Rewrite
As NYC-based band Rebounder comfortably sits back and allows for retouches, edits, and internal analysis of their forthcoming EP Sundress Songs following a slight delay in its release, they have tackled every opportunity to reestablish themselves to existing fans, and provide a hearty introduction to new ones.
Their latest release, “Night Sports – Late Night Version,” with its accompanying music video, is out now.
Watch the video…
Dylan Chenfeld, lead singer of NYC-based four-piece Rebounder, has a way about him. A Nate Meeker-but-drier type energy.
While trading pleasantries over Zoom in late September, he bluntly stated, “I think my brother Noah is going to join us… I don’t know where the fuck he is, quite frankly,” referring to his brethren bandmate.
Onstage at The Fillmore in Philadelphia, PA several weeks later, as the band opened for distinguished pop trio COIN, he was fervent in his repeated attempts to halfheartedly goad a foreign crowd into singing along to their Bleachers-coded tune “Meet Me At The Bar.” The tone of his goading personified his natural dose of slapstick adjacent, and, while amusing, was generally unsuccessful.
Just a few songs later, Noah’s uninhibited, shameless split into their uniform interpolation of TLC’s “No Scrubs” amid breakout hit “Japanese Posters” was, predictably, met with a more liberal reception. These examples of casual, unpretentious humor are essential to the Rebounder brand.
While only the brothers were present for this interview, guitarist Zack Kantor and drummer Cobey Arner round out the existing lineup.
The Rebounder brand, as it pertains to societal, economic, and parasocial levels, is certainly in alignment with much of their generation, though there are contingencies.
“There’s the top 1% of pop stars posting on their private jets,” Dylan says, interrupting himself to insert his best Bernie Sanders, ‘The 1% of the 1%!!,’ impression. “That is their reality, so they SHOULD be posting that. I think it’d be insincere if they weren’t. If you’re Dua Lipa, you’re not posting that you’re on the Q train, cause you’re not on the Q train. If you’re Rebounder, you’re going live on the Q train, because that’s what we do. It’s less of us trying to be sincere proletariats as it is that this is just where we are in life, and in New York.”
Noah provided an earnest follow up. “I think people connect to all sorts of things, whether it’s someone anti-corporate or the biggest pop star in the world,” he says, comparing the base and commercialism of 90’s era Pearl Jam and Madonna. “The people going to the Charli xcx show at MSG are the same ones going to the rooftop show in Ridgewood to see a band they’ve never heard of. People just want to connect.”
At the basic level, the use of unison within the group is enacted with crisp intonation, placement, and rhythmic timing across the board. This is pertinent across their catalog, but is particularly applicable on “All Strings Attached” due to the overall roundness of the sound. Individually, Noah stands as the most technically gifted vocalist of the group, his formidable vocal fluidity and impressive range equally consistent on record and live onstage. He shines distinctly bright on “Poker Night” and “Doomer Baby,” two unreleased, yet routinely performed, cuts off Sundress Songs.
Often a pressing issue amongst young bands, the correlation of their robust foundation is built on 20 years as a unit for the brothers and Kantor.
“I think it’d be more difficult with other people, but it really is that easy,” Dylan admits. “When I bring a song into the studio, by the second time, Zack is singing something in the second and third chorus. I’m like, ‘Yeah, let’s have the song keep building.’”
Noah alludes to their Oasis-style creative dynamic in this instance. “Someone brought up the term ‘blood harmony’ recently,” he says with a smile. “It gives the band another advantage. I’ve always loved songwriters who do unexpected things with their melodies, but I’m equally influenced by someone who is able to capture a feeling doing something really simple.”
Habitually, as a group made up of former hired touring guns, Rebounder assembled as an additional component of the modern NYC scene. However, they, in the company of related acts in this vein, kindly request an update to the narrative.
“In all fairness, we’re not doing New York from the 2000’s, we’re doing England from the 90’s,” Dylan says. “I don’t think it was necessarily like, ‘Man, The Strokes put out ‘Is This it?’ and we all started a band!!’ Rebounder got lucky being in New York… and we got to be a part of this.”
Accessibility of the mobilization of the scene was critical. “There are a couple different things that converged at the same time, and I think, for people who don’t live in the city, they only see pieces of each thing,” he continues. “It was the rent getting cheaper in Chinatown, where we live, because of COVID, and it being 20 years since a lot of the most influential music had come out and cycling back into fashion. That led for a larger cultural movement that the press is covering right now.”
As the age of social media has created a proposal for updated modern marketing tactics across artistic output, Rebounder’s hit “Sunset Visions” managed to become a hit via traditional measures, and others may follow suit.
“We feel like it is a musical breakthrough,” Dylan says. “It started doing really well at radio in the northeast, so we booked some shows to go play it in markets where it was big. If anything, that feels more old school to me. I don’t know another regional hit indie song like it doing its thing.”
For the band from Chinatown exhibiting slapstick onstage banter, goes live on the Q train, and blurs the line between old school and new school, the question of, ‘Did you ever think it would get this far?’ is slightly vapid, though incredible admissible.
“We weren’t operating with that traditional foresight,” Dylan says. “Culture has shifted quite a few times since we started this band. Not to say we operate in asylo… but, in many ways, Rebounder is just Noah and I in a room not thinking about the market effects as much as, in a deeply innate, self-serving way, trying to make things that we think are amazing. Pleasing the two of us is so incredibly difficult. It’s not that I didn’t think that one day we could work with Phoenix… I didn’t think of anything. I’m just fuckin trying to finish a song. The work is what consumes us. We just make what we think is cool. And it seems like it’s going well.”
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As NYC-based band Rebounder comfortably sits back and allows for retouches, edits, and internal analysis of their forthcoming EP Sundress Songs following a slight delay in its release, they have tackled every opportunity to reestablish themselves to existing fans, and provide a hearty introduction to new ones.
Their latest release, “Night Sports – Late Night Version,” with its accompanying music video, is out now.
Watch the video…
Dylan Chenfeld, lead singer of NYC-based four-piece Rebounder, has a way about him. A Nate Meeker-but-drier type energy.
While trading pleasantries over Zoom in late September, he bluntly stated, “I think my brother Noah is going to join us… I don’t know where the fuck he is, quite frankly,” referring to his brethren bandmate.
Onstage at The Fillmore in Philadelphia, PA several weeks later, as the band opened for distinguished pop trio COIN, he was fervent in his repeated attempts to halfheartedly goad a foreign crowd into singing along to their Bleachers-coded tune “Meet Me At The Bar.” The tone of his goading personified his natural dose of slapstick adjacent, and, while amusing, was generally unsuccessful.
Just a few songs later, Noah’s uninhibited, shameless split into their uniform interpolation of TLC’s “No Scrubs” amid breakout hit “Japanese Posters” was, predictably, met with a more liberal reception. These examples of casual, unpretentious humor are essential to the Rebounder brand.
While only the brothers were present for this interview, guitarist Zack Kantor and drummer Cobey Arner round out the existing lineup.
The Rebounder brand, as it pertains to societal, economic, and parasocial levels, is certainly in alignment with much of their generation, though there are contingencies.
“There’s the top 1% of pop stars posting on their private jets,” Dylan says, interrupting himself to insert his best Bernie Sanders, ‘The 1% of the 1%!!,’ impression. “That is their reality, so they SHOULD be posting that. I think it’d be insincere if they weren’t. If you’re Dua Lipa, you’re not posting that you’re on the Q train, cause you’re not on the Q train. If you’re Rebounder, you’re going live on the Q train, because that’s what we do. It’s less of us trying to be sincere proletariats as it is that this is just where we are in life, and in New York.”
Noah provided an earnest follow up. “I think people connect to all sorts of things, whether it’s someone anti-corporate or the biggest pop star in the world,” he says, comparing the base and commercialism of 90’s era Pearl Jam and Madonna. “The people going to the Charli xcx show at MSG are the same ones going to the rooftop show in Ridgewood to see a band they’ve never heard of. People just want to connect.”
At the basic level, the use of unison within the group is enacted with crisp intonation, placement, and rhythmic timing across the board. This is pertinent across their catalog, but is particularly applicable on “All Strings Attached” due to the overall roundness of the sound. Individually, Noah stands as the most technically gifted vocalist of the group, his formidable vocal fluidity and impressive range equally consistent on record and live onstage. He shines distinctly bright on “Poker Night” and “Doomer Baby,” two unreleased, yet routinely performed, cuts off Sundress Songs.
Often a pressing issue amongst young bands, the correlation of their robust foundation is built on 20 years as a unit for the brothers and Kantor.
“I think it’d be more difficult with other people, but it really is that easy,” Dylan admits. “When I bring a song into the studio, by the second time, Zack is singing something in the second and third chorus. I’m like, ‘Yeah, let’s have the song keep building.’”
Noah alludes to their Oasis-style creative dynamic in this instance. “Someone brought up the term ‘blood harmony’ recently,” he says with a smile. “It gives the band another advantage. I’ve always loved songwriters who do unexpected things with their melodies, but I’m equally influenced by someone who is able to capture a feeling doing something really simple.”
Habitually, as a group made up of former hired touring guns, Rebounder assembled as an additional component of the modern NYC scene. However, they, in the company of related acts in this vein, kindly request an update to the narrative.
“In all fairness, we’re not doing New York from the 2000’s, we’re doing England from the 90’s,” Dylan says. “I don’t think it was necessarily like, ‘Man, The Strokes put out ‘Is This it?’ and we all started a band!!’ Rebounder got lucky being in New York… and we got to be a part of this.”
Accessibility of the mobilization of the scene was critical. “There are a couple different things that converged at the same time, and I think, for people who don’t live in the city, they only see pieces of each thing,” he continues. “It was the rent getting cheaper in Chinatown, where we live, because of COVID, and it being 20 years since a lot of the most influential music had come out and cycling back into fashion. That led for a larger cultural movement that the press is covering right now.”
As the age of social media has created a proposal for updated modern marketing tactics across artistic output, Rebounder’s hit “Sunset Visions” managed to become a hit via traditional measures, and others may follow suit.
“We feel like it is a musical breakthrough,” Dylan says. “It started doing really well at radio in the northeast, so we booked some shows to go play it in markets where it was big. If anything, that feels more old school to me. I don’t know another regional hit indie song like it doing its thing.”
For the band from Chinatown exhibiting slapstick onstage banter, goes live on the Q train, and blurs the line between old school and new school, the question of, ‘Did you ever think it would get this far?’ is slightly vapid, though incredible admissible.
“We weren’t operating with that traditional foresight,” Dylan says. “Culture has shifted quite a few times since we started this band. Not to say we operate in asylo… but, in many ways, Rebounder is just Noah and I in a room not thinking about the market effects as much as, in a deeply innate, self-serving way, trying to make things that we think are amazing. Pleasing the two of us is so incredibly difficult. It’s not that I didn’t think that one day we could work with Phoenix… I didn’t think of anything. I’m just fuckin trying to finish a song. The work is what consumes us. We just make what we think is cool. And it seems like it’s going well.”
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