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“Baby / Date” - Jack Whitescarver

Out today, 19th April ‘19

2nd - Grace Ives

Out Monday, 22nd April ‘19

~ 2nd - Digi Cover.jpg


At it again? Two records in one week? I know. I sweat a little over this one, as I did promise “infrequency” at one point… …but I swear, as our frame of reference grows, my rate of delivery will be assuredly “infrequent,” and the goings-on will be steady, not oversaturated. The news to share this time is in regards to a certain event: Jack Whitescarver unleashes three new singles in the next month + change starting today. Grace Ives Releases her debut full-length, 2nd, on Monday.


“All I want to do is eat meat,” says Jack Whitescarver, a self-described "really bad vegetarian." This ever-returning impulse to desire something outside the bounds of convention is something that has proven to be the distinguishing feature of Whitescarver’s musical work, as both songwriting and timbre have proven remarkably less steady over his years making music.

Born in Virginia and raised in Connecticut, this 22 year old artist did not grow up listening to your standard city kid bangers like Jenny from the Block. In fact, Jack couldn’t have started any further from the proverbial block, rather developing a fondness for the supremely weird shit like Irish dancing and medieval chorus music. Naturally, during his teenage years, Whitescarver joined the top 40 pop bandwagon, and it is here within the marvelous intersection of the mainstream and the profoundly bizarre where this artist operates.

So, when asked to describe his sound in three words, Whitescarver rattled off with little hesitation, “sexy, pastoral, and clown” (three words with about as much of a connection as hair, soy sauce, and fig newton). But perhaps the beauty of these three words appearing in sequence lies not in the blatancy of their connection but in the degree of their qualitative difference. A magical blending of everything rather than a monotonous casserole of the same thing.

Whitescarver never actually studied music within an academic framework, instead graduating from Bard College having majored in studio arts. This background is inextricable from his persona as a performing artist. Vulnerability, theatricality, letting your “cool” go, all aspects that can be traced in his art, can equally be identified in his stage presence. One truly gets sense that his songs were meant to be performed. His campiness is authentic, raw, and genuinely enjoyable.

His interest in pop stemmed from this proclivity for the dramatic, for narratives laced with tension condensed into a short snippets with the intention of being more accessible to a larger audience. But Whitescarver contends that it is only when you play with this tension in different ways, supplementing the narrative with layers of dissonance, tomfoolery, and willingness to explore outside of the existing bounds, only then will you hit “the sweet spot”.



Grace Ives never pursued music in the traditional sense like many of her peers. Instead, it followed her like a common thread that connected her various dwellings over the past few years. Whether living in Brooklyn with her parents, or in Baltimore while briefly studying at MICA, or the three years following at SUNY Purchase, Grace made music irrespective of setting or ambition. She made pop songs inspired by the sounds of Brittany Spears and Rihanna while surrounded by “punk-er” friends in Maryland, bought and MC 505 to emulate the sound of MIA while surrounded by guitar noodling when the cult of Mitski still loomed large over the SUNY Purchase campus, and opened so many shows to audiences of one, maybe two, that she cannot even think to count. But along the way she won people over, almost literally one-by-one, until audiences began to grow in number. Now, living in Astoria, Queens, Ives regularly leaves home with a blue Ikea bag full of her musical equipment to play shows all over the metro area—to audiences of increasingly insatiable fans.

As for her writing process, her melodic ideas simply do not leave her alone. She is always singing. Much of her work stems from simple and relatable nuggets of experience. It is almost as if putting her thoughts to a melody are a way of processing the world as she sees it unfold around her. These humble origins of her ridiculously catchy songs are, she says, result of a “keep it simple, stupid” approach, one that she pulls off with the fire-y confidence of artists such as Bratmobile or Minutemen.

As Grace would have it: “I’m a man of few words, or just the same words over and over again. Everything about me is very laid back, my music is just supposed to be fun, danceable. I write songs so that they get stuck in people’s heads. I follow a formula. Butterfly is two notes, Mansion is six. I’m trying to keep it minimal, just so I can get this idea out and listen to it. I just try to crank these out, not so I can do something else, like sleep, drink, or go to a party, but so I can do more. I’m relatable, I shop on a budget, I’m your friend, and I want to write songs for you… to dance to. And I’m a great cook—I make a killer bolognese.” 



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Feel the music and see them play.



Get your Friday off to a swell start.

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“I'm not mediocre, like almond mocha—I'm flavor, behavior is ill when I spill.”

-Bow Wow Wow