braeyden jae, botched communion

Painting by Andrew Alba

Among the many benefits of being subscribed to Warren Ellis‘ newsletter is that sometimes he includes a music section. It was there, this week, that I found botched communion, by braeyden jae, and on listening to it, wanted to share it with y’all. There are only two songs. Closed Visions features soothing church-organ and church bells as a background to guitars so fuzzed out they almost sound like chainsaws; this song goes on for 10 full minutes and is awesome. botched communion by braeyden jae Cannot Reach has slightly brighter, cleaner tones winding through the buzzsaws, and is also delightful. botched communion by braeyden jae

My Dear Mother, David C. Clements


There are certain metaphors I abuse. Most of them are nautical. One is lepidopterological: I tend to think of musicians in the studio as caterpillars in a chrysalis, or, more accurately, in a cocoon. And fans as the tenders of these cocoons, sitting outside, waiting for a sparkly wing to emerge. David C. Clements has been in a cocoon for a very long time, and yesterday, a delicate wing popped out: My Dear Mother, his first EP in two years. Four songs, two new (My Dear Mother, When We Go), one alternate version of an earlier tune (On The Border), one interpretation of a Neil Young tune (Philadelphia), all collectively a teaser for a record coming early next year. The whole thing is awesome – the new/old version of On the Border is slower, but more expansive; there’s some muscle to it, now – but here are the two new ones: My Dear Mother, the title track, and an excellent introduction to his style, i.e. catchy shuffle-sway beat, sing-along chorus, lyrics that will tear at you. (Front rows of Norther Ireland: if you aren’t dancing to this, I’m giving you some serious squinch-face.) My Dear Mother EP by David C … Continue reading

The Boxcar Boys: Cicada Ball


Reasons I am super fond of Cicada Ball, by The Boxcar Boys: 1) Awesome cover art! They even have the creepy silvery wings. It only be better if some of them had red eyes. 2) Awesome tunes! The Boxcar Boys specialize in Dixieland jazz-folk fusion, featuring horns, mandolins, accordions, and the occasional burst of klezmer. Unlike actual cicadas, they’re good company on a lazy late-summer afternoon. Some examples: Shaking off the Cobwebs is a peppy little instrumental number: Cicada Ball by The Boxcar Boys Old Tracks, one of the few non-instrumental tracks, features sweet beautiful vocals by Kelsey McNulty: Cicada Ball by The Boxcar Boys And finally The Busker, which is both the longest and the most spare and delicate song on the record: Cicada Ball by The Boxcar Boys To listen to the rest, check them out at Bandcamp.

Post War Glamour Girls, Feeling Strange (Part 1)

Post War Glamour Girls by Emily Marlow

“Kudos to those with the broke nose breathing it in” Truth is, I should have been writing about Leeds band Post War Glamour Girls here a long time ago, but sometimes the relationship between a listener and a band plays out like a film romance – a glance across a crowded room, light and awkward flirtation, mixed signals, the listener ends up going home with some other band only to run into the first band again at some coffee shop, and stilted conversation is followed up by falling into bed together. You know, metaphorically speaking. In short, I am remiss for not mentioning it before, but PWGG are a good band. A really good band. Their 2014 full-length debut, Pink Fur, still enjoys heavy rotation in my listening and can still make me gape in wonder. Now, in the run-up to their next LP, to be released in October, PWGG are offering some of those new songs free for a limited time (as in, it was announced on August 14th that it would be free for two weeks, and it’s the 18th now, so…) in the form of the Feeling Strange (Part 1) EP. Listen and download below. Feeling Strange … Continue reading

Chill Out, Drown Out: Resplendent, In Vivid


Chill Out Drown Out: music for when you need to, well, chill out, and also drown out extraneous noise. Tunes for calming down and concentrating on important tasks or just having a peaceful time in the middle of a hurricane of a day/week/month/year/existence. I occasionally feel bad when my highest recommendation for something is “this is excellent background noise,” but – it is truly one of the finest accolades I can give. It means the music has successfully walked the fine line between “delicate, beautiful, but unobtrusive, integrates well into the process of multi-tasking” and “so boring I forgot the first song half-way through.” Resplendent, by In Vivid (Ben Snook, of Lawrence, KS) is indeed delicate and beautiful. The swirling textures and gently propulsive energy make it – for me, at least – ideal for tasks that require concentration and creativity. And, best of all, it stands up to repetition; I listened to it three times in a row one night last week and never got sick of it. Here are three songs to whet your appetite, chosen at least in part because I liked the titles. Lightswitch Indicator: The second song on the record, this one is for when … Continue reading

A Good Read A Good Listen and A Good Drink: Oiseaux-Tempête

OISEAUX-TEMPÊTE, 2015; photo by Pamela Maddaleno

It’s a simple yet sublime pleasure, and just thinking about it can make you feel a little calmer, a little more content. Imagine: You bring out one of the good rocks glasses (or your favorite mug or a special occasion tea cup) and pour a couple fingers of amber liquid (or something dark and strong or just some whole milk). You drop the needle on the jazz platter (or pull up a blues album on your mp3 player or dig out that mixtape from college). Ensconcing yourself in the coziest seat in the house, you crack the spine on a classic (or find your place in that sci-fi paperback or pull up a biography on your e-book reader). And then, you go away for a while. Ah, bliss. In this series, some of NTSIB’s friends share beloved albums, books and drinks to recommend or inspire. Oiseaux-Tempête, more or less of Paris, are an ever-changing entity. An iteration of the band that includes Frédéric D. Oberland and Stéphane Pigneul (FareWell Poetry and Le Réveil des Tropiques), Ben McConnell (Beach House, FareWell Poetry, Marissa Nadler) and bass clarinet virtuoso Gareth Davis (Elliott Sharp and Robin Rimbaud (aka Scanner)) have just released ÜTOPIYA?, … Continue reading

2014: A Year In Pictures


A year of rock n’ roll, in pictures, including two shows from late December 2013, which I shot after I posted last years’ Year in Pictures. Tonight I’m headed out to dance the New Year in with Erasure (!); have fun and be safe, y’all, and I’ll see you on the other side. The Districts, Brooklyn Bowl, Brooklyn, NY, Dec. 30, 2013 The Felice Brothers, Brooklyn Bowl, Brooklyn, NY, Dec. 30, 2013 Team Spirit, Irving Plaza, New York, NY, Dec. 31, 2013 Andrew W.K., Irving Plaza, New York, NY, Dec. 31, 2013 Fadeaway Friends Benefit 001, NGHBRS, Maxwell’s, Hoboken, NJ, Jan. 10, 2014 Fadeaway Friends Benefit 001, States and Kingdoms, Maxwell’s, Hoboken, NJ, Jan. 10, 2014 Fadeaway Friends Benefit 001, Frank Iero, Maxwell’s, Hoboken, NJ, Jan. 10, 2014 Fadeaway Friends Benefit 001, The Gay Blades, Maxwell’s, Hoboken, NJ, Jan. 10, 2014 Fadeaway Friends Benefit 002, Fred Mascharino, St. Vitus, Brooklyn, NY, Jan. 18, 2014 Fadeaway Friends Benefit 002, States and Kingdoms, St. Vitus, Brooklyn, NY, Jan. 18, 2014 Fadeaway Friends Benefit 002, Geoff Rickley, St. Vitus, Brooklyn, NY, Jan. 18, 2014 Fadeaway Friends Benefit 002, Frank Iero, St. Vitus, Brooklyn, NY, Jan. 18, 2014 Fadeaway Friends Benefit 002, I Hate … Continue reading

Mixtape Time Capsules: Driving Mix, c. 1992


A mix-tape, whatever its intended purpose, is also always a time capsule. A record of a person, a place, a set of feelings, a time that felt like forever, and then wasn’t. Last week I opened a box and a little piece of the ’90s fell out: the first driving mix-tape I ever made. There’s no date on it, but I’m pretty sure it’s from the spring of 1992, since that is approximately when I would have gotten my license. Fun trivia fact: I learned to drive on the Beltway. In a Chevette. Anyway it is a hilarious cultural trainwreck and I kind of love it, not least because a mix that starts with Dwight Yoakam, dips heavily into, among other things, Rocky Horror Picture Show, Tom Petty and the Heartbreakers, and Elvis Costello in the middle, and ends with Ashokan Farewell probably does still sum me up as a person reasonably well. Also, I have a terrible pop music problem and every time I listen to Five Seconds of Summer’s She Looks So Perfect I start laughing when they get to I got a mix tape straight out of ’94 because, dudes, I was there, I remember, and most … Continue reading

Dirtwire, The Carrier


I clicked “play” on The Carrier by Dirtwire (David Satori (Beats Antique) and Evan Fraser (Stellamara)), with a good deal of curiosity, and, based on the cover art, expecting something heavy and dissonant and dark, maybe an experimental noise space opera set in a dystopian future. As it turns out I was wrong. Well, mostly wrong: heavy and dark in places, yes, dissonant experimental noise, no. (That said: I do like dissonant experimental noise space operas and they are also welcome in my inbox.) Anyway. Back to the music at hand, which is a refreshing fusion of Appalachian and world rhythms – experimental noise in its own way, perhaps – which I have already listened to on repeat three times. This is the good stuff, y’all, go on and get it. Some examples to whet your appetite: Only One, a slow-burn stomper, which you can have for the cost of your email address: The Carrier EP by dirtwire Yunan, an instrumental number that mixes and matches twanging strings and hand-claps to delicious effect: The Carrier EP by dirtwire And finally Bottles, which, okay, maybe could be part of a dystopian space opera, what with all the cold echoes: The Carrier … Continue reading

Cash for Gold, Swan Dive


Cash for Gold are: Jordan Knight (vocals/guitars), George D’Annunzio (drums/back up vocals) and Stella Sue (bass/piano/back up vocals), and they are from San Francisco, CA. Swan Dive is their first record, and it’s a wild ride. A wild, glorious, ride. This Out All the Time, the first song, which starts out with one of favorite things – big aggressive guitars – and then becomes a sprawling tale of love and self destruction. This is Sunshine, which starts slow (well, slow-er) and rolls into my absolute favorite thing: a fast sea chantey hammer-stomp: Swan Dive by Cash For Gold The rest of the record switches between dreamy saltwater-shoegaze (Keen, Mexico and Swan Dive) and jagged surf-infused punk (Cobra Fight, The Witches) and is in all ways awesome. If you’d like to hear it live and in person: they’re having a record release show on Oct. 16, at Slim’s, in San Francisco. If I could be there, I would. Here’s hoping their future plans include coming east.