards), it was ‘Game On!’
Kings Of Leon | Photo Credit: Michael Dinger Photography
Formed in 1999, the gritty, garage rock sound that Kings Of Leon embodies has been compared to that of Manhattan’s very own The Strokes, intermixed with blues boogie vibes reminiscent of Lynyrd Skynyrd for good measure. The entirety of Kings of Leon’s impressive catalog, now going on more than two decades, was represented in Queens this hump day by at least one track, with Can We Please Have Fun getting the strongest representation (six numbers in total), an album reminiscent of their innovative, early career recordings.
Having never seen Kings Of Leon perform live, the song I wanted to witness firsthand, above any other, was “Sex on Fire” (Only by the Night, 2008). Well, I did not have to wait very long, because my wish was granted one-third of the way into their set! After that, everything else was gravy.
Kings Of Leon | Photo Credit: Michael Dinger Photography
Since I am not someone who checks out setlist.fm or does extensive research ahead of a band’s gig, because I like the element of surprise, I did not know that on this tour Kings Of Leon have been setting aside ‘one-off’ numbers not performed at other shows on the same tour, affectionately known as “song for the city.”
This is the point of the evening where we play a special song just for you. No one else gets to hear it on the tour. In fact, not many other people have ever heard it. So, uh, we’re gonna give it to you tonight for your song for the city. This song was written in New York, and it’s about New York. This is “The Face” [second ever performance and first since 2014].
Caleb Followill
Being only my fifth show at Forest Hills Stadium . . . in addition to Mumford and Sons in 2013, I saw them again in 2016, along with Beck and Cage the Elephant (2019) and Weezer (2023), like the others, tonight’s show was just about fun, enjoying yourself and/or who you were with, and forgetting about life for at least a little while. Aside from stellar musical offerings from both Phantogram and Kings Of Leon, the stage design was visually stunning and the balloon rainstorm during the encore was the cherry on top to a glorious night.
Watch Kings Of Leon conclude their epic, 26-song set with the anthemic “Use Somebody,” from Only by the Night, here:
With just 10 more shows to go on the tour over the next couple of weeks, what lies next for these Southern gentlemen – outside of a much needed break from the road – is still a mystery. Regardless of future plan announcements or details about their next project, eager anticipation by their legion of fans is sure to ensue.
Phantogram Setlist: Don’t Move > Fall in Love > Pedestal > All a Mystery > Cruel World > Mr Impossible > Happy Again > Answer > Black Out Days > When I’m Small
Kings Of Leon Setlist: Ballerina Radio > The Bucket > The Bandit > On Call > Nowhere to Run > Manhattan > Razz > My Party > Sex on Fire > Revelry > Beautiful War > The Face > Supersoaker > M Television > Back Down South > WALLS > Pyro > Mustang > Molly’s Chambers > Waste a Moment > Find Me > Seen > Closer > Encore: Rainbow Ball > Knocked Up > Use Somebody
UPCOMING TOUR DATES
September 20 – Washington, DC @ The Anthem
September 22 – Washington, DC @ The Anthem
September 23 – Philadelphia, PA @ Mann Center for the Performing Arts
September 25 – Atlanta, GA @ State Farm Arena
September 26 – Nashville, TN @ Bridgestone Arena
September 28 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
October 1 – Toronto, ON @ Budweiser Stage
October 2 – Laval, QC @ Place Bell
October 5 – Bridgeport, CT @ Hartford HealthCare Amphitheater
Janeâs Addiction has officially canceled the remainder of their tour with Love and Rockets following a string of incidents involving frontman Perry Farrell. Tensions within the band became evident during their September 10th performance at The Rooftop at Pier 17 in New York City, where Farrell appeared incoherent on stage, leading to an underwhelming show.
This came just days before a public altercation between Farrell and guitarist Dave Navarro during a concert in Boston, where Farrell lashed out, escalating tensions.
Jane’s Addiction at Pier 17 9/10/24
Love and Rockets, who had been opening for Janeâs Addiction on this tour, brought their own legacy to the stage with their unique blend of gothic rock and alternative sound. Fans were excited to see the iconic band reunite after years of absence, and their performances were well-received throughout the tour. However, the tension within Janeâs Addiction cast a shadow over the shows. While Love and Rockets delivered solid sets, the unpredictability surrounding Janeâs Addictionâs headlining performances often left audiences uncertain about the night’s outcome.
With the tour now canceled, Love and Rocketsâ involvement has come to an abrupt end as well, disappointing fans who were eager to see both bands share the stage.
Love and Rockets Pier 17 9/10/24
The band announced their decision on Monday via Instagram, stating they were taking time away due to Farrellâs ongoing struggles with mental health. Navarro, along with drummer Stephen Perkins and bassist Eric Avery, also issued a joint statement citing concerns for Farrellâs well-being and the safety of the entire band. Their message expressed regret over the cancellation but emphasized the need to prioritize safety and ensure a stable environment for future performances. The tour, which was set to run through October, was cut short, leaving fans disappointed but understanding of the difficult situation.
Perry Farrell Pier 17 9/10/24
Farrell later issued an apology to the band and fans, acknowledging his behavior during the Boston incident and taking full responsibility for his actions. He expressed regret over reaching a “breaking point” and the impact it had on those around him. Despite hopes that the band would return to the stage soon, no further tour dates have been announced, and refunds for the canceled shows are being offered to fans.
Dave Navarro Pier 17 9/10/24
This sudden breakdown has cast a shadow over what was expected to be a high-energy tour, leaving the future of Janeâs Addiction unclear. Fans are left wondering what lies ahead for the band as they face these internal challenges.
Jane’s Addiction Setlist: Kettle Whistle, Whores, Pigs in Zen, Ain’t No Right, Ted, Just Admit It, Summertime Rolls, Jame Says, Then She Did, Mountain Song, Three Days, Ocean Size, Stop, Chip Away
Love and Rockets Setlist: The Light, Kundalini Express, No Big Deal, The Dog End of a Day Gone By, Haunted When the Minutes Drag, No New Tale to Tell, An American Dream, So Alive, Ball of Confusion, Mirror People, Yin and Yang
Clairo kicked off her five-night residency at Webster Hall on Friday, September 14th to a sold-out crowd. Webster Hall is the perfect venue to experience Clairo’s music, and more artists should prioritize smaller venues like this. Sure, she’s playing four extra shows to sell the same amount of tickets as she would in an arena, but the difference in experience is staggering.
While Chappell Roan is currently making headlines for setting boundaries with fans, Clairo is just coming off a three-year hiatus with her new album Charm due to her own experiences with people repeatedly invading her privacy. Finding a way to comfortably interact with fans at shows and online should be a priority for any artist. Clairo deserves huge props for her commitment to doing things in a way that feels comfortable for her.
Webster Hall was packed before Frankie Cosmos opened, with people overflowing through the side doors of the main ballroom and lining the balcony. Frankie Cosmos’ sound has developed nicely over the past years, with better production and instrumentation. In particular, her drummer injects some extra funk into the mellower songs. Even though Frankie Cosmos was a late addition to the Webster Hall shows, Greta Kline said she was happy to see people outside her fanbase singing along.
Clairo and her ensemble entered the stage single file with a tray of glasses to cheers and sat down on the set for a little pre-show drink. As she poured wine and handed it to her bandmates, Clairo, in her headphones, black dress with gold ribbons, black tights, and heeled loafers, talked quietly with her ensemble before they eventually clambered to their designated positions on the stage’s tiered platforms covered in green carpet. The stage held a staggering amount of instruments to be used over the show’s hour and a half runtime with a flute, chimes, sax, electric guitar, nylon string acoustic guitar, bass guitar, a real piano on the stage, synths, and a drum machine on an antique table next to Clairo for her song “4Ever.”
Clairo played through the entirety of her excellent new album, Charm, interspersed with some of her fan favorites. Charm adds much more intrigue to Claro’s sound, incorporating jazzy layered synths and a laid-back West Coast cabana vibe on some tracks such as the album’s opener “Nomad” and “Glory of the Snow.” Clairo takes this sound further with a modern electronic spin on tracks like “Sexy to Someone” and “Echo.” “Echo” specifically features a jaunty little synth that harkens back to the likes of Broadcast.
After four songs she requested the lighting tech turn off the front lights and spent most of the show backlit by the giant light handing over the middle of the stage. She seemed reserved at the beginning, but by the second half of the show, she found her groove, and you could tell she was enjoying playing in her home city. A fan held up a red and white ringer tee they made for her that said “Clairo is For Lovers,” and Clairo loved it, saying she would wear it to bed that night. That’s probably the only fan out there who can say they’ve given an artist their favorite pajama tee.
Indie Brooklyn band, Gooseberry, have released their debut full-length album titled, All My Friends Are Cattle.
Gooseberry continue their buzz with the release of their debut album, All My Friends Are Cattle.
Gooseberry, formed in 2019, is a band which takes inspiration from genres such as alternative rock, indie, and blues to craft their sound. Asa Daniels (guitar, vocals), Evin Rossington (drums), and Will Hammond (bass) form the group and have played major venues across the east coast including, Baby’s All Right, the Knitting Factory, and The Bowery Ballroom in NYC.
Since the release of their 2022 debut EP Broken Dance, the trio has received praise from editorials such as Under the Radar, Ones to Watch, and more. In April, Gooseberry announced their debut full-length album, All My Friends Are Cattle. The album was released on Sept 6 and has been steadily growing in popularity since its release. The band has been on tour leading up to the release of the album over Aug and Sept, including four dates in New York.
“We are super fortunate to call a lot of really great – and buzzing – NYC bands our friends. We feel ourselves part of that community and eternally grateful for being welcomed with such open arms. Our hometown has truly shaped what this band has become.”
Asa Daniels
The ten-track album was recorded at Precision Sound Studios in New York City with an all-star production team including, Grammy-winner James ‘Jimmy T’ Meslin (Dream Theater, John Petrucci, Rush), Grammy-nominated engineer Colin Bryson (Zach Bryan, J Balvin, Willow Avalon), who served as producer and recording engineer (reprising his role from the Validate Me EP). They were joined also by Grammy-winner Phil Joly (The Strokes, Lana Del Rey, Daft Punk) who mixed the record, and Jennica Best (Colatura) who mastered it. The band’s “honorary fourth member” Dan Janis of Baked Goods, provided saxophone and flute for a handful of tunes.
The album begins with “Kikiyon,” a harder, driven track with an instantly recognizable riff that pays homage to many classic rock songs over the years, most notably The Kinks’ “You Really Got Me.” The solo on that song in particular has a distinct feeling to it that sounds much different than what is in vogue. As the album runs on, the songs grow softer and softer ending in the reverb-soaked “Start Over.”
Though powered by heavy 90s alternative influences, the standout tracks on the album are the gentler, simpler songs, like “Cherry Blossoms,” which remind listeners of artists like Jack Johnson. It is through these tracks that Gosseberry reveals who they can be.
The album contains a multitude of interesting musical ideas, most notably, the feature of the distinctive blare of the saxophone especially on “All The Same.” Many songs have clear Nirvana, Bush, and other 90’s alt inspiration, but the vocals on the record bear a recognizable similarity to more contemporary pop groups. As with many young bands, Gooseberry is still attempting to find their own sound.
The kaleidoscopic image on the cover is representative of the entire album in more ways than one. With just a glance, you see a menagerie of colors and feelings, each one notably different from its counterparts. While interesting for a moment, a deeper look renders the full image fractured and without a clear cohesion through all parts. Yet still briefly pretty.
Key Tracks: Cattle, Cherry Blossoms, One of the Good Ones.
Gooseberry will play the Richmond Music Hall in Richmond VA on Oct 3 and at the Shakori Hills Grassroots Festival, in NC on Oct 5.
The Brooklyn-based band Shower Curtain has released “benadryl man,” their second single from their upcoming album Words From a Wishing Well, out on October 18.
Shower Curtain, the four-piece band led by vocalist Victoria Winter has become a new fixture in the Brooklyn Shoegaze scene. As a band, they have been steadily releasing music since 2020, with the release of their self-titled EP. Now, four years later, their first album is set to release in October on Angel Tapes/Fire Talk Records. Their sound has evolved quite a bit over this period culminating in an album that contains more introspective lyrics than previous works.
“benadryl man” in particular contains the hauntingly visual lyrics, “He’s hanging out when I’m not around,” Which rather than explaining a ‘nightmare,’ recounts a grotesque mystery; a discomfort to be sure, but one that reflects a disappointing reality instead of a genuine horror. A common theme in these songs is the yearning for a lost innocence left behind in childhood. This is visualized in the music video (see below) for their newest song, which features stuffed animals and tea parties… but make it creepy.
Victoria Winter, says, “‘benadryl man’ tells the story of my issues with sleeping and anxiety. I see a figure sitting on my couch and it prevents me from entering a stage of peace, moreover not feeling safe in my home. The instrumentals are a little sinister and creepy, and I always envisioned having strings on this.”
The songs of Shower Curtain take the principles of the shoegaze sound of the nineties, (particularly reminiscent of those with female vocalists such as Lush or my bloody valentine) but by utilizing the vocals as the lead of the tracks, rather than riffs, it tightens to gap toward pop which brings a distinctly modern feeling.
On Sep 28, they’ll perform at Baby’s All Right in Brooklyn with Winter.
