Category: Audio

  • This Week’s EQXposure Features Senior Living, Fenton Hardy And More!

    Each Sunday evening from 7-9pm 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 new music from Senior Living, Fenton Hardy and many more!

    fenton hardy senior living

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    Senior Living

    Senior Living is a punk and shoegaze band from Albany, NY. Like the best of both worlds, their music is meant to be listened to with the volume cranked all the way up (their Instagram bio makes note of this, simply stating “bring earplugs yo”). On Senior Living’s debut album, Anniversaries, they combine both genres with ease, offering a plausible answer to how Green Day might sound covering My Bloody Valentine, or vice versa. The best tracks to showcase this fusion are the album’s shortest and longest tracks: opener “Carousel,” and penultimate song “Sourir.”

    Fenton Hardy

    Fenton Hardy’s five-minute “Morose” is much sunnier than its title suggests. The opening track from his EP, The Ghost, it references those Mondays where we don’t feel like getting out of bed: “Friday, you taste like honey / Oh Monday, like tequila and regret.” Nevertheless, it encourages the listener to face the day ahead. The keyboard and bass have lots to do here, acting as the intro and outro respectively.

    Sarah King

    Vermont singer-songwriter Sarah King puts a feminist spin on folk ballads with her EP, The Hour. She describes “Poison” as “a soul-country anthem inspired by [Alexandria Ocasio-Cortez] and her strength dealing with men belittling her.” The title stems from the lyric, “I gave you a taste of your own medicine, and you say I poisoned you.” Each of The Hour’s five songs approach feminism, empowerment and trauma from a different angle, including a cover of Black Sabbath’s “War Pigs.” The EP was produced by Simone Felice (The Lumineers, Jade Bird), who was impressed after King cold-emailed him.

  • Don Everly, 1937-2021

    Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.

    Don Everly

    Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.

    Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.

    Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.

    Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.

    Paul Simon

    After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.

    The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.

    Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”

    Don Everly

    Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.

    The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.

    Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.

  • This Week’s EQXposure Features Paul Moody, The William Deuel Band, And More

    Each Sunday evening from 7-9pm 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 new music from Paul Moody, the William Deuel Band and many more!

    Paul moody

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    Paul Moody

    Folk singer-songwriter Paul Moody is a recent Woodstock transplant from Chicago, who also performs under the name Moody Jr. His upcoming album Songs From Youth, out this October, is preceded by the contemplative, personal single “Breaking Into Cars.”

    Moody’s music is immersive and ambient, with detailed soundscapes you can almost meditate to. The best example is “All I Had Was You,” his most-played song on Spotify with almost 500K streams.

    The William Deuel Band

    Formed in Saratoga Springs in 2018, The William Deuel Band is a unique amalgamation of the Rolling Stones and Nirvana, with some country and blues thrown in for good measure. Their newest full-length effort, Moment in Time, features frontman William Deuel, drummer Chris Reed, Jr., and bassists Jason Brown and Ethan Henderson. Highlights include “Ballroom Bananas” and “Can’t Wait on Sunday.”

    The Great Pacific Garbage Patch

    “Situational Comedy” is the final track on The Great Pacific Garbage Patch’s debut album, You’ve Changed. Despite its title evoking images of Michael Scott or Leslie Knope causing hilarious hijinks at their workplace, this pop punk tune is bleak and anxious, referencing The Truman Show and a self-conscious feeling of being watched by an audience: “And it’s been a good run / I just hope that I could give the people what they want.” The Albany trio is made up of drummer Jordan Demarest, bassist Dan Haggerty and lead singer and guitarist Will Kachidurian.

    You’ve Changed by The Great Pacific Garbage Patch
  • This Week’s EQXposure Features Kimberly Hawkey, Canella And More

    Each Sunday evening from 7-9pm 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 new music from Kimberly Hawkey, Canella and many more!

    Canella

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    Kimberly Hawkey

    Kimberly Hawkey’s album We the Nighthawks is begging to be adapted as a musical. Combining jazz, folk and Broadway influences, each of its 13 tracks tells a stage-ready story ripped from the Great American Songbook. The album’s title track, a melancholy piano ballad, is a love letter to the insomniacs and night owls staying up while the rest of the world sleeps. Hawkey is also the lead singer of NYC swing sextet, The Swingaroos. This Tuesday, August 17, you can catch her performing at The Linda, WAMC’s performing arts studio.

    We the Nighthawks by Kimberly Hawkey

    Custom, center

    Canella

    Canella is a new project from former members of Albany band Waitress. On “Quiet Love,” lead singer Juliana Castrillon shares her experience with homelessness and finding her way back: “I won’t miss the times before, I was locked right out the door.” The video, directed by El Modernist lead singer Will Fredette, showcases Castrillon’s journey, from waiting at a bus stop with a suitcase to experiencing happiness and safety again.

    Bathrobe Robots

    Bathrobe Robots is a sibling duo made up of Devon and Linnea Seegers. Their Facebook bio reads “Sibling robots crash landed in the desolate countryside of upstate New York, and decided to make some music.” Their glitchy, politically-charged, Grimes-channeling single “Speak Now” encourages listeners to make a difference by using their voices.

  • This Week’s EQXposure Features Caity Gallagher, Joseph Beaty And More

    Each Sunday evening from 7-9pm 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 new music from Caity Gallagher, Joseph Beaty and many more!

    Caity Gallagher

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.


    Caity Gallagher

    With its calming piano and breezy vocals, singer-songwriter Caity Gallagher’s single “Give It All” would fit right in at the Lilith Fair. Equal parts Fiona Apple and Sarah McLachlan, the song is about hesitance in starting a new relationship: “What’s holding me down? What happened to the lightness I thought I’d found?” Gallagher and her band, collectively known as Caity and the Gallaghers, are playing at The Linda on Thursday, August 12.

    Joseph Beaty

    Joseph Beaty’s latest album Rust, You Can Leave Me Now is available for pre-order. The Adirondack musician and producer creates a gloomy atmosphere on its singles, the industrial “Thick of Things” and the grungy “Still Forming,” which he acknowledges in the Bandcamp notes:

    [This album] is the embodiment of 2020. Things in my life (in all our lives) were put in perspective and it was time to remove the negative bits. This record was my catharsis, my therapy. It is gritty, unsafe, and dark. No sense in sugar-coating it. You will hear many lyrics talk about knocking the rust out. This therapy experiment helped me arrive as a new, more focused person for 2021.

    El Modernist

    Albany band El Modernist gives us a geometry lesson on new wave song “Lines.” Its talk-singing style hearkens back to the early 1980s, when Blondie and Talking Heads flirted with spoken word and early rap.

  • 20 Years Later: TAB’s ‘Octet’ formation Rolls through Jones Beach and SPAC

    2001 was a formative year for the relatively new Trey Anastasio Band (TAB). Since sprouting roots a few years earlier, the band had already grown from a three-piece to a six-piece ensemble. Co-founders Tony Markellis (bass) and Russ Lawton (drums), along with Trey, were supplemented with the addition of a horn section consisting of Dave Grippo (saxophone), Jennifer Hartswick (trumpet) and Andy Moroz (trombone) for a short tour earlier in the year.

    Come summer, the TAB outfit would add two more full-time members, rounding into an official octet. Another Giant Country Horn, Russel Remington (saxophone/flute) was added to the fray along with Ray Paczkowski, who still mans the keyboards for the band today. The addition of Paczkowski and a keyboard rig to the lineup was a clear game changer, bringing an extra layer of sound and funk that would seem irreplaceable today. Summer of 2001 would be the first time the TAB ‘Octet’ would hit the road, one that included a pair of choice NY gigs that helped close out the tour.

    TAB 2001

    August 3, 2001 Jones Beach

    Trey wastes no time getting this show up and running, with the wah pedal at the ready for a bouncy “Burlap Sack and Pumps” opener. It also features an extended saxophone solo from Dave “The Truth” Grippo that helps fuel the high intensity start. The crux of the first set is a 20-minute “Last Tube” that gets smoothed out nicely after some early feedback issues. Everyone gets a turn to solo on this one in a jam that slowly but steadily picks up steam throughout. Jennifer Hartswick’s enchanting harmonies shine through on “Flock of Words” before “Cayman Review,” a song that debuted only weeks ago, picks things back up. This early version is played a step or two slower than its contemporary one, but the funk is still very much evident, showing why it’s remained a staple of TAB setlists. A spirited “Moesha” later caps off a first set that, with the exception of “Words,” never comes to a full stop.

    TAB 2001

    Much like “Last Tube” in the first, TAB’s second set at Jones Beach is heavily influenced by one song. “Money, Love and Change,” another new to TAB song only debuted a handful of shows ago, opens the set and doesn’t let up until well after 25 minutes later. The opening composed section sounds a little shaky as one would expect for a new song, but soon another Tony Markellis-led groove heaps fuel onto the improvisational fire and the jam is off and running. After a brief Trey/Ray duel on guitar and keys, the main theme re-emerges briefly but instead of coming to a close, the horn section leads a direct charge into “Plasma,” cementing a powerhouse start to this set. Newcomer Russ Remington shines when given the chance to lead the way on flute for a little while. Afterwards, Trey makes note of the venue’s new upper level of seats that wasn’t there the last time her played Jones Beach before launching into a scorching “Mr. Completely.”

    sticker via PhanArt

    After closing the second set with “Sand,” the tangible Phish vibe only grew stronger as bassist Mike Gordon came out and joined Trey for a three-song acoustic encore. With Phish still in the midst of their first self-imposed hiatus at this time, this helped to quell any unfounded rumors of the band’s early demise. The “internationally acclaimed movie director” (Gordon had recently released Outside Out) showed off his versatility and joined Trey on acoustic guitar for “Back on the Train” before switching back to bass and closing out the evening with a “Bathtub Gin” that had large swaths of the Jones Beach crown clapping and/or singing along at various points.

    Take a listen to the full show here.

    Trey Anastasio Band – Jones Beach Amphitheater – Wantagh, NY 8/3/01

    Set 1: Burlap Sack and Pumps, Acting the Devil, Last Tube, Flock of Words, Cayman Review, Sidewalks of San Francisco, Moesha

    Set 2: Money, Love and Change -> Plasma, Mr. Completely, At the Gazebo, Sand

    Encore: Mountains in the Mist, Back on the Train, Bathtub Gin

    Mike Gordon sat in for entire encore.

    TAB 2001

    August 5, 2001 SPAC

    After a quick dip into Massachusetts on August 4 for a gig at the Tweeter Center, TAB was back in NY two days later for the tour closer, this time Upstate and visiting another old friend, SPAC. With this still very much being the “early days,” a lot of the song pairings and sequences that were seen in Jones Beach would reappear here as the band’s musical repertoire was nowhere near where it is today. But much like snowflakes, no two TAB shows are completely alike.

    TAB 2001

    The band drops “Last Tube” right away this evening as the opener. While it doesn’t quite reach the range of the Jones Beach version, it serves as more than an apt opener that has the band in peak form early and the Saratoga Springs crowd up and dancing immediately. Another sterling solo from Grippo and a rousing peak led by Anastasio again highlight this one. Then it’s right back into the still fledged “Cayman Review,” with Pazckowski moving nimbly between both the clav and organ. “Burlap Sack and Pumps” rounds out the opening trio, enabled by a pulsating Tony Markellis bass line that doesn’t quit. Although the order differed, the only new song in tonight’s first set from two nights prior is the calypso-infused “Alive Again” that appears later in the set, another (now) classic TAB song that was only first played earlier this summer.

    Greg Haymes’ Times Union recap of TAB at SPAC

    The second set at SPAC has a familiar start but does finally begin to offer a little variety. At this point of the tour, it’s evident that Trey knows which songs are the heavy hitters. Thus, the second stanza begins with a return to “Money, Love and Change.” Once more, it doesn’t quite reach the depths of the Jones Beach version, but Trey still uses the groove-filled jam that ensues as a vehicle to transition right into “Plasma” again.

    The setlist then starts to offer a little variety, starting with an exquisite take on the TAB original “Drifting” where the harmony between Anastasio and Hartswick again reigns supreme. Another familiar tune to the Phish faithful emerges after this as the band doubles up on “tubes” for the evening and drops a pulsating mid-set “First Tube.” One of the gems of the entire show is TAB’s take on the soul classic “Ooh Child,” a rare polished cover that dates all the way back to the days of the original trio.

    The show, and tour, is closed out in proper fashion with a set-ending “Push On ‘Til the Day” that follows along in the early TAB tradition of locking into an early groove supplied by the rhythm section of Markellis and Lawton and then expanding from there. With the entire horn section locked in as well, it’s a joyous sendoff and a fitting set closer. The instrumental “Mozambique” serves as as the encore, wrapping up a successful tour and two nights in NY for TAB.

    You can listen to the full show here.

    Trey Anastasio Band Saratoga Performing Arts Center – Saratoga Springs, NY 8/5/01

    Set 1: Last Tube, Cayman Review, Burlap Sack and Pumps, Flock of Words, Alive Again, Moesha

    Set 2: Money Love and Change -> Plasma, Drifting, First Tube > Every Story Ends in Stone, At the Barbecue, O-o-h Child, Push On ‘Til the Day

    Encore: Mozambique

  • This Week’s EQXposure Features The Grandstand Jockeys, Timbre Coup and More

    Each Sunday evening from 7-9pm 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 new music from the Grandstand Jockeys, Timbre Coup and many more!

    Grandstand jockeys

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    The Grandstand Jockeys

    The Grandstand Jockeys’ debut EP, Win, arrives on June 18. Its first single, “Better Days,” is a nostalgic call to long-past good times, holding out hope for their eventual return. The song is especially timely in the wake of many COVID-19 restrictions being lifted: “Time to begin, the time is now / Get yourself off the ground.” The Grandstand Jockeys’ Facebook page describes their sound as a mix of Tom Petty, Nirvana and QOTSA, but “Better Days” has the former written all over it.

    Timbre Coup

    Timbre Coup’s latest single, “Running Always,” is an indie rock piece that occasionally delves into prog and funk. The song’s scarce lyrics contrast its vast, sometimes trippy soundscape, replete with a sweeping electric guitar that wouldn’t sound out of place on OK Computer. The four-piece band from Albany will release their fourth studio album, Sudden Urge, on June 25.

    Ciarra Fragale

    Indie-pop singer-songwriter Ciarra Fragale’s self-titled EP is out on July 2. Described by Fragale as “a love letter to my anxiety (and yours),” single “It’s Only Raining” isn’t concerned with the weather so much as the stressful hypothetical situations our brains create for us. Fragale’s vocals are effortless yet passionate, and the staccatoed keys will stay with you long after listening.

  • This Week’s EQXposure Features Sara Devoe, Blackcat Elliot And More

    Each Sunday evening from 7-9pm 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 new music from Sara Devoe, Blackcat Elliot and many more!

    Sara Devoe

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    Sara Devoe

    Albany artist Sara Devoe blends a dream pop aesthetic with the songwriting sensibilities of Phoebe Bridgers and Lana Del Rey. “Big Night” is the first single off her debut EP, out this summer. Chill and slightly aloof, it’s tailor-made for solo summer drives.

    Blackcat Elliot

    Inspired by the CBGB punk scene of the 1970s with a side of 90s grunge, Albany garage band trio Blackcat Elliot is still going strong after 20 years. Made up of Fast Eddie on bass, Marky Balboa on drums and Gus on guitar and vocals, they’re self-proclaimed “troublesome, working class heroes.” Their 2019 album There Is No Good In Us features “Take It Back,” a hard rock number with Grohl-esque vocals.

    U.C.

    Toronto prog trio U.C. released their album Time Distortion in March. Quirky and experimental, “Magnanimity” pays tribute to the titular five-dollar word with daring production choices. While relegated to the background, the shimmering piano that enters halfway through makes the song. At times, “Magnanimity” appears to pay homage to Freddie Mercury and “Bohemian Rhapsody.” If the listener didn’t know its release date, it could easily be mistaken for a song from the past or even future.

    Sara Devoe, Blackcat Elliot

  • This Week’s EQXposure Features Next Station, Swamp Baby And More

    Each Sunday evening from 7-9pm 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 new music from Next Station, Swamp Baby and many more!

    Next Station

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.

    Next Station

    Next Station, an Upstate NY band founded in 2010, released their album The Flow on May 5. The title track is as cool and confident as its name suggests, like an auditory lazy river. “The Flow” deserves to be longer than its runtime of three and a half minutes, and sounds even better on repeat.

    Swamp Baby

    Albany chamber pop band Swamp Baby is known for their atmospheric ballads. “Identified Submerged Object,” the opener of their 2020 album Water Gods, converts the northern lights on the cover into sound form. The track reaches a crescendo at the halfway point, when its vocals are overtaken by a sweeping piano and string instrumental. Water Gods follows Swamp Baby’s first two LPs, All Fours (2010) and For Baby’s Babies (2012).

    E.R.I.E.

    E.R.I.E., an indie pop-punk quartet from Albany, uses the tagline “Not yer Dad’s dad-rock.” Based on its title, their song “The Dirt Inside Your Soul” seems to tease a bitter breakup jam, but it’s actually the opposite. Frontman T.J. King vows to love the song’s subject not just in spite of their flaws, but because of them.

  • Rene Lopez Releases New Genre-Melding Single “Flamingo”

    Singer-songwriter, guitarist and drummer Rene Lopez has just released his new single, “Flamingo”. A master of cross-genre work, Lopez’ single features Caribbean roots, rhythmic Jamaican ska drum loops, Cuban son montuno with cha-cha-chá influence. “Flamingo” stands as a direct reflection of Lopez’ multicultural upbringing in New York City, where he resides today.

    Son of the famed Puerto Rican salsa musician and trumpet player René López, Rene embraces the traditional roots of his father while incorporating his own unique musical influences, including soul, jazz, funk, and rock. 

    Rene Lopez

    An audience can audibly hear this melding of genres- with the fusion of Latin rhythms and instruments like timbales, congas, cowbell, flute, trumpet, Cuban tres and melodies similar to the pop musical soundscape today. 

    It just feels so right to incorporate my roots into my songs.

    Rene Lopez

    Dubbed “a one-man song factory” by Félix Contreras of NPR’s Alt.Latino, Lopez takes a personal approach to songwriting. 

    There is also a story that I tell in each song that is basically my own way of dealing with stuff going on in my life [and it] helps me face myself when I sing it out loud.

    Rene Lopez

    Lopez’ ability to write a autobiographical discography that melds Latin music, funk, rock, doo-wop, and soul is what keeps him hitting the mark with these catchy songs. Throughout the course of his work, Lopez’ music has only continued to become more Latinized, invoking a thematic otherness as an immigrant or being from a certain urban ethnic neighborhood. Keeping his songs close to home has reflected an authentic, nostalgic sound  that shows listeners Lopez is “being completely honest with who I am, and a big part of that is my Latin roots,” as well as telling stories of personal relationships and experiences in an unflinching way.

    Rene Lopez

    Written as an ode to a “special woman” Lopez fell in love with after he got divorced, “Flamingo” bears Lopez’ vulnerability. He successfully transformed a situation he dubbed “extremely difficult and heartbreaking” into a beautiful tribute to the experience. Simultaneously graceful and outlandish, the flamingo serves as the perfect metaphor to quantify his unattainable love.

    The title of the single then alludes to the doomed romance due to the lovers’ star-crossed circumstances. Beautiful and tragic, the song is a Latin lullaby of love and healing. The poetic lyrics serve as the perfect gateway into Lopez’ self and coupled with the personal roots of his past, “Flamingo” serves as a testament to Lopez’ past. And evidently, the song is yet another incredible hit to add to his collection of singles, keeping his growing audience waiting for the future.

    The single is streaming on Soundcloud and does not disappoint! 

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