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Pre-order Issue 7 now

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You can now pre-order this issue of the Alt Citizen zine with special guest editor Julian Casablancas.


Video Premeire: Elijah Wolf “Wilson State Park”

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Photo by Zosha Warpeha


The wonderfully tranquil experience of Elijah Wolf’s “Wilson State Park” video is both a meditation and therapy session. The video pairs dreamlike animations from fellow Brooklynite Rachel Kisty with Wolf’s nostalgic folk rock and sets you out on an exceptionally blue and delicately hypnotic odyssey. Kisty’s minimalist 2D animations of mirrored profiles, hands and moving patterns react to the song’s energy in a fluid and entrancing way, allowing the track to be experienced with a deeply introspective, melancholy focus. Like the song, the video don’t follow any set narrative, it’s concentration is set successfully and solely on conveying the deep emotions that Wolf has poured into the track.

Of the release, Wolf explained the “Wilson State Park” deals with daydreaming, longing, and feeling nostalgic for things that are no more. It is the first release from his cathartic debut album On the Mtn Laurel Rd, which is out September 7th via Old Flame Records. It’s an album that’s constantly looking back on childhood and emotionally centered as well as recorded around the time of the passing of his Grandfather, his greatest inspiration.

Check out the video here:

 

You can find more from Elijah Wolf on Instagram 

Video Premiere: Poliça and s t a r g a z e sessions

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Photo by Graham Tolbert


The Wild Honey Pie and director Emmett Kerr-Perkinson have teamed up to create a haunting and intimate visual diary of Poliça and s t a r g a z e in studio at Douglass Recording. Filmed like a love letter from the 90s, there’s a palpable sense of irony as Poliça’s lyrics delve into the emotional turmoil many of us felt in the time following the 2016 election while visually recalling an arguably simpler time when, if nothing else, we might have been blissfully ignorant. Both empathetic and cautionary, “How Is This Happening” and “Agree” recorded in this stripped down arrangement are even more vulnerable and poignant – a crystalline soundbite of the feelings of the time.

You can find Poliça on Facebook, Twitter, and Instagram and find more for The Wild Honey Pie on Facebook, Twitter, and Instagram.

Listen: Conduit “To The Tower”

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Have you ever thought about what you would do if the car you were in was about to fall off a cliff? Would your flight or fight response kick set off a “planned” survival reaction that you’ve semi-subconsciously thought through a few dozen of times in your head while driving with a drunk friend?

A moment based off movies, fictitious literature moments—the call for survival in doomed times. This new track from Conduit is the soundtrack for this all.

To be honest the anxiety level on the song is turned up all the way to 11. It hammers its presence into you, “To The Tower” reveals itself with no mercy with an atmosphere of temperamental and monotonous noise that deliberately explores the shifts and turbulent toughness of militant marches.

The head-wrecking repetitive structure is the song’s real hook—everything from the vocals, to the drums, and the guitars is a consolidation of flickering catharsis and confrontation.

Alessandro Keegan, vocalist of the New York- based band, who’s been nothing but impervious, abruptly shifts the patterns of heavy and ravaged strums and defuses into a melodic ‘pissed-the-fuck-out-of-life’ chant that is nothing but defiant even when it sounds so sweet against a tired and uninterrupted march. The intimacy in which Keegan particularly ends the song does not clash with the turmoil we’ve been taken along throughout the song. It makes sense—human reaction, rational thoughts, and then you gear up for action. Now I’m intrigued, and then it comes to and end.

“To The Tower” is the first off Conduit’s LP Drowning World out September 3 via Kitschy Spirit Records.

Death trax: Champagne Superchillin’s “tongues, pastis et SPF”

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Photo by Noelle Duquette.

Death Trax is a new mixtape series where people (somewhat obviously) curate music for their own funerals. This week Champagne Superchillin share their playlist and a short poem.


I dream of Biarritz in the summer

Yet the sun is shining on my skin

I see girls changing skin color

I see the blue sky marry you

And all at once I love you

I dream of you and I, hand in hand

In love with Sébastien

The sun shines and burns my name onto your skin

In love with the hot wind

I feel the heat of summer

Listen: “Grey Area” by Jerry Paper ft. Weyes Blood

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Jerry Paper may or may not be a real person. I mean, Lucas Nathan is a real person, but whether Jerry Paper is just a stage name for the synth artist Lucas Nathan, or if he is a multi-dimensional entity who sometimes inhabits Nathan’s body remains to be seen.

Paper/Nathan‘s latest single “Grey Area” featuring Weyes Blood sounds like some sort of cross between what you would commonly hear in an elevator and the obvious soundtrack to the Scientology inspired ritual that Nathan uses to summon the persona of Jerry Paper.

This ritual consists of Lucas Nathan putting a flower garland around his neck and silk robe around his shoulders. Through this ritual, former Brooklyn busboy Lucas Nathan transforms into Synth-Pop weirdo Jerry Paper, much the way that Clark Kent becomes Superman simply by taking a pair of glasses off.

My theory is that Jerry Paper really is a separate entity from Lucas Nathan. I listened to “Grey Area” (from Paper/Nathan‘s upcoming album Like A Baby coming in October) at midnight the other night while eating a brownie and uncovered a blue flower garland in my laundry the very next morning. It was creepy, ironic, and mystifying. The Paper/Nathan track is just that good.

Interview: CCTV and existentialism with Warmduscher

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Jack Everett (ex-Fat White Family) was in town, so I jumped at the opportunity to meet him. We talked about the after Fat White Family, the tour life, Rock, Warmduscher and also about his last collaborative performance with Soojin Chang at the MoMA PS1.

You are living in London and you just spend some time here in New York. What do you like about it? Do you see yourself living here? 

I like New York, seems like you can do what you want. There’s less CCTV and no one gives a shit about what you’re doing. London can be pretty claustrophobic and boring. I’m not too knowledgable about the current rock scene in either city, but there’s a lot of miserable people in both, so it should be flourishing.

 You use to tour a lot and surely you gonna tour again, can you tell me what that looks like? Is tour life really sex, drugs and Rock’n’Roll?

 It’s more like a tiny crack which slowly – almost unnoticeably – widens  into a huge emotional chasm. I think some people assume you’re rolling round town having the greatest time on earth, which is true to some extent, but a large portion of that time is spent staring out the van window silently, fists clenched, with headphones plugged into nothing. I think it depends on the person. I love touring, it’s the closest you can get to God without dying. My advice is spend a lot of your time on acid.

How was Warmduscher born, who’s in the band? You also have to explain to non-German speakers what Warmduscher means because I think it’s pretty funny!

 Warmduscher was born around 2014. It was me, Saul, and Clams Baker III. We wanted to start a band like Pussy Galore and Royal Trux mixed with Meatloaf and ended up making nothing of the sort. Dr. Withers (from Paranoid London, as well as Clams) and Saltfingers (Ben Romans-Hopcraft) and Cuddles aka The Duchess aka Quicksand (Adam J Harmer) joined later. Clams came up with the name, it’s a German insult which basically means wimp—you’re a wimp because you take warm showers. We also love being pissed on so it’s a double entendre—very cerebral stuff.

You play in a post punk band with a very middle finger sort of aggressive energy.Do you use anger to play  music?

After I play I usually feel pretty relaxed and purged of something negative, I’m not sure if it’s anger. In Warmduscher it’s more an idea of doing what you want and doing what feels juicy and right. If that means giving the middle-finger then so be it. I was raised by the 4th Viceroy of India so I have impeccable manners.

Recently you played with the artist Soojin Chang at MoMA PS1. It was a very powerful and unique performance. How did the project/collaboration happen and how did it feel playing in a “museum” ? 

We wanted to collaborate for a while and everything coincided at that time. Soojin had made three separate video projections for a piece on the human hair trade around the world and wanted me to do live sound in a giant hair suit. I hadn’t really done too many sound performances before so it was exciting and a little nerve-wracking. It was great being inside a huge dome, I’d like to be inside more domes. Not sure that’s worth mentioning

Are we gonna see more collaborations between yourself and Soojin? Are we gonna see Warmduscher play stateside in the near future??

Yeah, Soojin and I have been recording some demos under the name Frog Boys and will probably be doing something with those soon, it’s kind of like Korean g-funk. It’s difficult as we live in different countries. We’d love to come and slobber over NYC and the US. We want to give you what you all so desperately need. You hear that? Give you what you need!

Song Premiere: Justin Dean Thomas “Staring At A Wall”

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Photos and Album art by Ana Cristina.


If you’re anything like the rockers and punks that prowl the gritty streets of NYC at night, then this song is for you. With your leather jacket perfectly distressed and chain choker on tight, the darkness is when you come alive. Justin Dean Thomas’ newest track (premiering below) will give you that same rattle in your bones that only those kind of lawless NYC nights can do. A true-blue rock ‘n’ roll song with guitar that feels like an electric shock to your soul and vocals that shout in your face screaming,  “the only time I feel alright is the night time.” It’s sexy, it’s scary, it’s bad to the bone—listen below!

Catch him live 8/26 at The Elizabeth Street Garden and 9/20 at a secret Manhattan location TBA via Instagram.

Find Justin Dean Thomas on Instagram and Facebook.


Watch: Colin Caulfield “Looking for Revenge”

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DIIV’s Colin Caulfield falls in love with a truck in his new video for “Looking for Revenge,” and things get pretty steamy. The My Strange Addiction inspired video tells a modern love story of a car wash attendant and an elderly man’s pickup truck. Some very passionate and sensual scenes ensue in the fantasies of the life they could have together. This is art.

The song itself isn’t directly about engaging in a romantic and/or sexual relationship with a truck, though feel free to interpret it however you please. It’s still a very suitable song to share with your s/o, inanimate or not. Sonically, “Looking For Revenge” and his other singles could still be compared to the music of DIIV, but the vibe is more relaxed and focused on synthesizers and electronic drums than electric guitars and live percussion.

Apart from the video, Caulfield adds some genuine depth and meaning to his new single. He explained that post-election, the divide in the country he saw was similar to that of a bad break up – where both sides demand a lot while refusing to give or compromise. The song realizes that sense of conflict and questions cynicism as well as the need for revenge. Listening, rather than watching the video, is undoubtedly a different experience. But it’s still just as fulfilling as the relationship between Colin and the old man’s pickup truck.

Light a few candles, dim the lights and watch the video here:

Listen: Cat Power “Woman” ft. Lana Del Rey

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For those of you here because of the mention of Lana Del Rey, I have some bad news for you, Lana is only here doing backup vocals. If you are not paying attention you will miss her, and even her usual style of baby girl 60’s dream pop isn’t quite present on this Cat Power track.

Initially, the idea of a Lana x Cat Power collab had me reeling, what do these two women have in common other than being near legendary indie musicians? But after listening to “Woman,” off the album Wanderer, out on October 5th, it’s immediately clear what attracted Lana to the song and vice versa. Both artists are women who are fiercely in control of their own image and their own sounds, despite any conflicting perception perpetuated by a snidely commenting fandom or male-dominated media platform. Both women have been slandered in ways that could emotionally destroy a weaker person.

Charlyn Marie “Chan” Marshall of Cat Power has been called “crazy,” following an infamous show at the Bowery Ballroom in which the musician broke down in tears after asking what it would be like to be hit with a machete.

Lana Del Rey, due to her Lolita-like persona and penchant for crooning about her sugar daddies has been called a “slut” and the authenticity of her musical personal routinely questioned.

Both situations basically add up to our societies inability to handle women who are less than perfect pillars of beauty and confidence unless locked up in the privacy of their own bedrooms. Through “Woman” a soulful track that showcases Chan‘s vocals in all their gritty perfection, also reclaims the idea of female identity, of honesty through music, and of course, of the ongoing relevance that is Cat Power.

Two photographers, one fest: A scrapbook from Coney Island Music Festival

Entering the Void with MONSTERWATCH

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Photos and feature by Lauren Khalfayan, find more of her work here


On stage they’re a mass of shaking heads and flailing limbs, but at the entrance to their rehearsal space, Substation, punk rockers MONSTERWATCH are far more subdued. The thrashing and yelling have been replaced with downcast glances and the silent lighting of cigarettes. Their unassuming nature and no ego, no bullshit attitude are likely contributors to what has solidified MONSTERWATCH as a permanent fixture in the Seattle music scene, along with a solid stream of releases and their reputation for riotous shows. Their gigs might be a glorious mess of guitar smashing, crowd surfing, and the most respectful moshing you ever did see, but all that show is not without substance. Everything from their lyrics to their ethos comes from the desire to provide an escape, or to in fact escape themselves.

Their latest EP, Z O T, furthers their success in this mission. It’s an almost Alice in Wonderland trip down the rabbit hole and into the void. I got together with the band before their gig at High Dive to discuss the EP and how they found their sliver of permanence in a constant state of impermanence. 

I’ve really been enjoying Z O T. It seems like there’s this overwhelming theme throughout of wanting to either get away or get people away — of entering this void. What do you feel like that feeling is rooted in? 

John Spinney: I mean you described it perfectly. That’s kind of the whole theme of the album. “Zot” is another word for nothing so it’s just kind of being isolated and by yourself, but also wanting to do that. It’s weird. I’m really introverted, so I can’t really handle people too much, but that’s kind of what the whole album is about. Just dealing with anxieties and stuff like that. 

Do you think that feeling of wanting to separate or separate yourself, is that something  you think is a result of the environment and the time we’re in right now or is it something that’s just innately human and in all of us? 

John: Yeah, I mean me and Jack Cornwell live in our vans cause it’s just too expensive to live here and we’re at Substation all the time—we don’t really get out too much so I feel like, the way the songs sound is definitely a result of our surroundings. 

Jack Cornwell: And past experiences.

With relating to these past experiences, are these songs inspired by real people, real events in your life or is it like cherry picking elements of that and filtering it into a song?

John: It’s definitely cherry picking and filtering it in cause a lot of the songs, except lost my car, is about multiple instances of struggling and stuff like that. 

So there’s not one person out there that you really want to just fuck off?

John: We have a couple new songs about that— we have one song directly about Amazon

Jack C: Fuck ’em. Our new material is different [laughs]

John: It’s like The Cure if they were a punk band.

Jack C: Branching out, you know.

John: I feel like having a variety of song styles in one band is really cool.

In terms of the reality of being a musician in Seattle is there enough reason for you guys to stay here or is it just too logistically a nightmare to go anywhere else?

John: I mean I don’t know if I’d move right now because we got a lot of friends in the neighborhood and it’s going good for us so we’re kind of just sucking it up right now and living in the vans. It’s kind of nice cause it’s cheap.

Jack C: It’s kind of a blessing in disguise. It prepares you cause if you really want to pursue touring that’s what you’ll be doing. 

Back to the EP, “Lost My Car” sounds very different: even though thematically it fits very well into the EP, stylistically it’s very different from the other songs and your past stuff. Were you intentionally trying to branch out or was that more of just an organic development?

John: I wanted to put that on there specifically because it didn’t feel out of place, but it would catch people off guard, especially after “I Don’t Get It” which is a really heavy song. I really like that song specifically, that style of music I guess is something I’m really into and I just wanted to express that and write more songs like that as we move forward.

How is it playing that in gigs cause you have all these super high energy heavy songs and them you have

John: People love it. We were playing a show last month and we finished out set and people were like, “Play ‘Lost My Car’!” It’s cool, it’s just one of those like “Sweet Caroline,” but yeah it’s fun. People respond to it pretty well.

You did the editing for —

John: “Lost My Car,” yeah

Do you like to be really hands on with everything?

John: I mean the band wouldn’t be the same without these two dudes, but as far as visual and aesthetic-wise, I feel like I have a very specific vision, so I’m very nitpicky about it. I like to collaborate with people, so our friend filmed it and he helped me edit it a little bit, but stuff like that I’m really into just doing it on my own. That way you don’t have to go back and forth with people and be like “No, change this, change that.”

 

You have this tagline on a lot of your stuff, “We’re MONSTERWATCH and we’re here strictly for you and your pleasure.” I think it’s really easy for artists to be selfish people and not really think about, “What is the benefit of what I’m doing for other people?” It’s more of like, “What am I doing for me?” How do you guys keep a focus on and prioritize in your work making sure it’s for other people at the end of the day and not just yourselves?

John: I mean when I was younger the music I listened to was to cope with certain things. I feel like writing music… the style we’re playing is really connecting with people and I think the biggest part about making it specifically for them is just like hanging out after we play, not going off and fucking around after the set. And we get a lot of messages and stuff online from people. I feel like if you keep up with that, people really appreciate it and you aren’t just like “I’m in a fucking band”. 

Jack C: We came from the hardcore scene on the east coast. That’s what we did, that’s how we knew each other. I played drums in different bands. So seeing that scene and just—you could know a dude for a year, but you’d still have to worry about him beating your ass in the parking lot if you accidentally — like if he’s coming at you and you kick him to go away I got likehe spit in my face and I just left the show, dude. Like you guys are just in it for the wrongs reasons. 

John: Our shows get pretty nuts sometimes, especially if it’s packed, so we just try to make sure no one’s getting hurt. We just want people to feel safe. It’s usually pretty good. When we’re playing and I’m watching it happen usually everyone’s like pushing each other and smiling, no one’s like fucking throwing each other across the room or stuff like that.

Did you pretty organically build up a sort of fanbase here? It seems like people know your shows have a reputation for being crazy. Did you meet certain people you were gigging with that helped get you through the door? How did that all come to be?

John: I don’t think any of this would’ve happened if it wasn’t for Anthony. I was waiting at a bus stop to go to a guitar lesson and he was sitting down on the bench and we started talking and he ended up going to the guitar store that I was going to take a lesson at. So we hung out there for a bit and exchanged information and he brought us to Substation. Me and him [Jack C] jammed with him and he introduced us to a lot of people really fast. We played our first show with his band at High Dive. 

Jack: All our friends are musicians really. They’re all awesome. Where we’re from, you like gotta know people who know people who know people to even like touch an instrument. I think it’s been pretty easy. People talk about the Seattle freeze, but I don’t know. If you get out and go to shows you’re going to meet people.

Jack Gamero: Seattle definitely has a pretty cool like community, like family.

Jack C: This building —

Jack G: It’s the reason all my friends are musicians. It’s super fun. 

I was thankful I got to see what that family was like at their gig later that evening. Everyone from the bar staff, to the videographers and photographers there, to the others bands were genuinely thrilled that we were all able to share that night of music together — and it was a pretty incredible night. I can’t remember the last time I was that genuinely impressed after seeing a band play live for the first time. It’s not only their showmanship that’s noteworthy, but how fucking good they sound live and how strong their catalogue of work is. It’s honestly one hit after the next. Afterwards, one of the videographers turned to me almost breathless with exhilaration and simply uttered, “Wild, right?” After hearing all of the hardships and changes the city and the artists therein are going through right now, it made me incredibly hopeful to see this community thriving and coming together in such overwhelming support. Venues might be in jeopardy, rent might be skyrocketing, but MONSTERWATCH is here to stay.

     

You can find more from MONSTERWATCH on InstagramFacebook, and Soundcloud

Idles shares retro visuals for anthemic “GREAT”

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I’m not prone to hyperbole, but Idles are one of the most crucial bands around especially considering everything going on the world right now. Their debut album, Brutalism, served as a raucous and brilliant exploration of depression and grief from the five-piece, British punk outfit. Singer and lyricist Joe Talbot snarls with the fury, pain, and wisdom of the leader of a pride of lions. When you’re not moved to thrash around, you’ll be screaming their hooks right back at them with the hairs on the back of your neck standing upright.

A year and a half later, Idles prepares to unleash their second album, Joy as an Act of Resistance via Partisan Records, with a string of singles tighter and even more sarcastic than the first round. The fourth and, possibly, most uplifting track released last week, simply named “GREAT.” A punk anthem sprinkled with the lightest touch of pop songwriting, the track aims to get through to those afraid of foreigners with their irresistible brand of cynicism and whimsy (“Islam didn’t eat your hamster/Change isn’t a crime”). Literally spelling it out to the right, Talbot argues in favor of immigration with wit, satire, and an appropriate amount of anger. A colorful music video shot on film dropped last week in tandem with the single as well.

Out August 31st, Joy as an Act of Resistance will further address topical issues like immigration, nationalism, toxic masculinity, and, basically, all modern social issues plaguing Western society. To get a taste of the woke madness, make sure to catch Idles on September 22nd at for a sold out show at Music Hall of Williamsburg with Bambara supporting.

Brooke Candy make begins her redemption with the video for “My Sex”

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Photo by Alis Pelleschi.


When Brooke Candy jumped on the scene in 2012 she seemed shockingly transgressive. From her otherworldly appearance in the video for Grimes’ song  “Genesis” to her (problematic) freaky princess brand, there was an electricity around each of her appearances. I say appearances because there was never just a Brooke Candy song. There was always a video, a full-scale audiovisual event. If you were a fan you thought they were feasts. Her detractors found them more like assaults. When news broke that she was partnering with Sia and making a bid for pop stardom, I held my breath in anticipation for a Lady Gaga style coup of Top 40. What followed was aggressively average pop cuts.

Her new video for “My Sex” isn’t average. It’s a rap posse cut with plenty of industrial bass and nu-metal guitar noise for Candy to scream declarations over (“my sex has no gender”) but never come-ons . Mykki Blanco drops by to deliver a killer verse that rhymes feces and name drops Anna Nicole Smith, and one of the members of Pussy Riot raps a verse entirely in Russian. The computer-generated video is full of naked elves covered in tattoos, squirming worms, and dicks in variety of flesh tones. The bonkers result wouldn’t be out of place projected on the wall of a queer warehouse rave at 3am.

“My Sex,” along with the song “War,” finds Brooke Candy pushing herself to new places, coupling her penchant for aggressive visuals with harsher sounds. MNDR is responsible for production on both tracks, and she says in the press release for the song that the current political climate is what drove Brooke Candy to make such confrontational bangers: “After running into her at an anti-hate rally (post Charlottesville tragedy) she told me how angry she was and asked if I’d produce some music to help her express how she felt.”

I had personally written off Brooke Candy—the conversations around her appropriation of black culture were too loud to ignore, and the music just wasn’t good either. But at the end of last year her verse on Charli XCX’s “I Got It” gave me pause, and these new songs/videos she’s putting our are sick enough to make me consider putting her back on my list of problematic faves.

Premiere: “Castle Factory” by Telefones

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Photo by Emily Hollis.


Today, Nashville-based, art rock/post-punk band Telefones is out with “Castle Factory,” the A-Side off their forthcoming 7″. Hot off of opening for Iceage last spring, the group is turning things up a notch. The song features a satisfyingly lengthy guitar intro and quirky, echoey vocals which all beat along to the clashing drums. The whole thing is a bit chaotic if we’re being honest, but it’s still organized. What’s the saying… organized chaos? Well, between the unhinged delivery from all band members and the bluesy riffs, it works out to be a cathartic pleasure.

Telefones just released a double single earlier this summer and are now gearing up to release a 7″ and an EP due out next year.

You can find Telefones on Facebook, Instagram, Bandcamp, and Soundcloud


Guided by Voices at Bell House

Death Trax: Ava East

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Death Trax is a new mixtape series where people (somewhat obviously) curate music for their own funerals. This week artist and musician Ava East shares her playlist and a short poem.


Words of light bring dawn

As love in gardenia hue 

As Beauty imagined by Star

Gifted to my Shadow Painter

Illustrated caricatures

I entrust with soft lament 

While Soul searches lost rivers

Between the heart of lands

Fly above an arrow’s gaze

Giving stares beyond Sun

Eyes wide to seek the jewel

Mine fill with a burning truth:

I am day-awake

I am forever

Motionless in glass dreams

Two nights of Glove in New York City

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Photos by Jessica Gurewitz.


Saturday August 18th at El Cortez

Gnarcissists

Glove

Chorizo

Sixteen Jackies

Sunday August 19th at Berlin

Honduras

Glove

The Muckers

I listen to this album a lot: Marina and the Diamonds “The Family Jewels”

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2010, like every other year I spent in high school, was rough for me. I was a 300 pound 15 year in old 11th grade and being the ahead of my time genius that I was, found it hard to get along with or find any real camaraderie among the group of Texan hickish mouth breathers that occupied my high school. I spent a ton of time on the Internet and on Tumblr where I enjoyed a fleeting moment of internet fame and found ~my people~ a group of out on the internet but closeted in real life gay boys. The vast majority of my internet friends were located in London, Bristol and the UK so my cultural points of reference were also largely British.

This is all to say this is how I came across Marina & The Diamonds. The Family Jewels was a turning point for me. Here was this like beautiful and (vaguely) Mediterranean looking woman singing about loneliness, depression, and isolation using wit, dry humor, and catchy choruses. It was the exact and only type of vulnerability I could relate to—snide, self deprecating, and agoraphobic.

Marina was how I envisioned myself after emerging from my cocoon of hideousness and social discomfort. Thick, beautiful, and viciously using my silver tongue to seek revenge on anyone and everyone who had wronged me (i.e. BEEN CRUEL TO ME OR NOT TREATED ME LIKE THE DIAMOND COVERED IN MUD AND SHIT THAT I WAS/AM).

Unlike some of the other shit that I listened to on repeat during this trying time of my adolescence (Cobra Starship, Fall Out Boy….), I still listen to The Family Jewels on a weekly, if not daily, basis. And in case you’re new here or haven’t figured it out by now my taste in music tends to veer almost exclusively towards noise and punk rock, so this record of belted out pop number is really living on the edge for me.

She’s since released two other albums—Electra Heart and Froot. Although the former was wildly successful it veered too much into play territory for me and lacked the sardonic wit and scathing societal critique that I apparently need to enjoy anything.

Start with “Shampain,” then “Obsessions,” “Hermit The Frog,” and “Numb.” And if you decide you’re down to belt out show tunes while crying in the shower go through the rest of the album.

Video Premiere: Boogarins’s “Natureza Morta/Alma Fertil”

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Boogarins’s 14 minute music video for “Natureza Morta/Alma Fertil” is not your average tour doc. The Brazilian band used this opportunity to showcase six new songs they produced during a five day workshop in Lisbon for the MIL Festival earlier this year. In addition to backstage footage and plenty of goofing off, the band has edited the mostly mobile phone recorded video to create a psychedelic trip that mirrors their Brazilian psych-pop sound. During the festival the band created three songs using audience participation and three collaborations with other Portuguese artists. The interactive video is more of an inside look of the studio and recording process which is what 30 fans were able to witness at the event. It concludes with an epic finale comprised of flashing images of the band performing in the studio while creating deep house sounds followed by what sounds like an ode to Pink Floyd.

The deluxe and expanded version of their acclaimed album Lá Vem a Morta will drop this Friday on OAR. You can keep up with Boogarins on Facebook, Twitter, and Instagram, or catch them on tour this fall (dates below).

10.19 Ponta Delgada, Azores @ Arco 8 tickets
10.23 Braganca, Portugal @ Vitorla tickets
10.24 Leiria, Portugal @ Stereogun tickets
10.26 Vigo, Spain @ Radar Estudios tickets
10.27 Valladolid, Spain @ El Desierto Rojo tickets
10.28 Donosti, Spain @ Dabadaba tickets
10.30 Bordeaux, France @ L’ASTRODOME tickets
10.31 Montpellier, France @ Black Sheep tickets
11.3 Bristol, UK @ Crofters Rights tickets
11.4 London, UK @ Oslo tickets
11.5 Paris, France @ Espace B tickets
11.6 Dusseldorf, Germany @ tickets
11.7 Dresden, German @ Ostpol tickets
11.8 Berlin, Germany @ Musik und frieden tickets
11.13 Granada, Spain @ Planta Baja tickets
11.14 Madrid, Spain @ Palacio de la Prensa tickets
11.15 Barcelona, Spain @ Upload tickets

 

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