Rough Trade Records NYC has announced that their Manhattan storefront will be reopening Wednesday, June 24th at 12 noon. The store also is operating under new business hours which were also announced in the original Twitter post.
WE'RE REOPENING!
We are very pleased to announce that Rough Trade NYC will be reopening on Wednesday June 24th, at 12pm.
Our new hours are Wed. - Sun. 12-6pm. We will remain closed on Mon. and Tue.
The new business hours will be Wednesday- Sunday, 12pm-6pm, remaining closed on Mondays and Tuesdays until further notice.
In cooperation with State of New York’s latest government guidance’s, the store has implemented safety measures keeping the health of both costumers and employees at the forefront of priorities.
New guidelines include the use of masks and or face coverings by everyone in the building as well as strict card only transactions.
Rough Trade NYC will continue to fulfill all Click and Collect orders as usual and, as always, will be open online 24/7.
Danish punk band Twin Dive have released a new track in remembrance of George Floyd, a recent victim of police brutality whos death has sparked protest and outrage worldwide. The energy and pure anger that shine through on this track perfectly captivate the strong emotions behind the Black Lives Matter movement.
“Say His Name” is riddled with lyrics that target the systematic racism and oppression perpetuated by the American upper class. Much like the protests themselves, this song is a screaming demand for justice. In further support of the Black Lives Matter movement, Twin Dives will be donating 100% of the proceeds and royalties made from this release to the cause.
Twin Dive is a duo from Denmark who, although formed only in 2018, have been grabbing attention in their respective music scenes. Blending the braggadocious nature of front men from the 70s punk scene with all the contained noise and distortion of the low-fi grunge era, Twin Dive are no stranger to taking political stances in their music.
To find out more on the band make sure to follow them on Facebook and Instagram to keep updated with their shenanigans.
At some point in our lives, we have all heard the classic hip hop refrain from Grandmaster Flash and the Furious Five, “Don’t push me ‘cause I’m close to the edge.” However, despite the funky bass line and infectious hook, “The Message” was written to give insight on the life of a young Grandmaster Melle Mel, who grew up in the Bronx during the ’60s and ‘70s, following the wake of the Civil Rights movement, an incredibly trying time for the impoverished black community. “The Message” has a place in history that is more than a reminder of the true roots of hip-hop, but rather a landmark of socially conscious rap. “The Message” was one of the first commercially successful rap songs providing heavy social commentary. At the time of its release, it stood out among other party tracks that were the hip-hop market at the time.
The intro delivered by Duke Bootee sets the scene, “It’s like a jungle sometimes it makes me wonder how I keep from going under.” Comparing life in the inner city Bronx to life in a literal jungle reiterates the hardships faced by the black community, struggling for survival and contemplating the will and self-determination that urge for survival takes. Then, on the verse is Melle Mel depicting the struggles of a poor black man who is on his last ounce of hope after repeating a cycle of despair desperate to escape.
Mel continues on the hook, “Don’t push me cause I’m close to the edge, I’m trying not to lose my head,” which encompasses the song’s central message: life in the inner city is hard and the stresses constantly build up. The hook almost sings as a warning to people unaware of the realities of street life, pleading people to not “push” you off the edge in a means to preserve your own mental sanity. Melle Mel’s verses continue to cover topics of poverty and homelessness due to mental illness with bars creating images of a “Crazy lady, livin’ in a bag eatin’ outta garbage pails” makes clear that Melle Mel was on the front lines of poverty in the 1970s. Mel also comments on the broken education system saying he “Got a bum education” and is under financial stress due to “double-digit inflation” which all feed into the power of the refrain.
Despite its release nearly 40 years ago, the song remains highly relevant in 2020’s social and political climate. The struggles detailed by Melle Mel are still issues faced by thousands who are stuck in the cycle of poverty perpetuated by systematic racism, un-equitable access, and crime. Many of the topics Mel rhymes about throughout “The Message” are the same themes present day artists such as Kendrick Lamar (AKA Cornrow Kenny) are bringing back to the focal point in the conscious hip hop movement.
There is an almost predictable reemergence of these themes of depression and poverty expressed by the black community brought to light by artists generationally. The consistency of lyrical themes present in the late 1970s mirroring those of present day billboard topping singles reiterates the notion that not much has changed. Black America is still trying to survive in the metaphorical jungle Bootee sang about.
Over the past ten years, we have seen artists such as Kendrick Lamar, as mentioned earlier, releasing songs in a similar vein to “The Message.” Most notably, his 2012 critically acclaimed, Good Kid M.A.A.D. City, concept album which followed the life of a young Kendrick throughout his upbringing in Compton, CA. Throughout the album’s track list, Kendrick raps about several similar themes such as his struggles with poverty, crime, and depression. Whether cited as an influence or not, Grandmaster Flash and the Furious Five’s “The Message” certainly paved the way for projects making social commentary accessible for the hip hop audience of today.
The next time you find yourself nodding your head to the beat of “The Message,” or saying “Don’t push me,” keep in mind the original focus of Grandmaster Flash and consider the blessing that music has the power to carry these messages through sound from generation to generation.
The city of Cohoes is in process of reviewing management proposals for the historic Cohoes Music Hall. The closure of the concert hall this past April cost the city a financial loss of nearly $200,000, led to a cancelation in contracts with previous managers, Holly Brown and her Music Hall Arts Alliance; they were in charge of management and organization, including the Playhouse Stage Company and show production, ran by Owen Smith.
Lotus performes at Cohoes Music Hall, Nov. 2019.
Since canceling the contracts with the previous management companies, the city of Cohoes has been accepting new management proposals from potential applicants. A committee of “independent experts” that formed following the substantial revenue loss the city suffered in April has been organized and will be reviewing the proposals in search of a best fit. Mayor of Cohoes, Bill Keeler, announced the six proposals received via a Facebook post. Of the six proposals the committee faces, two are from previous managers Holly Brown and Owen Smith. The other four proposals listed in Mayor Keelers post include Guthrie/Bell productions from Albany; the Hall, from Niskayuna; Lopolito, from Monroe; and Just Imagine, from Rensselaer.
“All of these proposals would achieve the goal of continuing the high caliber of entertainment we have seen in the Music Hall in recent years while achieving six figure annual savings for the taxpayers,” said mayor Keeler in a statement, reassuring that those involved in the committee “have deep connections to our community and are experts in their respective fields.”
Previous contract holder Owen Smith remains hopeful, stating in an email that he feels “really good about the proposal we submitted and are staying hopeful! We really hope we have the opportunity to keep building momentum at the Hall.”
After reviewing, the committee will be conducting interviews to further aide in their decisions of who will pick up the contract in the coming months. According to the Facebook post made by mayor Keeler, a new management contract is anticipated by late July.
For updates and announcements, follow The Cohoes Music Hall on Facebook and Twitter
You have already heard of restaurants offering curbside pickup but, this platform plans on bringing that same ease and COVID-19 socially distant, idea to music fans across the country. Curbside Concerts, a platform with the goal of bringing back concerts during the pandemic age, is following in the footsteps of businesses who have found safe and socially distant ways of going about business as normal.
This platform is set up Uber Eats style, users can use their phones to find a list of artists in the area who will come perform a live set at your address. Artists and users then agree on a socially distant location, whether it be your front yard or your driveway, the whole concert experience will be free of any pandemic worries. The list of artists participating across the country include local musicians as well as national acts such as Umphrey’s McGee, Dopapod, and more.
We find ourselves at a point in quarantine where we wish for two things: a change in pace from our day to day, stuck inside routine, and for us music fans, the urge to see live music. Curbside Concerts offers us with a solution to both. Talk of outdoor concerts reminiscent to drive in movie theaters has been buzzing around on the internet however, the scarcity of such concerts leave options like Curbside Concerts seeming tangible.
For more information and to book a concert for your own front lawn visit the Curbside Concerts website.
Recently, music venues in New York City have been opening their doors, the first time for most, since the pandemic swept in. However, the doors are not opened up to ticket holders; instead, venues are opening their doors for racial justice protesters in need of break from their marches.
Since the death of George Floyd, the music and arts communities have been brainstorming different ways to show solidarity. This past Tuesday, June 2, the music industry orchestrated a #BlackOutTuesday which led many to post black squares on their social medias as a way to show support to the black community.
A resource platform taking a timely reaction to the venues in New York City, Open Your Lobby, has been gaining steam on social media. With posts urging theaters and venues to open their lobbies as a safe haven for protesters. The organization also shares information and the locations of venues who will be open on days of marches. With #OpenYourLobby challenging theaters to open their doors, many venues are taking action in solidarity with the Black Lives Matter movement. Venues so far who have taken part include Off Broadway venues such as The Public Theater and Playwrights Horizons.
Joe Bonamassa shares perhaps his most monumental rock opus to date, “When One Door Opens,” recorded in the famous Abbey Road recording studio in London, England.
Released in tandem with a music video and co-Written by longtime collaborators, Kevin Shirley and songwriter Pete Brown, this brand new track harkens back to the glory days of Rock & Roll. Harkening back to the 60s/ 70s, ” When One Door Opens” celebrates Abbey Roads iconic history justly. This single marks the second of so far two surprise releases from Bonamassas Abbey Road studio session. Last month, he shared “A Conversation With Alice,” which was a follows in pursuit of Bonomassa instrumental side project, The Sleep Eazys.
Bonomassa is telling fans to keep their eyes peeled, hinting towards future releases. In the meantime, the Non-for-profit, Keeping the Blues Alive Foundation continues to gain support for the recently announced, Fueling Musicians program which has been raising profits for musicians who are feeling the effects of COVID-19s constraints around the music industry.
Visit the Fueling Musicians website to find out more.
Ella Joy Mier, under the moniker Iris Lune, delivers her debut album ‘Lovelosslovee,’ a poetic and sonic masterpiece that examines the seamless relationship between love and loss.
The Brooklyn native is a songwriter who came inter her own, via the folk music of her heritage, Israel. Bringing a contemporary take on the sounds she is familiar with, Mier showcases her ability to tie rich, sonic passages along with beautiful poetry and wordplay. She exhibits a palpable mystique focus but diverse mood board throughout.
After loosing her mother from a six year battle with cancer, Mier has been desperately trying to piece her life back together, trying to survive in a world without her mother’s physical presence. These songs take the audience through that emotional journey.
The project starts with a well thought-out drum intro, followed by a rumbling, synthesized bass line. Intertwined vocal melodies, textured guitar and well organized percussion hits are a constant throughout the albums track list. With a central theme of love and loss, the tracks on this album mend together creating an emotive and captive tapestry of sound. With a clear knowledge of radio friendly pop structures as well as dreampop-like instrumentation, Mier falls inter her own on this album, creating a space that she is clearly confident in.
The production lets her vocals shine and remain the focal point from song to song. The album being co-written and produced by Asher Kutz, is full of highs and lows along with dynamic songwriting. Lovelosslove fulfils Miers’ want to let us in briefly to the journey of the endless relationship between love and loss.
Music has the power to bring people together in the name of solidarity. Throughout protest history, there have always been songs to aide in carrying the cries for social justice. Protest music came into mainstream popularity during the civil rights movements of the 1960s and 70s, with folk and gospel artists such as the late Pete Seeger and Mahalia Jackson. In todays current political state however, protest music has chosen a different voice. Hip-hop along with punk music have provided the loudest songs of racial protest during the black lives matter movement.
“Sound of da Police” by KRS-1
Off of the Bronx natives’ debut studio album, Return of The Boombat, “Sound of da Police” takes a hard look at police brutality. Although released in 1993, the song remains relevant in the current Black Lives Matter movement. Throughout the song, KRS-1 makes comparisons between the police and overseers who would police southern plantations while keeping slaves in check.
Key Lyrics:
“Officer, Officer, Officer, Officer! Yeah, officer from overseer You need a little clarity? Check the similarity! The overseer rode around the plantation The officer is off patrolling all the nation”
“One Four Love (Pt.1)” by Mos Def
The second track off of Mos Defs’ Hip Hop For Respect EP released in 2000 is another song centered around police brutality and racially-centered violence. With a hook that sings ” My people unite and lets all get down.”
Key Lyrics:
“My people unite, hop up and do it right We gotta have what? love peace and understandin One god, One love, One light One aim, One voice, One fight”
“Changes” by 2Pac
Riddled with commentary on the life of an inner-city black man, “Changes” is 2Pac’s timeless meditation on racial injustice. The song consists of verse after verse of 2Pac calling for change.
Key Lyrics:
“I see no changes all I see is racist faces Misplaced hate makes disgrace to races We under I wonder what it takes to make this One better place, let’s erase the wasted”
“Sunshine” by Pusha T
Bronx rapper Pusha-T takes a conscious approach in his 2015 release “Sunshine” telling America that the country is in need of a miracle. Pusha remembers Freddie Gray, another victim of police brutality and neglect.
Key Lyrics:
“These ain’t new problems, they just old ways I see one time turn sunshine into Freddie Gray Just another n**** dead, just another n**** dead Send another to the FEDs, send another to the FEDs”
“Banned in D.C” by Bad Brains
Well affiliated with the Afropunk movement of the 70s and 80s and regarded by many as the pioneers of hardcore, Bad Brains deliver this rage filled track about racial solidarity.
Key Lyrics:
“We, we got ourselves Gonna sing it, gonna love it, gonna work it out to any length Don’t worry, no worry, about what people say We got ourselves, we gonna make it anyway”
“Don’t Shoot” by Dave East
Dave East takes a creative approach, altering his voice to reflect on his encounters and experiences with NYPD through out his childhood, as a teenager, and as an adult. Born and raised in Harlem, Dave East delivers descript bars verse after verse detailing life in the city and coming to terms with racism and police neglect.
Key Lyrics:
“Left and right I’m seeing homies get interrogated, we ain’t safe where we live, this America ain’t it?”
“Spiritual” by Jay-Z
https://www.youtube.com/watch?v=TFW5p2Qlx7M
In 2016, “Spiritual,” was Jay-Z’s first solo release in 3 years. Penning the lyrics after the shooting of Michael Brown in 2014, Jay-Z said he held onto the release because he knew ” his death wouldn’t be the last” in a statement released with the song. Jay-Z calls out police brutality and the cycle of poverty and depression many in the black community are stuck in.
Key Lyrics:
I am not poison
Just a boy from the hood that got my hands in the air
In despair don’t shoot
I just wanna do good”
“Oppressor” By Jesus Piece
East Coast hardcore band, Jesus Piece target the oppressive behavior of police in the song “Oppressor” off of their 2015 EP release. Fronted by Aaron Heard, one of the most prominent black vocalists in the current hardcore scene, the song is delivered along with a brutal instrumental and has since been a highlight of many hardcore festival performances, bringing together people of color in the hardcore scene, all taking turns grabbing for the microphone.
New Jersey’s FRND CRCL (pronounced Friend Circle) comes in hot just in time for summer with their new single “ Loose Cannon” off their sophomore album Internet Noise.
Delivering their new single with angsty, punk-driven lyrics and catchy melodies reminiscent of early 2000s pop punk akin to the likes of Sum 41 and Blink 182, the track is essentially about embracing the mentality and spirit of punk rock, with lyrics referencing the choice of not selling out in college and even a comparison to the heartbreaker himself, Ben Stiller. FRND CRCL deliver their youthful hooks over crunchy and distorted guitar passages and twinkling lead melodies. If one thing is clear about this group it is that they certainly don’t cut the “pop” out of pop punk.
The track is produced by FRND CRCL and Tyler Skye of Monoplane Recording Studios, this is the second single premiering off of the upcoming sophomore album Internet Noise, which dropped May 1.
Formed in 2018, Aaron Smith (Drums) and Dom Giacalone (Lead Guitar), along with dual vocalists Zac Johnson (Guitar) and Adam Skirvin (Bass), combine their individual musical backgrounds to create a new approach to the genre. Utilizing 2010 era pop structures and punk rock riffage, FRND CRCL is not afraid to incorporate lyrical wordplay, the occasional pop culture reference, and influences from various genres across the board.
