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.
Voodoo Dead will headline the 14th Annual NolaFunk Mardi Gras Ball, to be held at The Capitol Theatre in Port Chester on February 6. The supergroup features Steve Kimock, Dead & Company’s Jeff Chimenti, moe.’s Al Schnier, John Morgan Kimock and The Meters’ George Porter Jr.
With a recently announced tour that includes shows in Ardmore, PA and three shows in Japan, the group will also headline the 2020 Skull & Roses Festival, held annually in Ventura, CA, celebrating the music of the Grateful Dead.
Tickets for both American shows go on sale Friday, November 22 at 12 noon.
Voodoo Dead 2020 Tour Dates
Feb. 5 – Ardmore, PA – Ardmore Music Hall Feb. 6 – Port Chester, NY – The Capitol Theatre Feb. 9 – Tokyo, Japan – Unit Feb. 11 – Yokohama, Japan – Bay Hall Feb. 12 – Osaka, Japan – Club Quattro Apr. 2 – Ventura, CA – Skull & Roses Festival
“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.
American rock band Airborne Toxic Event have announced a new North American tour that will coincide with the release of their upcoming album Hollywood Park (their first since 2015’s Dope Machine) and a book by the same name, penned by front man Mikel Jollet.
Formed in 2006, Airborne Toxic Event consists of former journalist Mike Jollet as lead vocalist and songwriter, Steven Chen on guitar and keyboards, Adrian Rodriguez on the electric bass and backup vocals, and Daren Taylor on drums.
The Hollywood Park memoir sees Jollett chronicle his extraordinary personal journey, from his early childhood in one of the most infamous cults of the ’70s, through a teenage life of poverty and emotional abuse, before finding his voice first as a critically acclaimed writer and then literally as singer and songwriter of The Airborne Toxic Event, according to their official website.
The new LP along with the accompanying book will both be released in May of 2020, with the tour to begin on May 27th. They kick off in Phoenix, AZ and tour throughout the West Coast, the Midwest, and the East Coast, before heading back west and closing out in San Francisco, CA.
Tickets for Airborne Toxic Event’s North American Tour can be purchased here.
NYS Music is proud to announce 15 Jam for Tots shows around the Empire State this holiday season. Kicking off on November 27, each show will have a Toys for Tots box set up for patrons to donate gifts to kids in need.
With a wide variety of artists, including Consider the Source, Runaway Gin, Annie in the Water, Tim Herron Corporation, Strange Machines, and Swedish metal guitarist Yngwie Malmsteen, this annual series will connect live music fans with those most in need in their local communities.
Support kids in need this holiday season by bringing an unwrapped toy to any of the following shows. Jam for Tots is brought to you by NYS Music.
Regional shows include:
Mid-Hudson Valley
Nov 27 Open Jam – Main Street Public House, Philmont
Dec 5 Open Jam – The Stewart House, Athens
Dec 7 Yngwie Malmsteen – The Chance, Poughkeepsie
Dec 14 IS – Hilltop Bar and Tavern, Tannersville
Westchester
Dec 4 The Spadtastics – Garcia’s at The Capitol Theatre, Port Chester
North Country
Dec 6 Hunter – The Monopole, Plattsburgh
Western New York
Dec 14 Strange Machines w/s/g Haewa- Flour City Station, Rochester
Dec 20 PA Line “Chrismukkah Show” w/ Special Guests – Buffalo Iron Works, Buffalo
Capital Region
Dec 14 Annie In The Water, The Deadbeats – Putnam Place, Saratoga Springs
Dec 14 Consider the Source w/s/g Swimmer – The Hollow, Albany
Central New York
Dec 8 The Old Main – Woods Valley, Rome
Dec 19 The Action! – Copper City Brewing Company, Rome
Dec 28 Tim Herron Corporation – Funk n Waffles, Syracuse
Legendary art rockers The Residents, in collaboration with celebrated video artist John Sanborn, will perform their epic 1988 album, God In 3 Persons, at The Museum of Modern Art in New York City on January 24 and 25, 2020. The performances will include eleven performers, featuring a live seven-piece music ensemble. Audiences will witness the terrifying gospel of Mr. X and The Holy Twins, brought to life by legendary SF-based art rockers.
The story of God In 3 Persons will be told using lurid multi-layered video projections created by Sanborn while The Residents provide live accompaniment with vocalist Laurie Amat.
God In 3 Persons will be directed for performance by Travis Chamberlain with musical direction by Joshua Raoul Brody and puppetry and background design by Leigh Barbier. Steve Saporito produces.
In this propulsive and brooding rock oratorio, The Residents’ anonymous lead singer, performing as Mr. X, preaches of his encounters with a pair of ambiguously gendered conjoined twins (portrayed on video by noted genderqueer porn star Jiz Lee). Their physical union has magical healing powers…or so he claims! A confession of faith-mongering complicated by a crisis of desire, God in 3 Persons functions as a darkly twisted cautionary tale about the risk of losing yourself in the process of refusing to accept others in their entirety.
God in 3 Persons is sung in rhythmic spoken word fashion, similar to the talking blues, and driven by a bombastic and dynamic score derived entirely from the first few bars of the hymn “Holy, Holy, Holy,” along with the melodic hook from the Swinging Medallions 1966 hit “Double Shot of My Baby’s Love.” Despite being one of their most critically successful albums and a fan favorite, God in 3 Persons has never toured as a concert or live performance.
Performances are January 24 and January 25m with tickets $12 for the general public and free for museum members. Tickets will go on sale at MoMA’s website on January 10 at 9:30 am (for the Jan. 24 show) and January 11 at 9:30 am (for the Jan. 25 shows).
Special merchandise is available through an IndieGoGo set up by The Residents for the upcoming performance at MoMA.
Since their first official release, Santa Dog, in 1972, The Residents have released over sixty albums, numerous music videos and short films, three CD-ROM projects, and ten DVDs. They have undertaken ten major tours and scored multiple films and are considered pioneers in exploring the potential of CD-ROM and similar technologies, having won several awards for their multimedia projects.
Ralph Records, a record label focusing on avant-garde music, was started by the band. Throughout the group’s existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails — a long-lasting costume now recognized as its signature iconography.
In addition to their groundbreaking work in the areas of trance, world fusion, electronica, punk, industrial and lounge music, the group has also been credited with being among the originators of performance art and music video. Two of their videos are in the permanent collection of the Museum of Modern Art and their Freak Show CD- ROM has recently been featured in MoMA’s “Looking at Music 3.0” exhibition. The Theory of Obscurity, a documentary about The Residents, premiered at SXSW in 2015.
With musical seeds from Boston’s prestigious Berklee College of Music, where founding members Chris Pandolfi and Andy Hall attended and met, planted in the fertile soil of Nashville, TN, the The Infamous Stringdusters (Andy Falco [guitar], Chris Pandolfi [banjo], Andy Hall [dobro], Jeremy Garrett [fiddle], and Travis Book [double bass]) have cultivated a sound yielding a self-described fusion of All-American bluegrass and rock.
Formed in 2007 and experiencing some early lineup changes, the band is now past the decade mark and getting stronger by the year. I spoke with the Andy Falco (a Long Island, NY native) before seeing them at a scheduled stop at the Wall Street Theater in Norwalk, CT, part of the band’s 2019 fall mid-Atlantic/ Southeast tour.
Andy Falco
Mickey Deneher: What has enabled the band to continue as a creative unit for over 10 years?
Andy Falco: Everybody has a lot of respect for each other, personally and musically. I trust my band mates’ instincts and that trust is reciprocated. One thing I have heard a lot about us from engineers and people we have worked with is, “Wow you guys really are a democracy.” Normally bands say, “We’re a democracy,” but it’s always one or two guys that are really making all the decisions. If I have an idea that I swear is the best idea for something and somebody else in the band is like, “I don’t know. I think this way would be better.” I trust that. It’s how we operate on any decisions, musical or otherwise. Having that trust for each other allows us go forward. There are no egos or any of that bullsh*t. It’s all about trying to make the best music. You need to trust your boys.
Chris Pandolfi
The band has been rewarded for their creative efforts by capturing three International Bluegrass Music Association awards in 2007 (Emerging Artist of the Year, Album of the Year for Fork in the Road (in a tie with J.D. Crowe & The New South’s album Lefty’s Old Guitar, and Song of the Year for the album’s title cut). They were also awarded a 2011 International Bluegrass Music Association nomination (Instrumental Group of the Year), a 2011 Grammy nomination (Best Country Instrumental Performance), and a Grammy win for Laws Of Gravity as Best Bluegrass Album in 2018.
MD: What were you guys feeling when you won your Grammy for Laws of Gravity?
AF: I will describe to you the scene. We were sitting there in the row and the category comes up. You could feel the seats in our row just shaking because everyone’s leg was bouncing up and down. We’re nervously waiting and when you get the announcement and it’s like, “Holy Sh*t.” It’s a shock. It’s an amazing thing, an amazing experience. It’s a special thing.
There are no egos or any of that bullsh*t. It’s all about trying to make the best music. You need to trust your boys.
Andy Falco
I don’t know if there are other bands in our corner of
bluegrass, the jammier side of bluegrass that have been recognized in that way.
For us, we felt like it was for all of the bands in our corner. Hopefully more
bands, our peers in our world, will also be nominated and be winning Grammys.
Jeremy Garrett, Andy Hall, Chris Pandolfi
Of course, the next day you’re already on to thinking about the music, because that’s the most important thing. You don’t do this to win awards. But to be recognized, it’s an honor. You have that trophy, as my daughter calls it “the singing trophy.” I have it on the piano and every now and again if you are feeling that self-doubting, you can look up at that and get that feeling of being recognized. We are blessed that we had that opportunity.
MD: It’s a confirmation to you that the decision was right and the trip was worth it.
AF: A great way to describe it.
Not sitting on their laurels, in 2019 the band put out its 9th studio album Rise Sun. This project looked to interject components of their live show into the creative recording process.
MD: Was there pressure going in to record Rise Sun after winning a Grammy?
AF: I can speak for myself, that in my mind I didn’t feel pressure. I felt like I just wanted to make a record that reflected our art as accurately as Laws of Gravity did. If we made what we felt was a good record and was what we wanted to say, then that would be a success to me.
In the end I felt even better about the record we made.
That’s normal. As you evolve as an artist, as a band you’re making different
records. You should feel like your latest record is your best.
Rise Sun reflects us now. What we are now. Go back to Things that Fly or another record and that reflected us then. As long as you are feeling good about the art that you are making, and the music your making, and feel like it’s reflecting and it’s honest music, then that is a success to me. No matter what awards or anything.
Andy Hall
I hope people like it. You can’t chase that. That’s not
really going to get you your best art. You have to chase from within and
hopefully be able to have the album reflect that.
MD: Share the approach to the album.
AF: The idea was to approach the record as a studio album, but the experience be closely related to the way a live show would run down. In a live show, one of the things we really developed over the last few years is the idea of having these transitions in between songs where it is just a completely unknown improvised section of music. We know where we are coming from, we know where we are going to, but don’t necessarily know what’s going to happen in the middle. By developing that in our shows, it was something we (then) wanted to bring into the studio as well.
MD: The shift was of a technical nature also.
AF: This record was done differently. In the pre-production, we decided on which 13 songs we were going to actually record and, not only that, we decided exactly what the order they would appear on the record was. So before we went to the studio, we knew the order of the songs, the sequence, even where the breaks would be for the vinyl (a double album). So we decided to record it in that order.
We record everything live in the studio and we overdub little extra bits. The foundation of the track is cut live. You could feel that energy. The first cut on the album “Rise Sun” has this energized, fresh in the morning kind of feel to it. In contrast, the last song “Truth and Love” has this weariness in a way. That was at the end of these long sessions. You could feel energy that ebb and flow as the record goes, just as you would on a live set.
With a vow to producing quality recordings, the band’s live show raises that commitment exponentially. The floor seats at the Wall Street Theater had been removed to allow a free and open space for the night, which was maximized by a joyous house. With the first set acting as a primer, the crowd exploded into dance, hands in the air, and singing from the first note of the second set until the night was over. A light show bathed those enraptured in the music as the band took everyone along on their improvisational jams and one of a kind segueing in and out of songs. It may have been a cold November Sunday night outside, but there was a barn-burning going on inside with The Infamous Stringdusters.
