With the times changing week by week, it’s been pretty hard for bands to get together and practice safely like they used to. However, Baked Shrimp had a different idea all together. This progressive-funk trio from Long Island just released their second full album, Bubble Suit, and their approach towards recording this new LP is ingenious.
Jared Cowen, Scott Reill and Jager Soss recorded their parts virtually and used cloud-based systems to send the tracks back and forth to create the final product. These 12 tracks have never been performed live or even played at practice and the band is quick to point out that this is not a studio album… it’s a quarantine album!
Regardless of how you classify it, this album is an impressive musical and technical feat from start to finish. The opening track, “The Vision That I Can See,” is a jaw-dropping epic that really showcases the prowess of this band and make you scratch your head as you ponder how they were able to put this album together. “Conduit” fits this same description too and will undoubtedly become a staple at their live shows. The band also shows off their light-hearted side with humorous tracks like “I Wanna Do Nothing” and “Drinking on the Beach”, but they really flex their skills on more upbeat songs like “Koko” and “Rock Bottom.”
Bubble Suit is a response to Baked Shrimp’s 30-date Summer Tour being cancelled. The band plans to resume touring as soon as safely possible and will stay true to release new music frequently in the future. For now, this album is a milestone achievement for Baked Shrimp and the music scene as a whole. They’ve taken our current uncomfortable situation and truly made the most of the situation. Bubble Suit was released on June 18 on Bandcamp.
Key Tracks: Conduit, The Vision That I Can See, Koko
Brooklyn-based singer-songwriter and self-taught musician Ian Holubiak, who goes by the name Great Ian Alexander, has released the music video to his new protest anthem, written in response to the death of George Floyd and in support of the Black Lives Matter movement.
“The Ballad of Michael Brown,” was originally supposed to be a battlecry for the late Michael Brown, a victim of police brutality. As the years have passed, the song has maintained its relevance, serving as yet another voice in defiance of the systemic racism inherent in America’s police forces. Great Ian Alexander presents a song to aid in the revolution, to form a new police system and oust the racism that has been perpetuated and brutalized through the 13th Amendment.
Written by Ian Alexander Holubiak, Larz Principato & Denis Lipari, the song is a part of Holubiak’s solo project, Great Ian Alexander.Holubiak, a self-taught musician from the age of nine has toured with the Atlantic Records band, Oh Honey, as both a member and co-songwriter. Among the other groups he has toured with include Beach Weather and singer-songwriter acts inducing Grammy award nominated Elle King.
Disney + has just released their trailer for Hamilton: An American Musical which will be available for streaming on July 3.
First produced Off-Broadway at the Public Theater in 2015, Hamilton then moved to the Richard Rogers Theater on Broadway later that year. The show’s music, lyrics, and book were written by the musical’s star, Lin Manuel-Miranda based off of Ron Chernow’s biography of Alexander Hamilton. Hamilton is most famous for presenting America as it was in the 1700s, but in today’s light. Every character save King George is played by a BIPOC to highlight the diversity of America today.
Hamilton took Broadway by storm and the hype has not yet let down. Due to the show’s popularity, tickets continue to be expensive: at one point, a premium seat went for $1,150. However, the show is famous for their memorable lottery, the #Ham4Ham, when lucky winners are given front row tickets for only $10, or one Hamilton. Fans have been anticipating the release of this recording for years, as Lin Manuel-Miranda confirmed that the show would be recorded in a tweet in 2016. The release of this high-quality recording makes Broadway more accessible to people who cannot experience it live for themselves.
Hamilton was nominated for a record-breaking 16 Tony awards, and won 11 in total, including best musical, best book, and best score, as well as Leslie Odom Jr. (Aaron Burr) winning best actor, Daveed Diggs (Lafayette/Thomas Jefferson) awarded best featured actor, and Renée Elise Goldsberry (Angelica Schuyler) receiving the Tony for best featured actress. Many other members of the cast were nominated for Tonys, and they can all be seen in the original Broadway cast recording on July 3.
This is Lin Manuel-Miranda’s second Broadway show. In The Heights, a story about a predominately Hispanic neighborhood community living in Washington Heights, had its Broadway debut in 2008 also at the Richard Rogers Theater and was nominated for 13 Tonys and won 4, including best musical. In the Heights has just been adapted into a feature film as well, with Anthony Ramos (who plays John Laurens/Philip Hamilton in Hamilton), playing the lead role of Usnavi. In the Height, previously scheduled for release June 2020, will now be released on June 18, 2021.
Hamilton will be available to stream on Disney+ on July 3.
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.
What lengths are you willing to go to keep your life’s work alive; will these adaptations muddle the concert experience forever.
Devastation throughout the music industry has crippled artists and their mediums – Venues. Amid a global pandemic we are seemingly waiting – for venues to open, shows to begin and the concert experience to shapeshift into a safe, sustainable event. Nobody is sure what the final product will be, yet passion radiates. Through blooming efforts like the National Independent Venue Association (NIVA) right here in New York, we have band together to save our industry and the concert experience as we knew it.
The Past:
Being elbow-to-rib is just part of the experience. Hours spent waiting in line that sparked anxious anticipation, or getting sucked into the stage by the crowd when the lights go dim, before the main act, cannot be replaced by live streams. Maybe you’re the one up front hanging over the barrier, screaming every lyric verbatim; maybe you’re setback, studying your favorite instrument or player; you’re moving around, dancing or moshing (respectfully of course); or you’re the type that hangs at the bar with friends, reminiscing how you’ve seen this particular band hundreds of times. All of these moving parts create energy.
When you walk into a venue it sets the mood, the crowd and band feeds off one another. From local dive bars and smaller venues, to theatres and arenas, stepping in pre-soundcheck has a therapeutic energy for performers, as does the commotion when the doors open. Artists paint backstages, leaving totems or memorabilia that builds a venue’s character. When those spaces are cut to half capacity, or less, that energy is depleted.
Everyone’s safety and economic sustainability is paramount, but nobody is talking about sustaining these colorful parts of the canvas. Adapting is necessary. Yet, promoters, artists and venues are stuck in limbo. Letting go of the experience as we knew it remains untold.
Music Canada sites 40% of concertgoers won’t return until six months after restrictions lifted.
The Present:
NIVA was created by Independent Venue Week, top venues and promoters across the nation, “to fight for the survival of independent venues, their employees, artists, fans and their communities,” (nivassoc.org). Sucking in 450 members across 43 states in the first three days, they are now pushing 2,000 members nationwide (50 States) for an endless-scrolling roster on their website. Founded by the industry’s best, NIVA states that 90 percent of independent venues will collapse if they don’t open this year. With rumours saying this lockdown can lead well into 2021, will we be able to recover.
Capacity restrictions will limit venues’ revenue, and minimum thresholds vary. A Chicago study deemed a 12:1 ratio of economic impact among small venues (nivassoc.org). Twelve dollars of economic stimulus to hotels, restaurants and shops flooded in for every dollar spent inside the venue. Extrapolate that on a $50 ticket, or a night out for a group of excited fans. The impact is everything.
According to a USA Today article, Johns Hopkins Director of the Master of Bioethics degree program and Research Scholar, Travis Rieder, said there’s serious doubt about live music returning before 2021 and “a shortage of test and lack of vaccine simply make things too risky.” Unfortunately, he continues that “the risk of those events as we would have done them in the past outweighs the benefit of doing them.” Masks, temperature checks and spacing restrictions may not be enough. Is your favorite band or venue worth the risk.
With the music industry on the rise prior to COVID-19, Pollstar predicts a daunting $8.9 billion hit, should quarantine continue and venues remain dark. They go on to state “industry losses could total about $5.2 billion in just missed ticket sales alone,” and not to mention residual impacts on the economy and all of those employed in the box offices, concession stands, parking valet, and so on.
The answer is NOTHING. Nothing will stop us from preserving our life’s work, the concert experience, our art, and all the pieces that work together to keep it alive.
On Thursday, June 18, NIVA made an official statement urging for federal help:
We, the undersigned artists, respectfully submit this letter in support of NIVA’s request for federal assistance for independent music venues and promoters across the United States.
This is no petty petition. Industry giants, artists and celebrities wave an official SOS including: Joel, Eilish, Seinfeld, Gaga, Letterman, Goldberg, Iver, Lauper, Plant, Nelson, Aoki, Mayer, Leno, Weir, Watts…
The irony in their signatures – it merits no value when we are all on lockdown. Something super-fan would unassumingly die for is now a cry for help, for congress to help kickstart the industry back to the creative and thriving outlet it once was, pre COVID-19.
We will continue to fight, support and be the voice for all artists, venues and industry mediums that are struggling. Stay tuned for ‘The Vault,” featuring venue and artist specific coverage on this topic. Please contact NYS Musicso your voice can be heard.
21 year-old pop artist Lexi Mariah has released her new single “SOURPATCH.” Mariah’s music represents emotions of ambition and enthusiasm that are filled with exhilarating sounds of pop.
Music has always been a big part of the pop artist’s life from playing the piano at seven years old to learning how to play ukulele, guitar, and bass all on her own. Ever since Mariah first performed on stage, she discovered her passion for music and began pursuing her music career. She’s been writing her own songs at eight years old and enjoys performing at local bars, and open mics.
Artists such as Cher Lloyd, Taylor Swift, Meghan Trainor, and Alessia Cara have inspired Mariah’s style. Her music incorporates pop elements but isn’t “afraid to be experimental” she says, looking to incorporate other genres into her music.
Her latest single “SOURPATCH” takes a powerful approach and communicates a different message from her previous singles. Mariah says that the song is about “the two different sides of someone’s personality, finding the fine line between the nice and the nasty side.” Her other songs such as “Strange” illustrate the pain and sorrow in losing someone, while “Oh Boy” conveys confidence and perseverance.
As for now, Lexi Mariah has been advocating for the Black Lives Matter Movement and is continuing to write her own songs while quarantining. She hopes to get back to the studio to record music and go on tour once the lockdown is over.
Lexi Mariah describes what she wants her music to represent:
I want a wide range of people of all ages to be able to listen to my music and enjoy it. I want to spread positivity and make uplifting bold empowering music.
The writing was on the wall, and if 1994 didn’t confirm it, 1995 certainly did. And on June 21-22, the Grateful Dead performed their final shows in the state of New York at the Knickerbocker Arena (The Knick) in Albany.
The Dead had performed over 300 shows in New York State alone since their first in 1967, but the last two in Albany would serve as a curtain call for a band that treated the state as a second home, musically speaking. After all the shows and runs at Madison Square Garden, Radio City Music Hall, Fillmore East, Paradise Garden, Capitol Theatre, Nassau Coliseum, Rich Stadium, the Carrier Dome and more, and these would be the finale, even if it was not announced as such.
via JerryGarcia.com
The June 21st show would offer up the final “Row Jimmy,” “Man Smart, Woman Smarter,” “Supplication Jam” and “Morning Dew,” and what a “Morning Dew” this was. Fans were in tears as the ballad played, one fan saying “all difficulties disappeared for a few precious moments and we were all treated to a beautiful, final rendtion from the boys.” Listen or watch the full show below and judge for yourself.
Grateful Dead – The Knick, Albany, NY – June 21, 1995
Set 1: Hell In A Bucket, Loser, Take Me To The River, Row Jimmy, Broken Arrow, Promised Land
Set 2: Scarlet Begonias-> Fire On The Mountain, Women Are Smarter, It’s All Too Much, Playin’ In The Band-> Drums-> Space-> Easy Answers-> Morning Dew
Encore: U.S. Blues
The next night would be the final show in Albany, at The Knick, and in New York State for that matter. The tour would head to Washington, D.C., Auburn Hills, MI, a few more stops in the Midwest before the final show at Soldier Field in Chicago, IL.
via JerryGarcia.com
This show features an incredible “Franklin’s Tower,” clocking in at 18 minutes, a near-record for its final version ever. The final “Help on the Way” and “Slipknot” preceded the set closing jam, as did an emotional “It Must Have Been the Roses.” Early in the second set, “Estimated Prophet” -> “Terrapin Station” combine for 30 minutes followed by 25 minutes of “Drums” and a “Silent Way” jam ahead in “Space.” Final versions of “All Along the Watchtower,” “Black Peter” show up later in the set, with an encore of “I Fought the Law” to close the run.
The Grateful Dead made their mark on the Empire State through nearly 30 years of performances, one that lasts in every corner of the state to this day. Revisit those final shows, 25 years later.
via gratefuldeadoftheday.com
Setlist June 22, 1995
Set 1: Touch Of Gray, Walkin’ Blues, It Must Have Been The Roses, When I Paint My Masterpiece, So Many Roads, The Music Never Stopped Help On The Way-> Slipknot!-> Franklin’s Tower
Set 2: Samba In The Rain, Estimated Prophet-> Terrapin Station-> Drums-> Silent Way Jam-> Space-> All Along The Watchtower-> Black Peter-> Around & Around
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music to discover from up and coming artists. NYS Music will bring you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
No More Death Stars is an indie/punk band from Glens Falls. They are Kevin Cardinale, Gina DiNardo, Eric Rothstein, and Kevin Stephenson. However, singer Kevin C plays all the instruments on this song which he recorded over a 12 hour period while in quarantine. This video features friends who were asked to send in funny videos of themselves listening to the song and all the best clips were selected for the final product.
Jesse is from Schenectady and this represents another side of what he’s been doing. The song features Tim “The Witchdoctor” Brosnan from The 7th Squeeze and Stellar Young on drums, Colin Abele, former bassist of Black Mountain Symphony, on bass. It also showcases the vocal styling of Jesse’s old roommate’s dog, The Dude. And that Dude’s got some pipes.
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.
While the public celebrates Juneteenth in what is now the halfway point of a roller coaster year, it is important to note the true history behind why we celebrate. The day’s significance isn’t to recognize the end of slavery. Rather, June 19, 1865 is the day that federal orders for the emancipation of enslaved Africans were announced. Only, the declaration had been made official nearly two-and-a-half years prior.
With the holiday gaining traction throughout the country, and now a Federal holiday, in 2020 New York City mayor Bill DeBlasio announcing an executive order that recognizes “Juneteenth” as an official city and school holiday. People of African ancestry celebrate our forefathers, yet we remember their pain, endurance and suffering and do not take it for granted.
Black history is American history. Proud to announce that beginning next year, Juneteenth will be an official city and school holiday.
In the same vein, Hip Hop has served as a diary for Black struggle. With a 400-year head start to make up for, many rappers have recognized the need for unity, as well as establishing our own financial footprint in the United States (the same way other races have been allowed to).
So, here is a playlist of songs that motivates us to become the proprietors of our own destiny.
