Mischa Pearlman

2 months ago | floodmagazine.com | Mischa Pearlman

Frog1000 Variations on the Same SongAUDIO ANTIHEROOne of the difficulties of making art is the nagging feeling that someone, somewhere, somewhen has done the same thing before—and better. After all, how many books, poems, paintings, or albums have been made about the collective trauma of war, or the pandemic? Or more personal experiences, like love or heartbreak or grief?

2 months ago | floodmagazine.com | Mischa Pearlman

There’s a lot that happens behind the scenes in a band’s life that nobody gets to see. It’s the blood, sweat, and tears of fine-tuning a sound that works; the hours, days, months, and years of constant rehearsals and writing; the overbearing tedium of traveling between shows in a cramped van; the soundchecks, late nights, and everything else that comes with touring; the penurious beginnings playing shows to two or fewer people—not to mention all the interviews that punctuate your days.

2 months ago | floodmagazine.com | Mischa Pearlman

Drop Nineteens1991WHARF CATThe second full-length to be re-released after Drop Nineteens’ recent reunion record actually hails, as its title suggests, from 1991. Comprised of the band’s first two studio sessions, 1991 has been doing the rounds as a bootleg known as Mayfield (1991) for years, regarded by the Boston shoegaze band’s fans as a quintessential part of their history—and practically as important as the debut album, Delaware, that emerged in 1992.

2 months ago | floodmagazine.com | Mischa Pearlman

The tender pain of Jojo Orme’s post-punk debut mostly maintains the sinister nature of its dual inspiration—suffering brought upon by war and through fractured relationships—quite well. HeartwormsGlutton for PunishmentSPEEDY WUNDERGROUNDWhen she’s not playing music, one of the things that Jojo Orme—the brainchild behind the London-based outfit Heartworms—does is volunteer at the Royal Air Force Museum.

2 months ago | kerrang.com | Mischa Pearlman

There are too many bands out there with punny names. What was at a first fairly amusing trend – perhaps no better executed than by influential indie rockers Camper Van Beethoven in the 1980s – has become something of a tired trope. And yet, as Bob Vylan and Japandroids ably demonstrate, you also shouldn’t write off someone’s music because of a gimmicky moniker.