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Vol. VII 2013

FEATURING

YOUNG LONDON THE LONELY FOREST RDGLDGRN

ALBUM REVIEWS BEACH FOSSILS ABBY BERNSTEIN MYLES STEFAN

WHERE ARE THEY NOW? VAN HALEN

WWW.NEWSOUNDMAGAZINE.COM SPARKS THE RESCUE • MEREDITH ANDREWS • ABBY BERNSTEIN • DARA MCLEAN • FLUME


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PUBLISHER/CEO: PAUL CORACE EXECUTIVE EDITOR: JOE D’AMBROSI MANAGING EDITOR: ASHLEY GOLL SENIOR ART DIRECTOR: LOUIS H QUACH GRAPHIC DESIGNERS: WIN-KYE CHEONG MELISSA FEARON SENIOR VIDEO EDITOR: NICK HERMS VIDEO EDITORS: JOHN CALLEJAS MEDIA CORRESPONDENT: ASHLEY GOLL CONTRIBUTING WRITERS: KATARINA BARONE JESSICA BERNATT ASHLEY GOLL CATHLEEN KENOE ALIVIA MASSIMILLO EMILY SOPER KEVIN SPERANDEO MORGAN WELLINGGER PHOTOGRAPHERS: MORGAN HARRISON HANNAH SINGLETON COVER ARTWORK: WIN-KYE CHEONG CONTACT: 631-757-3187

Mission Statement “New Sound Magazine spotlights both young, talented artists that have the potential to become the next big name in the music industry, and the truly brilliant bands which already have. We’re finding the voice you’ll fall in love with, the song you’ll play over and over, the concert you won’t want to miss.”


Letter From the Editor H

ave you ever tried to sit down and define the word “normal”? I wouldn’t – it’s boring. The type of beats and voices different from the norm are the kind that naturally shines. When you open your ears up to new sounds it is easily likable. That feeling of unraveling a great new tune as your body sways into the lyrics while the verses change. Your feet will start to tap to the beat not realizing your heart is racing as if it were the melody. This magazine you decided to pick up and read is conveying the rush of a new experience, a new sound to all of you readers. New Sound magazine is the start of something pure. We are portraying a type of strong, fresh, and contemporary vibe and will become a meaningful voice in the music industry. New Sound is scouring the music scene for a sense of infernality and crisp talent. A crisp talent with the potential to make it huge. No

matter your personal preferences New Sound is bound to have something that will make your head and heart glide into it, something you’ll love. We cover everything from hip hop, to pop, to rock and all varieties in between. We like to go into depth and get into conversations with certain artists. We find it to be more personal to attend live performances, set up interviews, and continue album reviews. Viewing these artist live allows you to have a chance to get inside the loop for our next generation of music. New Sound magazine is a type of “hold onto your seat” music publication. These new inspiring artists give the fans just what they need with a little help from us. Our goal is to help you open up to original sounds that will leave you wanting to explore the new sound of music we offer here in our magazine.

Photo Credit | Adriana Kijko

ASHLEY GOLL


ALBUM REVIEW Beach Fossils Abby Bernstein Sparks In Rescue Flume Wild Nothing

FEATURED ARTISTS

Eric Dash Young London RDGLDGRN The Lonely Forest

VENUE REVIEWs The Bell House The Glasslands

WHERE ARE THEY NOW

Van Halen

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22 26 30 34 52 54

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CHECK IT OUT Meredith Andrews Dara McLean Keyke Lion In The Mane The Morning Of Myles Stefan Alexandra Stewart

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beach fossils By Katarina Barone

n the ever-expanding indie rock universe, Dustin Payseur – the pallid, rumple-haired creative force behind Brooklyn’s Beach Fossils – has blown up, grown up, ‘Crashed Out’, and cashed in. He’s drafted bandmates, licked-up bedsit pop, and scorch-earthed countless stages. Yet throughout four years of artistic delights and defeats, Payseur’s allegiance to an aesthetic of clean lines and simple shapes has never wavered. The Beach Fossils template remains fixed: shimmering, uncomplicated guitar melodies that one could play in their sleep; detached, reedy vocals; straightforward lyrics that sound lifted from an adolescent’s dog-eared journal. Or, distilled into a few words: “Keep it simple, hipster.”

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ALBUM REVIEW

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he Beach Fossils front man is dealing with some tricky stuff. The time that’s passed since Beach Fossils’ solid, well-received eponymous debut has given its name an unintended resonance; when we all pass from this mortal coil, songs like “Daydream” and “Vacation” will be artifacts frozen in time, informing our descendents of what happened in 2010 when the attitudinal tenets of chill wave were leeching into fuzzy, soft-focus indie pop. There’s the big picture stuff too: how to let one’s ambition manifest, what really endures in a world where so much is fleeting, the challenges of squaring ar tistic expression wit h f i n a n c i a l temptation. These are all relatable even if you’re not in a band, and they’ve proven f ine inspiration for musicians who confidently use their art as a means of making sense of it all. On the other hand, you sometimes get a passiveaggressive album like Clash the Truth, which just sounds kind of confused. That’s really the bigger concern. Their first album peers Wild Nothing, Real Estate, and Cloud Nothings have already proven themselves with assured, expansive sophomore LPs, and in even quicker succession, former guitarist Zachary Cole Smith’s Dive went from “Beach Fossils side project” to DIIV, a band that surpassed them while operating in the same lane. There’s a lack of conviction on Clash the Truth that finds numerous ways to infiltrate

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otherwise fine songs; the opening title-track makes an unexpected shift into a post-punk monotone which only stresses the utter lack of urgency in Payseur’s vocals. By introducing a darker, more socially aware edge, it makes a song on the opposite end of the spectrum like “Taking Off” (“I’m taking off again/ It feels like it’s so soon/ Am I excited or am I just so confused”) sound like a sheepish retreat to their previous work. Elsewhere, Beac h Fossils’ indecisiveness arises more subtly. Some wondered if the relative

cleanliness of their 2011 What a Pleasure EP detracted too much from the scrappy charm of Beach Fossils; it isn’t the production methods that defined them so much as a kind of instrumental formalism where all the moving parts work in an almost militaristic lockstep. Without that rigidity, you get amiable, mid-fi college rock jangle along the lines of “Careless” and

“Crashed Out”, or drowsy, rainyday window-watchers like “Sleep Apnea” that are perfectly tuneful in the moment and do little to impress on one’s mind in any way, let alone establish themselves as the work of Beach Fossils and no one else. You also get the sense of a bigger, conceptual gambit that they couldn’t quite grasp. The inclusion of several short guitar pieces isn’t a bad move in theory; their riffs are often tasked with handling the expression when Payseur’s flat, affectless voice cannot. But while their titles suggest some sort of attempt at unifying the disparate sounds of Clash the Truth, they manage no sequential effect and unlike DIIV, the difference between their instrumentals and vocal pieces is too wide to hear them as anything other than filler. The wishy-washy attitude may be slightly bothersome for most of Clash the Truth, but it’s frankly inexcusable on “Generational Synt he tic”, a song about the intersection of commerce and art whose title makes its point abundantly clear. Whether or not you think Beach Fossils have earned the right to make a song like this is a moot point. Two years ago, you wouldn’t have thought Cloud Nothings would’ve had much to say about it either, but by making their sound a philosophy, Attack on Memory was a kickass rock album and potent criticism. With its ringing guitars and brisk drum rolls, “Generational Synthetic” is not too different than any other Beach Fossils song.

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MISSION STATEMENT “New Sound Magazine spotlights both young, talented artists that have the potential to become the next big name in the music industry, and the truly brilliant bands which already have. We’re finding the voice you’ll fall in love with, the song you’ll play over and over, the concert you won’t want to miss.”

Info@NewSoundMagazine.us (631) 757-3187


ALBUM REVIEW

Abby Bernstein d

Talk in Tongues By Ashley Goll

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ampden, Massachusetts native Abby Bernstein has opened up for the Barenaked Ladies and her songs have been featured on MTV and the HBO hit show “Girls.” Her new album Talk in Tongues was released in 2012, and was very highly acclaimed, and got enough recognition to put her on the map, media-wise. She has been featured throughout television, and with that, others have taken notice of her soulful and beautiful singing voice. Bernstein has been involved with music since she was a child, and she has relocated from her hometown in Massachusetts to New York City. Talk in Tongues in the second album for the singer, the first being 2010’s I’m Not Sorry. Bernstein’s song (and video) “Mary’s Son” has been getting very popular via YouTube, and rave reviews from critics. Her voice mimics the classics that she is so fond of, such as Etta James and Billie Holiday, while being relatable to

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Norah Jones for the younger fan. Bernstein is now based out of New York because she attended school here (Barnard), and she embraces her small town roots. All of the songs on the album are very soulful and well written by Bernstein, and she has big talent for music and vocals. “Spend the Night” has increased in popularity due to its use in the show “Girls,” but it’s no coincidence, the song is very, very good. The West Coast will be able to see Abby this October, but keep an eye out for her, and her newest album, Talk in Tongues. She is a big talent that is just heating up, and she is definitely worth a listen (and her music’s use in television is no coincidence of its greatness!) She updates her social media and website with her tour dates, and hopefully she’ll be coming to a city near you. @abbybernstein

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ALBUM REVIEW BY ASHLEY GOLL

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yes To The Sun contained hit after hit of sun-soaked pop-rock tunes – come on, you still know the words to the chorus of “My Heart Radio” – Sparks The Rescue lost their footing on Worst Thing I’ve Been Cursed With. Seemingly unsure of how to top their debut record, they faltered on the release by playing it too safe, wishing to avoid a notorious sophomore slump. As a result, the release lacked the likability that drenched the summery Eyes To The Sun, being enjoyable yet

instantly forgettable. However, things are different this time around, and that’s clear from the get go. In fact, starting the EP off with “Disaster” may be the best decision the five guys have ever made – seriously, their best decision. The immediate employment of dual vocals – courtesy of former member Marty McMorrow helping out – quickly removes the monotonous taste left from Worst Thing. Adding a varied delivery to

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the vocals gives the track the necessary kick it needs, making certain our ears are glued to the song and ready for more.

these words stick in your mind, as this idea of burning the past and being rebuilt upholds the theme of the whole EP.

The biting riff in “Burn All My Clothes” ignites Roy’s wails of “Too many times before / I felt as though I’m stuck in a cliché / You can’t sell a broken record / So just throw the songs away / Come on, destroy everything I used to be.” The guitar tepidly builds into these words before taking off into a vicious riff, assuring

On “Water Your Heart (Safe, Sound, and Buried),” the band stutter steps its way into the chorus, with piercing guitars weaving in and out of the hook throughout the track. Such buildup really makes the chorus stick out while you’re just waiting for the hook to hit you in the jaw.

The final “Phoenix” changes the whole mood of the EP, with Sparks The Rescue taking the acoustic route out. Ending with this image of a phoenix symbolizes the rebirth of the band: “Fly away, start over somewhere south / She says the weather’s nice.” And so, through these last words comes a new beginning for the band. Funded completely by fans, this is a career-defining EP for the Sparks The Rescue – it is their rebirth and welcome back.

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LYRICS! “She’s a phoenix I watched her spread her wings Why does she always fly away Oh when I’m feeling as she burns me up inside Behind those charcoal eyes I took a breath and let her go She’s as bright as the snow oh ohh oh So fly away start over somewhere south She says that the weather’s nice She’d love me to come out Across the Midwest in the day Drove a car all the way to Denver Called me to say she loved the way the mountains still had snow in the summer I took a breath and held it in No she’s never coming back again”

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INTERVIEW Q: How would you describe your music? A: We’ve definitely changed our sound over the years. From screamo to pop punk, soft rock. I’ve always thought we are a Rock N Roll band. Q: Who are your musical influences and non-musical influences? A: Growing up as a kid we we’re all reallay heavily influenced by Blink 182 and bands like Taking Back Sunday, Saves the Day, Brand New. I’ve always been a huge Bright Eyes and Counting Crow’s fan. My family, friends and relationships have always been a influence on me. Without their support I wouldn’t be able to play music and follow my dream. Q: What do you want audiences to get out of your music? A: I hope people listen to my songs the way I listen to my favorite songs. Songs can get us through rough times and be an anthem for the good times. Q: Where is the best place your music has brought you? A: Touring, I’ve been lucky enough to see the US a dozen times over. We got a chance to tour Europe with The All American Rejects that was definitely a highlight of the past few years.

Q: Where did you come up with the name “Sparks in the Rescue“? A: This question comes up a lot. Besides most people calling us sparks to the rescue or sparky the rescue dog. It actually came from a Nicholas Sparks novel called The Rescue. The Rescue was taken so we added his last name before it. Q: What was your best trip and memories together? A: Warp Tour 2010 was one of my favorite tours. Reminded me of a summer camp for bands. Q: What is your favorite song and why? A: Counting Crows - Mrs. Potters Lullaby. I love the lyrics. They move me. Q: What can we expect from you? A: New full length sparks record in 2014 I am working on a solo record I hope to release by December 2013 Q: Tell us a bit about yourself/the bandwhen did you decide this would be your life? A: We all grew up in Maine, playing in bands together throughout high school. I knew the first time I hit the stage as a sophomore this was what I wanted to do with my life. My Father is a musician as well; apple didn’t fall to far from the tree.

Q: Are you surprised by the positive reactions your record has been getting? A: I always am pleased when people like my music, it’s a great feeling knowing people love what I love to create. Q: What are your plans for the rest of the year? A: Writing, recording, heading out on a little tour in December, I think we might record a few Christmas tunes or write a couple to release at the shows. Q: Had you had any offers recently? A: Yes, although we would love to be on a label again. The right offer has yet to come to the table. Q: What do you want people to take away from this record? A: A good listen, I’m not sure? I feel like people take away different things, everyone might find a completely different meaning in there own lives to each song. Q: How do you promote your band and shows? A: Internet and a lot of trolling. Q: Describe your show visually and musically? A: We like to move around rock out as we say. Visually just pure sex.

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BY ASHLEY GOLL

• FLUME •

SRETEN brings about a

UNIQUE

ELECTRONIC SOUND which

utilizes various

other genres of music such as

hip-hop, soul and alternative/indie.

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ALBUM REVIEW

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he debut album from Australian electronic musician/producer Flume, aka Harley Streten, Flume is an atmospheric, experimental mix of electronic dance-oriented sounds that touches upon aspects of R&B, indie rock, and pop. Working with a bevy of artists including George Maple, Moon Holiday, Jezzabell Doran, Chet Faker, and New York rapper T-Shirt, Flume crafts tracks that are more like sound scapes than actual songs. More often than not, bits of melodies and lyrics pop up here and there, but tracks never quite gel into a hook in any traditional sense (although a few, like “Bring You Down,” have a Dido-like trip-hop/dub step quality). Which isn’t to say these aren’t catchy recordings. On the contrary, Flume has a knack for layering beats, instruments, samples, and vocals in a way that grabs your attention and creates an evocative, somewhat hypnotic mood. While not necessarily dance floor-oriented, Flume’s debut certainly fits into a post-2000s club vibe and DJ culture that borrows liberally, and often with inspired aplomb, from cut-and-paste hip-hop, avantgarde electronic composition, ambient pop, and

contemporary R&B. A few listens through Sydney, Australia producer Flume’s recent self-titled album makes me certain of one thing: it’s a shoe-in for electronic album of the year. Yeah, I said it. It’s just that good. Clocking in at 15 tracks it’s a bit too long for me to give a full breakdown so here’s a list of my immediate thoughts upon listening through the album and my five favorite tracks, arranged in order of how much I like them. Flume is turning a lot of heads. The Australianborn Harley Streten has recently enjoyed an iTunes chart No 1 in his native land, as well as seeing the same hypnotic track, Sleepless, notch up more than 1m views on YouTube. There are enough Aussie expats in the house tonight for the lanky, fresh-faced Streten to be greeted like a conquering hero when he appears on stage. It all seems a tad incongruous for a bedroom laptop auteur whose imminent self-titled debut album is awash with the kind of ambient electro beats that are best appreciated late at night, alone, on headphones.

Favorite Tracks: 1. Holdin On 2. Ezra 3. What You Need 4. Insane ft. Moon Holiday 5. More Than You Though

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ALBUM REVIEW

Wild Nothing BY K ATA R I N A BA RO N E

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ild Nothing first started gaining traction with a cover of “Cloudbusting” by Kate Bush back in 2009. Then came the requisite daydream sunshine song, “Summer Holiday,” a strummy, Brooklynite rooftop party anthem later featured on the band’s debut LP, Gemini. That first record was one of particular and intentional understatement, populated by songs like the quiet kids at the back of the classroom, specimens of shy genius. The follow-up LP, Nocturne, saw Tatum learning to raise his hand and speak up. The songs were just as intelligent as the former album’s but more confident and demonstrative. Both records were received with rave reviews. When Empty Estate opens with crunchy guitars and oscillating synths, you can tell Tatum no longer has any time for the quiet introspection of his first releases. On “The Body in Rainfall,” the percussion is more happy and snare-heavy, and so are the rest of the instruments. That’s not to say this is his “it might get loud” release because it’s still punctuated by whispery tones. But these punctuation marks have gone from run-on commas to self-aware periods, and here he’s heading for exclamation points.

the listener to attention. Bands like Wild Nothing spend some time meandering as part of their MO, so Tatum knows he needs at least a couple straightforward tracks to anchor and bolster the listener’s experience. But third track “On Guyot” is a little too sure of itself, a little too confident that “Ocean Repeating” has us rapt enough to be able to wander along with his swirling, where-arewe-heading synths with no North Star. “Ride” is a little too close to Washed Out’s sound, from synthesizers to vocals, to consider this a success for Tatum experimenting with chill wave. “Data World” is where the record really picks up steam again, the run-along bass stealing the spotlight. The guitar-synth interplay here should put you through the roof. The same goes for “A Dancing Shell,” whose depressed meanings, “I’m not a human / I’m just a body/ Just a dancing shell,” are highlighted by a dance beat all about defeating the melancholy its lyrics perpetuate. “Hachiko” does its walkabout a little better than “On Guyot” but still leaves you wishing the record could have ended on a more upbeat, decisive note.

“Ocean Repeating (Big-Eyed Girl)” has the best qualities of many a second song. There’s intensified riffing intent on snapping

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ERIC DASH By Katarina Barone

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ric Dash has recently been dubbed the “male Taylor Swift” of the music industry. His catchy tunes and country voice gains worldwide recognition as he soars to the top. Coming from New Jersey he has always dreamed of doing music. Eric has been playing the guitar since he was a young boy and performing at any little gig he could get into. His style is very much like John Mayer, Jack Johnson, and predominantly easy and beautiful listening. When he was thinking of what to do after college his only vision for himself was to become a successful musician. He couldn’t imagine his life any other way. With ambition fueling his fire to fame, he took risks and tried to break the mold on his journey. He knew the people he needed to be involved with, and he knew all he needed was one person to believe in him, and to back him. He took a chance on connecting with John Mayer’s producer Jack Puig when he sent him a phone video of him performing and singing on his guitar. He never thought that he would get a call back because of the popularity of the producer, and when a phone number from California popped up on his screen he forwarded it to voicemail thinking it was a solicitor. To his surprise the “solicitor” left a message explaining that he was interested in speaking with Eric and received his video. It was Jack Puig. Upon returning his call he explained to Jack that he was inspired by his producing and was looking for a mentor to further his music career. Jack seemed interested and Eric met with him to soon make a deal of a lifetime. Jack was excited to help Eric pursue his dream, and to refine his craft. Eric says that he has learned so much while under Jacks wing and wouldn’t have asked for a better mentor. Now that Eric is supported by a producer, he is touring and recording nonstop.

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“It’s a hustle, it’s a grind…and everything is going in the right direction right now.” Eric states. It’s a hard road as a musical artist; to remain consistent is almost to reach success. It’s up and down and a whirlwind of sorts. Now that Eric is regarded as an emerging talent he has some more creative freedom and opportunity than before. Recently he filmed his music video for his new single “Ms Sally Jones” It looked like a good time. The song is airy and seductive, much like Eric’s demeanor. He is definitely easy on the eyes, as many girls have become quick fans of the emerging musician. His early influences are Justin Timberlake, John Mayer, Something Corporate and Jack Johnson. When he was younger he played in a back up

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band in Philadelphia. It gave him experience and insight to the world of music. Now he is hoping to become world renown and to tour internationally as a solo artist. He has produced three demo albums so far and he’s ready for his solo album debut in the next year or so. He is traveling back and forth from New York to Los Angeles to work with Jack, and to produce his first successful album that will no doubt be chart topping. Look out for his record out now “My Own Island” and “Ms. Sally Jones” on ITunes. We look forward to hearing more music from this handsome young lad and seeing him perform a lot more shows in the coming year!

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YoUNG 26

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LoNDoN by Emily Soper

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oung London is a musical duo consisting of Matt Rhodes and Sarah Graziani. Rhodes and Graziani came together as a band in 2010, and began writing music together. The two released a self-titled album in 2012, which mixed his love of electric rock, and her love of indie-pop. The sound of the group is not indigenous to their locale of Boston, Massachusetts, but they are blowing up nationwide, regardless. Their debut single, “Let Me Go” was recorded on the band’s debut album. The band’s EP, “Instincts” was funded by fans on the website, “Kickstarter.” Many bands are turning to fans to get a start on their albums and careers this way, as fans will donate until the band or artist has reached their goal amount. In the case of Young London, the band asked fans to help raise funds via Kickstarter, and if they surpassed the goal, they would create videos and go on tour. “Let Me Go,” the band’s first single was also accompanied by a video. All of their songs are very catchy, and very familiar. “Celebrity” sounds vaguely like Flo Rida’s 2009 hit, “Right Round.” They have a familiar FM pop sound that will definitely gain them the teenage audience, and force them to lose credibility with their adult fans when they were “underground.” As with the case of 3OH!3 (of whom Rhodes’ vocals also sound vaguely like), who lost some of their “adult” fans when hitting the main scene. The song “Infinite Love” has a more rave/ dance/club sound similar to Krewella or Zedd. This will probably be more popular with the older set. The band out of Boston definitely does not sound like a band out of Boston. Young London sounds like a band out of California… or Sweden. The band has played warped tour for the past few years, and they’ll be playing Nashua, New Hampshire this Halloween. Their newest single is “Call My Name (Tonight).” Young London is definitely not going to stay underground; they have the sound and the dance-able beat that will take them to the top 40 charts, and most definitely the mall. @ _younglondon

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RDGLDGRN By Ashley Goll

Straight out of Virginia, RDGLDGRN makes music that is as unique, memorable and, yes, colorful as their name.

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DGLDGRN (pronounced Red Gold Green) is an American band based out of Reston, Virginia. They were formed in 2011. This band recorded their debut album at Sound City Studios in 2012 with their producer Kevin Augunas and engineer Clif Norrell. They have worked with a wide range of notable

musicians.

In 2009, this band played every single free show in Washington, D.C. They used to do this open mic. A whole bunch of rappers would get on stage, even other type of rockers and they would improvise for hours, until it hurt. It was like rock and hip-hop and that’s why we sound the way we do. The band has gotten a lot of attention for their high profile collaborators. Getting the immortal Dave Grohl to play drums on your record? Name a band for whom that wouldn’t be a wet-dream come true. To say nothing of a collaboration with Pharell Williams on “Doing the Most,” and a guest spot from Angel Haze on “Lootin In London.” But those collaborators only add some sonic diversity to the band. The fact that a Pharrell Williams co-written song isn’t the best track says a lot about how good this record is. Combining hip-hop, rock, (Red, Gold and Green all play instruments) and a groove that they’ve dubbed indie go-go, this up and coming trio have found themselves with a growing and enthusiastic fan base that includes mega producer/artist Pharell and Foo Fighters and former Nirvana drummer Dave Grohl. Already a force on the internet, as well as a fixture of the DC/VA club scene RDGLDGRN’s forthcoming Republic Records debut is the sound of a three guys willing and loving to take chances and have a funky good time. Their sound fuses hip-hop with indie rock and what they describe as the “X factor” - the go-go beat - which originated from their native Washington DC in the 1970s. The message I get from these band members is conveyed heavily throughout their music - free minds. It’s an attitude which I completely admire–it’s open and honest. Their ability to take such a serious social issue and put a fun spin on it is admirable but most of all I adore their ‘as-long-aswe’re-pleased-who-cares’ approach to life, which has allowed them explore foreign musical grounds. I’m sure the readers would like to know the significance behind this name they chose for their group just as much as I did, well here it is: “We are RDGLDGRN because basically, we couldn’t think of anything better. We had a band name, we were 4 P’s and a member left and we had to come up with something new. We were already (calling ourselves) Red, Gold and Green, so we wrote it out and it didn’t really make sense. When we wrote it without the vowels, it kind of stuck out. So we liked it. It was kind of unique; it was kind of like a HTML code, so it’s cool. If you Google it, you’re not going to find anything else but us…. It’s because of who we are. We’re colors! We have racks of friends and family and we’re all colors. I don’t have anything in my closet other than green clothes. This is what we are.” Each color is also their individual names and the only color of clothing they wear. At least it’s easy to know which one is which. This band is out of the norm because their lyrics capture peoples attention in a way that not many musicians know how to. When you get a feeling of comparison while listening to a song that is when you know the music has worked, something inside the listener has triggered and made its way into their heart to be able to feel something real. I think this is what all musicians live to do, to make a difference in lives. Creating music and helping people are both very peaceful.

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The Lonel BY ASHLEY GOLL

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he Lonely Forest is a rock band from Anacortes, Washington comprised of singer/guitarist/ keyboardist John Van Deusen, guitarist Tony Ruland, drummer Braydn Krueger, and bassist Eric Sturgeon. As grows their fan base, The Lonely Forest’s music is continually expanding and evolving. At its core, the music features Van Deusen’s soaring vocals and keyboard melodies wrapped tightly around Ruland’s expansive guitar anchored by a heavy yet nimble rhythm section. The contrast of brilliant pop songs featuring lyrics about spiritual longing wedded to an almost prog-rock sensibility appeals to broad swath of listeners, from wide-eyed teenagers to jaded scenesters. As always, inclusion is important to these guys! I have had a chance to check out the upcoming release and “Adding Up the Wasted Hours” does not stray too far from the band’s initial sound which is heavily rooted in power pop, however it is definitely noted that the band is definitely showing more growth and expansion with this album and prove that they are not afraid to take a few risks along the way. The Lonely Forest has always been a heart-on-thesleeve kind of band. So we shouldn’t be surprised that the title of the Anacortes quartet’s upcoming fourth full-length release, due out October 8, bristles some. Adding Up the Wasted Hours. It’s difficult to read that and not think about the constraints that come with being signed to a big record label.

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ly Forest

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Luckily enough, I was able to speak with and interview The Lonely Forest! Here is what they had to say.

Q: How would you describe your music? A: Gateway drug power pop. Q: Who are your musical influences and non-musical influences? A: Lots! Lately...a few would be The National, Weekend, Frightened Rabbit, Story Books, QOTSA. Non music…. Hunter S Thompson and Richard Sherman.... –TR Classical music. Video game/film scores. Escapism. - JV Q: What do you want audiences to get out of your music? A: Have fun. Be inspired to make your own music or art. We always want people to leave our shows feeling good about life. Q: Where is the best place your music has brought you? A: Sound City studios in LA. Q: Where did you come up with the name “The Lonely Forest”? A: We took it from a sentence in CS Lewis’ “The Silver Chair”. Q: What was your best trip and memories together? A: Our favorite trip was probably the Death Cab tour as a whole. Very surreal. Q: What is your favorite song and why? A: My favorite TLF song is “Sugarloaf” because it feels like a musical roller coaster. My favorite song in general? The original

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Superman theme. -JV Q: What can we expect from you? A: You can expect friendly/awkward live shows and conversations. Q: Tell us a bit about yourself/the band- when did you decide this would be your life? A: We never really decided, it just happened. We still practice in the same garage that we had our first practice in nearly 10 years ago. Q: Are you surprised by the positive reactions your record has been getting? A: Absolutely. We’re very proud of this record. It’s great when people appreciate something you spend months working on. Q: What are your plans for the rest of the year? A: Eat turkey, read, be with family and watch football. Q: How does music effect you and the world around you? A: Music either bugs me (because it’s bad) or inspires the hell out of me (because it’s good). Good music almost always gives me chills. -JV Q: If you were to describe your group in a simple word choice, what would it be? A: Blue. Simple. Sincere.

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BY EMILY SOPER A Liberty University graduate and North Carolina native, Meredith Andrews’ “Not for A Moment (After All)” has been featured on the radio, and music is a very influential part of her life. Music isn’t the only influential presence in Andrews’ life, the Lord is also a great presence, and she has a great passion for leading congregations in song. In 2008, she released her first album entitled, The Invitation.

new album, Worth It All was released in January of 2013. Meredith collaborates with her husband, Jacob Sooter (the couple have two sons) and various friends from Nashville, on the new album. The new album has given Andrews a chance to share her faith, and create a worship record. She has an incredible vocal presence, and the entire album displays her talent and love of her faith.

Meredith Andrews grew up an only child, with her parents fostering children as she grew up. This helped shape her decision to get her degree in child development, which she assumed she would make a career of, and possibly work with orphaned children, as her parents had done. Instead, she was inspired watching her youth pastor, and she decided that she would use her musical talents to worship the Lord.

Andrews is not only a performer, she also speaks at girls’ conferences, and is excited to share her album with those she speaks to, especially the song “Pieces.” Andrews works to find meaning in God’s purpose in her own life, and it is clear on the album. She loves people, and she tries deeply to help people, through leading congregations and through humanitarian efforts.

Two years after the release of The Invitation, Andrews released her second album As Long as it Takes. In 2011, Meredith Andrews won two Dove awards for her work. For her song “How Great is the Love” she won “Worship Song of the Year,” and for the album As Long as It Takes, Andrews won “Praise and Worship Album of the Year.” Her

Meredith Andrews is on tour throughout the United States from now until next May, so there are many chances to see her perform. Follow Meredith Andrews on Twitter- @meremusic

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BY EMILY SOPER

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inger-songwriter Dara Maclean, hailing from Fort Worth Texas, doesn’t just write albums and release contemporary Christian music, she also does mission work. Maclean plans to go to Africa just after Christmas of this year with an organization called “The Reaction Tour,” with her husband and others. Maclean has been inspired by what she calls “the living and breathing word of God,” and it is vividly clear through her inspiring, yet very catchy Christian contemporary and popular music.

debut single off of the album is “Suitcases,” a song which describes the burdens in which one may carry, and how one may lighten their load through faith.

In July of 2011, Dara Maclean released her debut album You Got My Attention, which entered the iTunes chart for Christian and Gospel albums at number one. She is back with her second album, released this past September, which is entitled Wanted. The

Maclean aims to make music that her fans are able to dance to. Critics also note her use of catchy beats in her songs, and that her unique voice over said beats make her albums an enjoyable listen. Although Maclean

Maclean is very involved in the church, and began her musical path at age eight, when she began singing. As she grew older, she included the use of a guitar and began to write her own music to accompany her very unique and beautiful singing voice. She has been compared to Norah Jones and Lauryn Hill, as she is soulful and unique in her singing.

works hard to give her fans, and even those who have never heard her before something to dance to, her true aim is to spread God’s word. She feels that this is an important factor in her life, and her involvement with music and the church, as well as with people, has helped her to bring this goal to fruition. Maclean loves music, but she also truly loves people. She wants to help by spreading her positive energy and faith. This album is definitely an example of her unwavering love for both her faith and those around her, and Maclean does a wonderful job incorporating her musical roots of Motown and soul with those ideologies. Follow Dara McLean on Twitter@DaraMaclean

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KEYKE By Ashley Goll

If you haven’t heard Keyke’s music you need to! She is very unique and has an amazing style that will blow your mind. Her songs bring much light to the listeners mind and tend to be able to put minds at ease while getting lost in her lyrics. For updates and keyke-everything follow her on Instagram/Facebook /Twitter @keykemusic! http://www.reverbnation.com/keyke

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LION

MANE

IN THE

BY KEVIN SPERANDO

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eet Lion In The Mane, your new favorite band. With heartfelt lyrics, amazing vocals, and driving rhythms the band is bound to make it’s way to the top of the scene. Comprised of members of Florida based bands (Believe You Me, Made For The Silver Screen, Woodale) as well as New York City based band Last Dying Word the band has started off their career with a determined and steadfast state of mind. Many members of the promising band have dropped everything to start new in New York City leaving behind nearly everything in Florida. The sacrifices were not made in vain however, and the band has quickly created a sound that’s both dynamic and auspicious. Lion In The Mane have the capability to make music that has a wise pop sensibility; music that you find yourself tapping along to without the less than inspiring lyrics and cliches on tracks like “Parades In The Rain” and “Crashing Down”. Their most admirable quality happens to be their sense of vulnerability on slower songs like “The Way We’re Wired” that pull on the heart strings and prove that as far as substance goes the New York Natives have what it takes to make a name for themselves. Be sure to support Lion In The Mane and keep on eye on all they have in store over the coarse of the year.

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The Morn T

he Morning Of is a pop/ indie/rock band hailing from Newburgh,NY. They are composed of 7 mewmbers all but one of them is a male. The lady of the band, Jessica Leplon is the lead vocalist and with a voice to kill. She is an incredible singer and makes the music sound radiant. They’ve been signed to work with the producer Jim Wirt who has also produced No Doubt, Jacks Mannequin, Incubus and more. This renown producer has helped them perfect their albums and that has lead them to success. Gaining recognition for their tunes they have been featured on Billboards heat seekers chart for their full length “The World as We Know it” in the Top 50 for a few months at number 18. They eventually hit major success when they reach No. 25 on ITunes best pop albums. It certainly showed that they were rising and that their fan base was growing. The band has taken this exciting energy and channeled it into producing more music. Once they are together the radiance is clear. Their talent cannot be ignored or abandoned. They’ve also been

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ing Of

on Pure Volumes top 100 and top 10 in the pop category. The band’s first EP, Welcome Change. Goodbye Gravity, held a spot in the Top 50 best selling albums on Smartpunk. com for six months. They have been touring America and their latest show at Webster Hall sold out. They offered their fans an unreleased song if they sent their ticket information through email to a certain address so that they could listen to the new song before they performed it at Webster Hall this past September. They have been touring since 2007 and heavy into 2010, but they were put on hiatus for a break to all work on their personal life. They are still all centrally located in New York City so they can still collaborate together when need be. The band right now is focusing on live shows and they’re popularity among pop fans. Being from New York definitely helps them gain recognition and remain known as a popular pop group. Many of their shows become sold out and many fans remain loyal to the great band. Look out for their new song named “Holden” coming soon to iTunes.

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f

By Katarina Barone

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BY EMILY SOPER

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yles Stefan is an award-winning, formally trained singer/ songwriter and guitar player whose talents have amassed almost 1 million views on YouTube. He has worked with such acclaimed artists and producers as American Idol’s Caleb Hawley, Battleroy, J. Fish and more. Myles’ accolades include placing in the top 3 in the “Battle for Berklee” guitarist competition, advancing to the district finals of Guitar Center’s “King of the Blues” competition, being featured by legendary photographer Robert Knight and Fender as one of the up and coming guitar players in the world, and receiving a half-scholarship to the Berklee School of Music.

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Photos Courtesy of www.mylesstefan.com NEWSOUNDMAGAZINE.COM


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Alexandra Stewart BY ASHLEY GOLL

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rooklyn’s Alexandra Stewart released her debut EP! This EP combines jazz-pop, folk, and the multilayer arrangements of chamber pop, with Alexandra’s pleasing vocals taking the forefront! Alex celebrated the night of her release at the Glasslands gallery! She has a voice that you don’t want to stop listening to! Both ‘Soul Like a Ghost’ and ‘Lone Wolf’ illustrate the somber, reflective sound that Stewart

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has found within her recording process. Patiently letting structural elements build, rather than divulging the ingredients early, these tracks entrap the listener as they work their way into powerful conclusion. Surrounded by lush instrumentation, Waba will be a vibrant, fortified album; an emotional outpour, a syphonic journey through the musical mind of Ms. Stewart. Check out her music!

Photos Courtesy of facebook.com/alexcestewart

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THE BELL HOUSE By Kevin Sperandeo

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he Bell House is located on 149 7th Street, between 2nd and 3rd Avenue, in Brooklyn’s Park Slope, near the Gowanus Canal. It lays eleven blocks southwest from Union Hall and Littlefield, and a few blocks more from Southpaw. It is operated by the same management of Union Hall, and opened on September 18th, 2008, with a free show by The Lilys, Matt Pond PA, Robbers On High Street, and Takka

Takka (the “unofficial house band of Bell House”). A converted warehouse, Bell House starts with a large, sparse entry way that opens to the back houseright of the stage floor. The stage itself juts out into the stage floor in a curve, with a curtain behind it. There are two raised areas with tables and chairs, at the back and house-left, with the bar located on the house-left wall. The bathrooms are at the back house-left. There is also

Photos Courtesy of The Bell House

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VENUE REVIEW

a front lounge area, with its own bar. The stage floor is beneath wooden, warehouse/log cabin-like beams, but also chandeliers, while the lounge area is classier. Bell House is kind of the Bowery Ballroom to Union Hall’s Mercury Lounge, Park Slope versions – nearby, same management, but larger, and able to accommodate larger acts (less than a week after opening, Low’s sold-out Union Hall show was moved to Bell House). The ticket price is higher, though not exorbitantly so, and there is a large range of drinks (though curiously no PBR – but three dollar Gennessee cans fill that slot). Bell House is also easier to get to, being closer to local and express subway stops (though the Smith St. F & G stop is notoriously creepy, as one has to walk under the elevated rail, across the Gowanus Canal, and past numerous boarded-up buildings and some sort of depot for chartered buses). In some ways, it’s more reminiscent of nearby Southpaw (especially the stage that juts into the crowd – but Bell House’s does so from the long side, making the stage floor

wide, rather than long and skinny), though far cleaner and classier. It might not be enough to make Park Slope ‘the next Williamsburg’ all on its own, but the area is going in the right direction. With the recent high turnover of Brooklyn venues, and the loss of McCarren Park Pool and Luna Lounge (which itself had moved from the Lower East Side), it’s very nice to see growth. Capacity: 350 (stage floor), 150 (front lounge) 21+ Address:149 7th Street, between 2nd & 3rd Avenue By Subway: D, F, G, N & R trains to 9th Street/4th Avenue – walk two blocks north, one-and-a-half blocks west on North side of 7th Street F & G to Smith Street/9th Street – walk one block east on 9th Street, two blocks north on 2nd Avenue, turn right on north side of 7th Street

Photo by Sam Horine

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GLASSL GLASSL GLASSLA 289 Kent Ave Williamsburg NY 11249 Between S. 1st and S. 2nd Hours: Mon-Wed, Sun // 8:30 pm - 12 am Thu // 8:30 pm - 2 am Fri-Sat // 8:30 pm - 4 am Good for Kids: No Accepts Credit Cards: No Parking: Street Good for Groups: Yes

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VENUE REVIEW

LANDS GALLERY LANDS ANDS GALLERY BY KEVIN SPERANDEO

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heir motto “In South Williamsburg since 2006, Glasslands is a converted warehouse, formerly a homegrown community art space turned psychedelic venue partyhaus. Bring your friend, see the bands, try our beer, make out in the photobooth.” Brace yourself for Glasslands, a tiny DIY venue in South Williamsburg. In the summer things get pretty hot in here with no A/C, and the acts are consistently aggressive and unique. The bar has cheap beer and there’s a small upstairs balcony if you need to sit down. Even if the music leaves something to be desired, Glasslands itself puts on a show with its wacky decor and raw atmosphere. Glasslands was renovated in spring of 2011, moving the stage to opposite the door, from being perpendicular to it, and reportedly increasing the venue’s capacity. It also put in a new sound system in June 2013. Glasslands is located on 289 Kent Avenue, Brooklyn, between S 1st & S 2nd Streets, just off the East River, three blocks north of the Williamsburg Bridge. It is within the same building as Death By Audio, whose entrance is around the corner on S 2nd. Glasslands was opened in May of 2006 by musician Rolyn Hu and artist Brooke Baxter.

which seems to be lit mainly by candles and colored dance lighting. In addition to making it hard to see a band, it’s a pity for two more reasons: one, the actual place is set up with some interesting bric–a– brac on the walls, and two, the floor is black – making the steps very easy to miss. There’s a step down right next to the bar as you come in – if you’ve got a drink, can spill it right in your face as you fall forward. And the steps up to the bathroom might be slightly easier to see, to the immediate right of the entrance, but they’re of uneven size, especially the too–high last one, and there are often people sitting on them. The stage is to the far right of the entrance, beneath some odd large cloud-like puffs (that at least reflect what light there is), with a thin stage floor that virtually wraps around it. To the far left of the entrance is a seemingly jury–rigged balcony, which is above another area that does contain a bench along the wall, but beware of spills from above pooling on the bench below. The acts at Glasslands are not at Music Hall in Williamsburg (eight blocks north) level, but the place has batted a bit higher than Todd P venues like Death By Audio or Market Hotel. There are occasional ‘secret shows’ by bigger acts, but that seems as much based in rumor as in fact. VICE and Colt 45 often hold free, RSVP shows there on Thursdays (with free Colt 45 in the first hour).

The entrance to Glasslands is easy to miss, without markers and on a poorly lit street. And it’s even harder to see inside the place, Photos Courtesy of facebook.com/glasslands

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W H E R E A R E T H E Y N O W?

VAN HALEN

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BY K ATA R I N A BA RO N E

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ong before Van Halen was ever formed, Eddie and his brother Alex needed to get one thing straight; who would play guitar and who would play drums! Although their parents wanted the boys to become concert pianists, by the time they were into their teens, bands such as the Beatles and The Dave Clark Five grabbed the boy’s attention and soon they were into rock ‘n roll. Ed and Al can recall pretending to play the drums by banging around on empty ice cream containers and on model car boxes with some of the plastic pieces left inside to make it sound like a snare. After they had lost interest in the piano, Alex was allowed to take classical guitar lessons because it was still considered respectable by their parents. With his brother playing guitar, Eddie bought a $25 Saint George Japanese drum set which was paid for from his paper route. While Ed was out throwing papers, Al would play the drum set and eventually became better at drums than Ed. This caused Eddie to try playing the guitar instead.

named David Lee Roth, even though they were only getting about $50 a gig. Roth had auditioned for the band once but at the time he was a terrible singer, so he went and formed his own band called “The Red Ball Jets.” Bassist Mike Anthony (who moved to California from Chicago) first saw Mammoth when they were performing at the same annual high school carnival as his band, “Snake,” which he was fronting. Mike recalls that the band was playing songs by Cream, The Who and Grand Funk Railroad and he was especially impressed by Eddie’s note for note playing.

During junior high, the brothers played together in a number of covers bands such as “The Broken Combs,”The Space Brothers,” and “The Trojan Rubber Company.”

Around a year later, David Lee Roth had been asked to join the band because Ed hated to sing lead and they figured it would by cheaper not having to rent the P.A. from him. The band’s name was also changed to “Van Halen” after some persuasion from Roth even though Ed thought it sounded like the name of a German bomb (they joked about naming the band “Rat Salad,” after the Black Sabbath song). By 1974 the band realized that they needed a different bassist because although the band was successful and got many gigs, they had over 100 songs (covers and originals) in their repetoire and Stone had a difficult time remembering all of them.

By graduation of high school, Ed and Alex had formed a three piece band called “Mammoth” with a bass player named Mark Stone. Eddie had to sing lead and they rented their P.A. system for $35 a night from a kid

Mike Anthony got called up by Ed and Al one night in ‘74 and was asked to come over and jam with them. Mike agreed because he knew that VH was playing Hollywood clubs such as Gazzarri’s and the Starwood while

Snake was just playing local backyard parties. Although Roth was not at Roth’s father’s basement (Van Halen’s rehearsal space) in Pasadena when Mike arrived, the three of them jammed late into the night. When it was over, Mike Anthony was Van Halen’s new bass player. At first, Anthony thought he would just play bass because Ed and Alex were doing back-up, but soon his vocals became a trademark of the Van Halen sound. When Van Halen would play gigs in Pasadena, everyone thought that they were a Hollywood band because of the way Dave dressed and acted. On the other hand, when the band played at Hollywood clubs, everyone thought that they were a Pasadena band because Ed, Al, and Mike were all wearing blue jeans and T-shirts. Once, when Van Halen auditioned to play at a hometown club in Pasadena, they were rejected due to their rowdy following of fans. This was, of course, true. At one backyard party four police cars were turned over by fans and one policeman got hand-cuffed around a tree with his own cuffs! Van Halen used to promote their own gigs by printing out flyers and flyering the cars at nearby high schools (Pasadena, Arcadia, Monrovia) and also in the parking lots during concerts Civic Auditorium and Anaheim Stadium. This is how they built up such a large following.

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Upcoming Shows November 20th Minor Alps Bowery Ballroom // New York, NY Sarah Silverman // 8:00pm Kaufmann Concert Hall at 92nd Street Y // New York, NY

November 21st The Devil Makes Three // 7:00pm Webster Hall // New York, NY Timeflies & Chiddy Bang // 8:00pm The Theater at Madison Square Garden // New York, NY

November 22nd Sister Sparrow & The Dirty Birds // 7:00pm Irving Plaza (Formerly The Fillmore) // New York, NY

November 23rd Amanda Palmer // 8:00pm Town Hall Theatre - NY // New York, NY

November 24th Kanye West & A Tribe Called Quest // 8:00pm Madison Square Garden // New York, NY

November 25th Temples // 8:00pm Bowery Ballroom // New York, NY

November 29th Hoodie Allen // 8:00pm Roseland Ballroom - NY // New York, NY

November 30th The Fresh Beat Band // 4:00pm The Theater at Madison Square Garden // New York, NY

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TOP 10 SONGS 60

1 MONSTER Emimem ft. Rihanna 2 ROYALS

Lorde 3 STORY OF MY LIFE One Direction 4 ROAR Katy Perry 5 COUNTING STARS OneRepublic 6 WRECKING BALL Miley Cyrus 7 WAKE ME UP Avicii 8 RAP GOD Emimem 9 LET HER GO Passenger 10 BERZERK Emimem

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Upcoming Albums

Jake Bugg Shangri La

Nov 18th

Chris Brown Daughtry Baptized

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Hotel Rooms

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Nov 26

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Dec 31st NEWSOUNDMAGAZINE.COM


New York City 64

ALEXANDRA STEWART Brooklyn’s Alexandra Stewart is due to release her lush debut, Wàbà, in the fall. This idyllic Canadian village, named after the Algonquin word for “white,” is the backdrop for this tumultuous memoir. Wàbà was recorded on a small country home and farm in Frenchtown, New Jersey by Alexander Overington, mixed by Mark Lawson (Arcade Fire, Timber Timbre) in Montreal, and finally mastered by Joe Lambert (Dirty Projectors, Animal Collective, Lia Ices) in Brooklyn, where it currently resides.

BeaCH FOSSILS Based out of Brooklyn; Beach Fossils is an American indie rock band. They were formed in 2009. The group currently includes Dustin Payseur, Tommy Gardner, Jack Doyle Smith and Tommy Davidson.

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Local Section The lONELY FOREST The Lonely Forest is a rock band from Anacortes, Washington comprised of singer/guitarist/keyboardist John Van Deusen, guitarist Tony Ruland, drummer Braydn Krueger, and bassist Eric Sturgeon. As grows their fan base, The Lonely Forest’s music is continually expanding and evolving.

WiLD NOTHING Wild Nothing first started gaining traction with a cover of “Cloudbusting” by Kate Bush back in 2009. Then came the requisite daydream sunshine song, “Summer Holiday,” a strummy, Brooklyn night rooftop party anthem later featured on the band’s debut LP, Gemini. That first record was one of particular and intentional understatement, populated by songs like the quiet kids at the back of the classroom, specimens of shy genius.

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