Live Concert Photography: The Goodnight Darlings with herMajesty at Mercury Lounge 2/28/18
Featuring core members Kat Auster (vocals); Wilson (guitar), who has had lengthy stints touring with in the backing bands of The Fugees and Wyclef Jean; and Jaramillo (drums), the New York-based indie act The Goodnight Darlings have received both local and national attention for a sultry, dance floor friendly sound that draws from 80s pop, hip-hop, Combat Rock-era The Clash, New Wave, post-punk and shoegaze. The local indie rock stalwarts headlined an early show at Mercury Lounge that featured JOVM mainstays herMajesty as the night’s opener. Check out photos from the show below.
Over the years, I’ve written quite a bit about the New York-based art rock/glam rock/indie rock act and JOVM herMajesty. And although the band has gone through a number of lineup changes, the band which is currently comprised of founding member and primary songwriter JP (vocals, samples, guitar), David (bass, lead guitar), Joan (bass) and Konrad (drums) has maintained a reputation for crafting lush, moody and contemplative material that’s heavily indebted to Roxy Music, David Bowie, U2 and others. Since the release of the My Body Your Mind EP and a series of standalone singles, which included gorgeous cover of Patti Smith’s “Dancing Barefoot,” “One by One” and others, the band has developed a regional profile with the New York-based rock act opening for the likes of The B52s, Tom Tom Club, Say Hi to Your Mom and The Boxer Rebellion — and have made frequent tour stops in Rochester, Providence, Philadelphia and Boston, as well as regular shows at Rockwood Music Hall and The Bowery Electric in the Lower East Side. Of course, their set included those singles and their latest single, the shimmering and disco-tinged “Weightless,” which you can check out below.
Several months ago, I was invited to be a panelist on a Baby Robot Media hosted panel titled “Your First PR Campaign” at this year’s Mondo.NYC conference in Lower Manhattan, a conference created by some of the original organizers of the beloved and sadly defunct CMJ Marathon. In fact, after speaking at the panel, I along with several colleagues went to a nearby bar, where I watched my beloved Yankees lose a confounding and infuriating heartbreaking Game 2 of the American League Division series against the then-defending League Champion Cleveland Indians. At some point, I went from networking and mingling mode to yelling and cursing at the TV – and I couldn’t tell if these people, who I had worked with in some capacity for much of JOVM’s history were amused, knowing how much of a Yankee fan I am or if they were horrified. But the postseason when your team is in it is another thing altogether. I’ve frequently told a story about sitting in Clem’s with my dear friend and colleague Natalie Hamingson after watching the New York Rangers lose Game 7 of that year’s Conference Finals to the Tampa Bay Lightning at home, in which I went into a furious 45 minute, expletive laced tirade. About half way through, the bartender at the time said to Natalie, “I don’t think I’ve seen him that angry before.” In my mind, I thought “if I was at home, I would be throwing things at my TV,” but that’s another issue altogether.
Thanks in part to built-in travel days within the postseason schedule, and the weather actually holding up in early October, I was able to squeeze in some live music coverage at this year’s Mondo.NYC. Because I had spoken at Baby Robot Media’s PR campaign panel and worked with them for a good 6-7 years or so, the company’s co-founders had personally invited me to come out to the showcases they were hosting at Piano’s during the weekend. Admittedly, I just wasn’t able to do any research prior to the actual live music, so I went into everything with no expectations and a clear mind as to what I might be seeing – and interestingly enough, I wound up being pleasantly surprised by the variety of the acts I caught throughout that particular weekend. However, in a weekend with several impressive acts – including British folk singer/songwriter Hannah Scott, New York-based Americana singer/songwriter Mieka Pauley, Austin, TX-based Americana act Fairbanks and the Lonesome Light and Kellindo Parker, best known as Janelle Monae’s sideman, there was one decidedly clear champion of the weekend, the classically trained, Sebastian, FL-born, Somerville, MA-based singer/songwriter Hayley Thompson-King.
Thompson-King’s solo debut album Psychotic Melancholia was released earlier this year through Hard to Kill Records, and the album is a “Sodom and Gomorrah concept album” that in some way is an amalgamation of several different sources and wildly disparate sources. The overall concept of the album is largely influenced by her childhood obsession with the stories of the so-called wicked women in the Bible. “I was the skeptical kid with her hand up in Sunday school,” Thompson-King recalls in press notes. “Also, I spent weekends performing with my church youth group called Clowns for Christ. I guess you could say I was obsessed with getting to the bottom of what exactly would send one to hell. I consider myself agnostic at this point, but I’m still inspired by the questions I had as a kid about disobedience, and about the characters I was taught to believe were evil, like Lot’s Wife and Judas and Lucifer. Upon revisiting these stories, I was inspired by their questioning. I thought they were strong and exciting, and I could put myself in their shoes.” Along with that, the album’s material draws from the Sebastian, FL-born, Somerville, MA-based singer/songwriter and guitarist’s small. Southern town upbringing, in which her father was a team-roper and trained cutting horses, and she grew up riding and showing American Quarter horses. “I spent a lot of time in the dually listening to country music,” Hayley Thompson-King recalls. “And then I went to opera school.” And lastly, the material which references Romantic period art also draws from her classical training at the New England Conservatory of Music, where she earned a Master’s in Operatic Performance.
And while having an operatic sweep with seemingly larger than life characters with oversized emotions, the album’s songs interestingly enough manage to possess a deeply personal and introspective nature. “I write about real things that have happened in my life,” Thompson-King says in press notes. “My relationships, like with my folks, the people I love, but using the landscape and stories of outside characters. They’re all about me, I guess, but it’s easier to write if I’m looking at a third party. So I look at myself as another character.” But perhaps more important, that voice, man; while there have been some comparisons to operatically trained vocalists like Pat Benatar and Heart‘s Ann Wilson, as well as Linda Ronstadt, which are all pretty damn reasonable, Thompson-King’s vocals throughout the album switch from feral howls and yelps, the sort of defiant, and self-contained resiliency and pride that only women possess, a world weary ache from a messy life, full of bad (if not completely fucked up) decisions, dysfunctional relationships with shitty, irresponsible lovers and good, decent ones – before ending with a gorgeous and sparse rendition of Schumann’s “Wehmut,” which translates in English to “Melancholy” and features Thompson-King singing in operatic German “Ich kann wohl manchmal singen / als ob ich fröhlich sei / Doch heimlich Tränen dringen / Da wird das Herz mir frei” (“Sometimes I may be singing as if I were full of joy, But secretly the tears are flowing and then my heart feels free”).
Simply put, it’s a powerful and incredibly self-assured debut but it’s arguably among my favorites released this year. Now, as you can imagine this year has been incredibly busy as I’ve had to manage the responsibilities of an involved day job with that of this blog, but several weeks ago I spoke to the incredibly thoughtful and charming Hayley Thompson-King via email about Psychotic Melancholy, her classical training and how it’s influenced her own creative work, how much the Sun Records sound has influenced her on this album and more in a rather revealing interview. Check it out below.
WRH: You grew up in the tiny town of Sebastian, Florida near Melbourne and Vero Beach, and as the impressively detailed press notes I was provided mentioned, you spent great deal of your youth riding and showing American Quarter horses and your father was a team roper, who trained cutting horses. It’s understandable that you would have grown up listening to a helluva lot of country music; but I understand that you’re a classically trained opera singer, who went to opera school, which defies the stereotype of the country singer/songwriter. How did you get into opera? Did you have any of your friends or others make fun of you for singing classical opera? How has your classical training influenced you and your work? When did you realize that you needed to write for yourself?
Hayley Thompson-King: I’ve always had classical leanings…When I was about 12, I basically woke up one day and my voice had changed…like I hit puberty and all of a sudden I had a ton of vibrato and could speak Italian (just kidding about the second part 🙂 But, ya, it was very natural for me to sing classical music. No one made fun of me! (…to my face…At least not for that!) I feel grateful that I had the opportunity to attend college and then graduate school. I think besides being able to control my voice and all it’s little nuances, the training has helped me to be able to analyze music. To dig into what the composer and lyricist are trying to convey and then honoring that…which is great for country music because it’s tradition to sing other people’s songs. I take every note and every lyric very seriously and when I break from that, it’s intentional… As a songwriter, it’s sort of a blessing and a curse…it takes me a long time to compose the “right” song because every note and every word have to serve the plot…It’s challenging for me to rattle off something visceral like Louie Louie (one of the greatest songs of all time, in my opinion).
Realizing I wanted to go down this path- what feels like performance art; using my brain, my feelings, experiences, and my body to express something- came about 7 years ago. I became tired of waiting for someone else to tell me when or whether or not I could make art. So, I wrote, produced and released my first record (an entirely analog production) called Save The Rats; it was the first release on my label, Hard To Kill Records.
HTK: Please don’t judge me, but I am LOCKED on Traditional Holiday Favorites: Christmas Music of the 40’s, 50’s and 60’s on Sirius XM…I have no excuse.
WRH: How would you describe your sound to those unfamiliar with you and your work?
HTK: I like to say it’s Psychedelic Country or Alt-Classical. Some folks have said Garage Country or even Riot Girl.
WRH: Earlier this year, I stopped by both of Baby Robot Media’s Mondo.NYC Showcases at Piano’s without any expectations of anything and honestly without researching any of the artists or anything, and out of all of the very talented artists, you and your backing band blew me away. I’m a jaded New York-based music journalist, so I don’t say that often! One of the things that I noticed that you and your backing band seemed incredibly road tested. How did you meet your backing band and how long have you been playing together?
HTK: Oh, that is very kind of you to say! I have about 5 musicians who I work with regularly (2 guitarists, 1 drummer and 2 bass players). Everyone who plays with me has one instruction from me: serve the song. I don’t need them to be perfect or play it like the record, I just want to play together in the moment and serve the song.
That show, I had my original bass player (who played on the record) Chris Maclachlan. Chris is a classically trained singer and bassist for seminal Boston band from the 80’s called Human Sexual Response. He’s been with me the longest…we started as a duo and that was when we began incorporating classical repertoire. I had Rob Motes on drums and Nick Mercado on guitar. My other Bass player Ben Voskeritchian is in a band along with Rob and Nick called These Wild Plains from Boston. Their whole band approached me with the idea to go on the road opening me and then backing me up. They are fantastic musicians, they listen to everything I do and respond…I feel really lucky to have them in the band. And my other guitar player (who played on the record and also engineered and co-produced) is Pete Weiss.
WRH: I’ve listened the album a number of times and sonically it’s like you and your backing band manage to bridge honky tonk country with the Sun Records/early rock sound — I can’t help but think of Elvis Presley, Johnny Cash, Roy Orbison, Jerry Lee Lewis, and so on because the album’s material has this raw, feral quality to me. Was that intentional? And how much has that particular period influenced you?
HTK: It’s funny you bring that up…and I’m so glad you pulled that thread. I’m also a college professor on the side 🙂 And I’m preparing for a course right now in Rock and Roll History so listening to A LOT of Elvis. I think ‘feral’ is the perfect term. That music was highly intelligent the way Nature is… and I think results from a feeling of being bound. There is a release and it doesn’t feel contrived, but rather instinctive. AND, most exciting, the audience was effected that way! In my music, I’m working completely instinct-driven, so, yes, I’d say those artists have influenced me.
WRH: The album reportedly stems from your childhood obsessions with the Bible’s wicked women, doubters and questioners, questioning what exactly made them “evil,” and in some way viewing them in a very different, empathetic prism in which you put yourself in the shoes of Lot’s wife, Judas and Luficer among others while tying that together with your own personal experiences. When I read that in the very detailed press notes about you and the album, my immediate thought was “holy shit, that’s pretty heady — for anything these days.” When you began writing the material for the album, did you begin with that overarching theme, crafting material so that it would hew to it — or was it something that came about subconsciously and organically as you were writing?
HTK: As far as the concept for the record, one day as Pete (Weiss) and I were working on pre-production, he said jokingly, “this sounds like a Sodom and Gommorah concept album”. So, that kind of stuck because it was a way to talk to people about what the hell is going on in this body of work. But, truly this was not something that I was in control of… I was guided and sensed it was divine intervention. My entire life, I’ve been haunted by these characters because, it seems to me, they were pawns in a game… Isn’t Judas the real martyr? I realize that this might come across as blaspheme, but I’m resigned to burning in whatever hell being a reasonable person gets you sent to.
WRH: You and your backing band spent the closing months of 2016 and the early months of this year writing and then obsessively revising and then recording the material that wound up comprising Psychotic Melancholia. How much revising and tweaking went into the writing sessions? And when did you know that you had finished, fully-fleshed out songs?
HTK: Pete (Weiss) and I got together in little pre-production sessions before we went into the studio and tweaked some of the songs… those sessions involved adding a chord here or there, some arrangement choices, and our plan of attack for mic-ing/live recording/vocals. Most of the songs were fully formed at that point. Then we went to the studio and a lot of what you hear is live with some minimal editing/overdubs. BUT, a couple of the more kinetic pieces (Lot’s Wife and No Room) needed to be played live in order for us to get the feel… so we booked a couple things and then went back and recorded those… they are mainly live, but what you are hearing is probably the 3rd version of both of those. I just get a feeling when something is right and the band trusts that… so that’s how we work.
“Dopesick,” and “Old Flames” are among my favorite songs on the album. What can I say, a sad song sometimes just works, you know? In any case, there’s a deep and visceral ache to them that comes from very real, lived-in experience, while drawing from some of the country songs I’d expect to hear while in some beer and whiskey soaked honky tonk. What is the story behind those two?
HTK: “Old Flames” is actually a cover song. It was written around 1978 by Hugh Moffatt and Pebe Sebert (Sebert is the mother of Ke$ha!). I only add a cover if I feel a deep connection to it and if I feel I can bring something new to the table…for that one, I had been trying to write about being in love with my partner…I found it VERY challenging to write about joy. I started playing that song and it said the things that I wanted to say about my love. (I’m still trying to write originals about this topic and getting much better at expressing this these days)
“Dopesick” is an old song. I probably wrote it about 5 years ago. It’s also about someone very close to me who was struggling…but, in hindsight, it’s also about me. It’s my favorite song.
WRH: I’ve mentioned this to a number of artists I’ve interviewed but I think that the one of the keys to an exceptional album is when the song order is so perfect that it creates a very specific mood, and if you were to rearrange the songs, it would be a different album with a wildly different mood — closing the album with a rendition of Schumann’s “Wehmut” is an eccentric yet gorgeous and fitting way to close out an album with a huge, operatic sensibility. Did you have any difficulties in arranging the material as it appears on the album or was it something that you always knew?
HTK: It took me about 3 days to do the song order…which, to me, felt long. I was taking into consideration the tempi, flow of the keys and lyrical arch…but really, this was the only way it could be. On the vinyl (which I’m planning to release this spring, but am hoping to get some label support for), each side will end with a Schumann piece….I think the whole thing works beautifully for a record where you listen to one side and then flip:
Large Hall, Slow Decay
No Room For Jesus
Mondnacht (music -Schumann / poem – Eichendorff)
Mondnacht (Moon Night):
It seemed as if the sky
Had silently kissed the earth,
That she in the shimmer of blossoms
Could only dream of him.
The breeze blew over the fields,
The grain stalks gently surged,
The forests rustled softly,
So starbright was the night.
And my soul unfolded
It’s pinions so wide,
Flew over the silent lands,
As if it were flying home
Sometimes I may be singing
As if I were full of joy,
But secretly tears are flowing,
And then my heart feels free.
The nightingales will sing,
When spring breezes play outside,
Their melody of yearning
Out of their prison’s tomb.
Then all the hearts are listening,
And everyone is glad,
But none can feel the sorrows,
The bitter grief in song.
WRH: What’s next for you?
Well, we are home working on a couple videos and doing some writing and light recording in January…and teaching my R&R History course at the college of course. We’ll be doing about 3 weeks east of the Rockies in March. I turn in my grades for \ on May 14 and on May 15 we leave for a month long tour in Scandinavia which ends at the Stockholm Americana Festival. I’m pretty excited about spring. I’m hoping to get back to NYC a few times in the next couple months…we’ve had such exciting crowds there (including yourself 🙂 It feels like the audiences really get what we’re doing and like the artistic aspect of it. So, that’s the plan.
Now, if you had been frequenting this site earlier this month, you might recall that Manufactured Recordings developed a well-regarded Shoegaze Archive Series that focused on under-appreciated and/or overlooked shoegaze and noise rock bands — and as part of that of that series, they would be releasing re-issues of three largely overlooked early 90s shoegazers — Alison’s Halo’s 1998 release Eyedazzler, a compilation of singles that the band wrote between 1992 and 1996; KG’s Come Closer, We’re Cool, a compilation featuring early tracks, unreleased material and material from a shelved Slumberland Records effort; and lastly, Bethany Curve’s mid 1990s debut, Mee-Eaux.
Adding to their growing catalog of re-issues, Manufactured Recordings will be releasing a compilation focusing on the late 70s, New York-based New Wave/post punk act Come On featuring re-issues of 1978’s “Don’t Walk On The Kitchen Floor”/”A Kitchen In The Clouds,” 1980’s “Housewives Play Tennis”/”Howard After 6,” unreleased studio recordings and live material recorded in the late 70s. The band, which was comprised of a rather ragtag group of artists, musicians and scenesters including George Elliott (guitar), Ralf Mann (bass), illustrator Page Wood (drums), Elena Glasberg (guitar) and Jamie Kaufman (vocals) had a unique and egalitarian stage look featuring white button down shirts and black shirts, and played what they had dubbed “nervous rock,” full of angular and jagged guitar and bass chords, rapid-fire, four on the floor drumming, dark and wryly ironic — and unsurprisingly as you’ll hear on “Don’t Walk On The Kitchen Floor,” Come On’s sound manages to closely resemble Talking Heads ’77 and More Songs About Buildings and Food-era Talking Heads.
In light of both Talking Heads’ massive influence and popularity, Come On’s sound may not seem all that revolutionary, nor does it help that the band was only together for an incredibly short period of time; but what the band’s output does manage to do is to create a fuller, more interesting picture of what was going on in the Downtown scene o the late 70s while reminding the listener that although bands and artists like Talking Heads, Ramones, New York Dolls, Television, Patti Smith, Blondie and a lengthy list of others who rose to be iconic, there were countless near misses.
Now, if you’ve been frequenting this site for some time, you’d be fairly familiar with the internationally acclaimed indie rock duo The Kills. And as you may recall, the band’s latest effort, Ash and Ice was the first album of new material from the duo in over five years — and from the album singles “Heart Of A Dog” “Siberian Nights,” and “Impossible Tracks,” the material off their latest album revealed a refinement of the sound that first caught the attention of fans and critics.
Fire and Ash’s fourth and latest single “Whirling Eye” continues in a similar vein to the album’s preceding singles as the duo pair tweeter and woofer rocking boom bap beats, layers of shimmering shoegazer rock-like guitar chords, a towering and anthemic hook and Mossheart’s imitable wail in a swaggering and bluesy song that builds up to stormy intensity — but much like their previously recorded output, there’s a palpable sensuality and sexual tension at its core.
Directed by Sophie Muller, the recently released music video for “Whirling Eye” was shot using several Go Pro cameras to create a 360º virtual reality video that follows the members of the band swaggering and strutting about in a variety of surreal and artistically shot scenarios and while giving the viewer an incredible amount of control to change camera angles at will and placing the viewer within the world of Mossheart and Hince, the video also manages to evoke the trippy sensation of the song’s whirling eye. (Please note, that in order to capture the 360º effect, you will have to view the video on Google Chrome.)
Ash and Ice, the duo’s latest full-length effort and first full-length effort in over 5 years was released earlier this year, and if you’ve been frequenting this site you might recall that I wrote about album singles “Heart Of A Dog” and “Siberian Nights,” two singles that reflected a thorough refinement of their sound as the duo paired enormous boom-bap drum programming, skittering beats, buzzing electronics, scorching guitar chords and anthemic hooks with Mossheart’s bluesy, cigarettes and whiskey soaked vocals to crate a swaggering and arena rock-friendly song that possesses a raw, insistent and urgent carnality.
Recently, the band performed a swaggering, boozy live version of album single “Impossible Tracks” on The Late Late Show with James Corden — and the live version maintains a fervent urgency of the album’s material.