LAUNDRY DAY Details

One of New York’s bubbling new bands doesn’t seem particularly interested in bands. That’s the sentiment that seems to be expressed by the members of LAUNDRY DAY, a quintet whose musical idols are genre-skirting, lane-jumping artists with one foot in music and another in—well—everything else.

“We were such big fans of Tyler and Brockhampton and saw what they were doing. From the very beginning, we wanted to start something really big and something where we cared about every part of it,” says singer Sawyer Nunes. “It was never like, ‘Let’s just play a little show and see what happens.’ From the first day it was, ‘Let’s design the website and T-shirts.’ We had a vision in mind from day one.”

We were such big fans of Tyler [The Creator] and Brockhampton and saw what they were doing. from the very beginning, we wanted to start something really big where we cared about every part of it.

Of all the New York neighborhoods, Hell’s Kitchen isn’t one that’s renowned for churning out prolific creatives. But, the area mostly known for its proximity to Times Square happens to be the birthplace of this young, distinctly modern band beginning to build a buzz akin to some of the city’s indie exports of the last 15 years. LAUNDRY DAY’s members—Nunes, Etai Abramovich, Jude Lipkin, Henry Weingartner, and Henry Pearl—are all rising seniors at the Beacon School who together paint a promising picture of the evolving nature of bands today.

“We never were looking for a bass player or looking for a drummer. We just all came together because we were best friends and we learned how to produce together, then it was like, picking up instruments was kind of an afterthought,” Nunes explains.

The group’s first full-length release, Trumpet Boy, came out in March 2018, followed by an EP and another album that same year. In March 2019, the group released HOMESICK, their most accomplished record to date, a kaleidoscopic LP that shows both the depths of their influences and their free-spirited chemistry. The single “Harvard” is equally elegant and distorted, with soaring, triumphant melodies washed in fuzz. “CHA” begins with a bassy, proto-Pharrell groove, before morphing into something more woozy and industrial.