In late July of 2010, New York quintet O’Death — singer/guitarist Greg Jamie, Gabe Darling on banjo and ukulele, drummer David Rogers-Berry, bassist Jesse Newman, and violinist Robert Pycior — returned to the stage after a year-long hiatus to play a critically-acclaimed set at the Newport Folk Festival. In many ways it was the perfect start to a new era in the band’s existence, and a logical precursor to their third LP. O’Death return to Ernest Jenning Record Co. for Outside.
 
After endless touring on the rollicking one-two punch of their debut Head Home (Ernest Jenning Record Co.) and sophomore barnburner Broken Hymns Limbs & Skin (Kemado), the band was sidelined in the midst of their 2009 tour when Rogers-Berry was diagnosed with Osteosarcoma. Ten months of chemotherapy and a shoulder replacement later, the group returned to the studio with a new outlook on life, and began work on their most fully conceived project to date — an affirmation of sorts. With the help of producer/engineer Billy Pavone (The Fall, Asobi Seksu, White Rabbits), the result is a record that is both the most subtle and massive accomplishment of the band’s career. Outside is a darkly triumphant and free-flowing album that represents exactly where the songwriters have found themselves in this moment. As Pycior notes, “I love the dynamic disparity in the album: the fragile parts of ‘Bugs,’ ‘Ourselves,’ and ‘Don’t Come Back…,’ the huge endings in ‘Alamar,’ ‘Look at the Sun,’ and ‘Pushing Out.’ …and I love ending on a different and demented tone with ‘The Lake Departed.’”

Roaring out of Brooklyn comes the Hungry March Band, NYC’s legendary street brass march band in the anarchic style that has become their trademark . Put on your dancing shoes and break out the fancy threads because they’ve got a party going on – a blazing parade of flesh, blood, steel, brass and wood. They are the music of the people!
 
The Hungry March Band has earned a reputation for mythical revelry having performed at a huge variety of fine venues and celebrated events. Such planned and spontaneous performances have included guerilla art events, mermaid parades, rural raves, subway parties, eccentric weddings, community affairs, protests, high art events, the Staten Island Ferry, Brighton Beach Boardwalks, MOMA, Lincoln Center, steps of the NYC Post Office, playing themselves in the final scene of John Cameron Mitchell’s recent film “Shortbus and many other forays into the territories of free spirit.

“A roman candle of a band”- The New York Times    
 
“One of those cult bands that people either know and love, or don’t know at all. Point is, those that do care, really care. We’re firmly in the caring camp”- Fader Magazine    
 
“The Yaks are a punk band at heart. They place passion before posturing, and that’s why their set was easily the realest thing I’ve seen in several years of CMJ.” –Time Out New York    
 
“These fellows are the real deal, holding steady even with all the jim jims in this town and all the politicians makin’ crazy sounds, and everybody puttin’ everybody else down.” -ifc.com    
 
“Earnest with their brand of beer-soaked, tuneful yet messy Americana that balances the mournful and the exuberant, ‘fuck it all’ and ‘fuck yeah!'” –Village Voice    
 
“Indie rock kings.” –Huffington Post    
 
“Brooklyn’s drunk folk-punk icons” –Deli Magazine

Amour Obscur is a Brooklyn-based gypsy punk band that offers a theatrical performance that draws from the striking visual aesthetics of the Weimar cabaret and American sideshow. Mixing unique instrumentation—vocals, accordion, upright bass, trombone, mandolin, tenor banjo and percussion—and original composition that draws upon such eclectic influences as traditional Romani music, Kurt Weill, Americana, and klezmer…to contemporary dance music—Amour Obscur creates a sound that reflects the experience of the underground for artists, hobos, neo-gypsies and revelers everywhere.