When Daoud Tyler-Ameen played his first shows at the turn of the millennium, he was a teenager devouring early Ted Leo and Sleater-Kinney albums and wondering if Weezer would ever be good again. Born in the Manhattan of the '80s and raised on the MTV of the '90s, he made his stage debut in 2002, opening with a just-finished song about the driving test he'd failed earlier that day.
Within a few years he was a fixture of New York's antifolk scene, whose emphasis on lyric-driven songwriting, scrappy DIY ethics and acoustic aggression left a lasting mark. Art Sorority (formerly Art Sorority for Girls) developed around him as a rotating collective; through turns as a co-ed harmony duo, a baritone guitar-powered trio and a classic rock quartet, the songs grew hookier and heavier, taking on a cinematic quality with fleshed-out characters and dramatic narrative arcs.
Released in 2011 after a trio of homebrewed EPs, Slow Dance is the band's full-length debut. Though recorded in a home studio, it builds a lush, layered splendor from the contributions of two dozen musicians. That same year, Tyler-Ameen relocated to Washington, D.C., where he quickly immersed himself in the intimacy and intensity of its punk scene. Older Boys — the stripped-down answer to Slow Dance's sparkle and polish, featuring drummer Josh Gottesman — followed in 2014. Since 2015, Tyler-Ameen has also been a member of the D.C. power-pop ensemble Bad Moves.
"Whether your point of reference is current scene favorite Emperor X or lo-fi troubadour icons The Mountain Goats and Jeffrey Lewis, D.C. outfit Art Sorority for Girls is a treat for fans of lively, literate indie rock."
— WXPN's The Key
"Stuff that gets lumped in with 'anti-folk' or 'folk-punk' doesn't usually have melodies and hooks this strong. Stuff that gets lumped in with 'pop-punk' or 'emo' doesn't usually have this capacity for wordplay. ASFG makes it look easy."
— Kevin Erickson (National Organizing Director, Future of Music Coalition)
"Rock outfit Art Sorority For Girls is responsible for one of the catchiest songs I’ve heard from a D.C. artist this year: the subtly poetic earworm “Man With a Van,” songwriter Daoud Tyler-Ameen’s story of leaving his hometown, told from the bitter perspective of a jilted New York City."
— WAMU's Bandwidth
"The way Daoud writes about masculinity and femininity is fraught, awkward, tender and heartbreaking. I rarely enjoy the way heterosexual men write about women, but Daoud's empathy and honesty elevates his writing beyond (or maybe before) gender."
— Dan Fishback (Director, Helix Queer Performance Network)