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The Shondes

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Released: Sep 20, 2011
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General Info

  • Genre: Classical / Indie / Rock

    Location BROOKLYN, Un

    Profile Views: 163675

    Last Login: 1/23/2012

    Member Since 2/1/2006

    Website shondes.com

    Record Label EXOTIC FEVER RECORDS

    Type of Label Indie

  • Bio

    Follow us on Twitter at http://www.twitter.com/theshondes. "A powerful new sound." –Heeb Magazine "The Shondes are a twisted carnival film noir come true." –CMJ "Ready for an indie break out....radical politics, inspired riffs, textured harmonies and pure sex appeal." –Curve Magazine.... "Louisa Solomon...charged at the mic as if to push the song forward with her body. Her powerful voice rose and fell with the other members' voices and Oberman's weeping violin, which gave the songs an ethereal, theatrical tone, while Temim Fruchter's head-long drumming ensured that prettiness never compromised fire. Old-world romance elegantly intertwined with riot grrrl piss and vinegar onstage. Eat your heart out, Gogol Bordello." –Venus Zine "Riot grrrl radicalism wed to classically structured songs, distortion pedals, clashing vocals, and powerful lyrics." –The Village Voice "Hard-driving, politically savvy rock 'n roll." –Flavorpill "[Louisa Solomon is] a frontwoman to fear and fall in love with." –Performer Magazine "When these four take the ideology to the amps, things fall in line...the speed-crunch power chords, a couple f-bombs, the call-and-response chorus...slathered with Oberman's fiddle...wailing anti-downtrodden by means of mournful manifestos." –Spin "This is a band that rocks as if they just don't give a fuck but has crafted their art in a manner that shows they clearly do." –Earfarm "Are The Shondes the next Sleater-Kinney?' –VH1's Best Week Ever blog The Shondes (taking their name from the Yiddish word for "shame" or "disgrace") are a band from Brooklyn, NY whose dramatic brand of rock music has been compared to Sleater-Kinney, Patti Smith and The Raincoats. Their instrumentation includes drums (Temim Fruchter), bass (Louisa Solomon), guitar (Fureigh) and violin (Elijah Oberman) and vocals (primarily Solomon). The Shondes are known for their melodic rock sound and a live show that explodes with energy. Their music draws from feminist punk, classical and Jewish music, which combine to create songs that are often both heartbreaking and hopeful. They bring an infectious urgency to their live performances that gets audiences on their feet and singing along. From their formation, The Shondes have maintained a rigorous tour schedule including several national tours, regular east coast dates and festivals such as North by Northeast and Homo A Go Go. They have shared the stage with the likes of Electrelane, Rasputina, MEN, Erase Errata, Amy Ray, Joe Lally (Fugazi), Mecca Normal and Lesbians on Ecstasy. The band also organizes events and benefits, often in partnership with activist organizations. Their debut album, The Red Sea, produced by Tony Maimone (Pere Ubu, They Might Be Giants) was released to much acclaim in January 2008. The Shondes' sophomore effort, My Dear One (http://bit.ly/d4m7x0), was released on FANATIC RECORDS in May 2010. Please direct all promotional inquiries to Katy Martineau at katy.martineau@gmail.com.

  • Members

    Elijah Oberman (Violin), Fureigh (Guitar), Louisa Solomon (Bass/Vocals), Temim Fruchter (Drums)

  • Influences

    X, Sonic Youth, Bikini Kill, Bach, Nirvana, The Boss, Reb Tevye, Isaac Stern, Huggy Bear, Yasha Heifetz

  • Sounds Like

    Order The Shondes' debut album, The Red Sea: http://www.insound.com/The-Red-Sea-CD-The-Shondes/P/INS41486/ Order The Shondes' sophomore album, My Dear One on CD (http://bit.ly/d4m7x0) or LIMITED-EDITION VINYL + DIGITAL (http://amzn.to/atyZaK) Praise for <i>The Red Sea</i>: "At times, the Shondes conjure comparisons to post-punk's volatile spark on songs like 'Will You Still Love Me Tomorrow' and 'Let's Go,' and yet they seem most inspired when the orchestra kicks in on 'Your Monster' and 'The Start Of Everything' as walls of shiver-inducing, epic violins crescendo. Louisa Rachel Solomon's vocals are strong, nimble and graceful on the band's self-released debut, which sees both complex song structures intertwined with direct, inquisitive lyrics. The result is an album rich in saw-tooth guitars, pummeling rhythms and an undeniably anthemic spirit. It's haunting and it's eerie, yet it's rousing. The Shondes are a twisted carnival film noir come true." –CMJ "'The Red Sea' is a visceral work. While they give much credit to the sounds that influenced them — riot girl and queercore bands of the '90s, traditional Jewish music — their moody songs are redolent of a time in the early '80s when punk fractured into something more tuneful and complex. Harmonies grow discordant, Eli Oberman's [violin] lends substantial melancholy to their quiet-loud dynamics. While being a radical, Judaic-bent, genderqueer, post-punk quartet sets The Shondes apart, being a political band whose music is as strong as its message is a rare treat." –The Chicago Tribune

"At times, the Shondes conjure comparisons to post-punk's volatile spark on songs like 'Will You Still Love Me Tomorrow' and 'Let's Go,' and yet they seem most inspired when the orchestra kicks in on 'Your Monster' and 'The Start Of Everything' as walls of shiver-inducing, epic violins crescendo. Louisa Rachel Solomon's vocals are strong, nimble and graceful on the band's self-released debut, which sees both complex song structures intertwined with direct, inquisitive lyrics. The result is an album rich in saw-tooth guitars, pummeling rhythms and an undeniably anthemic spirit. It's haunting and it's eerie, yet it's rousing. The Shondes are a twisted carnival film noir come true." —CMJ


"The Red Sea is a visceral work. While they give much credit to the sounds that influenced them — riot girl and queercore bands of the '90s, traditional Jewish music — their moody songs are redolent of a time in the early '80s when punk fractured into something more tuneful and complex. Harmonies grow discordant, Eli Oberman's [violin] lends substantial melancholy to their quiet-loud dynamics. While being a radical, Judaic-bent, genderqueer, post-punk quartet sets The Shondes apart, being a political band whose music is as strong as its message is a rare treat." —The Chicago Tribune

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Support the band!

Hear and buy SEARCHLIGHTS (Exotic Fever Records, 2011)


"Anthems for people who never give up... an instant classic." –MTV Iggy


Hear and buy My Dear One (Fanatic, 2010)


Hear and buy The Red Sea (self-released, 2008) – a Pazz and Jop pick!

"Hard-driving, politically savvy rock 'n roll." —Flavorpill

"The Shondes are a twisted carnival film noir come true." —CMJ

"Ready for an indie break out... radical politics, inspired riffs, textured harmonies and pure sex appeal." —Curve Magazine

"This is a band that rocks as if they just don't give a fuck but has crafted their art in a manner that shows they clearly do." —Earfarm

"A powerful new sound." —Heeb Magazine

"When these four take the ideology to the amps, things fall in line...the speed-crunch power chords, a couple f-bombs, the call-and-response chorus... slathered with Oberman's fiddle... wailing anti-downtrodden by means of mournful manifestos." —Spin

"Louisa Solomon [...] charged at the mic as if to push the song forward with her body. Her powerful voice rose and fell with the other members’ voices and Oberman’s weeping violin, which gave the songs an ethereal, theatrical tone, while Temim Fruchter’s head-long drumming ensured that prettiness never compromised fire. Old-world romance elegantly intertwined with riot grrrl piss and vinegar onstage. Eat your heart out, Gogol Bordello." —Venus Zine

"Riot grrrl radicalism wed to classically structured songs, distortion pedals, clashing vocals, and powerful lyrics." —The Village Voice

"Are The Shondes the next Sleater-Kinney?' —VH1's Best Week Ever blog

"One of the real world's favorite bands of the next decade." —Three Imaginary Girls

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