BETS

Referring to her 2016 debut, Nylon said of BETS' music that it's "what it feels like to zone out and occupy your own little world."

That dreamy little world is being revisited, as Brooklyn's BETS (Betsy Hershey) releases her sophomore album Future Color this Friday, October 26. In the meanwhile, Blackbook premieres here the striking new track "Left My City." The enchanting, minimalist synth-pop gem charms with melodic hooks and her captivatingly ethereal vocals. But it's actually a bit darker lyrically, with a narrative about attempting to purge the cynics from one's life - those who would hold one back for their own selfish reasons.

Indeed, she frustratedly relates, "I feel so lucky when you left my city / But you stalk on the corner every evening / And all you do is break me down."

"'Left My City' is about negative people," BETS explains. "Those people who love to say you can't do something, you won't be able to, you're not good enough and on and on. I don't have time for them anymore and I feel so damn lucky for that."

Obviously, we're quite happy for her. - Blackbook

BETS captures the beauty of vulnerability in the intimate folds of “Gold,” an intense stripping-down of the soul glowing with a deeper connection.

— —

“I’m opening myself up now,” sings a raw and vulnerable BETS in her new song, “Gold.” “It’s the closest I’ve been to truth.” Her voice is heavy and solemn as she slowly peals back her layers, inching ever-closer to her real, unadulterated, unobstructed self. Vulnerability is as beautiful as it is rare; a kind of magic happens when we fully share ourselves with another being. BETS captures this beauty in the intimate folds of “Gold,” an intense stripping-down of the soul glowing with a deeper connection.

I’m opening myself up now
It’s the closest I’ve been to truth
I’m opening myself up now
It’s a turn on to you

I’ve never been this close somehow
It’s the nearest I’ve been to truth
I’ve never been this close somehow
It’s a turn on to you

Atwood Magazine is proud to be premiering “Gold,” the second single off BETS’ forthcoming sophomore album, Future Color (out October 26, 2018). The moniker for Brooklyn-based Betsy Hershey, BETS began sharing music over five years ago, releasing her debut album Days Hours Nights in 2015 and a 10-track “shoegaze project” entitled Project Violent Femmes in 2017. Combining strong pop sensibilities with shoegaze and alternative influences, BETS fully owns her sound.

“Gold” dwells in the deep end of emotion, inundated by a lush overdrive that bolsters the artist’s achingly plaintive voice. She sings in the second verse:

The gold is running slowly now
The best year of my life
The gold is running slowly now
It never looked so bright

I’m opening myself somehow
The closest I’ve been to truth
I’m opening myself up now
It’s a turn on to you

“This is a song about being vulnerable,” BETS explains. “About finally getting over stage fright. And what it’s like to open myself up to the world. Amazingly, sometimes getting close to others gets me closer to myself. Music can provide that connection when I’m playing live or sharing songs. For me, making music has a lot of highs and lows, but this chance to connect is the good part. This is Gold.”

BETS’ description of music’s connective power is not new; for so many artists, their primary means of self-expression is their art. Songs like “Gold” deliver a deep and nuanced take on life that, in BETS’ case, cannot necessarily be shared through words alone. The song has a distinct weighted texture to it; the slow strum of guitars push on the listener like a stormy cloud. Little can break through this gray, fuzzy haze – except for BETS’ voice. Her words, like those of an angel, come through clearly and calmly, projecting a sweet serenity that counteracts the surrounding soundscape.

Said instrumentation begins to clear toward the song’s end, taking on a graceful melodic shape of its own. What was once a dark barrier now feels like a warm hug. How better can one describe the process of loosening our own barriers and letting someone else in?

Let the gold wash over
Let it inside of you
Let the gold wash over
Now I’m coming just for you

Let the gold wash over
Let it inside of you
Let the gold wash over
Now I’m coming just for you
I’m coming just for you…

True to its name, “Gold” is a dreamy, spellbinding musical journey the likes of which are seldom found in any musical canon. BETS is direct, raw, and real as she fully embraces the deeper connection that comes from sharing your full self with others. Vulnerability may be scary – it’s certainly a rarity in our world – but it’s magnificent and utterly beautiful.

Stream “Gold” exclusively on Atwood Magazine! BETS’ sophomore album Future Color is out 10/26/2018. - Atwood Magazine

Jittering form her new album’s release, BETS was excited to introduce Future Color to the Elsewhere crowd; presenting her dream pop tracks like roads to discovering your inner priestess. For BETS, in every woman lies a goddess ready to rule, and one that refuses to let a moment’s magic settle in time; they deserve to be carried.

First, sonically, BETS is everywhere, and I love it. She is The Brunettes and NVDES going to meet Cults at an open bar, and deciding to have a synth-wave competition with Imogen Heap….. yeah! She brings a 1960’s home video quality to her sound and style; making you feel like you are watching Bridget Bardot grow sunflowers from her head. Her ability to match retro with a sense of mysticism makes her appear like the Sabrina of Pop; giving a feeling that somewhere else, in some other time, life’s better days could go on for “Another Night.”

As she swayed across the stage like it was her bedroom, BETS made Elsewhere feel like it was her space to explain her motives. Her songs, such as “Out of View” and “Gold,” became the fantasies she replays in her mind that are both motivating for but also motivated by her reality. Think about it! We dream of love in hopes to gain it, and, once we have it, we dream of it more to prosper it. For BETS life deserves to be eternally dreamt, which she emanates with a voice and presence that feels like every hue of a rainbow is abstracting and reshaping in wonder. Yet, she has reason, more than most, to feel the brightness of life: after seeing its darkness.

While the crowd bopped to Future Color like it was the soundtrack record to the 1960’s Jupiter, the truth is these songs were the diaries of a woman healing her body and soul after a severe, biking accident. After surgeries, physical rehabilitation, and the general isolation that comes with a frustrating, health issue, music took a whole other meaning to BETS. If before it was her love, it became her lifeline. Hence, it is no wonder that, in concert and record, she commands her audience to be unstoppable. Lord knows life can toss at you some greying situations, but it is up to you to see Future Color. For More Information on BETS And To Buy Future Color On October 26 Click Here. - Diandra Reviews It All

The first single from her upcoming album, Future Color, due out this October, get prepared for a psychedelic look at indie-pop. Betsey Hershey is exploring isolation on this new track, which is just a taste of what goodness is to come later this fall. BETS has created an unique sound and is sure to please anyone looking for songs to inspire their creativity. - Pop Dust

To categorize Bets as simply pop would be a gross understatement. Each track, while pop in nature, incorporates elements characteristic of indie rock and synth-pop, creating a spectacle you won't want to miss. - Pop Dust

BETS was at a crossroads with the last song written for her upcoming album, Future Color, and “Out Of View” nearly got tossed to the side.
“I was considering throwing it away,” said Betsy Hershey, the artist behind BETS. “I hadn’t figured it out as a song yet and I wasn’t sure if it had a place on the album. But then you take those parts of the dark sides of life and try to make art out of it. This one’s really raw and the pain is real.”
It’s also a standout track (Listen here) on the forthcoming (October 26) album. And while it is raw and haunting, it’s also a beautiful snapshot of where the citizens of the world are at the moment.

“I just feel lucky that this one happened to come out this week because it’s such a dark time in the country and there are just so many people having these extremely tough feelings and thoughts and situations,” said Hershey. “There’s healing in that, in accepting the way that we feel about whatever it is. For me, for the longest time I did not want to admit to the dark parts of life. I just wanted to be happy and smile, and that’s just not the reality. Now, I’m just like, all right, this is how it really is and this is how it is being an artist. There are so many ups and downs that come along with it.”
The ups have been the reactions to her first full-length album, 2016’s Days Hours Nights, and a 2017 Violent Femmes cover album that puts a whole new, unique spin on the Milwaukee band’s work. The plan was to blast out Future Color on the heels of the cover album.
But we all know what John Lennon said about making plans.
In May of 2017, Hershey was riding her bike on a way to a meeting in Brooklyn, she leaned forward too much, caught her bag in the wheel and flipped over. A helmet saved her from an even worse outcome, but the end result was bad enough: a broken elbow that required two surgeries.

“It was a life-changing occurrence,” she said. “I was out of commission for a bunch of months on many different levels. That was pretty rough. Now I have ten pieces of metal in my arm, but luckily, now that I’m back, it hasn’t actually affected my music.”
Yet as she recovered, music took a back seat, and it didn’t move up front again until a text from her producer.
“He’s like, ‘Remember when we recorded the full cover album of the Violent Femmes? How fun was that?’ And it was honestly the first time I remembered something happy for weeks because I was in such a dark place. Then I put on the album we had recorded, and it was, ‘Oh yeah, I love this. This is so fun.’ Music was essential for me to have something to come back to that I love so much.”
Hershey was midway through the process of recording Future Color when her accident sidelined her, and when she returned, it was with a new attitude.

“I had written most of the songs and it was in production, but when I came back, I changed the way a lot of the songs were,” she said. “One of the slow songs on the album used to not be so slow and sad, and I took it down a notch. There was just no way to not let going through that impact the album.”
And then there’s the story of “Out Of View,” which ultimately found its place on the album. Hershey quotes the late Carrie Fisher, “Take your broken heart, make it into art.”
She has.
“It’s not really up to us in a way,” she explains. “And I always think of my music like that. Once it comes through you, you have to give it the best life that you can. And once you release it, it’s almost the same feeling. It’s probably what it feels like to send your kids off to college. Just being able to be honest about this, and the dark parts of life, I think there’s something freeing in that.
How free?
“I’ve been up every night in the last week playing on my keyboard until 3am,” she said.
Her neighbors must love that.
“Hopefully it’s helping them too,” she laughs. “But a lot of times I questioned if I should quit music. There are so many ups and downs, but I have decided absolutely not. I never will. I’ll never stop because it’s what I feel I’m here to do and it brings me so much happiness. And whatever happens, I just have to do it for myself.” - Medium

What’s that saying? You know, the one about not always getting what you want, but finding sometimes that you get what you need? We won’t lie, currently, as we prepare to watch in horror as the Trump team transitions into power, we feel like we are definitely not getting anything that we want. We feel alternately numb with despair and white hot as rage courses through our bodies and minds. It’s fucking awful!

And while there is no remedy for this (other than, you know, focusing our discontent and channeling it into productive outlets in order to try and effect change), there are things that serve as balms to this dystopian time. There are good books to read. There’s art to see. And there’s music to listen to. And the album we’re listening to over and over right now is project violent femmes by Brooklyn-based indie musician BETS, and it’s a dreamy, shoe gazey cover of the iconic 1983 self-titled debut album from the Violent Femmes.

We’re huge fans of the original album, and Gordon’s voice, with its sometimes snarling, always heated delivery of the lyrics on each of the driving songs, is permanently seared into our heads—even onto our skin. So if you had asked us if we really wanted a cover of this album, we would have probably shrugged it off because why mess with perfection?

But then we heard BETS’ version, and we realized we kind of need this right now. BETS’ wall of sound approach to the songs adds a lush softness that we feel like we could swim around in; the slowed-down cadence allows us to revel in the lyrical simplicity, without diminishing any of its impact. This reimagining is dreamy and gorgeous and, for us, it feels vital right now to appreciate the remaining beauty in this world, in an effort to better confront the darkness. Read our interview with BETS and give the album a listen below, and see if you don’t feel the same way.

What was the genesis for doing this album?
So, I was in the studio recording my next album of original songs and one day started talking about the Violent Femmes and really geeking out over them and their first album. Within a few minutes, I realized that this was something I really wanted to do, even though it had never occurred to me before to record a cover album—or even song. It was a spontaneous decision and a passion project, and I felt I had to do it immediately and as quickly as possible. Even before finishing my other album. One of the main reasons for this spontaneous diversion, aside from my love of the Violent Femmes, was because I knew the sound of my voice was such a contrast to the content of their lyrics. A driving force behind the project was the strong connection I felt to the words and feelings of that original piece of art. I feel like it’s a bridge between my last full album and my next one. So that’s how it came to be.

Have the Violent Femmes always been a big influence on you?
Yes. They truly make amazing songs and have been doing it for so long… it’s inspiring. This first album of theirs is like a time capsule for me—when I listen to it, it takes me to a different time in my life. During this process, I even recorded a cover of a more recent song of theirs, just for fun. I’m not sure I’ll ever release it, but I just did it out of appreciation for their music from the ’80s all the way until today.

What makes covering this album relevant right now?
There are a lot of strong emotions and anger and frustration in these songs. And there is so much happening right now in the world. I think it’s a good time for this reimagining of the album to come into existence, because, although my voice is wildly different from Gordon’s or the sentiments of the songs—I’ve been told it’s quite sweet—I still am tapping into those same emotions, which I’m very familiar with. And I hope others can listen and tap into that as well. Because there is a lot going on in our world to be pissed and frustrated about right now. And I think it’s good to be honest about that and pay attention to it. And I think it’s impossible to pay attention to what’s going on and not feel angry and frustrated.

Do you have a favorite song from the album? One you feel like you were really able to recontextualize?
“To the Kill.” This was so emotional for me to record. My version became a haunting piano ballad. I feel the original is such a great song—they all are—and it was exciting to work on presenting this one in such a different way. And it brought a lot of my unprocessed feelings to the surface for me as the recording process went along.

This album was released in 1983, a time of conservative ascendancy in America, and lots of uncertainty because of economic instability, nuclear proliferation, and the beginning of the AIDS crisis. As we enter a new stage of political and social uncertainty, what role do you think music and art play in our society?
Music and art are more essential now than ever. We have to keep creating—in spite of the harsh political realities going on, in spite of the instability and uncertainty to come. There is also a lot of magic in the world all the time, and love, and we can’t forget that during these times. We need to fight for what is right and stay grounded in the beauty and the love as well. I am headed to Washington, D.C., to march on Saturday. And I guess if I could relay one message it would be this:

Dear musicians/artists/creators, the world needs your expression now more than ever. Your job is to encircle the earth with your visions and uplift those who do not yet understand the power of people living their dreams and living in freedom. You are a lighthouse.
Listen to the whole album, in all of its gorgeous dreaminess, below, and catch BETS next month at her Valentine’s Day performance at NYC venue Baby’s All Right. - NYLON

New York City’s BETS has tactfully filtered shoegaze into the fast-paced folk-punk of the Violent Femmes. Her recent release was a complete cover of the 1983 self-titled album by the Violent Femmes, along with a music video for the track “Blister In The Sun.”

The industrial and pollution-ridden urban scenes in the beginning of the video accentuate the beauty of the natural world portrayed in the rest of it. The video contains a series of takes following a young girl in the wilderness, adding to the dreamy and ethereal feel of the track. The girl is the daughter of a friend of BETS, who she filmed three years ago in Uruguay with a group of friends. It was directed by artist Valerie Suter, who has done work for Bruce High Quality Foundation, Printed Matter’s LA Art Book Fair, Anthropologie, and more. - Culture Collide

Lust in the streets, music to our ears.

"My Parisian love affair," sings BETS in her sugared, cutesy tones. Who doesn't want to have a tryst in Paris? I dream about the possibility every night, praying to the white cat who sits on my fire escape to make it so. Thing is BETS—who knows what her real name is—has actually experienced hot times in the French capital and the bi-coastal singer has poured her experience into "Jenny," the video for which is premiering above.

"'This song is about a one night stand in Paris with a girl named Jenny," BETS explains. "I was lucky enough to be working in Paris on a recording gig and got to shoot the video there with the amazing director Andrew Brooke. We ran around Paris late at night with our small crew (who became fast friends) and had a beautiful couple of nights creating this footage. The city is so lovely and full of beauty, inevitably great times were had. I hope you can see that when watching the story unfold..."

Sure can. But is BETS still in touch with Jenny? Who knows! Better to leave this romance crystallized in three piano-plinky minutes and sepia-tinted memories.

Side note: the girls in this video really are unreasonably gorgeous babes. - Noisey

The song is about not being worried about what other people think,” avant-pop artist BETS says of her new video for her breakout song “I Don’t Give a F#ck.” “I go out dancing once a week and that’s when I feel the most free.”

It’s a good track for dancing, with a hypnotic piano loop and plenty of bass, as well as a generous amount of random electronic sounds sprinkled on top. For the visual, the bicoastal singer invited a few friends over to show off their moves. - Entertainment Weekly

BETS' new single "Don't Give A F#ck" is a low-key but equally hypnotizing track comprised of a smorgasbord of indie electro ethereal ecstasy.

The clear and outspoken message of the song is just as entertainingly blasé as the orchestration and vocal arrangement. I can imagine myself with a joint in one hand and a beer in the other as I lounge in some hammock when I should really be at work because, well, you know.

BETS is really onto something here. Her drive and talent shows the opposite of not giving a fuck and for that, I am thankful. - Indie Shuffle

Resonation is practically guaranteed by music that perfectly encapsulates specific moods—especially if those moods only swing within a small circumference. With her debut full-length, Days Hours Nights, bicoastal indie pop artist BETS is establishing a time and a feeling without staying stationary.

With a beginning beat like a healthy heart and the hypnotic strum of a harp, opener “Cityscape” seems to be on the pulse of every 20-something skygazer who has ever sat on an apartment building rooftop. The coupling of the chorus’ “Take my pain away” with the danceable drive of the track is likely to leave listeners wondering if they’re simply bobbing their heads or nodding them in agreement with vocalist Betsy Haley Hershey’s plea. In the single, “Don’t Give a F#ck,” BETS displays a sleepy swagger similar to Lana Del Rey, blurring the line between crafty characterization and genuine apathy. It’s easy to imagine such a song serving as the soundtrack to a scene in Girls—probably something involving Jessa indulging her rebellious spirit.

While the album’s initial tracks do offer versatility in their pace and arrangements, the true highlights arise in the early afternoon of Days Hours Nights. “Daydream” is a curation of electronic-pop goodness rich with digitally decorated harmonies that Imogen Heap would undoubtedly be proud of. Following a few tracks later is “Jenny,” a bouncy summer stroll led by sugary keys and smirky vocals with tasty touches of brass and low-fi affectations. The inclusion of these standouts is bittersweet, though, as the two are bookended by some less appealing tracks like the sluggish “Sunday Someday” and the overkilling “Free Tonight.” Still, the gems provide enough glimmer to make BETS’ strengths memorable, and while closing tracks “Million Miles” and “Most of the Time” sway with a bit of sulk, they dim the lights of Days Hours Nights with grace.

In its 10 tracks, Days Hours Nights stays the course of its overarching ambivalence while still slaloming through mildly shifting moods and sonic preferences. It’s an album outfitted for the young urbanite just taking things day by day, hitting the inevitable rough patches but also strongly shining at times. BETS, it seems, is poised to be doing more of the latter in the near future. - Paste Magazine

Cali-Brooklyn dream poppers BETS are really Betsey Hershey with an all female support cast. Her/their inaugural LP stirred up quite a lot of buzz last year, Nylon calling it, “the kind of music we want to spend an afternoon daydreaming to.”

Happy accidents will happen. And whilst in the studio working on a follow up album, a “side project” saw her covering the Violet Femmes’ self-titled 1983 debut in…its…entirety.

She enlightens, “Aside from the fact that I love the Violent Femmes so much, one of the main reasons I chose to do this album was because my voice is so different from the content of the lyrics. I also relate so much to the words and feelings; singing ‘Blister in the Sun’ was an instant high. But there isn’t a bad song on the album.”

Here BlackBook exclusively premieres BETS’ haunting but utterly absorbing cover of the Femmes’ “Blister in the Sun,” with Hershey’s ethereal vocal delivery (think: Hope Sandoval, singing with The Jesus & Mary Chain) stunningly reinventing the jittery classic. The full album will be out January 27. - BlackBook Magazine

Have you ever heard of BETS? They’re a dream pop band located in Brooklyn. If you’ve never heard of the dream pop genre before, they’re likely your best introduction. It’s pretty much the perfect music to help you chill out and enjoy life a little bit. Everything is lead by vocalist BETS herself, but the band helps her truly shape her musical vision.

And, what a vision it is. BETS released a video for her song “Daydream” last month, and the art behind it is almost as mesmerizing as the music itself.

Pretty cool, right?

For fans of Lena Dunham’s Lenny Letter, the director and artist might ring a bell — her name is Valerie Suter, and she’s had a few visual contributions to the site. And she’s the perfect fit to get the ethereal feel that this video was aiming for.

There’s something about both the music and the video which make you strangely nostalgic for the carefree times of your past. Consider “Daydream” to be like a four-minute break you can take when things get really hectic in the real world.

Of course, once you hear one BETS song, you kind of want to hear them all. Good thing that her music, including “Daydream”, is available on iTunes. - Hello Giggles

Bi-coastal, all-girl, indie pop band BETS recently made a name for themselves with their awesome 2014 album-debut track “Don’t Give A F#Ck” which is the first single off the group’s upcoming “Days Hours Nights” EP. On the EPm’s second release “Jenny”, BETS and Kiddo team up to create a gorgeous truly subtle track which stands out for its cheery melodic instrumentals, hazyily mumbled vocals and cheeky lyrics about a one night stand in Paris (which judging from the group’s new video looks like fun). Good stuff BETS, we’re listening. - Blah Blah Blah Science

Brooklyn-via-California pop auteur Betsey Hershey made her mark last year with Days Hours Nights, her dreamy debut album as BETS. Not long after that inaugural release, she hit the studio to record her sophomore album, but serendipity had other plans: Hershey soon diverted her attention to a deep musical study of Violent Femmes, the landmark 1983 debut from the eventual alt-rock icons. Just like that, a new standalone BETS release morphed into a full-album Femmes tribute, informed by Hershey's characteristic musical palette: lilting shoegaze riffs (with ethereal, Sandoval-esque vocals to match), a swooning pop mainframe and deep psychedelic overtones.

On the heels of Hershey's previously shared "Blister in the Sun" cover, CLRVYNT is proud to unveil another taste of project violent femmes, out January 27. Below, listen to Hershey's take on the Femmes' classic "Gone Daddy Gone / I Just Want to Make Love to You" (famously revived by Gnarls Barkley for their hit 2006 album St. Elsewhere). Pre-order the album here.

Read More: BETS Put Shoegazey Spin on Violent Femmes' 'Gone Daddy Gone' | http://clrvynt.com/bets-gone-daddy-gone/?trackback=tsmclip

Visit Us at BETS Put Shoegazey Spin on Violent Femmes' 'Gone Daddy Gone' - Clrvynt

Remember when summer used to mean something? When it was a vast expanse of freedom opening up before you, with endless possibilities? On her latest, “Summer Fever”, BETS wanted to tap into that combination of potential and hope.

“It’s that feeling when summer is coming, and here, and how damn good that feels, she says. “We feel free and we know we’ll be free for a few months. It’s that feeling when you get out of school at the end of the year and you feel the wild beautiful summer energy calling you.”

That doesn’t mean you necessarily have to do anything all that exceptional. In fact, sometimes doing nothing much at all if part of the allure. To the effect, the song comes in a sort of laid-back, take it as it comes attitude. There’s an excited feeling, but there’s no need to make a big deal about anything. After all, summer is going to last forever.

BETS will release the debut LP, Days Hours Nights on July 31. - Bullet Media

As if we even needed a reason to ignore the harsh realities of 2016, BETS has graced us with an excuse to sit back and pretend, for four minutes at least, that things are better than they are. Fronted by singer-songwriter Betsy Hershey, the bicoastal dream pop band is premiering their whimsical music video for “Daydream” right here.

The stop-motion, Valerie Suter-illustrated video, complete with watercolor clouds and lovebirds, is an all too real interpretation of what it feels like to zone out and occupy your own little world. “I hope that the video inspires viewers to bask in the song’s sonic and poetic sensitivities while rendering a wistful tale of love, heartbreak, and hope,” says Suter.

With its soothing movements and nostalgic narrative, it will bring you back to freshman year of high school, sitting in geometry, eyes fixed on your crush, daydreaming about what could be.

“For me, daydreaming is the secret to staying young forever, it keeps you creative and keeps your mind open and expansive,” says Hershey.

Take a break from reality and stream BETS’ Days Hours Nights LP here. - NYLON

As Thanksgiving approaches, Americans at large are shutting down their laptops, setting their “Out Of Office” emails, and preparing to not care about anything that isn’t booze, food, or family related. Bi-coastal artist BETS can help you get there with the first track off her upcoming, full-length debut Days Hours Nights.

“Don’t Give A F#CK” boasts a remarkable unity in its sound and lyrical message. The repetitive keys, cursory chords and airy vocals create a dreamlike atmosphere without surrendering any engaging qualities.

“Things happen in the best way, in love and life and music, when you’re not worried about what other people think. If you try too hard or care too much, I think it just gets in the way of the flow. Sometimes you just have to let go — and not give a fuck.” - Blackbook Magazine

Well this is quite the enticing single.
LA artist BETS has recently released her single ‘Don’t Give A F#ck’, a corky Indie song that tells a lovely tale of love and the fact that everyone knows you shouldn’t fall in love because everything is down hill from there. With a mix of soft electronic melodies, BETS soft yet stimulating vocals have a certain air about them. BETS takes the listener on an almost whimsical music journey where she informs you quite honestly that she doesn’t give a f#ck about this boy and love but we all know, and she knows, that she really does indeed give a f#ck. While fairly new to the music scene, BETS has already got us very excited for her upcoming album ‘Days Hours Nights’. - The Music Ninja

On the first single she released back in January from her forthcoming full-length, BETS proclaimed that she “Don’t Give a F#ck.” Which is obviously not true; the singer-songwriter (née Betsey Haley Hershey) cares deeply, no matter what first impressions her feathery vocals and playful, ’60s-inspired indie-pop might leave. Her new song “Free Tonight” is not about being available for diner and a movie, but about the death penalty. “I wrote this when I was heartbroken over a story of a man put to death by the criminal justice system, and our overall prison system in this country,” she explains. “There is so much injustice and inequality. People have said to me that I shouldn’t write about this because I’ve never experienced it, which I think is insane. We all live here, we are all responsible for what is happening. We should all be talking about it.” The song and other piquant observations will appear on the album “Day Hours Nights,” which comes out July 31 and was recorded with Aaron Espinoza of Earlimart at his Eagle Rock studio The Ship. The producer’s light electronic touches allow the bicoastal artist’s ballads to breathe, lending verisimilitude to whatever issues BETS is tackling. - Buzzbands LA

The new single from Bets, the nom de tune of Betsey Haley Hershey, could have been called “Without a Care” or “Letting Go,” we suppose, because it’s about freeing oneself from others’ expectations and judgments. But “Don’t Give a F#ck” has a certain ring to it, and certainly an earthiness that belies the singer-songwriter’s feathery voice. It’s the first song from the bicoastal artist’s forthcoming album “Days Hours Nights” and it features some frosty, austere production from Earlimart’s Aaron Espinoza. If her debut EP in 2013 could be characterized as “sharply observant,” Bets’ full-length might promise a little more edginess. - Buzzbands LA

BETS new single “Don’t Give A F#ck” is about — you guessed it — a boy and not giving a fuck. Drawing from Winehouse tradition, the trip hop reggae beat and keys drive the song to a dreamy synth chorus paired with BETS’ layered harmonies. Her debut album Days Hours Nights will be out May 2015. - Culture Collide

Based out of New York and LA, BETS has been trending within the past few months due to her unique easy-going style. The genre-bending sound can be found throughout her catalog, with her last single, "Don't Give A F#Ck" gaining widespread attention. With her LP, Days Hours Nights, due out in the near future, we present the second polished track from the release entitled "Jenny".

Filled with summer-infused vibes, "Jenny" moves through its catchy melodies at a relaxing pace. As BETS' vocals carry on, warming guitar melodies act as a guide along a carefree plane with upbeat piano chords providing lifting support. As the song winds further along its path, spoken words and an echoing trumpet aid in telling BETS' charming story. Of the story behind the song BETS said "this song is about a one night stand in Paris with a girl named Jenny."

BETS really seems to be on to something with her care-free indie pop, we recommend keeping an ear out for future releases. - Earmilk

The calendar says it’s September, but the thermometer is gonna be warm for a few more weeks – so let’s keep our arms wrapped firmly around the last of the summer vibes with this fantastic new video from BETS. “Summer Fever” is off BETS’ debut album Days Hours Nights, which is extremely catchy and rising towards the top of our “best-of the year album list” here at Pancakes And Whiskey.

“It’s that feeling when summer is coming (and here) and how damn good that feels. We feel free and we know we’ll be free for a few months. It’s that feeling when you get out of school at the end of the year and you feel the wild beautiful summer energy calling you. making this video is us keeping that summer fever alive…” -BETS - Pancakes and Whiskey

It’s the Violent Femmes as you never heard them before…that’s because it’s not actually the Violent Femmes. BETS (Betsey Hershey) is an indie pop singer, who has taken it upon herself to reimagine the Violent Femmes’ self-titled debut in a neo-psychedelia, shoegaze form. Rather than working on her sophomore release, BETS and her producer decided to rework the classic album after they discovered a mutual adoration for it. It’s actually not a bad way to generate interest in BETS’ forthcoming sophomore record by showing a different side of the artist. Get familiar with BETS take on Violent Femmes with her rework of “Blister In The Sun” via Blackbook below. - Earbuddy

If you look towards the Pacific every evening, the LA skyline is usually painted with a gorgeous golden sunset. It's easy to miss in the rustle-and-bustle of everyday life, but it's a pleasure when a singer-songwriter like BETS comes along to vividly remind you of nature's mysterious gifts. "Rooftop Lover" isn't a song about contemplating this notion. Far from it - the image it evokes is one that comes naturally when we associate being in places that expand our viewpoint for at least a second. Composed of a weeping ukulele arrangement, the lackadaisical tune calmly strums over a gently pulsing keyboard that details a vast ocean. Her vocals are unerringly sweet, a brittle tonality that's honey-dripped with frolicsome ennui; the thought of Nina Persson came to mind while entranced in her little dinky story about a girl who wonders about the whereabouts of her object of affection. BETS' debut EP, just released via iTunes, should make the perfect companion while taking the scenic route through Pacific Coast Highway. And if nothing else, at lease it'll make you curious to go up your own rooftop for once and let your thoughts run free. - Deli Magazine

The 27th annual South By Southwest is already days underway in Austin, and we know you’ve been keeping busy (click here for our city guide to Austin). But with films already rolling, we’re excited for the true highlight to begin: the music festival.

SXSW is known to showcase some of the best up-and-coming bands from around the country, so we turned to the festival’s players to give us their insider’s guide to SXSW music 2013.
- Lifestyle Mirror

BETS stole our hearts and ears with her release of the quirky single, “Rooftop Lover.” If you haven’t heard it yet, you’re missing out. Her unique tone pairs perfectly with the lazy strumming on the track, creating a overwhelmingly enjoyable indie pop jam. After hearing this song ad nauseam (it was quite the favorite here at the office) we decided that we wanted to know more about the woman behind this longing rooftop wanderer. So, we fired over some questions to get to know her better. - The Music Ninja

The breezy indie-pop on the debut EP by Bets casts the singer as a wide-eyed and sharply observant narrator of matters of the heart, and when there’s a view as in “Rooftop Lover,” beyond. Her voice is a delicate but expressive instrument, recalling Inara George, and the EP — which came out in January and was recorded with Aaron Espinoza and Ariana Murray of Earlimart at the Ship studio in Eagle Rock — boasts the kind of tasteful arrangements that lets Bets work her magic. The singer, who splits her time between New York City and Los Angeles and who has a documentary film credit as Betsey Haley Hershey, is currently working on a full-length. And maybe clambering on a rooftop somewhere for inspiration. - Buzzbands.LA

We just discovered Los Angeles-based artist BETS, and it’s safe to say we’re already fans.

Mixing retro pop sounds with sweet, honey-dipped lyrics, the singer makes the kind of music we want to spend an afternoon daydreaming to.

And though you’ll have to wait till next week to hear all of her debut EP, here’s a taste to get you looking forward to it.

Download “Rooftop Lover” for free below, and we wish you sweet daydreams this weekend… - Nylon