Wu Tang Clan released “Hi,” a new single alongside Texas, on Tuesday, December 1.
Recognized as one of the pioneers of the grimy, raw, hard-nosed sound, Wu Tang Clan’s status as international stars is not to be underestimated. They were synonymous with New York for almost three-decades. Their reputation as one of the most influential factions in Hip Hop history has seen their popularity soar in nations throughout the world, one being Scotland.
It was February 9, 1998, when Clan members Method Man and RZA joined Scottish pop-rock outfit, Texas, on stage at the Brit Awards in London. The two factions were performing the remix to the latter’s top 10 UK charting single, “Say What you Want.” Now, over twenty years later, the two groups have collaborated on another trans-cultural record, “Hi.”
Featuring RZA, Ghostface Killah and with vocals from Sharleen Spiteri, the record came about during RZA’s time in Glasgow. Whilst the Clan head honcho was filming a documentary, he connected with Spiteri and subsequently contributed a verse the Wu Tang Clan track, “Hi.”
A fast-paced alternative record, the music video opens up with Top Boy actor, Kadeem Ramsay, watching footage of their iconic performance at the Brit Awards. The television then segues into a more recent interview between RZA and Spiteri in which they discuss their yearn to work together again. Ramsay’s character is a super-fan of the two groups, as his room is filled with posters, memorabilia, as well as a shirt with a picture from the 1998 Brit Awards plastered on it.
Throughout the Wu Tang Clan “Hi” music video, he is seen performing routine tasks such as; picking out an outfit, driving his car and getting a tattoo. It is revealed that he kidnapped Spiteri in an attempt to get the two groups to collaborate once again. Spiteri responds by facetiming RZA, and after a short conversation, he obliges to the request. Spiteri and Ramsay then share a smoke, as she lightly ridicules his poor attempt at tying her up.
Spotify and NIVA (National Independent Venue Association) announced their partnership on Spotifiy’s annual Wrapped Campaign to help preserve independent stages across the United States on December 1, 2020.
Photo Courtesy of NIVA/Spotify.
The annual Spotify/NIVA Wrapped Campaign unveiled the top artists, albums, songs, playlists and podcasts that more than 320 million people around the world listened to and discovered audio this year. This year’s Wrapped Campaign will be a little different. Spotify will be in partnership with NIVA this year trying to bring light to the detrimental state live independent venues are experiencing due to the COVID-19 pandemic.
Photo Courtesy of NIVA/Spotify.
Stephen Sternshein, co-founder / treasurer of NIVA, and managing partner of Heard Presents in Austin spoke on the partnership saying, “As 2020 draws to a close, the live music industry enters month nine of no shows, no income, no federal support, and ever-mounting debts. Music is what connects us all – as Spotify shows us, it’s what helped our friends, our families and our communities get through this tumultuous year.”
Photo Courtesy of NIVA/Spotify.
Spotify is attempting to help support these independent venues by trying to shine a light on their plight by taking over space on the marquees of more than 30 COVID-shuttered music venues and donating a total of $500,000 to those stages and the NIVA Emergency Relief Fund. So far the announced artist and venue and artist pairs include Alicia Keys at the Riverside Theater, Milwaukee, Wisconsin, Lady Gaga at the The Ritz Ybor in Tampa Florida, Childish Gambino at the The Aladdin in Portland, Oregon, The Weeknd at the The Orange Peel, in Asheville, Tennessee, and Jessie Ware at the Center Stage, in Atlanta Georgia. The partnership will be rolled out across the next few weeks announcing more artists and venues.
Photo Courtesy of NIVA/Spotify.
“In a year that has taken on so many twists and turns, a first reaction might be to look forward and forget the challenging times. However, that would discount all of the amazing work that creators, fans, venues and activists have poured their hearts into this year,” said Dan Brill, Global Group Creative Director at Spotify. “That’s why, instead of turning our backs on 2020, we wanted to give our appreciation for those who gave us hope — the people who, despite challenging circumstances, found ways to infuse magic into our world and give us hope for a better tomorrow.”
Photo Courtesy of NIVA/Spotify.
For more information on NIVA and their mission with Save Our Stages visit their website.
DIE the Monk is a music alias that explores the macro imperfections of the worlds porous skin. In his latest release, The Beauty Complex, the post-rap artist turns a musical effort emotive. Thus, dissecting brash human composition in real time.
London born, Sebastien Carnot, deems the stage as his battleground, “where the enemy of the past meets the savior of self-preservation.” Likewise storytelling through dramatized musical ideas and industrial sounds are the essential elements to his craft. The Beauty Complex surely isn’t everyones spot of tea, but the inter-workings of the album shed light on modern warfare in the likes of self-destruction and social [media] evolution.
The Beauty Complex album art. Released Nov. 19, 2020.
Carnot pursued the DIE the Monk persona in 2018 when he felt the urge to express energy outwards and publicize his secrets. The realization becomes apparent through The Beauty Complex: that we are all Monks, stewing on our own thoughts for better or for worse.
I was aiming to create a dancy album full of industrial noises. Messages in this album surround feelings of concern for: self-preservation, mindlessness, over-thinking, and listening to your gut.
The 9-track DIY opens with “The Void,” a ghoulish opera that crosses the threshold of your inner black hole. With no hope of return, the monk’s musical tinure holds true to the genres dystopian harmony. Immense reverb, choir like voices and a seemingly subconscious conversation drives the listener indefinitely inward.
“Driver,” may have suited as a better opener, as it sucks you into a heavy trance. Envision London’s late night, underground dance tunnel thriving through all hours, until the explodes into a fountaining half-time.
Point blank song titles provoke emotion in its purest form. “Timid” takes on a mystical intro. Opening with heavenly exploration, the music weaves into a darker reality of ones insecurities. Off-the cuff raps leave hints of social media and Instagram complexes, but in monk’s reply “I’m not a pretty picture.” None of us are.
Influenced by artists like Shabazz Palaces, JPEGMAFIA, Xiu Xiu, and Macula Dog, DIE the Monk has carved an underground vibe that transcends pop-up backyard and basement shows. In 2018 DIE the Monk released his debut album, Privacy, filled with drama and dark underlying tones. In the last year a follow up album, Deep End, captured a love disaster, where on his third effort DIE the Monk states “The Beauty Complex is just the beginning.”
The Beauty Complex is surely an acquired taste, yet worth the exploration in its musical and social exploration. The driving and infinite electronic colours will keep the listener entwined. No “Pressure.”
Los Lobos will perform “Still Home for the Holidays,” a live stream from the legendary Belly Up Tavern in Solana Beach, CA on Friday, December 11, starting at 7pm PST (10pm EST).
A themed stream to celebrate the holidays, Los Lobos fans can purchase a virtually interactive experience with the band before they hit the stage. Tickets and more information are available here.
A Chicano rock n roll band whose members hail from East Los Angeles, the group’s longevity over the last five decades is remarkable, having formed in 1973 and amassed a strong following and reputation for stand out live performances.
Rhino Records approached Los Lobos in spring 2019 to record a Latin Christmas album, leading saxophonist Steve Berlin to resesarch Spanish-language holiday songs for the album.
Llegó Navidad, which translates to “Christmas in here,” is the first holiday release from Los Lobos in their career of mixing rock n roll with blues, folk, soul and traditional Mexican music. The bilingual collection of songs from across Latin America and the U.S begins with an obscure novelty hit that was once popular in Latino households in the Southwest, “¿Dónde Está Santa Claus?”
According to NPR, title track “Llegó Navidad,” is a classic from the Fania Records catalog originally performed by the Puerto Rican composer and singer Ismael Rivera. The David Hidalgo and Louie Perez original “Christmas and You” is a ballad of loss, and closes with a scorcher in “It’s Christmas Time In Texas,” a song by Tex- Mex troubadour Freddy Fender.
In 2019, the band was able to tour later in the year in support of the release, so this year they’ll remain in Southern California to stream the event live to a wider audience than ever before. They’ve performed across New York State regularly when they are on the road, with performances at The Egg, The Capitol Theatre, and recently, the Performing Arts Center in Homer.
Skyfoot is back to cure your quarantine blues with their fourth album, Astronomy Man. This four-piece band from Boston has firmly established themselves in the Northeast music scene over the last decade, playing hundreds of shows and being named “Best In State” at the 2019 New England Music Awards. Skyfoot recorded this album this past winter and spring and thanks to a successful Indiegogo campaign, Astronomy Man was released on November 2nd.
The eleven tracks on this album shimmy through a number of different genres and feature tremendous psychedelic and funky jams from start to finish. Starting things off is “What’cha Gonna Do,” an upbeat, soaring opener with a catchy chorus. The track culminates in an incredible jam combining Tyler Arnott’s fantastic guitar work with Eric McEwen’s beautiful organ playing. The opening slide guitar in “Follow Me Down” will immediately perk your ears as Aaron Morey’s drum beat kicks in, invoking a cross between a steam engine crossing the plains and a lone cowboy on horseback.
Astronomy Man also features a bunch of longer tracks that allow the members of Skyfoot to explore the space in your living room. “Take Time” is a toe-tappin’ ditty featuring a beautiful dance between banjo and keys before morphing into a kaleidoscopic puddle of a jam. James Taylor’s bass oozes funk during “Everybody Have a Good Time Tonight” and if you close your eyes during this track, you’d swear you were shoulder to shoulder with your best friends at a show. The title track is the quirkiest and catchiest song on the album, but features a shredding guitar solo before skyrocketing into the interstellar. This album takes you on a stellar journey from start to finish, ending with the angelically prismatic “Spoke.”
Skyfoot was able to do something really wonderful with this record. They used every bit of aural space within 67 minutes to pack a mind-bending amount of music into these eleven tracks. This is a band truly worth traveling to see once we are blessed with live music again. Check out Astronomy Man on Spotify, Apple Music and YouTube or visit the Skyfoot Store to purchase the album.
Key Tracks: Everybody Have a Good Time Tonight, What’cha Gonna Do, Lovin’ Kind
Indie-Jam darlings Goosereturned to South Farms for their Halloween shows, held November 6 and 7. The week delay was due in part to the torrential rain that hit the Northeast in the last days of October, causing the ground to be too soft for vehicles to enter in Morris, CT. Fans didn’t seem to mind. Celebrating a week late, and turned out in costumes, they were ready for one final dose of Goose Drive-In shows.
The shows brought out fans, good jams and a couple debuts from Goose. In the first set of Friday night’s show, “It Burns Within” was busted out for the first time since 2014. The second set saw the debut of pre-Goose band Vasudo’s “Empress of Organos,” which segued into a cover of The Band’s “Don’t Do It,” a fan favorite. Later in the same set, the new “Earthling or Alien” debuted, with pro-shot footage released from the set.
Setlist: Goose at South Farms, Morris, CT – Friday, November 6, 2020
Set 1: Lily’s Tiger > Butter Rum, The Whales, It Burns Within, All I Need > Secret Agent Man, Into the Myst Set 2: Empress of Organos* > Don’t Do It, Creatures > Honeybee, Your Ocean, Earthling or Alien?^, Yeti Encore: Ghostbusters Rap *First Time Played ^debut
Saturday was ‘Halloween’ for fans, with costumes galore and the final show for Goose this Drive-In season. A theme of ‘Donnie Darko at The Farms’ reflected on the 2001 cult-hit Donnie Darko, with band members wearing costumes related to the movie – Ric Mitarotonda in the title character’s skeleton costume and Trevor Weeks playing the role of Darko’s imaginary rabbit friend, Frank.
Debuts were on tap throughout the night, with an apropos cover of Echo & The Bunnymen’s “The Killing Moon” hitting on the Halloween and Donnie Darko theme to start the night. Two bands from the 80s and 90s were found at the end of Set one and start of Set two, with Tears for Fears “Head Over Heels” and Duran Duran’s “Notorious,” respectively. Original pairing “Seekers on the Ridge pt. 1” > “Seekers on the Ridge pt. 2” came in the middle of Set two, ahead of the ever popular “Hot Tea” and “Wysteria Lane.” A little more Tears for Fears came in the form of “Mad World” to wrap up the themed affair.
Setlist: Goose at South Farms, Morris, CT – Saturday, November 7, 2020
Set 1: The Killing Moon*, Arrow, Doobie Song, Slow Ready, Jive 1 > Jive Lee, Head Over Heels*
Set 2: Notorious*, Tumble, Seekers on the Ridge pt. 1* > Seekers on the Ridge pt. 2*, Hot Tea, Wysteria Lane> Head Over Heels Reprise
It was the night after Halloween in Sussex, NJ. All who dared to traverse the wind and rain were met with a field of mud and fans. Twiddle got New Jersey Slipping’ brought the heat to their last drive-in show, this past Sunday November 1 at the Sussex County Fairgrounds. This show featured high energy and dynamic jams throughout both sets. Highlights included a monstrous Gatsby The Great > Slippin’ In The Kitchen > Gatsby The Great in the first set, an incredible Cabbage Face in the second set, and a roaring Juggernaut encore.
Twiddle at the Sussex Fairgrounds Drive In
The line of cars leading up to the show looked intimidating, but cars were being moved to their spots quickly and with ease. Social distancing was enforced and masks were widespread, minimal panic. Goes to show that live music events, even though reminiscent of a futuristic, dystopian, post apocalyptic scenario… can be done safely and successfully.
Lights by Herm Lights
It was raining all day and some at the show. After the sun went down it felt freezing. During a wet, cold night like this it’s vital that the band ‘bring the heat’ to get the crowd moving. In a situation like that, if the music is slow and not captivating people will leave because it’s uncomfortable to stand outside. But if it’s thumping and everyone’s dancing, you bet they’re going to stay.
Ryan Dempsey takes a rare keytar solo
Twiddle brought it. Dynamic, bass heavy, shredding, face melting goodness, no kumbaya sing songy b.s… Okay maybe one “When it Rains It Pours,” but that one’s so catchy and appropriate for the night that we’ll let it slide.
We’re not in Vermont anymore
The first set started out with Polluted Beauty, some positivity to lift the spirits and get the crowd going. Then the monstrous Gatsby The Great >Slippin’ In The Kitchen > Gatsby The Great which took up most of the first set, weaving in and out of intricate grooves. “Syncopated Healing” closed up the killer first set.
Mihali x3
Set two featured the popular “When It Rains It Pours,” a monstrous “Cabbage Face,” and “Frankenfoote” to close up the set. Set two featured a wider variety of songs and grooves. Ryan Dempsey took a key-tar solo, got up on his chair to play with his foot, and threw a pumpkin at the crowd which masterfully bounced on the rail and missed anyone around.
Brook Jordan shining
Twiddle put on an incredible show; their fans were screaming for more. They return with a hard rocking “Juggernaut” encore to close up the show.
Twiddle New Jersey “Juggernaut” encore
My car neighbors mentioned they’ve seen Twiddle twice before and it got me thinking: I’ve been spoiled to see and shoot this band all around the states for over five years now. And I must say that I’ve always like the band, but after this show I think I’m a true fan.
You gotta like apples, man
Twiddle at Sussex County Fairgrounds 11/1/20
Set 1:
Polluted Beauty
Gatsby The Great >Slippin’ In The Kitchen > Gatsby The Great
Buffalo jam stars moe. took to the stage in Yarmouth, Massachusetts on Cape Cod this past weekend for the middle two nights of their four-night New England run. Nearly seven months have passed since their last pre-Covid performance in Atlantic City, with a planned pair of drive-in shows in upstate New York unexpectedly cancelled mere days before the performance. It was clear early on that moe. was eager to shake the cobwebs off and play for a live audience.
The Yarmouth Drive-In, though spacious and very well organized, has the drawback of lacking a PA system, which seemed to sway some of the opinions of prospective attendees in the weeks leading up to the show. The venue used an FM transmitter to deliver sound to the patrons, who either used battery-powered radios or their own car radios to dance in their private cordoned-off suites.
In a few instances, moe. fans at Yarmouth were seen lugging in their own PA systems, which they would mic up to a radio and supply loud, clean sound to their neighbors. Security was ever-present, making sure people were following the mask mandate and other safety protocols, while maintaining a friendly rapport with the fans.
https://www.youtube.com/watch?v=MuJHhNPCkAY
On night one, the boys took the stage promptly at 7 o’clock and opened with a speedy and energetic “Threw it all Away,” with their anthemic “Plane Crash” following close on its heels. Then, moe. went into some exploratory territory with “Skrunk,” featuring some pedalboard experimentation from guitarist Chuck Garvey (one fan described the computerized, robotic shredding as “connecting us to AOL” in a Facebook post.) He would return to use the effect sparingly throughout the two-night run, but brought it to the forefront here. They left “Skrunk” in the dust with a long, patient and smooth transition into their jam vehicle “Time Ed,” which is around the time the sound crew really dialed in bassist Rob Derhak’s vocals. They kept the energy high with “Akimbo,” segued into one of the new album’s songs, “Who You Callin’ Scared” and then closed out the first set of the weekend with Al’s ode to his late father, the epic two-parter “Downward Facing Dog.”
Set two opened with a drawn-out intro to the new track “Along For The Ride,” a protest song complete with E-drums and a funky bassline, which seems to be getting its feet under it more and more each time it’s played. This abruptly led into Annihilation Blues, a short and sweet rock tune from the No Guts, No Glory album, which took a surprising turn and featured a long, inventive outro jam that slowly morphed into the crowd-pleasing “Bring It Back Home.” “Mar De Ma,” Vinny’s instrumental number, led flawlessly into the iconic bassline of “Billy Goat” in yet another creative segue. They finished the second set with a pair of songs penned by guitarist Al Schnier, the history-inspired “Puebla” and the dark, heavy, strange fantasy tale that is “Bearsong” with an Iron Butterfly homage in between for the classic rock buffs in the crowd. For their encore (after a chorus of cheers and honking horns) moe. returned to the stage for a rendition of the triumphant “Happy Hour Hero” before bidding the crowd farewell for the night.
https://www.youtube.com/watch?v=c2naJUN5jYQ
While Night 1 had a creative setlist and some truly inspired segueways and jams, Night 2 showed a relentless side of moe. that can only emerge from months of quarantine. Nearly every single song transitioned into the next, either in the “no huddle” style of immediately diving into the next song, or with a long improvised jam that keeps the audience guessing, with only a single break between songs that occurred near the end of the first set. After opening with their flagship song, “Rebubula,” moe. played the traditional pairing of “Not Coming Down” and “Wormwood,” which bled into their first cover of the weekend, Pink Floyd’s rousing “Fearless” and then the reflective “Deep This Time.”
At this point, moe. stopped playing (for the only time the entire show) and Rob addressed the crowd with a brief speech in which he thanked the crowd for being there, expressing his solidarity. Shortly after, he plucked the opening notes of the Bush-era protest song “George” and the Yarmouth Drive-In briefly turned into a disco dance lot.
After a half hour set break, the temperature was dropping and occasional bursts of wind chilled the air. As some of the patrons added some extra layers and poured themselves another drink, moe. retook the stage for a fully segued set that deftly wove old classics and new additions to the moe. repertoire. Al started the set with a slow, bluesy lick, while the introduction to “Moth” was slowly solidified by his bandmates. “Moth” was left unfinished as they steered the soaring, uplifting “Moth” jam into the slap-happy, bass-heavy “LL3,” a new song written by Rob Derhak about his battle with oropharyngeal cancer. This version was livelier and heavier than previous versions, growing more and more energetic with each subsequent performance. They smoothly brought the tempo down and started teasing the harmonic intro of “Lazarus.” The song that has changed arrangements several times in the last decade and seems to have finally transformed back into the monstrous jam vehicle it once was.
They chased “Lazarus” with the mammoth instrumental “McBain,” which featured an expected “Walking On the Moon” tease (The Police) and a somewhat more predictable “Crosseyed and Painless” tease (Talking Heads) which has become a staple of performances of “McBain.” This was followed by another “no huddle,” this time into the Who’s classic hit “Pinball Wizard,” which has only been played seven times ever. Throwing yet another curveball our way, rather than ending “Pinball Wizard” and starting a new song to finish the set, moe. played a ripping, boisterous segue into the unfinished “Moth,” for one final singalong to close out the set. After a brief reading of the “al.nouncements,” they played a quick “Seat of my Pants” and “no huddled” once more into the bouncy, absurdist “Sensory Deprivation Bank” before finally calling it a night.
Despite the lack of PA and the safety restrictions due to the pandemic, moe. made the best of an unfortunate situation and delivered two powerhouse performances that would please the most devoted fans and casual attendees alike. Hopefully they will continue playing shows with this model for as long as it’s necessary. The fans seemed respectful of the rules for the most part, the Yarmouth Drive-In seemed to have peoples’ safety in mind, and the band seemed overjoyed to be back on stage.
On Oct. 20, U.S. Senators Ron Wyden and Jeff Merkley co-sponsored a brand new inclusive package that, if approved by the House and Senate, will provide more that $370 billion to small businesses and music venues in Oregon and nationwide that were most affected by the pandemic.
Live concert pre-pandemic
The Heros Small Business Lifeline Act is an off shoot of the Paycheck Protection Plan, which gave small businesses loan forgiveness and grants at the start of the pandemic. Heros 2.0 essentially would extend those programs and give more help to those businesses in need.
This legislation would provide an urgently needed lifeline for thousands of small businesses struggling to keep their doors open and to employ Oregonians who want very much to earn a paycheck.
Senator Ron Wyden
For the National Independent Venue Association, this bill needs to be passed so that venues can get the relief they need since they were of the businesses that were hit the hardest.
Last month, the House passed the Save Our Stages Act. This was a huge accomplishment for NIVA in that the SOS authorizes the Small Business Administration to makes grants eligible to live venue operations and other music industry workers. They now need to go a few steps further in the Senate in order for music venues to keep their doors open.
This is urgent. Our members cannot wait any longer for emergency relief. Once independent venues go under, they do not come back. We respectfully implore our elected officials to come together and Save Our Stages.
NIVA
As of today, 95% of music industry workers have been furloughed and are still not operating. NIVA urges Congress to move forward with HEROS 2.0.
A 2,000 mile border wide concert is being planned amid the upcoming 2020 election. The event “Rock The Border, Stop The Wall.” Over 30 musicians, activists, and artists, will perform in a CO-VID-safe online concert. The concert will take place on Friday, October 23rd at 5PM CST/6PM ET in the bordering states of California, New Mexico, Texas, and Arizona.
Tension at the southern U.S. border has peaked in the past few years, due to U.S. immigration policy. To downplay and unite in spite of all the controversy, musicians gathered togther in high spirits to perform and play music. “Fandango At The Wall” was a film centered on gathering musicians on both sides of the Tijuana-San Diego border. Musicians played big band jazz arrangements and enjoyed the harmonious music on both sides of the border. Another border-related concert is coming soon, although it’s not exactly a film.
The event aims to motivate young latinos for the upcoming election and aid efforts in stopping the controversial border wall project. The event is a 2,000 mile border-wide concert and it will be hosted by the “#No Border Wall Coalition” in Laredo. Formed in February 2019, The #No Border Wall Coalition is a network of community members, artists and activists who oppose the border wall. With this upcoming election, the youth latino vote may be crucial to the final results.
The number of Gen Z latinos likely voting for the first time may surpass numbers from the 2016 election. Adrian Quesada of the “Black Pumas” says “The time is now to make our voices heard against injustice, oppression, division and hatred. Joining together to stop the border wall is the first step, and voting is more important than ever to head in the right direction.”
The concert has garnered plenty of support from artists. “The border wall is the physical manifestation of everything we have to mobilize against in this election: hate, fear, xenophobia and division,” guitarman Beto Martinez says. “This concert is a show of solidarity and a statement of hope against all those things that would divide us.” In addition to being a performer, Martinez is also the creative organizer of the event.
The concert will be at 5PM CST/6PM EST. The full line up of the event includes the Black Pumas, Aloe Blacc & Maya Jupiter, Ozomatli, La Santa Cecilia, Grupo Fantasma, Gina Chavez, Making Movies, Trans-Border Orchestra (Orkestra Mendoza + Mexican Institute of Sound), Anais Mitchel & the Cast of Hadestown, Las Cafeteras, Superfónicos, XIXA, B Side Players, Amalia Mondragon, Tiarra Girls, Bidi Bidi Banda, Radio La Chusma, Nosotros, Nohe y Sus Santos, Native Creed, Esther Martinez, Papaya Con Chile, Baracutanga and Rizu X.
For more information on “Rock The Border Stop The Wall” the organization has a website along with a Facebook and Instagram page. Navigate through the details of the organization, their mission statement, and relevant news.
