HAZE’EVOT (SheWolf) is a rock band and independent female collective based in Israel, it onsists of Yifat Balssiano (Guitar/Vocals), Talia Ishai (Bass), Or Zigelbaum (Guitar), Hen Yair (Drums) and Nofar Tom (Synthesizer, guitar). For the last decade the band has worked as an independent group, producing content together, from recording music to creating its own video clips. The band deals with subjects such as the struggle between genders, human relationships and existential issues facing our generation. With authenticity and power, the band is known for its wild and energetic live shows. Together on stage the band members bring a different perspective, a punch to the stomach, and a celebration of distortion and energy. After releasing two mini albums over the years, the band members moved in together to an apartment in Tel Aviv, to work on their first full album. Following a process of investigating new sounds and writing their collective story as a group, the band released its first full album in February 2020. The album brings together styles such as Rock, Punk, and Disco. Nowadays the band is working on its next album which is expected to be released in 2024
"The band's songs give a strong voice to the feminine side of relationships, sex, and walking in a dark park."
90-er Indie-Rock. Wechselweise gesungen in Hebräisch und Englisch. Am 31. August 2018 spielte Haze'evot im Hafen 2 zum ersten Mal im Hafen 2, und seitdem in schöner Regelmäßigkeit.
live / Ostrava of Ostrava
Scout Gillett zog es von Kansas City nach Brooklyn, wo sie ihren musikalische Weg in mehreren Bands, als Betreiberin einer Booking Agentur und durch die Kooperation mit vielen Künstler*innen bei der Aufnahme ihrer aufwändigen Musikvideos ging. Ihr Album No Roof, No Floor präsentiert sie auf dieser Tour mit ihrer Band - sie spielt zum ersten Mal im Hafen 2 und wir freuen uns sehr. Die Songs von Scout Gillett benötigen mitunter einige Minuten, um ihre starke Stimme zur Geltung zu bringen - dann sind sie oftmals groß, laut, dynamisch und auf der Bühne vermutlich eine Wucht.
“Home” is a tough thing to pinpoint for someone who’s constantly in motion. Scout Gillett knows this well, but since relocating from Kansas City in 2017, she’s found one in Brooklyn’s DIY scene, playing in multiple live bands and even starting her own booking company, Road Dog Booking, to organize local shows and tours. Her intrepid nature results from a childhood spent running barefoot through rural Missouri and coming of age in Kansas City’s punk scene. Her debut solo album no roof no floor is a bold and spirited yet warm, intimate meditation on trust, surrender, and what makes a home. Recorded in a big wooden barn with the doors wide open, there’s a sense of spaciousness on no roof no floor befitting its title. On some songs, there are even audible cricket chirps. The arrangements, too-which feature contributions from Ellen Kempner (Palehound), David Lizmi (MS MR), and Kevin Copeland (The Big Net) reflect Scout’s rural roots and her indie spirit; a fusion of upbeat, guitar-driven melodies and folk/country instrumentation like pedal steel, harmonica, and tenor banjo. All of these elements are underpinned by Scout’s signature soaring, velvet vocals and open-hearted lyricism.
Since relocating from Kansas City in 2017, Scout Gillett found one in Brooklyn’s DIY scene, playing in multiple live bands and even starting her own booking company to organize local shows. Her intrepid nature results from a childhood spent running barefoot through rural Missouri and coming of age in Kansas City’s punk scene. Her debut solo album no roof no floor features shades of all her past and present lives: a bold and spirited yet warm, intimate meditation on trust, surrender, and what makes a home.
Following the sudden overdose of a lover in 2018 and the onset of the 2020 quarantine, Scout returned to Missouri in search of reprieve. Instead, she was dismayed to find that her hometown was suffering; friends and family members were caught in the grips of drug and alcohol addiction. “Nothing was as I’d remembered,” she says. “I felt homesick for a home that no longer seemed to exist.” Overcome by grief and helplessness, she retreated inward, channeling her fears and frustrations, as she always had, into songwriting. “I meditated on surrender,” she says; “I recited the serenity prayer. I realized that I’d never be able to save anybody but myself.”
Back in New York in the standstill of the pandemic, she sat with the raw emotion of what she’d written. The songs were more vulnerable than any of her prior work, and it was a while before the notion of sharing them even occurred to her. Then Nick Kinsey, the album’s producer, called from his recording studio The Chicken Shack in Stanfordville, New York, and an unmissable opportunity presented itself. Kinsey told Scout that his friends Ellen Kempner (Palehound) and David Lizmi (MS MR) had relocated upstate, and were interested in working on an album with her. It was an intimidating proposition – Scout was a longtime Palehound fan, and she was nervous at the prospect of recording with such established musicians. Never one to stay in one place for too long, though, she set those fears aside. “I woke up and wrote ‘trust’ on my hand every day I was there. I pushed myself to trust the unknown, and trust that I had a message I was ready to share with people.”
That trust was rewarded with an album that pulses with life. The sprawling fields, open skies and farm animals upstate felt familiar: “They reminded me of home as I’d remembered it, home without worry.” Recorded in a big wooden barn with the doors wide open, there’s a sense of spaciousness on no roof no floor befitting its title. On some songs, there are even audible cricket chirps. The arrangements, too—which feature contributions from Kempner, Lizmi, and Kevin Copeland (The Big Net)—reflect Scout’s rural roots and her indie spirit; a fusion of upbeat, guitar-driven melodies and folk/country instrumentation like pedal steel, harmonica, and tenor banjo. All of these elements are underpinned by Scout’s signature soaring, velvet vocals and open-hearted lyricism – she sails from a hushed whisper to dulcet spoken word to a cathartic belt with ease. “We did the vocal takes in the pitch black darkness of night in the country, void of light pollution,” she remembers. “I stared out at the stars through the open door as if singing to them.”
Above all, there’s a strength in the vulnerability of this record. The pain is on full display – in her mournful declaration “you know I had to go” on “lonesome dove,” or the heart-wrenching crescendo on the album’s title track – but so is the love. She arrives at her thesis on the haunting six-minute centerpiece “hush, stay quiet”: “you can only save yourself,” she muses over a resolute guitar. We can’t always know what to expect, even in a place we’ve been before. With a little trust, though, we can find a safe place within. No roof required.
Lonesome Dove (live)
Hush, Stay Quit
444 Marcy Ave.
No Roof No Floor (live)