Tag: brooklyn

  • Brooklyn Based Artist Middle Part releases Debut Album

    Brooklyn-based grunge-pop artist, Middle Part released his debut album, Disruptor, on April 26. The album is a sensitive raw look at mental health in a revolving corporate world. The sound of Disruptor pays homage to late 90’s and early 2000’s grunge rock.

    Middle Part or Andy Selkōw, moved from Alaska to New York City in 2019 where he met producer and collaborator Brian Zaremba. Shortly after Selkōw released his first EP in 2021, I Wish I Was Alive. One of its tracks “& Cry” gained lots of attention from fans with its 4 million streams on Spotify.

    Since then, Selkōw has found a place within the Bushwick, Brooklyn music scene opening for acts like Biig Piig and Yot Club. Middle part has appeared on Spotify’s Indie Fresh Finds playlist, exposing his sounds to indie listeners everywhere. 

    Disruptor opens with “Get Fixed,” which samples sounds from what sounds like a home video invoking a sense of nostalgia as the song explains the emotional rollercoaster that comes with the realizations of ageing. Despite the dark subject matters of some of the tracks, the album is still incredibly catchy with upbeat guitar riffs and invoking choruses.

    One song that sticks out is “Spin For You.” Selkōw’s voice is distorted, and he uses some wacky instrumentals to represent the depressing and hopeless mood of the song. “Dial” is one of the most important songs on Disruptor. It tells the story of a suicide hotline call but the message is hopeful, encouraging people to seek out help. The track represents a low point in Selkōw’s that he wishes never to return to.

    The whole album is a vulnerable, darker approach to songwriting with its emotional lyrics. “I’m so sensitive and hate to show it, but it just bleeds through all of my music,” Selkōw says. 

    You can watch part of Disruptor on YouTube with its four-part performance series featuring singles from the album that were released in 2023. The videos resemble classic MTV rock videos with their gritty rageful visuals. You can check out Disruptor on Apple music or Spotify.

  • Indie band Juicer release “Retire The Fences”

    Indie-rock band juicer released their long awaited debut album Retire The Fences on May 10. The band formed in 2023 and have been blossoming in the NYC area. 

    Vocalist and Guitarist, James Watson moved to NYC in 2021 and he was inspired by his own personal journey as well as the new sounds of the city. Since 2023, the band including, Donovan Edelstein (drums), Carlo DiBiaggio (bass) and Greg Crotty (guitar) have performed in Boston and Philadelphia along with NYC venues. They released their third single “let go” earlier this year which got great feedback from fans. 

    Retire The Fences is a reference to lyrics off the Beach Boys song “feel flows,” a song from a more complex era of Beach Boys music, something that Watson was inspired by when recording this album. The harmony in the chorus of the track “Strawberry Life” resembles a Beach Boys song with its harmony and rolling effect of the rhythm. 

    Despite repetitive, plain lyrics the whole album overall has a great sound. It’s a perfect album for a summer drive, a walk outside or a chill dinner party. 

    Listening to Retire The Fences takes the listener straight to a classic inspiring Brooklyn show in a small intimate venue. One great aspect of the album is that it doesn’t feel over-produced or watered down with its editing. Fans will be able to imagine hearing these songs live. 

    One song that sticks out as a darker track is “Let Go.” It opens with grungy instrumentals with reminiscent lyrics. The song explains how changes in your life force you to reflect on your past.

    “Trickin” which starts the album and “Dream” which is the last song, both invoke a carefree, light feeling that introduce and tie off the album nicely. 

    You can check out Retire the Fences here on Spotify.

  • Holly Humberstone Brings Unmatched Energy to the Brooklyn Steel

    This past Saturday, May 11, English singer-songwriter Holly Humberstone did not disappoint as she graciously took the stage at the Brooklyn Steel for one of two NY shows.

    She is scheduled to tour until the end of May as part of “The Holly Humberstone (This Feels Like the Truman) Show” North American leg. Her tour, which makes lyrical reference to her song, “Ghost Me,” included many tracks off of her latest album, Paint My Bedroom Black.

    Holly Humberstone, photographed by Sarah Hyun

    The pop-rock artist gained popularity after releasing her debut EP, Falling Asleep at the Wheel. Fans resonated deeply with her heartfelt lyrics, as she sang candidly about the difficulties of navigating familial and romantic relationships, addiction, breakups, and growing up. “Falling Asleep at the Wheel,” one of her most popular songs, includes lyrics like “Oh, you never smoked this much before we / Light up, light up another cigarette / I can tell you’re drinking only to forget / Don’t know how I got you in such a mess.” Holly never fails to cut right to the heart with her words. 

    Holly Humberstone, photographed by Sarah Hyun

    Currently, Humberstone has eighteen tour dates left. She previously played at Webster Hall in 2022, and also toured during Girl in Red’s “Make It Go Quiet” tour and Olivia Rodrigo’s “Sour” tour.

    Holly Humberstone, photographed by Sarah Hyun

    Holly started the night off strong with her song, “Paint My Bedroom Back,” of which her latest album is named after. Each band member took the stage one at a time, triggering a round of screams from fans who had been camping out hours ahead to make it to the front of the barricade. The energy swelled in the room as Holly’s guitarist, bassist, and drummer built up the opening track seamlessly. 

    Holly Humberstone, photographed by Sarah Hyun

    Upon Holly’s entrance, the crowd made a deafening sound, and she scaled the stage freely, singing her heart out while swishing her hair to the beat. During “Elvis Impersonators,” she recounted her experience in Tokyo, and how she was surrounded by people “dressing up like Michael Jackson.” In the song, she sang lyrics like, “And the Elvis impersonators / Crowding at the elevators / Reminds you of a private joke we had.” The crowd stayed silent during this song, soaking in Humberstone’s beautifully raspy vocals.

    Holly Humberstone, photographed by Sarah Hyun

    Holly ended the night with “Ghost Me,” before singing “Friendly Fire” and “Scarlett” during the encore. Fans, feeling bittersweet that the show was over, exited the venue with satisfied smiles on their faces. 

    Setlist: Paint My Bedroom Black, Into Your Room, The Walls Are Way Too Thin, Overkill, Kissing In Swimming Pools, Cocoon, Dive, Deep End, Can You Afford To Lose Me?, Antichrist, Down Swinging, Lauren, Falling Asleep at the Wheel, Elvis Impersonators, Flatlining, Girl, Sleep Tight, Ghost Me

    Encore: Friendly Fire, Scarlett

  • In Focus: PEAK Headlines Brooklyn Bowl with Ryan Liatsis and P(X3)

    On Thursday, May 2, PEAK took the stage at Brooklyn Bowl along side guitarist Ryan Liatsis and P(X3) for a night full of funk, riffed-out blues-rock and music to fuel the soul.

    Perri Sage Photography

    PEAK, a Brooklyn based band consists of guitarist and vocalist Jeremy Hilliard, keyboardist and vocalist Johnny Young, bassist Josh T. Carter and drummer Kito Bovenschulte. The group captivated their audience with melodic songwriting along with psychedelic funk groove that makes your body move. They took on a life of their own as some of the best musicians in the NYC improv rock scene with moody blues-rock and created an atmosphere for their danceable improvisations.

    Perri Sage Photography

    Brooklyn Bowl welcomed fans with an open floor to dance, as fans had an intimate engagement throughout the night with the New York jam band. Quick controlled snare, dominant guitar riffs, upbeat blend of melodies and synthesized sounds from keyboard combined to create PEAK’s ambience of psychedelic, funk variables of rock and roll, a musical narrative that let good-timey clash with poetic guitar.

    PEAK Brooklyn
    Perri Sage Photography

    By the end of the night, the crowd was in their groove and connected with the band, looking forward to their future music endeavors. After this show, PEAK will be on their way to Burlington, Vermont at Nectars on May 4th and 5th. Shortly after, the band will head to Newmarket, New Hampshire to perform at The Stone Church on May 16th.

    PEAK Setlist: Forsythia Fills the Wilderness, Little Miss Mary Merry- Go- Round, Woody Guthrie with Ryan Liatsis, Daddy Don’t Live in that New York City No More, When the Night Comes Calling You, Pastures of Plenty, It Ain’t Over ‘til the Credits Roll, Run Me Down

  • Brooklyn’s Left Circles Releases Debut Album, “Nothing is One Thing” Along with Other Works

    Brooklyn-based artist Left Circles has released his debut LP titled, Nothing is One Thing on April 26. The LP contains 13 tracks, all with diverse sound from the skills of Brian Pluta and his accomplices.

    Nothing is One Thing, is not content to stay confined to one style. The hook-heavy album shifts through several modes of rock, from ‘90s lo-fi to British-pop to ‘50s folk. Left Circles is the solo project of Brooklyn-based musician Brian Pluta who is the live guitarist for Space Cadet.

    Nothing is One Thing starts out very interestingly. To me, the opening track “Over Her Range/She Told Me” has a very Foo Fighters or Pearl Jam feel. It has grungy riffs, alternative vocals, and that rugged, somber heaviness. It also sees multiple parts with soft, acoustic, touching tones.

    The next tune, “The Gashouse Gang is Here” is full of a youthful, anthem-like energy. It certainly gives me Misfits energy with its pop-alternative, quick-paced sound. Throughout many of songs on the LP, there is apparent 90s grunge inspiration as well as indie, soft-rock, and classic rock. Left Circles does not stick to a specific genre and shows the dynamic musicianship him and his band possesses.

    The album has great energy, range, and power. It boasts strong, catchy riffs, a dynamic voice, and intriguing themes and sound overall. Nothing is One Thing was mixed by Travis Harrison (Guided By Voices, Built to Spill) and features drums from Kellii Scott (Failure), as well as guest vocals from Matt Hock (Space Cadet, The Explosion). 

    Left Circles also recently released a new animated music video for their latest single “The Gashouse Gang Is Here.” The track is the second on the LP. The music video is animated by 30s cartoonist Ub Iwerks and fits perfectly over the track in every way from theme to the syncing of sound and motion.

    “I was running out of time, with no idea what video #2 would be. By the dumbest of luck, I stumbled upon this 1937 cartoon directed by Ub Iwerks, who also did ‘Steamboat Willie’ and all those early Mickey Mouse cartoons. Those folks were masters of animation/music synchronicity having been the ones who invented it. So it’s no wonder I was able to edit it to work with my straightforward 4/4 song. But the sync with Kellii’s drum fills, with what the lyrics are saying…that’s 100% chance. It’s like they were meant to go together. Art director Jon Cochran brought the illusion home with those amazing title cards.”

    Brian Pluta

    For more information on Left Circles and his debut LP Nothing is One Thing, click here. Stay up to date on upcoming releases and shows.

  • Kristin Flammio & the Pretty Bitchin Release Latest Single, “Never Too High”

    Kristin Flammio & the Pretty Bitchin are excited to celebrate the release of their next single “Never Too High” on April 20 with a release show on Wednesday May 8th at The Broadway in NYC.

    Kristin Flammio & the Pretty Bitchin delivers a strong love letter of empowering and fun rock and roll with a nod to pop, country and dance. The Brooklyn based four-piece, formed in 2019, consists of Kristin Flammio, Jericho Davidson, Matt Puckett and Will Noland. The band released their debut album, If You Want to Leave in 2021 and their crowd favorite, “Not This Time” in November 2023. Finally, the group is back at it with the release of “Never Too High” on April 20.

    Kristin Flammio & the Pretty Bitchin’s upcoming new track, “Never Too High” is cleverly releasing on 4/20. The track is explosive with energy and feel-good. The song has been stuck in my head ever since the first listen. It certainly has the sound and atmosphere of a hit single. Punchy drums, joyous melodies, a soaring voice define this track as something to behold.

    “Never Too High” has a classic indie vibe, reminiscent of Florence and the Machine. Influence from alternative, pop, pop-punk, and indie groups are more than apparent. This group utilizes sounds from all across rock and roll to craft their music. “Never Too High” is a prime example of this.

    To learn more about Kristin Flammio & the Pretty Bitchin, their upcoming and existing works, click here.

  • Michael Seyer Celebrates 6 Years of Bad Bonez with Intimate Show at Elsewhere Zone One

    Michael Seyer has brought back his most popular album, Bad Bonez, for its sixth anniversary, playing the entire album live. Seyer even had to write live renditions for some songs on the album which had never been performed before. Elsewhere Zone One provided the perfect setting for this show as an intimate crowd of a couple of hundred fans gathered Sunday, April 14, for a concert filled with soft vocals and fan interaction. It was an experience you can rarely find with an artist of Seyer’s size.

    Seyer has a strong following in New York City and has played shows across Brooklyn, Manhattan, and Buffalo almost every year since 2018, excluding 2020 for obvious reasons. In 2021, Michael Seyer accompanied Men I Trust on their Untourable Album Tour across the US. At their two sold-out shows at Brooklyn Steel, the audience instantly recognized he had something special. His soft dream pop vocals and RnB-inspired instrumentation matched well with the sound of Men I Trust.

    Seyer, now on his own headliner tour, brought out fellow California-based artist Sundiver Ca to open. You may know Sundiver Ca from their synth-forward hit song “Soundtrack for Your Backseat,” but songs like “Wet Dreams” and “Oh Honey” conjured acts like King Krule with reverb-heavy guitar that culminated in belting vocals.

    Seyer entered the stage and opened his set with a rendition of “Zelda’s Lullaby” from the video game The Legend of Zelda: Ocarina of Time on an ocarina of his own, with additional backing from the full band. The audience was clearly familiar with Seyer’s discography and personality, given the number of people singing along to every song and bantering with him. In the middle of the set, Seyer teased new music to balance out the older repertoire, only to break out a tongue-in-cheek cover of Nickelback’s “How You Remind Me.”

    Most of the audience may have been toddlers when Nickelback’s Silver Side Up was released, but the audience immediately got the joke and belted out gravely supporting vocals. For another song, Seyer asked a fan to hold up a lyric sheet (as you do when playing a 6-year-old album in full) only to notice mid-song that he had given him the wrong sheet and instead repeated the first verse to laughs from the audience.

    Now, Seyer’s tour continues up the East Coast, through Canada, and then back through the Midwest to finish with four California shows. It has been three years since the 2021 release of his last album, A Good Fool, so we hope he will be back in New York soon with new music. Seyer has shown the world that he is a talent both as a musician and lyricist, so we are excited to see where his career goes.

    Michael Seyer – Elsewhere Zone One, Brooklyn – April 14, 2024

    Setlist: Zelda’s Lullaby, Bad Bonez, Ring Around the Rosie, Show Me How You Feel, I Feel Best When I’m Alone, Weekend at Santa Cruz, Kill All Your Darlings, Untitled Bonez, Waiting for You, Lucky Love, Father, An Awful Lonely Summer, Motions, Sonata for a Bad Ghost

  • Future and Metro Boomin Announce ‘We Trust You Tour’ W/ Stop At Barclays Center

    On the heels of back-to-back chart topping albums, Future and Metro Boomin will be bringing live performances to an arena near you after announcing a “We Trust You” North American tour, with a performance at Brooklyn’s Barclay’s Center set for the summer.

    Notably, Future and and frequent collaborator/ producer Metro Boomin took the internet by storm with the release of We Don’t Trust You on March 22, creating plenty of social media fodder with disses to Drake littered throughout the album, including the heavily deliberated Kendrick Lamar verse aimed at Drake and J. Cole. Less than 3 weeks later the duo made more waves with the release of a second, double-album in We Still Don’t Trust You, serving as melodic counter to the heavily trap influenced predecessor. In like manner, the latter is expected to have high first-week numbers in another chart-topping effort from the prolific duo.

    Future and Metro Boomin "We trust You" tour schedule.
    Future and Metro Boomin’s “We Trust You” tour comes to Brooklyn this summer.

    “We Trust Your Tour” Details

    Thus, the duo announce their “We Trust You Tour” that will see them perform throughout the United States along with two notable dates in Canada roughly a month apart, including an August 11 stop in Drake’s hometown of Toronto. Presented by Live Nation, the “We Trust You Tour” begins on July 30 and will see the duo perform 27 dates in roughly a month-and-a-half. Moreover, they will bring the show to the Brooklyn’s Barclays Center with an August 15 date in New York City, before closing out the tour in Canada with a September 9 performance in Vancouver. Other notable stops include performances in Atlanta, Chicago and Los Angeles.

    Presale tickets for the “We Trust You Tour” are available Wednesday, April 17 for Cash App card customers, starting at 10 a.m. local time. Additionally, general sale will begin on Friday at 10 a.m. local time on livenation.com.

  • Brooklyn-Based Collective The Means of Production Release First Single, “Silver Pools”

    The Means of Production is a Brooklyn-based collective of artists interested in an output of experimental jazz. The group released the single “Silver Pools” on April 11, and see the release of their debut LP in June.

    The Means of Production

    The Means of Production is a meeting point for six of Brooklyn’s most fearless, young musicians with musical backgrounds as divergent as you’ll find in any modern outfit. They are comprised of Matt Gibbs, Ben Pirani, Tre D’Ambrocia, Rafferty Swink, Pat Carr and Jay Mumford. Each of these artists have their own diverse, unique, and mind-expanding talents.

    Rafferty Swink was entrusted with the job of arranging these group improvised, spontaneous compositions. The result is a potent, genre-defying kaleidoscope of electric jazz, psych, and soul. The Means Of Production can be described as nothing less than the raw and adventurous sound of the current.

    The Means of Production

    “Silver Pools” by The Means of Production kind of slapped me in the face in the best way possible. The opening little diddly and soft drum kit fiddling followed by the burst of jazzy life took me for a ride. That old style organ, xylophone backing, indie-sounding guitar, smooth bass, and all the other intricate instruments combined to form some real soulful jazz.

    There are elements of several artists and eras here. It is clear off the bat that this is heavily influenced by 30s-40s jazz. Not only that but 60s-early 70s rock, blues, and even some modern indie twists are heard here. The Means of Production are certainly performing in the spirit of free-form music and creative lightning.

    The Means of Production
    Ben Pirani

    “Silver Pools” was released as a single, and also as the second track on the band’s upcoming self-titled LP. The LP titled The Means of Production is set to release June 14.

    The Means of Production Track Listing

    1. Welcome
    2. Silver Pools
    3. Provence Avanti
    4. In A Silent Jay
    5. Sertraline
    6. Positively 5th Street
    7. Sun, Moon, Wind, Earth
    8. (Di)stance
    9. Beware Of The Midnight Special
    10. Blank
    11. The Lone Square
    12. Well…

    Rafferty Swink

    To hear the bands recently released single, “Silver Pools” and to stay up to date on future releases, click here.

  • Remembering Mister Cee The Finisher, One of Hip Hop’s Great Connectors

    In the formative years of hip hop, where the DJ reigned supreme, skill was the only testament to success. And if that world remained Mister Cee’s name would be commonplace in contemporary folklore. However, much like the rest of the entertainment industry, the glory goes to whomever fans see holding the mantle. Hip hop resembles the sports world in that sense. The MVP trophy holder gets all the credit, no matter the invaluable contributions of coaches, trainers and lesser-known role players.

    In like manner, if an album goes number 1 then the name on the cover has accomplished a great feat. Notwithstanding, hip hop much like sports is a collaborative effort. One rapper can’t make a great album. It takes a team of producers, engineers, marketing experts and much more to propel a body of work to critical-acclaim. However, before any rapper reaches that point they need someone to believe in them and connect them to the industry.

    Embed from Getty Images

    Mister Cee The Hip Hop Purist

    This is where Bedford-Stuyvesant native and hip hop purist Mister Cee made his greatest contributions to the game. In the world of hip hop, Mister Cee–born Calvin LeBrun on August 17, 1966–was a connector. Someone who was a fan of the genre and pushed it forward several times over. Although, his talents as a DJ were second-to-none. Ultimately he was “the finisher because, you know, after he plays, the party’s over. You can’t go on after him,” according to Peter Rosenberg, protege and Hot 97 cohort of the legendary DJ.

    Thus, in a sense his meticulous mixes featuring rare freestyles and album cuts was a microcosm of his overall presence within hip hop. After all DJ’s aren’t inherently creators, hip hop emerged from the turntable masters putting soul records together in a rhythmic, uptempo groove. Nonetheless, the connections made with sampling and knowing which records sounded best for scratching set the stage for hip hop.

    Mister Cee The Connector

    Alongside the other proprietors of hip hop’s golden era, Mr. Cee lived and bled the genre and along the way served as a connector for two of hip hop’s most influential acts. Beginning with Big Daddy Kane, who Mr. Cee connected with in high school and served as a DJ for beginning in the late ’80’s. With his connections to the Juice Crew, the fabled hip hop collective — spearheaded by producers Mr. Magic and Marley Marl — who introduced several legendary acts to the scene including Big Daddy Kane, Mr. Cee had successfully helped one of hip hop’s revered lyricist get on. As a testament to this, Mr. Cee notably featured on Big Daddy Kane’s classic debut album on the track “Mister Cee’s Master Plan.”

    Moreover, the one known as “The Finisher” is widely recognized as the man who connected the Notorious B.I.G. with Puff Daddy and what eventually became Bad Boy Records. The rest as they say is history, but history’s nuance is rarely discussed. Hence, Mister Cee’s contributions to the career of arguably the greatest rapper ever remains stuff of legend. Yet, as he kept his ear to the streets as a local celebrity, he became known for showcasing rising acts. Along the way he came across the Notorious B.I.G. — who at the time went by Biggie Smalls– and connected him to the industry while also serving as an early producer for the legendary rhymer.

    So Cee would definitely want me to credit Biggie’s first DJ, who was a guy named 50 Grand. And while Biggie and 50 Grand were working on a demo, doing their thing, Mister Cee was the DJ who was actually connected to the industry. He was the one who could get him different places, and he played the connector for Biggie. Sometimes it’s more complicated than rapper and DJ or artist and DJ, whatever it may be. There are these other people who play roles, and Cee was a connector for Biggie Smalls.

    – Peter Rosenberg, via NPR

    Furthermore, as he settled into his role as a tastemaker for hip hop, he enthralled listeners with his “Throwback at Noon” mixes on Hot 97. Which then became a staple of the lives of fellow hip hop enthusiasts. As his legend grew his moniker of “The Finisher” felt more apt than ever. With the April 10 passing of Mister Cee, hip hop lost one of its purists, someone who selflessly pushed others and the genre forward. As hip hop grew from local neighborhood parties to a worldwide phenomenon, Mister Cee’s contributions as one of the genre’s vanguards must not be forgotten.

    Like, you knew you were listening to a guy who believed in every word that he was saying. But one thing that has to be stressed – I have never – in my now 30 years of DJing, I have never known a more meticulous, prepared deejay than Mister Cee

    – Peter Rosenberg