You’re young, fashionable, talented, hip and completely full of love. But time after time, you get “friend zoned.” That’s right, you’re ready to take your friendship to the next level, but shorty just wants to keep it platonic. This is the mental picture I got when listening to Above Water, an independent album to be released March 8 by Long Island singer, songwriter and producer Gibbz.
Above Water is an electronic pop/R&B album with some surprise elements of funk and a whole lot of soul. Gibbz is as talented on the turntable as he is on the mic. The album’s lyrics bring you to the bar, on a date and to the bedroom.
The album begins with “Stay for a While,” with an upbeat tempo and a beat comprised of the sounds of a ping pong ball hitting the table. The lyrics are mundane and the vocals have an audible resemblance to that of Ben Gibbard of The Postal Service and Death Cab for Cutie. Throughout the album, Gibbz vocals are reminiscent of various other familiar artists including Michael Jackson and Sam Smith.
The first single “Higher than I’ve ever been” features Dominic Lalli of Big Gigantic on the saxophone towards the end of the track. The abundance of synthesized tones throughout the track is on the cusp of irritating but the chorus is purely delightful. The vocals are impressive, giving the song a fun, flirty vibe. This is a great song to get a party started.
“I Really Love You,” is again upbeat and playful, but in this case the chorus loses me. There are too many sounds happening all at once and what sounds like a guitar comes off as muffled noise. My least favorite track of the album, it also happens to be the second single.
No matter though, “Feel Good” featuring Russ Liquid on the trumpet wins me back. This song is energetic. The rhythm is fast and forces you to clap along. It is arguably the best track on the album.
Gibbz supported Cherub, if only for a month, but this experience is evident when listening to “Too Too Shy.” His high pitched voice reminds me of the Nashville electro-duo. The song is heavy on the synth tones once again, with robotic bass lines.
The album concludes with “How it’s Supposed to Be.” It’s a song of a hopeless romantic. The lyrics encapsulate the vision many of us have of the support between two lovers in it for the long haul. As a heterosexual woman, it’s everything I’d want to hear in a romantic interest. But coming from a friend, it would sound desperate.
Above Water put me on a roller coaster of relatable emotions from hope, excitement, infatuation, heartbreak and ultimately love. My level of affection for the album parallels this variance. Gibbz has the potential to be a household name. But I wouldn’t want to lead you on, at times it feels like this New York producer attempts to add too many layers. Gibbz, we can be friends, but nothing more.
Key Tracks: Higher than I’ve ever been (featuring Dominic Lalli) Feel Good (featuring Russ Liquid) Too Too Shy, How it’s Supposed to Be
Disney’s Frozen is joining Aladdin and The Lion King on Broadway. Based on the hugely popular movie that made Idina Menzel a household name (and one John Travolta will never forget), the musical adaptation begins its Broadway run in Spring 2018.
Prior to the Broadway opening, an out-of-town premiere will take place at Denver’s Buell Theatre in the Denver Center for the Performing Arts in August 2017.
The show is directed by Tony Award nominee Alex Timbers and features music and lyrics from the film’s score creators, Kristen Anderson-Lopez and Robert Lopez, as well as from the book by Jennifer Lee.
Frozen is loosely based on a Hans Christen Andersen fairy tale. It tells the story of a princess named Elsa who sets out on a quest to find her sister Anna. The film version spawned a slew of Elsa imitators and parody versions of its Oscar-winning song “Let it Go.”
Casting is ongoing and Disney has yet to release dates or which theater will host the production.
It looks like Barry Manilow will be able to play his scheduled performance at Turning Stone after all.
The 72-year old singer/songwriter made a surprise return performance Sunday night at Clive Davis’ pre-Grammy party held at the Beverly Hilton in Beverly Hills, California. He underwent emergency oral surgery on back-to-back days on Feb. 8 and 9 and, after performing in Memphis, Tennessee on Feb. 11, Manilow was rushed to a Los Angeles-area hospital for a third procedure due to complications from the first two surgeries.
ET Canada reports that Manilow’s third surgery was a success. Manilow was instructed by doctors not to talk, sing or rap for 48 hours after the surgery. According to ET, music producer David Foster said the recent hospitalization isn’t as scary as it sounded and Manilow will be fine, but it was something that he just had to deal with.
At Clive Davis’ pre-Grammy party, Manilow performed his 1974 hit “Mandy.” Manilow told the audience, “I am glad to be here tonight. What a week.” Manilow then performed a duet, “Zing Went the Strings of My Heart,” with the late Judy Garland who appeared on the video screen behind Manilow.
Days later, Manilow resumed his One Last Time-One Last Tour Wednesday night at the Toyota Center in Houston, Texas. Two dates in Tennessee were postponed due to the hospitalization. Central New Yorkers can catch their last glimpse of this music icon when he hits the stage at the Turning Stone Events Center at the Turning Stone Casino on Friday, March 18, in Verona, outside Syracuse.
From 2008-2011, Manilow held residency in Las Vegas at the Las Vegas Hilton performing over 400 shows. Manilow has sold more than 80 million albums worldwide with several Billboard hits to go along with various multi-platinum selling albums.
Manilow has won various awards in his career including a Grammy for Best Pop Male Performance for the song “Copacabana,” EMMY awards in 1977 for Outstanding Special (Comedy, Variety or Music) – The Barry Manilow Special and 2006 for Outstanding Individual Performance in a Variety or Music Program – Barry Manilow: Music And Passion, a Tony award in 1977 for Barry Manilow on Broadway and several American Music Awards.
For those hardy enough to brace for the biting cold wind blowing through the streets and alleys of Brooklyn on Saturday February 13, the Knitting Factory was one haven where one could duck in and enjoy some quality homegrown live music in an intimate atmosphere. Locally based rising pop star Catey Shaw was the headlining entertainer, but openers Gillian and Memoryy were just as much a part of the experience for anyone present early enough to catch them.
Gillian is a band that sounds like it came together as the result of getting just the right alt-rock junkies with just the right record collections together at just the right time in just the right place. They unabashedly own the stage, the band members emphatically traversing in every direction while projecting their tight and polished riff and vocal hook driven pop rock to an attentive audience. Despite all this confidence and cohesion, they don’t come across as trying to be anything more than what they are: a Brooklyn band well worth seeing. Over the course of their 45-minute set, Gillian demonstrated impressive versatility, nimbly navigating tempo changes and dynamic shifts and integrating a guest two-piece horn section into their lineup. The switching off between male and female lead vocals and use of rough-and-ready harmonies kept one guessing at just where this band draws its inspiration but indicated that these fun loving musicians are more than schooled in rock and roll history and infused with the spirit of the same. Gillian’s primary goal in performing music seems to be to have a great time. Warming up the Knitting Factory stage on Saturday, they took several dozen folks along for the ride and set the tone for an engaging evening of rocking and dancing, holed up out of the cold in this cozy little hole-in-the-wall club.
Next up the curly haired synth-pop maestro Shaun Hettinger, a.k.a. Memoryy, stepped onstage with his 5-piece band. Hettinger’s unassuming demeanor and almost self-deprecating nonchalance as he introduced his band and bantered throughout their set may have allowed one to overlook his understated passion for warm electronic pop if one wasn’t paying close attention. A sense of ’80s nostalgia pervaded Memoryy’s music, but there was also kid-in-a-candy-shop innocence and the plainly personal sentimentality of a 21st century workaday musician who hasn’t been able to help writing songs as a reflexive habit since childhood. Working in his preferred medium with a band he put together years ago under another name and just now reassembled for the first time in a while, Hettinger could barely contain his passion for this project enough to keep his fingers in contact with the keys as his body jerked about in much the same way as some of his more enthusiastic fans on the floor. This particular Memoryy set had an added layer of significance as it marked Hettinger’s final performance as a Brooklyn resident, and he made sure to point out just how special it felt to be playing again with the same four guys he first played with in New York City. The packed room showed Memoryy a lot of love.
At 11 PM the lights dimmed for the third time, and a trio of clean-cut fellows clad in mod suits ambled on to the stage. After situating themselves behind instruments and striking up a punchy rhythm, Catey Shaw appeared at the back corner of the stage dressed for the weather in a full-length off-white fur coat. Shuffling up to the microphone without much pomp, it was clear from the get-go where the artist wanted the audience’s attention to be focused: on the songs. No distracting choreography, props or other visuals were provided that could have taken away from the raw presentation of the songs that Shaw clearly takes a lot of pride in. The hour-long set consisted of all but one of the tracks from The Brooklyn EP plus a few more recently released singles. The still-small repertoire of this budding pop chanteuse holds together pleasingly onstage as it spans from folksy to bubblegum to synthpop revival.
The energy was ratcheted up early in the set with the fiery “Walks All Over You,” a pre-Valentine’s warning to all those prone to being played for fools by a blazing beauty. The anthemic “Brooklyn Girls,” which was met with some criticism upon its release in 2014, was nonetheless delivered with confidence and zest by Shaw after she announced that this hometown gig was also the culmination of her seven-date east coast tour. Coasting off the pep of the preceding party-starter tunes, the crowd swayed to the dreamily optimistic “Revolution” and continued to ride the decreasing tempos until Shaw put on a slightly more earnest face and sang the poignant ballad “Show Up,” with the studio track’s piano replaced by gentle, clean electric guitar.
The remainder of the set was a string of Shaw’s danciest and most satisfying material. A cover of Drake’s spacey R&B jam “Hold On, We’re Going Home,” was received with a surge of enthusiasm from all the dancers on the floor. Shaw’s two newest singles, the Maroon-5-esque “Tell Everyone” and the deep and bouncy “The Ransom,” came up next. These sleek and heavily ’80s-influenced ragers were full of glistening, icy guitar, but the triggered synth lines that make these tunes so fresh on record added a sense of incongruity in the concert setting where a live keyboardist could have achieved more depth and balance. The band did play these songs for all they were worth, the guitarist and bassist breaking away from their rigidly held positions onstage to feed off of each other and rock out, leaning back with knees in the air and fingers working their instruments so as to squeeze as much excitement out of them as possible in these penultimate moments of the performance. Shaw picked up her ukulele and brought the set to a close with “Human Contact,” the most reliable tune in her arsenal. Not quite ready to let the show end there, she quickly reemerged with uke still in hand after the band quit the stage to give a solo encore performance of Led Zeppelin’s “Whole Lotta Love,” hearkening back to her days busking on the subway. Catey Shaw was happy to be back home in Brooklyn, and well over 200 Brooklyners were happy to be there with her at the Knitting Factory.
Setlist: Walks All Over You, Brooklyn Girls, Revolution, Night Go Slow, Show Up, Outerspace, Hold On We’re Going Home (Drake cover), Tell Everyone, The Ransom, Human Contact
Rising pop star Catey Shaw will headline a triple bill this Saturday, Feb. 13 at the Knitting Factory in Brooklyn. The lineup will feature three locally based performers dishing out plenty of synth-driven music to dance to, plus a healthy dose of indie rock.
Shaw is still fairly new to the pop world, but her distinctive voice is showcased on two EPs and several singles, the earliest of which, “Family,” earned her a performing spot on The Queen Latifah Show back in 2013. Having started out playing in New York City subway stations, Shaw is now touring the country. The creative instrumentals produced by Jay Levine for Shaw’s studio recordings are brought to life by the live band she is touring with. Fans will see Shaw alternately strumming a ukulele and howling over the slap-bass and gritty synths backing her catchy hooks. Catey Shaw has been recording since 2012 and is currently seeing new success with singles “Tell Everyone” and “The Ransom.”
Supporting Shaw this Saturday night will be Memoryy, the moniker used by Shaun Hettinger for his self-released electro/synthpop musical output. When not writing film scores and music for television commercials, Hettinger pours his love of ’80s synth giants Depeche Mode and New Order and more recent inspirations like Cut Copy into his own brand of pop that accomplishes everything from ruminating on falling in love to setting the tone for summer pool parties. Memoryy will warm up the Knitting Factory stage, perhaps giving attendees a taste of his slick new take on Blue Öyster Cult’s “Don’t Fear the Reaper,” just released last month.
Brooklyn-based indie-rock five-piece Gillian will open the show. The bright and upbeat riff-driven pop tunes on their most recent EP Colorize make this band a natural fit for the evening’s lineup. Vocalist Kym Hawkins’ strong, rich voice is a rival to that of Best Coast’s Bethany Cosentino. Check out Gillian’s music on Bandcamp.
Doors at the Knitting Factory open at 8 p.m. this Saturday, and the show starts at 9 p.m.
Annie in the Water whose roots remain in Watertown NY, will be making their second stop on their 2016 Tour here in Syracuse NY, bringing their positive vibes to numerous venues throughout Vermont, Maine, Potsdam NY, Troy NY, Wilmington NY and their homestead Watertown. Founding members Brad Hester (vocals/percussion/guitar/looper) and Michael Lashomb (guitar/vocals) and featured member Dillon Goodfriend (keys) are sure warm the atmosphere with a mixture of high energy reggae/rock and uplifting lyricism.
Andrew Choi is the incredibly talented singer/songwriter behind St. Lenox, with Chris Hills / Nick Fed (guitar), Jorge Vega/Brandon Vitruls and Todd Celmar (drums), Chris Bolognese (bass) and Fritz Chrysler (mp3 Player). St. Lenox is a smooth mixture of jazz, classical music and electronica. Andrew Choi’s will surely bring some depth to the stage with some powerful lyrics from his debut album Ten Songs About Memory and Hopereleased on January 20, 2015. Andrew hopes to release their newest album titled Ten songs from my American Gothic in the Spring of 2016.
Doors open at 8:00 pm, show starts at 9:00 pm. Get tickets here.
Zuli took the stage at Le Poisson Rouge on Monday, January 25th, for their first Manhattan show of the year. The New York City based four-piece played a set involving strong three-part vocal harmonies, a complex instrumental cover and striking dynamic changes. I got the sense that the whole thing was admirably unlabored, despite the highly detailed musical composition, as the band moved between songs with a casual ease. Some thoroughly speedy guitar work, courtesy of frontman Zuli (Ryan Camenzuli), was underpinned by the nord electro keyboard and the bass, which made the songs followable, fun and accessible.
Zuli arrived just in time for their 9.30 slot, having played another set – in another borough, no less – just beforehand. A pretty intense schedule didn’t impede the joyous musical moves that were on display throughout their performance. A large room like LPR, when not-quite-full with the mixed crowd of a Monday night – fans, friends of the other bands, NYU juniors catching up after their Christmas breaks – can create an awkward vibe for some live bands. If Zuli sensed this difficulty at all, they tackled it with jesting stage banter, the settling of a beef about their favorite restaurant (it might, after all, be CJ’s), and a set full of rhythmic surprises emerging like bold rabbits pulled from sonorous hats. I sense that Zuli are not quite at their peak, yet: they’re probably building up momentum for the spring, when they’ll hit SXSW and the West coast. In the meantime, Zuli have a busy March lined up with shows DC, Charlotte, New Orleans and Phoenix.
You know 2016 is starting out fine when word of a new My Plastic Sun EP emerges. jumping karma trains includes five songs, one re-do, a former single and three new songs, it’s their third EP. If you’re unfamiliar with My Plastic Sun, the Rochester duo consists of Johnny Cummings – lead vocals, piano, various keyboards, bass guitar, electric and acoustic guitars, and Roy Stein – drums, percussion, keyboards, backing vocals and studio engineering. This project spends most of its time in the studio, they excel there, each with deep writing, musicianship and live performance creds. They work under the radar, but their products continue to be way above expectations, which are extraordinarily high.
The timing of the news from My Plastic Sun couldn’t have happened at a better time, the morning of January 11th, the morning the music world was shaken by the loss of David Bowie. There are few things that could’ve brightened that day, but there it was, an e-mail from Roy Stein, sent the night before. I could see the excitement in his eyes and hear the enthusiasm in his voice, “It was great to press the send button and get it out to you.” Stein continued, “We wanted to make a gentler EP with a bit of a spiritual journey kinda undercurrent to it. Not sure how that will play out but we made the record we wanted.” Ultimately, it’s what they always do, make the record they want, it’s been a solid benchmark for them for years.
“Wheels Turn Slow” is an introspective opener. It begins the story with a longing refrain, a look back, a look forward, reflecting on the progress of change and enlightenment. Brilliantly built-up from a acoustic track, the Sam Snyder floating electric guitar feels wanting, the soft march speaks to determination, the vocal toward mistake, deceit and re-invention, the difficulties of momentum.
“Falling Awake” will be familiar to long-time fans. Stein said, “We redid “Falling Awake” in a new way we felt captured the essence of the song better.” “Falling Awake,” the source of the EP’s title, has it’s origins founded in Sgt. Pepper’s with Lauren Becker’s subtle french horn, but this remake is all Pet Sounds. The light orchestration from the keys and choral backing harmonies ring true to the concept of “gentler EP” and the singer/songwriter basis shines through clearly. “In The Moment” has a bit of Philly Soul like Hall and Oates, but Cummings’ play with words keeps hinting at something more spiritual. Something bigger, more true, just slightly out of reach, from hand and heart. It’s hymnal, it’s beautiful. It’s love.
Cummings voice has a distinct feel of Chris Martin and the production plays right into it on “Somethings Coming Over Me.” It reveals itself as he goes to falsetto and retains the strength of his full voice. The hoped-for undercurrent is on full display here, the piano, the choral backing vocals, the broad mix, the “Tears For Fears” opening and rhythm. A tall standard to accomplish indeed. John Viviani’s guitar track is perfectly placed and Bree Draper’s vocal speaks to spirituality, strongly.
“Couldn’t Love You More” wasn’t on any EP and we thought it fit well on this so it was in.”, Stein says. “Couldn’t Love You More” is as sweet as pop can be, Johnny’s light vocal reading and ukulele lilting with the emotions expressed then enhanced with the acoustic bass by Kyle Vock. This is well visualized by Stein’s multi-talented wife, April Laragy Stein and John Runkel in the video previously released with the single. (see below) This song is Revolver quality, the addition of accordion (April Laragy Stein), acoustic guitar and reversed electric are deftly applied with Snyder’s assistance.
jumping karma trains was produced by My Plastic Sun, recorded and mixed by Roy Stein and mastered by Brad Blackwood. EP artwork by April Laragy Stein. While this band has seen a few bright lights, they haven’t been nearly as bright as they deserve. They consistently deliver music that is way above their current recognition and if someone in the know actually listened, there is so much more ground for them to cover. My Plastic Sun continues to be among the clearest voices expressing true pop art music anywhere. Get on the train and learn more about the band on their website, Facebook, Twitter, Spotify and Youtube.
Key Tracks: Couldn’t Love You More, Falling Awake, In The Moment, Somethings Coming Over Me, Wheels Turn Slow
David Bowie is arguably one of the most influential artists of multiple generations. He infused his music with fantasy and fashion to create a style all his own—and that style was always changing. His legacy was felt years before his passing, and his influence spans genres, generations and location, including several artists deep-rooted in New York State.
David Bowie performs during a concert celebrating his 50th birthday, on Jan. 9, 1997, at Madison Square Garden in New York City.
NYS Music takes a moment to not only honor the iconic musician, but to also revisit artists who have paid tribute to David Bowie with these covers.
Umphrey’s McGee with STS9 – “Let’s Dance”
During their encore from Northerly Island in Chicago on Aug. 17, 2013, Umphrey’s McGee invited STS9 on stage for this knock out rendition of Bowie’s most successful hit to date:
Beck – “Sound and Vision”
With a little help from his father, legendary arranger David Campbell, folk artist Beck went big on this 1977 Bowie tune. The evening was sponsored by Lincoln Motor Company and was part of their “Hello, Again” campaign, which used Beck’s version of “Sound and Vision” for its campaign theme song:
Starset – “Space Oddity”
Alternative rockers Starset showed up big in December 2014 at WQLZ’s aQustic Christmas Jam. The Columbus, OH, natives turned out a stunning rendition of Bowie’s “Space Oddity”:
moe. – “Ziggy Stardust”
What could be better than Halloween and Star Wars? Halloween, Star Wars and Bowie! Jam rockers moe. treated the crowd at their 2015 Halloween show to a little Bowie. Makes you wonder what a Bowie song sung by C-3PO would really sound like:
Buffalo groove rockers Aqueous cover highly produced, multi-layered tracks with amazing accuracy. In this rendition of “Fame” at the 2014 Gathering at Chaffee’s, they surprise the crowd as they flow into the classic Bowie tune. They hit the mark at about three minutes, but enjoy the jam before they get there. You won’t be disappointed:
The Cure – “Young Americans”
The Cure carry their own legacy in the world of rock, but the Bowie influence is deep with these fellow Brits. They contributed their version of Bowie’s song “Young Americans” for a 1993 compilation for London’s 104.9XFM. The song later reappeared on their 2004 release Join the Dots: B-Sides & Rarities 1978-2001:
Placebo – “Five Years”
Slightly known fact: David Bowie was a big fan of alternative rock band Placebo; he even performed with them on several occasions. In this clip, Brian Molko of Placebo quickens the pace on this acoustic version of “Five Years” to create a slightly altered but beautiful version of the Bowie tune from The Fall and Rise of Ziggy Stardust and the Spider from Mars:
Def Leppard – “Ziggy Stardust”
Def Leppard turned up for an acoustic set in a Sheffield England pub back in 1996. They encored with an incredible version of “Ziggy Stardust”:
Dr. Dre – “Fame”
Bowie’s influence isn’t limited to genres: famed producer and headphone guru Dr. Dre put his own twist on a Bowie tune. This version was featured on the 1996 album Dr. Dre Presents: The Aftermath and features Jheryl Lockhart, King Tee and RC along with Dr. Dre and Chris “The Glove” Taylor. Youtuber Mychael Helmz edited some fashion video footage and credited a piece good enough to have been the song’s official video:
Natalie Merchant – “Space Oddity”
The former lead singer for the 10,000 Maniacs enjoyed a solo career she probably never dreamed of growing up in the small town of Jamestown, NY. Her unique vocal style adds drama to this haunting rendition of Bowie’s “Space Oddity” during a performance on June 12, 1999:
Lucero -“Modern Love”
Hailing from Memphis, TN, Lucero is a five-piece band that mixes punk rock and country, creating a sound that is distinctly all their own. They showed up to the AV Club and banged out their own version of this Bowie pop classic with the addition of a saxophone solo:
James – “China Girl”
A lot of artists show up to their BBC Sessions with covers in hand. Manchester, England, natives James were no different; they rocked out their version of one of the three top 10 singles from Bowie’s 1983 album Let’s Dance:
Nirvana – “The Man that Sold the World”
Nirvana brought new life to this song during their 1993 performance on MTV Unplugged. They also exposed Bowie’s music to a host of new listeners. The song would garner major market radio play, as well as be featured on both the released album and video of the performance:
Foo Fighters – “Under Pressure”
When the Foo Fighters showed up in Mendig, Germany, during June 2015 to play the “Rock am Ring,” they played a set list infused with music they felt was the most influential to their journey as musicians. On the list was this David Bowie/Queen collaboration:
Smashing Pumpkins “Space Oddity”
Smashing Pumpkin’s frontman Billy Corgan says in this video for San Diego’s ROCK 105.3 that he appreciates the song more as an artist covering it, than he ever did as a fan listening to it. The Pumpkins put their own brand of alt-rock styling on this version recorded on June 19, 2012:
Fall Out Boy – “Life on Mars?”
FOB guitarist and singer Patrick Stump cites Bowie as his favorite musician of all time. In April 2013, he sat down to record an acoustic session for BBC One. He shows off his vocal range and passion for his idol in this lovely version of “Life on Mars?”:
Warpaint – “Ashes to Ashes”
Los Angeles-based indie-rock band Warpaint has been known for their dream-pop sound since they formed in 2004. The all-female quartet set a mellow groove at the BBC Music Tepee in 2014 with their ethereal version of this Bowie classic:
German metal band Atrocity brings a whole different level to Bowie’s No. 1 hit, and the song was featured as part of the Hard Rock Covers album series:
Duran Duran – “Fame”
British ’80s pop icons Duran Duran followed Bowie’s model of fashion, reinvention and style better than almost anyone. Bassist John Taylor has even cited Ziggy Stardust as the “perfect album.” Their version of “Fame” was a beloved B-side before landing on their 2003 box set Singles 1981-1985:
Scott Weiland and the Wildabouts – “The Jean Genie”
Scott Weiland was never quiet about his fanboy obsession with Bowie. Shortly before Weiland’s death, he and the Wildabouts stopped at the Strombo Show where they did an acoustic performance of “The Jean Genie”:
Second Child – “Young Americans”
The future folk band based out of NYC and Philly, Second Child does a mixture of electric and acoustic jams. This version of “Young Americans” is so groovy that even some neighborhood kids get in on the dancing action:
Commander Chris Hadfield – “Space Oddity”
In May of 2013, Canadian astronaut Commander Chris Hadfield made musical history when he made this video on the International Space Station, making it the first video ever created in space. The video is nearing 30 million views on YouTube:
The Get Up Kids – “Suffragette City”
The Get Up Kids were major players in the ’90s emo-rock scene. They paid tribute to Bowie with a fairly non-emo version of Bowie’s “Suffragette City”:
Phish – “Life on Mars?”
Shortly after debuting their version of “Life on Mars?” in 1995, Phish would later play the song at the Clifford Ball. The seven-disc box set celebrating the festival was more than a decade old in March of 2009:
Seu Jorge – “Rebel Rebel”
Brazilian musician Seu Jorge’s Bowie covers came to prominence when they were featured on the soundtrack to Wes Anderson’s The Life Aquatic with Steve Zissou. Jorge translated the Bowie tunes into Portuguese. His version of “Rebel Rebel” from Diamond Dogs sounds romantic and whimsical in Jorge’s hands:
Fresh off of Long Island came some hot bagels and Mayve’s new EP entitled Animals. Mayve, pronounced like the Irish first name “Maeve” and not to rhyme with “maybe,” got the inspiration for their name from lead singer Nick Micheline; he liked his little cousin Mayve’s first name. The band is comprised of five guys and they’ve been playing together for a few years. Back in 2012, they were featured on “Rick’s Rising Stars.” On the show, Rick Eberle talks about the best upcoming artists in the local scene. This indie pop band fits the standard rock band archetype instrumentation-wise with some synthesizer ornamenting the band’s recordings.
They’re currently unsigned to a record label, but the EP was recorded with the help of Rocky Gallo, who has engineered a number of records with many artists like John Legend, Andrew Bird, Jim Wolf, and more.
Songs like “Hearts on Fire” and “Talking to Myself” aren’t new to their repertoire and have been performed since 2014. But it seems like they’ve compiled five of their more recent original recordings as a marketing tactic to get their songs out there as a unit.
Overall, the lead singer sounds a bit like Andrew McMahon from Jack’s Mannequin and has a little flair of pop punk with his pronunciation of some lyrics. Almost all of the songs have melismatic repetitive phrases which make them easy for listeners to learn and sing along to. No one in the band primarily specializes on synthesizer, (based on the band’s social media and music videos) but the synth definitely helps augment the sound and give it that edgy pop sound.
“Hearts on Fire” is all about love, which is the predominant subject matter in each of their tracks. The band sounds much like The 1975, especially with the bright guitar timbre on this track. The lead singer talks about young love and how no one can take that love away. In “Higher,” the idea of animalistic desires as per the EP title is evident in the lyrics with lines like “My body’s taking over; your body’s taking me higher and higher.” The tune has background group vocals singing “higher and higher” throughout which aurally reinforces the lyrics. “Magic” is the only slower song in the lineup, and uses an acoustic guitar to highlight the emotion behind the words. This song also has backing harmonies, which adds some nice texture to the tune.
The band’s sound is not terribly unique; they sound like a generic indie/pop band. This is just the beginning of their time in the music business with the release of the EP and they have a lot of room to grow. They need to expand beyond what they’re doing both stylistically and instrumentally. They all sound like they are very proficient players, and the production quality is quite high, but they need something to make themselves stand out in a sea of many similar-sounding bands. It will be interesting to see what creative direction they take moving forward.
This EP is available for free listening on SoundCloud, Bandcamp, and Spotify, and for purchase on iTunes.
Key Tracks: Talking to Myself, Hearts on Fire, West Coast
That’s right, you’re ready to take your friendship to the next level, but shorty just wants to keep it platonic. This is the mental picture I got when listening to Above Water, an independent album to be released March 8 by Long Island singer, songwriter and producer Gibbz.
ET Canada
Zuli arrived just in time for their 9.30 slot, having played another set – in another borough, no less – just beforehand. A pretty intense schedule didn’t impede the joyous musical moves that were on display throughout their performance. A large room like LPR, when not-quite-full with the mixed crowd of a Monday night – fans, friends of the other bands, NYU juniors catching up after their Christmas breaks – can create an awkward vibe for some live bands. If Zuli sensed this difficulty at all, they tackled it with jesting stage banter, the settling of a beef about their favorite restaurant (it might, after all, be 
Fresh off of