The Dig's sound has been developing ever since the band's two singers Emile Mosseri and David Baldwin started making music together when they were eleven years old. After meeting California native Erick Eiser, the three songwriters have been writing tunes and playing in different bands since they were 16 years old. Anchored by sharp guitars, a woozy synth backdrop and airtight vocal harmonies, the new album Midnight Flowers which is produced by Bryce Goggin (Pavement, The Apples In Stereo, Swans, Antony & The Johnsons) came out on May 29, 2012 on Buffalo Jump Records. It recalls styles ranging from T. Rex to Brian Eno to The Everly Brothers.
Following their acclaimed 2010 debut, "Electric Toys," The Dig amassed a passionate national fan base with magnetic live performances, and have since shared the stage with bands such as Portugal. The Man, The Antlers, and The Walkmen. The band began writing new songs while on the road and between tours. "When we were writing 'I Already Forgot Everything You Said,'" Baldwin recalls, "we had just gotten off the road with The Antlers and we were listening to a lot of Bob Dylan's 'Time Out of Mind.' I think those influences found their way into that song particularly. But really the songs on this album are personal."
The chemistry is palpable on this long-awaited sophomore album. Mosseri and Baldwin quickly discovered that trading lead vocal duties added a new dimension to the music. "We've always wanted our songs to be distinct, but when making a record we also want them to resonate with each other, like a dialogue," says Eiser. "Having two lead singers always made sense." Mark Demiglio (drums) moved to New York from Texas to join the band following the recording of "Midnight Flowers.
To celebrate the release of "Midnight Flowers," The Dig has created a limited number of cassette tapes containing the album's first two singles: "Red Rose In The Cold Winter Ground" and "I Already Forgot Everything You Said." "Even though it takes us about fifteen minutes to make each individual cassette, which is done using an old boom box in the back of our van between shows," says Mosseri, "we like the idea of having the songs that we recorded using analog tape machines available on cassette. For our fans who have moved on from 1995, each cassette also comes with a digital download."
Jangula is a four-piece based out of Brooklyn. Although “Strange Child” is their second studio EP, they have released hundreds of bedroom recordings to those with their ears to the ground for over six years. Their featured instrument is a Q-Chord, a touch-pad based synthesizer that projects a Legend of Zelda ice cavern mystery. Through this instrument combined with dynamic powerhouse drumming, dream-state guitar riffs and driving, serpent-like bass rhythms, Jangula is able to yield diverse sounds featured most prominently on “The Chamber Ritual” and “Hanging Gardens”.
"If you're feeling this you're my next victim," front-woman Ann Courtney intones with steely-eyed confidence, assuring the audience of motherfeathers of their submission to the cult. With their ferocious and enthralling live show, Mother Feather has ignited a wildfire of followers since hitting the New York club scene in 2010.
Epic songs warrant larger-than-life costumes and dance, and a garishly bedazzled Courtney and hype-woman sidekick Elizabeth Carena slither, thrust, and high-kick their way through a set that invokes Marc Bolan's cheeky swagger, Bowie's braggadocio, and the howl and shimmy of a "To Bring You My Love"-era PJ Harvey. This is pop cock-rock: anthemic riffs, now-or-never bravado, and tight dance beats bolstered by pop precision and purity of mission.
"'Mother Feather' is the muse," says Courtney. "It is the embodiment of your
wildest inspiration. Every song is a challenge -- to myself and the audience. I want catharsis and I want it now."
You don't have to dig deep to see the joy springing from this Eagle Rock gang. The joy comes from their bevy of keyboards, their big hair (that's you Jordan), and their girl-boy harmonies... Bouyant and energetic and timelessly young... Unassuming and polite, the lead of MT took charge and poured over his songs jealously like each was a mistress. He held on so tight and then gave them up and watched us and watched the songs get set free. He had little interaction with his bandmates, playing to the audience solidly for the eight-song set. We clapped and MT smiled so graciously, seemingly charmed by the well-deserved adulation. MT's set was brief but packed full of energy and uplifting and bouncy and tight. Jordan wasn't bothered by inane audience chatter. MT kept it about the music and that was the right thing to do..."
- Angel Baker, The Deli Magazine