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.

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

Libel's Music for Car Commercials, and HBR Showcase #6!

  Greetings dear readers, the August 1st Hearts Bleed Radio showcase is almost upon us! Today we're chatting with Gavin Dunaway from the Brooklyn band Libel. Libel has a new album out, Music For Car Commercials, AND they are closing out the night on 8/1. MFCC retains most characteristics of the band's earlier works, but isn't afraid to wander off in new directions. Dunaway's Bowie-inspired howls coast over the super tight rhythm section of Nick Brzoza (drums) and Julie Rozansky/Brian LaRue (bass, it will be explained in the interview, be patient). Anyway, we're pumped to have them on the bill. Here's the chat transcript: 

Hearts Bleed Radio: For starters, give me a little history of the band.

Gavin: Libel formed pretty soon after I moved to Brooklyn in 2008. I'd kinda broken up my longstanding DC band, The Alphabetical Order, and had the idea of joining an established act when I landed here. Well, while I was looking for that magical established band that was going to rocket me to stardom, I recorded a bunch of demos that I let a drummer friend name Jim Archer listen to. Next thing I know we're jamming on the tracks, his girlfriend Julie is playing bass and we have gigs.

HBR: You knew Jim from VA/DC? And Julie too?

Gavin: Jim was the original drummer of The Alphabetical Order – he's on our first "professional" recording, "The Unimpeachable EP." Julie played in a rival band called Run Silent Run Deep. They were kind of like the bizarro version of Alphabetical Order. Both had tall, skinny singers with moptops, short and cute girls on bass, brawny drummers and traditionally handsome guitarists. They were more... metal than us – we were more into our post-punk, super-mathy DC stuff. Lots of odd time signatures, odd guitar parts, some screaming here and there.

HBR: So you've had some changes at drummer, and bassist, but now you're back with Julie. What does she bring to the table that keeps her coming back? How is she unique among bassists?

Gavin: The girl has groove, among other things. I've always enjoyed playing with Julie, since we did a Smashing Pumpkins cover band together (still do occasionally). She's got a very deft touch, an ability to really make every note hum. When she's playing with her fingers, her tone is low and round, perfectly filling up the low end. However, she's also vicious with a pick – she can be incredibly aggressive when it's called for. Finally, she's a fantastic singer – choir-worthy pipes that have always added an ethereal quality to our vocals.

HBR: Libel has four releases, Julie is on three of them?

Gavin: Julie is on three, though she's not playing bass on Music For Car Commercials. Those duties fell to Brian LaRue, who did a tremendous job (with his backing vocals as well). Brian exhibits raw power through his bass-playing – almost always... 

Libel rocks Muchmore's. I took this picture.

HBR: That's not Julie on Broken Wine Glass?

Gavin: ...killing every note. And yet probably the best bass line on the album is Broken Wine Glass, where Brian put down his pick and composed a haunting yet gentle melody. Really versatile player – you're lucky to have him on The Planes team. Oh, and what a distinct voice! You bet I'll be begging him to come back for future backup vocals.

HBR: Wow, I was certain that was her!

Gavin: Crazy, huh? I didn't know he had it in him either.

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!