Thin Lear, an indie folk-rock singer-songwriter from Queens, just released his new single “A Simple Phrase” from his debut album Wooden Cave, which will be released on July 24, 2020.
Photo by Shervin Lainez.
This dream-like ballad premiered on GoldFlakePoint, who called it “delicate and hypnotic.” The song is deeply emotional and moving, and the instrumentals deliver this same intensity as well as the lyrics do. The song has a somber tone while still maintaining a beautiful arrangement. This is Thin Lear’s fourth single of this year, and will be featured on his upcoming album Wooden Cave.
The track’s ethereal feel may come from Thin Lear’s inspiration: a dream. “I woke up with the whole thing one day, ideas for arrangement and all,” says Thin Lear, also known as Matt Longo. He expresses that “before [he] slept, [he] was thinking a lot about how insecurity operates,” and when he woke the “chorus was just ringing in [his] ears.” Although the song is about something so upsetting, the instrumentals are hauntingly beautiful, disconnecting the listener from the song’s negativity.
Longo’s inspiration for Wooden Cave came from the story of Netta Fornario, a woman who left all she knew to pursue magic and healing on a small island in Scotland, where she died inexplicably. Longo wanted his album to be “a set of songs existing on a sonic and lyrical island of their own” that would be for outcasts like Netta. He recorded the tracks at different studios around the city with various artists, making each song even more of its own personal island. The album took him two years to complete and has been a complete “labor of love.”
Wooden Cave is set to release on July 24 by EggHunt Records. Preorder the album on Bandcamp here, and follow Thin Lear on Instagram.
Kendrick Lamar once said, “Critics want to mention that they miss when hip-hop was rappin’/ Motherf*****, if you did, then Killer Mike would be platinum.” As great of a line as that was, let’s make one thing clear; all forms of hip-hop are respectable. Lyricists, mumble rappers, crooners, they all have their place within the genre. Moreover, while we often look for messages in our art, understand that you won’t find it in what I like to call “easy listening rap.” Artists who view hip-hop as a competitive sport tend to challenge themselves. They think of more elaborate rhyme schemes, pick more challenging beats to rap on and (some) interpolate different subject matters in their music. Easy listening rappers find a formula and stick to it, no matter how redundant their sound. However, their inability (or unwillingness) to change does not invalidate them. We need fun-party music, but we need the former as well. Hip hop duo Killer Mike and El-P probably won’t go platinum with this latest effort – much to Kendrick Lamar’s chagrin – yet, their latest project — RTJ4– is undeniable.
Give up the information.
Originally scheduled to be released June 5, the album was pushed up, releasing two days early, with an accompanying note: “F*** it, why wait. The world is infested with bullsh** so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love. With sincere love and gratitude, Jaime + Mike.”
The fourth installment of the Run the Jewels series covers similar themes as its predecessors: racism, capitalism, socioeconomic issues. Basically, you know what you’re going to get. Even so, their ability to pinpoint America’s discriminatory ways – and Killer Mike doing an excellent job of reversing the black community’s ethos from victimhood to one of power – have resulted in 39 minutes of thought-provoking content, which is not a given in today’s hip hop climate. On “walking in the snow” Killer Mike exposes the corrupt ways in which black people are targeted, while attacking the black community themselves for their acceptance of their role as casualties.
“The way I see it you’re probably freest from the ages one to four / Around the age of five you’re shipped away for your body to be stored / They promise education, but really they give you tests and scores / And they predictin’ prison population by who scoring the lowest / And usually the lowest scores the poorest and they look like me / And every day on evening news they feed you fear for free / And you so numb you watch the cops choke out a man like me / And ’til my voice goes from a shriek to whisper, “I can’t breathe” / And you sit there in the house on couch and watch it on TV / The most you give’s a Twitter rant and call it a tragedy / But truly the travesty, you’ve been robbed of your empathy / Replaced it with apathy, I wish I could magically / Fast forward the future so then you can face it / And see how f***** up it’ll be / I promise I’m honest, they coming for you / The day after they comin’ for me.”
“I’m robbing you.” “What for?” “Whatever you got.”
Throughout the project, Killer Mike shares several cathartic moments with the audience while veteran emcee El-P plays the role of ally, addressing the nation’s corruption. On the album’s intro “yankee and the brave (ep.4)” he raps,
“it’s scammer bliss when you puttin’ villains in charge of shit / All of us targeted, all we doin’ is arguin’ / Pardon them as they work until every pocket’s been picked and soul been harvested / I’m ready to mob on these f***** Charlatans.”
On the same track, Killer Mike takes the term “Black Power” to a whole new level by doubling down on his refusal to be martyred. “I got one round left, a hunnid cops outside / I could shoot at them or put one between my eyes / Chose the latter, it don’t matter, it ain’t suicide / And if the news say it was, that’s a goddamn lie / I can’t let the pigs kill me, I got too much pride / And I meant it when I said it, never take me alive.”
It is noteworthy to mention that he also did this, but his words are powerful nonetheless.
He maintains his stance of power throughout the project, only relenting on the albums outro “a few words from the firing squad (radiation),” where he grapples with his role as a famous entertainer, his potential to make a difference within the Black community, its sometimes deadly consequences and the divisiveness it can cause within Black families.
“It’d be a lie if I told you that I ever disdained the fortune and fame / But the presence of the pleasure never abstained me from any of the pain / When my mother transitioned to another plane I was sitting on a plane / Tellin’ her to hold on and she tried hard but she just couldn’t hang / Been two years, truth is I’ll probably never be the same / Dead serious, it’s a chore not to let myself go insane / It’s crippling, make you want lean on a cup of Promethazine / But my queen say she need a king / Not another junkie, flunky rapper fiend / Friends tell her he could be another Malcolm, he could be another Martin / She told her partner I need a husband more than the world need another martyr.”
Even with excellent lyricism, there are supplementary elements that make this album noteworthy. While the duo’s cohesiveness is seen through their mutual world views, the beat selection, however, is raw and unfiltered. Heavily rock influenced, RTJ4’s production is not always sonically pleasing – possible to deter the masses who are only trying to hear “good vibes.” Instead, they are purposeful. Loud guitar riffs, drums and alarms are heard throughout as they amplify the messages. Almost as if they picked beats that would not allow the audience to drift away (sometimes a catchy beat or chorus can hinder the record’s message).
Run the Jewels 4 is meaningful. Not only because of the subject matter, but the delivery itself. In our current climate, it’s rare to find conscious rap that doesn’t portray Black people as victims. El-P and Killer Mike take the opposite approach, challenging the oppressed to defend themselves, let’s hope they take heed.
Brooklyn-based duo Drug Couple return with two new tracks, “No Outside” and “Alone 2gether,” a pairing of B-Sides released via Papercup Music. The prescient tracks were written and named before the pandemic, and offer a meditation on bunkering down with someone special while the world outside burns
The two tracks find Miles singing and playing guitar, keyboard, and chimes, with Becca on bass and vocals. Their music attempts to showcase a dialogue between genders, as opposed to the one-sided soliloquies that define so much of popular music. The two singles precede the release of their sophomore EP Choose Your Own Apocalypse, due out August 2020 on PaperCup Music.
Choose Your Own Apocalypse stands to be a collection of songs about finding someone special to share the end-times alongside. The music is not fresh from the effects of the pandemic, but find their roots in the summer of 2016. As events lead up to the election of Donald Trump, it already seemed certain that, one way or the other, Armageddon was right around the corner. Drug Couple decided to make a record based around the concept of falling in love mid-apocalypse without fully realizing that’s exactly what they were doing.
As of Friday, June 12, the self-titled debut album from Mariah Carey is 30 years old. With four consecutive #1 singles on the Billboard Hot 100 including “Vision of Love” and “Someday,” it instantly shot the Long Island-born diva into superstardom and an elite class of vocal legends including Whitney Houston. While Mariah’s legacy has been watered down to that of a washed-up Christmas singer in recent years, this unfair revisionist history ignores the impact she’s had on virtually every pop and R&B act after her.
When Mariah Carey released “Vision of Love” in 1990, the French-German duo Milli Vanilli had just been busted for lip-syncing and artists like Madonna made up for subpar vocal talent with shock value and spectacle. On the contrary, Carey demonstrated she was capable of belting, runs, melisma, and whistle tones in less than four minutes, swinging the pop pendulum the other way and reintroducing the concept of pop stars as vocalists with few gimmicks besides their own voices. More of these rose to fame throughout the 90s, from Brandy to Usher to Destiny’s Child, and the explosion of reality talent shows in the 2000s only intensified the phenomenon. Mariah’s power ballads like “Vision of Love” and “Hero” have been American Idol since its inception, a show she eventually judged.
Throughout the 90s and 2000s, Carey achieved 18 #1 hit singles on the Billboard Hot 100. She wrote and produced 17 of them, the sole exception being a cover of the Jackson 5’s “I’ll Be There” for her MTV Unplugged EP. She also shared the record for the chart’s longest-running #1 with Boyz II Men for their 1995 single “One Sweet Day,” which spent 16 weeks at the top and had yet to be surpassed until Lil Nas X’s 2019 hit “Old Town Road” beat it with 19 weeks atop. Late last year, “All I Want For Christmas Is You” finally hit #1 on its 25th anniversary, giving Carey her 19th #1 overall and the first in 12 years.
Despite her immense success, Mariah’s career hasn’t been without its setbacks. She made bizarre guest appearances on MTV’s TRL and Cribs in the early 2000s that she later attributed to bipolar disorder, and she was the subject of public ridicule when critics panned her 2001 film and album Glitter. However, she returned to form with her 2005 comeback single “We Belong Together” and its accompanying albumThe Emancipation of Mimi, winning three Grammy Awards. And although her 2016 New Year’s Eve fiasco temporarily made her the butt of the joke again, she set it right with a pitch-perfect performance the following year.
Mariah Carey with her three wins for The Emancipation of Mimi at the 2006 Grammy Awards.
Carey is also no stranger to engaging in public feuds with other singers. Interestingly, a short glance at the long list of artists Carey has feuded with shows that they’ve all been influenced by her in one way or another: Christina Aguilera, Jennifer Lopez, Demi Lovato, Ariana Grande, and Nicki Minaj, to name just a few. They might not like her, but they still respect her achievements and emulate her in their music, style, and personas. With the Ol’ Dirty Bastard remix of “Fantasy” in 1995, Mariah became one of the first mainstream pop singers to feature a rapper on a song’s verses while singing the hook—now a common crossover recipe for top 40 artists.
Even Canadian electropop artist Grimes defended her love of Mariah Carey to Pitchfork, saying, “I know very few adult males who consider themselves serious ‘music guys’ who don’t laugh when I say I like Mariah Carey. Why? Because she’s beautiful and people like her. Therefore she must be selling sex, right? So obviously her music is terrible, right? Ugh. The first time I heard Mariah Carey, it shattered the fabric of my existence.”
The Bronx Music Heritage Center has announced that they will continue their concert series through their online programs: Bronx Music @ Home Concerts and Percussion Discussion. This week’s topic will feature Puerto Rican cultural themes, as this would normally be the week of activities that culminate with the National Puerto Rican Day Parade.
Bronx Music @ Home Concerts will be held Fridays at 8PM EST on Bronx Music Heritage Center’s Facebook page. The concerts will kick off with singer, actor, and poet Rachel Kara Perez on June 5. Other artists set to perform include: Yalisza Suren on June 12, Luz Soliz on June 19, and Valerie Capers on June 26.
Bronx Music Heritage Center’s weekly percussion program will feature mini-clinics, talks, and lessons from noted Bronx drummers and percussionists, led by the BMHC Co-Artistic Director, 8 time Grammy nominated bandleader drummer percussionist and educator Bobby Sanabria. Each episode will premiere on Bronx Music Heritage Center’s Facebook page on Wednesdays at 8PM EST.
The percussionist featured that week will be available through the comment section of the video post to reply to any questions or comments. The percussion program will include performances from Norka Nadal Hernandez, director and founder of the Afro Puerto Rican group Bámbula on June 10, Lucianna Padmore on June 17, and Bobby Sanabria on June 24.
New York City’s legendary Village Vanguard invites you to join them Saturdays starting June 13 at 7 p.m. EDT for a 75 minute live streaming concert. A matinee will follow the next day at 2 p.m. EDT. Admission for each performance will be $7.
First up on the lineup will be The Billy Hart Quartet featuring drummer Billy Hart joined by a phenomenal group of artists including tenor saxophonist Mark Turner, pianist Ethan Iverson and bassist Ben Street.
After closing its doors on March 16 due to the COVID-19 Pandemic, just three weeks after the club’s 85th birthday, many were left wondering how indefinite the closure would be. Virtual concerts have become the revival answer for many and now The Vanguard is back with four weekends currently slated with performances. Please continue to check the website and follow the club on Instagram @vanguardjazz and Facebook for updates on upcoming shows.
Livestream schedule:
June 13-14 – Billy Hart Quartet featuring Mark Turner, Ethan Iverson and Ben Street
June 20 – 21 – Vijay Iyer Trio featuring Nick Dunston and Jeremy Dutton
June 27 – 28 – Joe Martin Quartet featuring Mark Turner, Kevin Hays and Nasheet Waits
July 4 – 5 – Joe Lovano Trio Fascination featuring Ben Street and Andrew Cyrille
Having just released the “Unhurried Journey” on May 29, Brooklyn musician Elena Moon Park, current co-Artistic Director of Found Sound Nation, a member of Bang On A Can, and a former player of the Grammy winning Dan Zanes and Friends, today premieres the video for the eponymous single. The world traveling Park, along with artist Lauren Gregory, illustrate what a free spirited world could sound and look like.
The albumUnhurried Journeyoffers a fresh and dynamic collection of reimagined East and Southeast Asian music and original, Western-style songs that encourage listeners of all-ages to slow down and appreciate each moment, finding the joy in their journey. Park says of the single of the same name:
The track “Unhurried Journey” is inspired by a serene and beautiful scene of the same name, created by artist Kristiana Pärn, which reminds us to take our time and make space for self-care on this journey of ours. In the song, I celebrate the beautiful things in nature that flow around us, slow and steady, with patience and care. I invited the wonderful musician Elizabeth Mitchell to sing this with me, as her music exemplifies patience and care for me.
On the website for the album, Park offers a suggested activity for kids (and adults) that accompanies the song, where you can try to draw a representation of something in the world that moves around you, slow and steady. The website also serves as a gallery dedicated to the collection, sharing the artwork that inspired each song, as well as the lyrics in original languages, translations of songs, stories, videos and more.
The video for “Unhurried Journey” was created by Park’s childhood friend Lauren Gregory, an oil painter and animator from Oak Ridge, TN. Park always found herself mesmerized by Gregory’s creations using stop motion oil painting animation. Gregory also created the video for the song “Anta Gata Doko Sa” from Park’s last album, Rabbit Days and Dumplings. Gregory said of her method behind the video:
When Elena asked me to make an animation for “Unhurried Journey,” I wanted to paint a sort of lullaby experience that was both adventurous and cozy. The landscape that this little bear family travels through is inspired by the foothills of the Smoky Mountains where Elena and I grew up as neighbors and friends. The two bears aren’t concerned about getting anywhere fast, they’re just enjoying the journey and getting some good quality time in together.
Unhurried Journeywas produced by Elena Moon Park and Rob Friedman and was recorded, mixed and mastered by Rob Friedman at littlelife studios and David studios in NYC. The 16 song collection encourages listeners of all-ages to slow down and appreciate each moment, finding the joy in the journey.
Guitars A Go Go, the improvisational duo of two acclaimed Hudson Valley-based guitarists, Rick Warren and Sal Cataldi (Spaghetti Eastern Music), have released their debut album, Travel Advisory. The duo have been performing at leading concert venues and art galleries since early 2019 and, on occasion, in a quartet abetted by bassist/composer Mark Steven Brooks and percussionist Pete Tenerowicz.
NYC and Saugerties-based guitarist Sal Cataldi may be best known these days for his style-jumping solo project, Spaghetti Eastern Music. Time Out New York describes Cataldi’s music as “largely instrumental, Eastern-influenced jams are infused with some delicate guitar work and hauntingly moody atmosphere.”
Originally from Kingston, Hudson-based guitarist Rick Warren has been deeply involved in the improvisational and experimental music scene. He was encouraged by renowned vibraphonist Karl Berger at his Creative Music Studio in Woodstock. It was Berger’s visit to a Rick’s high school music theory class that led him to become a regular participant in twice-yearly workshops held at CMS, an international hot bed of improvisational music performance and education founded in 1971 by Berger, Ingrid Sertso and Ornette Coleman. Rick is best known for using his guitar and a variety of electronic sound sources, each one a new and different on-the-spot creation.
Their debut album is a quartet of live-in-studio duets recorded just as the COVID-19 quarantine took hold. Travel Advisory features contemplative, peaceful songs as well as songs with textured noise and dissonance. These songs communicate the wide array of emotions we are feeling in response to the global pandemic. Five more songs were later produced in remote collaboration, with Cataldi adding guitars, synths, and effects at his studio in West Saugerties to solo pieces performed by Warren at his studio in Hudson.
Travel Advisory opens up with “A Jig for Europa,” comprised of blues performed by Warren on heavily processed acoustic 12-string, electronic blurbs, and backwards guitars by Cataldi. Throughout the album are songs such as “The Volcano Lovers,” 13 minutes of serene music with back-and-forth relay of melodic improvisations by each guitarist and “DeKooning Was a Crooner”the final and longest live-in-studio improvisation. The song consists of jazz chordal voicings from Cataldi lead into the inside-out improvisations from Warren.
Key tracks: A Jig for Europa, The Volcano Lovers, DeKooning Was a Crooner
Despite the pandemic, the show must go on for live musicians. James Casey, longtime touring member of the Trey Anastasio Band, is launching Aux Chord, an online music venue offering ticketed livestream events to soften the blow of canceled gigs for artists and fans alike.
James Casey is performing at Aux Chord’s inaugural event on Thursday, June 11.
Back in February, Casey foresaw the pandemic’s potential to erase an entire year’s worth of concert dates for himself and other artists. He began brainstorming with his partner Ayla Cobb while quarantined in New York City, and with the help of web developer Stephen Small, they created Aux Chord: A Live Streaming Venue.
“The goal of Aux Chord is to supply a place for the music community to continue to grow and thrive, and supply a place for music fans to be able to see great live music with great picture and sound,” Casey explains. “I doubt we’re the first to do this, and we definitely won’t be the last, but hopefully this can be a positive thing for the artists at large.”
Aux Chord’s first event, a live showcase starring Casey, is Thursday, June 11 at 9 p.m. ET. Upcoming performers on the service include Jennifer Hartswick and Nick Cassarino, Natalie Cressman and Ian Faquini, Louis Cato and Erin Boyd. Tickets are available now at auxchord.live.
The site’s performances are behind a paywall, and musicians set their own prices and receive the majority of ticket revenues. The fees are nominal and transparent, allowing fans to support artists without fear of gouging or high overhead.
“Hopefully this can be a resource for musicians, especially independent artists, in a time where we honestly aren’t able to perform and do what we’ve been working towards our whole lives. But what we can do is these live streams and create art for people to consume, especially considering that everyone is going through a whole lot right now,” Casey said. “This isn’t like going live on Facebook or Instagram and busking. The platform is about elevating that experience and really performing for the people. We’re putting on a show.”
Todd Alsup premieres his new music video “Manhattan” is an ode to his beloved city as it braves the challenges of the COVID-19 pandemic. Dedicated to the essential workers and everyday heroes of New York City, the video features its diverse population coming together as a community while remaining six feet apart. Essential workers such as firemen and first responders are given special focus, as well as the artists and musicians who continue to brighten up the city in dark and confusing times.
Raised in Detroit, Alsup first became enamored with New York City on a high school trip. He fell further in love while attending New York University, where he earned a bachelor of music degree studying voice, theory, and songwriting. The singer, songwriter, and keyboardist says:
“‘Manhattan’ is a love song I wrote for the city I’ve called home for over 20 years. New York was, of course, hit very hard at the onset of COVID-19 and is now a center of protest in the fight against systemic racism and police brutality. I’ve seen my city rise up in the face of daunting challenges many times before and I’ve chosen to create a video that celebrates the spirit of strength and perseverance of New Yorkers.”
Todd Alsup criticizes many aspects of the city throughout the track, such as its noise, cold temperature, and “lunatics everywhere,” but ultimately couldn’t imagine living anywhere else. “One million reasons to leave and a million more to stay / Oh Manhattan, I wouldn’t have you any other way,” he concedes. In addition to “Manhattan,” Alsup has also released a lyric video for his cover of The Spinners’ 1973 hit “Could It Be I’m Falling in Love,” adding a retro hip hop flair to the Motown classic.
