Heavy on grid pics from all shows (thumbs up emoji).
All right, So…
……Had an insanely Good 2024.
Over the course of the decade, thus far, there’s been an arc -or formation of one- if using the end of the 2020’s as the end of it, but starting as a quartet in the late 20-teens with the release of their self-titled debut, and through beginning coverage by Bracken Mayo, local editor-in-chief of Murfreesboro, TN monthly publication, The Murfreesboro Pulse, involved tracks such as “Texas Toast,” marked released as a single in 2019, along with earlier released tracks, “Why Do We Die?” and “Mercury 211,” all released 2019 and 2018, respectively.
“Four-piece Middle Tennessee rock group The Weird Sisters has captured a great variety of styles, instruments, vocals, feels and tempos with a fun, funky swagger to it all on its self-titled 2019 release, available now.
The collection travels, track by track, from powerful rock riffs and hip-hop influenced beats both acoustic and synthesized to spacey, ethereal guitar picking, deep electronic fuzz and downtempo, Pink Floyd-esque excursions,” Mayo writes.
The Weird Sisters demonstrates its wide variety of influences and musical directions while keeping a quirky sense of humor.
“I’m goin’ down to Texas, gonna get myself some toast, Izaac Short belts out on “Texas Toast,” a track that begins maybe a little too much like “Purple Haze” but then takes on a personality of its own as Short rips loose on a screeching guitar solo (more within the Jack White sphere of influence) and Gabrielle Lewis contributes the warm, vintage sounds of her Fender Rhodes keyboard.”
“’The Improbable Beat’” goes in a more funky rap direction as Lewis, that weirdo with wings on her feet, makes sure all knows she’s the host with the most.”
I got helium in my veins, helium in my veins . . .
Lewis busts out the saxophone on “John Coffey Style” and “The Martian Queen,” further demonstrating her impressively broad musical abilities.
The Weird Sisters album begins with an intense hard rock riff, almost Tool-like. The female vocals and feel of the verse calm that opening track, “Masterminder Rewinder,” a bit, but it later later picks back up into some rock ’n’ roll throwdown.
“Can’t Stop the Sound,” which also features some sax, is tame but groovy. “Will You Be Mine?” can first seem a little draggy, but wait for it, as the song builds to epic proportions while still keeping its slow tempo a la Floyd.
The classic rock fan has to appreciate those warm, vintage electronic piano sounds. The quartet does a nice job melding 1960s rock with modern sensibilities and gadgets, blending mellow and warm with more harsh distortion and phasing sounds, the delicate with the abrasive, slow beats with hard rock guitars.
It’s not too serious, but seriously funky.
Space, space the final frontier, there’s plenty of girls and there’s lots of beer.” –The Murfreesboro Pulse, Oct. 3, 2019. “
The Weird Sisters is not found on The Weird Sister’s bandcamp discography.
A little time ensued, enought to get us into a pandemic and shed a couple of weird sisters, more than likely for self-explanatory reasons, with the following review Weird Sisters beat taken over by Pulse writer, Bryce Harmon, picked up on the fellas and gal’s sophomore album, forming a party vive these guys were going for and emphasizing, “for the A-side, “Lost in the Chronic” keeps the eccentricity of Gabrielle Lewis and Izaac Short—the backbone of the psych-rock/hip-hop duo known as The Weird Sisters—in power keys and Short’s distorted electric rhythm and riff-playing form. The intro sounds inspired by hip-hop duo Run the Jewels, eventually morphing into some Beastie Boys-style trip-spitting lyric flow.
Lewis’ Moog work and vocal counterpoint accompanying Short’s melodic, electric riffs all blend in-studio to create a polyphonic soundscape.
“Ride That Satellite,” the B-side, opens as a retro, 16-bit, disco-rocker racing video game theme with one of Lewis’ hands seeming to keep a Fender Rhodes electric piano oscillating with a synth horn section Moog’ing on the other. Short’s funky electric rhythm strokes and star-gazing, party lyricism mold a track worthy of soundtracking a Steven Soderbergh or Guy Ritchie bank heist montage.
“Keep up the weird I think it’s your forte,” commented seeming septuagenarian Dorothy Robinson on The Weird Sisters’ initial Facebook cover photo of an analog Moog keyboard lined with 3D glasses from May 2017. Robinson’s comment came about three years after Lewis and Short posted the pic. Dorothy’s comment now stands as a two-year-old testament to the genuine musical fortitude of the “space disco duo,” surely exactly the attention and encouragement The Weird Sisters needed for its skyrocketing musical plan.
Folk & Proper caught up with them after a Heavy Temple set [would’ve been recorded around 1:00 am, Sept. 3rd] at Muddy Roots, Sept. 2, 2023. They played opposite The Dead Milkmen, that night, around 9:30, to reignite the coverage spark, and since our avenues were crossing paths.
They’d been rocking and rolling since the album release, [FB] and the first chance to catch back up with them was after their set, The Dead Milkman’s set, then to a Bridge City Sinners show, to Libby Lux carrhing all of us back up vendors row for the Amigo The Devil Show, Heavy Temple played a show back at the wood stage, after all that, is where Connor took an eye to Heavy Temple guitarist’s pedals and got up on stage to talk to them.
Isaac and Gabrielle happened to be up there with Heavy Temple, too, tearing down that nights set with them.after their show as Connor, Master of the Universe (Britt’s 17 yr. old, at the time) was talking with Heavy Temple.
[[[[[Wait, did I not go to a Weird Sisters show until March?? I thought I went to one in February or Mar. 2023, when did the album came out???!]]]]]
[[[[[[[-Yes, February 3, 2024…. TIME WARP]]]]]
[okay. okay… BACk to 2023… that was too much.]]]]]
-To nice/warming reception on the streets, Lost in the Chronic/Ride That Satellite solidified the now duo, Gabrielle and Isaac, into early twenties, post-pandemic duo-ship with a relaunched backstory and a gusto raring to take over in a way similar to concert goers, post-pandemic, hitting it pretty hard, getting out. The Weird Sisters were just the other way, as concert MAKERS, hitting it pretty hard, ready to get out.
With this gusto, they established dominance with a seeming eagerness to pounce before the iron was even hot. They knew what they were doing.
Emerging from Nashville’s dynamic music landscape, The Weird Sisters unveil their latest full-length album, Who Are The Weird Sisters? Packed with throbbing pulses through its 14 seamless highway groovers, this “space disco” record captures a sound ideal for moonlit drives and pulsating house parties. Produced at 714 Studio, mixed by Mike Fahey at Starbird Sound, mastered at Infrasonic Mastering and pressed at the Vinyl Lab—all Nashville institutions—Who Are The Weird Sisters? is set for release on Feb. 3, 2024.
The album’s opener, “Party On,” beckons listeners with a distinct blend of Gabrielle Lewis’s funky Moog-oscillations and Christian Northover’s rhythmic beats, making it suitable to jump in the middle of any house mix, infused with Izaac Short’s robotic, vocoder-driven vocalizing. Lewis’s shining saxophone solo emerges as a standout element.
Cranking up the space disco levels, Short spastically, confidently quick-spits Dreaming is free if you open the door to your mind / Long as you’re looking / There’ll always be something to find / Where do we go if the blind keeps on leading the blind on the thumping “Turn the Music Up,” layered with Arabic-flavored vocal accompaniment from Lewis, exhibiting a mix of Blondie and The Cranberries’ Dolores O’Riordan.
“Turn the Music Up” and “Shirley” bring some New York City influence to the album, inspired by the band’s summer ’22 dance escapades in NYC, which brought about the Weird Sisters’ space disco sound.
“Shirley,” inspired by Lewis’s grandmother (named Shirley), is a straight-up dance party number, with the Moog whirring up some positive enlightenment.
“Come On, Spaceship” stands as a Short-fueled dancer, with some 24-bit salsa vibes, more vocoder-infused vocals and a grungier, Daft Punk-styled electronic dance sound.
One of the more comforting aspects of The Weird Sisters is the lack of competitiveness within the duo’s ranks. Short and Lewis only complement one another, collaborating with a harmonious synergy. This album would not exist without the two of them, and together they’re helping to raze a city with sick beats.
Find The Weird Sisters’ Who Are The Weird Sisters? Feb. 3 across the icons, or for sale on vinyl through theweirdsistersband.com. Catch an album release show at The Vinyl Lounge, 1414 3rd Ave. S., Nashville, on Saturday, Feb. 3.
The Weird SIsters PR statement, Dec. 2023 / gearing up for 2024
Got a text from Gabrielle not too long afterwards:
“Hey, Bryce! I’m in The Weird Sisters, you wrote a sic article about us in the Murfreesboro Pulse. your wiriting style captures our essence and mucis perfectly. It’s sick. Wondering if we can hire you to write us a bio? We have a new record coming ot soon and need a spicy bio to catch some eyes. Every bio we’ve ever had has been dog shit.. It’s tie for a change. let me know if you’re down, thanks!!
Four days later: Gatrielle, super apolies for ehe dalay. Saw this after a turn-and-burn covering a show in Atl., Fri./Sat, and life didnt’ let up for a few days. Finaly got some good sleeps lasnt night. Hope you did, as well.
-No problem wirignt the bio. When are you thinkning you’ll need it?
-This job is fun, that does not mask that I’m still a bad writer. Just not some stuff that some people look for sometimes.-
This ultimaely turned out
From pressing play in the car after the gala, to stepping out at the house-show nightcap, Nashville’s further ascending, universal sick-riff, Space Disco duo, The Weird Sisters, have area-DIY’d their debut full-length to perfectly complement any moon-lit, coastal, cliffside drive-scape lifestyle; interim scenes. 14 seamless, blood thumping, window rolling, and butt-flicking highway groovers burst through a Nashville, paperback cosmos like the glass pitcher man, but already in an electric rocking chair, and looking to Moog the dynamics of sisterhood, itself, if not dynamite them into benefiting the ones that prowl.
Doubling down on the functionality of “Space Disco,” “Party On,” easily starts, or can jump in the middle of any house mix, as Weird Sister, Gabrielle Lewis, fugues some funky-ass Moog-oscillations to stands-in beatmaker, Christian Northover, and all of which carries Izaac Short’s un-inhibiting, vocoder lyricism. This opens Gabrielle for a sax solo (tenor and alto, btw) which some call “shining,”
Taking “Up” to Space Disco levels, Izaac’s confidence within a seemingly spastic, Max Headroom-glitch lyricism to an “Icky Thump” instrumentation in “Turn the Music Up,” allows The Weird Sisters’ spitting sensical, wise, and emotional/mental wellness to take the spotlight through Izaac’s quick spits, flexing “Dreaming is free if you open the door to your mind/Long as you’re looking/There’ll always be something to find/where do we go if the blind keeps on leading the blind.” Thumps in “Turn The Music Up” is by stand-in bassist, Robert Hudson, with Gabrielle’s Dolores O’Riordan, Debbie Harry, and/or Arabi modal scale-influenced backing vocal accompaniment.
“Turn The Music Up,” and “Shirely,” […] are all about NYC. We went, Summer of ‘22, and danced our asses off. Upon returning to Nashville, our “Space Disco” sound was born. Shirley was orn and raised in NYC, and “Turn The Music Up,” is about NYC (the lyric, “banging on that fire escape till the cops showed up but they were running late,” acutally happened. We did that in NYC outside our apartment.”
As for the Gabrielle-driven, “Shirley,” it’s a straight up dance party mix, but with an all-inclusive kind of comfort, easily perceived influenced by the mushroom-trip facilitated epiphany, “It’s up to you, now,” but (from their only other recording, The Weird Sister’s introductory EP, Lost in the Chronic/Ride That Satellite [released April 20, 2023]), only Dorothy has been introduced, thus far, so it’s unsure who Shirley is, yet through Gabrielle’s Debbie Harry-ing on the tack, ascending, club-grind driven, Moog whirs All the way up, seemingly due to positive enlightenment, accompanying.
“Shirley was actually inspired by my grandmother,” Gabrielle said. “[The] dialogue about tuna is between me and Shirley, herself.”
“Come On, Spaceship,” stands an Izaac Short-driven dancer and as a 24-bit Salsa as can get, Short vocodes a grungier daft punk, and, seemingly, is a little more ready take off, rather than wander the all-inclusive, but ironically, one of the more comforting aspects of The Weird Sisters is they’re not competitive. Only complementary. The no BS kind of complementary these two have for one another if the B side to this record, if not the A side, immediately. This album does not exist without the two of them, and they’re helping to raze a city with sick beats.
Party people, Bonnie Bean, Aly Blankenship, Abraxas Donahue, and Kat Jones agree, collectively chanting, “Who Are The Weird Sisters? currently rivals Dua Lipa, Britney Spears and Elton John in a global dance genre power grab (but just as a smart investment with longevity in mind)!”
Who Are The Weird Sisters?
We all fckn are.
The Weird Sisters’ Who Are The Weird Sisters? was DIY-produced at 714 (studio); mixed with Mike Fahey at Starbird Sound; mastered by John Baldwin, Infrasonic Mastering; pressed at the Vinyl Lab, all in Nashville, TN.
Who Are The Weird Sisters? can be found, digitally, across the icons (YouTube, Spotify, Apple Music, The Weird Sisters YouTube channel, etc.), as well as on The Weird Sisters home page, theweirdsistersband.com, and through their Facebook page, The Weird Sisters, February 3, 2024.
The Who Are The Weird Sisters? album release show will be the night February 3, 2024, at The Vinyl Lounge, loated at 1414 3rd Ave., S., Nashville, TN, at the bottom of Chestnut Hill.
Three, To-Be-Announced singles from Who Are The Weird Sisters? will be announced leading up to the release. Perhaps, maybe, a double-release; they’re weird.
Contact The Weird Sisters, Gabrielle Lewis and Izaac Short with any booking questions through their websites, or at theweirdsistersband@gmail.com.
Press Release, B.E.Harmon, LLC.
The WIERD SISTERS 5-Point Debut: To Launch Their Ascent Into Nashville Warehouse Disco of the 2020’s: A sick Arabic moan, Moog, keys, and sax- mixed with grungy rock guitar-disco:::
Beginning their ascent into 20’s warehouse disco, funky half moog keyist and Arabic/Phyrigian tonal songstress, Gabrielle Lewis, along with other half-fuzz, rock-shred guitar, Isaac Short, The Weird Sisters promoted their latest (as of 6/2026) on a good run of concerts, self-promoting Who Are The Weird Sisters, that help create a resurrection of basic human instinct, as well as a niche sub-scene of the Nashville area within the 2020’s: Some funky 20’s warehouse disco, well done; scheduling their first blow out at a newer Nashville venue, The Vinyl Lounge, up a hill right behind Geodis Park, in the Berry Hill neighborhood of the Nashville area.
I mean, if you’re into bright yellow and blue, bright, tonal schemes, these guys’ light show pulls it off, too. IT’s a disco, man.
The 5-Spot, June 30, 2024
The Weird Sisters, The 5-Spot, warming up, June 30, 2024
With 2024 seemingly a workshop of live shows perfecting their set, this type of music kind of doesn’t need that. Not making a preset Moog joke, but they would have a neatly edited concert video out by May 2024, not even halfway through their fame inducing year. There was more celebration than there was preparation😁
And through the hot spots and the press spotting across the city, throughout the year, fulfilling a wonderment of F&P’s probably youthful, lack-thereof, The Weird Sisters hosted a warehouse rave on W. Kirkland, one evening, which set ultimately set up a moment my combover was hit by the large fan at the back of the room, blowing in such a surprising way it startled the fan operator. And, understandably..
Fortunately, a conicidence of proportions to the extent to fulfill another bewonderment trippingly rolled out into the scene that night, a pupily-dilated Richie Kirkpatrick, whom
“Sir, it’s rare I catch you in the wild, like this,” meaning I had just stopped drinking a few years before this, so I normally didn’t get out into these places where people came to, or I’d used to drink to go to… (and so forth). I think Richie gets out quite regularly.”
“I run a newspaper in Murfreesboro, and used to cover some of your shows.”
“Where are you from?”
“Murfreesboro,” I said.
And Richie just walked off.
Getting to know that scene a little more, later, I realized he was wandering, himself.
Nonetheless, Richie tripping into the first warehouse, 9/13/24, 1015, W. Kirkland Ave.
Meanwhile, a spy, of sorts, and tripped out, began lurking, taking in what, at a time, was rightfully his, the party scene -and during his own second coming.
Richie quote @ Warehouse. “F&P: It’s rare I see you out in the wild,” meaning that’s the first time the paper has been to one of these. I’d know
“You still live in…?”
“Murfreesboro.”
And his eyes took him away, onto his own path.
And into Soft Junk.
Tristen came back around. Richie started working with Kesha?
Rooster Spurlock/Maddie Diaz/Rebecca Cole?/Tristen’s new/kesha new?
Hard Quartet full show coverage, and Thanks to Soft Junk quote
Alt. Boys Choir video glimpse/preview
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