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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
