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A central figure in the contemporary punk, indie rock, and DIY music scenes, he is best known as the frontman of the ska-punk band The Arrogant Sons of Bitches, the anti-capitalist punk collective Bomb the Music Industry!, the pop punk duo Antarctigo Vespucci, the punk rock band Kudrow, and for a prolific solo career marked by emotionally candid lyrics Read more on Last.fm","content":"Jeffrey Ernest Rosenstock (born September 7, 1982) is an American singer-songwriter from Long Island, New York. A central figure in the contemporary punk, indie rock, and DIY music scenes, he is best known as the frontman of the ska-punk band The Arrogant Sons of Bitches, the anti-capitalist punk collective Bomb the Music Industry!, the pop punk duo Antarctigo Vespucci, the punk rock band Kudrow, and for a prolific solo career marked by emotionally candid lyrics, energetic live shows, and a steadfast commitment to accessibility and independence in music.\n\nRaised in Baldwin, New York, Rosenstock co-founded The Arrogant Sons of Bitches in the mid-1990s, blending irreverent ska with punk’s aggressive immediacy. After ASOB disbanded, he founded Bomb the Music Industry! in 2004, a band known for its unconventional ethos—eschewing traditional merchandise in favor of stencils and spray paint, performing primarily in all-ages spaces, and releasing all music for free or via donation. Their approach earned them a reputation as “the Fugazi for the internet age.”\n\nIn tandem with BTMI!’s launch, Rosenstock founded Quote Unquote Records, widely recognized as the first donation-based digital record label—predating more high-profile \"pay-what-you-want\" models by mainstream artists like Radiohead and platforms like Bandcamp.\n\nAfter BTMI! disbanded in 2012, Rosenstock transitioned into solo work with the self-released I Look Like Shit. Subsequent albums such as We Cool? (2015), WORRY. (2016), POST- (2018), No Dream (2020), and HELLMODE (2023) solidified his reputation as a leading voice in modern punk—balancing political discontent, existential anxiety, and personal vulnerability with melody-driven, high-energy instrumentation. A full ska reinterpretation of No Dream, aptly titled SKA DREAM, was released in 2021.\n\nIn addition to his solo work, Rosenstock is a producer and collaborator, contributing to projects by artists such as AJJ, PUP, Laura Stevenson, Shinobu, Mikey Erg, and The Smith Street Band, and co-founding the indie-punk duo Antarctigo Vespucci with Chris Farren. Since 2018, he has composed music for Cartoon Network’s Craig of the Creek, including full musical episodes and the 2024 animated film Craig Before the Creek.\n\nRosenstock’s influence in the DIY scene is considerable. His approach—rooted in transparency, affordability, and all-ages accessibility—has inspired a new generation of independent musicians. His vocal style, often described as raspy and impassioned, underscores a songwriting voice that is equally capable of cathartic rage and quiet introspection.\n\nOn November 8, 2024, Rosenstock publicly came out as non-binary, stating that he had privately identified as such for eight years. He affirmed that his pronouns remain he/him. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}57:Td70,{"name":"Laura Stevenson","id":2002202,"resource_url":"https://api.discogs.com/artists/2002202","uri":"https://www.discogs.com/artist/2002202-Laura-Stevenson","releases_url":"https://api.discogs.com/artists/2002202/releases","images":[{"type":"primary","uri":"https://i.discogs.com/1tcIQPcH2MSpiPxCpotBiM9Tr0RcYY-pJRp8Bz-yKes/rs:fit/g:sm/q:90/h:599/w:599/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTY0MjQyNTMx/OC0xNTU3LmpwZWc.jpeg","resource_url":"https://i.discogs.com/1tcIQPcH2MSpiPxCpotBiM9Tr0RcYY-pJRp8Bz-yKes/rs:fit/g:sm/q:90/h:599/w:599/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTY0MjQyNTMx/OC0xNTU3LmpwZWc.jpeg","uri150":"https://i.discogs.com/ABTG69jJy2N3UsjNMIA_cb70aKBXs71frXO5jSUFBuM/rs:fit/g:sm/q:40/h:150/w:150/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTY0MjQyNTMx/OC0xNTU3LmpwZWc.jpeg","width":599,"height":599},{"type":"secondary","uri":"https://i.discogs.com/njb5JxZXz20V2B2TIQDsdSiv2gKlVgqpivZGW1VDslM/rs:fit/g:sm/q:90/h:400/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTM4MTYwODM3/Ny00NzQwLmpwZWc.jpeg","resource_url":"https://i.discogs.com/njb5JxZXz20V2B2TIQDsdSiv2gKlVgqpivZGW1VDslM/rs:fit/g:sm/q:90/h:400/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTM4MTYwODM3/Ny00NzQwLmpwZWc.jpeg","uri150":"https://i.discogs.com/E5r4Q7hzDykK3fBM7Mx4v3FGOw3JvUrfP_onZSM4y64/rs:fit/g:sm/q:40/h:150/w:150/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTM4MTYwODM3/Ny00NzQwLmpwZWc.jpeg","width":600,"height":400},{"type":"secondary","uri":"https://i.discogs.com/RMFCiV3IPqldn5rDPKznjVCCLyFF0j6v5bWEyyRgGiw/rs:fit/g:sm/q:90/h:374/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTE5/NS0zOTc1LmpwZWc.jpeg","resource_url":"https://i.discogs.com/RMFCiV3IPqldn5rDPKznjVCCLyFF0j6v5bWEyyRgGiw/rs:fit/g:sm/q:90/h:374/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTE5/NS0zOTc1LmpwZWc.jpeg","uri150":"https://i.discogs.com/4bolNq7H0h0NyZ0beriR-4G4cXDGld4lWJsxkad9pyU/rs:fit/g:sm/q:40/h:150/w:150/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTE5/NS0zOTc1LmpwZWc.jpeg","width":600,"height":374},{"type":"secondary","uri":"https://i.discogs.com/no2rFxNDWM9p1m8aJnXG6-9sGknenKwaTC-OduglA-c/rs:fit/g:sm/q:90/h:450/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTIw/NC05Njc0LmpwZWc.jpeg","resource_url":"https://i.discogs.com/no2rFxNDWM9p1m8aJnXG6-9sGknenKwaTC-OduglA-c/rs:fit/g:sm/q:90/h:450/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTIw/NC05Njc0LmpwZWc.jpeg","uri150":"https://i.discogs.com/so2IrQzLQ-7pXJpMTkuXZagaJTZYvsKlRcg_6qLnTvk/rs:fit/g:sm/q:40/h:150/w:150/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9BLTIwMDIy/MDItMTQ5ODk4OTIw/NC05Njc0LmpwZWc.jpeg","width":600,"height":450}],"profile":"Laura Anne Stevenson (born April 25, 1984) is an American singer-songwriter from Long Island, New York, and formerly a keyboard player for the musical collective Bomb the Music Industry!","urls":["https://www.laurastevenson.net/","https://laurastevenson.bandcamp.com/music","https://en.wikipedia.org/wiki/Laura_Stevenson"],"namevariations":["LS","Laura","Lauren N. 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live","url":"https://www.last.fm/tag/seen+live"},{"name":"folk","url":"https://www.last.fm/tag/folk"},{"name":"indie rock","url":"https://www.last.fm/tag/indie+rock"},{"name":"indie folk","url":"https://www.last.fm/tag/indie+folk"},{"name":"indie","url":"https://www.last.fm/tag/indie"}]},"bio":{"links":{"link":{"#text":"","rel":"original","href":"https://last.fm/music/Laura+Stevenson/+wiki"}},"published":"02 Apr 2007, 13:10","summary":"Laura Stevenson is a singer/songwriter from Long Island, New York, and formerly a keyboard player for the musical collective Bomb The Music Industry!\nKnown for her emotionally barbed storytelling, stripped-down delivery, and orchestral mix of indie folk, indie rock, punk rock, twee pop & alt-country, Stevenson was born and raised in Long Island into a family of mariners and musicians. She spent many of her younger days on the sugar barges of NY harbor with her father and uncles Read more on Last.fm","content":"Laura Stevenson is a singer/songwriter from Long Island, New York, and formerly a keyboard player for the musical collective Bomb The Music Industry!\nKnown for her emotionally barbed storytelling, stripped-down delivery, and orchestral mix of indie folk, indie rock, punk rock, twee pop & alt-country, Stevenson was born and raised in Long Island into a family of mariners and musicians. She spent many of her younger days on the sugar barges of NY harbor with her father and uncles, who all made their living on the water, at one time running one of the largest fleets on the Hudson. Meanwhile, her mother’s parents were successful musicians; Harry Simeone, the composer and choral arranger responsible for such works as “The Little Drummer Boy” and “Do You Hear What I Hear?” and Margaret McCravy (stage name McCrae), a singer from South Carolina who got her start accompanying her elder siblings “The McCravy Brothers,” a harmonious gospel folk duo, before continuing on her own to record and tour with bandleader Benny Goodman. Armed with her grandfather’s love for modernist dissonance, a genetic predisposition for harmony, and with her sea legs firmly planted in the traditions of American folk singing, Stevenson began creating melodies at a very young age. “My mom would find me in my room, looking out the window, out at the street, singing by myself, sometimes crying,” she laughs, “I was a weird kid.”\n\nAt around five Stevenson began playing piano by ear, and at that point her mother decided lessons were a sound investment for the young musician. In High School between going to punk shows every weekend, she spent her afternoons singing in four different choral groups, exploring a growing love for acapella. “Big time nerd stuff,” as she recalls, lamenting that there wasn’t a show like Glee around to validate her when she was in the thick of it. Hundreds of hours of extra-curricular singing combined with a natural talent has no doubt paid dividends when it comes to Stevenson’s powerful vocals. The confidence and precision with which she unabashedly sings out on record and on stage stands in sharp contrast with the reflective uncertainty and isolation that comes through in her lyrics.\n\nThough Stevenson began writing classically on piano early on, it wasn’t until her late teens that she taught herself how to fingerpick the guitar, aspiring to have the quickness and intricacy of her “guitar god,” Dolly Parton. The new instrument opened up a window of creativity and Stevenson soon began writing songs heavily influenced by the writers her father had raised her on, such as Neil Young, Gram Parsons, and Carole King, while also drawing inspiration from music that she discovered on her own like Leonard Cohen, and Jeff Mangum. Meanwhile, leaving her comfort zone, Stevenson started playing in friends’ bands in and around Long Island, a time that she says, “taught me how to be on tour, how to give and take with other musicians, and not be afraid of my own ideas.” With a new found confidence and a solid and supportive community of creative people behind her, Stevenson moved to Brooklyn in her early 20s and soon started performing her own material, loosely assembling a backing band of friends from other projects. In 2010, she released her bare-bones full-length debut simply entitled, A Record, which she quickly followed the year after with Sit Resist, the first solid document of her work playing with a full band. Those two albums and a healthy amount of touring brought Stevenson a dedicated fan base, drawn to her voice, her words, and her relatable down-to-earth persona.\n\nWhile writing the 13 songs that make-up her newest record, Wheel, Stevenson sought to understand her place within the frame of time, nature, and among those that she loves. With her words, a careful twine of prose and humor, Stevenson manages to expose the nagging contradictions that make life so terrifying but also so worth living, how it is possible to simultaneously feel both fear and joy, the bitter aftertaste of something so beautiful it makes you sick. Themes of passage, the cycle of the moon, the seasons, and love’s ever-shifting states of dependence, are all interwoven throughout Wheel as songs ebb and flow from her band’s crashing walls of distortion and pounding drums, to sweet string-led overtures, to moments where it is just Stevenson and a guitar.\n\nIn recording Wheel, Stevenson decided to up the production value, steering away from the lo-fi approach of her previous two albums. Forcing herself to fully give-in to the recording process, and relinquish some of creative control she enlisted producer, Kevin McMahon, someone whose work she respected immensely and who would, as she put it, “be the perfect set of ears for these songs.” She also brought in Rob Moose on violin and Kelly Pratt to play brass, adding their own layers of depth to the band’s full arrangements. Despite the move to sleeker production, Wheel retains its organic nature, relying primarily on the resonance of acoustic instruments and the electricity of simply over-driven amplifiers, with its most synthetic moment coming from a Roland organ, an unconscious decision that Stevenson explains as her and her band’s way of “being real, relying on each other’s energy to keep time and just playing the songs like human beings, flaws and all.”\n\nSites: MySpace and LauraStevenson.net (official)\n\n[[b]2] From Belfast, UK.\n\nRaised only a few streets from the legendary Van Morrison (though admittedly several decades later), Laura Stevenson is finally receiving recognition in the Northern Irish music scene. Her 2004 EP “Down” and this year’s “Live at the Rotterdam” have already been heard on the airwaves of several local stations and, having recently won a showcase on the music investment website ‘Slicethepie.com’ which secured her £15,000 to record her long-awaited debut album, it looks like Laura is set to grace more than just the local scene with her talent. \n\nAt the centre of the music is her voice - fragile, ethereal, haunting - providing an apt vehicle for songs which betray a rare kind of honesty. Stevenson doesn't shy away from wearing her heart on her sleeve in her songwriting, something fans tell her they appreciate. At times, her songs are lyrically raw and yet, so carefully framed with those trademark cascading piano lines, the listener is drawn into a space where catharsis and redemption finally meet. Indeed, one can never be sure if this music will break your heart, or if it will heal it. \n\nStevenson has an impressive range of influences including the likes of Tracy Chapman, Sarah McLachlan, Patty Griffin, Suzanne Vega and Sheryl Crow, but comparisons reveal little about her unique direction. Live sets include impressively original interpretations of songs by artists she admires: Radiohead, Chris Isaak, Crowded House and Alana Myles, amongst several others. She has supported many artists of varying success on the Irish music scene (such as Juliet Turner), as well as those of international acclaim, such as guitar legends Rodrigo y Gabriela and soul diva, Beverley Knight. \n\nThis summer, Laura will continue to play local venues to her ever-widening fan base, while she hits the studio with local producer Mike Houston, whom she describes as “The Northern Irish music industry’s best kept secret…”, to finally get recording! While no date for release has been announced yet, we anticipate it won’t be too much longer before you’re hearing a lot, lot more from this talented lady… \n\nSongs by this Laura featured on lastfm: Down, Just Beyond My Reach, Welcome to my World, Coming Home, Short Space of Time, One of Us, Wait, Solar System, Shallow, One Night Stand, Where You Lie, Cut and Run.\n\nSites: MySpace Read more on Last.fm. 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Maybe it means that the Florida-based musician has been grinding it out for over a decade, making endless friends along the way. The Read more on Last.fm","content":"Chris Farren is the guitarist and vocalist for Naples, Florida beach punk band Fake Problems and 1/2 of the power-pop duo Antarctigo Vespucci with Jeff Rosenstock of Bomb The Music Industry!\n\nChris Farren will be the first to tell you he’s a “musician’s musician” although he’s not really sure what that means. Maybe it means that the Florida-based musician has been grinding it out for over a decade, making endless friends along the way. The charismatic frontman of the Naples band Fake Problems has toured with everyone from Against Me! to The Gaslight Anthem to Say Anything. \n\nBut as Fake Problems has been eerily quiet since the release of their full-length, 2010’s Real Ghosts Caught on Tape, Farren has been branching out and dipping his toes into other waters. He recently unveiled his two-man project with Bomb the Music Industry!’s Jeff Rosenstock called Antarctigo Vespucci, a refreshingly unpretentious pop machine. He’s also been stripping things down and experimenting with solo material. Farren recently released a split EP with Grey Gordon, Ducks Fly Together. Without the comfort of a backing band, the self-made Verified Twitter user is seeing how far he can get on his own, with nothing but a ton of inspiration and a good reputation. After all, Chris Farren is a musician’s musician. Ask anyone, just not him. Read more on Last.fm. 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