Bronx Music Heritage Center is bringing viewers the Bronx Blast on their Facebook page. The Bronx Blast are mini-performances that will be presented in front of the Bronx Music Hall. The theater is currently under construction and will be a future home to the Bronx Music Heritage Center.
In July, Martha Zarate and Pilar Maez of Mazarte Dance Company danced to “El gavilancito,” a song from the son jarocho tradition from Veracruz, Mexico. “Jarocho” describes the people and culture of the southern coastal plain of Veracruz. The song, dance and costumes represent the Indigenous, Spanish and African influences on the cultural tradition. Watch the video on Facebook.
For episode two, the Bronx Music Heritage Center brought in Carmelo Soto, Jorge Vazquez, Bobby Sanabria, and Carlos Espada to demonstrate Plena. Plena is one of the traditional forms of music from Puerto Rico, often referred to as the “periódico cantado” or “sung newspaper” as many times the lyrics relate incidents from daily life or commentary on local events. The lyrics to plena was written by Carlos Espada and can be seen below.
Que bien yo me siento, en esta occasión la gran apertura el Bronx Music Hall.
Oyeee, finalmente, les presento yo, este gran proyecto aquí en el Bronx
Y muchos no saben, fue la visión, de Elena Y Bobby, que se construyó
Que viva, que viva, la diversidad, de toda la gente, nuestra hispanidad.
English Translation: How good I feel on this occasion of the grand opening of the Bronx Music Hall.
Finally I present to you this great project here in the Bronx
And many don’t know, it was through Elena and Bobby’s vision that it was built.
Long live the diversity of everyone, our Latino community.
In their latest episode, Nélida Tirado returns home to the neighborhood where she grew up to perform some rumba flamenca in front of the future Bronx Music Hall. Watch the performance here.
Check out NYS Music’s coverage of The Bronx Music Heritage Center’s concert series that occured this past June.
The estate of the late Tom Petty has released the solo demo version of his classic track “Wildflowers (Home Recording).” The video premieres alongside a video featuring never before seen footage of Tom at his home, shot by Martyn Atkins during the recording of Wildflowers.
Thanks to commitment from his family, bandmates and collaborators, many who helped unearth previously unheard gems, help to fulfill Tom’s vision of this project is becoming a reality.
You can pre-order the long-awaited reissue and comprehensive collection Wildflowers & All The Restnow, which will be released on October 16.
Petty Legacy – Adria, Annakim and Dana Petty – shared the following statement upon the announcement of the album’s reissue:
We are so excited to announce that we will finally be releasing Wildflowers and its long anticipated second album All The Rest, Tom’s solo masterpiece and first collaboration with Rick Rubin as co-producer.
Curating this project was a beautiful experience for us. We’re releasing the collection as Tom envisioned along with a number of additions exploring the two year writing and recording process and live performances of songs from Tom and the Heartbreakers over the years.
We found so many incredible unreleased demos, versions of songs, notes, lyrics, and film reels in our archives. We look forward to sharing a number of special goodies with you all.
In this intimidating endeavor we continued to work alongside Tom’s trusted bandmates and team: Mike Campbell, Benmont Tench, Rick Rubin and Ryan Ulyate as well as Mary Klauzer and Alan “Bugs” Weidel, to lovingly curate each disc and keep it as close to what we believe “rings true” to what Tom would have wanted. We are so grateful to them for their unique knowledge. We hope you find joy and inspiration in this music and the magical world Tom created.
We are honored to steward the warmth he shared through his music and relationship with fans.
We hope you find it uplifting and love it as much as we do.
Located in Manhattan’s West Village on Barrow Street, Cafe Bohemia originally opened in 1955 and is an historic landmark and jazz club. Frequented by music legends the likes of Miles Davis, Charles Mingus, Canonball Adderley and many others, the venue closed in 1960, and was revived at its original location in October 2019.
One notable story about Cafe Bohemia comes from June 19, 1955, when Julian and Nat Adderley arrived in New York on a trip as Julian was to work on his Master’s Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, the house band at the time. The night would prove to be a turning point in Nat’s career.
Jerome Richardson, the group’s regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse – who was in the audience – if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn.
Instead, Rouse asked “Cannonball” Adderley if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene, and on June 21 he played his first official show at Cafe Bohemia. By October 1957, he was a member of the Miles Davis Sextet.
More recently, the late Eddy Davis (banjo), Conal Fowkes (bass, vocals), Jon-Erik Kellso (trumpet) and Evan Arntzen (tenor saxophone) performed “My Monday Date?,” by Earl Hines, on December 26, 2019. Video performances below are available thanks to Michael Steinman for his blog JAZZ LIVES.
Watch Eddy Davis and friends – Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet) and Conal Fowkes (string bass) – pay tribute to the great Jelly Roll Morton with “Good Old New York.”
“The Intimacy of the Blues,” is a haunting piece composed by Billy Strayhorn and an album of the same name for Duke Ellington. Performing at Cafe Bohemia on November 14, 2019, JAZZ LIVES shares video of this pre-Thanksgiving performance in Greenwich Village by Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet), Neal Miner (string bass,) and Chris Flory (guitar).
On February 6, 2020, Mara Kaye was joined by friends and musical family Tim McNalley (guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass).
Mara Kaye is joined this time for “Me and MY Chauffeur” by Tim McNalley, (guitar), Albanie Falletta (resonator guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass).
From January 16, 2020, “A Shanty in Old Shanty Town” features Tal Ronen (string bass), Matt Munisteri (guitar), John Allred (trombone), and Jon-Erik Kellso (trumpet). “In a Shanty in Old Shanty Town,” written by Ira Schuster and Jack Little with lyrics by Joe Young, was published in 1932. Ted Lewis and His Band performed it in the film The Crooner in 1932. His version was later released as a single and it went to #1, where it remained for 10 weeks.
Although the Grateful Dead‘s track record with New York State is vast and varied, there’s one borough in particular that doesn’t get much love. And that’s The Bronx. Mainly because there’s only one show that was truly ever played there – Gaelic Park on August, 26 1971.
stub courtesy of Wayne Eichen
The performance is billed as a two-set show that really plays as three. A noticeably extended first set showcases some of the band’s newer original songs at time blended with a flurry of classic cover selections. Included in all this is a song the Dead would only play twice ever. And as for historical significance, this would be the last show featuring only the five founding members of the band. Seemingly aware of this, they collectively deliver a show for the ages that more than aptly serves as a figurative “passing of the torch” from one era to another.
This show opens with a crisp yet standard version of “Bertha,” a Dead original still in its nascent stages at the time. The early wave of originals would continue with a “Playin’ In The Band” that had just made its debut earlier this year at The Captiol Theatre in nearby Port Chester. Even though this would be a regular selection at Grateful Dead shows for years to come, seeing it so early in the first set like this is a verifiable treat.
Pigpen gets his first chance to shine on vocals with a first set “Mr. Charlie,” another new song that debuted just last month. Even though he was beginning to take on a lesser role in the band by this point in time, Pig’s vocals are effusive and strong throughout this recording. This would be the last show before Keith Godchaux joined the band and assumed keyboard duties. So, fittingly, they give Pigpen plenty of the spotlight at this show and he takes it and runs with it.
The run on cover songs then begins with “El Paso,” a country-western ballad by Marty Robbins, sung smoothly by rhythm guitarist Bob Weir. “Big Boss Man” follows, a longtime Dead cover that was originally recorded by Jimmy Reed in 1960 and later popularized by Elvis in 1967. This gives Pigpen the chance to lead again and his blues-infused vocals ring loud and true throughout this one.
This first set also features a typically stirring “Hard to Handle,” the Otis Redding tune that was one of staples of the Pigpen songbook and, perhaps, his signature song. Aside from a mild snafu with the recording, this version is terrific and sees the band fully locked in during an escalating funk-like jam before Pigpen’s wailing vocals reenter. Sung with all of the soul and swagger he would always bring to this song, sadly, this would be the last one ever played with him on stage.
The set could have ended right there and few would take issue, but instead the band continues to motor on with “Beat It On Down The Line,” yet another cover. Jerry Garcia then takes the reigns courtesy of “Loser” and his customary hauntingly beautiful guitar solo that goes with it.
Courtesy of Bronx Music Heritage Center
Soon after is one of the true gems of this show – the second and final performance ever of “Empty Pages,” a song written and sang by Ronald “Pigpen” McKernan himself. It pairs his traditional crooning style with a slow blues jam that’s nicely peppered with fiery guitar licks from Garcia. It’s a true rarity and a shame that the band wouldn’t be able to further develop this one.
The other first set highlight immediately follows with a smoking cover of The Rascals’ “Good Lovin’.” Pigpen remains strong on lead vocals as both he and the band get into some heavy improvisation on this one. Only the Dead can take a three-minute pop song like this and stretch it out to an almost ten-minute psychedelic journey.
They had such a fun time playing the first set that the second one begins with a rare “Me and My Uncle” placement, as if to keep the opening vibes going strong. Immediately afterwards, reality sets in with a joyous “China Cat Sunflower” that soon effortlessly blends into to its traditional running partner, “I Know You Rider.” Bassist Phil Lesh, turned up particularly high in this mix, gets his turn to show off as he steers the band through the seamless transition.
There would be no extended “Drums” section this evening. Instead, the band collectively rips into the opening of “The Other One,” fueled predominately by drummer Bill Kreutzmann. After a rip-roaring opening sequence, the jam composition quickly devolves into a meeting of the minds between Garcia and the rhythm section. Seemingly out of the blue, Weir interjects with his vocals right on point and the song is off and running.
For a quality listen to the transition into the opening of “The Other One,” alongside some backstage photos, check out this great video courtesy of Sam Cutler, one of the band’s early tour managers:
The powerhouse second set continues with a tidy version of “Uncle John’s Band” and one of the last performances of “Saint Stephen” before it would be shelved for nearly five years and rearranged. The jam progresses into something that almost resembles “The Eleven” before immediately settling back down into the ending of “Saint Stephen.”
And then, right on cue, the rhythm section is back in action with the opening drumbeat of “Not Fade Away,” a Buddy Holly cover that the band had completely appropriated at this point in time. The Dead take one last swing and develop a passionate collective effort that once again flows right into “Goin’ Down The Road Feeling’ Bad” without batting an eye.
This closing sequence serves as the cap to a phenomenal show that’s rich in both quality and legacy significance. It can be argued that the end of the Pigpen Era happened here. Amazingly, the only time the Grateful Dead would ever grace the “Boogie Down” Bronx. But talk about making the most of a single opportunity.
Set 1: Bertha, Playing In The Band, Mr. Charlie, Sugaree, El Paso, Big Boss Man, Big Railroad Blues, Hard To Handle, Beat It On Down The Line, Loser, Sugar Magnolia, Empty Pages, Good Lovin’, Casey Jones
Set 2: Me And My Uncle, China Cat Sunflower -> I Know You Rider, Deal, Cumberland Blues, Truckin’ -> Drums -> The Other One, Next Time You See Me, Me And Bobby McGee, Uncle John’s Band, Saint Stephen -> Not Fade Away -> Goin’ Down The Road Feeling Bad -> Not Fade Away
For headliners Iron Maiden, this was the ‘World Piece’ tour, supporting fourth album Piece of Mind. Posters for this gig at Glens Falls Civic Center on August 23, 1983, labeled the show as “The British Metal Onslaught,” which made more sense in weeks preceding the show, when the bill had been Brits Iron Maiden and Saxon, with Fastway opening. By the time of this show, Saxon had left the tour, and while Iron Maiden are the quintessential British metal band, Fastway were half-British, half-Irish, and Coney Hatch were from Canada.
Opening band Coney Hatch were cool – they got a good reaction from the crowd, but outside of their native Canada they were not well-known, and this may have been their only visit to New York State.
Fastway were great – the song “Say What You Will” was all over the radio at this time. Their then-current first album rocked and of course the band featured guitarist Fast Eddie Clarke from Motorhead, drummer Jerry Shirley from Humble Pie, bassist Charlie McKracken from Rory Gallagher’s Irish trio TASTE, and then-teenaged Irish singer Dave King, who would go on years later (and still currently does) front Irish punk powerhouse Flogging Molly.
Fastway were excellent but Maiden were the kings that night. How can you argue with “Where Eagles Dare,” “Sanctuary” and “Wrathchild” as the first 3 songs? They were at their peak, playing like heroes and were greeted as such by the sold-out Glens Falls crowd.
Highlights included when a giant lobotomized version of Maiden mascot Eddie invaded the stage during “Iron Maiden,” and when Bruce Dickinson made a long speech dissing author Frank Herbert before “To Tame A Land.” The band had asked permission to title the song “Dune,” after Herbert’s sci-fi novel, but the author had said no, and Bruce, as reward, got the entire crowd to chant “Fuck Frank Herbert.” The band played a many Piece of Mind songs – an album which has aged pretty well, lo these almost 40 years since. The encore was then-hit “Run To The Hills,” and this was the last tour they played ‘Killers’-era classic “Drifter” (and the “eyo, eyo, eyo” sing-along), which ended the show.
Setlist: Intro/Where Eagles Dare, Sanctuary, Wrathchild, The Trooper, Revelations, Flight of Icarus, Die With Your Boots On, 22 Acacia Avenue, The Number of the Beast, To Tame a Land/solos, Phantom of the Opera, Hallowed Be Thy Name, Iron Maiden
Grammy award-winning music producer and lauded field-recording trailblazer Ian Brennan will release his most personal album to date featuring the Sheltered Workshop Singers’ debut album, “Who You Calling Slow?”, on Friday, September 18.
Brennan is renowned for scouring the world in musically underrepresented regions to document singers in an uninhibited, authentic fashion. His most acclaimed recordings include artists such as Tinariwen, Zomba Prison Project, and Malawi Mouse Boys. Brennan’s latest project “Who You Calling Slow?” brings him closest to home as he collaborates for the first time with his older sister, Jane — who has Down syndrome — along with her fellow workshop companions at a Bay Area adult-care facility.
With Brennan’s father on hand for this cherished experience as he battled stage-four cancer (and ultimately passed just two months after the recording was complete), an unparalleled recording session took place that the world now has the privilege to hear. A diverse group of over 20 people participated in “Who You Calling Slow?,” ranging in age from early-twenties to sixties. Many of them had disabilities and no one had sung before into a microphone or attempted to play a stringed instrument.
While Brennan enters each recording project prepared notto release it, a moment of miraculous epiphany came to light when Janet began singing “I’m not afraid of anything” from her wheelchair. The album expresses the hurt, love, and bravery of these sheltered workshop companions.
Speaking about “Who You Calling Slow?” Brennan shares how his sister inspired him to make this album:
Growing up, I’d witnessed my sister’s discomfort — eyes steered down sideways and hard, unable to contain her oversized tongue due to the shame — too many times to not remain vigilant and braced for a lifetime. I had little option but to make the right choice: to always side with those marginalized. Jane was diagnosed as ‘severely retarded,’ just one step above the lowest denomination of catatonic and mute. Our main connection was through music — joy expressed through dance, sadness and longing with melody. As her level of functioning has begun to diminish markedly in recent years, I knew the time was now or never to capture moments where music speaks volumes.
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Cassandra Kubinski, Hamilton Craig, Lucas Neil, and many more!
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. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
This Saratoga Springs artist has quite the impressive resume. This song was produced by Chris Sclafani who was an engineer on hit songs by Ed Sheeran, Selena Gomez, and Gwen Stefani. She’s recorded and/or performed with the Goo Goo Dolls, 10,000 Maniacs, Jull Sobule, Dickie Betts, and many others. Her songs have been used in ABC, NBC, and Lifetime shows including Dance Moms where her music was used 13 times while helping to raise tens of thousands of dollars for causes like Autism support and pet rescue. Oh, and here’s what Billy Joel has to say about Casandra.
Cassandra Kubinski is very similar to the singer/songwriters of the late 70’s…proves that the genre (singer/songwriter) can still be transcendent.
Billy Joel
The official music video for “Stardust” was shot in Boulder, CO in July and is expected to be released in September.
This singer/songwriter is from Shushan, NY and has played mainly in the Troy small venue and house show scene. He draws inspiration from “outsider music, the eccentric and naïve stylings of fringe figures excluded from the musical mainstream. He tries to inject the free-spirited ethos of such musical mavericks as Wesley Willis and Daniel Johnston into a more accessible pop format.” Be on the lookout for his new EP, recorded with Rick Spataro of Florist, which should be out by the end of this month.
Lucas Neil – “Wild Winds”
He is a 23 year old independent musician who is currently living the van life in Rhode Island. He grew up in Saratoga Springs, New York and is the son of Jeffrey Johnson who was the drummer of a group called The Make who toured along the east coast through the mid to late eighties. Lucas believes The Make first got radio play on WEQX. If so, he says it’s fun to follow in his dad’s footsteps. If not, it’s probably fun anyway. Regardless of whether or not his dad got played on EQX first, keep an ear out because he says the best is yet to come.
Jammcard — a social marketplace for music professionals — along with Black Lives Matter co-founder Patrisse Cullors, partnered up earlier this summer to present the Black Power Live virtual music festival. Musicians including Terrence Martin, Kamasi Washington and Denzel Curry took part in the event, which gathered 1.7 million viewers via live stream on Twitch. Now they are releasing the powerful three-movement “Racism on Trial.”
Black Power Live was centered around the current social-political climate, with police brutality, systematic oppression and black empowerment being focus points. Each part of “Racism on Trial” begins with a slam poetry type of setting where Florida rapper Denzel Curry recites his work, accompanied by a jazz ensemble.
“Racism on Trial” follows Martin’s recent album Gray Area – Live at the JammJam, featuring the song “For Free?,” which Terrance wrote with Kendrick Lamar. The album was released on Jammcard Music in partnership with Sounds of Crenshaw and Empire Distribution. Recorded at Studio A of United Recording, packed with 300 Jammcard members surrounding the performers, the album is filled with some of the most exciting and powerful jazz music created in years. The performance features Ronald Bruner Jr., Kamasi Washington, Maurice “Mobetta” Brown, Ben Wendel, Paul Cornish, and Joshua Crumbly.
All proceeds from “Racism on Trial”will go to Crenshaw Dairy Mart, Trap Heals, Transgender Law Center, Sankofa.org, and Black Men Build.
The first movement, titled “The Voice of King Nipsey,” begins as Curry walks up to the mic and performs his verse in silence. He starts by articulating all variety of horrid things that happen in the United States. After he is finished, a Terrence Martin saxophone solo follows with Kamasi Washington and the rest of the band later joining in.
For the second movement, “Any Day Could be Your Last,” we again see Denzel opening up with a poem without the aid of background music, as he descriptively lists things he wants out of life. He ends his poem with the title of the feature, with the band once again following up, only this time, on a more somber note, with added vocals from Los Angeles singer, Alex Isley. Her vocals meshing with the jazz music, as well as added visuals of scenes from the civil rights movement.
The third movement, “Pig Feet,” being the last installment once again begins with Denzel Curry but without a poem, just an intro. The band immediately starts playing and more visuals of police brutality through the years get run throughout the concert. Denzel Curry does end up rapping with the band as his background beats and he is joined by battle rappers Daylyte and G Perico.
Written by the trio of Terrence Martin, Kamasi Washington and Denzel Curry, Racism on Trialwas directed by Devin DeHaven, mixed by Manny Marroquin and engineered by Ethan Mates. Denzel Curry, Daylyte, G Perico and Alex Isley served as vocalists, while Kamasi Washington played saxophone, Marlon Williams the guitar. Terrence Martin, Robert Glasper, Paul Cornish played the keys, Trevor Lawrence Jr. and Jonathan Pinson were on the drums, Allakoi Peete on percussion, Dominique Sanders on upper brass, Paul Cartwright and Yvette Devereaux played the violin, Molly Rogers on the viola and Peter Jacobson on the cello.
All proceeds from the sale of “Racism on Trial” will go to Crenshaw Dairy Mart, Trap Heals, Transgender Law Center, Sankofa.org, and Black Men Build.
Brooklyn-based musical duo Drug Couple has released their sophomore EP Choose Your Own Apocalypse via Papercup. The EP draws inspiration from classic rock greats, like the Rolling Stones, Liz Phair, and REM, exploring finding that someone special to spend the end of times with.
A real life couple, as well as creative duo, Drug Couple’s music showcases the ongoing dialogue they’re engaged in, and the spirit of deep collaboration that colors their songwriting as well as their lives at home together. The pair released their debut EP Little Hits in November of 2019, establishing their unique brand of “off-kilter indie” (The Deli).
Their sophomore EP, Choose Your Own Apocalypse, is a collection of songs about finding someone special to share the end-times with. They started writing and recording the EP back in the summer of 2016, as events were leading up to the election of Donald Trump. Drug Couple decided to make an album based around the concept of falling in love mid-apocalypse without fully realizing that’s exactly what they were doing.
A meditation on the idea of holding on tight to love during the worst of times, the album (as well as their recently released single “Protest Song”) proved to be oddly prescient, written long before 2020 turned out to be one of the scariest and most trying years in recent memory. Drug Couple hopes that their clairvoyance wasn’t causal, though they’d be lying if they said they didn’t feel partially responsible for the disintegration of the very fabric of our society.
And now for something completely different. Two New York-based guitarists, Harvey Valdes and Álvaro Domene, come together for an ear-opening album of nine deliciously deviant duets. It’s an ever-evolving, sonic tornado that is part free jazz, ambient somatic, mournful acousticity, industrial noise and the most searing, dark brand of heavy metal thunder – Nueva Guitarra.
Madrid-born, Kingston-based Álvaro Domene is not only a most formidable and original guitarist; he’s a tireless advocate for the creative music scene in the Hudson Valley and beyond. His Singularity Concert Series has brought many renowned musicians like guitarists Ben Monder and Elliot Sharp for intimate performances at his Kingston loft. Since 2013, his co-owned Iluso Records has released over two dozen discs featuring some of the most fearlessly composed and improvised music you’d even want to spin. As with this album, Domene continues his habit of keeping some heavy company, recording and performing regularly with the likes of Joe McPhee, Karl Berger, Henry Kaiser, Ches Smith, Michael Bisio, Billy Martin and many more.
Like Domene, Brooklyn-based Harvey Valdes is another guitarist (and oud master too!) for whom genre boundaries have little meaning. His three solo albums have encompassed the radical reshaping of jazz standards (“Roundabout”), Mahavishnu-esque jazz fusion fury meets math rock (“PointCounterPoint”) and the 18 concise solo guitar compositions of his latest, “Solitude Intones Its Echo,” mixed and mastered by sonic guitar innovator David Torn (David Bowie).
“Nueva Guitarra” is not designed for the faint of heart and that’s a very good thing.
The duo make their uncompromising and delightfully madcap intentions known in the album opener, “A Crooked Odyssey.” It’s a sonic assault of tapping, looping, glissandos, drones, whammy dives and frizzled corrupted guitar signalry, a mad ride to the mountain top that only let’s up with a soothing ambient cloud appearing in the last 45 seconds of the six-minute outing.
The best place to start your listening might be with the two solo pieces, which showcase the players’ varied approaches and signature sounds.
Valdes’ “Zealous Reflections” is a chord and melody exploration, with close voiced dissonances alternating with pleasant resolutions that he lets ring out. “Biomimicry” is Álvaro Domene swinging for the fences. It’s all quicksilver, speeded up melodies over noisy pads, loops and thumps, over under upside down signals, otherworldly whammy bar and harmonizer torture. A noise jazz industrial racket of the highest order, from the bastard son of Buckethead and Albert Ayler.
My personal favorites, and maybe the easiest for the noise jazz newbie to dip into, are “Lady Dog Night Terror” and the album closer, “The Sophist Pundit.”
“Lady Dog Night Terror” emerges quietly from the darkness. Its deep warm volume swells from Domene’s rise to surround and complement Valdes’ clean chording and single note lines. Slowly, the dissonance in the melody and backdrop increases. It gets symphonic and fuzz laden, then slowly slips away just after the four minute mark.
https://youtu.be/p0idBsB0z6Q
With “The Sophist Pundit,” the duo saved the best for last. This is a summary statement of all the ideas set before, spread over nearly nine and a half minutes of guitar hellacious.
The track begins with stutter stop phrases looped to create a variable pulse, over which the duo improvise jagged lines. It just gets more intense as it goes on, with the duo creating a wall of feedback looped upon feedback, punctured by siren calls and squeals designed to melt your preconceived notions of what guitars can do.
All musicians have been hit by COVID-19, but not many have as hard as Domene. He battled the ailment all through the spring, but still managed to ready this and other collections for release.
If you want to do a good deed for music kind, and vastly widen your own appreciation of music and the creative possibilities still left in the guitar, download this uncompromising disc.
Key Tracks: Lady Dog Night Terror, The Sophist Pundit, Biomimicry
