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Time: 
7 PM
Band name: 
We Three
FULL Artist Facebook address (http://...): 
https://www.facebook.com/wethreemusicofficial/
Venue name: 
Gramercy Theatre
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Julius Dolls "The Comedown/e t e r n i t y"

Julius Dolls has released a new double single called "The Comedown/e t e r n i t y".

The released is a accompanied by a fascinating visualizer created by Bambi Kirschner.

This is the first new music from Dolls this year after releasing three outstanding singles, "Glamorize", "Birthday Song", and "Leave That Part Out", in 2021.

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Birthday Girl tell us what they really really (don't) want on latest single

((photo above and cover image below by Shelby K))

You’d be forgiven for assuming a band called Birthday Girl would write songs mostly about what they want what they really really want seeing as birthdays are all about making a wish and having it come true whether a nice hot bath or nookie or cake cake cake cake cake

But instead, their recent single “anymore” is all about what the Birthday Girl really really doesn’t want as in “I don’t want you anymore” repeated about 13-and-a-half times culminating in a bloody altercation outside somebody's party (they’ll all think / I killed somebody) seemingly inspired by a serious case of amour fou a/k/a “crazy love” (you’re fucking crazy / but I love you all the same) in the midst of a relationship notable for its extreme and erratic power dynamics (I know you get mad when I treat you like a person / you wanna be a dog and get your heeeeead scratched-uh) and contradictory desires (you want a Mommy and a whore / I could be both of them but / I don’t want to anymore / I don't want to anymore) which yeah I quoted that last line as “I don’t want you anymore” above but hey it's only fair rock critics also get to be contradictory sometimes.

On the musical side of things “anymore” is a straight up pop-punk banger (who says the Deli ain’t hip in 2022?!) which over the span of its few minutes moves from stripped-down confessional to anthemic singalong to cage-rattling rage with an infectious hook to boot and a snotty ‘tude again with emphasis on “I don’t wanna” over “I wanna” so what more do you want really?

Admittedly I don’t know a thing about these people. But what I can tell you for sure—if their Bandcamp page is to be believed—is that “Birthday Girl is a six-piece rock band living in Brooklyn comprised of singer/songwriter Eva Smittle, bass/songwriter Layla Passman, rhythm guitarist Max Bush, lead guitarist/producer Avinoam “Avi” Henig, drummer Akiva Henig, and keyboard/synth Alex DeSimine [that] spans experiments with different genres, often taking inspiration from 90s alternative rock, riotgrrrl, emo, and pop." It's also been said that "anymore" was the first song the group wrote as a full combo and what's more both Avi and Eva are in another groovy band called JessX that's been described elsewhere as “a DIY project for gay punks” so there you go!

And finally, one last thing I can say with some certainty is that if you’re into “anymore” you’ll probably dig Birthday Girl’s 2020 EP Roxy too not to mention the CrazySexyCool (TLC™) music videos for two of their songs off the EP (both viewable above!) with “Hollywood Girl” strongly evoking AOL-era dial-up-modem pop-up-window slow-loading Web 1.0 PG-13 erotica a/k/a “glitchrotica” (prospective new genre name!) whereas “MAN UP!” is something like if Sophia Coppola’s Marie Antoinette was reenacted by two members of The Cockettes so now you know what to do clearly. (Jason Lee)

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Bow before MOTHERMARY's debut LP "I Am Your God"

Repping NYC at SXSW this coming Wednesday...

I’m not sure which benign deity brought the twin-sister dark electronica duo known as MOTHERMARY into our plane of existence (Lilith? Kali? Ishtar? Cher? Dolly?) but we owe them a debt of gratitude because not since the heyday of Prince and Madonna have there been two such solid proponents for eroticizing religious dogma which is great for Christianity in particular with its central conceit of “original sin” where being tempted to enjoy a piece of deciduous by a sexy wifey made from your own rib is grounds for the eternal damnation of humankind not to mention eternal shame at our own nakedness. 

And then it doesn’t help matters when a few millennia later these same humans somehow managed to murder God’s only son in a particularly gruesome fashion and all this is without doubt deeply guilt-inducing and deeply unsexy. Or is it?

MOTHERMARY offer strong evidence to the contrary on their debut full-length I Am Your God released in late January and they know what they’re talking about because Elyse Winn and Larena Winn were raised in a devout Mormon household in Missoula, Montana (where a deep love for music was self-reportedly instilled alongside the Mormonism) and both attended BYU before moving to Salt Lake City and eventually NYC (first Elyse and later Larena) and recording their debut single “Catch Fire” which caught the attention of their friend Alex Frankel who’s also one-half of synthpop duo Holy Ghost! (how appropriate!) who passed it along to Megan Louise at Italians Do It Better which is basically the go-to label for cooly restrained yet highly and sublimely dramatic electro music—kind of like Italo-disco on steroids and tranquilizers at the same time—a perfect fit for the duo and their own melding of kewl and hawt, sinful and angelic.

And speaking of hotness “Catch Fire” is smoking hot—all swelling organs and throbbing bass and pulsating rhythms accompanied by Johnny Jewel-style synth-tom fills (RIP Chromatics and the fabled Dear Tommy LP) with lyrics from the POV of the sneaky snake in the Garden of Eden (see the truth when / it’s in the nude / taste the fruit / put the blame on me) and geez if Tipper Gore ever heard this song she’d likely have an aneurysm on the spot nevermind if she saw the music video we’re talking heart attack (brief synopsis: Bible study group/faith healing ceremony transforms into a polymorphously perverse strip club complete with crucifix tossing and leather-studded-slow-motion gyrating by Elyse and Larena).

But it’s not all “hotness for hotness’s sake” as MOTHERMARY point out I Am Your God “isn’t about a god complex, it is an invitation to ponder what you worship. It’s about women reclaiming their holiness and inviting you to acknowledge your own…it is a mirror to religion both reflecting the bad and salvaging the good” with the very name MOTHERMARY being “the ultimate symbol of religi[ous] hypocrisy & the insane expectations placed on women…These two extremes. Have children to procreate, but don’t be sexual beings.” The Madonna/Whore complex is an impossible needle to thread for sure but on the album’s most recent single and music video (title track “I Am Your God”) the Winn twins come pretty darn close with a song that floats by on ethereal clouds of airy heavenly electronic oscillations, but it's equally voluptuous and lusty (and a bit creepy with that pitch-shifted vocal) with the repeated line “I can come again” straddling the same line between holy and horny.

I guess guilt is complicated that way when you think about it—it’s an age-old tool for subjugation (especially used against women natch) but keeping people form what they want and need only builds desire upon desire and before long they’re developing some pretty elaborate fantasies and fetishes to redirect some of that energy not to mention making cool art and beautiful music to express their frustrations and longing not to mention how it makes being bad feel so good so guilt is a volatile thing to say the least. 

But enough of this music blogger’s theological thoughts! In closing it should be mentioned that some of I Am Your God was created together with compatriot/co-producer Chris McLaughlin with whom Elyse Winn likewise collaborates on the Cigar Cigarette project fronted by Chris where she takes on the role of co-composer, art director and music video director, and by the way MOTHERMARY direct or at least co-direct all their own music videos which makes sense given their backgrounds in art and theater alongside music plus “sacrilegious spectacle” of course and if the “Pray” video below doesn’t deliberately riff on Garbage’s glorious video for “Queer” I’ll eat my hat!



And so let’s pray all these beneficent forces keep working together and spawning more (un)holy ravishing music because the world really needs it and I’d even be willing to try and guilt them into it. (Jason Lee)





Say She She "c'est très chic" on first single

When I first heard “Forget Me Not” on a radio show a couple weeks ago I immediately thought to myself “Wow, I never knew the Salsoul Orchestra cut a slinky, stripped-down, clavinet-led four minutes of funk with vocals by erotic thespian Andrea True and/or select members of Sister Sledge and/or select members of Silver Convention, with Johnny Pacheco from the Fania All Stars supplying some nice flutter tonguing on the flute (not a bad skill for any guy—or gal—to have ammirite ladies?) plus a groovy solo toward the end and really who doesn’t like a nice groovy flute solo and if you don’t like a nice groovy flute solo then I don’t want to know you until you seek therapy.” This is what I thought to myself.

So there where I thought I’d made quite the old school “deep cut” discovery it turns out, better yet, I’d discovered (random stumbled upon) an entirely new school of lush groovy funkitude that’s centered right here in the borough of Brooklyn NYC, with a significant assist by Loveland, Ohio-based Colemine Records, because “Forget Me Not” is the debut single by the Brooklyn-based-female-fronted-seven-piece-deep-friend-soul-combo-platter called Say She She—a group whose officially ensorsed alternate spelling is “C’est Chi-Chi” given that any perceived similarities between SSS and the disco era’s most legendary band or with the classic LP C’est Chic are probably not unwelcome, nor unfounded, as “Forget Me Not” amply checks off the elegant coquette box of that album’s “I Want Your Love” and next I’m eagerly awaiting SSS’s take on the “Le Freak” aesthetic.

Which isn’t to say that Say She She are mimics, more like the curators of a rich array of influences taken apart and reassembled. Along these lines “Forget Me Not” is what I’m guessing the “parallel universe ‘80s” would’ve sounded like if Jimmy Carter had been re-elected president and if a bunch of drunken meatheads hadn’t burned a pile of disco records on a baseball field and if the nation’s youth hadn’t been persuaded by Music Television to adopt synthesizers, parachute pants, and asymmetrical haircuts en masse. 

But enough about alternative realities who the heck are Say She She exactly in real life? The tripartite vocal front is made up of one-time Londonite Piya Malik (79.5, El Michels Affair) whose great uncle was a prominent Bollywood music producer and who met Sabrina Mileo Cunningham (Denny Love) because the two were living in the same Lower East Side apartment building and heard each other singing through the walls and then once they joined up with Nya Parker Gazelle the vocal chemistry was complete. 

On the instrumental side of things Say She She is comprised of the wah-wah stylings of electric guitarist Matty McDermott (Black Acid, Coyote, Nymph), the funky strutting keys of Mike Sarason (Combo Lulo), the finger-slapping phat bass tones of Preet Patel (The Frigtnrs, RIP Dan Klein), and the in-the-pocket drive of drummers Andy Bauer (Twin Shadow among many other projects) and Ben Borchers (The Shacks), and last but certainly not least the groovy flute of the multi-talented Mike Sarason (see above).

So if you’re feelin’ the vibe be sure to keep an eye peeled for Say She She’s next moves. And don’t be surprised if one of their next songs is in Hindi or if they come out with a debut album this summer full of more raw analogue slabs of sonically transmitted smooth funkitude which even though I'm trying is not quite as good a tongue-twister as the title of this piece. (Jason Lee

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