About halfway through summer, many of us, especially with temperatures steadily in the nineties for a few weeks now, are readily looking toward fall. And with that, this week, comes the announcement of the hottest Halloween party in Baltimore, when Believe in Music teams up with the Maryland Science Center for its annual October bash.

For one evening, the exhibits—kid-friendly learning experiences on the likes of dinosaurs, space, and physics—transform into a full-on music festival on the Inner Harbor, featuring more than a dozen bands, a wild costume contest, and overflowing craft beer, all to benefit the educational center and local arts nonprofit.

The event, now in its eighth year, has just announced its 2019 lineup, featuring familiar faces who have performed at past parties, as well as exciting new acts. On Saturday October 26, some two dozen Baltimore artists will perform across multiples stages, from the planetarium to the rooftop to beneath a gigantic Tyrannosaurus Rex.

The main stage will feature big-name headliners: head-banging rock band J. Roddy Walston and The Business, beloved rap star DDm, and Talking Heads tribute group, Psycho Killers. Meanwhile, the Friends of Friends [Records] Stage will highlight rising DIY acts—post-punk duo Ed Schrader’s Music Beat, alt-hip-hop collective Soul Cannon, indie-pop singer Eyas, and electro-femme pair HexGirlfriends—while the planetarium will host a handful of techno and house, and dance music artists. As in years past, the Charm City Bluegrass Stage will be dedicated to Americana musicians, such as bluegrass rebels The Dirty Grass Players and folk-pop septet Haint Blue. And both DJs Rob Macy of Save Your Soul and James Nasty will be back on the ones and twos into the wee hours of the nights.

Exhibits will be open throughout the evening, as will the IMAX theater, where Future Islands bassist William Cashion and psychedelic electronic artist DeltaNine will curate immersive experiences.
Tickets usually sell out and are now on sale for general admission ($42) and VIP ($80).

Every October, the Maryland Science Center transforms into what might be the biggest Halloween party to pop up in Baltimore City. By day, its dinosaur, space, and electricity-themed exhibits entice tots to learn about all things science, but by night, the institution turns into a full-on music festival in the Inner Harbor, featuring more than a dozen bands, a wild costume contest, and overflowing craft beer, all to benefit the center and youth education nonprofit Believe In Music.

While its only July, the event, now in its seventh year, has just announced its 2018 lineup, featuring familiar faces who have performed at past parties and exciting new acts. On Saturday October 27, some 22 Baltimore bands will perform across seven stages, from the planetarium to the rooftop to beneath a gigantic Tyrannosaurus Rex.

“In the same night, you can see a bluegrass band, an electronic band, and dance to James Nasty on the roof,” says Kenny Liner, founder and director of Believe In Music. “There will be so much to do and there will be so many talented, different people from Baltimore who deserve to be highlighted. I just wish we could include more.”

The main stage will feature big-name headliners: soulful sextet J Pope and the HearNow, funky jam band Electric Love Machine, and the main event, mad-scientist electronic artist Dan Deacon. “Dan is the perfect fit,” says Liner. “His shows are so fun and interactive. He makes the crowd feel special and allows them to have a really good time.”

Meanwhile, the Friends of Friends (Records) Stage will highlight rising DIY acts such as soulful R&B singer Joy Postell, experimental duo Wume, post-punk rockers Natural Velvet, and indie trio Outer Spaces, while the planetarium will host a handful of techno artists. As in years past, the Charm City Bluegrass Stage will be dedicated to Americana musicians, such as CCBG Battle of the Bands winner The Dirty Grass Players and folk bellwether Caleb Stine, and both DJs Rob Macy of Save Your Soul and James Nasty will be back on the ones and twos for an epic dance party into the wee hours of the nights.

Exhibits will be open throughout the evening, as will the IMAX theater, where electronic group Deltanine will perform a live score to an immersive film. Tickets usually sell out and are now on sale for general admission ($35) and VIP ($75).

“The best thing about this party is that we’re coming together to support Baltimore,” says Liner. “As much as the city needs to support organizations like Believe in Music, it needs to support institutions like the Science Center. Without it, there would be a huge void in Baltimore for kids to learn and experience cool science stuff. My daughter is only eight months old and she already absolutely loves it. In Baltimore, we’re all in it together.”

Surf Harp

Mr. Big Picture
(Friends Records)

I rarely inject myself into music reviews, but as a child of the ’80s, I couldn’t help but wildly relate to this new album from indie quintet Surf Harp. With its off-kilter electronic touches, lo-fi instrumentation, and playful vocals, it takes us back to the very best of that unruly, experimental decade. Where the band’s 2016 Peel felt like an homage to the psych-rock of the 1990s, this record is imbued with a stellar fusion of post-punk and New-Wave pop influences from the years that came before. At times, it’s a little Devo, Talking Heads, maybe even a hint of the Buzzcocks, though mostly it’s a jubilant sound all their own. As in the last album, each song is in and of itself a little independent masterpiece, meticulous in its layering of multiple melodies and fitting imperfections—the fuzzed-out guitar, the fluctuating vocals, the outside-the-box arrangements, the in-your-face creative energy. I particularly fell for the shadowy ballad “I Lost You” and the rhythmic, rolling avalanche of “D.I. Cig.” Surf Harp refuses to stay inside the lines, making this—yes, we’ll call it now—one of the most exciting releases of 2018.

Letitia VanSant

Gut It to the Studs
(self-released)

There’s a subtle depth to this new album by Letitia VanSant. In the great tradition of Americana music, these songs are so much more than just pretty melodies and honey-coated harmonies. Whether it’s expressing a personal journey or a political one, this fourth record is a coming-of-age moment for the Baltimore singer-songwriter. Start with the first track, “Where I’m Bound,” to see what we mean. A few hearty pats on the body of an acoustic guitar slowly meld with the belly-deep tugs of upright bass and the heart-aching runs of old-school fiddle, building and blossoming like a moment of clarity—an awakening—that goes on to permeate the entire album. Born out of great change, this record marks a transformation for VanSant, who recently quit her 9-to-5 job to become a full-time musician. Her mellifluous voice stands bright and dynamic as ever, as does her vivid, masterful storytelling. But in the quiet corners, like “Wild Heart Roam,” “Dandelion,” and “Sundown Town,” VanSant embraces the power of her own emotions, asks the important, at-times difficult questions, and reveals an unshakeable artist who knows exactly where she wants to go.

Read the full interview with musician Letitia VanSant.

As for many of us, 2017 was a year of introspection and growth for the Baltimore music community. Familiar faces returned home, launched new ventures, or released seminal albums. New artists popped out of the woodwork and made their mark on the local scene. Collaboration was prolific, emotions were liberated, and a sort of homegrown catharsis ensued. A sense of change is in the air, and with the amount of talent we saw this year across all genres, we can’t wait to see what the future has in store for 2018. We couldn’t fit them all, but here are a handful of our favorite musical moments from the tumultuous past 12 months.

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Abdu Ali launches a podcast.

This fall, Baltimore native/rapper/writer Abdu Ali got to add a new title to his resume: radio show host. In October, the local artist launched his first-ever podcast, DrumBooty Radio, in iTunes via Mask Magazine. Using his background in journalism, Ali talks with fellow creatives of color about the African-American experience. With five bi-monthly, hour-long segments now under his belt, Ali has interviewed the likes of local writer/editor Lawrence Burney of True Laurels, writer/social justice advocate Bilphena Yahwon, and writer/filmmaker Nia Hampton on topics such as the importance of therapy, being black in the DIY scene, and owning your own narrative. Through this new medium, featuring one special song per episode, Ali continues to craft compelling art in the audible form and shine a spotlight on our city.

Brooks Long sings “Blues for Freddie Gray.”

Local jazz legend Lafayette Gilchrist released a new album this spring with a powerful single titled “Blues for Freddie Gray.” Riddled with Gilchrist’s pounding piano keys, a full brass section, and the soulful vocals of old-school virtuoso Brooks Long, the song is post-2015 Baltimore in a bottle. The lively, driving number is full of energy and emotion, with audio samples from actual television footage following the death of Freddie Gray and subsequent officer trials. But despite the opening police sirens and closing whirr of a Foxtrot helicopter that both speak to the lack of closure in Gray’s case, Gilchrist ends on a hopeful note. “I want to know that there’s a day that’s coming soon and fast,” howls the ever-talented Long. “I want a justice and a peace that’s made to last and last. Don’t ya tell me that we can’t all get it done.” 

Dan Deacon celebrates Spiderman of the Rings.

A lot has changed for Dan Deacon since the release of this seminal record some 10 years ago. He’s grown from a quasi-known experimental musician to a nationally acclaimed artist. His music has become a soundtrack for the New York City Ballet; his mad-scientist compositions have scored award-nominated documentary films. And yet, to celebrate the anniversary of this record, Deacon returned home to perform at the kind of DIY space that started it all. At 2640 inside St. John’s United Methodist church, his exuberant melodies led the city’s most die-hard music lovers through a journey back in time. They danced. They sweat. They stood in awe of Deacon’s humble musical mastery, along for the ride and forever thankful that he is and maybe always will be ours.

Future Islands performs four nights at the Ottobar.

When Future Islands announced a series of shows at the Ottobar this spring to commemorate the release of The Far Field, it seemed like the whole world was vying for a golden ticket in the heart-racing online lottery. When it was all said and done, Pitchfork was there, tuning the entire country in to hear the trio’s heartbreaking new record, but Baltimore was all in tow—John Waters and a medley of other notable hometown musicians included—to welcome the boys home. Through new hits (“Ran”) and old favorites (“Little Dreamer”), frontman Sam Herring sashayed across the stage, William Cashion plugged those iconic riffs on bass, and Gerritt Welmers let that swirling synth fill the sold-out room, it felt like our old hearts—full of local love—just might explode.

Good Fridays makes Baltimore dance again. 

Over a year ago, then-Baltimore arts and culture editor Gabriella Souza was on the phone with John Waters when she got an idea. The local auteur noted that his hit film Hairspray! had been inspired by the variety and dance television shows of the mid-20th-century that had sadly gone the way of the buffalo. Wouldn’t it be great, they mused, if people could get together—regardless of age, race, or class—to just dance like that today? With the help of PipeDreamz’s AC Miller-Abdullah and Baltimore contributor Cassandra Miller, Good Fridays Baltimore was born, bringing all walks of city life together for live music by the likes of Al Rogers Jr., Wendel Patrick, and Eze Jackson, local art by Shan Wallace and Aaron Maybin, and a free-for-all dance party featuring local DJs into the wee hours of the night. As the event continues to grow, we can’t wait to see what—and who—comes next.

J Pope and the HearNow release its long-awaited debut.

After years of performing around town, this alt-soul collective released its debut in June. Produced by local beat wizard Wendel Patrick, Soul Searching captures the dynamic sound of this prolific live-performing sextet—a unique fusion of soul and hip-hop with a touch of R&B and blues. The record highlights the honey-coated lyrical flair and fast-paced finesse of frontwoman Jasmine Pope and showcases the masterful improvisations of her dexterous band mates. From the highs of frenzied funk rhythms to the lows of slow burning jazz numbers, the HearNow touches on the ups ands downs of living as a working artist. This album is Exhibit A of the talent, dedication, and hard work it takes. 

Local musicians spin at Idle Hour.

Last fall, Friends Records began a new residency at our favorite vinyl-slinging dive bar, Idle Hour, in Riverside. With the watering hole newly reopened, we weren’t sure if the famed record player would live on, but thanks to the bar owners and Jimmy MacMillan’s roster of local artists, the ones and twos are alive and well curated. Hometown favorites like Blacksage, Natural Velvet, and Surf Harp have spun handpicked selections from their various genres of electronic R&B, post-punk, and indie rock. In 2018, we’d buy the bar a round of pickle backs to hear Bond St. District’s Unkle Lulu, Microkingdom, or Peals.

Micah E. Wood makes dating easier.

Perhaps our favorite album of the year goes to See Me by Micah E. Wood. On this new record, the local songwriter and music photographer tackles the trials of modern love, pulling our heart strings as he rolls through the tribulations of 21st-century romance with honesty, humility, and humor. In the poignant “Match,” Wood candidly delves into the brutal honesties of online dating. In his first single, “Without You,” his anthemic chorus sums up the jubilant feeling of finally getting over a breakup. In the buoyant “Something,” his bubbly beat embodies the beauty of letting your guard down and liking someone again.  We especially love the additions of fellow heart-pullers Joy Postell, :3ion, and the aforementioned Al Rogers Jr. Through tender electronic melodies and charming talk-sing vocals, Wood and company make our stone cold hearts—thanks a lot, Tinder—finally feel human again.

Natural Velvet drops a timely album on feminine rage.

We couldn’t have realized how much Natural Velvet’s new Mirror to Make You would resonate in 2017. But with a strong focus on “feminine rage,” as frontwoman Corynne Ostermann puts it, coinciding with the nation’s “silence breakers” that have shed fresh light on widespread sexual harassment and assault throughout multiple industries, we can’t help but find new meaning. Each song is a rebellious declaration of feeling and fury with unabashedly frank lyrics that dissect femininity and endorse the power of the female. Whatever your gender, listening to these songs is cathartic. You finish with the full weight of three small lyrics to live by from “Kronos.” “I am. I choose. I chose.”  

Opera singers unite to form Outcalls.

We love the ladies of Outcalls. With their glittering get-ups, engaging social media presence, and ambitious attitude, Peabody grads Britt Olsen-Ecker and Melissa Wimbish have catapulted themselves onto the local arts scene and created their very own genre along the way. While the band has been around since 2015, the classically trained singers have carved out a sort of baroque indie-pop music on this debut-like record, combining the classics of shimmering synth and shoegaze guitar with ethereal soprano harmonies and robust electronic rhythms that are as hypnotic as they are awakening. Witchy, somewhat tribal, and even a little bit dusty old Spaghetti Western, “Skip to Sunrise” has become one of our top songs of the year. 

Snail Mail shoots to stardom.

It wasn’t long after the 2016 release of Snail Mail’s debut album that Lindsey Jordan and her two band mates started to get national attention. The band’s lo-fi indie rock music was suddenly in the web pages of Pitchfork and, before long, sprawled across a feature in The New York Times. The trio sold out the Ottobar, recorded a NPR Tiny Desk Concert, went off on tour with indie darlings Beach Fossils, and then signed a deal with Matador Records. (We also awarded them a Best of Baltimore for “Rising Star.”) Fresh out of high school and already well beyond their years, it’s safe to say that they are, officially, the next big thing.

Super City get synchronized in infectious music video.

This year, the Baltimore music scene has really upped the ante when it comes to music videos, with few more shining examples than that of this playful spring take on Super City’s most recent single, “Artificial Sin.” The indie slow jam gets star treatment with fresh outfits and unexpected choreography as the band’s five musicians don white jumpsuits and leather Chelsea boots and use coy dance moves to tap, twirl, and even, in one moment, drop it like its hot in a room full of turtle-necked backup dancers. Special guests include Paul Hutson of Bond St. District and Olsen-Ecker and Wimbish of Outcalls, to name a few. You can’t watch it without wishing you were there, too. 

The Cardinal Sheehan Choir performs “Rise Up.”

In September, Baltimore middle schoolers went viral after a video of their choir rehearsal featuring a powerful performance of Andra Day’s “Rise Up” made its rounds, in the millions, around the Internet. Within a couple of weeks, they were performing live on “Good Morning America,” with Day herself responding with a special message for the students: “Your video was so powerful and moved me so deeply and is moving the entire nation right now…We appreciate you so much.” One of the more heartwarming moments of an otherwise turbulent year, the students later performed for Baltimore in their Loch Raven gymnasium, while choir director Kenyatta Hardison shared the back-story of their shot to fame. This below video went viral for us, too.

The Ottobar turns 20.

Two decades is an eternity in the lifetime of a rock club, let alone one in Baltimore where it seems like every old-school establishment is quickly being replaced with a glitzy sky-rise apartment building. But this September, the Ottobar turned a whopping 20 years old. From the rabblerousing rock years downtown on Davis Street to the wide-ranging lineups on Howard Street in Remington today, our dark, dingy, perfectly-imperfect music venue has remained the go-to spot for artists of all genres, still sticking to its unapologetic, underdog guns as more massive arenas open in D.C. and across the country. To celebrate, legends of the past—J. Roddy Walston, Wye Oak, Roads to Space Travel, Candy Machine—stepped back onstage to relive, and continue, the glory days.

WTMD launches kid-friendly Saturday Morning Tunes concert series. As a young father himself, Sam Sessa saw the conundrum: what happens when music lovers grow up and have kids?  They can’t just go see a show any old night of the week anymore. They have bedtimes—and pajamas to put on. Can they not have fun anymore? Enter Saturday Morning Tunes, Sessa’s brainchild concert for both the young and the young art heart. With a smattering of sold-out shows at both the Towson studio and Senator Theatre, and future plans to include more notable Baltimore bands that are otherwise not associated with the “kindie” genre, these weekend morning shows have quickly become a new favorite family ritual. Best of all, like sifting through an old record collection with your mom or sharing that old cassette tape with your son, it’s even an better opportunity for parents—however cool they used to be—to bond with their (hopefully) music-loving kids. 

Various Artists

Last Year’s Man (self-released)

One year ago, we lost a musical legend and spirit guide with the passing of Leonard Cohen. During his 50-year career, the enigmatic songwriter was an inspiration to many, from Aretha Franklin to U2, with thousands of recordings of his songs to prove it. Baltimore was inspired by Cohen, too, as shown in this spring release. Across 21 tracks, the tribute compilation pays homage to Cohen’s raspy baritone and epic lyrics with true-to-form covers and out-there adaptations. We loved the dramatic rock-opera delivery of “Hallelujah” by indie quartet Joseph & The Beasts, the lush, cello-bathed ballad of “Chelsea Hotel #2” by electro-pop duo Lake Mallory, and the eerily beautiful blues-hymn version of “Hey, That’s No Way To Say Goodbye” by folk singer Bug Martin. Produced by Natural Velvet drummer Greg Hatem, who also covers “Dress Rehearsal Drag,” the collection illustrates Cohen’s versatile, enduring, even immortal legacy.

Amy Reid

Hirsute (Friends Records)

The beauty of this album is how easy it is to get lost in. First, there are Amy Reid’s synth-suffused, bass-heavy beats. Her twinkling electronic melodies chime like ancient bells, conjuring up distant memories and faraway dreams. Then, there are her angelic vocals, which lilt with an airy depth across each song as she ruminates on love and lust. On this first solo album from one part of experimental R&B duo Chiffon, Reid’s nine tracks range from slow jams and love ballads to minimalist dance numbers. Whatever the tempo, these ethereal tunes send the listener into a cozy trance. “Redmoon” feels like looking in a kaleidoscope. “Threshold” is like staring up at the stars. “Like Laughter,” with its swirling whirls and colorful tones, ignites your imagination, as if its swimming through the clouds to outer space. Willingly give into your senses with each luxurious pulse.

 EAT

September 3: La Cuchara’s Tomatina Battle & Food Festival

La Cuchara, 3600 Clipper Mill Road, Ste. 125, 1-6 p.m., $15 entry fee for tomato fight.

It’s been two years since La Cuchara first brought the Spanish and French flavors of the Basque region to Woodberry—gracing us with everything from pintxos and prosecco pairings to charred meats and calcots (grilled green onions native to the Catalan). Now, the restaurant is continuing that authenticity by putting its own spin on La Tomatina—an annual end-of-summer festival held in Buñol, Spain in which revelers pack the streets to partake in a massive tomato fight. This weekend, throw on a pair of goggles and pelt the ripe fruits at friends and neighbors in La Cuchara’s inaugural tomato battle benefitting local youth development program Baltimore SquashWise. Of course, no party is complete without eats and drinks, and there will be plenty of options from local favorites Blue Pit BBQ, Ekiben, The Local Oyster, and Union Craft Brewing. Plus, D.C.-based folk rocker Tomas Pagan Motta will be on hand to provide the soundtrack for the afternoon.

 DRINK

September 2: Labor Day Par-tay at Hysteria Brewing Company

Hysteria Brewing Company, 9570 Berger Road, Columbia, 11 a.m.-11 p.m., Free

Hysteria Brewing got off to a good start with a grand opening soiree over Fourth of July weekend, and now it’s closing out the summer in a similar fashion—with a full-blown Labor Day bash. Not only will the party toast the debut of the brewery’s new experimental series (and a few fresh batches), but it will also celebrate the brand-new 1624 Corn Whiskey from next-door neighbors Lost Ark Distilling Company. Head to the steampunk-themed taproom to explore whiskey and beer collaborations, sip Hysteria signatures (think the Idle Hands Sour Cherry Tripel, Yellow Sudmarine Hefeweizen, and Trash Panda IPA), and sample from limited-release firkins. All the while, line your stomach with food truck fare from River House Pizza Company and Anegada Delights Caribbean Cuisine. The all-day event will also feature unplugged sets from local duo Acoustic Wheelhouse and Americana jams from Columbia rockers Artistic Differences.

 SEE

September 2: 10th Annual DIY Fest

St. John’s Church, 2640 St. Paul St., 12-6 p.m., Free

Nowadays it seems like everything taps into the DIY trend. But we can’t forget that Baltimore DIY Fest was teaching locals how to take charge of tasks long before Pinterest came around. Now in its 10th year, the hands-on festival returns to St. John’s Church with upward of 15 free workshops exploring everything from vegan cooking to independent filmmaking. Learn how to plant fruit trees with The Baltimore Orchard Project, paint selfie portraits with local artist Katia Baskina, repair a bike tire with Baltimore Bicycle Works, make your own ’zine with local storyteller A. Jarrell Hayes, and more. In keeping with the event’s innovative spirit, there will also be scratch-made goods and gifts for sale by more than 25 area artisans. Following the festival, head to Baltimore Free Farm in Hampden to dance the night away at an after-party featuring the sounds of local surf rockers The Flying Faders and new-wave group PLRLS.

 HEAR

September 1: Friends Records Presents: Wing Dam, Spaceface, Natural Velvet

Current Space, 421 N. Howard St., 7-11 p.m., $10

There’s just something about the energy of a show under the stars. As the end of summer officially nears, soak up every second at this outdoor performance in the parking lot of downtown arts venue Current Space—where Friends Records label mates Spaceface, Wing Dam, and Natural Velvet will take the stage. The show doubles as a release party for Spaceface’s new LP “Sun Kids,” a model showcase of the band’s psychedelic style led by the dreamy vocals of Flaming Lips guitarist Jake Ingalls. Local post-punk rockers Natural Velvet—with their powerful lyrics and thundering sound—are also not to be missed, along with a closing set from alt-rockers Wing Dam, who return to Charm City after touring the country this past year. With plenty of rosé, cocktails, and $2 cans of Natty Boh at the bar, we can’t think of a better way to say goodbye to summer.

 DO

September 2: Charles Street 12

The Shops at Kenilworth, 800 Kenilworth Drive, Towson, 7:30 a.m., $85-90

Though to some it might seem sacrilegious to rise at the crack of dawn on a Saturday (especially during a three-day weekend), hundreds of runners will be up bright and early this weekend for this annual race down historic Charles Street. This year, the run returns with a new route that descends into Under Armour’s global headquarters at Tide Point Waterfront Park in South Baltimore. Curate the perfect playlist and lace up your running shoes to hit the pavement while taking in some of the city’s most beautiful sights along the way. Afterward, treat yourself to snacks from Upslide Down Dave and Wolo food trucks, as well as local libations from the likes of Charm City Meadworks and Key Brewing at Under Armour’s post-race party. 

Natural Velvet 

Mirror To Make You (Friends Records)

We couldn’t wait for this new Natural Velvet, and now, all 11 songs not only deliver on the expectation that it would be a big moment for the local post-punk quartet, they smash it like a glass ceiling. Where their last album featured moments of lo-fi shoegaze and hazy dream-pop, this new record is a declaration of pure rebellion and rage. The first single, “It’s All Mine,” sets the stage as frontwoman Corynne Ostermann asserts herself as a fearless female antagonist. Her voice reaches new heights, swinging between growling lows and piercing highs, and her bandmates back her up with equal zeal: Kim Te and Spike Arreaga’s wiry guitars wind like barbwire around each rhythm, and Greg Hatem’s thunderous drums knock you in the gut. With all that fury and unabashedly frank lyrics, the album addresses themes of feminine identity, as the band dissects the image and endorses the power of women without backing down or easing up. All the while, they churn and crash with cathartic emotion—even the slower songs have a raw, reverberating energy that booms like some distant war cry. “I make the rules for tonight,” howls Ostermann in “Kronos.” “I am. I choose. I chose.” In other words, I am woman. You know the rest.

Ultrafaux

Reverie (self-released)

By now, you’ve likely seen us mention Baltimore’s deep-rooted jazz community, but unbeknownst to many, the city also has a vibrant gypsy jazz scene. The French genre, started by legendary guitarist Django Reinhardt in the 1930s, has found a home at local venues like the Creative Alliance and Germano’s Piattini, thanks in large part to musical acts like Ultrafaux. A regular at both venues, this three-year-old trio carries on the tradition of fast-paced, percussive string music, combining two acoustic guitars and one upright bass to create an energetic, foot-tapping sound. Influenced not only by the genre’s Parisian roots but also bebop, funk, blues, and Balkan tunes, the band’s fingers fly at lightning speed through mostly original numbers. Lead guitarist and composer Michael Joseph Harris wrote 10 of the 11 songs on this third album, plus a special arrangement of the title track, “Reverie,” by French classical composer Claude Debussy. Across each, Harris and his bandmates—guitarist Sami Arefin and bassist Eddie Hrybyk— provide punchy harmonies and dazzling improvisations. Their expert instrumentation, commonly referred to as “hot club,” is a timeless feat that’s fit for a party, be it dinner or dance.

On the eve of their fifth birthday, Natural Velvet has released a stellar new album, their second with local label Friends Records, and it is everything we wanted and more. On each track, the post-punk quartet shows up with a pure, raw energy that’s packed with searing guitar, thunderous drums, and the wild howl of frontwoman Corynne Ostermann. 

As they tackle themes like femininity, identity, and rage, the band careens between melodies that are dark and brooding or bright and loud as a hot strike of lightning. It’s the kind of music that, as Ostermann puts it, blooms, the more you listen, even as a black rose on the vine. We talked with her about their new songs, band gangs, and villainesses like Cruella de Vil.

How long have you been working on this new album, Mirror To Make You?
Corynne Ostermann, lead singer and bassist, pictured far right: There was a natural break at the end of the last record, She Is Me, because it came out in September 2015, and by October, I had lost my long-term relationship, as well as the home I was sharing with that person, and a good friend from high school, who died overnight. I think everyone had a really rough 2016, and I would say mine started in late 2015 and I’m still just trying to push through it. The music was my natural reaction to the world trying to cut me down. 

At the end of the day, I knew what I wanted to write about. I wanted to write about this specific feminine rage, which is something that doesn’t get any play within popular culture. I wanted to talk about both the over-the-top camp aspect of that feminine rage, but I also wanted to humanize it in a way. From there, it was just fitting the puzzle pieces where they needed to go.

Was writing these songs cathartic?
Yes and no. Anytime we perform them, I’m re-experiencing that rage. I also think there are a lot of people out there, especially feminine people, who don’t allow themselves the right to anger because it’s not culturally sanctioned. Masculinity, sure—you can be angry and break things and be hardcore—but it was very much a learned thing for me. I grew up evangelical Christian and there’s a lot of unlearning that had to go with that. Allowing myself to be angry and dark and brooding took years of practice. You can still be soft and feminine and pretty but also angry. Anger and rage can be positive influences. They can signal change—like a calling to arms—where you have to express yourself but also step back and ask, ‘Okay, how do I fix this? How do I make my place right in the universe?’

I was also learning to identify with these overly camp feminine icons of film and pop culture. A lot of it was based off of me repeatedly watching Faye Dunaway as Joan Crawford in Mommie Dearest. And Sailor Moon cartoons, where the villainess is like, ‘You’ll never defeat me.’ Ultimately I’d be sad at the end when the protagonist would win over the antagonist because they were so much more fabulous and well dressed and way more fun to watch. Another great example of this is Glenn Close as Cruella de Vil in 101 Dalmations. You love it when she’s sitting in her chair yelling at her subordinates. It was super cathartic for me to watch these films and write these lyrics based within that kind of femininity because it’s pretty much private revenge fantasy. [Laughs.] 

Ultimately the goal is to talk about these realities of living while also still having fun. At the end of the day, I’m an entertainer. I want people to enjoy this record. I don’t want to make them have a bad day. But I do want there to be something for them to chew on. 

Have you always been interested in that deconstructing the concept of femininity? 

I am a trained painter and I’ve been working with the concept of aggressive femininity for years, specifically related to pop culture. Give me Paris Hilton and Britney Spears with a shaved head in 2007 or give me nothing. Painting has always been a feminist battleground from the get-go. The painting department at the Maryland Institute College of Art is also like bro-zone USA. [As a student there,] I was an out feminist, making work within this hyper masculine culture, so I had to defend myself. 

Having been raised religious in the Midwest during the Bush years, by the time I figured out that I was a feminist, I was pretty saturated in it. I was a high schooler with a copy of Simone de Beauvoir’s Second Sex. I also minored in Gender Studies at MICA.

How do you share concepts with your bandmates?
My bandmates have their own inspiration and we have our own little band culture and language, as all bands do. Bands are pretty much glorified street gangs. But my band mates are people of color and also queer people, and I have to contend with the fact that I am a white woman, writing about feminism. Ultimately I’m writing about my perspectives—nobody else’s—because I couldn’t pretend to speak for them. 

Instrumentally, we write all of the songs together. The majority of the time, they’re jammed out in the basement. We’re blessed that we’re all good friends and we hang out outside of band time. Just the other day, we went over to Greg’s [Hatem, drummer] and did a double feature of John Waters’ films that Spike [Arreaga, guitarist] had never seen. We started the band so young—I was 21—and we’ve all seen each other go through so many different phases.

Speaking of friends, Mirror To Make You is your second album with local label Friends Records. How does it feel to be a part of that musical family?
We are incredibly blessed to be able to work with Friends. Jimmy [MacMillan, owner] is one of the good guys. He looks out for each band on the label and his active roster is on the smaller side so you get a lot of individual attention. It has been instrumental in allowing us to grow.

They have nurtured such a nest of diverse local talent. 
I was at a talk last night at The Crown where they were interviewing younger artists. The word ‘artist’ had such a connotation to them. They were like, ‘We just need to be respected,’ and I’m like, you also have to understand that ‘the artist’ is the product of the community in which you’re based. Future Islands does this particularly well. They have always been very local  and have really favored working with local bands and artists. 

Like Beth Hoeckel and Lesser Gonzales for past album art, and Post Typography for their current tour posters.
They’ve always given back to the community. We would be nothing as a band if it weren’t for working with the community and playing on bills with all of these local artists and musicians. There’s accountability in Baltimore, especially with the art scene being so small. You can’t be shitty. You have to take care of your neighbors. 

Now that it’s out there, how do you feel about this new album?
I did have to give myself some distance, but when I finally came back to it, it made me extremely happy. Is it perfect? No, not by my standards at least, but there is an utter freshness that is present only in this record. It’s also sonically the most well produced record we’ve made at this point because we recorded with Martin Bisi in New York. I mean, Sonic Youth, Lydia Lunch—the giganticness of that room, the history of that room, our excitement to play, plus getting to work with Rob Girardi back here in Baltimore at WrightWay Studios. Rob is unbelievably talented; he knows how to keep a big fat sound without crushing the bloom of it. 

Do you have any favorite songs?
“It’s All Mine” is probably the most direct—I’d call it more or less the manifesto of the record. “Kristina” is probably the purest song on the record. I love that one. My friend Kristina is my BFF from college and I had not seen her for three-and-a-half years. The idea of writing a love song makes my skin crawl, like ew, barf, and I was thinking it would be way more relevant to write this song of longing and love for a friend, because those are the people who are going to stick with you longer than anyone else. 

Speaking of “It’s All Mine,” that video was so wild and fun.
That started off as a complete joke. It was born out of being stuck in a van with my band mates for too long. But it was a great shoot—I was crying and laughing the whole time. 

You’ve mentioned that it was partially inspired by the 1953 film, Gentleman Prefer Blondes.
I love Jane Russell in that film because she plays a very specific trope, which is the sassy brunette. And the script for that was written and acted out before the Hays code was reversed, so it’s loaded with innuendo, completely inappropriate for the 1950s, and unbelievably campy. I mean, you know she’s not trying to find love on that cruise ship full of the Olympic gymnastic team . . . And the beautiful part of this is, every man in that synchronized gymnast scene in flesh-toned swim trunks definitely wasn’t interested in what she was selling anyways! There’s only one instance in our entire video when I’m touched by one of the guys, and that’s when I’m thrown into the pool, and there’s a reason for that. I ultimately didn’t want to function as a sex object, where I’m being looked upon by the camera in this male-gazey kind of way. I wanted my character to function as the aggressor, the person who objectifies. I was the feminine grotesque. The anti-diva. 

It really was a feminine fantasy, with the glitter and the gold swimsuits and the aquamarine pool.
It was also really body positive in its own way. If you can at least feel comfortable enough in your own skin to drink a beer and ride an elliptical for a few hours on film, that’s great. If that makes you feel good, thank you for jumping on the trampoline.

Baltimore’s most dynamic duo has just dropped their first full-length album, A Church On Vulcan (out now via Friends Records), and it’s as energetic and ambitious as only Bond St. District can be. In the days surrounding the release, we talked with MC Manny Williams, aka DDm, and producer Paul Hutson about the new record, their musical upbringings, and the importance of storytelling.

Manny, you grew up in Park Heights, and Paul, you grew up near Gaithersburg. How did the two of you meet?
Manny Williams, aka DDm, rapper: We met at The Crown, summer 2014. I was DJing a party there, and he came to take some pictures and said he did beats. We exchanged numbers and then I met him down at his place on Bond Street in Fells Point.

Paul Hutson, producer: I’d seen his name around town but that night was really the first time I had ever seen him perform. Prior to that, I was really just making beats for myself. I hadn’t done any production before.

How’d you get into music?
P: I started off really, really young, just banging on things. Then my parents got me my first snare drum, then a year later, a drum set, and I just kind of taught myself how to play. It wasn’t until high school that they forced me into taking lessons, which was actually great because I started to learn different instruments. I eventually went to college at Towson with a music scholarship in percussion.

Did you know where you wanted to take it at that point?
P: I didn’t have a clear idea. I knew from an early age that I wanted to always perform and play music with other people. When I was younger, I was always trying to be involved with my older brother’s bands in any way possible. I’d played in a couple of bands myself but none of them really went anywhere.

Manny, what about you—how did you get into music?
M: We didn’t have any music programs in my school, so you just watched TV, saw who you liked, and wanted to be famous. How you were going to get famous, you had to figure that out your damn self. But I saw Lil Kim’s “No Time” video when I was about 10 and I was like ‘Ooh.’ I couldn’t sing, so I started rapping around 14. I did little blacktop battles in high school then gradually started doing local battles in the club, won a few crowns, and then I started learning how to actually record music. You learn a lot through osmosis. My mother is a real soul funk fan, so she played a lot of Earth Wind & Fire, Chaka Khan, Diana Ross, Motown when I was growing up. That’s how I learned rhythm and feeling. Just through living.

You’re known for having an epic stage presence. How did you master that?
M: Trial and error. Breath control, how to talk to your crowd, how to pace your songs, which songs should be played first, which songs should be played last—those are things you learn by actually doing shows. You also have to actually sit and study people you admire. I’ve watched a million Diana Ross performances, a million Tina Turner performances, a million Heavy D performances, a million Marvin Gaye performances, a million Biggie performances, a million Millie Jackson performances, because those are the artists who shape how I perform. It’s like being a standup comedian.

What was it like coming up in the Baltimore clubs?
M: I used to be very timid, very meek when I first started out, but rap battles help you become fearless. At that time, rappers wasn’t soft. I was battling convicts, drug dealers, stickup boys. I wasn’t battling some random kid who made music in his living room with his little set up. That’s not how it worked, especially in Baltimore City. The element was real street.

Which must have made you a smarter rapper.
M: It made you a smarter rapper but also helped you in so many other ways. To this day, my projection and diction is a lot better than some of the people who are just starting out because they’re Internet raised to make music they can share with their friends on Hypebeast or Soundcloud. When I started, we were raised to be actual performers in venues on stages. We had to have more volume and be more robust because we had to control the crowd. A lot of these rappers now sound like Mickey Mouse when its time to be live.

Paul, what were some of your inspirations growing up?
P: It was a lot of the music my older brother listened to. A lot of Radiohead. Rock, ska, punk, some metal stuff. I started listening to hip-hop a lot more towards the end of high school—The Roots, J Dilla, Flying Lotus—and then later a good friend of mine turned me onto soul and funk. It was different from what I had been listening to but the same in many respects, because a lot of those hip-hop songs were sampled from those albums. That’s when I became fascinated with how to make it myself. Before that, I was really just a fan and a consumer, and being a drummer, I connected with rhythms from an early age but the hard part was all of the melodies and bigger sounds and samples. But that was a light bulb moment. Getting a look behind the curtain, I realized there was this entire world I hadn’t tapped into before. Then a lot of stuff started making sense.

Coming up through such different musical paths, what do you think it is that connected you two?
P: It just kind of clicked from the start. From the time we met each other to the time we put out the first EP was only about two months, max. It all happened really fast.

M: One of the benefits of starting this with Paul was that I didn’t really go into it with any kind of expectations. I was like the music sounds good, I like these beats, let’s see what we can do. I didn’t go into it thinking it would become what it’s becoming. I’m grateful for that. But when you’ve been trying to pursue a dream for so long, you don’t really get attached to a lot of things. You just never know how things are going to pan out in life. It’s been a nice surprise.

So far, so good.
M: When you’re in a group, there’s a honeymoon period, but when certain things ain’t cute no more—when you have to actually get up and work and email those people and talk to that person and work with this engineer and beg this person for press—that’s when you find out if it’s going to work or not. It’s hard being in a group! Whether it’s two people or five people, it is work. It’s a job. It’s a relationship. It’s like a marriage. The key is being able to accept people for who they are, not who you want them to be.

Tell me about A Church on Vulcan.
M: Paul was playing a record and I said, ‘This sounds like a church on Vulcan.’ I had been watching old Star Trek episodes and was just so inspired by Nichelle Nichols, and it just rolled off the tongue. I grew up going to Baptist Church, and a lot of my passion comes from watching preachers, so when you see me talking to crowds, its like I’m a pastor.

A Church on Vulcan has a lot of messages—a lot of political and social commentary—but ultimately it’s a screen shot. I kind of look at this album [as if I’m] Fareed Zakaria from CNN. It’s like being a reporter; there’s always a story. Some of these stories are not directly mine at all. It might be about a friend. It might be about a person I talked to who really touched me. I might have been watching Anderson Cooper and seen some crazy shit going on in the world and was just like, ‘Oh my god, I need to address this!’

“Yesterdays” is a beautiful Baltimore anthem. You really paint the city. It feels like riding in a cab, watching the streets go by.
M: I love Baltimore City. I’m a son of the city. I didn’t just go to college here and decide to stay on a couple years. I am a born and raised in West Baltimorean my whole life. I remember my mother watching reruns of Oprah on WJZ.

I think a lot of times the true spirit of Baltimore gets lost in sensationalism or propaganda. I loved The Wire, but people really looked at a whole city as that one section. Yes, that is a very real part, but you don’t understand the context. Baltimore is such a multi-layered city and a lot of the citizens are so beaten down that they’re too tired to tell the story. But I’m not tired. And I’m not going to stop until the real story is told.

Peals

Honey (Friends Records)

This album is made for dreamers. On this sophomore project by local instrumental pop duo Peals (William Cashion of Future Islands and Bruce Willen of Double Dagger), the band layers tempo and tone into a million tiny images, sending the listener’s imagination into auto-drive. Ethereal and lush, these nine songs dance between solitary soundscapes that stretch out like the horizon, and bright, brilliant symphonies that slowly build and bloom. In a textured crescendo of new wave guitar, static electronics, and the occasional twinkle of bells, each melody takes us on an unexpected journey, conjuring up emotions and memories unique to the individual listener. No two people will hear these songs the same.

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Cris Jacobs

Dust to Gold (American Showplace Music)

After 10 years, five records, and hundreds of shows, Cris Jacobs has become a fixture of the Baltimore music scene. As frontman of The Bridge, he gained a loyal following, eventually releasing his first solo album in 2012 and establishing himself as a hometown artist here to stay. He now returns with his second solo work, a soulful collection of songwriting that runs the gamut of Southern sound—a dusty suitcase filled with traveling stomps, heartbroken blues, and porch-sitting love songs, in which his earthy vocals meld with fearless finger-picking, thunderous drums, and a few quivers of slide guitar. In the brightest moments, Jacobs reaches new heights, but it’s in the dark, desperado corners of the album that he truly shines.

On the heels of their third album, Shivers, local electronic R&B duo Blacksage talks with us about their new sound, being part of the Friends Records family, and that all-important question: What would Prince do?

You both grew up in Anne Arundel County. Did your love of music start there or after you moved to Baltimore?
Josephine Olivia, singer: I always loved singing, even when I was younger and way too afraid to sing. I remember my first open-mic performance in Annapolis when I was 16. It was horrifying but so rewarding. I played more acoustic, folksy, solo stuff before I moved, but it wasn’t until Drew and I met and started making music together that I did anything like this. It came together so easily and was so much fun. It became a new outlet for me.

Drew Scott, producer: I’ve been making rap beats since I was about 17. Once I learned how to sample music, that was it, from that day on. I got hand-me-down records from family and friends and started spending probably too many years by myself in a room making beats. Mostly hip-hop stuff, though I’ve always wanted to make pop music, because it’s not limited to one genre. Like Madonna’s first record—I always like to imagine I made that.

You’re just friends, but you dated for a while. Which came first, the relationship or the band?
J: We started dating and it was pretty soon after that we started making music, and that sort of became the focus.

D: We realized we were better at being a band than a couple [laughs].

You—and we—are lucky you were able to make that work.
J: We both just have a mutual respect for each other and we make pretty decent music together so we figured we shouldn’t throw the baby out with the bathwater.

Your last album, Basement Vows, was described as being born “from the ashes of your relationship,” as it was made after the breakup. If that’s the case, what is this new album?
J: Our first record was us getting together; the second was us falling out. On this record, we wanted to stay away from what was our romantic relationship and from just writing about our experiences together, because this record wasn’t about us. This record draws a lot from our other experiences, and the other relationships we’re in now, but we also wanted to create a broader image of relationships in general.

D: This album is more mature. Josie didn’t just write from her own perspective. Some of the songs are more conceptual. And we definitely went in a more jazzy direction. We both love jazz, in many forms, like Billie Holliday’s vocals or, bringing it into the future, I’ve always been influenced by Prince. That’s a huge part of my writing. Whenever we get stuck on a song, we always say, what would Prince do?

That’s a great motto to live by.
J: We try to touch on a lot of different genres without being put into one specific box. I think this is the most accessible album we’ve done.

At the same time, it feels a lot less poppy than your previous work.
J: Our last album went real poppy, and I don’t know if we were that excited about it. We like that this album is more experimental and not a predictable pop pattern. We want to keep you listening and guessing.

D: A cool thing is that the first song samples vocals from Josie’s mom.

J: My mom was in a Renaissance band in the 1970s. When I was little, I remember that they had their own vinyl record that I would listen to and be so excited by, thinking that one day it would be so cool if I had one, too. Then this year, when Friends Records got some backing, we found out we were going to have vinyl, too, and I immediately thought it would be really cool if we used some of my mom’s influence. It adds an even more different style to our sound, beyond just jazz. It’s some kind of weird medieval shit.

We loved the hymnal touch that’s woven throughout so many of these songs, between her samples and Josie’s ethereal voice.
J: The songs are definitely more focused on the vocals. The range is a lot broader—you can really hear the highs and the lows. In general, we took more time to focus on each song. We very meticulously picked apart each song and found the appropriate balance of distortion throughout, as opposed to just kind of winging it and letting it go. It wasn’t like, ‘Let’s slap reverb on the whole thing,’ like we did with the first album

After all this time, and all you guys have been through, how does it feel to make music together now?
J: The way we write things together hasn’t really changed. That’s been one of the most constant things between us. Drew comes up with the bones and the beat, and a lot of times, he just plays something, and I sing on it right there, and my first take is what we go with because it’s the most organic, truest thing.

D: We both also like to work alone, in our separate time. It’s pretty easy. We send things back and forth to each other. She lets me know if she doesn’t like something.

J: [Laughs] Yeah. We honestly don’t see each other that much, so it’s helpful to be able to just send things through e-mail.

D: We worked on the album on and off for about a year, both while doing other things, like I helped make Luvadocious with Al Rogers Jr.

J: But we’d always come back to it.

You have some other great artists featured on the album, like fellow Friends Records label mates Microkingdom, and up-and-coming R&B artist :3ION (pronounced Elon).
D: We finally got to work with :3ION. We’ve been wanting to for a couple years now.

J: It was incredible to see him work. I’m just really honored he wanted to be a part of it. We’re lucky to know so many talented people.

How does it feel to be part of the big Friends Records family and, just in general, the Baltimore music scene?
J: The beauty of Friends Records, and the Baltimore music scene, is that everyone actually is friends. We all work together. We build together. It’s an amazing community of people who all just really give a shit about music. It’s one of the greatest things about Baltimore. You meet people who are so talented and you make something so completely different together than anything you’d ever create otherwise. I feel very fortunate to be a part of it, especially Friends, with everything they’ve accomplished and all the new things coming up. It’s amazing to see it all unfold.

D: The Baltimore music scene definitely still has a small-town vibe. When you go out in Station North, you see like 15 other amazing artists, just hanging out. And when they are performing, everyone just puts on such a good show. It keeps you on your toes. You want to be good for these people.

J: You want to keep up.

D: People just work so hard. The DIY spirit is very important here and that’s so cool.

Now that Shivers is out, any other upcoming projects?
J: We are definitely going to keep making music. I don’t know how many albums we’re in for, but one at a time. We don’t really have expectations. We’re just really excited that all these things have happened. We’re just along for the ride.

D: This really feels like our first album. It feels like a good start.

J: We’d like to get more involved with programs like Believe in Music [an organization that promotes self expression and community engagement for Baltimore City students through music education], which is an amazing group of people and kids.

D: We got to make a song with one of the students.

J: We made a beat, she wrote the lyrics, and I helped her find a melody. Being in the booth with her was really a cool experience. Working with kids is the most important thing we can do because it’s the next generation. It’s probably become one of our biggest focuses: to get kids to make music, and help them in any way we can. It’s important to let them know that they can really do whatever they want to do. They can really make it happen if they want to.

You can catch Blacksage tonight, September 23, at the Ottobar with R&B artist :3ION, hip-hop quartet Soul Cannon, surf-pop rockers Sweepstakes, singer-songwriter Beya Likhari, and DJ James Nasty.

Wing Dam

Glow Ahead (Friends Records)

This record has us feeling nostalgic, as Wing Dam has left Baltimore, trading in its seat as one of the city’s top acts to shine on the West Coast. We should’ve seen it coming, with the big-name tours, festival lineups, and evolution of the last two albums into the crescendo of this third. Following their trademark quiet-loud-quiet style, the local trio’s sound is bigger and bolder than ever, with smashing drums, resonant vocals, and the fill-your-ears fuzz of grunge guitar. Anthemic and energetic, each song is California-ready—just enough sun, plenty of grit, and filled with urgency, like all the dreamers of the Golden State.

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Microkingdom

Return to the Valley of the Jeep Beats (Friends Records)

On this third record, Microkingdom has become the true master of its craft. Mingling seemingly discordant sounds into a beautiful, robust cacophony, the local experimental trio uses freestyle jazz to create a cinematic concept album made for driving, with the sensations of the road infused into every note. “Moon Driver” morphs from the din of a morning commute to the dazzling whir of a night shift cab. “Public Bass House” pulses and revolves like hot rubber down an asphalt path. Even through its hypnotic instrumentals, you find yourself wondering which way the rambling car is going next.

:3ION
Ronin (Nina Pop)

We think we’ve found our favorite new artist of 2016. Pronounced like Elon, :3ION sounds like nothing we’ve heard from the Baltimore music scene thus far. In fact, we expect his futuristic R&B to hit the national platform before long. Pairing electronic dance beats with ethereal melodies and vocal swoons, the 24-year-old artist creates a dreamy sound that pulls at your heartstrings and presses your deepest desires. On his solo debut, he hooks you with sexy slow jams, like “Floatin,” and up-tempo tracks that blossom like a time-lapsed flower, as in “Many Moons.” In the coming year, expect to find his name on a bounty of genre-crossing bills.

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Surf Harp
Peel (Friends Records)

As you open the windows, shorten your shirtsleeves, and make plans for summer, this is the Baltimore band to dig on. The garage-pop five-piece just debuted its first full-length album, full of fuzzy beach guitar, driving percussion, and an overflowing, sun-drenched sound. It’s an accomplished feat for a 4-year-old band. Each song is a ball of energy, raw and rambunctious yet densely layered and vibrant, like the first single, “Leather,” or the rolling wheel of “Rubber Dad.” But there’s not one second-rate song. The band even brings it on the slow ones, like in the swelling clash of “Rubylith” or gentle jangle of “University.”