TEEN’s second album, 2014’s The Way and Color, was a stunning creative breakthrough. Singer and multi-instrumentalist Teeny Lieberson’s voice is starkly highlighted, but the whole record is a conversation between her; Katherine Lieberson’s crafty, minimalist drumming; Boshra AlSaadi’s lithe, sinuous bass lines; and Lizzie Lieberson’s irresistible synth hooks. Now the group is back with its strongest release to date: the third full-length of their discography, Love Yes. On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the color of vitality and pulsing life—unmistakable traits of Love Yes. It is the iconic red of Dorothy’s slippers and Eve’s apple— potent with society’s tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained. TEEN was founded in 2010 by lead-singer and multi-instrumentalist Teeny Lieberson (Here We Go Magic). She self-recorded and self-released the beguiling lo-fi Little Doods LP the following year, then formed a band that included sisters Katherine and Lizzie, and signed to Carpark for 2012’s In Limbo. Produced by Sonic Boom (Spectrum, Spacemen 3), In Limbo encompasses everything in between sprawling, ethereal ballads and trancey but kinetic pop. Rolling Stone listed its opening track “Better” as one of the “50 Best Songs of 2012.” The Carolina EP followed in 2013 and was even more varied and accomplished; the band was growing by breathtaking leaps and bounds. TEEN’s second full-length, The Way and Color, mixes the band’s melodic psych with the sound of post-millennial R&B. The LP has its share of darkness—fear, regret, and loss are all in the picture—but it’s always redeemed by the sheer soulfulness and powerful ingenuity of the music.
Zula is the experimental pop project of cousins Nate and Henry Terepka. Their music puts it’s listener in an almost hypnotic dream state through the use of synthesizers, soothing vocal harmonies, roaring guitars, and off beat drum patterns. There is no single term or sub-genre to describe this group, but things that come to mind include pop, indie/alternative rock, and electronic.
Originally formed in 2009 by artists Sarah Kinlaw and Bryan Keller Jr, SOFTSPOT has evolved over the years into a four piece of friends with a long history of creativity. Blaze Bateh (Bambara) joined touring on drums in 2012 and for the writing and recording of MASS with Jonathan Campolo (Pill) on synths for the tour to follow.
Recorded by Keller, the completion of their newest unreleased full length, Clearing, marks the band's first endeavor as a quartet with all members' artistry permeating its newer yet mature incarnation. Putting illustrative lyricism at the forefront of lush and clean instrumentation, Clearing centers on themes of exposition and openness as a means for connection and progression. Like a dream, to process stimuli is to synthesize memory. Actions are symbolized through our behavioral and physical awareness, the polarity of the everyday and the masks we wear. SOFTSPOT's new music navigates through this emotional and creative culture, hoping to reach a clearing through the belief that one exists.