Article and photos by Angelina Hazzouri

If you’re familiar with New York City’s downtown music scene, odds are you’ve heard of We Take Manhattan, a DJ duo and party series comprised of Charlie Baker and Shallowhalo’s Allyson Camitta, who typically host their synonymous event on Wednesday nights at Old Flings in the East Village. The first-ever We Take Manhattan was in early 2023, and it was many people’s first time at Old Flings which had only opened the year prior. I remember showing up to the first party and thinking I had the wrong address because there’s no signage or window at the entrance—just a small eye-level cutout in the door that Steven, the bouncer, slides open to ask what you’re doing here. Sort of an IYKYK situation.

The general feeling of Charlie and Allyson’s monthly event is a feeling of community—I’ve always felt that We Take Manhattan is a club party that feels like a house party. (Old Flings isn’t much bigger than a 1-bedroom apartment if we’re being honest, and there’s only one bathroom.) When you enter the small club space upstairs, you’re immediately greeted by the pulsating DJ booth—which sets the tone for an electric party—and if you attend more than one We Take Manhattan, you’re bound to be greeted by familiar faces each time you return. Over the last year, the party series has been a driving force for NYC’s music scene, providing an intimate social setting that exudes familiarity, community, and promised fun energy, but most importantly, good music. Notable guest DJs have included Harrison Patrick Smith, Billy Jones, The Life, and Julia Cumming; and Charlie/Shallow have booked several gigs outside of Old Flings, spinning at Baby’s All Right, Treasure Club, and Two Doors Down, among various other night clubs since We Take Manhattan started. 

On Friday, April 5, We Take Manhattan celebrated their one-year anniversary at Drom with a special release show for Shallowhalo’s Connection EP, which was just released with Fool’s Gold Records. It was my first time ever attending a show at the venue and as soon as I walked in, I knew we weren’t at Old Flings anymore. A premiere venue for world music since it opened in 2007, Drom’s high ceilings, cushy surroundings, and massive chandelier transport you out of the East Village, immersing you into the world of whatever music is bumping from the venue’s impressive speaker system. When we arrived, Charlie was spinning an LCD Soundsystem remix, and the familiar faces started rolling in. I caught up with both Allyson and the other half of Shallowhalo, Ezra Tenenbaum, by the merch table before Drom got too crowded, and their excitement for the new EP shone through in their demeanor. I knew they would be putting on a good show.

Jack Powers kicked off the live sets with an electrifying performance that drew the crowd from the bar to the dance floor. Not having his usual backup dancers didn’t stop the New York-based electro/dance-pop performer from executing impressive choreo and energy that prompted my friend to turn to me in shock saying, “He’s so fit—what do you think his workout routine is?” “I think we’re watching it,” I replied. I later learned that Powers is a classically-trained dancer and wasn’t surprised. I was blown away by Powers’ ability to give such a powerful vocal performance while simultaneously hitting every move with strength and grace. Once he took his black tank top off, the crowd was officially warmed up.

Multidisciplinary artist Johann Rashid’s project Promiseland continued the momentum with a fiery live set that had every person in the room moving. Throughout the performance, more stragglers arrived and beelined for the dance floor. Rashid, who is signed to Julian Casablancas’ label Cult Records, emanates his creativity on the stage in a way that’s palpable to all who are lucky enough to witness it. Combining punk vocals with edgy synths and thudding beats, Promiseland is a spectacle for all senses. Next month, he sets off for a European tour through the first half of June with Kris Baha. \

Around 12:30, it was time for Shallowhalo to take the stage. I’ve seen Shallowhalo live quite a few times in the last year, and each show is better than the last. During the set, lead Allyson hypnotizes her audience, not just with her alluring stage presence and airy vocals, but with her doll named Agatha that she brings on stage with her. At Friday’s show, they opened with “Yesterday’s Toy” as Allyson waved Agatha in front of Shallowhalo fans (a.k.a. Halo Heads) close to the stage. One compelling aspect that adds to the allure of any Shallowhalo performance is the distinctive style of the duo. Allyson, often identified by her pigtail bubble braids, donned a white corset adorned with a treble clef atop a sheer pink tulle skirt and silver boots, thoughtfully styled by Anja Cecilia. Ezra, who is more classic in his personal style, complements Allyson’s 80s-inspired looks by curating every set with vintage gear often from the 1980s, used both in production and on stage. 

Each Shallowhalo show is truly something special, and the Connection release show was no exception. Allyson—who makes purposeful eye contact with audience members during the set—captivated the attention of every person in the room. After what we thought was the last song, the crowd was delighted by Shallowhalo’s reemergence onto the stage, with Allyson having made an outfit change. (Icon behavior.) Surprise guest Swordes, who is featured on the album opener “You Are My Religion Now,” joined Shallowhalo on stage for the encore to sing the aforementioned song, in addition to a special cover of “Once in a Lifetime” by the Talking Heads—everyone sang along. The chemistry on stage combined with both artists’ impressive pop vocals and fabulous personal style made for the perfect encore to an unforgettable set. 

After the show, I asked Allyson how it felt to perform the songs off Connection now that it’s finally out. “It feels great. Ezra and I worked really hard on the EP, and I’m so proud of how it turned out. Performing the new songs live was a really special moment for us, and being surrounded by friends old and new made it even more special. Agatha said my middle school self would freak if she could see myself now, and that’s honestly the best feeling!”

Cumgirl8 finished the night with a DJ set, and on my way out, I heard murmurs of attendees saying, “Should we go to Old Flings after this? I heard that’s where people are going.” Same as it ever was!

Article by Urvija Banerji photos by Angelina Hazzouri

There’s nothing quite like the moment before a major turning point: the last cold night of the year; a crowd gathering before the party starts; a band on the verge of blowing up; an empty pool about to be filled for the summer.

The Fcukers show on Saturday somehow took place at the intersection of all these events, inside an unfilled rooftop pool at SAA, a swanky member’s club in East Williamsburg. Not bad for a band that only has three songs on Spotify.

Ahead of the midnight set time, the crowds made their way down a green hallway and up several flights of stairs, which opened onto a rooftop atrium with aforementioned pool, a makeshift bar and Manhattan skyline views. DJ and regular Fcukers producer Ivan Berko started the night off with a no-nonsense house mix, punctuated with a few unexpected soul selections. A concert goer in swim trunks and a pool floatie posed for photos in the shallow end.

When it was time for Fcukers to hit the stage (situated in the deep end), the otherwise mellow crowd reached a fever pitch. The band entered with little fanfare — though lead singer Shanny Wise carried, fittingly, a water polo ball — and launched into “Devils Cut,” their pulsating cover of the Beck song. (Beck, incidentally, seems to be quite taken with the band himself, having been photographed with Wise at their Market Hotel show late last year.)

Previous Fcukers shows in New York have included some unreleased material, but inside the rooftop pool the band unleashed their full prowess, playing through a largely unheard catalog of thumping house anthems and dance earworms reminiscent of everything from Yaeji and Disclosure to Timbaland and The Ting Tings. “Bon Bon,” an unreleased track, particularly recalls the latter, featuring Wise’s whispery vocals over a beachy, coquettish beat.

When watching Wise and her bandmates perform now, you get the sense that they’re so assured in their trajectory towards stardom that they no longer need to care what you think. Or, perhaps I should say, they just don’t give a fcuk. Despite this, and a smattering of initial sound issues, Fcukers continue to have ample stage presence, bolstered by Wise’s jumpy dance moves and drummer Ben Scharf’s thrashing hi-hats. Jackson Walker Lewis, the band’s producer, bassist and keyboardist, proves a more than capable ringleader with poppy synths and knotty basslines.

Saturday’s set concluded with the band’s glittering showpiece, “Mothers,” an inevitable crowd-pleaser of a song. Of course, this particular crowd had been anticipating this moment all night long, and they were far from disappointed. This band’s sound makes you feel good, and even better under a disco ball, in a rooftop pool, on top of the city.

After this one-night-only event, Fcukers will play again this spring at Gov Ball, where their star power will no doubt grow in size. On Saturday, as the crowd dispersed, everyone appeared titillated by the prospect of having borne witness to a star on the verge of going supernova. The consensus seemed to be this: Fcukers are no longer messing around in the shallow end.

Photos by Palentina Lam and Ava DeGrinis at The Moroccan Lounge

Aspen Forest is the boogie fingers meets head thrashing band your ‘I need to merge into the fast-lane’ indie playlist needs. Their sound marries infectious, reverb-drenched guitar melodies with relatable resonant vocals, all underscored by driving, post-punk inspired percussion. Brainchild of frontman Aspen, the band exudes a breezy, effortlessly cool vibe. Their air of intrigue is prevalent not only in their music but also visually in their performances and videos.

The first time I got to see them live was at an elbow to elbow Wednesday night show at The Echo this past January, with Ulitsa Vostok opening. The vibrating crowd surrounded the half moon stage leaving little breathing room between Aspen and his lyric spewing, ankle throwing fans. The band’s dance-inducing performance and genuine connection to the audience left a lasting impact and instigated a quick follow on Spotify. 

A month and some change later, I just so happened to run into Aspen (once again proving how tightly knit LA’s music community is, despite its vast size), donning a main character-esque checkerboard beanie at fellow alt-rock artist Max Fry’s show. He told me he was there observing performance styles and examining crowd responses (sans pen + clipboard). There, I also learned his real name is Yegor and he lived in Ukraine up until the end of his teens (although his Eastern European accent was nearly indistinguishable). His unique backstory and student-like approach to performing piqued my curiosity, so when he mentioned his upcoming show at DTLA’s Moroccan Lounge I jumped at the opportunity and locked in a quick interview before they went on. Following a lively soundcheck, the newly solidified band, dressed in cool–but-not-try-hard attire joined me in and on top of a leather booth to talk shop.

(Left to right) Misha (bass), Nico (drums), Aspen (lead vocals + rhythm guitar), Aidan (lead guitar) // Photo by Ava DeGrinis

Initially, when I hear ‘Aspen Forest,’ images of lush foliage and towering white-barked canopies emerge in my head, however, the moniker actually originated from the title of an ambient instrumental song by one of Aspen’s favorite artists, Gorillaz. The abstract, nuanced name felt right for the vision of their progressive sound and also paid homage to one of the most iconic bands in the alt-rock space; so it stuck – so much so that it even became Yegor’s stage name.

Aspen’s music career began after he moved to the vibrant ‘it’ scene of LA. He confessed he actually stumbled into music production while studying film. 

“I was editing a film, and then my friend showed me Ableton and I was like, ‘Oh it’s just like Final Cut.’ And then I was like, ‘Oh, wait, it’s actually not that crazy to make a song.’ Before, I thought you had to record it all in one take with the whole band, but it’s just this layering process and it all made sense.”

Aspen by Palentina Lam

Aspen revealed back in 2020 he got his start in music production making lo-fi hip hop beats. He explained how he started experimenting with indie melodies, “I just picked up the guitar again and started messing with it. I was like, ‘You know what? This is what I like – this is the sound. This is what I truly feel connected to.’ 

The aspirational indie seed sprouted and Aspen started to hone in on the band’s sound, which Aspen said is even still a work in progress. Over the last eight months, the rest of the band assembled piece by piece, each bringing their own sonic flair to the harmonic equation. They explained their creative development process continues to get tighter and tighter, being able to conjure songs in only 15 minutes riffing in the studio. They even ended up performing a song that night that they had come up with 2-3 days prior, lyrics mostly improvised. 

Aspen Forest by Ava DeGrinis

The band added that they also have a fail safe strategy they employ to ensure the music is flowing – playing musical chairs with their instruments; “We do a whole band switch.” Aspen explained the impact of this exercise: “You instantly understand how the song is flowing, what is working, what is not working. It’s going back to the roots of music. It’s just a vibe. If you’re not vibing, the song is dead. It has to move you.” The quartet even switched instruments mid performance at the show, thrilling the crowd.

The band’s experimental spirit resonates in their most recent single ‘Oblivion’ where they push themselves to flee the allure of status quo. “We were like, ‘Fuck it. We got to start making something weird, something that’s not pleasant. Push the envelope a little bit in terms of the overall sound because everything is stagnant right now.’” Masters of sonic exploration and pushers of sonorous boundaries like Tame Impala and Gorillaz (of course) serve as exemplary influences to the group, however, they also draw inspiration from genres outside of the alt-rock space to spark unexpected revelations.

“I can even hear some random weird trap song, and I’m not even close to liking it, but there will be one little laser sound. I’m like, ‘Oh, shit. What if I put that in an intro of the song that sounds like this?’ You know what I mean? It’s just open information. It’s like, ‘Oh, cool. Everything you hear goes in.'”

Aspen was serious when he said ‘everything you hear goes in.” He and the band retain sounds not only from other songs, but also from noises and sounds from their day-to-day life. Nico compared the notion to a common practice of jazz musicians, mimicking the noises they hear in a crowd, like a cough or a murmur.

Aspen Forest’s enthusiastic commitment to keeping their sound fresh by disciplined mental reframing exercises will be key to keeping the work exciting and resonant with audiences – because as we know, the music industry (and everything else in this world) moves lightning fast; novelty and innovation have become required elements in earning precious eyeball and eardrum time from the masses.

Aspen Forest by Palentina Lam

When asked about new music, Aspen affirmed that the band is in their ‘grind mode’ era and plans to release new songs at least every two months, an album definitely being top of mind. After our thoughtful chat, we reached the beloved rapid fire portion of the interview where answers are timed (3 seconds) and must come from the heart (leave your head behind).

Ideal place to listen to Aspen Forest Music: Bedroom

Dream Venue: Hollywood Bowl

Best album of all time: Demon Days by Gorillaz

Air guitar or air drums: Air drums

If you had to play a different genre of music, what would it be? Jazz… Jazz fusion

Go-to karaoke song: Creep

Describe your music in three words

Aspen:  Romantic, vibey–

Nico: Trippy

Aspen: …Cute!

Aidan: Suuper silly

When asked for any last words (mantras/dad jokes/life lessons/etc.), Aspen said that he’s been really into flashy platitudes: “Pedal to the metal. Through the grapevine. Pick your poison. They just amuse me so much, little weird phrases that don’t make sense. Like – I was like, ‘Yo, pull up to the show’ to someone and they said, ‘Oh, I can’t, but cut the rug for me.’ I was like, what? I don’t know even know what that means.”

Nico topped us off with one final phrase before they escaped to the green room: “If you ain’t red-lining, you ain’t headlining.”

Playlist by Morgan Bobrow-Williams (SUM1)

“River me a cry.
I’m a river crying.
I’m crying rivers out of my eyes like waterfalls
If you look through the rapids I’m lying at the bottom.
Blurry.
Heavy.
Deep.
Sunken.

My heart is a concrete block
With a lock
And I threw the key in the river
And let myself sink

I let myself sink….”

A so-called remake of their 2015 album of the same name, Our Brand Could Be Yr Life provides a scathing critique of consumerism to the backdrop of funky guitar and 80s synths. BODEGA’s newest album scales back the original 33 track, Garage Band made project released by BODEGA BAY (Ben Hozie and Nikki Belfiglio’s prior band) giving listeners 15 songs (including two brand-new tracks). The album title references Michael Azerrad’s book about the indie bands of the 1980s, using every opportunity available to make the album’s message absolute: everything you love has been taken over by corporations and is now ready to be sold back to you. 

Often pushing the line between commentary and lecturing, the robotic voice that plays at the intro and outro of many of the songs rarely actually adds to the message, instead just spelling it out for the listener. When at the beginning of “Bodega Bait” we get asked “What is the difference between an artist and an advertiser?” or at the end of “Stain Gaze” when we’re told to “choose your favorite color. Curate your personal brand. The best personal brand has seamless flow with corporation brand,” the heavy handedness threatens to turn a worthy concept album into an eye-roll inducing and patronizing project, though it does ultimately avoid this fate.

That being said, Our Brand Could Be Yr Life manages to come out on the winning side in its battle between sanctimoniousness and meaningful, well produced art. Album highlight and lead single, “Tarkovski” pushes beyond its light indie-rock shell, using a guitar solo interlude and a contrasting, blunt semi-spoken bridge to add depth to a song that could have proved underwhelming in such a heavy album. Another standout comes a few songs later with “Webster Hall”, a deft mockery of the unaware, night-ruining dude that unfortunately seems to be at every NYC show.

“Protean” taps into a breezy indie rock sound that feels like it was pulled straight out of early 2000s California, without being stale. In some ways this ability to look back and to reference without repeating or replicating is the album’s greatest strength. Ironically, verse two of “Protean” has a guy realizing things will never work out with a girl because “she said there’s nothing ever new in the arts” and he believes “that thinking is lazy,” (a sentiment I wholeheartedly agree with).

The album’s focal point is no doubtably the three part “Cultural Consumer” (although “Born Into by what Consumes” is arguably an introduction to this section). Each of the songs in the “Cultural Consumer” calls out insufferable consumers, who build their whole identity around the book they buy and band knowledge they mindlessly memorize. As is the case with the rest of the album, the humor of it all is what keeps the 8 plus minute critique of buying and selling culture from becoming a guitar-backed bore. 

The album finishes strong with “City is Taken”, a catchy track with tight drums and a jazzy bass that tackles the band’s relationship to gentrification. Following the saga that is “Cultural Consumer”, “City is Taken” is able to give the album something fresh to finish on, with one of the most musically interesting songs on the project. 

‘Our Brand Could Be Yr Life’ is out now via Chrysalis Records

Album Cover for LOVECITY – photo by Edouard Richard

‘She loves violence!’ shrieks Rebecca Baby on ‘national honey’, the first song off their new album LOVECITY. This is Lulu Van Trapp’s second album, just three years after their first: I’m Not Here To Save The World. Ahead of the release of their new record, the band dropped the music video for ‘l’amour et la bagarre.’ And if that music video showed us anything: she does love violence! There are a lot of recurring themes on LOVECITY. Love, being one of them – duh. The pain, excitement and inevitable boredom that comes along with it too. It is also an ode to the city of Paris, the capital they grew up in. In ‘geisha’, a personal favorite of mine, she sings ‘Et si j’avais le choix / Est-ce que j’voudrais être moi?’ which translates to: ‘And if I had a choice, would I want to be me?’ The entire album feels like a battle cry and there is no specific enemy. Is it her lovers? Her friends? The world? Or herself? At times it feels like she might be surrendering… but then the next song punches you in the face and you feel silly for even thinking that. When I try to describe the sound of the band, I think of what Rebecca told me when I first met her, ‘we have a pop spirit with a punk attitude’, and I couldn’t have said it better myself – so I wont! The melodies are lush and euphoric and at times harsh, her voice is seductive and passionate.  In ‘la ballad de maori’, we finally get to hear Maxwell’s deep brooding voice that juxtaposes Rebecca’s so well. The album closes with ‘4 ever lulu’ and it feels like an ending. A sonically beautiful song to wrap it all up. A finale that makes you wish you had more. For now though, we will just have to play LOVECITY on repeat.

If you are looking for an album to dance, cry, fuck and sing along to… then this is the album for you. Check it out below:

Follow the band on Instagram here!

It’s 4/20 in the city and 60 degrees out… so if there’s a time to get outside and lay on some grass (or smoke some??) it’s today. With that being said, here’s a vibey little playlist to keep you audibly occupied incase you or your buddy goes nonverbal at the function.

Article by Urvija Banerji Photo by Charlie Baker

At an intimate show at Rockwood Music Hall earlier this week, Damon Smith unfurled a curious, contemplative and at times astounding catalog of music.

Smith plays with his brother Brendan in the eclectic indie band The Brightmares, whose sound closely resembles that of his eponymous solo project. The music is quiet at times and breathtakingly energetic at others, showcasing weird, twisty songwriting — and Smith’s virtuosic talent at the piano.

On Tuesday night, Smith played songs over a decade old, as well as unreleased tracks off an upcoming album. He opened the set with recent single “Tightrope,” an eerie, circus-inspired tune with unsettling carnival imagery to match. In the hands of a less adept songwriter, it could come across as corny, but under Smith’s capable direction, it’s a wistful, nostalgic ballad with surprising flourishes.

On Instagram, Smith has gained traction with his man-and-a-piano covers of The Beatles, Radiohead, and more. In performance, his original songs benefit from a full band, who have been playing together since they attended LaGuardia High School together. At full tilt, the band veers into prog rock territory, settling into a groove and stretching it as far as it will go. Drummer Andres Valbuena — who has also played for Linda Diaz and The Lemon Twigs — is a particular standout, anchoring each song with flawless precision.

That being said, Smith is at his most potent when he plays solo, as he did for a handful of songs at the end of his set. It’s no wonder that Instagram loves him: at the piano, Smith is a force to be reckoned with.

Article by Theo Thimo, Photo by Isaac Kau 

I got to see Father Koi perform at Gonzo’s the other night. It was sooooo cool. After the set we went into a stairwell where I asked her some questions. Major love!

Theo
Okay. So yeah, okay, startup interview beginning now. Haha. I’m here with Father Koi at Gonzos, there was an awesome set. It was based. very cool set. Very cool space, very intimate type of show, I guess. Right? Would you say so?

Father Koi
Definitely. I mean I think it felt intimate because there wasn’t a stage, and the audience was like a few inches away from me, which honestly I kinda love. It was just kind of a drum kit and a couple of amps in the middle of the room next to the bar, but it did make for an intimate spot, and it felt very DIY in that sense, you know?

Theo
Yeah. And the crowd was very rowdy too, not a lot of room to move around. But everyone was very into it.

Father Koi
Yeah. For this show and for most of my shows I usually plan to step into the crowd and you know, interact with them, but it was kind of hard—there are things like picking up a guitar halfway through a song, and there was no guitar stand so it was just lying on the floor and I had to be careful not to step on it and things like that. It’s always these small things that you don’t prepare for but I think it makes for each show being special.

Theo
Yeah, no, I can see that. You’re very comfortable up there.

Father Koi
Thank you.

Theo
Yeah. Let’s just do questions. How long have you been making music?

Father Koi
Um, I guess the long answer is I’ve been playing classical piano since I was six. I’m classically trained. So I did that pretty seriously up until I was in my sophomore year of college—I stopped like when I was 21. But I started writing songs specifically when I was 17. I think I was listening to artists like Lorde, Mitski, Japanese Breakfast, artists like that at the time. And I was like, wow, what they are doing is so cool. Like…

Theo
Wow. Mitski?

Father Koi
Yeah, I remember because she opened for Lorde for her melodrama tour. And then everyone was on their phone! And I was in the audience, like, what’s going on? But yeah, I’ve always loved playing music. And I’ve always loved telling stories. So I was like, why not combine my love of music and writing into songwriting?

Theo
Yeah, because I like your lyrics. So it’s all or a lot of it is very, like, kind of like specific seeming. Would you say so?

Father Koi
Yes. My friends kind of make fun of me for my lyric writing. I’m working with one of my friends who’s also a co-producer for some of my new stuff, and he’s like, you need to be more specific with your lyrics. What are you trying to say? And I’m like, no, I need to make them vague enough that people can relate to it! I’m halfway joking, because I think I do do that – sort of stream of consciousness writing. But lyrics really can also be about anything, you know? I think that’s fun, and genuine.

Theo
Yeah. Do you always write your own music? Like when you collaborate do you like or like how much how would you… how’s your collaboration style work?

Father Koi
I think that I like to collaborate with people on things that I’m not so comfortable with doing myself, for example, like, I’m very protective of my words, so I don’t tend to collaborate on things like lyrics unless someone has a feature or something like that. I think that each song that I write is about, you know, sometimes about collective experiences in my life, but it’s usually about one person or one experience. And I feel like that’s a very personal thing, and it’s harder to let people in with that kind of thing. So I kind of just take that as my own, but…

Theo
like, what about the song? “Do you miss me?” You worked with someone else with that, right?

Father Koi
Yeah, I worked with this artist in Japan called Emma Aibara. We met while I was doing a show there and after the show we were like, we need to collaborate, like, now.

Theo
Whoaaa, that’s coooool.

Father Koi
Yeah I know, it was really fun. Like, she makes really good music. The way it worked with her was she sent me her demo and I was like okay, I’ll add onto this, working with the concepts and theme that she had in her initial lyrics. We sent stems back and forth, over SoundCloud, and that was a lot of fun. I’ve done that before with a few people.

Theo
And I want you to describe your music!

Father Koi
Currently, I feel like it’s going through a lot of genre changes, but the things that stay consistent are things I’ve described before, like nostalgia. Maybe that example is a very subjective thing, though, but I feel like for me, I’m very inspired by nostalgia and I think it shines through in the feel of my music. A couple of my songs on my last album were about a yearning for simpler times, like my song “silk”— the lyric goes, “Cause maybe this will come to pass / I just want the things I used to have.”

Theo
Yeah, there’s so I feel like when I listen to it, I would say it’s bedroom something like maybe maybe I don’t know, it’s like bedroom pop with, like the auto tune or something and I love your use of auto tune too, it’s like, I feel like I feel like it makes it makes your vocals come out, like more.

Father Koi
I feel more confident too when I use it, like I can focus less on hitting the notes and more on things like audience interaction. I mean, going back to my point about nostalgia, there was a time in the 2000s when everyone was using autotune. So it’s kind of like incorporating that into my songs brings me back into that time period.

Theo
So you would find nostalgia would be a big part of it. You think what else to ask? I’m not good at this yet.

Father Koi
Yeah you are.

Theo
So you say what, when you start a song, it’s like you start off with the concept of it more. So…

Father Koi
I think that it comes from my thoughts, like if I have a lyric pop into my head, I’ll write it down…

Theo
So, it comes lyrically!

Father Koi
Yeah, it comes lyrically first. Then when I have a concept I’ll come up with a chord progression.

photo: Caroline Friedman

Theo
What else should I ask? These are, this is a good interview so far. The last one, I did less than like an hour, but I’m not expecting an hour out of you so I’m trying to be more to the point. So we have uhm… Where’s your favorite place to play?

Father Koi
Not to be cliche, but I would say anywhere with people that love and appreciate my music. Obviously concerts where the audience is receptive and interactive are super fun, but I also love playing in a less typical setting, like if I’m over at a friend’s house with a guitar and they’re like, can you play something? Okay, now that I think about it I do get a little embarrassed so often it just turns into a jam session or something like that, but regardless I just love playing music. I play bass for a couple of my friends’ bands and I’m just happy to be there and playing music.

Theo
So you don’t care if there’s 100 people or 10 people.

Father Koi
I mean if you think about it economically, if I throw shows where there’s just 10 people there, we won’t make anything. But in a perfect world where we would all get paid then yes, I would love to put on a performance for just a few people who are really into the music.

Theo
You ended your set with Dream Girl, right?

Father Koi
Yeah.

Theo
That one’s actually my favorite of ones I’ve listened to. That one’s really good…

Theo
Hmm… What else to ask? Last few. What are you working on right now?

Father Koi
I’m working on my new EP—EP or album, I haven’t decided yet. Probably an EP. And this one’s more, like, 90s rock/alternative based, but still incorporating the electronic stuff I normally put into my tracks. I have a lot of ideas still floating around. I have a single coming out hopefully in May, so keep an eye out for it.

Theo
Hmm, anything else? Should we just end this now? How long has it been? About 8 minutes and 30 seconds?

Father Koi
I feel it’s pretty good. I also want to see Harry [Teardrop].

Theo
Yeah. Yeah. Okay. That’s been us at the Gonzo’s stairwell with Father Koi. Thanks so much for having me. I probably don’t say that.

Father Koi
Thanks for having me!

Theo
Yeah, thanks for having me! Okay.

Ok, awesome. So that was me and Father Koi. Check out her next single coming out this May. Follow her Instagram and Spotify. All praise be to god.

Bag a’ Sugar is a duo from Brooklyn, NY. Formed in 2020, the husband and wife couple keep everything in house; the writing, recording, production, mixing and mastering all take place in Studio Sisserou in Dumbo, NY. Taking cues from 90s house, 80s boogie and 70s disco, their single ‘I Feel’ was the first of a string of single releases in the electronic dance music arena. More recently, they released ‘Pick Your Poison,’ a soaring and vibrant song that is sure to get your toes tapping. The electricity stemming from this exciting twosome is undeniable. With more music on the horizon, be sure to keep an eye out for Bag a’ Sugar. It is sure to be something sweet.

Follow Bag a’ Sugar on Instagram here!

I went to Iceland recently and had the absolute time of my life, so now I’ve decided to make it my entire personality. On our last day we were SUPPOSED to go see the whales and puffins, but that got canceled due to weather conditions so instead we decided to explore the city of Reykjavik a bit more. That is when we stumbled upon the Icelandic Punk Museum. What better place to learn about punk than a converted museum that was previously a underground public toilet? Upon entering the museum, I immediately had to Shazam a song… because it ripped. Only later to find out: the person running the museum and the man we purchased our tickets from, was the bassist of that band (Q4U)! Small world.

I’ll be honest, I have no idea what the fuck they are saying in most of the songs on this mixtape – but punk is a feeling. We all know The Sugarcubes, but there is more to Icelandic music than Bjork (even though we do really love her). So how about we all expand our horizons and plunge right into the world of Icelandic Punk. It may be cold out there but I hear if we mosh hard enough it will keep us all warm.

This playlist is courtesy of the Icelandic Punk Museum. They have a 17+ hour playlist on their Spotify, which you should check out if you want more! The mixtape below is a collection of my favorites.

Photo by  Nikola Jokanovic

Today, Australian band, dust, drop their new single “Trust U See”, a brilliantly relentless post-punk track that delves into the never-ending search for relief. The song begins in wavering, almost stuttering electric tones before being absorbed by horns and heavy, distinct drums. Vocalist Justin Teale’s voice comes in remaining gloriously monotonous, verging on mantra-like. Stripped back to just the saxophone and percussion the chorus lightens things up, without ever really giving you a break. When returning from the chorus, any relief dissipates as everything speeds up, pushing you back in. “Trust U See” finds its strength in its ability to fully immerse you in the world of the song. It is hazy, hypnotizing, and all consuming in the best ways.

The accompanying video for “Trust U See”, directed and edited by Nikola Jokanovi, feels exactly like the odd-psychedelic dream you had last week but still can’t seem to shake. Mostly alternating between scenes of Teale standing separated from his bandmates in a park, spotlighted moments in an artificial garden, and distorted and blurring in an empty room, there is helplessness to the movement between spaces. This is only compounded by the scratches, flashes, and flares of light that are littered throughout the video. 

“Trust U See” as a song and as a video holds its own and, despite being lengthy, sucks you in, aided by the full-on nature of the track.

dust will be joining Interpol on their UK and Ireland tour this fall. Dates below

Fri 1 Nov – The Halls – Wolverhampton, ENG
Sat 2 Nov – The Apollo – Manchester, ENG [SOLD OUT] Mon 4 Nov – Royal Concert Hall – Glasglow, SCO [SOLD OUT] Tue 5 Nov – 02 City Hall – Newcastle, ENG
Thu 7 Nov – Beacon – Bristol, ENG [SOLD OUT] Fri 8 Nov – Alexandra Palace – London, ENG
Sat 10 Nov – 3Arena – Dublin, IRE