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101 Avenue A - New York, NY

Cosmic Country Social: Sean Thompson's Weird Ears
Knitting Factory New York
101 Avenue A - New York, NY 10009
Tue August 13 7:30 pm (Doors: 7:00 pm)
21 and up
$15.00 Tickets


Sean Thompson's Weird Ears

Sean Thompson’s Weird Ears’ 2019 acclaimed “Time Has Grown a Raspberry” EP and his 2022 debut album introduced us to Thompson’s singular songwriting, with its barreling Dead-esque boogies and lived-in country rock. Hailing from Nashville and praised by everyone from Aquarium Drunkard to MOJO, Thompson is a coveted guitar slinger who has played with Erin Rae, Spencer Cullum and Caitlin Rose (among many others), proving that he has the confidence of a songwriter deeply rooted within a dynamic community.


Three part vocal harmonies orbit around patchwork guitar and keyboard textures laced with driving rhythms. Lyrics that bring you home and stretch you out. Star gazing in an open field.


The trouble with so much Cosmic American Music is that it’s not all that ‘cosmic’ at all. The moves are there—the mood, the ingredients, musical and (ahem) otherwise, the clothes—but the substance too often comes up a little thin. Maybe that’s fine: the Flamin’ Groovies weren’t quite the Beatles either, and so to criticize the heirs of the Flying Burrito Brothers for failing to equal their forebears’ sense of stoned celestial wonder feels a little mingy, like criticizing tomorrow for not being 1972. Enter David Lerner and Anne Cunningham’s duo Trummors, though, with their fifth and possibly best album—“possibly” only because the others, too, are so damn good—to blow this frequent quibble clean out of the water. 5 (yeah, they went ahead and made their Numerical Album, just like J.J. Cale once did) is so fresh, so sparkling, and so lovely, whatever debts it owes to anybody else are immediately canceled. This may be music with an abundant sense of history, a deep, almost Talmudic knowledge of a thousand country rock records, but it steps outside the shadow of that knowledge with a confidence that feels rare indeed.
Some of that is in the writing. A song like “Hey Babe” might seem a wisp of a thing, until you listen twice and clock lyrics as fatalistic, and as beautifully compressed, as a Robert Creeley poem, coupled with a melody that feels like it’s lived inside you forever. Some of that is in the performances, the way Lerner and Cunningham’s vocals fit together just so, as ideally paired as George and Tammy’s as they float atop accompaniments from their supporting players—Dan Horne’s spacious pedal steel on “Yellow Spanish Roses,” say, or C.J. Burnett’s spare, not-quite-barroom-feeling piano on “The Jalisco Kid”—that somehow manage to be at once understated and arresting. Some of it might be the occasional ways they make subtle adjustments to genre conventions (“Cosmic Monster” sounds closer to English psych monsters Dantalian’s Chariot than it does to canyon country, thanks to Clay Finch’s electric sitar) without sounding schizoid or breaking faith with the record’s overriding mood and identity. But none of
that really accounts for 5’s startling and unshakeable immediacy, its ability to cut through the fog in one’s head and one’s mood every time it comes pouring out of the speakers.
Lerner and Cunningham lived with these songs a long while, writing them before the Pandemic struck in 2020, demoing them at home repeatedly before finally deciding to get together with Horne—an alumnus of previous records, too, as a player—in the producer’s chair for the first time. They tracked the record in LA over the span of about a week, did a bit of overdubbing later in Taos, and thus, after that long period of uncertainty, 5 arrived at its final form fairly quickly. Maybe it’s this paradox, this meeting of speed and deliberation, that gets at the record’s most striking quality, how these songs feel at once heavy and light, ancient and new, like something carved into stone with a feather. It’s a quality that fills me with admiration. Indeed, with something close to awe.


Buga formed originally as a duo between songwriter/singer/ producer Grant Anusbigian and guitarist Cameron Criss in Brooklyn, New York after struggling to find like-minded musicians who had an affinity for lost records and 7-inch singles from the 1960s and 1970s. The midwestern duo Grant - Detroit, Michigan and Cameron- Akron, Ohio expanded upon their initial influences to form a full five-piece live band and perform at clubs and venues across New York City and Brooklyn. Buga is influenced by the likes of ex- Byrds members Gram Parsons, David Crosby and Gene Clark as well as newer artists. Their first single "Even I Believe" was featured on vintage leaning music tastemaker playlist, New Commute Now. While their first recordings were recorded in apartments on vintage and somewhat broken gear, for their recent releases they traveled to Philadelphia to record with production wiz kid Kevin Basko (Foxygen) Buga has worked with noted producer and mixer Tucker Martine (My Morning Jacket, Modest Mouse, The Decemberists, Whitney) on their upcoming single!

The Victory Seeds

Hailing from Bushwick, Brooklyn, The Victory Seeds are a femme-led cosmic americana band powered by the songs of Sophia Bondi and Frances Rodriguez. With their unique blend of 70’s country and indie folk, The Victory Seeds are rapidly gaining a local following and are looking forward to the release of their first album in early 2024.


broom is a brooklyn based ambient shoegaze duo.