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

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 Wrap Up and My Unsolicited Advice for Future Festivals

  This was the first CMJ I had a badge and no job, SO, it was the first Music Marathon that I really got to fully experience. It was pretty much five straight days of being out and about from 2-2, living off mostly beer and pizza with a healthy mix of dumplings, night nachos, and Vita Coco thrown in for good measure. I didn't do a great job taking notes/videos/etc. I figured the sets that were worth remembering would stick in my head. I could have made it out to more shows (like Northside '13 when I saw a whopping 38 bands (not counting the 2 I played in) in three days), but seriously, it's not a contest. Anyhow, you'd have to be sharper than I to digest all those tunes into something other than a throbbing grey blob of hip haircuts, PA feedback squeal, and wobbly half-drunk "good-set-man" after show handshakes.

View from the artist lounge at the The Hotel Rivington. I'm really not classy enough to be up here.

For those of you who don't know the history of the festival, here's a brief rundown; CMJ (College Media Journal) was started in the late 70's as a sort of Billboard charts for college radio stations (and still functions in that capacity today). Beginning in 1980, there's been a yearly gathering of these bands, at first mostly in NYC's Lower East Side, but now split between the city and Williamsburg/Greenpoint, Brooklyn. This was bomb shit for the music industry back in 1984; you could see all these regional bands in one place and scout new talent without having to send your minions out to Athens or Minneapolis or any other nowhere town that didn't begin with "New" and end with "York City."

Needless to say, media has changed a lot over the years. Spin magazine, 120 Minutes, Alt-rock becoming mainstream, and lastly (but most importantly) the emergence of the internet, all contributed to CMJ's steady decline as a taste-makeing powerhouse. Buzz that was once generated by hand now rolls off an almost entirely automated assembly line. There isn't a band who doesn't want college radio airplay, but it's nowhere near the priority it once was. Despite the ability to stream college radio from almost anywhere in the world, it's becoming more and more rare for anyone, even in hardcore indie circles, to turn to college radio as a discovery vehicle.

  

Captured on Instagram as I begin my CMJ vision quest.

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

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Ten Tracks + CMJ Anouncement

  It's really been for friggin' ever since I sat down and wrote something, ANYTHING, about actual music. I have a slight amount of free time on my hands, and I wanted to share with you some excellent tunes I came across this summer while working, setting up shows, playing music, etc. Also, I figured some random eyes might find this blog through the 4 Track Challenge, and I wanted to greet them with an article that wasn't about baseball.

OH, and we're throwing a CMJ showcase featuring Ghost Punch, The Planes, pow wow!, Light Therapy, Sunset Guns, and The Black Black. It's going to be a free back-room Legion party. Swing by if you're out and about on 10/24. I'll buy you a beer if you buy me some chicken rings after the show (only half kidding).

Ok, here's an indie-pop heavy (for HBR) ten song playlist of new releases from the spiring/summer. Enjoy!

Clam and what I believe is a DOUBLE RAINBOW.

The Underground pt. 2 (More Underground) - Clam

I love the desperation in Johnny's vocals on the second go around. A noisy crescendo that peaks right as it ends, this is end of summer jam #1. Also, Clam is an excellent live band, I highly recommend catching them. Bonus: there are a ton of interesting videos on their website.




Sleep Alone - The Teen Age

A catchy barroom rocker with some washed out reverb-y lead licks reminiscent of 80's guitar pop. Their next show is at the soon to be shuttered Death by Audio, with Spirit System and HBR favorites Clouder on 10/9. You should be there.




Fake French - Little Racer

The Teen Age's label-mates Little Racer, continue the theme of catchy, simple, but lush sounding tunes. Fake French is minimalist with a lot going on, if that makes sense. It's a simple tune with a rich sonic palette.

The Black Black plays Cake Shop (twice), will release a new album (eventually), and loves Les Pauls

  I hope you're all enjoying the summer so far (all 5 days of it). I'm still recovering from a booze filled Northside weekend followed by a full week of band practice, recording, and gigs. We're slowing down with the booking thing (more on that later), and we're trying to focus more on covering some sweet local bands. Honestly, I felt a little bad about how mean I was to Gibson lovers in the article on guitars that I wrote two weeks ago, so I thought I'd do a quick Gchat with Jon Daily from The Black Black; a well known Gibson-a-phile.

Here's the transcript:

Hearts Bleed Radio: Start off by giving me a little history of The Black Black...

Jon: I started the black black in the fall of 2011. I was frustrated with my band at the time in every way possible, so I tried to create the antithesis band to it. I recorded three demos in my bedroom with my electronic drum kit. I sent the demos to my long time friend Chris and asked if he'd be interested in playing the bass (he was), and then Craigslist turned up our first drummer Johnny. It was super easy, and the band was just fun and easy for the first year with the three of us. We recorded twice, played a bunch of shows and it was just... fun.
  Johnny moved to CA, and then we spent a year looking for a new drummer. We had six guys do it in a year. It was pretty awful. Then Tomo came on board, and we finally got moving again... fast forward another year and we just finished recording our first LP. It'll be out on Money Fire Records in September (probably). The band was created as a cross between Big Black, McLusky, and LCD Soundsystem. I don't know if those influences are still obvious, but that was the initial idea.

L.E.S. Les Paul action at Pianos

HBR: You're playing a lot these days, you have a record coming out... But I want to talk about guitars for a second... I'm a Fender guy, you're a Gibson guy... I don't want you have to defend Gibson, but what do you like about Les Pauls? What do they do for your sound that no other axe will do?

If you could have any three guitars...

  You make art with a guitar in a way that is rather unique; it's not unlike the way you make art with a classic car, if such a thing were possible (in my book, it is). In and of themselves, guitars are art. Playing a song with a guitar is kinda like carving David with the Venus di Milo. Anyway, it's almost Northside weekend here in Brooklyn, I'm about to see a million bands, and I'd be lying if I said I wasn't silently judging the guitar choices of each and every last one. Don't think I'm a snob though, I don't give two shits about how much an instrument costs. That being said, there's a legitimate reason to judge bands by their instruments.

  I'm a Fender guy, and every guitar I've ever owned has been a Fender or Fender-knockoff (except for my acoustic, but that was a gift). This is because as a teenager, I was obsessed with Sonic Youth. Gibsons, to me, stood for dick-head frat boy jock metal/grunge crap. Bands show their influences by the guitars they choose, almost as much as notes they play. I hate to divide the world into two camps based on gear, because it's more complicated than that... but if you can find me a decent band that includes a guy playing a Les Paul through a digital multi-effects processor into a Mesa Boogie full stack, I'll buy you a beer. Hell, I'll buy you a case.

I only had time to grab one pic for this article and this is it. Scrawny punk, Mustang, Hendrix hands. Deal.

  There are clubs/DIY spots in this city where the sound is so bad, it actually makes more sense to judge a band buy it's gear. At least you'll know where they came from.

  I asked a bunch of local guitarists what they're playing, and what their three dream guitars would be. I'll start it off:

Stephen from The Planes

  Current Guitar: White Fender Mustang, Japanese made from 1997. Bridge pickup switched out for a 90's stock American standard Strat pickup. Pickup switching rigged up like a Les Paul.

  Dream Guitars:
    #1. Jazzmaster with a stock neck pickup and a super high output humbucker in the bridge.
    #2. Squire Strat from the 80's with the giant headstock (surf green or sonic blue).
    #3. Mustang with Jmaster style tremolo; an actual Fender version of this.


Micah from The Teen Age

  Current Guitar: Sunburst and cherry red Mexican Telecasters.

  Dream Guitars:
      #1. Gretsch G5810  (note. that's the rectangular Bo Diddley guitar)
      #2. Music Man Albert Lee HH
      #3. Fender Pawn Shop Jaguarillo

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.

Eastern Hollows release video for "Summer's Dead" and hit the studio!

Eastern Hollows are a great local band who are hopefully poised for gaining more popular and critical attention. It seems to be a busy spring for the Brooklyn-based quintet; we were lucky to have them perform at showcase #12 (3/14/14) and hopefully will get them again for a show in the future. Easter Hollows sounds part shoegaze, part C86, and part post-punk. Imagine a poppy guitar driven British band the 80's and add more washy reverb, and better/more modern guitar pedals. They are familiar, but not stale. Interesting enough, but simple enough to be catchy. Jeremy and Travis were nice enough to exchange some emails with me regarding their newest video, which was released last week.

                                 

Hearts Bleed Radio: This starts out with very muted colors, cuts of the city... I was preparing myself for another "band on a roof" video, but it really takes off and becomes colorful and exciting. Where did the inspiration come from? How did the concept evolve?

Jeremy (drums/percussion): The concept and idea evolved naturally from the aesthetic that we have followed on all of our artwork to date - colorful images always involving flowers. The design and artwork all came from Cassandra Gibbons (she is also the unnnamed hooded figure in the video placing the flowers). She is a great artist and has been responsible for all art direction by offering up different samples and concepts for us to choose from. This video was her idea that she developed along with the director, Julian Kauffmann. "Giant paper flowers that grow and eventually take over the entire city" was the main idea.

HBR: The song is titled "Summer's Dead," which I assumed meant "Summer IS Dead." Upon watching the video, I guess it means, "The Dead belonging to Summer." Correct? What is the song about? (and thanks for inadvertently teaching me a grammar lesson)

Travis (lead singer/rhythm guitar/lyric writer): "Well, it was meant as "summer is dead." Not ownership. I thought it could be either depending on the context. Maybe I need a grammar lesson. It was loosely about a Smith's lyric I had always heard wrong and about the time of writing the song. Summer was just ending, getting sentimental about a great summer and that lyric. [Smith's] lyric is: "I want the freedom and the guile"---I always thought it was guide and not guile. This is in "I Won't Share You" I loved the idea of wanting both freedom and guide because that's how I feel all the time. Wanting freedom but then unsure what to do with it.

HBR: How long did it take you guys to shoot? Any interesting stories from production?

Quiet Loudly's LAST FRIGGIN' SHOW

Hey people!

  I've been insanely busy and I haven't written ANYTHING in FOREVER. I'm breaking my silence to let you know that you all must go to Fort Useless in Bushwick tonight. It's the last ever Quiet Loudly show and the opening bands are great and we're all going to miss them! 

Here's an interview with Max from last year.

Here's a picture of Max that has been saved on my desktop for a year for some unknown reason.

Here's the RSVP link to the show.

And here's my favorite QL song:

V-Day Is Almost Here! Kill The Anxiety With Madam West.

It's been awhile since the last legit interview we've done. HELL, it's been a bit since we've posted anything at all. There's some new tunes on the horizon which we'll check on next week, Steve's B'day is this Saturday at Legion, AND we will be booking every Friday (almost) at Matchless, starting in spring. For now though, we're going to focus on the (drum roll) Second Annual Hearts Bleed Radio Valentine's Day Show! (trumpets blare). Ladies and gentlemen, I give you Sophie Chernin of the wonderful Madam West!


Hearts Bleed Radio: For starters, give me a little history of Madam West.

Sophie: Well, Todd and I met in early 2011. We found out quickly that we had the same musical tastes - we both had named our dogs Elliott Smith, for example - and so we started covering our favorite indie tunes every week in his basement room in Bushwick. We started out as a duo, writing solely electronically (on Logic), but once we decided we wanted a live sound, it was natural that we recruited Todd's long-term friend Mike from AZ (where they went to school). So he was on drums, and I recruited Christine and Will, who both played with me in our college folk band, Feste. Now the band has a few different combinations - as a duo, I play drum machine and Todd plays synths, and as the onstage group changes we shift a few of the instruments around. And that brings us to today!

HBR: Do you have a favorite lineup? When you're all together?

Sophie: I change my mind all the time! If you had asked me last summer, when Todd and I had played as a duo in montreal, I would have said the full band. I got really horrible stage fright and a case of sticky fingers with the drum sequencer. I almost cried onstage. I just wanted Mike there, drumming and pumping us up! But now that I'm more comfortable with the electronics, I don't really have a preference. It's nice to have the flexibility to say yes to a show on the spot, without making sure everyone's available that date.

HBR: Is that the most embarrassed you've ever been onstage?

Sophie: Probably. Montreal, to me, is like the holy mecca of indie bands. All of my favorite bands were from there growing up. It was insane that we got to play there, so I really built it up in my head before I got onstage. I think I was most embarrassed afterwards, when I was crying so hard I forgot to man the door (all of the bands were switching off door duty).

HBR: But you survived? The show went on?

Sophie: Of course! And then when I listened back to the recording, most of my mistakes were barely noticeable, of course.

HBR: Yeah, that's how it goes

Sophie: But in my head, it was total chaos.

Sophie ponders the cultural significance of V-day

HBR: Where does the name "Madam West" come from?

Sophie: Todd and I have a bad portmanteau habit. We love wordplay. It's probably infuriating to be around us most of the time. So Madam West is Mae West+Adam West... I forgot that "Madam" means "chick who runs a house of prostitutes," but oh well.

HBR: Haha, I was wondering if it was a play on Adam West.

Sophie: Yep! Most people think we spell it "Madame," which would be great if I didn't have to worry about them ever finding us on the internet.

Hey Haybaby! Nice to meet you.

Hope you all made it through the polar vortex in one frozen piece. Thirty-five degrees feels like springtime to me. Anyhow, we have the first showcase of the year this Wednesday at Cake Shop, and we're really excited for the lineup. The Mad Doctors are up first, followed by Crazy Pills, pow wow!, and then Haybaby. Doors at 8, don't be late. Check out this chat with Haybaby. Try to control your excitement. Save it for the dance floor.


Hearts Bleed Radio: Can you start us off by telling us a little about the band?

Zach: Leslie and I met at a show of a band I played in called Bad and the Ugly, and then a while later I asked her to join a band with my ex girlfriend called Peter Pan, which became Peter Pan and the Lost Boys once Leslie joined. I also played in a band called Steer at the time and we played a show with Sam's other band called Spaces.

HBR: Did this all take place in NYC?

Leslie: We started as Haybaby when Zach and his ex broke up with our friend Caleb. He was on bass at first then wanted to switch to lead guitar so we had Sam join on bass, then Caleb moved back to Boston so we were just three again. Yeah, all in Brooklyn.

Zach: That pretty much sums it up, although my ex did not break up with Caleb, but my ex and I broke up.

Leslie: I play guitar, Zach drums, and Sam's on bass. We all sing, but Zach and I share lead.

HBR: Do you think that bass players need to have a good sense of humor because they are kinda the "losers" of the band?

Zach: Definitely think so which is why Sam is perfect.

Leslie: Sam definitely is the biggest loser in the whole world but he is also the best at bass in the universe.

Zach: True and it's awesome that he's not here to defend himself 'bout his loserdom.

Leslie: I think he would agree.

Zach: True, but he is the baddest ass at bass that I know.

A rare pic of a NYC band in a non-taxi automobile.

HBR:Well, in all honesty, bass players aren't "losers" but it is kinda a thankless instrument, right?

Zach: Not when you play like Sam. He thanks the powers that be with every note. I just think that they are in fact losers.

HBR: I'm going to pay special attention to that on the 15th. So, how do you guys go about songwriting? Is it a group process?

Leslie: I think in a lot of bands the role of the bassist is pretty boring, holding down root notes or whatever but that definitely is not the case in Haybaby. Sam pretty much defines the groove of the whole song and I just noodle around it.

2013 Playlist and 2014 Shows!

Hey everyone, hope you're not frozen to the bone. I'm really happy that my 7 year old computer heats up like a toaster oven; I'm wearing two sweatshirts and clinging to it like it's the last spot of warmth in a dark and dying world. Anyway, I wanted to mention a couple of things...


#1. Our 2013 Playlist!

  These are all bands who played an official HBR showcase in 2013, and I think it's a pretty sweet playlist. Unfortunately, not every band we booked is on Spotify, for a full list (with links) check out the ever-evolving Bands We've Booked page. If you find something you like, share it with your buds. Need more info on anyone? Hit me up.






#2. Typhoon Haiyan Relief Show

  A bunch of HBR regulars are playing a benefit show this weekend, 1/11/14. All proceeds will go towards aiding and rebuilding the Philippines. It's $10 for a great cause, and it's a sweet bill at a sweet venue. Here's a link to the event on Facebook, and here's a link to donate if you can't make the show.

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.