Luckily, we’ve managed to preserve that atmosphere and bring it with us to our new stage at the Windjammer. We were prepared to have to bridge some gaps with an open mind and heart. We knew moving into a neighborhood like Ridgewood, Queens–well, it’s a little old world, still. We were always about community and inclusivity first. Our programming was all over the place, with daily emerging arts: comedy, music, burlesque, drag… you name it, we booked it. But we made it work pretty well for 4+ years… until the pandemic and some serious water damage to the space made it uninhabitable.įootlight was/is a queer owned and mostly queer-operated space. We opened in July 2016 on Seneca–after a long, irritating process with our landlord that took over a year, from signing the lease to opening the doors. He makes a Zine for Footlight to help advertise.
My husband / partner Tim is more of the visual artist I dabble. But I have a side project that has yet to get started, but hopefully now will be called STAB. Naw… unfortunately my drummer moved to Berlin. I played as Bridget and the Squares (BatS) here in NYC from 2009-2013, and in HAWT ME$$ from 2012 on. After school, I played in bands and toured.
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I was in the first graduating class at Boston Arts Academy, and luckily went on to a full scholarship to Berklee College of Music in Boston. I started playing guitar and piano when I was 11. I could always sing, and had a natural predilection for attracting attention to myself. I started out in musical theater as a kid. I see you’ve been busy! Before we discuss Footlight, can you tell us what your background in music is? I am just happy to be safe, healthy and working again so far. Regan: Summer 2021 is certainly better than 2020, but not super fabulous yet. Covid and construction woes forced the venue’s untimely close, but now a new and more intimate space brings Footlight’s unique platform back to the community once again. Regan opened the Footlight, she created a safe, queer and interesting space for performing artists of all genres in residential Ridgewood, Queens. New York art-hardcore quintet Detach the Islands’ debut studio release, is razor sharp.the five members move as one entity, every pound of the drums helping to drive home a particularly harsh chord or the desperate vocals seeming to pull everything upwards with their climbing insanity.When Boston-born musician Laura B. In other words, while Detach the Islands are certainly techy in their delivery, things still manage to sound catchy, something that isn't easy to pull off.
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Metal Injectionĭetach the Islands clearly understands how to deliver complex arrangements, but the clincher here is how effortless they make it all sound. The record is an excellent blend of New York hardcore with a lot of interesting, almost progressive tendencies, that makes for an interesting listen that'll also make you want to punch someone. While there are other luminary bands that specialize really memorably in various elements running through The Burden to Become Fact, it ultimately feels like its own creation and isn’t derivative. The music is ultimately not easily categorized. At a time when everyone’s looking for ‘the next big thing’ (the next big Dillinger, let’s be honest), this one better not slip under the radar of those clamouring for beautifully structured chaos. Detach The Islands have no need for orchestral sections, asinine skits, or row upon row of synthesizers and keyboards – the band create multifaceted hardcore with just strings, skins, and vocals, and an effects pedal or two, achieving a more manic ‘mathcore’ sound that 99% of all the bands operating under that tag today. The Burden To Become Fact needs to be celebrated for achieving a truly eclectic sound with only the common instruments and tools found in any old rock band. I don't know how to act or what to do with myself I don't remember what it's like to feel this way anymore Inside the spinal fluid of leather-bound entries Fervent fratricide politics of body and mind
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