Category: Regions

Taking Meds to Make Their Audiotree Live Debut December 4

The members of Taking Meds are looking forward to taking a trip out to Chicago at the beginning of December to perform on Audiotree Live.

The NYC-based indie punk band had to cut a cross-country tour short this spring when COVID hit. Shows started getting cancelled while they were on the road. “On the fourth day we were in Georgia, and 50% of the shows had cancelled,” Taking Meds frontman Skylar Sarkis told NYS Music. “We decided to head home.”

Eight months, an EP, and a music video later, and they’re excited to finally be hitting the road again. While they’ve been actively working, they haven’t been able to play some of their new songs in front of an audience since March.

“Everyone’s missing live music,” continued Sarkis. Most venues have not reopened since the start of the pandemic, due to contagion risk at gatherings. “Audiotree has a COVID-friendly way of continuing to do what they’re doing, and I think being able to access high-quality studio sessions online is really key for everybody right now.”

This will be Taking Meds’ debut on Audiotree. What started as an artist discovery platform has continued this tradition by continuing to work with emerging independent artists and artists on indie labels. The recorded sessions are just one facet of Audiotree’s footprint in the music industry, but they have become a cornerstone in the international music scene over the past decade.

Tune into Audiotree on Friday, December 4 at 4PM CT (5PM EST) for the Taking Meds performance. Viewers will be treated to a few songs off the band’s new EP The Meds You Deserve, released in July on Smartpunk and Near Mint. Sarkis added that they plan on debuting a new song from their next LP, which they just finished recording with Kurt Ballou at GodCity in Massachusetts.

Taking Meds is comprised of Sarkis on vocals and guitar, Ben Kotin on guitar and vocals, Jon “Steel Wolf” Markson on bass and vocals, and Alex Salter on drums. They don’t all live in the same city. It’s an occasion when they are able to gather at the studio, or go out on the road together, or shoot a music video.

Earlier this year, they got to meet up with director Luke LeCount to make a video for one of the songs on The Meds You Deserve, “Sucks To Be Me.” It features Sarkis as his narcissistic alter-ego, firing band members as he tries to impress some sleazy A&R types. He can be seen playing out this persona in a series of off-the-cuff low-budget promotional videos on the Taking Meds YouTube channel.

Leading up to the tour, they released a series of humorous videos about packing for tour, filmed by their manager/agent Alex Martin and featuring Sarkis trying to pack merch, gear, his cat, and pictures of Michael Stipe of REM. While Sarkis cites REM, Fugazi, and other bands from that era as band influences, their angular sound is impossible to pigeon-hole as any one genre.

“We’re just trying to write whatever we want,” explained Sarkis. “Lately that’s coming out sounding like it’s pretty squarely influenced by early 90s stuff. I’m trying to make songs that I would want to listen to.”

Other people are digging their sound, too. Most fans have discovered them through word of mouth or by catching a live show. “My experience with this band is that there’s not a lot of hype. We get fans when we’re on tour and they stick around. It’s cool to build a fanbase that’s loyal.”

Their recent EP The Meds You Deserve, and their full length albums My Life As A Bro and I Hate Me are available for purchase digitally. At the time of press, there are a handful of copies of The Meds You Deserve and I Hate Me on vinyl at Near Mint.

Follow Taking Meds on Facebook, Instagram, and Twitter to stay on top of news and content.

November 19, 2020
Nikmoody Transforms Setbacks and Pain into Conscious Prose

Long Island rapper Nikmoody has been writing his entire life, taking the lemons of life and turning them into more than just lemonade. Case in point: a 1,000-point scorer in both high school and college, Nikmoody transferred his passion for Basketball to the pen after an ACL tear, leading him to a Masters degree in English Literature.

Drawing on influences such as Kendrick Lamar, Atmosphere and J.Cole, as well as Nirvana, Moody creates a conscious lyricism with soul, amid a blend of grunge and boom-bap hip hop. With the release of “Either Way,” he shows growth in style, adding in trap sounds within his strong lyrical base. Experiences of loss and addiction have helped Moody find his voice, adapting his music as he evolves within hip-hop, which he considers to be the most descriptive art form in the world, when combined with pain and passion.

Moody released his first EP, House of Mirrors, in 2017 and hasn’t slowed down since. He has continued to create music, releasing eight singles, ten music videos and his 2019 EP The Quiet One. Moody has performed at SXSW in Austin, headlined at SOB’s in Manhattan and opened for Wyclef Jean, Dizzy Wright, Raz Simone and KOTA The Friend.

Nikmoody works with his passion and continues to release singles, including April’s “Hysteria,” which was written with the guise of trying to bring a unified culture to Long Island. While The Quiet Two is planned, Moody notes below in an interview with NYS Music that it may not surface in 2020, as new projects have his attention.

Pete Mason: Recently you posted on Facebook: “I know I haven’t been as active on social media lately. It’s only because I’m locked in. We been experimenting with new sounds, new flows…New music coming very soon.” Inquiring minds want to know – what new sounds and flows do you have coming?

Nikmoody: There’s been a lot of experimenting in the last few months. I wrote that in my post because I’ve been digging into other genres like trap, grunge rock, dubstep. I’ve been trying to find a way to harness the aggression that lies at the heart of my music and display it melodically. It’s been a learning experience but I’m really excited about the direction of the new music.

PM: How has quarantine life been for you on personal and creative levels?

NM: Quarantine has been a rollercoaster. My family got sick early into the lockdown so that was nerve-racking and worrying. But after everyone got healthy, I was still unemployed and stuck in the house. It became a blessing in disguise because it was the first time in my life that I was able to be creative without being in school or having to work full time. It allowed me to broaden my horizons musically and try new things. It also gave me a peak into what life would be like when I turn my music into my full time occupation. That was quite beautiful.

PM: Speaking about sacrifice in an August post, you discuss everyone being on their own journey, closing with “But that is their journey, not mine. I still see 100,000 at Bonnaroo every time I touch the mic.” Is it safe to say that performing at Bonnaroo is a big destination on your own journey?

NM: 1,000%. I’ve been to Bonnaroo twice as a camper (once general admission and once with an RV) and I have to say those were some of the most incredible days of my life. Nothing but music and love in the air. I met a lot of people from all over the world at those shows and to this day, Bonnaroo is the most coveted memory my friends and I have. To play there would be a dream. Chance the Rapper on Saturday night of Bonnaroo 2018 is the greatest show I’ve ever been to. To imagine myself doing the same is fun to think about.

PM: You’re from Brooklyn and Long Island – how did growing up between the two influence your creativity, your love of music, and connection to others?

NM: Well I kind of split time with where I grew up. I lived in Canarsie, Brooklyn until I was 11. Then, my family moved to Merrick, Long Island. Although I didn’t spend my high school days in BK, the attitude that comes with growing up in Brooklyn still sticks with me. It was a drastic difference moving to Long Island. That juxtaposition is vital to me as a person. Coming from a small apartment in a diverse neighborhood and moving to a house in an all white town took a lot of adjusting for me as a kid. I didn’t have a lot of friends growing up. I didn’t know how to connect with my classmates in Long Island. I liked rap, basketball and frequented corner stores. They liked pop punk, lacrosse and traded baseball cards.

It took me a while to fit in but I learned a lot in those confusing times. That’s when I really started to write a lot and just observe people. I never really hung out with one group of people, I wasn’t always with the athletes or the stoners or whatever stereotype you can think of. Fast forward to now and that duality is present all over my music. Learning to combine all these influences into one complete thought has been a challenge but when I do, you’ll know when you hear the song who it is because no one else could make it.

PM: How does The Quiet Two differ from past releases, and how does it connect to The Quiet Ones?

NM: Well I’m not sure if The Quiet Two will ever see the light of day if I’m being honest. I will be dropping some of the songs off that project as singles but I’m not sure if it’ll drop as a full entity. I’ve started working on something else that I’m really proud of. It’s early on but the music has evolved a great deal. It differs in the fact that it’s a bit more modern, the sounds we’re using are more in tune with the times but the lyrics and rhyme schemes have stayed in that old school realm of hip hop. I’m still the quiet one that you got to watch haha.

PM: When did you come up with the mantra “I can turn a negative into a positive with just one line – +”?

NM: I write lyrics on paper for the most part and I was just playing around with symbols one day and that line came into existence. I think it really represents what I stand for and my logo in general. While it looks dark and negative, it’s ultimately positive. We’re spreading hope at the end of the day.

Nikmoody now focuses on the one year anniversary of The Quiet One with the upcoming release of his new single “No Pulse.” Due out on Thursday, November 19 as thanks to his supporters for continuing the journey with him. Given the pandemic and artistic responses to increased isolation and time to create, whatever comes from Nikmoody will surely resonate with his audience.

November 18, 2020
Blue Note Jazz Club and Restaurant Opens For Dinner and a Show

The popular Blue Note Jazz Club and Restaurant is finally re-opening their doors to jazz lovers and music enthusiasts alike, with a set capacity limit of 25 percent.

Promotion for Blue Note’s first night of re-opening.

I am very happy to announce that the Blue Note will reopen for dining this holiday season. The safety of our guests is our highest priority and our staff is working around the clock to ensure our guests have a comfortable dining experience.
Steven Bensusan, President of Blue Note Entertainent Group

Blue Note originally had to close because of the Covid-19 shutdown. Although they kept active by streaming live shows online, there’s nothing like an in-person jazz experience.

Starting Nov. 27, the club will provide dinner services for selected evenings from 6 p.m. to 8 p.m., along with brunch on selected weekends from 11 a.m. to 1 p.m. Dining packages will also be available to guests who want to experience the “magic of the holidays,” at Blue Note. The diners will be able to experience a list of respectable musicians while eating their meals.

The Greenwich Village club has been around for almost four decades. Opening in 1981, Blue Note became a center for culture and music in New York City. They are known as one of the premier jazz clubs in the world, where they strive to preserve the history of jazz. In the past, they featured renowned artists like, Chick Corea, Joe Lovano, John Scofield, and Chris Botti. The club also frequently promotes up-and-coming jazz, hip-hop, R&B and soul musicians.

Dining packages start at $45 per person, while livestream access is $10. Regardless of whether you would like to enjoy a meal in the presence of a jazz show or do the same thing from home, all the information and payments can be made at Blue Note’s website.

Incidental Music Calendar:

Maurice “Mobetta” Brown Residency – Nov 24, Dec 4, Dec 11, Dec 18

Eddie Palmieri Residency – Nov 28, Dec 5, Dec 12, Dec 19, Dec 26

Brunch: Decade of Soul – Nov 29, Dec 27

Brunch: Nobuki Takamen Trio – Dec 6

Bill Charlap Trio Residency – Dec 9, Dec 16

Theo Croker ‘Star People Nation’ – Dec 10

Black Art Jazz Collective – Dec 13

Brunch: Lauren Henderson – Dec 13

Keyon Harrold – Dec 17

Brunch: New York Swing with Svetlana – Dec 20

Marcus Strickland – Dec 23, Dec 24

November 18, 2020
Carnival Crash: A Legacy of NYC Post-Punk found within ‘It Is A Happy Man’

New York City was much different in the early 1980s then it is today, and without Carnival Crash. The city had a dangerous seediness that was fueled by a Reagan era recession and a deadly arms race that was being perpetrated between the Super Powers of East and West. Everyday could be your last, and the young people of that time questioned everything and trusted no one. They banded together with a “can’t take it with you” attitude that challanged all of the prevailing norms of Reagan’s 80’s America. This cacophony of chaos was the genesis of the post-punk movement, which created some of the most iconic music in history in dank & dirty NYC punk clubs like CBGB and the famed 82 Club.

Bands like the Talking Heads and Television transcended from the punk scene to legendary heights, but for every success there were a multitude of brilliant but brief post punk outfits that never made it out of the NYC scene. This unfortunately was the case for Carnival Crash, a three piece dynamo that lasted just about two years, but luckily for the listener, this obscure trio left us a glorious time capsule. Their legacy of recordings, compiled on It Is A Happy Man (Obelisk Records), stands the test of time. This seven track gem of an EP is the reissue of two different recording sessions that Carnival Crash engaged in back in 1981 and 1982, before they ultimately disbanded later that year.

The now defunk trio was comprised of Norman Westberg (guitar), Ivan Nahem (vocals/drums), and John Griffin (bass/vocals). Although the lifespan of Carnival Crash was short, the members left their mark with tracks like “Tell Tale Heart.” Nahem’s vocals and Griffin’s bass paint the picture of a smoke filled club with sticky floors and plenty of patrons adorned in black leather “slamming” to the hypnotic beat. The band showcases Westburg’s club seasoned guitar stylings, as well the band’s affinity for the classic monster genre with just a dash of twisted humor with numbers like “Frakenstein” and “Edge Of Night.” Both songs could easily be used today on any maccabe low budget horror flick soundtrack.

Carnival Crash brings out their inner Bauhaus with Griffin’s haunting vocals and Nahem’s spot-on percussion work for the album’s fifth and sixth tracks “Nostalgia” and “Method 1.” The recording fidelity on these tracks could be described as poor compared to today’s digitally sanitized world, but these numbers were recorded on a TEAC 4-track recorder way back in 1981. The roughness and grittiness of these recording works in complete synergy to the Carnival Crash’s artistic aesthetic. There are no fancy modern Pro Tools production gimmicks like auto tune on this EP. The band just provides a boat load of reverb with healthy dose of post punk angst and pure artistic expression.

Although their tenure as a band was brief, the members of Carnival Crash continued to create powerful and provocative art throughout the years and are still at it even today. Norman Westberg went on to join Michael Gira as the guitarist for NYC experimental rock band Swans, which would eventually disband in 1997. Westburg still creates music performing and recording as a solo act. Ivan and his brother Andrew formed Ritual Tension with Michael Shockley and Marc Sloan which has recently re-formed after their dissolution in the early 1990’s. They are currently touring and have recorded a new album It’s Just The Apocalypse, It’s Not The End, will be released this Fall on Arguably Records. John Griffin is still producing work as a painter and musician . His latest musical project is called the griffin morrissey catastrophe.

It Is A Happy Man by Carnival Crash will be released by Obelisk Records later this month. The record will be pressed on a limited run of 150 copies on chartreuse vinyl as well as being available in a digital format.

Key Tracks: Tell Tale Heart, Fool, Frankenstein

November 17, 2020
Flushing Town Hall Jazz Programming Swings into December

Flushing Town Hall announced a jazz lineup which started back on November 11 and will run through December 20. The program currently includes five different performances throughout both months. A sixth event will ‘spill over the bar-line’ into 2021. The first two programs have come and gone, but the jazzy fun is far from over.

The Town Hall is a Smithsonian affiliate and is located in Queens in New York City that presents multi-disciplinary global arts to engage and educate global communities. They are a member of the New York City’s Cultural Institutions Group (CIG). They have restored and managed the historic 1862 landmark on behalf of the City of New York. Specifically they try to embrace the history of Queens as the home of jazz, by presenting the finest in jazz performance. Although the historic venue’s doors have been temporarily closed due to COVID-19, Flushing Town Hall continues to pursue its mission of bringing people together by providing global arts for a global community through its online series, FTH at Home! Which will be presenting the November and December programming.

Town Hall. Picture from Wikimedia Commons.

Upcoming:

On Thursday, November 19, 7:30 p.m. EDT Flushing Town Hall will present “Lioness: Women in Jazz Concert Series Featuring Lauren Sevian’s LSQ” The series featured Lauren Sevian’s LSQ with Lauren Sevian (baritone saxophone), Helen Sung (piano), Christian McBride (bass) and E.J. Strickland (drums). Tune in to YouTube for a free pre-recorded streaming performance, taped just for this event, followed by a LIVE Q&A with the musicians.

On Wednesday, December 9 at 7 p.m. EDT the Virtual Jazz Jam “Holiday Party” will be taking the stage. This is the Flushing Town Hall’s free Virtual Jazz Jam: Celebrating the Legacy of Louis Armstrong. Open to amateur and professional musicians, including high school students, jammers are invited to perform their favorite holiday song, and recall any memory around their tune. Participants can also show-off their family’s traditional holiday treats and drinks, and toast the season.

The programming will wrap up on Sunday, December 20 at 5:30 PM EDT with “New Music Horizons – Collaborative Artists in Concert.” This will be part 2 of the Bruce Arnold & The Mark Wade Trio New Music Horizons Part II presents two more dynamic jazz composers Bruce Arnold and Mark Wade. Bruce Arnold will present a set of solo acoustic guitar featuring his style of lyrical melodies and raw dissonances. The Mark Wade Trio will follow with their brand of group interplay and expressive improvisation that has brought them an international following.

To participate, musicians should email education@flushingtownhall.org and identify a three- to four-minute tune they intend to play (live or pre-recorded). Only 15 musicians will be selected on a first-come, first-served basis. Anyone is invited to tune in to the LIVE VIRTUAL jam and listen on Facebook or Zoom.

The Lioness: Women in Jazz Concert Series Featuring the Lioness Ensemble was scheduled for Sunday, December 13 at 2:30 p.m. EDT but has been postponed until 2021. This women in Jazz Concert Series will feature the Lioness Ensemble with Alexa Tarantino (alto saxophone), Jenny Hill (tenor saxophone, flute), Lauren Sevian (baritone saxophone), Amanda Monaco (guitar), Akiko Tsuruga (organ) and Sylvia Cuenca (drums). Tune in to YouTube for a free pre-recorded streaming performance, taped just for this event, followed by a LIVE Q&A with the musicians.

Catch Up on Past Events:

On November 11, the Jazz Jam celebrated “November Gratitude.” This event celebrated the Legacy of Louis Armstrong invited musicians and jazz aficionados to participate or simply listen during its monthly jam session. In November, musicians will choose songs that fit into the theme “November Gratitude.”

The “New Music Horizons – Collaborative Artists in Concert” took place on Saturday, November 14, 7:00 p.m. EDT. It featured part-I of the David Shenton & The Mark Wade Trio who are two dynamic jazz composers. David Shenton is a classical composer and Mark Wade is a jazz composer.

To attend the programming or get more information on it visit Flushing Town Hall’s website.

November 17, 2020
moe. to Premiere ‘Not Normal’ from Palace Theatre on November 19

Before moe. hit the Drive-In circuit this fall, they made a stop to the familiar confines of the Palace Theatre in Albany for a performance that was far from normal. Setting up in the lobby of the Palace, the band performed and recorded a ‘playthrough’ of their new album Not Normal, premiering Thursday, November 19 at 8:30pm on moe.’s YouTube Channel.

photo by Frankie Cavone

Not Normal is the second album to be released by moe. in 2020. The first This is Not, We Are, was shared with fans through weekly videos in May and June. There are no details yet on the five-track studio release, adding a shroud of mystery to the evening’s performance.

photo by Frankie Cavone

On Friday, November 20, Not Normal will be released digitally, and This is Not, We Are will have its long-awaited physical release.

Pre-order physical copies of Not Normal & enter to win a signed test pressing here.

Read mo(r)e. on NYS Music

This is Not, We Are: The latest track, “Dangerous Game,” written by Al Schnier, gives us two takes – one from the studio spliced with a live version from the song’s debut at the State Theatre in Portland, ME on February 16, 2019. Schnier explains about the song:

“This song came from me watching and reading a little bit too much news these days. I don’t want to say that this song is political in nature; it’s more about the personalities of the people in power and maybe the cult of personality and those things we all contend with. I don’t want it to come across as some leftist, liberal rant against the current people in power. It’s more a song about my personal concerns about anyone who would be in a position of power.”

November 17, 2020
Shubh Saran Becoming a Musical Medium of Genres

Brooklyn based musical fusion, Shubh Saran, is Becoming a musical world map for genres. In a cell-phone driven society, you would open your GPS to navigate outward. Saran, 29, becomes a medium, channeling a multitude of genres inward and back out through his compositions. The Indian native fuses traditional music, with punk, blues, rock and his head-on studies in Jazz.

The Delhi high school student made Berklee dream come true, honed his passion amongst a “best-of-the-best” melting pot at the college. He has resided in multiple countries, grabbing musical influence at every turn, and it shows. Now calling New York home, Saran’s latest creation, Becoming, is a must explore.

The title track and lead single off the album was originally released Nov. 12, 2019.

The 5-track EP is an navigation to new color palettes that will re-texture the ears of the most seasoned listener. The goal is not a means to an end; It is an exposition of clashing sounds that provoke a journey of unforeseen turns.

Take The title track “Becoming” as example. Saran cresendos into a collapsing overture, filled with dual-drum-sets, arching strings and key pads. Everything peaks at once until Saran reels you back in with his ethereal guitar passage. It draws you into the basement of Berklee’s practice rooms and jam-sessions; the moment where you are sucked in reverse to the doorway, as an unknown musical fusion burst from its seams.

Pairs of drums, Saxophones and strings create a flam-like density. An illusion of the same track being overlapped in slight delay should sound abrasive yet this creates an ever-expanding feeling. The 5:09 track feels like one deep inhale. Its healing breath ends abruptly.

‘Becoming’ definitely wasn’t written as the single off the album, nor was the EP supposed to be named after the song, or vice versa. As I started writing it, though, I began to realize that this is the anthemic song that really sums up the whole message of the EP.”

Shubh Saran Becoming – Released February 10, 2020

Saran’s musical quests become physical as he travels across the globe with his work. Strength, musical and cultural growth bloom in the cyclical nature of Suran’s playing. Most recently he took this EP on tour to with performances and workshops across New Delhi, Goa, Gurgaon and Mumbai. “I compose in a modern jazz sort of idiom, but I decided to revisit the music I grew up with as a teenager… it was Blink-182, punk rock, Green Day, the kind of music you don”t associate with ”serious music”,” Saran told Outlook India. Saran is giving back, filling the music void he had as a high school student. He excites the musical realm and young artists alike.

“I’ve always liked artists who have long music careers, where their first album is really different from their last album, and you can see the evolution and influences over time. I’m just celebrating that by being who I am as a musician.”

Track Listing:
1. Becoming
2. Storm
3. Safe
4. Comfort (feat. Hannah Sumner and JAE SOTO)
5. Dust

November 16, 2020
Twiddle Announces Two-Night Virtual Frendsgiving Stream – Live from The Capitol

Update: Twiddle’s Frendsgiving performance will now take place in Vermont this weekend. As reported by Relix, due to an abundance of caution for COVID-19, Twiddle have decided to switch locations for their annual Frendsgiving shows.

The crowdless livestreams performances were set to take place on Nov. 27 and 28 at Port Chester, N.Y.’s Capitol Theatre. They will now take place at an undisclosed location in Twiddle’s home state of Vermont. The shows will still be broadcast on FANS.

Original article follows below:

Every soul looking forward to Twiddle‘s annual Frendsgiving, which found a home at The Capitol Theatre in Port Chester since 2017, bringing fans together for a celebration as the holiday season kicks off. Twiddle will continue the tradition over November 27 and 28, streaming a live performance from The Cap.

Pre-sale discounted passes and limited edition screenprint bundles are on sale now, with a general on-sale beginning Wednesday, November 18, at 10a.m. ET.

In the true Twiddle spirit of loving relentlessly, the band plans to donate a portion of each Frendsgiving ticket sale to the White Light Foundation in support of forthcoming winter initiatives. Fans also have an opportunity to win one of seventy-five Paul Kreizenbeck Screen Prints, seen below.

To win one of these prints, go to Twiddle’s Frendsgiving Facebook Post, tag three “frends,” and share your favorite memory of Twiddle at The Cap – extra points for photos, sharing, and making people happy – three winners will be chosen at Noon on Thanksgiving Day!

Order stream passes (pre-sale code: FRENDS). For more information, visit TwiddleMusic.com

November 16, 2020
Wave Farm to Host Ragas Live Festival on November 21-22

Ragas Live Festival will broadcast on November 21-22, hosted by the Brooklyn nonprofit organization Wave Farm. The virtual festival will run for 24 hours straight – from 7 p.m. on Saturday until 7 p.m. Sunday. The 24-hour broadcast will feature over 60 musicians’ global performances.

The Indian classical music tradition known as “raga” was the inspiration for the festival. A “raga” is a musical mode with its own emotions, associated with a specific time of day. The music from the raga harmonizes with changes in light and the emotions associated with a sunset, high noon, or midnight. The musical tradition helped to cultivate the concept for the festival to beam out 24 hours of “raga” to reflect the innovations within the music industry. Ragas Live Festival is in its consecutive ninth year since its start back in 2012. With the music industry having to readjust around COVID-19, Ragas Live Festival was able to transition into a first-ever broadcast for this year’s celebration.

The Ragas Live Festival will feature performances from all around the world and fellow New York artists including; Andy Statman (Manhattan), Krishna Mohan Bhatt (Brooklyn), Arun Ramamurthy (Manhattan), Roopa Mahadevan (Brooklyn), Ask Hafiz (Manhattan), Samarth Nagarkar (Brooklyn), and more.

International performers include Terry Riley (Himitsu, Japan), Betsayda Machado y Parranda El Clavo (El Clavo, Venezuela), Derek Gripper (Capetown, South Africa), and more. Pioneer Works, Brooklyn Raga Massive, NYC Radio Live, and the Rubin Museum of Art are all partners in presenting the event.

Wave Farm will continue to provide support to artists with their Wave Farm Artist Residency Program coming up in February. Artists have the chance to gain valuable radio experience by applying with a specific radio art project. The deadline for the Residency applications is February 1.

Click here to register for The Ragas Live Festival event.

November 16, 2020
Pete Rock Releases ‘Rejoice’ from Forthcoming PeteStrumentals 3 Album

Pioneering hip hop producer, Pete Rock, is set to release the third installment of his PeteStrumentals series of beat albums. The Bronx native released the inaugural project in 2001, beginning a trend of beat albums for producers looking to share their un-versed work.

The second edition was released in 2015, with the latest version set to feature his live ensemble, The Soul Brothers.

With the album set to arrive on December 11 through his Tru Souls imprint, the legendary producer released the album’s first single and video “Say it Again” last week. Now he has decided to share the project’s second single, “Rejoice.” Amidst a strong Jazz and Funk influence, the record features looping guitar and drum set, with a strong 70’s feel. Running just over two-minutes, it resembles something of an Isaac Hayes composition, standing as the perfect cross between laid-back and up-tempo, action packed music.

In an interview with OkayPlayer, the fabled producer went into more depth on the song’s creation. “I created ‘Rejoice’ in my basement as just a simple idea of a beat I made in my head. I listened to some jazz that day and heard something interesting and remembered it and just gave the band a direction reference; and they took it from there.”

Known for some of the most iconic production in rap history, the Grammy-winner has taken a different approach to this upcoming album, this time assembling a full-on band. The outfit includes, two-time Grammy-winning drummer Daru Jones, later on recruiting guitarist Marcus Machado, bassists Mono Neon and Christopher McBride, keyboardist BigYuki (A Tribe Called Quest), and vocalist Jermaine Holmes (D’Angelo). “I want the best; I’m like James Brown and Kool & The Gang; I want precision,” Pete Rock alerts.

November 15, 2020