Chicago’s Mungion, a funk/rock jam band, and the Magic Beans, another impressive jam band from Boulder, Co, delivered funky fall tour heat at the Knitting Factory in Brooklyn, NY. Both bands wrapped up an exciting fall tour on the East Coast together, alternating closing duties nightly. Mungion did the honors at the Knitting Factory. The Bushicks, a local Brooklyn band, opened the evening for these talented bands.
John Adamski of the Busicks
The Brooklyn native Bushicks are a power trio hailing around the tri-state region. The band consists of Jonny Patrizio (Vocals/Guitar), Jessica Bogwicz (Bass) and John Adamski (Drums/Vocals). The trio was joined by a saxophonist this evening for most of the set. They delivered their signature rock, including a sweet cover of “Axilla” by Phish.
Casey Russell, Scott Hachey and Chris Duffy from the Magic Beans are feeling it.
The Magic Beans wove their tasty funk/soul/rock sounds next. The Bean band members include Scott Hachey (guitar/vocals), Casey Russell (keyboards/vocals), Chris Duffy (bass/vocals), and Cody Wales (drums/vocals). The band began by immediately dropping into a deep jam, showcasing their exceptional improvisational skills, and never looked back. This band specializes in space jam funk, and did not disappoint.
Mungion
Mungion picked up the jam vehicle where the Magic Beans left off, and dove into a rocking jam of intricate riffs. This band is made up of Justin Reckamp (guitar), Joe Re (keys), Sean Carolan (bass), and Matt Kellen (drums). The exciting directions, stellar compositions and expressive improvisation were apparent from the first note.
Scott Hachey of the Magic Beans
Both the Magic Beans and Mungion are firing on all cylinders after their 2019 fall tour through the East Coast. Mungion is closing out 2019 by playing December 29-31 at Martyr’s in Chicago, Ill. The Magic Beans are playing one night at the Goat in Keystone, Co on December 28. They resume touring with Snowstalk, their own winter festival in Frisco, Co on January 24-25, 2020. The Colorado based lineup includes Kyle Hollingsworth from String Cheese Incident, as well as skiing at Copper Mountain, and is certain to be a special event.
In a collaboration that could’ve only been dreamed up in New Orleans, Emerald Quintet, featuring saxophonist Skerik (Garage a Trois), drummer Stanton Moore (Galactic), keyboardist Robert Walter (Greyboy Allstars/Mike Gordon), bassist Andy Hess (Government Mule, Black Crowes), and guitarist Scott Metzger (Joe Russo’s Almost Dead) took the stage last night as the Brooklyn Bowl channeled its inner Jazz Fest. The group garnered its name as a tribute to the 55th Emerald Anniversary of Jazz Fest earlier this year, where they were formed to commemorate the 20th anniversary of Skerik and Moore’s first time playing the renowned festival together, and on the heels of Skerik’s 1998 debut solo album All Kooked Out. The supergroup treated Brooklyn to a rare and energetic performance on a very limited tour that included a stop in Anchorage, AK in September, and a pair of shows in Ardmore, PA and Denver, CO sandwiching last night’s Brooklyn offering.
And they came out swinging! Appropriately opening with “Mardi Gras in New Orleans,” the quintet got right to the funk, passing solos like a baton. Each musician announced his presence in a collective far greater than the sum of its parts.
“Sprung Monkey” followed, a familiar song that already had the crowd deep into a groove that would never let up. Walter’s solos tickled the crowd while his fingers tickled the black and whites, held down all the while by the best rhythm section in recent memory with Hess’s bass lines and Moore’s funky driving beats. Then Metzger’s turn with the baton, straight ahead guitar solos, no pedals, no effects, purity at the nexus of rock and funk, a touch of his signature blues, taboot.
How do you follow that? By passing the baton to Skerik of course, a powerhouse saxophonist with not only the chops to pick up where Metzger left off, but probably a large part of the reason why each member of this band pushes each other’s boundaries in all the right ways.
While most of the two-plus hour set was just straight ahead ass-shaking funk, there were moments of delicacy and patience mingled throughout. These intensely brief intervals of darkness, always pulled back by a signature Stanton beat, only served to make the light that much brighter – a true testament to the familiarity and trust shared amongst these musicians. The band was intently listening and reacting to one another, improvising while simultaneously appearing extremely well practiced. Even Peter Shapiro, owner of the Brooklyn Bowl, was on hand, an eager fan like the rest of us, but with an aura of proud papa as he, too, wore a grin from ear to ear.
“Humdinger” was an early highlight from Metzger’s Wolf! Catalog. James Casey, saxophonist (Trey Anastasio Band) joined the stage for a duelling sax number with Skerik that visibly melted the crowd, wrapped up with a spontaneous long note competition that had Skerik checking his watch while he showed off his impressive lung capacity. “Don’t Chin the Dog” highlighted both Robert Walter’s songbook and Metzger’s unbelievable talent. A cover of The Band’s “Ophelia” gave the crowd it’s only chance for a singalong before the set closing “Funky Mule.” “Who Took the Happiness,” also played by Galactic in the New Orleans tradition, was the first of a two-song encore kept the crowd grooving past the two-hour mark.
For those smart enough to be there, this was a truly special night in Brooklyn. Top shelf musicians pushing and validating each other, listening and reacting, smiling and having fun, appreciating the rarity of the occasion and the delight of the crowd in equal measure, for what may very well be one of the year’s best sets.
Setlist (via Robert Walter): Mardi Gras in New Orleans, Sprung Monkey, Aquafresh, Humdinger, Chalk Giant, Calm Down Cologne, Ironic Twist, Don’t Chin the Dog, Ophelia, Funky Mule, Who Took the Happiness, Kickin Up Dust.
When you think of a band still touring and releasing new music nearly 30 years since their debut, you might think there is a lengthy discography behind them. That is not the case for Tool, who have just released their fifth studio and first new album in 13 years, Fear Inoculum and performed at Barclays Center. When asked by BBC Radio 1 why it took so long for Tool to follow-up 10,000 Days, Maynard James Keenan cited “crippling self-doubt” about living up to the expectations placed on the band and “paranoia” that the album would not be as good as it could be. After all, their four preceding albums make up one of the most highly regarded discographies in metal.
On Tuesday night, the Fear Inoculum tour hit Barclays Center in Prospect Heights, Brooklyn for a sold out and much anticipated show. Tool have been touring steadily the past five years (this was the first stop in NYC since their headlining Governor’s Ball set back in 2017), but for the first time in more than a decade, the band was directly supporting a new LP.
UK post-punk band Killing Joke provided the support, playing to less than a half-filled room when the took the stage, but by the time the opening set finished, the arena was packed and the buzz in the room had hit a fever pitch.
Fans were made well aware of the band’s strict “No Camera” policy via notices taped to seats and security guards carrying signs echoing the rules. The intention was to prevent fans from distracting from the live experience and forcing us to live in the moment; a sentiment that should be more commonplace at modern shows. The policy was heavily enforced by security as a steady stream of fans were ejected throughout the night and flashlights constantly scanning rows of seats for phones. The enforcement in some sections turned out to be more of a nuisance than its intention, and was ultimately undermined during the last song of the night, “Stinkfist” as Maynard told security to “stand down” to allow fans take some photos.
As far as shows at Barclays Center, the sound tends to be an issue. Much like the NY Islanders had great trouble adapting the arena to a hockey stadium, sound engineers frequently struggle with the mix, especially in the upper bowls. This was not the case whatsoever for Tool on Tuesday. The engineers came up with a perfect mix that was crisp and had a lot of depth, even in the upper bowl. Every element of Dan Carey’s massive drum set was as clear as it could be, and the deep, boomy bass filled the air. I have never experienced better sound in that arena, and with Tool’s detailed and complex music, it was certainly necessary to achieve perfection.
Drummer Dan Carey is one of the more influential drummers in modern music. His vast drum set is the centerpiece of the stage and he plays with an ease and style that is mesmerizing. Tool are known for odd and complex time signatures, all of which are glued together by the percussionist. The encore began with Carey commanding the stage all by himself. A long gong solo served as a prelude, followed by Carey layering the frenetic and dystopian electronic loops of “Chocolate Chip Trip” before sitting back at the drum kit and ripping off a tight solo. This small part of the show by itself was an intense prog journey that reflects the complex history of Tool.
It was also abundantly clear that the band was very happy to be touring and playing new music again. During “Jambi,” guitarist Adam Jones crossed the stage to give bassist Justin Chancellor a big hug and a quick laugh and during new song “Invincible” the two leaned against each other as they jammed away. Maynard, who is known to dress in concealing costume and hide in the shadows behind the drum kit, was now on well-lit and elevated platforms; still keeping towards the back but in plain view the whole time. At one point, he went over to Adam Jones’ set-up, unplugged one of the Marshall amps, and carried it across the stage and up the stairs to his platform to be used as a stool.
Tool delivered a career spanning set, playing songs from all of their releases except Undertow (which was represented at other stops nearby). Before playing “Part of Me” off the 1992 EP Opiate, Maynard told the crowd that the song was written before anyone 30 years old and younger “were even sperm yet.” The new songs off Fear Inocolum seamlessly mixed with their classics and it cannot be understated how full and crisp everything sounded. The light show was also impressive, with massive LED screens showing imagery from their groundbreaking music videos, and well timed lasers to amplify the experience. A curtain made of long individual threads was at times in front of the band while a secondary light show was projected onto it. This added another layer of depth to the staging, but also cast interesting shadows onto the band members.
Before playing “Stinkfist” to end the night, Maynard welcomed longtime collaborator and artist Alex Grey onto the stage to received a warm ovation from the crowd. Alex designed Tool’s iconic album covers and his art is a fundamental part of the live stage show.
The Fear Inoculumtour continues through the New Year, with west coast dates in January and Australia/New Zealand dates in February. This show should not be missed. A band that many thought would not release another album have proven again that they are still one of the most formidable bands in the world.
Setlist: Fear Inoculum, Ãnema, The Pot, Parabol, Parabola, Pneuma, Schism, Jambi, Vicarious, Part of Me, 46 & 2.
Yesterday, Restless World Music released their third single, “Cyclone,” on the heels of two singles, “Stratosphere” and “Ashes” which premiered earlier this year. “Cyclone” is the third of four singles that precede the group’s EP, due out in 2020.
The Washington, D.C. based group says of the track:
Sometimes love leaves with a whisper, slipping through our fingers. Other times, loves leaves nothing behind but wreckage, and no matter what – or who – we try, nothing can replace it.
No matter how you’ve experienced love leaving your life, “Cyclone” illuminates the feeling that is left behind. Showcased by an inspired male vocal bringing heat over a dark atmospheric R&B/trap beat, lyrics such as “my life’s a ghost town, when you’re not around” will hit home.
Prior to “Cyclone,” songs by Restless World Music have won several songwriting awards, including five years in a row of recognition in the Great American Song Contest, with two first-place wins (in Pop in 2012 and in R&B in 2016). The Great American Song Contest recognized Restless World Music on Facebook for being one of only two songwriters in 17 years to win first-place honors in two of their songwriting categories.
Rochester native Danielle Ponder, former public defender and now full time musician, has released her latest single “Holding Me Down.” Rife with emotion, “Holding Me Down” shares the pain and struggle found in relationships, and is the lead track on her upcoming album, due in Spring 2020.
Ponder says of the upcoming album:
This album is probably my most vulnerable work. I wrote this song one night at 2 am sitting at my dining room table. This song describes the struggle many have in relationships, the struggle between a heart that want to stay and a mind that want to go.
Danielle has spent the past few years rendering goose bumps by perfecting her style, with charismatic performance. The result of her focus and dedication is a tone that is both enchanting and seductive, along with a riveting, honest stage presence. Her voice has helped secure gigs opening for powerhouses such as George Clinton, Ledisi and The Roots.
“Holding me Down” was produced by John Viviani, whom Danielle Ponder previously worked with in the band Filthy Funk, with additional production by Dave Drago at his 1809 Studios. The song also features Tony Gallicho from Giant Panda Guerilla Dub Squad on organ.
Danielle Ponder has an upcoming show on January 31 in Rochester. This special acoustic show will be open to only 300 attendees and will be held in the oldest building in Rochester. More details will be shared through Ponder’s website.
Afrobeat legends Antibalas, fresh off celebrating their 20th anniversary in 2019, have just released their newest single, “Fight Am Finish.” The group will release their upcoming album Fu Chronicles on Daptone Records on February 7.
We have arrived at a time when we must be ‘Seshat in Red Gloves’ and punch throw the sand curtain of Lies and deceit. We must fight for the Truth. We must fight for Sustainability. We must fight for Peace. We must Fight for our Dreams. We must Fight am finish and never ever give up the good fight, for the Destiny of Truth is Exposure.
Triple triple triple exposure!
Antibalas will head out on an extensive winter/spring tour in 2020, with two shows at Brooklyn Bowl on March 20 and 21. Tickets are on sale Friday, November 22 at 12noon. Check out NYS Music’s gallery of their 20th anniversary performance at Brooklyn Bowl this past March.
Antibalas 2020 Tour Dates
Tuesday, February 11 — The Siren — San Luis Obispo, CA Wednesday, February 12 — Moe’s Alley — Santa Cruz, CA Thursday, February 13 — The Regent — Los Angeles, CA Friday, February 14 — The Independent — San Francisco, CA Saturday, February 15 — The New Parish — Oakland, CA Sunday, February 16 — The Independent — San Francisco, CA Thursday, February 20 — Neptune Theatre — Seattle, WA Friday, February 21 — Rickshaw Theater — Vancouver, BC Saturday, February 22 — PDX Jazz — Portland, OR Sunday, February 23 — The Olympic — Boise, ID Wednesday, February 26 — Knotty Pine — Victor ID Thursday, February 27 — The Commonwealth Room — Salt Lake City, UT Friday, February 28 — Washington’s — Fort Collins, CO Thursday, March 19 — The Sinclair — Boston, MA Friday, March 20 — Brooklyn Bowl — Brooklyn, NY Saturday, March 21 — Brooklyn Bowl — Brooklyn, NY Thursday, March 26 — Terminal West — Atlanta, GA Friday, March 27 — The Grey Eagle — Asheville, NC Saturday, March 28 — Cat’s Cradle — Carrboro, NC Friday, April 3 — Sleeping Village — Chicago, IL Saturday, April 4 — SPACE — Evanston, IL Friday, April 10 — Lee’s Palace — Toronto, ON Saturday, April 11 — Lee’s Palace — Toronto, ON Friday, April 17 — Theatre of The Living Arts — Philadelphia, PA
Emerging NYC alt-pop artist Karolina Rose has followed up her well-received single “Greytopia” with a dark spin on Shakira’s legendary “Objection.” The Shakira classic is a sexy yet playful story of a tortured love triangle, and is mirrored here in the indulgent production of Karolina’s high-class offering helmed by Elliot Jacobson (VÉRITÉ, Allie X, Elle King).
Speaking about her take on “Objection,” Karolina explains: “She’s such a global, iconic superstar and I have loved her songs all my life. I randomly started belting out ‘Objection’ in between a session with my producer Elliot – he then encouraged me to cover the song while putting our own twist on it. We filmed with my friend’s baby to represent motherhood and the Divine Feminine strength. This decision was also intended to be an ode to Shakira, given that she posed with a baby on the iconic artwork for her Oral Fixation, Vol. 1 album.”
Compared to the glittery upbeat rhythms in “Greytopia”, the dusky groove of “Objection” perfectly exhibits Karolina’s versatile, unique brand of ‘noir rose pop’: alluring, seductive and layered, with a prick of danger.
Often focusing on deeper perspectives in her music, the quickly-rising indie singer’s compelling twist on “Objection” sounds gloomier than the original, while still brilliantly channeling its sass, empowerment and frustration.
“Objection” is step two in Karolina’s upcoming visual EP project, which will witness the AWAL artist tell a tale of love, loss and healing through four spectacular video experiences. The future is clearly bright for Karolina Rose, a sensational artist unfolding who has the potential to reach the upper echelons of the pop sphere with several more enthralling anthems to come.
Confessional indie rock musician Roan Yellowthorn (aka Jackie McLean) has released her new holiday single, “I’ll Be Home For Christmas.” Listen on all platforms here or below via Spotify.
Photo courtesy of roanyellowthorn.com
Having released her debut studio album Indigo on Blue Élan Records in 2018, “I’ll Be Home For Christmas” follows her previous holiday single, “River” (featuring Car Astor), which was released on November 1.
‘I’ll Be Home For Christmas’ was recorded at Clearlake Studios in North Hollywood, CA. Accompanied by Ty Bailie (Katy Perry), this indie reworking of the classic is ethereal, moody, and melancholy, evoking at once both the wonder and nostalgia often felt during the holiday season.
Roan will celebrate the release of her new singles with a showcase at Rockwood Music Hall on November 23 and will perform an Official Showcase at SXSW in Austin TX in March 2020. Full tour dates can be found below
Philadelphia indie-rock trio, Moonroof, will officially release their new music video for “Trojans,” tomorrow – Friday, November 22. The band has set their sights on conquering the music scene, recently winning Radio 104.5‘s 12th Birthday Show, sharing the stage with The Lumineers, Death Cab For Cutie and Grouplove. The 2016 Bloomsburg University inception wrote “Trojans” this past spring and debuted the single in August.
Unlike the Greek folklore, Moonroof’s release is more synonymous to a lego-horse, or one dressed in vibrant-drag. “Trojans” music video flips the famous tale inside-out, as if the trio is mocking themselves, unconcerned with its reception; they’re focused on their target.
As lead vocalist Dave Kim walks his band into a movie theater, prior to “Trojans” taking the screen, there is a clear smirk and airiness of joy across his face. After prompting the audience, it is comical that the band does not care if their video is well-received.
Guitarist, Danny Walsh, and Drummer, Dan Rendine, carry the airy-spring groove the against a white-windowed, underwhelming backdrop. How long did it take you to figure out the trio is missing a bassist? The track release, onset of winter, is ironic but refreshing. As the movie-theatre crowd moves out one by one, the band continues to groove on the pop-electronic narrative, increasing with feeling.
According to the press release, “‘Trojans’ entails a story of betrayal and heartbreak through a personal experience…the anthem that gets you hyped to finally break off that toxic relationship that’s holding you down.” However, Moonroof is onto something bigger here; Make fun of yourself when nobody else will (deliberately) – have fun – be happy – live. And most importantly – follow your dreams.
“No Place Like Home,” a new track from rapper Consequence, was released today to commemorate the birthday of the legendary A Tribe Called Quest Emcee – Phife Dawg.
Produced by Consequence and Mike Cash, the record sees Consequence rap about the nostalgia of missing his hometown of Queens, NY—something he shares with the departed rapper. In between Consequence’s verses, Phife comes in and recites some of the legendary figures that have come from Queens, while rattling off some of the more well known Queens neighborhoods, with looping vocals in the background serving as the chorus.
Having passed away in 2016 due to complications from diabetes, the record was released on what would have been the late rapper’s 49th birthday.
