#mandy brownholtz

[stupotmc]

Do u have any tattz mc?

I'm not getting into the nude. I've got about 300. Arms have more since these were taken. It's all random shit. Addicted

Arms and backjob I got 20 years ago. Fresh nubile skin

Hands back and arms. Backs from on nubile me 20 years ago.

[mandybrownholtzz-blog]

AUDIOFEMME FEATURE: Opening Elsewhere

1.5.2017

Every ounce of stress has been worth it though, outweighed tenfold by pride in every victory and excitement over what’s in store. In the two months since our Halloween opening, so much has already happened: Mayor Di Blasio signed the repeal of the much-detested Cabaret Law on our Hall stage. Swedish pop star Tove Lo played a surprise show in pasties; emerging queen of Brooklyn house Yaeji continued her ascent to the top of the scene with a sold-out set in the Hall. We’ve booked all three members of the Detroit techno Belleville Three, and hosted the triumphant return of London soul-funk collective Jungle. It’s been a trip to watch people take in the space, overhearing their comments and questions – Where does this door go? What is this room? – and it’s felt great when they’ve loved it as much as we’ve wanted them to.

Read more: http://www.audiofemme.com/af-2017-in-review-opening-elsewhere/

[mandybrownholtz-blog]

Single: Molly Nilsson, “1995″ 

Enigmatic songwriter Molly Nilsson released new single “1995″ today. The Swedish-born, Berlin-based artist layers transportive Nico-esque vocals and romantic lyricism (having drawn comparisons to Morrissey, particularly on 2012′s History) over heavy synths, resulting in a sound straight out of 1980s Warschauer Straße. 

Read more

[930club]

BUMMING AROUND: PSA - Listen to Makthaverskan 

Makthaverskan is an infectious punk outfit hailing from Sweden. Surely but slowly, they’ve been infiltrating American music circles, causing buzz at blogs like Pitchfork and Brooklyn Vegan. They even performed at Pitchfork’s SXSW Party this past month.

I discovered them two weeks ago, where they were billed first of three as a “Surprise Scandinavian Guest” at the Whirr/Adventures show at Baby’s All Right. I arrived in time to see Adventures but caught the last few minutes of Makthaverskan’s set. I was really surprised and a little bewildered at how crowded it was already; the show had sold out, but punk time usually dictates that people begin to filter in perhaps about fifteen minutes before the headliner hits the stage. So, yes, I was confused, until Makthaverskan vocalist Maja Milner began belting out “Asleep.”

The girl’s got pipes; I’d even venture to say that she’s a sort of twenty-something, female, Swedish Morrissey. It’s rare but so completely captivating when an artist is able to evoke the exact emotion the lyrics are supposed to convey, particularly when said lyrics are as heart-wrenching but ultimately simple as “It’s not me you’re dreaming of." The crowd sang along, but to nearly no avail, unable to hit the high notes Milner’s soaring voice glided over.

I had never seen a crowd pulsate so severely to an opener, so of course I was hooked and went home and checked out the record. It is (surprisingly enough) the band’s sophomore effort, after 2009’s S/T. It offers a sound that’s distinctly new wave but with a grungy modern flavor. I would compare it to Priests if Katie Alice Greer suddenly cared less about politics than she did about unrequited love.

Short and sweet, to the point: listen to this band.

-Mandy Brownholtz (Twitter, LinkedIn, Tumblr, mbrownholtz@gmail.com)

[mandybrownholtzz-blog]

CLRVYNT ALBUM STREAM: Tica Douglas’ ‘Lady Star’ Normalizes Millennial Ennui

5.1.2017

“Douglas understands that young adulthood essentially feels like drowning in indecision. It’s hard to discern whether life’s imperfections are beautiful in their realness or ugly in their immovable inevitability, or to make a choice when to take one road is ultimately a rejection of the other. It’s all enough to make any of one of us feel oppressively alone, a feeling that surely resonates enough with Douglas that they feel compelled to remind us of its universality. On “Lost/Left Behind,” they sing, “You find other lost things that will keep you company.” ​Our Lady Star of the Sea reminds us that to feel lost isn’t an indication of personal failure, but rather totally normal collateral damage for coming of age in the 21st century.”

Read more: http://clrvynt.com/tica-douglas-our-lady-star-stream/

[mandybrownholtzz-blog]

AUDIOFEMME REVIEW: Yumi Zouma, Willowbank

10.12.2017

The Kiwi quartet have already returned with follow-up Willowbank, a subdued collection of dreamy songs that explore the fundamentally modern confusion between perception and reality. So much of life these days is defined by how we wish to be perceived by others – the endless highlight reel that is Instagram, the urge to appear “chill” to friends and lovers despite internal floundering. Yumi Zouma expertly deals in what-ifs and hypotheticals on this record, floating in the gap between what we wish for and what we have.

Read more: http://www.audiofemme.com/album-review-yumi-zouma-willowbank/

[mandybrownholtzz-blog]

ALT CITIZEN VIDEO PREMIERE: Sloppy Jane, “Mindy”

8.23.2017

Sloppy Jane is the brainchild of artist Haley Dahl, newly relocated from L.A. to Brooklyn. Known for her wildly subversive on-stage antics that hedge on performance art, she’s reestablished the band in New York with new members and is set to drop a first full-length record in the coming months.  

With that, the washed-out fever dream that is the video for single “Mindy” serves as a perfect introduction to the band. Set to Dahl’s nightmarishly girly vocals layered over heavy, dark guitar riffs, she takes on the myth of the tooth fairy, but perverts its childhood innocence: the tooth fairy himself is a lecherous-looking old man, who leaves money under Dahl’s pillow as she gleefully shoves the bills in her mouth and uses pliers to pull her teeth out to earn more.

It’s unsettling in a magnetic way, forcing us to question our bodies as commodities and what exactly we’ll do to earn a quick buck.

Link to original: http://altcitizen.com/video-premiere-sloppy-jane-mindy/

[mandybrownholtzz-blog]

AUDIOFEMME REVIEW: Charly Bliss, Guppy

4.28.17

“Any type of entertainment deemed “girly” or otherwise dominated by young women gets treated with a shocking paucity of respect as art. Okay, maybe it’s not that shocking, given the genre’s post-Nineties trend toward pre-packaged Disney-fication. What makes Charly Bliss so enticing is that they’ve revived this style, adding their own dark humor and smarts to package it up for grown-ups. The macabre turns the lyrics can take balances out the sweetness of frontwoman Eva Hendricks’ vocals. Paired together, they’re brimming with irony and sarcasm – a Glossier-pink commentary on the reality of millennial womanhood.”

Read more: http://www.audiofemme.com/album-review-charly-bliss-guppy/

[mandybrownholtzz-blog]

CLRVYNT FEATURE: The Storm Clouds Are Clearing for Waxahatchee's Katie Crutchfield

http://clrvynt.com/katie-crutchfield-feature/

4.24.2017

“Touching back on her declaration that the album was about self-preservation, self-care and finding your own autonomy, I ask what self-care looks like for her. The expression has taken on buzzword status, article after wellness article instructing us how to achieve “self-care” through yoga or clean-eating or oil-pulling or whatever else we’re supposed to do to preserve our sanity when life turns upside down. For Crutchfield, though, it was the act of writing and recording Out in the Storm. It was a deeply therapeutic process that helped her to find not only the self she had lost in the depths of that toxic relationship, but the self that had disappeared in Waxahatchee’s journey from bedroom project to major label powerhouse.

‘I think really the writing process was super important,’ she explains. ‘I feel like I had worked with the same people on the last two records, on Cerulean Salt and Ivy Tripp, so I knew I wasn’t going to do that. And I was sort of back to just me, in a room with a guitar and recording demos, and when I was finished, just going for a walk and listening to them by myself, and sending them to my sister. It was just like the whole process of that — I came back on the other side of it just exactly the same as I was, the process just as it was. It was all the magic of writing songs. It’s so sacred for me, sitting there writing, and working, and putting everything together, and then there’s a finished product, and it’s just the best feeling in the world.’”

Read more: http://clrvynt.com/katie-crutchfield-feature/

[mandybrownholtzz-blog]

AUDIOFEMME REVIEW: Sorority Noise, You’re Not As _____ As You Think

3.28.17

“Hartford emo band Sorority Noise released their third full length record, You’re Not As _____ As You Think, this week. It’s so self-aware it’s like the Scream of emo records. It’s formulaic as far as pop punk records go, but the band almost points it out ironically, trying to hedge out a comfortable space in the period between pimply adolescence and grown adulthood. They intersperse these moments of realization in the lyrics, layered over pretty standard (albeit well-done) pop punk, so that it captures these growing pains.”

Read more: http://www.audiofemme.com/album-review-sorority-noise/

[mandybrownholtzz-blog]

EP REVIEW: Witch Coast, Devil Vision, Audiofemme

“Witch Coast’s relevance rests on their spot-on interpretation of early adulthood ennui, born on their earlier releases and rounded out on this newest EP: working hard but making no money; the flat state of mind achieved only from getting stoned to treat a merciless hangover; allowing your existential worries about relationships, rent, and life in general consume you until you feel physically sick, or better yet, feel nothing at all. Weiss achieves this lyrically, but the vocal distortion is so heavy that these feelings are captured largely in the sound – lo-fi, nearly indecipherable vocals, heavy reverb, wonky psyched-out riffs. The lyrics serve more as a fourth instrument than anything else. The sound can come across as sardonic and darkly comical – the upbeat tracks layered under Weiss’s frantic vocals and lyrical emotional exhaustion. It feels like the white noise of racing thoughts, coming at you so relentlessly you either have to scream or shut down.”

Read more: http://www.audiofemme.com/ep-review-witch-coast-devil-vision/

[mandybrownholtzz-blog]

ALBUM REVIEW: Priests, Nothing Feels Natural, Audiofemme

“But, surprisingly, they don’t go for the overtly political or rabidly angry. The tone is understated, anger served with sarcastic lyrical slights rather than direct address. This album is a testament to the way that toxic masculinity in our public policy and pop culture sifts through layers of influence until it directly affects us in our everyday lives. On “Jj,” the opening riffs are super surfy, and Greer’s vocals are softer and coy. She recounts the beginning of a relationship, and how, as it often does, something changes instantly and everything’s ruined. The moment she finishes wailing “I thought I was a cowboy because I smoked reds,” the tone of the song shifts. Suddenly the surfy riffs are gone, replaced by way more nostalgic, soaring ones. Greer cries, over and over, “You thought I was disgusting,” moving on to say “I wrote a bunch of songs for you but you never knew and you never deserved them.” She does something inherently unfeminine, and that somehow affects Jj’s perception of her, the beautiful perfect creature she’s supposed to be. Every one of us has felt this way. It’s all so familiar — the emotional labor, the self-flagellation, but also the realization of power.”

Read more: http://www.audiofemme.com/album-review-priests-nothing-feels-natural/

[mandybrownholtzz-blog]

FEATURE: “The Collective Unconscious of Kristina Esfandiari,” CLRVYNT

“This would be a time to interject, “But you’re King Woman!” She says these things without a hint of feigned humility. It makes sense, if you think about it, to hate the product of facing your own emotional turmoil. To slog through heavy, hard emotions, only to meet the darkest shadows of your inner self, and then to have it all packaged up on vinyl to return to whenever you want. And yet, this is all part of letting go, the process by which we become the people we are meant to be. Esfandiari has done this, through both King Woman and Miserable, by examining all the sides of herself and offering them up to us as universal tools to achieve our own self-discovery. She shared the darkest parts of herself with us so that it might be easier for us to face our own, all the while embracing the cache of strength and power she has gleaned along the way, so that maybe we too can find that same strength in ourselves. Read More: How Kristina Esfandiari Balances King Woman and Miserable | http://clrvynt.com/kristina-esfandiari-feature/?trackback=tsmclip Visit Us at How Kristina Esfandiari Balances King Woman and Miserable”