The Bloodsugars
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The Bloodsugars


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This band has not uploaded any videos



"The Village Voice"

Fronted by Bronx native, diabetic, Jason Rabinowitz, The Bloodsugars play sweet garage synth-pop, refreshingly unconnected to bands of the 80's in it's simplicity. - The Village Voice

"The Boston Phoenix"

Kooky and fun, New York City's The Bloodsugars' synthy garage rock borrows from the best of music's past. With a live show full of dance rock anthems, you are sure to be bouncing right along with the band!
- The Boston Phoenix

"Toledo Free Press"

The New York Rock band the Bloodsugars has an uncanny ability to engage it's listeners with captivating and soulful sounds. Jason Rabinowitz's voice is reminiscent of Elvis Costello. Eerie and mutually arresting. - Toledo Free Press

"Loosing Today (U.K. Magazine)"

The Blood sugars ‘The Blood sugars’ EP (Self Released). Ready for a shot of sublime lo-fi pop – that’s stopped you in your tracks. Perhaps the most brazenly sun filled release we’ve had the pleasure of hearing from New York since Ambulance LTD’s debut long player lit up our hi-fi and if you think that’s the only common denominator linking the two then think again. Like fellow NYC-ers the Bloodsugars are fluent in their understanding of piecing together the elements that when assembled correctly form a lasting pop coda, arguably their sound clearly reveals their hearts on the sleeve love for new wave but instead of spicing that appeal with 60’s dustings their happy to cherry pick the morsels left behind by the 70’s. ‘First come takers’ with its persistent ‘London Calling’ riff strut jostles about in celebratory fashion with a Cheap Tricks verve as though laced lovingly by ‘Argy Bargy’ era Squeeze all fleshed out with 60’s keys and served to recall the days when pop was so much more than press cuttings and non musical bravado. ‘Academy’ is similarly charged, a sub three minute rampant charge pure sugar rushing antics referencing Elvis Costello’s ‘Pump it up’ as though being chemically induced by the spangled off centre wobble of Elephant 6 all stars Elf Power. Elsewhere the slow burning ‘It’s here’ cleverly makes use of spatial atmospherics and sees the vocals nakedly pushed to the fore while on the closing funereal cast endowed upon ‘Jezebel’ courts with a strange dark to light allure as the ominously dark 60’s psyche stirrings a la Autumn Leaves melt away into a battle line of sweetly engaging chime happy dynamics. Best of the set though has to be ‘Clash of the Religions’, chilling to the point of being cocksure cool it provides an almost laid back fusion of dusky reggae vibes being galvanizes and tendered with a mutated subtle jazz air and a seriously hot spiky white funk groove that hits you with a potent yet casual devil may care ease that needles and disarms to cutely squeezes under your defences with the same unbeknownst effect as the Scissor Sisters ‘Laura’ – imagine early era Talking Heads having their recording space invaded by the Average White Band, classic early 70’s Hall and Oates all under the watchful eye of Andy Summers – an absolute gem. Single of the Missive. - Losing Today Magazine

"Splendid Magazine"

"The Bloodsugars' talent is a formula for success in a wide variety of styles" - Splendid Magazine

"The Village Voice"

"The Bloodsugars play sweet garage synth-pop, refreshingly unconnected to bands of the 80's in it's simplicity"
- The Village Voice


"their debut EP BQEP is about as hook-laden as you can get without being 'My Sharona'. It's time to shed your inhibitions and get into "Purpose Was Again", a chugging, catchy single carried by the sweetly soft voice of front man Jason Rabinowitz." - RCRDLBL - RCRDLBL

"Left Off The Dial"

Their name was not merely pulled from the pop ether. It seems Jason Rabinowitz, the creative engine behind this NYC band, is a diabetic – but who cares? And I mean that as a compliment – for even though its presence may influence the very name of the band, it clearly hasn’t slowed down Jason any. All songs were written and produced by him, and he plays the guitar and keyboards that so obviously characterize the Bloodsugars’ energetic sound.

The rapid fire march of the first track – “First Come Takers” – combined with Jason’s Steve Nieve-like Farfisa keyboard makes this a smart introduction to the band’s first release, with several nods to Elvis Costello and the Attractions. The song is catchy, without a doubt. First clue: It’s funny how you end up singing songs like this to yourself and you’re not quite sure where you heard them. Such was the case when I was in the toothpaste aisle. I found myself humming the refrain quite a bit when I was well away from my car (read: “reviewing booth”) and supposedly on to other things. Only when I stopped to question what I was humming and mumbling in the supermarket did I realize it was the Bloodsugars. Second clue: Didn’t I hear this tune on NPR? Answer: I hadn’t. They fooled me.

The guitar/vocals relationship in “Clash of the Religions” reminds me of Joe Jackson in the “I’m the Man/Look Sharp” days. Yes, of course – early 80s. But saying I’m reminded of it doesn’t mean it’s an imitation thereof.

“Academy” is another favorite, full of 80s-inspired creative energy. As in “First Come Takers,” you’ll find tight, quick snare smacks and a staccato-like rave that takes one back to the Attractions. My dated ear hears Argybargy-era Squeeze; at times the music rings of any clever Difford/Tilbrook romp from the good days – Brit-style pop with lots of energy and meandering creativity in their writing, never letting the song go stale. Extra credit goes for the creative segue-way they employ to melt into the next track – “It’s Here…”

…where Jason’s keyboard is busy with an arsenal of 80s effects throughout the song, yet the placement is not contrived, abused, or perceived as mere “filler.” That’s what makes this “Academy/It’s Here” coupling a sweet, creative addition to their first EP.

“Jezebel,” a slow dirge that literally and figuratively sits last place in the Bloodsugars’ 5-cut EP, takes the release on a dark turn. Having said that, there are small moments within “Jezebel” that I do like. Taken as a whole, though, maybe it’s just that I just don’t like hearing The Bloodsugars’ Jason Rabinowitz so languid and sullen when I know his pop promise lies at the heart of a Farfisa beat. - Left Off The Dial

"Time Out New York"

The Bloodsugars will raise yours, in a good way, with their sweet, bouncy synth-pop. - Time Out New York

"The L Magazine"

The Bloodsugars are the perfect party band for intelligent dancers. - The L Magazine


I cant go on, Ill go on-2009
BQEP- EP 2008
Fine Fine Fine Fine Fine- LP 2007
The Bloodsugars- EP 2006



Armed with compelling hooks wrapped in sophisticated songwriting, The Bloodsugars have the uncanny ability to inspire even the most cynical audience members to get up and dance. Their infectious grooves and eclectic mix of influences make for an irresistible combination. The quartet connects all the dots between indie rock and 80s synth pop gluing them together with clever arrangements and relatable lyrics.

Diagnosed with diabetes at the age of nine, Jason Rabinowitz has always had a craving for sweets. With schoolchums Brendan OGrady on bass, Matt Katz on synths, and David Beauchamp on drums, he turned that craving into a sonic wedding cake with the formation of The Bloodsugars. After recording BQEP Beauchamp has parted ways with the group to focus on his duties in The Jeffrey Lewis band. However, the Bloodsugars have been blessed with the addition of Kenneth Salters behind the kit. In addition to maintaining the bands remarkable chemistry, Rabinowitz describes their newest member as one of the best musicians he has ever played with.

I Cant Go On, Ill Go On was recorded earlier this year in Brooklyn, at the helms was producer Bill Moriarty (Dr. Dog, Man Man) with Andy Baldwin handling the mix and mastered by Engine Room president and mastering engineer Mark Christensen (50 Cent, Langhorne Slim, Raekwon.)
The Village voice says that, The Bloodsugars play sweet garage synth-pop, refreshingly unconnected to bands of the 80s in its simplicity.
On BQEP, The Bloodsugars mastery of songwriting and arrangement manifests in the form of six songs that are each equally unique as they are instantly accessible. Navigating each track is like being a kid on Christmas morning, unwrapping gorgeous melody after melody, being both surprised and thrilled with each new discovery. Though Rabinowitz tended to bring rough versions of the final tunes to his bandmates, The Bloodsugars are a truly collaborative project and each song came to life after all four members fleshed out their parts. Usually the band creates the song again after its been created, Rabinowitz explains. Like a makeover for its public life.

The record was mixed by the highly accomplished Dan Hetzel (Jennifer Lopez, Blondie, Ginuwine), who managed to provide breathing room for all four members to shine while ensuring that their output coalesced into a unified sound at all times. OGrady takes the box that most bassists are placed in and rips it into shreds. Besides fulfilling his role of snugly locking in with Beauchamp, he is also constantly providing inventive melodic counterpoint, adding a layer of depth to every song. Beauchamp has the immaculate precision of a drum machine and an endless arsenal of creative rhythmic variations. On the keys, Katz not only complements Rabinowitzs vocals with equally compelling and memorable hooks, but also adds textures that transport the band into multi-dimensional territory. Rabinowitzs angelic croon has a tremendous range that can shift from a soulful purr into full on rocking-out mode on the turn of a dime. Moments such as his seamless shift into falsetto during the climax of fan favorite Bloody Mary are sprinkled throughout each song, always providing a satisfying sense of catharsis.

Some of the standout moments include the serene backup-vocal harmonies on Uh Oh, which play with negative space while fitting together like puzzle pieces, as well as the existential yet relatable lyrics of Purpose Was Again. Another lyrical highlight is on the aforementioned Bloody Mary, in which Rabinowitz passionately denounces George W. Bush as a tyrant, deceptively wrapped in some of the bands sweetest melodies.

Gigging around their hometown of New York City, The Bloodsugars consistently squeeze enthusiasm out of the most jaded scenesters, surprised to hear dance music that engages their minds as well as their feet. Why? Because people who dont like to dance just havent found the right band yet; because every song should have at least three hooks; and because when The Bloodsugars pass through your town, they wont leave without painting it blood red.