Pre-order 'The Leather Lemon' here - https://p.e.wharfcatrecords.com/leather-lemon

About The Leather Lemon by P.E.

P.E. 's sophomore album, The Leather Lemon (Wharf Cat Records, out March 25, 2022), ushers in a new era for the New York band. A wild ride through chewy bubblegum pop, sweeping synthetic orchestrations, and mutant club beats, the album slides ever closer to the fully-realized pop sensibility only winked at with their debut album Person (2020) and subsequent releases. 

Digging into mystery, romance, and sex appeal with The Leather Lemon, the group — composed of members of Pill (Mexican Summer) and Eaters (Dull Tools) — centers its sound within a Bermuda Triangle of dance music, electronic composition, and experimental rock. Members Jonathan Schenke, Bob Jones, and Jonny Campolo play  within pop parameters, building upon free-form collaboration to create a fluorescent groove machine that harnesses the energy of their frenetic live shows. Singer Veronica Torres explores her softer side, expanding her vocal repertoire from spoken word and jagged growls to cherubic and sensuous psalms. Sax virtuoso Benjamin Jaffe’s chiseled experimental tone is heard in an extended solo of true romance in “Tears in the Rain,” a somber surrealist duet penned by Torres and Andrew Savage, singer/guitarist of Parquet Courts. 

Recorded primarily at Schenke’s Studio Windows in Brooklyn, NY, The Leather Lemon was cultivated from a fertile creative period between spring 2020 and summer 2021, which also yielded 2021’s acclaimed The Reason For My Love EP. Pitchfork writes: 
	
	The quintet refines their impulses on their 2020 debut Person and transforms them into a body-moving EP. The jittery electronics are still there, but the drum cuts feel sharper and lighter, bringing a sense of structure to what could easily be shapeless. Vocalist Veronica Torres abandons spoken-word and leans fully into singing about poetry, beauty, and the contours of the body. Her lovely vocal stretches fill up the space once occupied by industrial bass drops. Sensuality suits them well.

The Leather Lemon is a reckoning record for the times; an album of psychedelic resurfacing, real-time response to world events, and soft, sympathetic magic. This is a collection of songs shaped by five individuals who embrace music-making as a way to center themselves in times of uncertainty; it’s resilience and imagination given shape. The Leather Lemon is a true sweet-and-sour listening experience, an album as bright and clear as it is fractured and fun. Get turned UP and ON with the electrifying new lemon drop from P.E.! 

P.E. is: Jonny Campolo (piano, synths, bass, percussion, voice), Benjamin Jaffe (saxophone, synths, voice), Bob Jones (beats, samples, synths, bass, voice), Jonathan Schenke (synths, beats, bass, percussion, voice), Veronica Torres (voice, lyrics). 

Produced, Edited, Mixed and Mastered by Jonathan Schenke at Studio Windows. Additional production by Bob Jones at Zo City Studios. Written in-person and in-quarantine by P.E. between Studio Windows (NY), Zo City Studios (NY), and Gray House MPLS (MN) 2020-2021.

BUY LP

P.E. - Tears In The Rain (from the album 'The Leather Lemon' out now!)

About 'Love on My Mind'

If the start of the breakthrough for Bambara was the radically reimagined sound of 2018’s Shadow On Everything (dubbed by NPR a “western gothic opus”), then the moment it truly arrived was on the cinematically riotous noir-punk of 2020’s Stray. In the UK, buoyed by the enthusiasm of 6Music DJ Steve Lamacq (who called the band, “one of his favourite discoveries of the year”), the band rose sharply, immediately selling out shows across the country. Meanwhile, back in their native US, KEXP’s John Richards echoed the same sentiment. Things were set. In fact, tickets had just gone on sale for their biggest show to date, a 1500 cap headliner at London’s Electric Ballroom.

Then…well, then same as for everyone. Shutdown, lockdown, hibernation, nothing. It was a hammer blow. But rather than rue their misfortune, the band desperately tried to turn it into a positive, immediately moving to try to make more, and – they were determined - better, music. The result is the career-high 'Love On My Mind' – a six song mini-album, mixed by Claudius Mittendorfer - that condenses all the energy and darkness that has made Bambara so compelling but rearranges them into something defiantly new.

Not that getting there was easy. With the band’s core (twin brothers Reid and Blaze Bateh, the singer and drummer, and childhood friend William Brookshire, bass) scattered across the US, they remotely pieced together an EP but as soon as it was finished, they scrapped it. In their words, it felt “dishonest”. They were striving for something new and they hadn’t hit the mark. They realized they needed to change approach so at that point they decided to reconvene in New York. Finally, things started to take shape.

By now, they had a better idea of where they wanted to head. They knew they wanted to include a couple of duets and enlisted the vocals of Bria Salmena (Orville Peck/Frigs) and Drew Citron (Public Practice). They also wanted to expand their sound palette so turned to Jason Disu and Jeff Tobias (Sunwatchers) to add trombone and saxophone respectively. They recorded again, utilizing all these new elements, sampling their recordings as they went along, in the process manipulating the sounds across the mini album. The final result is something astonishing.

Opening track, “Slither in the Rain,” all hissing high-hat and spectral synthlines, is a true statement of intent. It’s minimal and atmospheric, foregrounding Bateh’s raw vocals as he introduces one of 'Love On My Mind’s main characters, years after the events of the album are over, a lonely man who throws bottles at airplanes and dances a two-step in the pattern of a figure-8. While Bateh has always been adept at character sketches, here we are introduced to a newfound vulnerability that runs true through the entire album and causes the songs to hit on a more human level. It’s a change he readily acknowledges.

“The lyrics for Love on My Mind are a little more personal,” he admits, “and definitely more vulnerable and human. There’s more of a focus on realism. I think part of that was because I’d become zoned in on photography during lockdown. Being in NYC without being able to actually experience it made me search for representations of the way it feels to be running around in the city. And I found that in photographs. Mainly, Ballad of Sexual Dependency by Nan Goldin. This also influenced the decision to make one of the characters in the story a photographer, presenting pieces of the story through her snapshots.”

Bambara - Birds (from the album 'Love on My Mind' out 2/25)

Lyric Video for "High School Gym" - https://youtu.be/tey5Q8ud16E
Stream “High School Gym" Everywhere Here - https://dougiepoole.wharfcatrecords.com/high-school-gym
Bandcamp “High School Gym” - https://dougiepoole.bandcamp.com/track/high-school-gym

About “High School Gym” from Dougie Poole:
"When somebody that you love dies, they might visit you in your dreams. They can ask you things or tell you things. The conversations continue, and feel perfectly real. Little gifts your brain can give itself. I've asked around and I think it's a somewhat common thing when you lose someone, and so I wanted to write "High School Gym" about a dream I have sometimes. Everybody I know who is dead gathered together in my high school gym, a place that disappeared a long time ago."

Video & Streaming

Dougie Poole  - High School Gym

Pre-Order 'The Rainbow Wheel of Death' here - https://dougiepoole.wharfcatrecords.com/the-rainbow-wheel-of-death

About 'The Rainbow Wheel of Death' Album

A country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, 'The Rainbow Wheel of Death.' Rooted in sharp songwriting, Poole's golden baritone, and the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world, stocked with songs that make room for everything from old-school synthesizers to contemporary storytelling. 

'The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole — who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 — it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he began writing these nine songs, finishing the first handful of tracks in his New York City bedroom and wrapping up the songwriting process in the recording studio itself, this time surrounded by a band of collaborators and instrumentalists. 

Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. He fine-tunes his genre-bending approach to country music, too, with 'The Rainbow Wheel of Death' reaching far beyond the genre's boundaries for new sounds and unexpected textures. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" — whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship — mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release 'The Freelancer's Blues' told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time.

With 'The Rainbow Wheel of Death,' Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work — drum machines, acoustic guitars, synthesizers, and his deep-set voice — while pushing toward something warm, organic, and prismatic.

Dougie Poole - Beth David Cemetery (From the album 'The Rainbow Wheel of Death' out 2/24)

About Orange 2 by Macula Dog

Macula Dog’s sophomore album, Orange 2 is their most cohesive and purposeful release to date and marks an exciting new stage for the NYC experimental duo. This new collection melds the hard-hitting dynamics of 2020’s Breezy EP with the bands’ own version of traditional verse-chorus-verse pop songs.

Orange 2 was written during the coronavirus lockdown, a stretch of seemingly endless free time that the duo used to fine tune and perfect their new songs while social and environmental aspects of the world were in free fall. The isolation of quarantine also afforded them a respite from live performance, which they used to break out of old routines and songwriting techniques while experimenting with new processes and equipment. Orange 2 is the band’s attempt to write more straightforward songs, each with a prominent lead vocalist. The vocals, which take Macula Dog’s signature processing and voice manipulation to new extremes, are more prominent in the mix than on past releases but hardly conventional. And while this distillation of their vocal sound might not hit the intended “pop singer” mark, it serves as the backbone of Macula Dog’s best songs thus far. As the band says:

“We wanted to make a ‘proper’ record — with 12 pop songs, a distinct, great lead singer, and music you could dance to. Instead we have 10 songs with a singer you can’t understand. We really thought we had made our most accessible album yet until we sat down and listened to the whole thing. This album is a huge failure but may be our best work.”

This modesty and irreverence is typical of Macula Dog, a band that from its earliest days has embraced experimentation and absurdity in equal measure. These 10 songs about chemical preservatives (“Orange 2”), gambling (“Spun”), executive officers (“Smart Man Do”) and misinformation are presented back to back, without the punctuation of interstitial free-form audio found on their previous releases. The instrumentation on Orange 2 hits from all sides in a way that is joyfully unpredictable. From the grinding aluminum rhythm section of the record’s title track to the liquid-rubber melodies in songs like “Go Green” and “Plug,” Orange 2 is filled to the brim with earworms. 

As Macula Dog fans know well, the band’s live act has evolved as much as their recordings. When they released their debut EP, the duo were accompanied by miniature clones of themselves that sat on their shoulders (“a four-person electronic duo”). In the band’s new live configuration, they carry their gear on harnesses, adorning themselves with impact-resistant clothing to cushion from injury should their exoskeletal sit-stand legs slip out from under them. The duo also carry a camera and hologram projection system, transforming each member into a fully mobile performance rig, each with a mini jumbotron. They can now move around performance spaces unattached by cords. 

“If you don’t like the record, maybe you’ll like the concert,” they say. More modesty from a band that makes an art of embracing the incidental in their creative process and in so doing makes music from another dimension.

Macula Dog - Neosporin (from the album 'Orange 2' out 10/7)

Macula Dog - "Neosporin (Max Tundra Remix)

From the Mascot LP by Bichkraft!  Order your LP or CD at www.wharfcatrecords.com!

Order on Apple Music here - h t t p s : / / i t u n e s . a p p l e . c o m / u s / a l b u m / m a s c o t / i d 9 8 3 1 7 6 0 0 5 

Release Date:  4/21/2015
Personnel:  Dima Novichenko, Jenia Bichowski, Serzh Kupriychuk, Jenia Machina

RIYL:  The Jesus and Mary Chain, early Velvet Underground, Big Black, Sonic Youth

From Kiev to Kansas City, 20-somethings the world over tend to traffic in the same sort of distractions from modern life: clothes, sneakers, cars, love. Mascot, the debut LP from Ukranian guitar and drum machine noise makers, Bichcraft, holds these things for what they are: fleeting diversions from the bleak realities of modern times and an increasingly uncertain political landscape. That the band composed, wrote and recorded Mascot’s eight songs in its hometown of Kiev only adds to their authority on the matter.  As Dima Novichenko sings in the album opener ‘Didn’t Know,’ “There are erased numbers on your road… We better cover our heads.”  
This is heavy, paranoid music in the shape of frenetic jams like “A4,” in which waves of dual-guitar noise accompany a digitized howl, chanting from deep inside the mix. Often, guitar interludes emerge quickly and take a song in a new direction as they do in "Might Night Dicks."  On this track Novichenko and Bichowski display an extensive post-punk guitar vocabulary. They are as fluent in Psychocandy as they are early SY.  After hearing the record’s interwoven guitar lines, it should come as no surprise that the two originally met up to play garage jazz before Serzh Kupriychuk and Jenia Machina joined to handle bass and drum machines, respectively.   
For its brutality and chaos, Mascot has some undeniably pretty moments: the lilting guitar refrain that kicks off “Bushes,” for example, or the often poetic imagery in Novichenko and Bichowski’s lyrics about the natural world, love and decay. Still, these nods to beauty always lead back to fractured songs about suburban scenes where mankind’s disregard for nature is just a warning of greater dangers looming on the edge of town. 

Bichkraft - Didn't Know

Joey Pizza Slice covers Picture of Health by Parquet Courts on the split 7" up for pre-order now at www.wharfcatrecords.com.

Words:

Wharf Cat Records is excited to announce this split release by two of our very favorite artists, Parquet Courts and Joey Pizza Slice.  Each one has long admired the other's catalog through various incarnations and releases.  Now they get a chance to cover one another’s songs.  On the A Side Joey Pizza Slice (AKA Son of Salami) gives tribute to the angular guitar churn of the Parquet Courts' 'Picture of Health,' filling the vocals with helium and letting them loose like balloons into a hazy summer sky.  On the flip the Parquet Courts turn Joey's synth pop masterpiece, 'Pretty Girls,' into the perfect  summer jam that will get you stoked about cloudy days and being ignored all the time - it's just a matter of perspective after all!  This is a balanced and involving 7" comprised of 2 tracks sure to help keep you cool well into the dog days.  

Joey Pizza Slice - Picture of Health (Parquet Courts)

Parquet Courts cover Pretty Girls by Joey Pizza Slice (Son of Salami) on the split 7" currently up for pre-order at www.wharfcatrecords.com.

Words:

Wharf Cat Records is excited to announce this split release by two of our very favorite artists, Parquet Courts and Joey Pizza Slice.  Each one has long admired the other's catalog through various incarnations and releases.  Now they get a chance to cover one another’s songs.  On the A Side Joey Pizza Slice (AKA Son of Salami) gives tribute to the angular guitar churn of the Parquet Courts' 'Picture of Health,' filling the vocals with helium and letting them loose like balloons into a hazy summer sky.  On the flip the Parquet Courts turn Joey's synth pop masterpiece, 'Pretty Girls,' into the perfect  summer jam that will get you stoked about cloudy days and being ignored all the time - it's just a matter of perspective after all!  This is a balanced and involving 7" comprised of 2 tracks sure to help keep you cool well into the dog days.  

Parquet Courts - Pretty Girls is a Motherfucker (Joey Pizza Slice)

Cuban Cigars is the first single from WALL's self titled 7" EP out on Wharf Cat Records on 1/15!  Pre-order your record here - http://wharfcatrecords.com/store/wall-st-7-ep

Pre-order on Apple Music here - https://itunes.apple.com/us/album/wall-ep/id1056743936

Personnel
Vanessa Gomez
Vince McClelland
Elizabeth Skadden 
Samantha York

RIYL
Alternative TV, Au Pairs, B52s, Devo, Finally Punk, Pill, Pylon, Robert Quine, Suburban Lawns

Words
With each sonic movement on the introductory self-titled EP from New York’s WALL there's a commitment to defend a punctuated duality between curiosity and triumph. After all, what’s a band worth but its message? A certain self-awareness of the very question is at the heart of the WALL apparatus and listening along as they discover themselves throughout this EP is invigorating and scary. Tone and rhythm whirl together, like an emergency exit door choreographed to swing flawlessly in time to its damned and chaotic Pavlovian alarm bell. From the first rigid and cautious seconds of their EP, WALL unleashes an uncanny self-awareness that methodically slips pages ripped from demented No Wave legacies through a shredder of their own design. Their spirit is exceptional and candid; generous heaps of raw energy and inspired moments of tension demand repeat rotations on your turntable. With this debutante artifact, WALL have invited the world to witness the birth of a toxic-new tempestuous bloodwave of post-punk, exactly the transfusion the scene needs to stay alive.


WALL - Cuban Cigars

'Voices' is the B-Side of the Perfect H 7" available here - http://wharfcatrecords.com/store/pre-order-posse-perfect-h-7

Order from Apple Music here - https://itunes.apple.com/us/album/perfect-h-voices-single/id1074031375

Seattle 3 piece, Posse follow up their 2014 album, Soft Opening with this limited edition 7” featuring jacket artwork by Sam Falls.  The two tracks on the Perfect H 7” are constructed with intricately layered guitars, propulsive drumming and Paul Wittmann-Todd and Sacha Maxim’s hushed vocals.  These two eerily beautiful dreamscapes are sure to demand repeated spins, and satiate the Posse fan looking for some new tracks from their favorite pacific northwestern minimalists.
Words from Posse - "You're on the phone: the person on the other end is talking. You hear a voice, you hear voices: from behind you, around you. Reminiscent of people, places, things, stuff you cared about, stuff you never gave a shit about. Listening now, barely audible over the noise coming through the receiver, you feel connections you can't quite articulate: the colors of time, gradients, cycles, trees, boundaries, nothingness.  What's that? Someone is trying to get your attention. On the receiver, the other end of the line: sounds like you? Maybe? They're trying to get you to stop talking. They're saying they hear voices. You want to hang up, but the phone is not a phone. The phone is a switch. You throw the switch, the lights go out, and you're left in the darkness, alone."

Edition of 300 records. Additional artists participating in this 7” series are Mick Barr and Carson Cox.
PAST PRESS – 
Pitchfork Rising Piece - http://pitchfork.com/artists/32128-posse/
Posse Play Pitchfork Soft Opening in Seattle - http://pitchfork.com/news/55981-metz-and-posse-to-play-pitchfork-nightcap-in-seattle/
Pitchfork Review of Soft Opening LP - http://pitchfork.com/reviews/albums/19132-posse-soft-opening


Posse - Voices

'Ines de Castro' is the first single from David Vassalotti's Broken Rope LP on on 2/12/2016.  Order your copy here - http://wharfcatrecords.com/store/david-vassalotti-broken-rope-lp

Order from Apple Music here - https://itunes.apple.com/us/album/broken-rope/id1074173803

As modern life spirals further into chaos and confusion, David Vassalotti’s newest album Broken Rope, a follow-up to his revered out-of-print 2011 LP Book of Ghosts, presents itself as a soundtrack for the tumult
.
Vassalotti, a Florida-based songwriter and performer for critically acclaimed 4AD signees Merchandise (amongst numerous other projects), has used this record as an opportunity to delve further into his own diverse world of personal interests. Broken Rope is a passion project, with Vassalotti handling all of the writing, performing, recording, production, and art design.

From lo-fi guitar pop sounds (a la Flying Nun staples like The Clean and The Verlaines), to elements harsh industrial noise and musique concrete, Vassalotti weaves together a wide array of musical influences with a steady hand. Similarly, the album’s lyrics draw from literary references as far- reaching as Portuguese history, Russian folklore, and Spanish poetry.

Ambitious as it may be to cover so much ground, there is a rational flow and unity that ties the record together. In the chaotic globalism of the 21st century Broken Rope may not be the compass that helps us find our orientation, but it can still serve as a mirror to help shape our concept of where we fit into the fray. This is an adventurous album for uncertain times.

PITCHFORK: D. Vassalotti "Swallow My Pride"
“Tampa's Merchandise have a decade of artful hardcore and experimental pop under their belts-- but the devastating solo output of guitarist Dave Vassalotti is their best kept secret”

David Vassalotti - Ines De Castro

'Monk' is from the Love is Hard LP out on 5/6.  Pre-order your LP here - http://wharfcatrecords.com/store/wgvvpson3q3y0ui51vqaygwzy2hsgy

Pre-order on Apple Music here - https://itunes.apple.com/us/album/love-is-hard/id1076919555

Although this Brooklyn trio is probably too goddamn youthful to care what the hell I'm talking about, there's a consistent vibe to their debut album that puts me in mind of great Cleveland bands of the last century -- from The Mirrors to Friction to Death of Samantha and onward. Something about the way Dan Wise's guitar mixes with both his singing, and that of Cory Feierman's, reminds me of naught but a Lake Erie fish fry. And the rhythm section, with Cory on bass and Will Schmiechen on drums, bears down on these twinned howls in a way that makes it possible to catch whiffs of the Dead Boys at their sharpest.

Perhaps this geographical anomaly results from the fact that Honey's line-up contains two veterans of the Wisconsin Dells water park scene and a native New Yorker, creating a mutant hybrid Ohioan in the process. But that is just theory.
The reality is that these guys are punching a lot straighter and harder than they did with previous units they've been in, and the results are a loud and royal blast. You still get a soupçon of sophisto texture deep in the interior of some of the tunes' architecture, but the main trajectory of the material has a brutalist immediacy. There are even parts where Coryʼs voice conjures up a bellow recalling the long- gone Wolf King of Lodi. But all the tunes hit your head like a fox terrier shot from a bazooka.

This is a great, hard-edged slice of rock noise that blazes with a light far more forthright than I'd dared expect. How very fucking cool is that? --Byron Coley

Honey - Monk

ORDER your record here - http://wharfcatrecords.com/store/pre-order-carson-cox-w-sam-york-austin-brown
ORDER on Bandcamp - https://wharfcatrecords.bandcamp.com/album/pre-order-fire-dance-7
ORDER Apple Music - https://wharfcatrecords.bandcamp.com/album/pre-order-fire-dance-7


Wharf Cat Records is excited to announce the Fire Dance 7” by Carson Cox (Merchandise), Sam York (WALL) and Austin Brown (Parquet Courts). This release features artwork by Wharf Cat Records OG and founding father, Sam Falls. 
The Fire Dance 7” is producer Carson Cox’s ode to downtown New York.  On “Fire Dance” and “Rene” the collaborators channel the glitz of Sam Falls’ shimmering cover artwork on tracks that resonate heat like august concrete in the city. These tracks are constructed from spliced disco rhythms, modulated synth lines, and searing guitars with Sam and Carson’s fevered vocals pulsing from all sides. This vinyl release is sure to become a collector’s item by what could accurately be described as a contemporary audio-visual dream team.

BUY VINYL

Sam York, Carson Cox & Austin Brown - Fire Dance (from the Fire Dance 7")

PRE-ORDER Psychometry LP and CD here - http://wharfcatrecords.com/store/pre-order-votaries-psychometry
PRE-ORDER on BandCamp here - https://wharfcatrecords.bandcamp.com/
PRE-ORDER on Itunes here - https://itunes.apple.com/us/album/psychometry/id1158093253https://itunes.apple.com/us/album/psychometry/id1158093253

After releasing two critically acclaimed albums that evaded the trappings of contemporary psychedelia, Jackson Scott’s heavily drone-rock and shoegaze influenced new outfit, Votaries, reasserts that an unabashed indifference to musical trends continues to suit his songwriting.

Undulating guitars and lyrics that wantonly explore themes of eradication, annihilation, temptation, rage, and paradise recall Spaceman 3’s drug-tinged insouciance, while ethereally layered vocal harmonies pay homage to the singular production achievements of pioneers like My Bloody Valentine.

The resulting sound is somehow greater than the sum of its parts. Songs like the rhythmically propelled “Delusion” and punchy, bass-driven “Rainbow Death Revisited” explore territories not yet charted by any of the greats and show that Psychometry, transcendent as it may be, is merely a hint of what is to come as Scott devoutly continues to push his musical boundaries.

~ Limited edition of 500 records ~

NPR: Review – Jackson Scott Sunshine Redux
The Asheville-via-Pittsburgh native hasn't yet learned how to hold back, and here's hoping he never does…Sunshine Redux rips a mental seam that will be difficult to mend, as its loose, bright essence spills out across the ages
PITCHFORK: Review – Jackson Scott Melbourne
[7.7 out of 10] This promising debut album from the young North Carolina-based singer/songwriter mixes the lysergic creepiness of Syd Barrett with more straight-forward and hooky guitar jams indebted to indie rock
PITCHFORK: Rising – “Jackson Scott”
This young Syd Barrett acolyte makes cassette-hiss pop from the comfort of his Asheville, North Carolina, home

BUY VINYL & CD

Votaries - Succumb

ORDER LP - www.wharfcatrecords.com
ORDER ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/pre-order-misogyny-stone
PRE-ORDER ON APPLE MUSIC - https://itunes.apple.com/us/album/misogyny-stone-ep/id1201906424

A drone whines in the distance; Horoscope jettisons a new 5-track LP titled Misogyny Stone. It has prescient timing: here we sit at the abyss of masculine power. Originally from Miami Florida but living in New York for over a decade, Rene J Nunez-Cabrera produces raw sonic compositions indebted to the visceral experience of performance. The new LP, his second for Wharf Cat Records, expands his palette of sound and exhibits the artist’s range in 5 succinct opi: from paranoid, buzzing headscapes, to meditative, industrial drumming. Washes and other gestures of contemporary noise abound, but the ultimate descriptor for Nunez’ penchant is mood. The title track contains Nunez’ version of a deep club jam, intertwining light and dark, low and high, with Kathryn Undorfer’s spoken word sitting right in the middle, sonically spotlighted. “Narcissist Vague” has a religious breadth despite its relatively short existence; while “Azebache Necklace Bought to Protect My Daughter” is a snare-pegged story of delivering a totem; “New Piece (for Christian Mirande)” starts with an organ’s lament, creepily. Nunez’ distorted, layered vocals then build into a desperate chorus of screams. Horoscope’s sound is embedded in the struggles of personhood. Through modular manipulations and his acute utility of pedals and tapes loops, Nunez’ de- and reconstructs the dynamics of gender relations: look into the misogyny stone; it is opaque and bleak.

Horoscope - Misogyny Stone (from the Misogyny Stone LP)

ORDER CD/LP - http://wharfcatrecords.com/store/pre-order-wall-untitled-lp
ORDER ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/pre-order-untitled

If you saw WALL play in NYC or at SXSW (they were No. 2 on Time Out Austin’s top picks for SXSW 2016) you will recognize some of the tracks on their new LP, Untitled. "Everything In Between" was often a set opener, albeit in an instrumental form. Here we find the definitive full band arrangement, which shows a group capable of generating wave after wave of engaging post-punk. First single "High Ratings" advances the strengths of WALL's self-titled EP with it's look at modern anxiety stemming from social media addiction: "We're all guilty," as singer Sam York howls. Their rocking cover of Half Japanese's classic "Charmed Life" is probably the closest track in tone to "Cuban Cigars," the pop moment on the WALL EP. True to the original, it features perfectly skronky sax from Pill’s Ben Jaffe. "River Mansion" displays Vince McClelland's extensive post-punk guitar vocabulary with squalls, shrieks and plinks over the band's elegant Kroutrock groove with York and Skadden's cooing vocals occasionally synching with a slippery guitar riff. Fans of Skadden's former group, Finally Punk will appreciate "Save Me" – a tale of desperation with Skadden sharing lead vocal duties along with York. These are just a few examples of songs from this diverse and intense LP, showing us a band stretching out sonically and stylistically at their peak and right before their untimely demise. 

So there you have it -- a testament to a band that formed in an instant, burned brightly and left us with two great records. Did you see WALL at Palisades, The Silent Barn, Alphaville, Union Pool, and all the rest of them? Let this LP remind you or take you there for the first time. Mixed by Mike Kutchman at Kutch 1 Studios and mastered by Josh Bonati.

PRESS
Stereogum Premieres "High Ratings" - a jamboree of demoniac guitar lines and seductively hostile vocals
PAST PRESS
Stereogum Premieres “Fit The Part” - ripping apart at the seams and bursting through with unnerving vitality
Pitchfork Review of WALL EP - In tricks like these, WALL wriggle out from the under the weight of history

BUY LP/CD

WALL - River Mansion (from the Untitled LP)

ORDER LP/VINYL - http://wharfcatrecords.com/store/pre-order-profligate-somewhere-else
ORDER ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/somewhere-else
ORDER ON APPLE MUSIC - https://itunes.apple.com/us/album/somewhere-else/1298760552

Profligate's first full length since 2014, Somewhere Else deftly balances seeming opposites – chaos and composition, melody and noise, programmed and live instrumentation, all with a distinctly human touch. Mastered by Carl Saff.

About Profligate
Noah Anthony’s music ranges from heavily rhythmic electronics to tightly composed songs. In 2013 Profligate released the Videotape 12" (Not Not Fun) and full length Come Follow Me (More). The Red Rope EP (DKA) and full length Finding the Floor (Not Not Fun) followed in 2014. Profligate has toured the U.S. and Europe receiving acclaim for recordings and visceral live performances. Over the Summer of 2016 Profligate began operating as a duo featuring L.A. poet/musician Elaine Kahn on additional vocals and instrumentation. The Somewhere Else LP features tracks they worked on together as well as solo work from Anthony.

Profligate - Black Plate

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2017’s equal parts somnambulant and sultry Sleeprydr 7” was aptly described as “psychedelic rock that hits like a dream despite undoubtedly seeking to soundtrack nightmares” (-Stereogum). Thankfully, Slow Sundown, Holy Motors’ debut full length release, finds the Estonian dreamcatchers utilizing a similar sonic palette ranging from dark psychedelic pop to shoegaze-inflected western music. But while Sleeprydr, much like 2015’s Heavenly Creatures 7”, provided only a fleeting glimpse into the dreamscape that their music evokes, Slow Sundown’s eight tracks offer a more immersive experience for those brave enough to take the ride. While the guitar lines from lonely cowboy ballads like “Honeymooning” could easily serve as the central themes for unwritten Morriccone scores, dystopian anthems like the rhythmically propelled “Signs” break new ground for the band and demonstrate that Holy Motors are not bound by their influences. Thematically the album is comprised primarily of sad love songs centered around the idea of motion – the motion of a satellite orbiting a planet, the motion of a passenger riding shotgun in a car – as it relates to stellar-scale and existential isolation. Produced by Merchandise’s Carson Cox and recorded at Brooklyn’s Kutch1 Studios when the band was visiting the US on tourist visas, Slow Sundown is a beautiful alien artifact that definitively delivers on everything we have been promised by Holy Motors’ work to date.

About Holy Motors

Hailing from Estonia, Holy Motors is a five-piece twang and reverb band featuring three guitarists. They are cowboys at heart who come off as shoegazers by their presence and dreamcatchers in their music. In their time, Holy Motors have played alongside bands such as Kaleidoscope, Craft Spells, Sic Alps, Dirty Fences, and Rips. They will appear at South by Southwest in 2018 and are currently organizing a series of US tour dates centered around the festival.

STEREOGUM
Hits like a dream despite undoubtedly seeking to soundtrack nightmares
THE FADER
HOLY MOTORS makes shoegaze that sounds like the old west
ADHOC
Alluring in their delivery, entrapping in their substance

Holy Motors - Honeymooning

PRE-ORDER - http://wharfcatrecords.com/store/holy-motors-slow-sundown-pre-order-lpcd
PRE-ORDER ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/slow-sundown
PRE-ORDER ON APPLE MUSIC - https://itunes.apple.com/us/album/slow-sundown/1304230978

2017’s equal parts somnambulant and sultry Sleeprydr 7” was aptly described as “psychedelic rock that hits like a dream despite undoubtedly seeking to soundtrack nightmares” (-Stereogum). Thankfully, Slow Sundown, Holy Motors’ debut full length release, finds the Estonian dreamcatchers utilizing a similar sonic palette ranging from dark psychedelic pop to shoegaze-inflected western music. But while Sleeprydr, much like 2015’s Heavenly Creatures 7”, provided only a fleeting glimpse into the dreamscape that their music evokes, Slow Sundown’s eight tracks offer a more immersive experience for those brave enough to take the ride. While the guitar lines from lonely cowboy ballads like “Honeymooning” could easily serve as the central themes for unwritten Morriccone scores, dystopian anthems like the rhythmically propelled “Signs” break new ground for the band and demonstrate that Holy Motors are not bound by their influences. Thematically the album is comprised primarily of sad love songs centered around the idea of motion – the motion of a satellite orbiting a planet, the motion of a passenger riding shotgun in a car – as it relates to stellar-scale and existential isolation. Produced by Merchandise’s Carson Cox and recorded at Brooklyn’s Kutch1 Studios when the band was visiting the US on tourist visas, Slow Sundown is a beautiful alien artifact that definitively delivers on everything we have been promised by Holy Motors’ work to date.

About Holy Motors

Hailing from Estonia, Holy Motors is a five-piece twang and reverb band featuring three guitarists. They are cowboys at heart who come off as shoegazers by their presence and dreamcatchers in their music. In their time, Holy Motors have played alongside bands such as Kaleidoscope, Craft Spells, Sic Alps, Dirty Fences, and Rips. They will appear at South by Southwest in 2018 and are currently organizing a series of US tour dates centered around the festival.

STEREOGUM
Hits like a dream despite undoubtedly seeking to soundtrack nightmares
THE FADER
HOLY MOTORS makes shoegaze that sounds like the old west
ADHOC
Alluring in their delivery, entrapping in their substance

Holy Motors - Valley

Holy Motors - Signs

Holy Motors - I Will Try

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Decisions formed in February of 2016 in New York City because Jacob, Ellen, Jonathan, and Liana all being in one band “seemed to make sense,” a hardcore punk group drawing from an inspired cross-section of outsider influences. Lingering elements of their members’ other projects seep in through the cracks: artful experimental restraint, blown-out noise, the occasional straightforward rock riff. At early shows in kitchens and basements of NYC Decisions created their sparse but hard-hitting weirdo freak-punk-through-a-tin-can sound with lyrics dissecting experiences of “class resentment, being queer and feeling powerful.” This was captured on a cassette in April of 2017, the six-song Plagiarism, released via Death By Sheep Records. Decisions are among the best punk bands in NYC and the tape left many wanting more.

Now behold: ten minutes of new Decisions, a seven-inch titled The Weight of the World Leaves a Broken Back set for release via Wharf Cat. Recorded at JMZ House in October of 2017 by Dave Rata, it’s a raw punk record that plays out almost like one complete sentence—a skeptical and nuanced thought about breaking down the walls and norms of a boring fucking world, and the gatekeepers and institutions reinforcing a busted status quo. It’s like a collective decision to push back and say No, with screeching feedback, ominous primal drums, sirening basslines. “TRAPPED” is at once an epiphany and a rejection while “DISFORM” uses rhythmic double-tracked vocals to sear into those who spew bullshit theories and meaningless words, all leading to some of the record’s most central questions: “I try my best to live comfortably in this body that I hate… Are we living outside this binary or creating another one?”

It’s a song that asks whether seemingly radical communities only end up creating their own hierarchies and power systems, a topic further pried open as “GATEKEEPER” rails against the holders of power in hardcore, a world they seem content to tear apart and build anew on their own terms. “RUSTED SHUT” is the only song to break two minutes, a slow and creeping build that eventually breaks and example of this band’s cool use of pace and testing of patience. Is it a takedown of old guard systems and impossibly locked doors or just a meditation on some ancient building? Figure it out for yourself or don’t. The answers are never easy. Decisions suggests you can opt for a process instead. With unrelenting rage and disjointed grooves, The Weight of the World Leaves a Broken Back is the sound of a new New York punk underground, of chaos bending towards something more interesting.

Decisions - Trapped (From "The Weight of the World Leaves a Broken" Back EP)

ORDER 'SHADOW ON EVERYTHING' OUT ON WHARF CAT RECORDS ON 4/6
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Night’s changing 
Spiders seem to levitate in headlight 
While deer hide dumb in the bushes 
And three snakes hang from the branches of a small tree 
In front of her house where he’s climbing out of her room 

José looks back through the window 
She’s tangled up in the sheets and she’s smiling sweet 
Talking softly in her sleep 
He hops down to the driveway 
Stumbles to his car parked down the street 
And he turns the key 

The church looms on the horizon 
Like the dried up husk of some ancient bug 
Legs scratching at the rising sun 
Inside he gathers his things 
‘Round the scattered bodies of his passed out friends 
In a drunken spin 

Jimmy yawns and says, “Hey what’s goin on?” 
“Shadows just seem darker these days.” Says José 
“Anyway, I’m gonna catch a train.” 

José waits by the tracks 
Sunrise puts a squint in his eyes 
And it seems like there’s 
So many little creatures scurrying around that he can’t see 
The train comes and he starts running 
He jumps for it and he slips 

She wakes up and she sees his gone 
Just like she expected 
But she hoped she’d be wrong 
Thought this morning 
She could try it on top 
“Never get old where you were young.” 
He said while she was nodding off 
He’s kind of strange she thinks 
Yeah but so is love 
The kids in the church start to stir, 
As light pours in through the holes in the walls, 
Wondering if José is gone 
“No one ever really leaves.” 
Jimmy says through a cloud of smoke 
“Where would he go anyway?” 
The sun is up and the birds are pecking 
Pecking at something lying in the dirt

Bambara - José Tries To Leave - From the "Shadow On Everything" LP

This track is from the Record Store Day version of the ACLU Benefit Compilation and comes on a flexi disc! You can find this comp at fine record stores everywhere!

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Public Practice - Foundation (Demo) - from the RSD version of our ACLU 2XLP plus flexi-disc)

About Phantom Rhythm

Guitar-and-bass duo Gong Gong Gong charges out from Beijing’s underground scene with a distinct vision and uncompromising sense of purpose. The group unites musical cultures, drawing on inspirations as wide-ranging as Bo Diddley, Cantonese opera, West African desert blues, drone, and electronic music. 

Gong Gong Gong eschews traditional rock percussion, but on their debut LP, Phantom Rhythm 幽靈節奏, the locomotive chug of Tom Ng’s guitar combines with Joshua Frank’s thumping, harmonics-laden bass lines to conjure an aura of ghostly snare hits and timpani overtones. Over Frank’s enigmatic melodies, Ng sings in Cantonese, piecing together abstract tales of absurdity, doubt, desire, and lust. Synchronized to the point of near-telepathy, the band use their minimalistic tools and idiosyncratic playing style to challenge the notions of rock n’ roll and strip the form down to its bare essentials: rhythm, melody, and grit.

About Gong Gong Gong
 
Formed in 2015, the band’s earliest shows were in Beijing underpass tunnels and DIY spaces. Ng and Frank are both outsiders who call the city their home: Ng, who was born in Hong Kong, defiantly sings in his native tongue, while Frank, originally from Montreal, has lived in Beijing on and off since childhood. (He is the English translator of Ng’s lyrics, adding another layer to the duo’s close collaboration). The duo is set to follow up the release of the Siren 7" with the release of the Phantom Rhythm album in the Fall of 2019.

Produced & Mixed by Jonny Schenke. Recorded at Seaside Lounge and Mixed at Studio Windows. Mastered by Carl Saff.

Gong Gong Gong 工工工 - Notes Underground 地下日記 (From the 'Phantom Rhythm' LP out 10/4)

One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified  – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
 
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and  a huge stride forward for the band both lyrically and sonically. 
 
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising...western, gothic opus,” Bandcamp called the "horror-house rampage" "one of the year's most gripping listens," and Alexis Marshall of Daughters named it his “favorite record of 2018.”  Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, "The best thing I heard last year was easily Bambara and their album Shadow On Everything."  The question was, though, how to follow it?
 
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
 
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
 
The finished product represents both the band's most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding  baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel," while the Dick Dale inspired guitar riffs on “Serafina” and "Heat Lightning" and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
 
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread  that ties  these stories together.

Bambara - Serafina (from the 'Stray' album out 2/14)

Public Practice - Disposable

About The Freelancer's Blues

The Freelancer’s Blues, the second full-length LP from Brooklyn’s country crooner Dougie Poole, captures its cur-rent moment like nothing else. Poole updates the story-telling backbone of country music for an audience that is young, urban, romantically alienated and financially pre-carious, using the same threads spun by Merle Haggard, Willie Nelson and Kris Kristofferson before him to write his own anthems for a new generation of country music fans. With his debut album Wideass Highway Dougie Poole established himself as forerunner in a class of musicians who grew up in a post-genre ecosystem equally as likely to be influenced by Ariel Pink and Animal Collective as Dolly Parton and Dwight Yoakam. On The Freelancer’s Blues, Dougie graduates from drum machine and synthesizer bedroom country to a full band with honky-tonk harmonies, wailing pedal steel, and carefully constructed arrangements. Produced by Jonathan Schenke (PC Worship, Gong Gong Gong, Public Practice) The Free-lancer’s Blues does the seemingly impossible of staying true to Poole’s heritage in the DIY scenes of New York and Providence, while simultaneously certifying him as a country music bonafide.

About Dougie Poole

Dougie Poole is a musician and songwriter living in Brooklyn, New York. Coming of age in Providence, he dabbled in heavier and more exprimental music before maturing into a country auteur. He writes earnestly about his experience (life in the big city, heartbreak in the digital age) and approaches country as an experimental music form, as well as a tradition. He has shared tours nationally with Jerry Paper, Still Corners and Bong Wish, and in 2019 guested on the Drugdealer album Raw Honey.

Dougie Poole - Vaping On The Job (From 'The Freelancer's Blues' album out 6/12)

Public Practice is reanimating the spirit of late ‘70s New York with their intoxicating  brand of no wave-tinged dark disco. The band came in hot with their punchy balance of punk, funk, and pop on the critically acclaimed Distance is a Mirror EP in 2018, paving the way for their highly anticipated freshman record. Now, after a year of intimate and experimental songwriting in their home studio, they have fleshed out the energetic, playfully oblique sound captured on their debut full-length Gentle Grip. 

Together, the foursome creates bold, slinky rhythms and groove-filled hooks that get under your skin and into your dancing shoes. The musicians’ unique chemistry and approach to songwriting is part of what makes their world so intriguing. Magnetic singer and lyricist Sam York and guitarist and principal sonic architect Vince McClelland, who were creative music partners for years prior to Public Practice’s formation, come to the table with an anarchic perspective that aims to eradicate creative barriers by challenging the very idea of what a song can be. Paradoxically, Drew Citron, on bass/vocals/synth, and drummer/producer Scott Rosenthal are uncannily adept at working within the framework of classic pop structures. But instead of clashing, these contrasting styles challenge and complement one another, resulting in an album full of spiraling tensions and unexpected turns.

Inspired by influential New York bands like Liquid Liquid and ESG, the foursome has a natural inclination toward music that sounds rough-hewn. “We were thinking about classic New York dance albums, and the thing that stuck out is that many sounded like they were recorded in less-than-ideal situations,” McClelland says. “There was always something about them that felt somewhat home-cooked.” McClelland has spent the past few years constructing a home studio with carefully chosen and occasionally hand-made equipment in an effort to recreate that “cobbled together” sound. As three quarters of Public Practice are engineers as well as instrumentalists, their collection of gear, combined with the recording rig McClelland built, allowed the band to record Gentle Grip largely at their own hybrid practice space/studio in Brooklyn. “Having a space and setup that is unique, you're always going to have more of a signature sound,” McClelland explains. They spent the better part of 2019 playing with sounds, riffing on McClelland’s demos, and recording a number of songs live to tape. Although a handful of sessions occurred in traditional recording studios, the band’s autonomy and ability to record themselves imbues their music with a sense of freedom and gives it a distinct character — a home-cooked sound that is purely Public Practice.

Public Practice - Compromised (From the 'Gentle Grip' album out 5/15)

About 'Too Numb to Know' (out 9/25) by Profligate

'Too Numb to Know' showcases Profligate continuing to shirk the heavy electronics of his early years for razor sharp pop. On 2018's 'Somewhere Else,' Noah Anthony delivered dark pop gems while adding live instrumentations, reinvigorating his songwriting and sonic palette. This new song-driven approach gained praise from Resident Advisor, Pitchfork, Bandcamp Daily and The Wire, exposing Profligate to new listeners.

'Too Numb to Know' followed Anthony from coast to coast, as he recorded his first demos in Philadelphia and then moved to Los Angeles, a city he found creatively challenging and emotionally depleting. After the theft of his computer—and with it the work he'd done on 'TNTK' in L.A.—Anthony took a friend's suggestion and moved to Cleveland, Ohio, where he finished the album and added contributions from allies like Matchess, Lazy Magnet, Gel Set, and Missions, among others.

'TNTK' is about growth, reflection and change. Lead single "Hang Up" urges the artist’s younger self to trust his instincts during chaos. Its message pairs with bright keyboards, a pulsing beat, and soft, alluring vocals - on the chorus, he croons "Nothing you create but love penetrates." It's an urgent, driving pop song that fuses electronics with guitar and bass like the best of alternative radio. Guitar is prevalent on 'TNTK,' building on the live bass of 'Somewhere Else,' adding a new arrow to Anthony’s quiver, creating more space for melody, and using it to fill the room.

"A Little Rain" and "My Days" feature evocative melodic and textural beauty. Laura Callier of Gel Set adds graceful shimmering vocals to “A Little Rain” that wash the song in nostalgia, while the latter song’s weave of mostly acoustic instruments (certainly a first for Profligate) is unexpected and welcome. Softer moments like these are interspersed throughout 'TNTK' between kinetic numbers like "No Clear Way," while "We Can Punish" and “A Stranger” are reminiscent of his noisier, beat-oriented years. This varied approach and attention to detail are the garnish to an already tight song cycle that will satisfy hardcore fans of Noah Anthony's output and newcomers, alike.

About Profligate

Noah Anthony’s music ranges from heavily rhythmic electronics to tightly-composed songs. His debut LP Come Follow Me, was released in 2012 on More Records and a string of 12” EP’s and compilation appearances followed. 2014’s Finding the Floor was issued by Not Not Fun. 2018's 'Somewhere Else' was Profligate's first for Wharf Cat Records and was supported with U.S. touring and an appearance at SXSW 2018. The follow up, 'Too Numb to Know' will be released on 9/25.

Profligate - Hang Up (from the album 'Too Numb to Know' out now)

Gong Gong Gong, Bambara, Holy Motors, Public Practice, Lily Konigsberg, Bush Tetras, Profligate, Palberta, Urochromes, Macula Dog, David Vassalotti, The Sediment Club, Horoscope+

We are in Greenpoint, Brooklyn

Popular tracks by Wharf Cat Records