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PREMIERE: Green and Glass's debut is mystic chamber-pop, play Threes Brewing 3.4

It’s rare that a record is able to capture a perfect balance of forward momentum and somber reflection, yet this is precisely what New York avant-pop ensemble Green and Glass have accomplished on their debut full length. Such conflicting feelings are likely a product of the band’s methodical instrumentation, the joining of parts from the old world (harps, horns, and drums) and the new (keys and electric bass), which as set pieces for bandleader Lucia Stavros’ show-stealing, often mysterious lyricism, creates an intergenerational atmosphere — chamber pop that feels as modern as it does baroque. This tone is set early in the record on “Green and Glass” and “14 Hours,” whose march-like tempos, somber brass lines and cool synths serve as distinctive introductory fanfares; while the song’s formats may seem familiar at first, the script is immediately upended by the band’s diverse instrumental offerings. This energy continues throughout standout track “Sand,” where the unison of harp and electric guitar against a stuttering percussive line paves the way for an ethereal overture that perfectly blends woodwind and midi leads. In all, Green and Glass delights and surprises at every turn, a lush, experimental yet accessible record that will feel immediately at home with fans of San Fermin or Hundred Waters — stream our premiere below, and catch the band at Threes Brewing on March 4th for their record release show. Photo by Maura McGee

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PREMIERE: Enter the dungeon on Castle Rat’s foreboding “It Isn’t Clean” (plays Baby’s 2.27)

Describing the opening breakdown of “It Isn’t Clean” as earth-shattering is an understatement — in the context of the incubus imagery and foreboding, drop-tuning guitars that characterize this five minute night ride, it’s better described as a hell opening incantation. The debut single by occult-embracing, 70s metal-inspired quartet Castle Rat well demonstrates the bands proclivity towards the old masters, drawing equal parts from the black magic and lyrical subject matters of Sabbath with an eye for the performative panache of KISS. Frontwoman Riley “The Rat Queen” Pinkerton embeds a healthy level of glam into her mic-ripping performance, backed by instrumentation that remains consistently doom-y, yet progressive enough to never get bogged down in sludge. Recommended for fans of hair metal or Ari Aster’s Hereditary, stream our premiere of the track below, and see Castle Rat tonight at Baby’s All Right, supporting Stonefield. Photo by Jessica Gurewitz

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Folk/Country

Time: 
07:00
Band name: 
Natalie Gelman
FULL Artist Facebook address (http://...): 
https://www.facebook.com/NatalieGelmanMusic
Venue name: 
Rockwood Music Hall
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Electronic

Time: 
07:00pm
Band name: 
Electric Djinn
FULL Artist Facebook address (http://...): 
https://www.facebook.com/electricdjinn1/
Venue name: 
Jump Into The Light
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Celebrate survival with Seán Barna's "Eastern Junk Dancing"

Seán Barna is an enigmatic everyman. For all the various idiosyncratic struggles he processes on new single “Eastern Junk Dancing,” the experiences of “scraping together whatever money you can to galavant up and down the last coast in a tour van,” the mental gymnastics of re-interpreting the steely resolve of Margaret Thatcher as a way to merely exist as a queer person, they’re delightfully idiosyncratic, yet immediately resonate with anyone who’s had to hustle for the dream or persevere despite feelings of inadqueacy or non-normalcy. These quotidian trials as narrative, which Barna chronicles in melancholy-yet-hopeful voice, one that evokes equal parts Destroyer and David Bowie, against a glammy, acoustic vamp, makes for a joyful bop; it’s a celebration of the radical act of staying alive, which after all, is something worth commemorating, if even for a few fleeting hours on Houston Street. Listen to it below if you’re feeling doubtful of your own starpower to remind yourself that, despite it all, you’re still here. —Connor Beckett McInerney

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