With twin cities folks routinely checking their phones to weather apps declaring it to be -15, it was about time that an artist rolled around whose entire modus operandi is comforting, intimate songs to warm the heart. Gregory Alan Isakov’s music is like reconnecting with an old friend you haven’t seen in the longest time and picking up right where you left off - personal and reminiscent and delicate, always welcome and always pleasant. Isakov’s winter tour - just him and his backing band, no opening support - rolled into the Palace Theatre in Saint Paul last Friday evening, bringing along with them just the shot in the arm that the frozen folks around here needed to get them through one intense winter. Isakov’s scaled down yet powerful shows certainly preceded him - despite it registering as a solid -5 outside, the door folks could barely keep up with all the people showing up to grab a good spot.
With no one opening for them, the band wasted no time getting into the swing of things. Isakov and co. opened with "San Luis”, a cut off their 2018 album Evening Machines, one of the band’s more popular cuts and one that set the tone for the evening immediately. Gently strummed guitars feed directly into Isakov’s trademark croon, simultaneously a bit slurred and perfectly clear. That song is the perfect entry into the rest of Isakov’s discography, as they flowed across their back catalog with quite a few songs off of This Empty Northern Hemisphere, like “Big Black Car” and “If I Go, I’m Goin”. While his sound has changed a fair amount of the years, that same element of music to bring you closer to the ones around you has never left his music, which made the night flow along seamlessly, as if every song had come from the same album. The feeling of attending a concert bleeds into the background and you can imagine yourself gathered around a woodfire in the remote wilderness, Isakov’s vocals fading into the vacant skies as the embers burn low - it’s a transportive experience to say the least.
Isakov and his backing band gathered together on the microphone for their final two songs - as they have done one every stop this tour. They closed the night out with a pared back, stark rendition of “Dandelion Wine” and “Saint Valentine”, leaving those in attendance far better off than when the doors had opened earlier that night and let the bare chill in.
Where do you go when you can’t take it anymore? A question posed by philosophers and loners alike for a millenia that only leads to more questions. The answers as expansive as they are limited, dictated by a moment’s state of mind and communicated solely through action. A healthy approach to such a question answers through song or any constructive activity that refuses to indulge the hopelessness that “it” entails.
‘Sanitarium’, Fencer’s lead single off their imminent self-titled debut album relegates this hopelessness to the air above. While the body lingers in its depressive state and the mind moves at a goldfish’s pace, Fencer’s resolve to ‘build a sanitarium in the sky’ is one of the more poetic solutions to the dwindling spirit of a burgeoning emo band. There have been murmurs that the analog sound formerly known as “music” is slowly gaining steam. While individualistic Emo-tech has resurrected the genre and pacified those coming of age, the pendulum is swinging back to The Industry’s public enemy number one: the band. Through thoughtful lyrics, engaging structure and shared ability to play tangible instruments, Fencer offers the feel and freshness of a garage band to a generation who would be forgiven for thinking that was just something that came on their MacBook.
Creating a through line of sound and color, the ‘Sanitarium’ video deepens the scope of Fencer’s world, building on their preceding videos and other visual aids. Opening with our aforementioned question, we meet our loner boy protagonist languishing on a solitary swing in the middle of a vast body of water. His only companion is a tauntingly distant mailbox. His head replaced by a blue box once recognized as a desktop monitor. His face, a placid black screen. The sea quickly evaporates to the next frame and our friend is now hanging out aboard a ship’s skeleton, equally as stranded on dry land. His first mate is a Donald Duck plush and his phone, once Fencer Blue, has been weathered to match its place in history. Without the possibility of a connection, our boxy friend bounces around searching for other blue things and places with vibrant color adrift in a dry, sandy gray and forgotten inland town.
Once friends are found they are equally as faceless, though much more unsettling. These players convey the feeling that when you’re searching for a break, getting kicked in the head is better than being alone. Chasing a dream can bring both things, but when you find yourself in the rubble of screens at least you have the music to come back to.
Ultimately, Fencer’s ‘Sanitarium’ despite its glorification of mediocrity transcends above its own expectations to become a solid single that builds excitement for what’s to come. Be sure to tune into your platform of choice for “Fencer” the album and come see these angsty boys and their instruments at The Mint on February 27th. Hunnypot Approved.
-Robyn Dee
The Backseat Lovers continue to find success in their second ever Album - Waiting to Spill. The opening song titled “Slowing Down” recently had a music video released on January 26th, 2023. This video is especially unique as the shots originate on 16mm film and are composed by Backseat Lover’s own Joshua Harmon and photographer Brandon J. Minton. If you are a fan of the band you may also see a familiar face or two.
This video took me by surprise as I feel most bands usually don’t pick instrumentals to showcase their album. Yet, “Slowing Down” creates such an interesting auditory environment that it sets itself in a new category of instrumentals. The music video does exactly as the song and attempts to create an atmospheric environment rather than focusing on a storyline or lyrics. The video exhibits beautifully composed shots of water, forestry, observations of humanity, and lead singer Joshua Harmon. Every shot is set in extremely harsh low-key lighting with a 4:3 frame that almost always has an elegant symmetry about it. This is a perfect example of blending old media with new. It is easy to see that this is not edited on technology from the same era as it was shot on. Some shots show reversal and the perfect cuts on the beats of the song tell us this. A great use of the imperfections and awe gathering grain of 16mm film combined with the editing techniques and technology of today.
Some interesting shots that struck my eye, are as follows. An incredibly sincere shot of a pool table and out from the shadows an arm and pool cue emerge, at the moment of contact the film cuts to a newton’s cradle in which is at the exact angle. Another shot shows 3 people walking in line, perfectly in sync with the music and one another. As well as, a ferro-fluid like sand moving around in a dance of swirls and engaging patterns. Even though there is no one thing to focus on throughout the video, this only emphasizes the beauty of the aesthetic of “Slowing Down”.
The Backseat Lovers show time and time again that they are not only astonishing musicians, but extraordinary artists too. They group is able to find a style that has never before been seen, in every piece of work they produce. I simply cannot wait to see what the future of this band looks like. Especially as whole artists constructing art of a plethora of mediums.
If you’ve never dabbled in the genre of indie-folk-pop, the best way to do so is by attending a show by The 502s and Oliver Hazard. Boy was I in for quite the surprise that night in Dallas – a GREAT one at that. I live in the hardcore world but keeping things a little spicy is never a bad thing in my opinion. I gave them a listen beforehand and def vibed to the sound. I started looking forward to the night after that. Let’s jump into it.
Arriving at The Studio at The Factory in Deep Ellum, I checked in, and did the usual prior to the first set drink to get the juices flowing, and then watched everyone pile in. Oliver Hazard was up first, and I was more so excited to see their set because their music reminded me a lot of Judah and The Lion, who I’m really into. They take the stage, and the crowd cheers them on. They start out their set and we were off to the races. Being a little unfamiliar with all of the songs, I didn’t have any specifics I was looking forward to hearing and was there to just take it all in. Sometimes that is the most exciting way to experience a band. A few that stood out were “Ballerina” and “Dandelion”. Excited to see them again and definitely added to my Spotify rotation.
And onto the sensations that are The 502s, and when I say sensation, that is 100% true. I wasn’t ready for what I was about to witness. I was chatting with the other photographer, and she mentioned they were incredible and to get ready for an awesome performance. I set up and boom, they hit the stage running. Out the gate, we had a wonderful saxophone thrown in the mix with a clarinet switched in and out the entire set. The energy was flowing through the whole room and the crowd was all about it. Whether it was synchronized dancing and jumping to kazoo solos, The 502s brought it all. Talk about being blown away the entire time – and there was no slow down. It was an hour of pure coordinated chaos. Unlike most shows I attend, and it made the experience that much better. If you want one hell of a time, don’t miss this tour when it comes to a city near you. 10/10!
Swedish hard rock/power metal supergroup Crowne hit the scene with a splash, having formed just a few short years ago, but wasted no time making an impression. With members from such heavy hitters as Dynazty and Art Nation, the crew set out to turn heads quickly, dropping Kings in the North in 2021, establishing a blueprint for what was to come - soaring vocals, epic guitar solos, uplifting melodies and packed to the brim with enough riffs for three albums. It’s an album that leaves the listener with a smile from ear to ear after listening to it - which is not to reduce it to a fun-but-forgettable experience - but rather that the group had tapped into the soul of heavy metal with their debut, and left expectations high for what they would do with their next release.
Ultimately, with 2023’s Operation Phoenix, their answer seemed to be ‘as before, but everything even better’. Their sophomore album is - as a fan would hope - jam packed with everything that their debut album contained, with standout performances from every member combining into a maelstrom of metal madness, but elevating itself into a realm that their debut album doesn’t quite touch. The riffs are catchier, Alexander Strandell’s vocals soar higher, Jona Tee’s solos are even more virtuosic - it’s everything that Kings… presented, but just more. What sets Crowne apart is just how effortless it all sounds - as if the band barely lifted a finger to accomplish it all. Phoenix does not come across as a sophomore album at all, which is likely helped by the presence of new guitarist Love Magnusson (of Dynazty fame) contributing equal songwriting and solo flashiness. Everything combines seamlessly into a joyous, anthemic explosion on nearly every song, with standout tracks like “Juliette” and “Ready to Run” sounding like heavy metal masterclasses, the latter featuring an layered gang vocals and charts and a pulse-pounding chorus leading into a wild harmonized guitar solo, which further leads into a tapped flourish with Strandell belting over the top of it - when this album is firing on all cylinders, it is peerless. Far from being the only standout moment on the album, Operation Phoenix is filled with excellent moments like this.
All of this is accompanied by a clean, perfect production job by band member Jona Tee. The album has a full-bodied sound, giving full room to let the instruments shine in equal measure to Strandell’s seemingly limitless, incredible range. Backing duo John Levén (bassist) and Christian Lundqvist are also given plenty of room to breathe, the bass fully audible nearly throughout, and the drums given a meaty presence in the mix that really give an album that would be heavy by any standards a hard-hitting, modern sound that should please pretty much anyone.
Operation Phoenix releases on January 27th, 2023 in CD/Digital format, and a formal LP release will occur on March 17th, 2023.
Fencer is a self-defined garage opera (rock) trio hailing from Los Angeles, CA. Their self-titled and self-produced debut album is set to release February 3, 2023 and is comprised of 10 very raw, emotional, and dynamic tracks. This upbeat, high-energy trio consists of vocalist/guitarist Field Cate, bassist Scott Sauve, and drummer Cameron Sauve.
Anticipation looms with upbeat guitars and fast-paced drums until 0:54 of opening track "Come On, Keep Screaming" when the first words “Why the hell’s it so hard to just say what I mean?” comes blaring through the speakers. Field’s soulful, melodic vocals pierce right through you from start to finish and are perfectly accompanied by a bluesy bassline and rhythmic drums. Field’s vocal range on this entire album is beyond impressive.
Third track in, "Buena", is a cover from Morphine’s second studio album released in 1993, A Cure For Pain. Just as the original, the song starts off with a girthy bass line then drums and guitar slowly creep in. Unlike the original, the musicality is a little brighter and upbeat, yet Field’s melodic and sultry vocals really paint the picture of serendipity in a shade of bright blue – I found out after the fact that Fencer has a gimmicky theme of blue for the band and according to various interviews I read, they will never change that color.
The album slows down at track six, "Sanitarium", which is one of their video singles released in October 2022. "Sanitarium" is about dealing with depression and poor mental health. Field has discussed his personality disorder that he has dealt with for the last several years, and he advocates positive mental health, especially in today’s world. I learned that Field is such an advocate for positive mental health, that he is a life coach. Dealing with mental health issues are prominent throughout the entire albums’ lyrics. Listening to these lyrics you can feel the pain and struggle – it’s very real and hits home for me as I’m sure it will for others.
"Joseph Courtney", their single released in November 2022, was blessed with the number 7 spot in the track listing. Field describes “Joseph Courtney” as an alter ego that he created and adopted as a vessel for him to show off a more manic nature. This is Field’s first time being a frontman and this character he embodies is a way for him to harness that role and take charge of the stage.
The album finishes off with "Bad Bet", a slow and somber ballad. When I listened to this one, I just closed my eyes and let is completely consume me. “I feel so whole when I sell my soul,” those words just ripped right through me. It brought on so many raw emotions that I was nearly brought to tears. This album was just a rollercoaster of emotion and you could feel every word rush over you.
Fencer has really set the bar high for their next album, so be sure to keep an eye on these guys – I foresee a bright future for them. Fencer previously toured with Badflower and they are planning to tour this album, but no dates or details has been set just yet. When they do tour, I do recommend checking them out – just as I will.
This is an historic year for Hunnypot Live, this November we'll hit our 500th show. It's taken Hot Tub Johnnie 23 years to get here, the countdown clock begins. Don't miss a single Hunnypot Live new music discovery podcast this year and support the organization who's given so much to the Film/TV/Music placement and supervision communities. 1/30/2023 Interviews and Live Performances from: Howlin' Moon, Alec Beretz, and PLVNK
Photos: J. Gray
"Howlin’ Moon" is a musical project that has been performing in San Diego since 2011. Their raw, raspy vocals, emotive lyrics, and bluesy riffs make you want to move and dance while you listen. Many of their original tunes tell vivid stories harkening back to their Texas roots, captivating audiences with the narratives of their songs. Make sure to attend the show and share in the remarkable and unforgettable experience that is Howlin’ Moon.
Emo-rap-post-apocalypse-psychedelic-r&b-grunge artist Alec Beretz volunteered to write his own bio and is regretting it with every keystroke. Known cultishly for his debut song “Peep This”, he carried his initial buzz to doing features with T.I. and OMB Peezy. Alec Beretz is known by his fans to release above-average music once every paradigm shift. He has promised (with failure punishable by exile) to release every banger and ballad he’s got in 2023.
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PLVNK (pronounced Plank) is an LA-based musical group composed of Compton rapper JohnBoyCool, Israeli singer Nachum and British instrumentalist Sir Mal. The Songs - ranging from Hip Hop to Alternative Rock to EDM - reflect the diverse backgrounds of the group, pulling from their combined studio and performing experience.
They bring the flavors of the cities they grew up in: Compton, London, and Jerusalem.
PLVNK are going to release two EP's in the next 5 months.
Look Out.Make Love. Unity through Music
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An homage to their childhood and to their love for the DC-Maryland-Virginia (DMV) area, The Crystal Casino Band will be releasing their sixth full-length album, Maryland House (named after their favorite rest stop along the I-95), on Jan. 27. The 13-song album, which was produced by Kyle Downes and Jay Nemeyer, takes its listeners on a trip of emotions and even through genres.
The album begins with “Curfew,” which is a song from the perspective of someone in the DC area during the Jan. 6 Insurrection on the Capitol. This song highlights the struggles of witnessing a horrifying moment of history in a polarized America with lyrics implying someone scared to live in the US and with siren-like sounds echoing in the last minute of the song. “Curfew” feels like the perfect song to start the album with because it sends such a powerful message and has such a strong instrumental with a moving bass line and a driving percussion line. Next on the album is “twenty-something socialist,” and as an almost twenty-something, this song accurately encapsulates the frustration and anger that young people have today towards the capitalism-hungry billionaires. The next few songs on the album, “Jamie,” “Sorry Not Worried,” Boys & Girls” and “Until the Sun Comes Up” all sound like they could be indie-rock classics alongside the likes of The Strokes or Arctic Monkeys.
“Talking Stage” featuring indie rock band Divine Sweater definitely amazed me. It was an unexpected gem and a modern take on western folk music in the sea of indie music. This song felt like a breath of fresh air and added another layer of fascinating complexity to the already incredible album. Something notable about the next song, “City That Sleeps” was how staccato the vocal line sounded, accompanied by the slightly staccato repeating guitar and bass lines. This style of singing was different to the regular melodic and legato singing that we’ve heard from the rest of the album thus far and creates a really interesting contrast. “Wealth & Riches” and “Half Staff” are the songs that I think are the most interesting to listen to on the album because of the complexity of the instrumentals. Listening to them felt almost like an ethereal experience and they take you on an fascinating musical journey. “Antlers” I believe to be on the level of “Talking Stage” because of how I believe it transcends genres but has sprinklings western folk and country influences.
The final two songs on the album, “Quarter Life” and “Getting Closer” are phenomenal songs to end the album with because they help tie the album back together by depicting experiences and emotions related to childhood. “Getting Closer,” especially, is a perfect song to finish the album because the lyrics are slightly more hopeful about finding and not forgetting your inner child and joy and has a twinge of playful innocence by including whistling and a harmonica. However, the song ends slightly ominously, which I believe to be a circle back to the less hopeful and more realistic songs and tones of the beginning of the album.
Overall, I believe that Maryland House is an incredibly complex album yet worthy of your time and attention. It will surely capture you from the very first spin and leave you wanting more when the needle finally lifts. Mark my words, The Crystal Casino Band are on their way to becoming the next big indie-rock band and I'm looking forward to watching this band take off in the not-so-distant future!
- Kate Kotlyar
2023 got off to a bang with a full. Night ahead of magic from super group, The Sound Of Animals Fighting accompanied by the kings in Hail The Sun. Luckily we got the opportunity to be introduced to Concrete Castles and Record Setter in the same night. The lineup was stacked, and the room was packed. It was a cold one in Dallas that night, but thingS heated up quite a bit once the show got started. Let’s jump into it.
Getting things going were the dudes in Record Setter. Jumping straight into the first song I was sort of blown away. They are like your favorite underground early 2000s emo band that just needed that platform to be seen and heard. Great stage presence and overall, the music was banging. I thoroughly enjoyed watching the bassist run around all over stage. Dude was on one. I really dug every song which is always an up in the air judgement with openers. Great performance.
Following them were Pennsylvania based trio Concrete Castles. Led by frontwoman Audra Miller, this was a new one for me. As I’ve stated before, openers are always so anticipating because sometimes you really find those diamonds in the rough. Concrete Castles is one of those. Very much on that Paramore-esque type sound, I found myself not even taking photos and just watching them give a fantastic performance. They had some electronic infused songs which was cool to hear because of how well female vocals and EDM go together. 10/10 would see again.
Next up was Hail The Sun and boy was I looking forward to seeing Donovan tear it up again. Last time I saw him was Unsilent Night with Scary Kids Scaring Kids when he was fronting with them. He puts on such a great live show and by the pictures I got, very JUMPY on stage which is always exciting to experience and capture. They are such a great mix of post-hardcore and prog metal. His vocals do such a great job of leading a song along to keep it exciting. They went on to play some of my favorites by them – “Relax / Divide” and “Human Target Practice” to name a few. Their 40 minute set was banger after banger. One minute you are vibing and the next you’re making sure your ear plugs are staying in. Can’t wait to see them again.
Finally, we had the pleasure of seeing The Sound Of Animals Fighting hit the stage – super group extraordinaire led by none other than Anthony Green of Circa Survive, Saosin, and L.S. Dunes. This was an exciting one as it was the first time I got to see him live. Lights dim and members start to flood out. It’s kind of crazy but there are about 8 members in the band and each play a role in the set. It started out very ethereal with Matthew Kelly, one of their other vocalist, singing a very soft intro before Anthony came out to wreck some havoc.
Carrying a soft white light bulb that was illuminating his face, Anthony took us on a journey into how talented he really is. He has to be one of the most diverse front men I’ve ever witnessed. Each song took a turn from fast prog metal to slowed ethereal vibes. Spoken word was even being read during songs to add an extra element to the performance. It was a non-stop heavy pounding experience. Stoked I was able to catch one of the many rare occasions of them touring.
Glitter, Glitter Everywhere! Hunnypot's debut show for the year was an explosion of fun and good music, another night we'll always remember. Thanks to Shira and the entire Gritty In Pink team for their activism and support. Listen to the full show podcast style and tell a friend.
#WhereMusicLoversGoToPlay
Gritty In Pink is building a marketplace network, connecting women who work in all aspects of the music business and industry partners and professionals who want to hire diverse women.
Gritty In Pink founder ShiraGirl is an artist, activist, and entreprenuer, with a prevous 10+ year career in experiential marketing and CPG sales- including VP and Director roles- with Pabst Brewing Company, Collide Agency, Truth Campaign, and beverage start-ups Bev and Owl’s Brew. Shira has executed hundreds of brand partnerships and sponsorships, and produced many special events and ground-up festivals.
Shira was a featured speaker at SXSW Festival, and featured press including Billboard, Alternative Press, NPR, and NY Times. She graduated UPenn cum laude, with a major in Communications from the Annenberg School.
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BodaciousThang is a fire-fueled performer with raw vocals and unmatched energy. Hailing from Kinston, North Carolina and debuting as an artist in Kansas City, this queen is classically trained and has turned her musical intellect into a captivating journey that will have you pleading for more.
Her empowering messaging, versatility, authenticity, and comedic influence puts her in the ultimate position to take your timeline and playlist to the next level.
GLITTER TRASH PLAYED THEIR FIRST SHOW IN REDFORD, MI AT THE DOUBLE OO PUB ON JANUARY 30, 2010. THE BAND WAS CREATED BY VOCALIST JENNA JAMES MULLINS, A SELF-TAUGHT MUSICIAN WITH NO PREVIOUS BAND EXPERIENCE. SHE WROTE LYRICS AND COMPOSED A NUMBER OF SONGS AS DOCUMENTED ON “WRECKAGE”, THE BAND’S 1ST SELF-RELEASED ALBUM IN 2011. JENNA CREATED THE BAND AS A DIVERSION AND ESCAPE FROM SOME INTENSE PERSONAL ISSUES GOING ON IN HER LIFE. SHE ENLISTED A NUMBER OF DETROIT AREA MUSICIAN FRIENDS TO GET THE BAND STARTED.
DURING THE EARLY YEARS OF THE BAND, JENNA’S SELF-DESTRUCTIVE BEHAVIOR ONSTAGE CREATED A NUMBER OF PROBLEMS WITH LOCAL MUSIC VENUES. FUELED BY HER ANXIETY AND OUT-OF-CONTROL STAGE ANTICS, THE GROUP STARTED TO GET BANNED FROM A LARGE NUMBER OF DETROIT AREA STAGES, INCLUDING SOME OF WHICH THE BAND HAD NEVER BEFORE PLAYED. THE BAND’S WILD REPUTATION PRECEDED THEM AND WAS TAKING A TOLL ON THEIR ABILITY TO PLAY IN METRO-DETROIT.
IN 2017, JENNA MADE THE DECISION TO MOVE THE BAND FROM DETROIT TO LOS ANGELES. THE BAND ERUPTED BACK ONTO THE SCENE PLAYING A NUMBER OF WILD AND WELL ATTENDED HIGH ENERGY SHOWS. A ROCK HYBRID COMBINING ELEMENTS OF PUNK, CLASSIC ROCK, HARD ROCK, ALTERNATIVE, GLAM, AND METAL.
Dedicated fans of Shiragirl know: she's always going to speak her mind, and she's always going to act on behalf of the things she believes in. Nobody told Shiragirl to show up at the Warped Tour in the early '00s and create a makeshift stage for female punk performers — but she saw a woeful lack of representation and decided to do something about it. Tour organizer Kevin Lyman noticed, acknowledged that Shiragirl was right, and allowed her to host an official stage. Over 200 female-fronted acts would play the Shiragirl Stage - including Joan Jett, Paramore (on their first tour ever), and Justina Valentine (current MTV star on Wild N' Out and other shows) - and it's become an essential part of the history of the Tour.
Shiragirl's advocacy didn't stop there. She's raised money for girls' charities, shot a live video at the Women's March, and pushed hard and effectively for gender equality throughout the music industry. Lately, she's been looking hard at the digital dystopia we've created and asking whether the world we've made with our phones and computers is optimal or even sustainable. "Antisocial Media," her latest single, picks up and extends the critique she began on the trenchant Andi Underground (produced by Tim Armstrong of Rancid). That six-song concept EP followed a rebel against techno-conformity who, in her irrepressible energy and determination to defy an oppressive system, resembles Shiragirl more than a little. "Antisocial Media" has the same punk rock energy and pop immediacy that made the Andi Underground EP such a delight. Expect big beats and buzzsaw guitars, a catchy melody, an irresistible riff, and pointed lyrics about pointless online activities. As always, Shiragirl is irreverent, funny, smart, and swaggering, and impossible not to root for.
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Born and raised in Baltimore City MegaGoneFree is an up and coming independent recording artist. Her uniquely soulful voice and alt-pop sensibility shines through on her hit single "Talking Bout Bri" which has seen viral success and has been streamed globally by Mega's ever growing fan base which is a testament to her superstar potential.
Mega has projects in development, releases planned for 2023 and more than (4M+) fans that follow her across social media platforms like Instagram and TikTok, where she has taken off as a social media influencer who has gained popularity due to her charming musical videos and electric personality. The future is bright for this talented artist.