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Hailing from the south-shore Long Island town of Massapequa, Gamblers have always been aware of the ever-looming influence of New York City, but they may as well be coming from another world. The band’s debut album Small World (released 9/25/20 via Symphonic) showcases the unique perspective one develops when viewing things as both an insider and an outsider. Singles from the album have received airplay on Sirius XM, NPR Music, and WFUV, while press outlets such as PopMatters and the band’s hometown Newsday have praised the full body of work. The week of release, Small World was a Top 5 added album into the NACC College Radio 200 chart, and shortly after soared to #12 on the Alternative Rock Submodern chart. The band’s innovative music videos have amassed over 500,000 views on YouTube, and Small World has been streamed over 350,000 times on Spotify since its release only a few months ago. After cutting his teeth touring with DIY alt-rock bands in high school, bandleader/producer Michael McManus spent practically every waking minute that he wasn’t in class holed up in his Hunter College dorm room crafting the unique hip hop production style that paved the way for collaborations with Meek Mill and Heems, as well as musical contributions to Anthony Bourdain’s Parts Unknown and Viceland’s Gaycation. With Gamblers, McManus marries the beatmaking sensibility of hip hop to the songcraft and jamming-in-a-room spirit of an indie rock band. Even in its brightest moments, Small World is replete with references to addiction, mental illness, corruption and violence, with cutting insights always lurking in the shadows between McManus’ seemingly innocuous wordplay. With one ear to the pulse of Long Island’s trash-strewn cultural landscape and the other focused on the human condition itself, McManus tucks his layers of meaning into lyrics that on first glance appear rather straightforward. The band’s sunny hooks may evoke The Beach Boys, but much darker things tend to wash up on the south shore, much as they do on the shores of our own conscience.

“It falls into an uncanny valley between familiar melody and new territory, a fascinating tension that Gamblers bring to life. Plucky synths and breezy guitar lines set an easygoing mood but just behind the hooks lies a bitter story of a deteriorating relationship. McManus’ buoyant croon largely masks the melancholy, but leaves just a hint of forlorn longing as he sings, “It’s alright/It’s okay/I’d probably disappoint you again someday.” The accompanying video makes that element all the more evident as the protagonist is cast in black in white amidst a lively house party.“

– Under the Radar on “Corinthian Order”

“Seductively approachable, Gamblers’ sunny sound masks the tragedy and despair that populate the band’s debut album.”

– PopMatters

“Gamblers have a scrappy garage sound that’s distinctly New York. Their slightly gruff guitars conjure images of the rough stubble of The Strokes and their bold melodies exude the swagger and pomp of an airier-sounding Lou Reed.”

– Look At My Records!

“’We’re Bound To Be Together’ is the kind of song you would make sure to Shazaam during PERKS OF BEING A WALLFLOWER, JUNO, or some kind of adjacent whimsical coming-of-age spectacle. There is a palpable pleasantness and frenetic ache to dance, mostly stemming from that heavy reverb and steady beat. McManus’ playful, early 2000s indie influence is obvious in a sound that practically screams lost OK GO track, but the production also finds the contemporary, feeling similar to Albert Hammond Jr.’s most recent work.”

– Merry-Go-Round Magazine

“This Beach Boys-esque vibe is completed by the bright drumming, and the production expertise of Michael McManus. McManus has been producing music and creating beats since his college days, which has resulted in collaborations with artists such as Meek Mill and Heems.“

– Speak Into My Good Eye

“Heavenly Mouse Routine” leans on its forward march beat, buzzy synth texture and staccato plucked guitar to approximate the repetitiveness that afflicts humanity. “There Was A Window” builds off the bands’ hip-hop production roots with percussive underpinnings serving an otherwise lo-fi/slacker rock approach. Closing track “The Selfish Bell” initially rocks harder through its chunky drum beat, distorted electric guitars and snaking bass line; falsetto vocals depict scenarios of self-imposed limitations against an expanding, near prog-rock-like composition.“

– The Deli

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Hailing from Boston, MA, Johnson is known for her straight-forward lyrics, driving melodies, and her band’s inimitable live energy. From the start Johnson has been supported sonically by hard-grooving drums and resonant guitar melodies accompanying her growling bass lines. The singer and her band won Boston’s legendary Annual Rock and Roll Rumble (previous winners include ‘Til Tuesday and The Dresden Dolls) in 2017 and took home the ‘New Act of the Year’ award at Boston’s 30th Annual Music Awards the same year. The band also won ‘Rock Act of the Year’ in 2019 at the New England Music Awards and have opened up for national acts such as Damone, Dorothy, Thunderpussy, & The Damnwells. Coming off two years of touring throughout the U.S. as a solo acoustic act (and at times accompanied by her band) in 25+ states, Carissa Johnson is gearing up for her next studio solo album, which drops in the Fall of 2021.

“Drawing from power pop, ‘70s punk, and New Wave, Johnson sits comfortably in the fist-pumping territory of so many acts that came before her. Though her hooks are immediate and dizzyingly persuasive, she possesses a relatable, everyperson vibe that undercuts what she could quite easily parlay into an image of the strutting frontwoman. Her latest album, Talk Talk Talk, builds up a furious head of steam over the course of its nine tracks, marrying unapologetic honesty and blisteringly visceral guitar rock. This is the sort of music that a person fighting their way through middle or high school may seek out to get them through the rough times; frankly it may be something someone in their 20s may turn to in hard times.” – Adam McKinney, The Weekly Volcano Tacoma, WA