Category: Hip Hop/Rap

Getter Rips at Webster Hall

Following the release of his stylistically diversified Radical Dude EP, San Jose native Getter (aka Tanner Petulla) wreaked some auditory havoc at Webster Hall on Friday, March 18. Fans were engaging Webster Hall’s social media channels with a fierce perseverance, determined to find out what time he went on as their excitement amplified leading up to his performance.

After a super heavy, brain-combusting dubstep set by New York’s own Symbiotic, Getter took the stage and swiftly opened with the first single from Radical Dude, “Rip and Dip.” Getter’s style of producing/DJing has evolved through the years from massive dubstep tracks to a diverse assortment of genres which culminate to an ethereal, trap-light sound that still contains those hard-hitting dubstep roots. His live shows are most definitely a reflection of his most recent release as he’s stated in interviews that he has purposely released his expanded styles to show fans that they can expect vastly different genres of producing in the future. When a producer and DJ of Getter’s caliber creates tracks like “666!” and can incorporate Enya’s “Only Time” and Fall Out Boy’s “Sugar We’re Going Down” into a live performance and have the crowd cross-eyed with amazement, it’s safe to say they are most definitely capable of broadening their approach and style with new releases and live shows.

[embedyt] http://www.youtube.com/watch?v=JjJ90jhS84A[/embedyt]

Some highlights of the performance included a “Damn Daniel!” sample, obligatory “SUH DUDE” appearance, which has an excellent melodic, crunching bass behind it, and some new tracks, namely one feat. rapper Pouya. Getter’s collaborations with Pouya and other rappers are a fascinating departure from his earlier work, clearly showing his range as a producer. I’d never seen a mosh-pit at an EDM show before Getter at Webster; glad he’s upgraded from the BASSment to the Grand Ballroom.

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March 25, 2016
A Tribe Called Quest Founding Member Phife Dawg Dies At 45

It was a sad day in the hip-hop community this week. Founding member of A Tribe Called Quest and rapper Malik “Phife Dawg” Taylor died Tuesday at the age of 45.

While the cause of death has yet to be officially released, Rolling Stone reported that Taylor had dealt with many health issues due to a longtime battle with diabetes — he underwent a kidney transplant in 2008 — and noted that he said he was addicted to sugar like drugs. (Taylor also famously called himself “the Funky Diabetic” in several ATCQ songs.) In his final interview with the magazine last fall, Taylor was optimistic about the future and was working on a new album, Muttymorphosis, that was “basically my life story.”

The Queens native joined the New York City-based band at 19 and is credited with influencing the group’s rise to critical success. Taylor, with bandmates Q-Tip, Ali Shaheed Muhammad and honorary member Jarobi White, were game-changers to the early 1990s hip-hop sound. Together the foursome pioneered a more progressive style to their aggressive West Coast contemporaries that layered smooth jazz and Afro-centric beats with socially conscious lyrics. The iconic group was signed to Jive Records and recorded five studio albums. Last November, Tribe made its last performance together on The Tonight Show with Jimmy Fallon to promote the 25th anniversary reissue of their debut album, People’s Instinctive Travels and the Paths of Rhythm.

Since the news of Taylor’s death, artists like Questlove, Kendrick Lamar, Sean Lennon, Chris Rock, Chance the Rapper and Mac Miller, among others, have noted ATCQ’s importance to their own careers and took to social media to say goodbye to the late hip-hop legend known as Phife Dawg.

Phife forever 1970-2016. 1991 in Sept I went to visit Tariq at Millersville U in the middle of PA (Lancaster). Miles Davis had just passed & I went on a binge to study his post jazz works. Went to Sound Of Market to purchase Nefertiti, In A Silent Way & Live Evil—the only non jazz purchase I made that day ironically was the most jazziest album in that collection: #TheLowEndTheory by @ATCQ. —it was raining that day so somehow the 1…2 punch of “Nefertiti”/”Fall” just had me in a trance that train trip—even though I suspected there was a possibility that Tribe could possibly have made a better album then their debut (the perfect @@@@@ mic Source rating would be on stands in a week so I was right)—but I knew I wanted to save that listening for when I got up to the campus w Riq.—so some 90mins later when I get to his dorm–we ripped that bad boy open (I can’t describe the frustration that was CD packaging in 1991, just imagine the anger that environmentalists feel when all that paper packaging in Beats headphone gets wasted—it’s like that)—the sign of a true classic is when a life memory is burnt in your head because of the first time you hear a song. —Riq & I had this moment a few times, but the look on our faces when we 1st heard “Buggin Out” was prolly Me & Tariq’s greatest “rewind selector!” moment in our friendship. (Back then every MC’s goal was to have that “rewind!!!” moment. As in to say something so incredible. Or to catch you by surprise that it makes you go “DAAAAAYUM!!!”& you listen over & over—Malik “Phife” Taylor’s verse was such a gauntlet/flag planting moment in hip hop. Every hip hop head was just…stunned HE. CAME. FOR. BLOOD & was taking NO prisoners on this album (or ever again) we just kept looking at the speaker on some disbelief old timey radio Suspense episode. & also at each other “Phife is KILLIN!”–by the time we got to “Scenario” I swear to god THAT was the moment I knew I wanted to make THIS type of music when I grew up–(yeah yeah dad I know: “go to Juilliard or Curtis to make a nice living at “real music”) but he didn’t know that Phife & his crew already wrote my destiny. I ain’t look back since. THANK YOU PHIFE!

A photo posted by Questlove Gomez (@questlove) on Mar 23, 2016 at 1:49am PDT

March 23, 2016
Q-Tip Named First-Ever Hip Hop Curator at Kennedy Center

Breakout hip hop artist Kendrick Lamar may have created a culture shift at Kennedy Center. When it was announced last year that Lamar would perform at the storied national landmark, tickets sold swiftly. And while Lamar wasn’t the first hip hop artist to perform at Kennedy, he was the one who kickstarted a movement to push for more hip hop on the center’s Washington, D.C. marquee.

To celebrate the 100th anniversary of John F. Kennedy’s birth, Kennedy Center has named Yo-Yo Ma, Renee Fleming and St. Albans, Queens native Q-Tip (née, Kamaal Ibn John Fareed) as artistic advisors for the 2016-2017 season.

The naming of its first-ever hip hop curator marks a milestone in Kennedy Center’s storied history. Q-Tip will curate the inaugural Hip Hop Culture series this season, recognizing the genre’s contributions to society. In a press release, the John F. Kennedy Center for the Performing Arts quotes Q-Tip:

With Hip Hop constantly changing and evolving, it is easy to forget the history and legacy that precede it. I want to begin at the beginning of the Culture to help people see its roots, better understand its present, and responsibly create its future.

Q-Tip rose to prominence as one of the founding members of Queens hip hop collective, A Tribe Called Quest, a main force in what was to become the Native Tongues Posse, which also included Long Island trio De La Soul. Tribe was revolutionary in its sampling techniques and incorporating jazz elements into its music.

A Tribe Called Quest recently re-released a 25th anniversary edition of its highly influential debut album, People’s Instinctive Travels and the Paths of Rhythm, in November.

Kennedy Center’s Hip Hop Culture Season Calendar:

March 22, 2016
Interview: Twiztid Juggalo Invasion Tour To Play Magic City Music Hall 4/22

Twiztid, the hip hop horrorcore duo, from Detroit, MI is composed of Jamie Madrox and Monoxide Child, the alter egos of Jamie Spaniolo and Paul Methric. These two have been touring and recording nonstop for over twenty years and show no signs of slowing down. The weekend of April 22 will be no exception as these two bring their Juggalo Invasion 420 Weekend Tour to Binghamton’s Magic City Music Hall.

NYS Music had the opportunity to chat with Jamie Madrox about the upcoming show. We discussed the band’s current and upcoming endeavors and what fans can expect from this tour. Jamie is always a fun and interesting person to chat with. He is passionate about horror movies and collecting horror related items and memorabilia, making for a great interview with writer Chris Besaw

I hope you enjoy the interview. I sure did!

Twiztid’s Juggalo Invasion 420 Weekend features Twiztid and the Wickedness, Blaze ya Dead Homie, Boondox, Lex The Hex Master, R.O.C. and Davey Suicide. Held April 22 at Magic City Music Hall, doors open at 7pm, with tickets $20 in advance or $25 day of show. Ages 16+

March 20, 2016
Hearing Aide: Howardian ‘A Smurf At Land’s End’

Brooklyn-based band Howardian has released their sophomore album, A Smurf At Land’s End. The group records and operates under the name Howardian, but the band is fronted by and more commonly identified by Ian Vanek. It’s seemingly more common for artists to brand themselves with the musicians they work with, even when the bulk of the recognition and creative distinction stems from that lead singer or performer.

Howardian has labeled themselves as an “art rock” band, and that genre is defined by noticeable influences from classical music and/or music that features experimental avant-garde styles. One listen through the album and the unique, experimental nature of the compilation is quite evident. This is a prime example of genre bending: pop, hip-hop, punk, and rock.

Samples of pre-recorded voices of short monologues give the tracks more meaning and allow listeners to identify any potential significance for the inclusion. It’s hard to pinpoint who is speaking in these voiceovers; they could be from noteworthy individuals or events.

In “Over the Laptop,” you can clearly hear Vanek’s vocals doubled with two separate takes. This technique gives the track a fuller sound, but also gives it an indie flair with the vocal pitches not 100% congruent with each other. The indie-esque sound is reinforced with the percussion; the snare sounds authentic and not of the best quality. “Front Street” uses a video game power-up sound every two measures which is a unique timbre that nicely juxtaposes the heavily distorted power chords throughout.

“I’m The Ocean” is quite repetitive in nature and it’s important to note that it’s purely instrumental. The repetitive melodic lines make listeners feel like they are sifting through a monotonous flow of ocean waves. “Cap’n Such n’ Such” is interesting because the instruments are playing a pretty standard of a rock groove, but the syncopated hook spelling out the band’s name is a bit hip-hop eqsue. “Fulton Mall” is the song that is closest to a standard pop song due to its immensely repetitive nature and backing vocals.

There doesn’t seem to be one central theme in terms of album’s subject matter, but there is a distinct flow in terms of style that makes the album work. The instrumental parts of the tracks are not overwhelmingly challenging. The musicianship is evident, but each song is quite simply outlined with basic beats and chord progressions. The synth is a crucial element in almost all of the tracks as it breaks up the streams of vocal phrases with a simple top line. However the lack of virtuosity seems to be what the band is getting at. The band’s sound is quite unique in terms of non-musical elements. The music seems to be an outlet for artistic freedom, and not a way to showcase high-caliber musical talent. This album is a cool listen if you wish to diversify your aural palette of music and experience something new.

Key Tracks: Over the Laptop, Capn’ Such n’ Such, Front Street

http://www.youtube.com/embed?layout=gallery&listType=playlist&list=UUKJ8qe7vCz4SztGjuZ2gm9A

March 11, 2016
SAMMYS 2016 Induction Ceremony and Awards Event

The music world is a family, and no where more so than in Syracuse. Each year Syracuse area musicians and music lovers come together to celebrate their own. Submissions of new music for consideration inundate the committee each year, and through a painful process of choosing just four nominees, awards in all musical genres are given out at what has become the musical event to attend in Syracuse, the SAMMYs.

The night before the award ceremony is a special recognition event for those inducted into the SAMMYs Hall of Fame. There are many wonderful musicians who have roots in Central New York and have played huge roles in the Syracuse music scene. This years inductees, honored at a ceremony upstairs at the Dinosaur Barbeque Thursday, were George Rossi, The Bells of Harmony, Savoy Brown, and Jam Factory. Mark Copani was given the award for Music Education; and the Lifetime Achievement Award was given to the late great Mark Murphy.

Basking under the warm glow of orange-hued lighting, the room bubbled with conversation as patrons populated the bar and clustered around dining tables. SAMMYs committee member Liz Nowak gushed, “The award show is about honoring the music of 2015, but tonight is about honoring six decades of music.” Patrons and honorees reminisced and swapped stories over platters of pulled pork, cornbread and coleslaw before the formalities commenced.

The evening’s master of ceremonies, Dave Frisina of 105.9 The Rebel channeled attention toward the podium, effortlessly sashaying through heartfelt and witty dialogue. Frisina as emcee, had the privilege of introducing each inductor, who in turn introduced an inductee. Regarded as a special honor, each inductor’s relationship with their inductee afforded them an opportunity to share personal accounts of why the inductees deserved the distinction.

The remarks of the evening ranged from comedic genius to sublimely sentimental, projected toward a responsive crowd eager to empathize with laughter or somber head nods. Copani acknowledged his family’s presence in the audience gesturing, “They showed up without any prompting.” As Rossi spoke into the mic for his speech he jested, “Wow, a microphone- that’s new.” The Bells of Harmony concluded their acceptance with a quick gospel tune to the audience’s utter delight.

Following the ceremony, attendees were treated to a performance downstairs by Tennessee-bred funk, R&B and jazz fusion band Dynamo. The congregation of musicians clustered on the cramped stage infused the room with polished yet experimental dexterity as Dain Ussery’s vocals coasted elegantly on the surface. An air of mutual respect floated between the star-studded crowd and the talent pouring their hearts into the music. A tale of old meets new, Dynamo upholds the legacy set before them, all in the name of making music that moves people.

The sold out Palace Theater, hosted the 2016 SAMMY Awards Friday. The atmosphere afforded attendees the opportunity to indulge their chic fashion tendencies or embrace a more casual attitude. The spectrum of ballgowns to jeans was well represented in the diverse attire of guests.

Carolyn Kelly Blues Band warmed up with a quick jam before Kelly strolled to the stage in a silky black confection that swayed delicately with every soulful note. The first performance of the evening initiated an onslaught of striking computer-generated video projections, adding visual effect behind the bands. The extravagant visuals added an early 2000’s old school vibe. The blues band concluded its short set with an energetic rendition of “Amazing Grace,” as a flaming sunshine explosion flared across the screen behind them.

Instrumental rock group Ohne-ká and the Burning River brought a very different energy to the stage. Emitting a folk vibe clad in suspenders and a plaid button down, Ryan Jones widened his stance, the first indication of the big, skull-penetrating sound they exude. Though their musical style didn’t invite fluid dance like other genres represented that evening, their tone beckoned listeners to look inward and quietly contemplate from their seats.

Savoy Brown delivered a solid blues rock performance, not accurately reflected by the lack of dancing on the open floor space directly before the stage. Before exiting the stage, in a moment of jest, leading man Kim Simmonds put his glasses on, slightly recoiling as if his new-found sight brought an awareness to the fact that he’d just performed to an occupied theater.

Once Joe Driscoll‘s one-man reggae rap garnered the crowd’s attention, a handful of willing dancers finally got their feet moving. He cleverly paired looped beat boxing with live harmonica to compose a catchy rhythmic pulse, easy to nod your head or tap your foot to.

During the previous night’s induction ceremony, Jam Factory frontman Mark Hoffman qualified the band’s impending award show performance, proudly stating, “We’ve had three rehearsals and the band is kicking ass.” Their performance supported his confident assertion, topping off the award show with a sweetly nostalgic finale. Approximately thirty willing dancers, many Jam Factory followers since early adulthood, danced in front of the stage. They basked in time-honored soul alongside a handful of newly made fans.

Joining Hoffman on stage for the family affair was his son, contributing funky bass lines while his daughter added backing vocals. As the band members poured their hearts into a project they love, an adoring fan glowingly praised, “They’re still as good as they ever were.”

The SAMMY Awards of 2016

Rock – Joe Whiting
Folk – Austin MacRaie
Pop – Elizabeth Canino
Jazz – Andrew Carrol
Americana – Early Bird Trio
Jam Band – Jam Factory
Alternative – Professional Victims
Country – Lonnie Park
Hard Rock – After Earth
Hip-Hop/Rap – Mafiosa

The People’s Choice Awards for 2016

Best Band: The Horn Dogs
Best Festival: The Great New York State Fair
Best Venue: Dinosaur BBQ

The Brian Bourke Award for Best New Artist: The Lightkeepers

March 8, 2016
Gramatik Electrifies Sold Out PlayStation Theater

Gramatik kicked off his Epigram Tour at PlayStation Theater this past Saturday, Feb. 20^th, 2016. Those lucky enough to snag a ticket to the sold out performance were gifted an amazing live show and the chance to experience the new album, Epigram, in full. Gramatik knows his New York crowd and he delivered thusly.

Alexander Lewis and Sweater Beats provided some serious bass fodder for their opening performances and warmed up the fans for the main attraction. Once Gramatik and his guitarist, Andrew Block, took the stage the crowd lit up. Gramatik got into a groove immediately and invited Queens rapper, Adrian Lau, out for a few tracks which got everyone super hyped.

It’s safe to say that Epigram is going to be an amazing album as the music everyone was raging to touched upon numerous genres; 70s funk and soul meshed effortlessly with crunching French electro-esque beats with tons of hip hop influences for good measure. Throughout the night some Grizmatik tracks made a cameo, heavy, hard, bassy remixes of 90s hip-hop appeared, a tease of Stevie Wonder’s “Superstition” went down and my favorite moment of the night was an absolute beast of a remix of Michael Jackson’s “Smooth Criminal” which had people getting out of their seats and swiftly dance-walking to the crowd to get in the groove. Familiar tracks like “Just Jammin’” were also segued into the set to the crowd’s delight.

A highlight of the night was when Orlando Napier came out and performed his vocals on “Native Son,” the first single off Epigram. It was a wonderful moment to experience the song live as that dude has some serious pipes and charisma.

I’ll jump at the opportunity to see Gramatik perform again as his skill in creating funk-infused, crystalline soundscapes is unmatched. The Epigram Tour continues through the US this Spring. Check out Gramatik at Mysterland in Bethel Woods, NY this June as I’m sure he’s going to throw down some heat. Be on the lookout for Epigram’s release this Spring and be sure to download Gramatik’s entire discography for free here.

February 26, 2016
Hearing Aide: Major Player ‘Grift & Gum’

Jeff York and Liz Strodel of indie soul/rock project Major Player kicked back at a local bar to discuss wardrobe malfunctions, zodiac signs and how Major Player was almost a funk cover band. Amidst the silly antics, York and Strodel expressed serious enthusiasm about the recent release of their debut album Grift & Gum, which was recorded, mixed and mastered at More Sound Studio. Their playful demeanors in conversation slightly contradict the album’s make-up, which manifests a moodiness wrought with the emotional drudgery of deteriorating relationships.

The somber title track offers minimalist guitar and drum work with Hammond organ weaving through ambiguous lyrics. The song grapples with the need to persevere in the face of an uncertain fate. York postulates “I laid down by better days/Reach out for better days,” his words chased by echoing organ, produce a resounding emptiness to match the dark intangible hope for a better future.

York notes how the straightforward instrumentation on the record affords the musicians wiggle room to improvise and experiment with live performances. Improvisation may become most necessary in instances when Strodel’s sticks weasel their way into the tangle of bracelets on her wrist, causing her to obscure the beat. Such was the case during their December show at Funk ‘N Waffles downtown, much to the audience’s amusement. York views these occasional hiccups as happy accidents explaining, “When she messes up, it sounds good.” Strodel jokingly mused how she can play down offbeat occurrences with an “I meant to do that” attitude.

The second track, “Hailey,” careening through slightly more buoyant rhythm, questions the validity of a soured relationship, asking as many couples have, “Could this mean at last now/that we’ve past our/infatuated moment/What drew us so close in.” “Static Noise,” speckled with bluesy guitar riffs imparts a dejectedness often felt after a breakup. Heavily distorted instrumentation adds a sense of unfamiliarity akin to the newly single state in which one relearns how to act independently. “Hard From Now On” showcases the most progressive rhythm on the album. The lyrics allude to finding new love in religion, or some greater cause contingent on the listener’s perspective.

Despite the melancholy nature of the album content, the abbreviated collection of songs is alluringly presented in the vein of ethereal trip hop. York assembled this first taste of Major Player from a larger catalogue of material he’s already written. As York plans to release more songs in the spring, the entire band also plans to write material collaboratively and continue to characterize their musical identity. Though Major Player has strayed from becoming a cover band devoted to The Meters, as was the original intent, listeners might recognize a cover or two thrown into live performances in the near future. York and Strodel, along with bandmates Nick Mazzeo (keys) and Andrew Greacen (bass) are looking forward to performing more in the warmer months.

With beer glasses nearly empty and conversation winding down, Strodel sarcastically offers to disclose their zodiac signs for interview purposes. So for anyone curious, York is an Aquarius and Strodel is a Saggitarius. Both wryly smiling York added, “Take that for what it is.” A simple sentiment which also reflects the bands’ laid-back attitude for their open-ended future.

Key tracks: Grift & Gum, Hailey, Hard From Now On

February 23, 2016
Lil’ Wayne Lights Up The Blue Cross Arena In Rochester

On Saturday, February 20, Lil’ Wayne brought “The Dedication Tour” to Rochester. The performance was held at the Blue Cross Arena at the War Memorial which has had a busy year so far. Prior to the doors opening, not many fans were seen lining up outside the arena, which was surprising considering Rochester hit a high of 55 degrees.

The night started off with a performance by S – Eighty who only had about 10 minutes of stage time. During this quick set, fans were busy trying to find their seats on the floor and around the area. Surprisingly, the floor was all assigned seating, which is why no one had to line up early to secure a spot on the floor. Shortly before 8pm, Rae Sremmurd took the stage. For 30 minutes these guys got the crowd on their feet dancing and singing along. The two brothers Khalif “Swae Lee” Brown and Aaquil “Slim Jimmy” Brown were a great choice as an opener for Lil’ Wayne on this tour. The crowd’s reaction was purely positive and it seemed like everyone wanted a little bit more.

Even though Rae Sremmurd put on a great performance, the crowd came to Blue Cross Arena for one man and his name is Lil’ Wayne. Weezy took the stage shortly before 9pm and the crowd went wild. The night was started with Wayne’s classic “Mr. Carter”. As fans stood up on their chairs and waved their hands in the air, the appreciation of support was shown by Wayne. Throughout the night Lil’ Wayne thanked fans for coming out and supporting him while reminding them that he’s the best rapper alive. Between every couple songs, Weezy would also ask where the real Lil’ Wayne fans were and the entire area would chat “Weezy!”.

For an arena that looked empty to start the night, the floor was filled from front to back and the lower bowl was packed. To no surprise the music of Lil’ Wayne got the entire place on their feet dancing, literally everybody. Hit after hit Weezy kept pleasing the crowd who were having an absolute blast. The vibes throughout Blue Cross Area were incredible and it goes to show how powerful music can be. Toward the end of the show, Weezy brought out a handful of up and coming rappers so they could show the crowd what they were made of. One thing that Wayne is good at is finding new talent and collaborating with other artists. The show ended with all the guys on the tour coming out on stage celebrating a great show and also included an appearance of Weezy’s son who looks like a mini version of his dad.

For those who missed the show, Lil’ Wayne should be pretty busy this year on the road with the highly anticipated release of his last Carter album, the Carter V. Although the album is finished, its release has been held due to issues with the record label. Regardless of when the album finally gets put on shelves, Lil’ Wayne will be out on tour to give his fans their fix of Weezy.

February 22, 2016
Funk Yes: Lettuce Set to Groove University of Rochester

Although you won’t find it listed on their current roster of dates, Lettuce will make a third appearance in New York state during this spring/summer tour. According to the University of Rochester’s event ticketing website, the funk-fueled jazz band is booked for a Feb. 26 show on the River Campus. The New York City group will also return to their home state for performances at the Capitol Theatre in Port Chester on April 8 and Hunter Mountain Jam Festival this June.

Known for soulful super jams, Lettuce debuted their fourth studio album, Crush, last year. Jeremiah Shea said in his NYS Music review that this album “is the convergence of road tested and polished material, musical exploration, deep pockets of groove, and a band that is simply on top of their game.” Brian Ferguson was on hand to catch the two-night Crush release party at the Playstation Theater last November, where Marco Benevento opened the show and Lettuce encored with a new tune titled “Phyllis” (hear the song below).

Eric Krasno

The band, featuring Adam Deitch (drummer), Adam Smirnoff and Eric Krasno (guitarists), Erick “Jesus” Coomes (bassist), Neal Evans (keyboardist), Ryan Zoidis (saxophonist) and Eric Bloom (trumpet player), last played in Rochester June 2015 for the city’s Party in the Park (after Taj Mahal cancelled) and made a stop at Water Street Music Hall October 2014.

Doors will open at 8:30 p.m. with show time of 9 p.m. Tickets are available online through the University, or at the Common Market in Wilson Commons. The concert is open to the public; special ticket pricing applies for students and faculty. If you’re nearby the Finger Lakes area next Friday, pencil in this performance as it’s guaranteed to be one energetic soul shakedown party.

February 19, 2016