Showcasing Identity: June Cahill of Flower Housewife
Andrew Frey, Dec. 14, 2015
Originally published by The Little Rebellion
Photo provided by June Cahill
For such a petite soul, songwriter June Cahill has some grand ideas. Â Theyâre well-read and open-minded, but make no mistake, their take-no-sât attitude is a force to be reckoned with. Â Despite the incredibly likable personality they display, there seems to be somewhat of an internal struggle for the artist; a longing for self-acceptance of identity â one they can portray positively through their music, and also from day-to-day.
Youth Lagoonâs debut release, The Year of Hibernation, emanated a feeling of listening to posthumous recordings that were only intended for the songwriterâs ears. Â Whatever the intentions, Trevor Powersâ synth-pop bedroom recordings emerged from beneath the reverb-shrouded quilt obscuring the Idaho-based songwriterâs talent. Â While displaying strength in sharing his vulnerabilities, the frail-sounding Powersâ profound and introspective musings about his transition from youth to adulthood successfully cascaded the artist into the attention of the indie scene.
Youth Lagoonâs sophomore release Wondrous Bughouse, allowed Powers a more extroverted platform he didnât seem prepared for. Â The craggy psychedelic pop record of circus-like whimsy shared some similarities with his debutâs self-reflective nature, but was blunderous in its oversized and experimental ambitions, and the naivete of Powersâ speculative lyricism. Â
Youth Lagoonâs latest, Savage Hills Ballroom, finds a middle ground between the two. Â An album of longingâfor answers, for wisdom, and for life and death all at once, Powersâ latest release from Fat Possum Records exudes an awareness of newfound maturity, Â as well as the musical refinement of the transient synth and chamber pop-sound reminiscent of its predecessors. Â
Savage Hills Ballroom was recorded shortly after Powers learned during the last leg of his U.K. tour for Wondrous Bughouse that a close friend had drowned in his hometownâs river. While the album does not revolve heavily around his close friendâs passing, the incident had inspired a redefinement of Youth Lagoonâs sound and focus. Â âThere was a lot more purpose in what I was trying to say,â Powers told SPIN in a July interview. âEverything was more intentional, a little more driven by the subconscious.â Â The result: a more deliberate production quality of layered rhythms, melodic precision, an accompanying horn section, and a departure from the heavily-relied-on reverb cloaking Powersâ voice.
Savage Hills Ballroom by Youth Lagoon
Yes, for the first time we can hear Powers with distinct clarity. His trembling, boy-ish voice flutters to the opening of âThe Knower,â the albumâs lead single. Â In a song of pure societal skepticism, Powers accuses the masses of wanting âto think that theyâre good at heart, when theyâre full of hate,â with the exception of himself, whose verbal imagery has him emerging from âunderneath the canopy, lost in a spell.â
The accusatory statements seem to be a trend throughout the remainder of the album, appearing in "Rotten Human" and "Again" with Powers singing in the latter, "Through aisles of cans you walk/ 'Cause you'd rather spend than grow a crop" to the minimalist rhythms of a drum machine, and the experimental wailings of synthesizers and a saxophone. Â Despite the bold move in emphasizing his vocals, scrutiny lies in the lackluster and mundane statements the songwriter is attempting to make.
Less ordinary tracks include the albumâs lead âOfficer Telephone,â a song of mourning for his deceased friend. Â The opening synthesizer, reverb-heavy guitar tone, and infectious melody recalls the simplicity of The Year of Hibernation, all while infusing the explosive experimental stylings of Wondrous Bughouse. Â âDollâs Estateâ and âX-Ray,â two somber piano ballads serve as an interlude and epilogue to the album, breaking it into a two-part story. Â âFree Me,â by far the catchiest of the 10 tracks, is a true pop song and a polished testament to Powersâ songwriting ability. Â âWhat started as a spark / burned down the household,â sings Powers, a perfect summary of the albumâs inspiration and Youth Lagoonâs new direction.
Andrew Frey is the chief editor and a reporter at Underground Current. Follow him on Twitter.
âWeâre home!â shouts Kate Scarlett, pointing at the stage beneath her and the rest of Upstate Rubdown, the seven-piece jazz-folk-Americana outfit, reminiscent of old-time rag. Â The sweat-drenched patrons of Snug Harbor, stretching from wall-to-wall, roar as some raise their glasses to the occasion. Â
Without hesitation, and in the upbeat fashion of Upstate Rubdown, Ryan Chappell, launching into the bandâs latest folk and jazz-infused single âNo Slack,â triggers the late-night dance party the show would be come.
Despite the intense heat, Scarlett and fellow vocalists Mary Kenny and Melanie Glenn took charge of the sauna-hot tavern last Saturday, steamrolling through nearly three hours of material old and new, as well as an eclectic mix of past and present top 40, styled in a way only the band could achieve. Â
A Remedy by Upstate Rubdown
Joined by the meandering upright bass-lines of Harry DâAgostino, calculated rhythms from cajon player Dean Mahoney, and the polished melodicism of Chappellâs mandolin, the bandâs musical diversity shined through the dimly lit bar, truly flaunting the disciplined talent of the group as whole.
Highlights of the night included the Slow Club-esque jazz duet âWhy Do I?â from the bandâs self-titled EP, âBad Enough,â the swaying R&B track from the bandâs debut full-length A Remedy, and the ragtime finale âSweet Hot Pie,â inspiring the crowd and staff alike to start a bar top dance session.
Itâs become clear that despite each memberâs assorted musical background, Upstate Rubdown has cemented a well-developed and unique sound for themselves, not to mention a fun live show.
Andrew Frey is the chief editor and a reporter at Underground Current. Follow him on Twitter.
Well-rehearsed and fervent, Cygnus offered a frenzied arrangement of southern hardcore stylings tonight at day one of Friends with BeneFest.
The New Paltz-based band left a frenetic crowd wanting more in the basement of â4(2)0 North Smokewoodâ after stealing the evening with grinding riffs that would make any metalcore fanatic lose their mind.
Check out photos from their set below â complete with Andy Lawson booty shorts.
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You can't throw a stone in New York City without hitting a musician. But when a new indie rock outfit drops an EP produced by JP Bowersock (The Strokes, Ryan Adams, RZA), you notice.
The Rotaries are a four-piece band based in the greater New York City area, mainly performing in Manhattan and Brooklyn. Released March 10, 2015, their EP On the Outs is their fourth foray into recording, but is poised to be their first major release. The group recorded two other EPs before On the Outs, as well as a full-length album called Before Leaving.
"On the Outs is the closest we've come to how we want to sound as a group," said drummer Danny Nosonowitz.
In addition to Nosonowitz, the band is comprised of Bernard Casserly on bass, Chad Johnson on guitar, and James Rapp on guitar and vocals. Rapp is the groupâs primary songwriter. He and Johnson switch off on guitar lines, rather than falling into the usual lead/rhythm dichotomy.
On The Outs by The Rotaries
Nosonowitz and Rapp first began playing together five years ago while at school in Boston. When the two returned home to New York, Â Casserly and Johnson joined them, and The Rotaries were born.
Recorded by Mark Dann in a studio in New York Cityâs Chinatown, On the Outs is a five track tour de force of indie bliss. The opening tune, âBicycle Girl,â is downright infectious. The song grooves in a way thatâs a lot of fun to listen to, and immediately shows what this young band has to offer. A catchy melody, a guitar solo, well-used backup vocalsâthe track has it all.
And of course, we canât forget Rappâs voice. The vocals have just a hint of that classic Strokes muffle (Bowersockâs guiding hand was a contributing factor, no doubt), but the bandâs sound is their own. They manage to maintain their originality while still fitting nicely into a genre. Rappâs falsetto is especially delightful.
âBicycle Girlâ is followed by the EPâs title track. It opens with a classic rock-esque riff, and the energy stays high throughout.Â
With the longest track coming in at 3:19 (âDog,â the intense closer), every song is plenty radio-friendly, and the tunes might be getting some airplay soon.
âListen for âOn the Outsâ if you find yourself eating at a Shake Shack in the near future,â Nosonowitz said. He wasnât able to elaborate at this time, but milkshakes and indie rock? What more do you need?
Head over to The Rotariesâ Bandcamp page to get a copy of the album for yourself. If the high intensity tunes have you jazzed up and rearing for a live show, youâre in luck; the band is booking a string of summer shows which will be listed on their Facebook page soon.Â
Josh Azar is a contributor for Underground Current. Follow Josh on Twitter.
Earlier this morning, Brand New released their first new song in six years. Â The new track, titled âMeneâ was debuted last week at a show in Colorado, and performed again this past weekend at Coachella.
Check out the track below, and snag a free download by signing up for the bandâs email list.
Andrew Frey is the chief editor and a reporter at Underground Current. Follow him on Twitter.
We know spring has just arrived, but the summer music festival circuit is just around the corner. Here's an interactive map of upcoming festivals across the nation.
Use it to discover locations, price ranges, dates, and if the festival is campsite accessible!
Did we miss a festival? Let us know in the comments!
Andrew Frey is the co-founder and chief editor at Underground Current. Follow him on Twitter.
Last night, Earl Sweatshirt announced his new album I Don't Like Shit, I Don't Go Outside will be dropping next week on March 23. Along with the surprise announcement, Earl released a video for his new song âGrief.âÂ
Check it out below and be sure to vote on what you think!
Vinyl Tuesdayâs to Combat the Friday Global Release Date?
Andrew Frey, March 13, 2015
Photo from Billboard
"Vinyl Tuesdayâs" may be arriving sometime this summer, just in time to combat the International Federation of the Phonographic Industryâs announcement for a standard global release date. Â
Today in an interview, Michael Kurtz, co-founder of Record Store Day and President of the Department of Record Stores, told Underground Current, he and representatives from other independent music organizations are discussing the release of vinyl separately from the standard global release date.
âRight now, Iâm just making the rounds,â said Kurtz, âbut Iâve started talking to labels and distributors to see if they would support it, and theyâre saying âYes, they will.ââÂ
Kurtz also mentioned that yesterday, he has spoken with the head of sales from Barnes and Nobles who may be joining these indie groups in pushing Tuesday releases for vinyl.
The discussion for âVinyl Tuesdayâ is in an effort to repel the expected depreciation of independent music sales caused by the decision for Friday releases, according to Kurtz.
âIt feels like a [Friday] decision was made to move the street date based on a desire to expand online business, with services like streaming and YouTube,â said Kurtz. âI say this because the majority of retailers in the U.S. and U.K. were opposed to it, as are many important folks at the labels and distribution.â
According to Kurtz, vinyl is the ultimate marketing tool, and in a market where streaming is rapidly on the rise over physical sales, the move for a Tuesday release for vinyl can certainly help the independent groups threatened by the IFPIâs Friday standard.
âWeâll launch it very much like we did Record Store Day,â said Kurtz. âWeâll build on it, and build on it until everyone understands âvinyl comes out on Tuesday.â
Names of the labels and organizations involved could not be disclosed, but Kurtz urged that announcements will be made soon, with an official release in June.
Andrew Frey is a co-founder and chief editor at Underground Current. Follow him on Twitter.
Brooklyn-based dragpunx, Robot Death Kites have a reputation for rowdy shows that generally end with their frontman stripped down to his underwear, screaming in the center of a sweat-drenched crowd of makeup-smeared, mustache-penciled faces.
If that's what you're into, check out their music below and be sure to vote on what you think!
On Monday, we reported the announcement from the International Federation of the Phonographic Industry (IFPI) to set a standard global release date for the music industry. Â Despite the accordance of various artists and music retailers, there was some backlash from executives and heads of independent labels and organizations.
Most felt the decision would marginalize independent artists and labels from the mainstream spotlight, so we decided to reach out to a few of them, as well as the IFPI for their opinions on the matter. Â
Hereâs what they had to say:
On Global Release Day:
âThe main driver of moving to a Global Release Day is to meet the needs of the consumer. Narrowing the release window removes a potential cause of consumer frustration due to lack of access to legal channels under the present system of different national release days.  But there is an advantage in addressing piracy too. When a switch to a global release day narrows the window from several days to 16 hours,  it reduces the incentive for consumers to turn to piracy to get access to new releases.   There was some research done on the potential economic  impact of this:   the US research analysts Simon-Kucher estimated there could be an overall market uplift of 3 percent in global industry revenues (physical and digital) as a direct result of narrowing the release window.â
âAdrian Strain, CEO of the International Federation of the Phonographic Industry
âPretty much all retail business from fashion, to movies, to games have a streetdate of Monday or Tuesday globally. This has to do with product flow and giving great customer service. A Friday streetdate tanks all of that. It feels like a decision was made to move the street date based on a desire to expand online business, with services like streaming and YouTube. I say this because the majority of retailers in the U.S. and U.K. were opposed to it, as are many important folks at the labels and distribution. Besides that, the Friday streetdate is modeled after Australia who have seen a decline in sales since moving to a Friday streetdate. Why would should the largest music markets in the world move to a failed model?â
âMichael Kurtz, co-founder of Record Store Day, and President of the Department of Record Stores
âWe like the global release day concept, but, as per our website post, we would prefer Monday or Tuesday [releases], so we can be in store with book, DVD, [and] game releases and hopefully that traffic will generate impulse music purchases as they walk by.â
âRich Bengloff, President of the American Association of Independent Music
On the Marginalization of Independent Artists:
âItâs important to note that there has been virtually total support across the music community for the global release day and that the only real debate that has ensued in the lengthy consultation we had was over which day it should be. Â We donât think the global release day will decrease competition and market diversity. Â All record companies, majors and indies, already compete with each other, and take that into account when setting dates for their releases. Global release day will not change this. Â On the other hand all record companies stand to benefit from the advantages of a global release day. Â Itâs a case of a rising tide lifting all boats.â
âAdrian Strain, CEO of the International Federation of the Phonographic Industry
âWhy would artists want their distributors to disadvantage their partners? Everybody else from shoe companies, to DVDâs -- you name it -- anyone with a physical retail outlet stocks their stores mid-week. Then you can sell and gage your sales, and plan to restock on the weekend. Â You canât restock on a weekend. Â New and developing artists will be marginalized so this is very damaging to independent labels and artists.â
âMichael Kurtz, co-founder of Record Store Day, and President of the Department of Record Stores
âGiven weekend traffic will our in-store appearances get bumped? The stores will carry plenty of Justin Bieber, but if an indie title sells out on a Friday there can be no re-reorders filled for the weekend. A Monday or Tuesday [release] provides two peaks.â
âRich Bengloff, President of the American Association of Independent Music
On Competing with the Film Industry:
âThis move was designed thinking about music  consumers first and foremost but that it will also be beneficial for artists, labels and retailers for the reasons weâve outlined.   Weâre moving the release day to a time of the week when consumers already engage with music and when they say they would like new music released.  Having said that, movies are released in many markets on Fridays and it seems quite possible that other entertainment sectors will decide in future to adopt a Friday release day for the same consumer-led reasons driven by the music industry.â
âAdrian Strain, CEO of the International Federation of the Phonographic Industry
âIt is a profoundly bad idea. The film industry outguns the music industry with strategic marketing campaigns via social media, television, radio, and print. Now artists will have to compete with that. The biggest commercial artists will probably do okay, but everyone who isnât in the collecting of millions of micro-pennies from video views will suffer. Of course, this is assuming that the whole point of the Friday streetdate isnât to eliminate retail competition and to only work with one big retailer like iTunes. No one has explained the logic of this move so everyone is just guessing.â
âMichael Kurtz, co-founder of Record Store Day, and President of the Department of Record Stores
Andrew Frey is the co-founder and chief editor at Underground Current. Follow him on Twitter.
Beginning this summer, the record industry will begin dropping new releases on Fridayâs instead of Tuesdayâs, setting a standard release date for the global music market.
Announced on Thursday, Feb. 26th, the International Federation of the Phonographic Industry (IFPI), a British-based organization which essentially serves as the United Nations of the music industry, revealed record releases will be moving from Tuesday to Friday in an effort to decrease piracy rates, allow artists to focus their social-media campaigns, and "re-ignite excitement and a sense of occasion around the release of new music," according to IFPI's statement.
The decision, which had been in development since last summer, consulted various artists, unions, labels and retailers, including the Music Business Association, which represents the likes of Spotify, Rdio and other international music retailers â all of which are in accordance with the initiative.
âMusic fans live in the digital world of today,â John Moore, CEO of IFPI, wrote in a statement. âTheir love for new music doesnât recognize national borders. They want music when itâs available on the internet â not when itâs ready to be released in their country. An aligned global release day puts an end to the frustration of not being able to access releases in their country when the music is available in another country.â
Despite compliance from many across the spectrum of music groups, several independent labels and organizations feel this will threaten their business.
Martin Mills, founder of British-based indie Beggars Group, recently told The Guardian that this shift would further marginalize tomorrowâs potential mainstream, cementing the dominance of todayâs in a market where mainstream already dominates.
Writing for The Verge, Micah Singleton addressed the fact that record releases will now share the same date, and will now have to compete with film releases.
Despite the heated opinions, the effects of the decision are uncertain and will most likely remain that way until âGlobal Release Dayâ becomes a reality.
What do you think of the move? Do you think it will effect smaller labels and artists? Let us know in the comments!
Andrew Frey is the co-founder and chief editor at Underground Current. Follow him on Twitter.
Sleater-Kinney has teamed up with the animators from the TV show Bob's Burgers for the band's latest video "A New Wave" from their recent album No Cities to Love. Check out the video below to see the Belcher siblings jam along to the band's performance in a psychedelic soiree.
Andrew Frey is the chief editor and a reporter at Underground Current. Follow him on Twitter.
I know I'm about a bit over a year late writing a review for Grow Up, but I couldn't resist the idea of doing so. Brooklyn-based band, Bethlehem Steel, one our better finds while perusing the k-hole that is Bandcamp's "Discover" section, have been together since Oct. 2012. Current members Rebecca Ryskalczyk, Zephyr Prusinski, and Jon Gernhart had known each other from former bands (Zona Mexicana, Longitude, Paul's Grandfather) throughout their college years, and upon meeting up in New York City, formed Bethlehem Steel. Â The band has since released their debut EP Grow Up in June 2013 on Miscreant Records.
Grow Up  kicks off with âGuts,â the bandâs debut single.  A reticent guitar emblazoned in surf-rock reverb enters with a swaying melody, a brief introduction for Ryskalczykâs fluid-crooning âI donât have space or starsâŠâ and Gernhartâs intricate drums. âGutsâ is certainly a highlight of the EP, taking the hand of the listener on a sullen, yet frenzied, rollercoaster.
Following âGuts,â is  âMountain Song.â The melancholy tune of reverbed guitar continues, as it does throughout the rest of the EP. Ryskalczykâs voices a thoroughly somber chorus âCome over here, baby. I need more salt in my wounds,â over a repeated guitar melody, and soft drums.
The pace of the EP changes with âSwitched to 6.â Opening with the click of drumsticks, a twang of guitars explode over heavy toms. The song is  bit âheavierâ than the rest of Grow Up, successfully displaying the dynamics of Bethlehem Steel.
âTo Levinâ and âGreat Circle Mappingâ complete Grow Up. âTo Levinâ a bohemian coffee shop-sounding piece, returns to the delicate sounds of âMountain Song,â with flowing double-tracked vocals, and minor chords.
âGreat Circle Mapping,â the perfect finale to Grow Up, is a culmination of all of the aforementioned qualities of the EP. The song flows in-and-out of whist and manic turbulence, all while maintaining a catchy and hummable melody. âGreat Circle Mappingâ is a personal favorite and another highlight of the EP.
Within the past year Bethlehem Steel have released Dem Ohâs, leading up to their full-length release (TBA). You can follow Bethlehem Steel on Facebook for frequent updates and tour announcements, and check out all of their music available for purchase on Bandcamp.
Andrew Frey is the co-founder and chief editor at Underground Current. Follow him on Twitter.
The electronic music craze is bigger than ever, and with labels like Sheik 'N' Beik it's no wonder why.Â
The New York City-based music collective/label has not only compiled an impressive roster of talented artists, but are also building a reputation for throwing unforgettable parties and events.
Tomorrow night Sheik 'N' Beik will be hosting Walker & Royce, fresh back from a European tour. The duo will perform along with Fong, Jeffrey Scott, Nash, Jasper Stapleton, and Mectec & PVA at the bi-level club, Up & Down in Manhattan. It is a 21+ event, so for all you young folk, we apologize. Â
Up & Down is known for their ludicrous after parties, alluring artwork, secret rooms, and some of the top DJ's on rotation, so tomorrow night, like most nights, will most likely be flooded with guests. But don't worry, reservations are still open.
To RSVP shoot an email to: [email protected]. Admission is complimentary for those who RSVP, but guests are subject to the club's discretion after 11:30 p.m. For a confirmed entry after 11:30 p.m. arranging for table service is strongly recommended.
You Blew It! is bringing back music from the Millennial's middle school era, and it's awesome. The five-manned band from Orlando, Florida, influenced by midwest bands like Capnâ Jazz and The Get Up Kids, is using their heartache and anger to create some great shit with raw energy, and gravelly, unpolished screams. Â If you think you've felt YBI's intensity through their records, you'll be even more impressed with the raucous energy they generate during their shows.
In July, You Blew It! will release a Weezer tribute EP, in accordance with the 20th anniversary of The Blue Album. YBI's album, titled You Blue It, will include covers of "My Name is Jonas," "Surf Wax America," "Only in Dreams," "Susanne," and "In The Garage."
You can find You Blew It!'s music on Bandcamp, Facebook, Twitter, and Spotify. And for those of you attending a date on Say Anythingâs most recent tour, you can catch You Blew It! kicking off the night alongside The So So Glos and The Front Bottoms.
Carissa Cancel is a co-founder and content manager at Underground Current.
