who we are

“The Shondes make bold, brassy lonely-heart rock with the snarl and swoon of classic ’90s Northwestern indie–all riot grrl bluster, K Records sentimentality, and a keening, wailing violin that’s more Nirvana Unplugged than Raincoats unhinged… Separating themselves from Sleater-come-latelys, the Shondes have a little bit of steampunky clatter underneath their crunching riffs and a keen ear towards the Jewish music that raised each of its four members.”
-The Village Voice
“A powerful new sound…It is quite possible that The Shondes are making the only music that truly matters.”
-Heeb Magazine

“Ready for an indie break out….radical politics, inspired riffs, textured harmonies and pure sex appeal”
-Curve Magazine

“The Shondes are a twisted carnival film noir come true.”
-CMJ

“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

“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

“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

“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

Praise for The Red Sea:

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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