Brooklyn - New Jersey Mix Tape Swap

We exchanged mix tapes with CoolDad Music, a NJ based indie rock blog. I'll let Jim take it from here:

Dentist kicks off Jim's playlist.

It's been one of my goals since starting CoolDad Music to bridge some of the too-wide gaps that exist between the Jerseys North and South, between New Jersey and New York, between Asbury Park and Brooklyn. I love seeing and hearing new bands, and I love the idea of bands expanding their sphere of influence beyond their neighborhood and their circle of friends. That was all kind of my motivation for this little "mixtape swap" with Hearts Bleed Radio. I want my readers to hear some of the great bands that Stephen has been championing at his site, and I want to give some great New Jersey bands wider exposure. Even if it's just in a small way. 

This is a compilation that includes Asbury Park bands like surf poppy Dentist, hardcore Hot Blood, party rocking The Battery Electric, modern rocking Smalltalk, and the early aughts indie influenced Prehistoric Forest. It includes New Brunswick bands like poppy basement dwellers ROMP, prolific indie song machine Sink Tapes. Roy Orbitron bring their unconventional song structures from Trenton. Grand Mariner do the surf / garage / punk thing in Howell. The Off White are dirty and gritty all the way down in LBI. Paper Streets are half-Brooklyn / half-Jackson, NJ disciples of all things jangly and classically indie. Almost all of these bands are my friends, and they all deserve to be heard far and wide. 

I hope you like it. Lots of these bands make the occasional incursion into Brooklyn, so keep your eyes peeled. Hey. Come on over to CoolDad Music, and I'll be sure to keep you posted. Thanks for listening. 

-Jim
 CoolDad Music

Check out the mix below! (and check out my mix on CoolDad Music, here)

Spring Fling (perhaps the most random-ass article in the history of HBR)

Hey, it's March. I know there's still snow everywhere, but guess what? It's less than a week until the clocks spring forward. Honestly, it's my favorite day of the year. Some of you complain; "oh, we lose an hour, we have to get up early, wah wah..." Well guess what? You're ass is going to feel just as hungover and shitty waking up at noon on Sunday morning as it would have felt to wake up at 1. IMO, the only real crime is that NYC bars effectively close at 3am on Saturday night, but it's becoming exceedingly rare that I'm out at that hour.

Also, I think the day when we get an extra hour and bars effectively stay open till 5am, should be a holiday where we stay out until 5am, BUT, I don't think we should spread the word too much, cause I want it to be chill and not full of dickhead frat-boys.

Doe is the real deal (more on them later)

Anyway, it's always a weird time when winter starts to fade, but it's surely not springtime yet. So here's a weird collection of some shit that's going on, has just come out, an interview, some shit about Wednesday's show... And away we go!

The Meaning of Life released Diamonds and Junkfood a week or two ago. Give it a listen. Texturally similar to their earlier albums, but with an added funk, it's a step in a new direction. Wow Wow Wow is the track. Oh, they play ZeroFest this weekend too.

GRIZZLOR is noisy metal post punk punk. They are loud and from CT and playing Acheron this Friday. This is the show to go to if your a headbanger but way more interested in counter-culture than Metallica.

Since we're on the topic of shows, we (HBR) are throwing a show this Wednesday, 3/4. It's an unofficial ZeroFest show and will probably be the best show of the week. It's at Trash (which is closing). Trash was the place that looked the most (cause it changed the least) like the Williamsburg I met 10 years ago. It was never a super desirable place to play; it's wasn't a joint that broke bands, or a place where you'd run into even D-rate rock and roll celebs (though I did see Dee Snider shooting a B-movie out front one evening). BUT, literally every musician in my generation (born mid 70's through mid 80's) played there (and probably had a good time). Here's the link to that show.

Oh, and the second ZeroFest is happening this weekend too. Should be a good time, just like the last one. Four days of local bands, March 5-8. Bars, DIY spaces, all types of venues! I mean, just look at these guys, don't you want to hang out with them?

#bloodfeudpostponed

The Very Best of The Four Track Challenge!

We created The Four Track Challenge last fall as an excused to screw around with a fun, somewhat forgotten technology; really for no other reason than we thought it would be neat. The response was overwhelmingly positive, which isn't too surprising given how nostalgia driven our counter-culture has become. Over a two month span (more or less), artists were asked to create an EP using an analog four track as the main recording device. We had 110 artists sign up, and to date, 40 of them have turned in projects, which is a pretty decent completion rate when you're dealing with musicians (or anyone).

In order to help you dig through this wonderful mess of lo-fi and mid-fi recordings, we had some guest writers make top ten lists of tracks/projects. Thoughts? Snubs? Leave them in the comments sections below. And OH YEAH, we'll be running challenges twice a year, with submissions due in May and November. If you're feeling inspired to participate, join the group on Facebook, or sign up for our email list.

Oh, and check out the incredible write-up/top tracks lists from Jon and Bettina over at Square Zeros!

Gotta start 'em young.

New video from The Meaning of Life (and more!)

Brooklyn three piece (and Hearts Bleed Radio favorites) The Meaning of Life released a video just before the holidays and I wanted to make sure you guys didn't miss it. "I Want To Do With You What The Spring Does With Cherry Trees" (a nod to Pablo Neruda for all you South American lit. majors out there) is dream pop with a danceable bass line and metronomic drumming that feels right whether you're the type who likes to shake your ass, or stand in the corner staring at your shoes. Punctuated by ringing guitars and smooth, echoey, ethereal vocals, the track is classic TMOL with a slight rhythmic twist. A step in a new direction, yet you wouldn't mistake them for another band.

Whatever is behind that door is kept safe by TMOL

The video itself is a mix of eye candy, symbolism, absurdism, and flat out rage. Shot throughout NYC and featuring some local musicians, the visuals lock in with the driving beat and bass line. The smashing of instruments is becoming a theme throughout TMOL's video work, and personally I love the contrast between their sweet and pretty tunes, and this unrestrained act of aggression. Check out the video below.

Dialogue From A Silent Film releases "Grey Skies" video.

Dialogue From A Silent Film is post-punk indie-goth trio from Brooklyn, NY. Back in November, they released a video for their new single "Grey Skies." Shot one afternoon in, on, and around Pet Rescue (which lies squarely in a no-neighborhood industrial area where Williamsburg meets Greenpoint meets Queens and Newtown Creek),  the video follows the band through a somewhat abandoned warehouse complex, eventually giving way to the almost Montana-esque big sky of the building's large, flat roof. I sat down for a brief chat with vocalist/guitarist Daniel Kasshu. Here's the transcript (the video is at the end):


Hearts Bleed Radio: Grey Skies is the new video from Dialogue From A Silent Film. What's the concept behind the video?

Daniel Kasshu: The concept is, well, three guys being angst-y and loitering around Pet Rescue. Or something like that. ACTUALLY, I think it's a bit more about being lost. Katrin pretty much directed us as she felt matched the song's atmosphere. I think she did a great job with it.

HBR: You shot the whole thing in Pet Rescue? How long did it take?

DK: It was a nice simple shoot, all of us (myself, Brian, Brandon, Katrin, and Zak) all met at Pet Rescue in the early afternoon, drank coffee, hung out, and shot until the evening. The whole thing probably took about five hours.

Dialogue in full concert glory.

HBR: So it was just you being directed, moved around, etc... and then Katrin disappeared into the editing room and that's that?

DK: There was a LOT of joking around, too. I mean, of course. The best part was when I slammed myself in the face with my guitar. The video was actually edited by Jennie Vee, who did it a great job and really quickly, too.

CMJ Music Marathon 2014 (extreme shit-show navigation and survival edition)

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Hearts Bleed Radio's Official Northside Showcase Previews!

  The 2014 Northside Festival is right around the corner. We're looking forward to four days of music, whiskey, food, and musicians being treated like they deserve to be treated all the time. The best thing about Northside is it's walkability; it never feels like you're more than a five minute walk from the next venue. If I'm not playing a show, I'll be bumming around North Brooklyn in an endless loop of whiskey, tacos, and rock 'n roll. That being said, most likely, I will be playing/hosting a show. This year, Hearts Bleed Radio is proud to bring you two and a half showcases. We'll cross paths with you at some point. It was meant to be.

The Teen Age, probably trying to find the entrance to Pet Rescue

SHOWCASE #1 

Friday, June 13th
Pet Rescue

The Teen Age are one of those bands that effortlessly brings a vibe that, I guess in my head I refer to as "beer drinker's energy." I wouldn't want to call them a "high energy" band, because I don't want you think they're punks or anything like that. They have good energy; it's the kind of energy that comes from beer calories. They are a fucking blast. They are kicking off our weekend.

My Teenage Stride is the long time project of the multi-talented singer/guitarist/producer/king of Facebook; Jed Smith. Jed is one of the best songwriters I know, and I know a lot of songwriters. MTS is a songwriting clinic in action. Enjoy their music, and learn something too. Funny story, I realized last year that I saw Jed's old band open for Superdrag at Pearl Street in Northampton, MA like, in '99 or '00. Brooklyn feels like a weird "LOST" island more and more every day.

The Planes get good gas milage and fit into the tiniest parking spaces, but still have enough horsepower to pass a semi on one of those scary ass dotted yellow line highways. They are kinda the HBR house band. You know them by now, right?

Shark? Yes, dammit, SHARK?! Is it a shark? We tried to book these guys a couple times in the past, but nothing ever materialized... until now. This band is too good to be contained in a small place like Pet Rescue. I don't know what exactly is going on in this video, but I promise you there will be no weird predator aliens at the show.

Sunset Guns release "Not Clean" EP, to play HBR showcase

I love writing a title like the above... like I work for Brooklyn Vegan or something... like you're supposed to to know who the band is, like it's as clear as "Germany invades Poland, to annex Austria." But I never know who any of those fucking bands are.

Sunset Guns are sweet. We've interviewed them before. There was an injury to the drummer of Summer Saints, so SG's jumped on the bill, cause that's the kinda guys they are; they are true homies. We have three Sunset Guns plugs. Here goes nothing.

The EP, pictured with the Bearcat.

Not Clean

This EP (cassette tape/download) rocks. It's pure 'Guns. On paper, the tempo isn't that fast, but SG's put so much energy into everything, it gives a high velocity illusion. John Wooden said, "Be quick, but don't hurry." The 'Guns are the musical embodiment of that quote. "Eviction Notice" is my favorite track. "There's no next door anymore," gets looped in my stupid, broken brain. Wait, did I pay rent this month?




HBR Showcase at Matchless 4/4/14

Because of the song "Pride" by U2, I'll always know that MLK was shot on April 4th. I like U2 up until about 1998, and I'm not afraid to admit it. ANYHOW, we got Sunset Guns playing the unglamorous, but very necessary, 8:50-9:25 slot, between a solo opener with no friends*, and an out of town act. See what I mean about being true homies. Come support them. I think there will be free cassettes!

Square Zeros

Jon and Derek (SG's guitar playing singers) have a sweet ass podcast, the origins of which can be traced back to this very blog. What was a neat project that I totally thought they'd get bored of and give up on after 3 episodes, has blossomed into a pretty interesting collection of interviews. It's a musical show and tell; musicians bring in recordings of their earliest bands and basically explain what they were trying to do. So far, everything has been either good or funny. You know what they say, "A ghost will haunt you for a night, but your past will haunt you forever." (no one says that, but they really should) Like them on Facebook to keep up with new releases.

THAT DOES IT.

See you at the show tomorrow, and for Pete's sake, like HBR on Facebook. It makes my Mom think I'm famous.

*Daniel can take a joke. I think.

HBR's Year End List of Must-Hear Music

Happy holidays and happy New Year! With the end of year comes the annual barrage of top album lists. This year, we are very lucky to have our list guest written by one of NYC's most talented, prolific, and huggable musicians, the venerable Max Goransson. Max splits his time between playing guitar and singing in Quiet Loudly, and playing bass and looking cool in Clouder, and various other projects, and doing sound at Fort Useless. We feel he's qualified, no, OVER-qualified, to pen our year end list. So without further ado, here is HBR's official best albums of the year....

Max, hard at work on this column.

First off, a disclaimer.  I am good friends with a lot of excellent bands.  Especially in Brooklyn.  So, as much as it pained me, I intentionally left my friends' local bands off of this list for a couple reasons- 1. It's very difficult not to be biased-- a song that I would really like becomes a song I absolutely adore if I know and respect the songwriter on a personal level.  2. I'd feel guilty including some friends on this list and not others, as stupid as that sounds.  However, I will do this much-- a tip of the hat.  These bands that I happen to know personally all released new music this year that is well worth checking out: Crazy Pills, Heliotropes, Belus, Dead Stars, Naam, Miniboone, Jane Eyre, The Planes, Speedy Ortiz, Butchers & Bakers, Libel, Robot Princess, Zula, Seapost... shit.  I know I'm forgetting so many people.  shitshitshitshit.  Sorry, people I forgot.  It's definitely not you-- it's me.

1. Public Speaking- Blanton Ravine  Public Speaking is Jason Anthony Harris, easily one of the most criminally unknown musicians in NYC.  While some fair reference points could be found in the likes of Arthur Russell, Talk Talk, City Center, and Radiohead (at their most experimental), Jason Anthony Harris' sound is very much uniquely his own.  Throughout Blanton Ravine, horns, strings, field recordings, backwards samples, and auxiliary hand percussion of all conceivable forms snake their way in and out of the sonic landscape, helping create a dark, sad, mysterious piece that is beautifully haunting and impossibly crammed with brilliant ideas.

2. The John Steel Singers- Everything's A Thread  The John Steel Singers of Brisbane, Australia took their sweet time making this album and it shows.  First of all, they recorded the whole thing in their own home studio that they built themselves and it sounds incredible.  But it's what's behind this impressive-sounding record that counts-- intelligent pop songs (in the classic sense) of the highest caliber, expertly crafted and performed, complete with perfect harmonies and unforgettable melodies delivered in the form of driving, instantly lovable rock songs with brilliant krautrock and classic r&b influences aplenty.  Most of the songs make you want to dance, but it's the couple funky slow jams that really disarmed me.  And that bass line in "The AC" has got to be the most perfect I've heard all year.

The True Jacqueline's newest EP is a blaze of guitar glory

  The True Jacqueline are a three piece indie rock outfit from Northampton, Massachusetts.  They have just release an EP titled Like Way Out. I think it's pretty great. Full disclosure though, I used to play in a band with their guitarist, Noah Cerveny (the Billy Ripken Fuck Face Card, look it up)... and live with him too. And the album was produced by Planes' drummer Jeff Patlingrao (who also produced/mixed our last album). So basically, it's inbred cronyism. That being said, I'm honestly crazy about this EP. If you're into guitars and pedals, AND lo-fi/mid-fi recordings, you need to give this a listen. Recorded on a Tascam 688, Like Way Out captures the rawness of the cassette tape machine, without losing any clarity or definition in the guitars.

The actual, factual, for reallz... True Jacqueline

  Cerveny and bassist Kate Niemczyk share vocal duties on the EP, and despite differences on tonality, both voices maintain a certain innocent nerdy-ness and flow together quite nicely. Drummer Brian DiPippo stays out of the way of the more intricate guitar work, but just barely. He plays about as much as one really can, while still letting the tonal instruments ring through. A fun drummer to watch live, DiPippo shines during the EP's many transitional passages.

"Knock Knees" is the EP's opener is a lesson in crunchy bass playing. Bass distortion is something that I rarely like, but Niemczyk's tone is full and powerful. The song's jagged sections feel almost scotch-taped together, yet never quite come loose, giving the track an air of spontaneity. Throughout their career, Tru-Jaq have made the transition from heavily overdriven riffs to choppy clean, almost reggae-esque rhythm playing a signature move. Though this track is bigger and more raw than their earlier work, that finger print remains.

Holiday Party!!! (plus some bands to check out)

I've been so overwhelmed lately; it's really insane. I went from unemployed to over-employed in about two weeks, not to mention the band stuff, and blog stuff and the HOLIDAYS, (which always sneak up on me like a weightless ninja on a dark windy night)... There's a lot of great music I wanted to write about that I just didn't get around to. I'm not perfect. So to make up for that, I'm throwing a party this Friday, 12/20. You're all invited to come and be imperfect with me.

It took so long to get Baron to pose with the bow!

Before we get to the bands playing on Friday, I want to mention a couple of tracks...

Easy Lover, "The Sweet"

This track is just fucking beautiful. It's so lush and smooth, but distorted, wrecked, and cacophonous but closer inspection. A minimalist drum track drives this rainforest of ripping guitar feedback and synth swells. Vocalist Kali Holloway's powerful voice sounds like a love child of Martha Reeves and Nico. The outro will be stuck in your head, long after the tune is finished.

Madam West, "Darlin'"

A short, driving, dance-y number that's been stuck in my head for the past week. Todd Martino's rhythmic keyboard riffs punctuate this hectic song. Lead singer Sophie Chernin sounds crazy in love ("crazy" being the operative word) with the song's subject. Her voice is incredible, give this track a listen when you need to get yourself moving.

12 Things Tiny Unsigned Indie Bands Love About NYC

Not to be a Negative Nancy, I wanted to write a follow up to the 12 things tiny unsigned NYC indie bands hate list that I published over the summer. Anyway, it's taken me for-F'ing-ever to get it together because of various life distractions: lack of discipline, sickness, health... activities both curricular and extracurricular... It's not a point for point counter argument to the original list, but it touches on a lot of similar themes. I guess it goes to show that a lot of the unique aspects of this crazy complicated dirt hole/fantasy land of a city can be seen as either positive or negative, depending on mere circumstance. OK, here goes....

GHOSTESS rocks a Brooklyn backyard. They play our holiday party on 12/20

In no particular order, 12 things that tiny unsigned indie bands love about NYC:


 #1. Public Transportation/Cabs. Though it can be a rough time lugging gear on public transportation, if you plan ahead and minimize what you need to bring, you can usually get away with bringing a gig bag and maybe a backpack. At the end of the night, hop on the train or hail a cab (fairly cheap if you're only going a couple of miles). You don't need a designated driver, everyone can drink and act like rockstars. Now, if a bandmate has a car, you'll probably end up having to pile in and drag stuff back to the practice space, just because you don't want to be the jerk who took off without carrying an amp. Of course, you didn't really need to bring that amp because....

 #2. Backline. Yes, some of it is terrible. Beat to shit drum kits, static-y lifeless solid-state guitar combos, "fart-y"bass rigs (you know the sound)... but it's something that we take for granted. Few musicians here own cars, and even fewer own cars that could transport a full kit and amps. Because of that, it's understood that there will be house equipment to use, and goddamn, it makes everything so much easier on everyone. Other places don't do this. The drummer has to actually carry their WHOLE KIT, to their gig. Oh, the humanity.

Summer/Fall Roundup! Music for your ear-brain-heart mechanism to digest.

  Hey everyone, HAPPY HALLOWEEN! It's been a strange couple of weeks for me, but I've managed to have some Halloween fun, watch my beloved Red Sox win the World Series, and possibly have secured a new job. Needless to say, I've been swamped with shit to do, and really haven't been able to get around to writing about everything that has been sent my way. Unfortunately, some things slip through the cracks. Here are some albums that came out over the last couple of months that deserve a listen. It's an eclectic group of mostly friends/local artists, and there ought to be something for everyone in here somewhere.

The HBR new music research team. Our employees are our greatest asset.

In order of release date:

Dead Leaf Echo - Thought & Language

  DLE is a really rich, almost symphonic, shoegaze meets kinda pop-goth band. I don't even know what this stuff is called anymore really, but there's a lot of attention paid to detail and if you give it a deep listen, you'll be rewarded. "Memorytraces" is my favorite track on this album, give it a listen... Oh, and they are playing three shows on the East Coast this month. I highly recommend catching them if you can.




American Darlings - With Love, In Retrospect

  When I first saw these guys, at Legion, like, in the spring... I thought they were a super loud, indie guitar death, kinda overpowering huge Jazzmaster squeal tsunami wave murder squad. But I guess that's just how bands come off in loud small rooms, after everyone has had a couple. On With Love, In Retrospect you can tell that these guys really put songwriting first, and it's almost surprising how poppy they really are. American Darlings are that mix of catchiness, rawness, attitude and sweetness that really makes indie rock special. "No Clue" is the opening track on the album, and is one of the strongest tracks, right off the bat.

My Teenage Stride: Salt water up your nose and CMJ on your brain.

Hello world. CMJ is underway here in New York City (where they make a certain kind of picante sauce that is most definitely NOT Pace brand picante sauce) and I've already seen some killer bands. Our buddies Crazy Pills and Sharkmuffin rocked Legion last night, along with The Brooklyn What (playing our showcase on 10/19) and Hippy (a great garage/indie pop act, who I'd never seen before) and Sideasideb (their first show ever!). It was are really good start to a week that is always parts fun, annoying, surprising, and exhausting. We have two festival showcases this year, HBR CMJ #1 at Legion on 10/17, and HBR CMJ #2 at Matchless on 10/19. My Teenage Stride is closing out the night on Saturday. As far as I'm concerned, they are really closing out the entire official festival (though there's a sweet unofficial show at Spike Hill on Sunday), because after they play, I'm going straight home to pass the F out. I had a little Gchat with the main man behind My Teenage Stride, Jed Smith.

Here is the transcript:

Hearts Bleed Radio: Who exactly is in My Teenage Stride these days?

Jed: Live My Teenage Stride is myself, Jedediah Smith, on guitar and vocals, John Grewell on drums and backing vocals, and Ed Chittenden on bass and backing vocals, although recorded My Teenage Stride is largely myself on all instruments and vocals.

HBR: Do you ever write a song from the drum kit? Or with a bass guitar? Or do you usually form those parts around the guitar/vocal melody?

Jed: Generally I just work it all out in my head and then record it, I find that picking up an actual instrument and trying to write like that doesn't really produce results, I don't know why. Although, if I were to start a song with an instrument, it would be drums. But generally something pops into my head and I arrange it "internally." That's not to say I've never ripped something off...

Jed with an artist's representation of the two cats that live in his head and write music all day.

HBR: I call that like, the internal iPod. Do you listen to songs in your head sometimes and it's just as good as if you were listening to it? I do that on the walk to work a lot.

Jed: Yeah definitely, music largely is a mental rather than physical thing for me, although it's hard to say that without sounding pretentious. Everybody works differently though and that fascinates me.

The Brooklyn What: Genre Hopping Goodness.

Greetings Internetz! The CMJ Music Marathon is only a few weeks away, and we're happy to be bringing you two showcases this year! Our second showcase of the festival at Matchless on Saturday 10/19 features The Brooklyn What, a hard drinking, hard rocking, high energy crowd pleasing, just downright fun band. I had the privilege to sit down with Jamie Frey, the group's lead singer. Here's the transcript:


Hearts Bleed Radio: For starters, can you give me a little background on The Brooklyn What, who were the founding members? How did you meet?

Jamie: The Brooklyn What was founded by myself, Evan O'Donnell, John-Severin Napolillo, Billy Cohen, Douglas Carey and our friend Z-Pac who was briefly our drummer. Pac was my friend from Junior High School, but the rest of the band met at Edward R. Murrow High School, where the lot of us played music together. I played with a few of the guys in my first band, The Jesus Fish Evolution, who were kind of a whacked out version of 90's alternative rock band, but we all were jamming and collaborating by the end of high school. John, Evan and Billy all went away to school, whereas I stayed in Brooklyn, and was writing songs for what I thought was would be a solo record, but when I got a group together to play the tunes over a break from school, simply for want of playing a gig again, we decided to become a band. By our second gig (outside of my parent's basement), Jesse Katz had joined, a schoolmate of Billy's, and we haven't had another drummer since.

HBR: What's it like growing up in Brooklyn, and seeing all these kids move here to play music and be in bands?

Jamie: It has definitely been a confusing experience, and I've had all kinds of feelings about it. Upon starting The Brooklyn What, we played our first gig as the only band on the bill... we did not know any other bands. Our early material, specifically, has a great deal of reaction and bile towards gentrification, and gentrifiers. The initial Williamsburg scene was something we felt entirely left out of, the first song on our first record is "I Don't Wanna Go To Williamsburg." Since then, we've discovered many like minded bands, musicians and audience members, some native of Brooklyn and some not. However, even today, I can't entirely shake that weirdness, of being unusual in my home borough for growing up here. It's still weird to hear the attachment of "Brooklyn band" to people I know are profoundly not from here. I still feel like there's this other scene, in the rest of Brooklyn, someday waiting to burst, from spots most people have not even seen, because they're "too far out."

Roof band fears no one!

HBR: There must be some satisfaction in the fact that people see Brooklyn as like, something other than a dingy little offshoot of Manhattan, right? Despite how annoying the "Brooklyn-Chic" crowd can be, at least people are acknowledging this place.

Whiskey and (Fuzz) Tonic... Check out The Mad Doctors.

  Brooklyn's The Mad Doctors are like, kinda crazy. Not the kind of crazy that comes from mental illness in the traditional sense, more like the kind of insanity that becomes surf rockers who are forced to survive for years in a post-apocalyptic, highly irradiated, desert wasteland. There's a ghoulish, undead, skeleton/zombie overtone to their new EP, Fuzz Tonic. It's almost like three random Reavers picked up instruments and started a band. Overdriven everything rules this recording; you can almost feel the heat coming off the budget preamps as they struggle to maintain the signal over flow and not shit out.

The guys rock the LES.

  Fuzz Tonic borders on punk and surf (Black Magic and Alive and Well are pretty damn surfy), but I would consider their overall sound to be highly aggressive garage rock. They have a Iggy-esque devil-may-care attitude, and back it up squarely with a powerful rhythm section and bluesy guitar riffs that are interesting, but never get too cute.

 This a good album to pre-game with. I'd get a pint of Evan Williams, sit down with a friend, crank Fuzz Tonic, make sure the bottle is empty by the end of the EP, and then roll out to the bars and wreak havoc.

Give it a listen.



Like The Mad Doctors on Facebook ---> here.

Like Hearts Bleed Radio on Facebook --- here.

Breaking Down "With Our Thoughts We Make The World" by Jane Eyre

  I don't know how a band can go from referencing Flannery O'Connor to referencing a Macaulay Culkin movie with a straight face, but Jane Eyre makes it seem as natural as hot air rising, electro-magnetism, and the pull of gravity, which now I think about it, are all actually kind of bizarre phenomena.  Jesse Rifkin's voice has a familiar timbre that I can't place, and as I sit here detoxing for an upcoming mini tour, sweaty/shaky, huddled with cats and tea, I can't help to be pulled into this album's orbit. With Our Thoughts We Make The World is a Buddha quote, overall this album is a bit of a meditation; a stoned, psychedelic jam that slips in and out song-form like thread through a needle. It really should be played through as an entire piece. I wouldn't call it a concept album, or maybe it's a concept beyond explanation, but take some time and sit down with it... just be in the moment.

Due out August 8th, 2013

  Hazel Motes 1 & 2 start the album off with sampled chatter from some ethereal scene of normalcy; guitar drones build the songs into aural waves, up until about the 3 min. mark in HM2, at which point St. Aubin's drums and Gordon's bass settle into a groove that pushes the epic along in a manner reminiscent of Can or later era Sonic Youth. Rifkin and Seretan's guitars sail overhead, then decrescendo back to about where the first track took off.

  Be Still, Be Silent is bass driven and absent of percussion. The track reminds me of something off of Astral Weeks, and overall, I think WOTWMTW is on a similar wavelength. You can question the accessibility of an album that doesn't jump out with an uptempo single, OR resign itself to atmospheric background music. I don't know if I consider it a fault that this album requires a deeper listen; it's just a rarity these days. However, if you're looking for a single, Home Alone 2: Lost In New York is it. The catchiest vocal hook on the album spearheads a song where 60's jangle guitars give way to 80's, almost Smiths-esque shimmering arpeggios, then to indie guitar squeal, then back for a chorus... and end scene.




 Borrowing Body, is a minor key ballad with a 6 feel. St. Aubin's drums shine through on this track. Quick fills between cymbal crashed downbeats mark the first half of the song. After a rest in the middle, the drums re-enter with a kind of awesomely anti-climatic snare roll. That's the best I can describe it. Just listen to it.

  Boy King Island comes out with pianos upfront and a simple grove. As guitar heavy as Jane Eyre's sound has been up to this point, it doesn't seem strange or jarring at all when the keys take over the role of the main chordal instrument. Bells Bells Bells fades in from a loud manic solo, to some tape noise, then a slow, jagged vocal serenade. About midway through the track, we get one more chance to rock, before the album decays into tape loop nothingness.

The band in the heat of battle.

  With Our Thoughts We Make The World is worth a listen. Actually, it's worth four. That's about what it took me to catch most of what is going on. This is an album that was made for a time when you sat down in front of a record player and did nothing but listen, (and drink and smoke pot and maybe make out). It's not an album for a 3 min. commodity to soothe your soul on the way from your apartment to the bodega, or to listen to on the train with all the background noise; it's not an album to blast while you pre-game with your buddies, or to put on a jukebox at a bar. It's an album for when you go home, and learn to be alone.

Pre-order the full album ---> here.

Like Jane Eyre on Facebook ---> here.

RSVP to their record release show ---> here.

Like Hearts Bleed Radio on Facebook ---> here.

12 things tiny unsigned NYC indie bands hate

Hey everyone, my band, The Planes, is playing at Matchless tonight, and I'm spending the afternoon doing laundry, fetching guitars, and nervously thinking of all the things that can go wrong (I know I'm gonna break a string tonight). Anyhow, since I'm sitting here waiting for my laundry to dry, I thought I'd make a quick list for you all to read, and hopefully argue about.

We rocked Ft. Useless into a painting dreamscape/nightmarescape.

12 things tiny unsigned Brooklyn bands hate (in no particular order):

#1. Carrying heavy shit. It's literally 30% of being in a band.

#2. Transporting the above mentioned heavy shit on public transportation. That rickety hand truck with a 40 lb. amp, pedal board, and kick pedal strapped on isn't going to carry itself up to the J train. "I coulda swore this station had an elevator..." Nope, it doesn't.

#3. Getting ditched by everyone while you bring your stuff back to the practice space. "We'll be back in 45 mins, and meet you at the bar/diner/party..." Nope, no one is gonna be there, especially those three cute girls/guys who, "Really dug your set."

#4. Getting paid next to nothing. "Hey good crowd, the bar did really well! Here's a free beer and $80 from the door for the five of you to split." I know the small clubs aren't racking in the dough, BUT, an extra beer, maybe some food if the joint has it... It goes a long way. Also, bands should get paid a percentage of the bar. Wouldn't we all rather have 50 people show up, stay all night and drink all night, then have each band bring 20 people who show up for their friends, have one beer, and go somewhere else?

#5. Big rooms that book small bands. "Yeah, we need you to bring 100... on a weeknight... in February." I ACTUALLY HAD A PLACE SAY THIS TO ME. Like the motherf'ing Planes could bring 100 out on a Saturday during warm weather... even if there was nothing else in NYC going on that night, even if there was free hand jobs and whiskey. If you have a room that holds 200 and you want it full 7 days a week, you need to hire a booker, and you need to be guaranteeing some money to the headliner. Don't book tiny local bands and expect them to work miracles, then get all pissy that the place was only half full.

How West Bushwick Was Won or: A Brief History of Fort Useless.

Hey there, Internetz. Showcase #5 is upon us! We are super lucky to be throwing down at Fort Useless, a performance/art/comedy space off the Myrtle JMZ stop. I've been going to shows at Fort Useless for the last couple of years, and I always have a blast. Its atmosphere sits at the intersection of bar/gallery/party, and everything in the space feels handmade and intimate. Since this spot is so interesting, I figured it would be fun to talk to the man behind the Fort, Jeremiah McVay. Any further questions for Jeremiah, send us an email or leave them in the comments below. Enjoy! 

Hearts Bleed Radio: When did you decide to open Fort Useless?

Jeremiah: I decided to open Fort Useless sometime in 2009. My band at the time, Coyote Eyes, was starting to look around for a possible new practice space. And I'd also been booking shows at various venues for a while and was sort of feeling the DIY bug, I guess. So, the original idea was to find a place where, perhaps, a couple of bands could practice and we could have parties or shows from time to time.

HBR: I miss Coyote Eyes...

Jeremiah: Thanks, yeah, me too, sometimes.

HBR: How many different spots did you see before you settled on the Ditmars location?

Jeremiah: Honestly, I can't quite remember -- probably somewhere around 15 or 20.

HBR: Wow. Were they mostly like, industrial spaces?

Jeremiah: It was a mix of different types of spaces. Some were very industrial, some ended up being more residential than was appropriate. One spot I got really excited about kind of early on in the search was on 9th Street in Gowanus, but they ultimately decided they didn't want music in there -- just visual artists instead.

HBR: The first time I went to Ft. U, I remember thinking I was at the wrong address. It looks like just a door in a row of houses, and I was expecting an old factory. Were you nervous about neighbors and the noise? Are you still?

Unsacred Hearts at Fort Useless  (photo by Bryan Bruchman)

Jeremiah: I was incredibly nervous about neighbors and noise. But the thing that made me think that what we were planning to do there would work, was that the guy who showed me the place told me the previous occupants had been throwing hardcore punk shows... which was obviously way more intense than what I was interested in doing. I still do get nervous from time to time, but I just try to be smart about it and keep things to hours that are easiest on the neighbors. Also, the building was sold to new management at the beginning of the year and they've begun redoing the apartments in the building and there's about to be a lot of turnover -- that makes me really nervous. Really not sure how it will pan out...

Libel's new video! and Showcase #5 and #6 info!

  Hey gang, I think my liver has finally recovered from the Northside weekend, and it's time for us to get rolling on our next batch of interviews! I'll start with Sunset Guns and Sharkmuffin, both of whom will be performing at HBR showcase #5 at Fort Useless. But right now I'd like to mention Libel, who we've booked to headline HBR showcase #6 at The Grand Victory on August 1st. It's looking like the show will be their LP release, and we're super lucky to have them on the bill. Libel is a tight post-punk trio based in Brooklyn. Here's a shot of them performing at Muchmore's, taken by yours truly...

Possible second career as a band photographer?

  They've released a video for the single "This is Love", and though it's remarkably simple, it suits the song well, and ends in a very mysterious manner. The camera follows lead singer/guitarist Gavin Dunaway as he zig zags down a staircase through a bombed out industrial building. From the opening shot of a destroyed room at the top of the stairs, to the climatic end scene where Dunaway opens a door into a bright white light, he seems to be driven by an unknown motive. Though the motive is undefined, the sense of purpose on Dunaway's face is clear, and the viewer feels compelled to follow him. Check it out below:



  In my mind the white light at the end is an exploding A-Bomb that annihilates Dunaway and the crime scene at the top of the stairs that he had spent the preceding several hours cleaning up. But that's just me, you decide for yourself.

Shot, directed, and produced by Daniele Dandaddy. Check out his work ---> www.dandaddy.com

Check out HBR Showcase #6, featuring Libel ---> here.

Like Libel on Facebook ---> here.

RSVP for HBR showcase #5 ---> here.

And don't forget to like Hearts Bleed Radio on Facebook ---> here.

That's all for now folks, see you at a show!