Miles Francis, the multitalented NYC based musician has released a second single in 2021 titled “Popular.”
Earlier this year, they released “Service,” a catchy alt-pop romp exploring the dark side of devotion, complete with boy band style choreography of Miles Francis clones in the video. This actually mirrored Miles’ recording process in quarantine of cloning one element into many, making a band out of a solo artist.
Previously they’ve collaborated with Will Butler (Arcade Fire), Sharon Jones & The Dap-Kings, Antibalas, Amber Mark, Angelique Kidjo, and many more. A popular project of Miles’ on YouTube #MultiMiles was started in January of 2021 and so far includes 12 videos plus an NPR Tiny Desk submission version of Service. Their previous EPs Doves and Swimmers have earned them praise from the likes of NY Times,FADER, Stereogum, and KCRW.
“Popular”comes out Aug 25 and is a continuation of the “Service” video, tackling the male need to take up space and power, from conversations to countries. The song features Lizzie Loveless and Lou Tides (aka Lizzie and Teeny Lieberson, formerly of TEEN) on background vocals. In the “Service” music video, Miles Francis and their two clones sing, play their instruments, and perform the synchronized choreography while constantly peeking over to the side of the camera. This small detail could be overlooked as a natural habit of the artist until about halfway through the video when all three clones get disturbed and paranoid before leading into a dance number. Then of course the ending features a downed Miles and an imposing silver mannequin.
This is where the “Popular” music video picks up. The video starts pretty intensely, a very different vibe than the previous video, where the now moving mannequin drags Miles to a different set. Fewer clones and more color and light distortions in this one. After a makeup application scene that felt like a hostage situation Miles goes back to the familiar two piece drum set up a changed person. Social commentary is littered throughout both videos and can be dissected with a few viewings.
To celebrate, Francis will be taking to the streets of New York today for live performances on a pickup truck (“Popularalooza” schedule here + Instagram live here), ahead of their Sept 15 hometown show at Our Wicked Lady benefiting Trans Asylias.
New York’s largest free outdoor performing arts festival is making a comeback to live performances after last year’s hiatus due to the pandemic. Since its inception 35 years ago, more than six million people from New York City and around the world have enjoyed SummerStage. In 2020, “Capital One City Parks Foundation SummerStage Anywhere” was launched in response to the global pandemic, presenting 80 free digital performances, spanning all genres, available to all around the world.
Now, back in full swing, Capital One City Parks Foundation Summerstage will be hosting the annual celebration for esteemed jazz saxophonist, Charlie Parker. Recognized as one of the vanguards of jazz music’s evolution into the modern era, Parker is acknowledged for his advancement of Bebop, a subsidiary of Jazz known for its fast tempos. A highly regarded soloist, the celebration of Parker’s life and accomplishments will be comprised of his contemporizes as well as young jazz musicians who continue to push the art form forward. This year’s festivals will be held from August 27-29 at Harlem’s historic Marcus Garvey Park in addition to other partnered jazz events around the city that will run from the August 23-27.
All free performances will be open to the public and will be first come, first served and in accordance with venue capacity limits. In response to the increasing spread of the COVID-19 Delta variant, all guests of the Charlie Parker Jazz Festival SummerStage events at Marcus Garvey Park will be required to show either proof of full COVID-19 vaccination or a negative PCR test within the last 72 hours in order to enter. Children under the age of 12 will be allowed to accompany their parent or guardian who provides proof of full vaccination or negative COVID test.
All information regarding vaccination/testing/mask guidelines as well as an itinerary of events for all Summerstage 2021 Season events can be found on the City Parks Foundation website.
Guitarist/composer Ramiro Marziani is taking the NYC music scene by storm using his international style influenced by a love for culture. The Argentinian-born musician has recently released his newest EP, Sep ’20: From a Living Room in Brooklyn, on Friday, August 13.
Marziani is a young, worldly guitarist based in Brooklyn, New York City. He has previously performed at venues across New York and Europe, from NYC’s Sony Hall, to Le Bal Blomet in Paris and Prague’s Jazz Dock. He has also made appearances at Austin, Texas’ SXSW festival, California WorldFest, and was even featured in a Polynesian string-inspired NPRTiny Desk Concert with ukulele virtuoso Taimane.
Music played an important role in Marziani’s life since the beginning. Marziani notes that his family’s influence inspired him to take up guitar, due part from Argentinian musical culture. After gravitating towards the guitar from a young age, he began taking the instrument seriously at 11 years old.
Old Spanish guitars were always sitting around my family home growing up, I had an intense curiosity to pick it up and start playing.
Ramiro Marziani
Marziani’s earliest inspiration was 80’s rock band Asia, after attending a concert of theirs with his father. The revolutionary rockers opened a new door for Marziani to explore endless genres of music, fueling his passion for all forms of musical expression. He enrolled in professional lessons, studying traditional Spanish guitar as well as rock and other genres as he got into his mid-teens.
1980’s supergroup Asia
When you’re young, you have an aesthetic ferocity to try an instrument. How it sounds, how it looks, what it does. For me, it was the guitar, and the Asia concert made me think “yeah, I’m doing this.”
Ramiro Marziani
His musical training continued into attending Berklee College of Music which sealed his future as a professional guitarist. After graduating from Berklee, Marziani moved to Brooklyn in search of bigger and better things. He uses New York as a headquarters for music production and performance in-between travels while he continues on his journey as a blossoming international artist.
NYC as a culture capital is very romantic to me, it’s filled with amazing musical talent and has provided me with inspiration that I had not found anywhere else.
Ramiro Marziani
Travel is apart of the magic for Marziani, allowing him to indulge in his love for discovering new forms of music. His style is self-described as “putting together techniques from everywhere” to create something truly unique; the exchange of knowledge and culture seems to make music so enticing for Marziani.
It’s the fact that I’m not a tourist, and I have immediate access to meeting and learning from the people of any place I visit, the people that come to your shows. This is the biggest prize for a musician like myself.
Ramiro Marziani
Marziani in the studio
Marziani’s professional studies have guided him to an intuitive way of music-making, comparable to an orchestral composer. His process of creating is much less focused on just throwing things out and seeing what sticks. Instead, he takes an intentional approach, focusing in on the conditions behind the creation of an album. This unique approach to musical artistry allows for a freeform fluidity between genres to properly fit the music’s intended role.
I strive to create an environment of composition with my music that leads into intentional improvisation and collaboration. I want to make things feel purposeful, no matter the genre.
Ramiro Marziani
Marziani released another EP, a meditation music guitar album titled Cielito Blue, in July 2020. Cielito Blue is a short 20-minute album of eight solo guitar songs, written with a service mindset rather than a purely artistic goal. Produced in the beginning of the COVID-19 pandemic, its purpose is to allow oneself to re-connect with the present, by quieting the mind through meditation, stretching, yoga or daily tasks.
Marziani’s newest EP, Sep ’20: From A Living Room in Brooklyn marks his return to the sound of high energy rock n’ roll guitar and extended jazz improvisation. The meditative period of Cielito Blue, is greatly juxtaposed by this new project, as Sep ’20 marks a return to normalcy.
Sep ’20: From a Living Room in Brooklyn, was recorded shortly after Cielito Blue, but was kept on the back burner while Marziani worked on other projects. It represents a fusion of cultures through collaborations with musicians from Brazil, Indonesia and Argentina. Best described as “jazz and American folk with a little rock n’ roll sugar,” be sure to expect some unique yet enchanting guitar rhythms.
Now is the right time to release Sep ’20, as it marks the moment in time when it was recorded, but allows us to celebrate that things are beginning to open up again.
Ramiro Marziani
Marziani looks to recreate a banjo-like sound through the electric guitar with first track, “Celtic Dreams.” “El Rio,” the second track, is a slower ballad where Argentine folk and country influence become present. The third and final song on the EP is titled “Oliver Oil”, which floats across dreamy Brazilian rhythms.
Other than creating and traveling, Marziani can be found teaching aspiring musicians of all ages as well as sharing various jam sessions and musical covers on Youtube. From just scrolling down his posts, ranging from Clapton to AC/DC and everything in-between, his musical ambiguity is clear.
Sep ’20: From A Living Room in Brooklyn is available now on all major streaming platforms. Stay up to date with all things Ramiro Marziani through his Instagram and website.
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.
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.”
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.
There was a time in history where hip hop gave insight into the issues facing the Black race. But as the infantile genre continued its ascendency into the mainstream during the mid-to-late 1990’s, popular acts and record labels began shifting away from the raw, gutter and street sound of rap. Rather than focus on tales of the inner-city, lyrics began to reflect a more glamorous lifestyle, that was backed by a wardrobe to match.
Onyx never suffered from that conundrum. The Southside, Jamaica outfit always seemed to know where their niche lied. They excelled in their raw, energetic, raucous, and lyrically inclined style of rap. Coming off a platinum-selling album and high-charting single, it would’ve been easy for them to continuously chase commercial success. Rather, the “Slam” emcees stuck with what originally garnered them critical acclaim.
Their sophomore effort, All We Got Iz Us, has been certified gold with over half-a-million sales yet, never reached the success of its predecessor. Nonetheless, the Jam Master Jay signees delivered several more classic hip hop records. The singles, “Live Niguz” and “Last Dayz,” have gotten their just due, but the anthemic “Walk in New York” best resonates with the parts of New York City many can’t fathom.
According to New York City’s crime database, in 1993 (the year Onyx’s debut album dropped) the city faced nearly 2000 murders, and over 85 thousand robberies. For better context, New York City is estimated to face only 468 murders in 2021, a substantial difference. In light, it is easy to see why Onyx’s style, sound and lyrics reflected such lawlessness and aggression, those were the times!
Their description of their hometown is more resemblant of a violence laden wasteland where ruthless aggression rules above all. Yet it’s clear as day the pride each emcee exudes when characterizing their beloved New York City, for better or worse.
The title “Walk in New York” refers to the strut and swagger one from New York maintains as they walk, particularly when part of a larger ensemble. And as the proprietors of hip hop, New Yorkers held a certain panache when it came to the culture, taking pride in setting all the latest trends.
Fredro Starr begins the record, emphasizing that New York was not a part of the gang culture that had become so prominent in hip hop as a result of the West Coast influence (possibly a jab, as this was during the height of the east coast-west coast hip hop beef), before reminding listeners of the intense animosity between NYPD and young minorities.
We don’t throw gang signs in New York We just be on some shit in New York New York City, shiftee low down gritty You punk niggas yell pity and smell shitty NYPD can suck my dick
One of Hip Hop’s greatest attributes is that it allowed inhabitants of inner cities to express their first-hand experiences. Unpolished thoughts that are not ready-made for the mainstream were encouraged during the 1990’s. On the song’s second verse, Sonsee furthers fortifies the real New York experience.
Them damn streets are eager to claim all lives But fuck it, it’s my home hate it or appreciate it It’s the torrid 8 million story orientated Designated and made for the real renegades So I never been afraid to stomp, comp, then get paid
As the song continues, Sonsee’s temperament changes, he goes from accepting the cards he was dealt, to taking pride in the lawless nature in which many from the inner-city were conducting themselves. Which I maintain should go in the case study for nature vs nurture.
New York hold shit down on keep locked we rock all night And if Zoo York niggas wasn’t part of your shit, your shit wasn’t right We known to start shit up from trends, to riots, to fracas And big enough to fuck up anybody that wanna attack us And that’s cause the five boroughs are deep Most of us are peeps, true Zoo York niggas we play for keep
The unmistakable Sticky Fingaz concludes the record with a fitting encapsulation of mid-1990’s New York City. From the violence, the distinctive swagger that New Yorkers carry themselves with, the “by any means” mentality of its hustlers, and the tourists who visit the outskirts and the city’s landmarks, but would never step foot in the jungle.
Representin’ New York City and for what it’s worth Yo we the triflest mother fuckers on the face of this Earth So if you don’t like your life fuck with a nigga from New York The instincts we got is to shoot first then talk But what seems to always gives us away is our “niggery” walk And I speak from experience, so pleader take heed to advice We sellin guns and drugs and sex or anything for the right price The crime rate’s so goddamn high, we had to name the shit twice Cause tourists be scared to death to visit the criminal’s paradise Home of bloodshed and tears and for souvenirs there’s fears It appears nobody cares so say your prayers
While not a major hit record, the song resonates mainly with New Yorkers, specifically those who lived through those dangerous times as well as those who feel Onyx represent the values hip hop were founded on. Real street tales from people who actually experienced them.
So fuck the mayor, fuck Rudy, Ray, and the governor Ya’ll niggas couldn’t walk my walk, my talk’s ruggeder
The inaugural Catskill Mountain Jubilee (CMJ) was held August 12-14 at The Blackthorne Resort in East Durham, New York. The venue’s biggest event yet bent genres and danced around the intersection of electric and electronic. bands like Lotus bridged the gap between Doey Joey and Dark Star Orchestra. The eclectic influences and open minds made for a few days full of idea-filled conversations, exciting new music, and top notch vendors. The not-too-big, not-too-small festival in the middle of a humid heat wave created an atmosphere of mutual respect which cultivated a space ripe for profound understanding of ourselves and our community.
Gnomes and 9 Pins
The CMJ had a familiar story that aligned with folklore about sailors being led by gnomes deep into in the Catskills only to find joyful celebration full of music. Diverse creatures of the forest gathered to play games of 9 pin all night, illuminated by a seemingly ever burning bright firelight. It is said that every 20 years, that light can be seen and music heard. Some felt a pull, while others felt magic.
Blue emerges
This past weekend, bright lights could be seen and music heard. Strangely, in the land of Mountain Jams and Cosmic Alignment’s past, genres at CMJ could not be identified. In a most peculiar way, the over 400 residents at Blackthorne resorts were nowhere to be found the first and second day. It was as if they did not exist.
Pool Party with Doey Joey
Games were played at DJ Doey Joey’s pool party. Bright colors, bubbly movement existed in this thriving ecosystem that was the Joey crowd. Fans extended like dorsal fins, electric poi hung in the air like angler fish and glow sticks helped fasten hair into a bun as the warm day slowly cooled.
Meeting of the Minds in Transitional Times
“Face it, Black Tourmaline from the Himalayas is f***ing so rad. Believe what you want. The point is the aesthetics.” –
The intensity of the heat matched the the conversation during the day at CMK. Crystal Wielders and Zen masters took shade at the second stage which acted as an arena to discuss the ultimate debate: Quartz or Himalayan Black Tourmaline on your back?
Your Ocean
As night fell and humidity rose, attention could only be directed towards the place with the light. The oceanic thickness in the air combined with the “mind like alter” transition from healthy debate to learning seemed only appropriate.
Lotus gave intimate, yet energized upstate Flodown that evoked new levels of emotional connection for fans as guitarist Michael takes his victory lap with the band. Incoming stand-out guitarist Tim Palmieri and fellow guitar warriors exchanged theories on the most humane strategies for reducing a crowd into liquid form with their solos.
Moe. guitarist Al Schnier is not featured in this photo.
This is a moment that captures the heart and soul guitar playing in the band Lotus from Michel to Tim. Tim’s eagerness to learn from Michel and Michael letting go of this place will put a smile on all Lotus Fan’s Faces. We love the band. We will miss Mike, and we still want Lotus in our lives.
During tumultuous conditions, the vendors acted as protector and mother to any patron in need. Regardless of Maslow’s ranking, the vendors were there to provide quality accommodations every homeostasis need, like Keith’s Coffee.
Some vendors even appeared to have a special ability to live paint the eye of the storm, channel its dragon spirit and will the storm and all of its heat away.
Rainbow Party
After the storm passed and the heat broke, Annie In The Water acted as the rainbow ride all the way to a party “where the wine flowed like cheap booze in soup containers.”
The locals, feeling safe, were drawn out of what turned out to be their their air conditioned summer homes. What did the trick? It seemed the upbeat jams of Lucid did the trick. Lines of golf carts were full of folks seeing a world of possibility they never knew existed. The party continued into two nights of Dark Star Orchestra.
Powers and Abilities
Once the heat broke and everyone at CMJ began to interact with more cognizance, something unexpected happened.
Karina Rykman discovering what Umphrey’s McGee and Doom Flamingo member Ryan Stasik called “Levitation and Doom (Flamingo hat)”
As true celebration began, the inner power of each individual began to manifest itself in different ways.
Becoming Jellyman
These patrons responsibly used their powers to summon a deep feeling of gratitude and acceptance among all attendees. The group seemed to tie closer and closer bonds throughout the weekend.
Newfound confidence in community had many take their light bending to an entirely new level.
It takes some kind of magic to allow oneself to submit to romance and all that goes along with it. It is a scary world out there, but only with the support of our community can we find it in ourselves to kiss the girl.
Karina Rykman finding her inner light
Sometimes finding that one inner light in ourselves was all we needed.
Looking Forward
“fuck yes” – Woman on the left.
What does this all mean? It means that the power of a beautiful place, good music and supportive minds can remind us why we loved going to see music when it was all still new. It also allows us to tap into our inner optimist. Regardless of how bad life might feel, we could probably make it to the next set.
“It will buff out.” A rainbow Hemp Hatted Zen Master shared his mantra with the crystal keepers while gazing deep into the looking stone. He explained the phrase meant everything will be ok, but he has to do work.
“At least if the journey has no destination, the jubilant reassurance that we are all in this together” – Loosely quotes from David Byrne but with a CMJ twist
“Let’s cherish the Memories we’ve had so far, and have equanimity with what happens next.” – Wonzie
“F**k yeah!” -Woman on the Left (pictured above)
This Inaugural symposium brought together individuals from every planet, ocean, desert, pool party and pot of gold. It was a true meeting of the minds. Moving forward we will be empowered to take care of more fellow music fans, regardless of their favorite band or who they think is getting “The Torch.” In times where addiction runs rampant, we must remember that we are all in this together and everyone without a water bottle needs one.
The Catskill Mountain Jubilee certainly felt like it had been happening for centuries. and maybe it hasâ¦
For a reminder of how far we have come, check out this awesome video from shutdown with Karina and Marlo from Melt playing China Cat Sunflower
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!
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 inSaratoga Springs in 2018, The William Deuel Bandis 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.
Armand Hammer and The Alchemist headlined Capital One City Parks Foundation SummerStage on Sunday, August 15, showcasing underground rap from their latest record Haram. The lineup for the day was rounded out by an opening DJ set from GENG PTP, followed by short sets from Moor Mother and Fielded.
Armand Hammer and The Alchemist at SummerStage, 8/15/21. Photo by Buscar Photo
As with most SummerStage shows, the evening started off with a series of short films, including a two minute short Pumbucha in which a low-level influencer tries to push a disgusting beverage that only causes them physical and emotional pain. After the film, DJ and producer GENG PTP took to the stage to spin original songs and classic hits, including “All Caps” in tribute to the late MF DOOM (remember, all caps when you spell the man’s name). During the set, underground rapper AKAI SOLO joined inand performed “Nebula” and “True Truths” off of his records Eleventh Wind and Mad Space respectively.
GENG PTP at SummerStage, 8/15/21. Photos by Buscar Photo
Next up was genre-defying poet and multi instrumentalist Moor Mother. Blending spoken word poetry with avant-garde and jazz influenced beats and soundscapes, Moor Mother delivers a powerful and thought provoking performance. Standing at the front of the stage, she fervently echoed the mantra “WE ARE STANDING ON GRAVES,” echoing a similar plea from the SummerStage public announcer before the show to honor the native lands and burial grounds our cities are built upon. Moor Mother is currently putting out and featured on some of the most cutting edge music, much of which is available on her BandCamp page.
Moor Mother at SummerStage, 8/15/21. Photo by Buscar Photo
Fielded took the stage next and delivered a short set of lighter pop tunes. The three-piece band provided a bit of change of pace for the night, but sandwiched between the high energy and cerebral performances of Moor Mother and Armand Hammer, Fielded soothed the crowd and allowed the evening to take on a different atmosphere as the sun was setting. The singer from Fielded would also later make an appearance to provide vocals on a song for Armand Hammer.
Fielded at SummerStage, 8/15/21. Photos by Buscar Photo
Armand Hammer is the collaborative project of underground rappers Billy Woods and Elucid. The duo occupy a really specific sub-genre within the rap umbrella. Cerebral and relenting lyrical flow is delivered over more minimal but psychedelic beat patterns laced with horns and ambient loops. The instrumentals here serve more of a mood-setting purpose while the lyricists engage in a “stream of consciousness” rap style.
Elucid of Armand Hammer at SummerStage 8/15/21. Photo by Buscar Photo
Making their LP debut in 2013 with Race Music, the group hit a major stride with 2018’s Paraffin. Hailed as an underground rap opus, this LP brought the duo’s unique style to the forefront and began inspiring a wave of new rappers in the genre. With their latest release Haram, Armand Hammer is joined by heavyweight producer The Alchemist. His inclusion is apparent right at the start of the record, delivering a dark and hypnotic beat on “Sir Benni Miles” to set the mood of the record straight away. Haram explores, in startling detail, the wounds and fear still experienced by African Americans today as a result of colonial slavery and oppression in America. This fear is embedded in the lyrics and instrumentals across the 40-minute runtime of the record.
The group love sharing the stage with their peers, allowing fellow rap duo Shrapknel on stage to perform a couple of their songs. The whole night was a showcase of the exciting artists on Backwoodz Studios, all the artists who performed tonight have releases on the label.
Billy Woods of Armand Hammer at SummerStage, 8/15/21. Photo by Buscar Photo
Concerts right now are nothing short of a spiritual experience. After 18 months of isolation and fear due to the pandemic, being at a concert today is both daring but rewarding. Getting back to the enjoyment of a concert while being safe and cognizant of what is still going on is incredibly important at this time. Artists on stage are acutely aware of this, and seeing these artists take the stage again after all this time you can’t help but feel the energy emanating from them. After a couple of songs, Elucid was so caught up in the performance he desperately pleaded to the sound engineers, “I need more volume up here man, this is a physical experience right now,” a sentiment that was on clear display amongst the audience.
The Alchemist at SummerStage, 8/15/21. Photo by Buscar Photo
Next up for Capital One City Parks Foundation SummerStage is a very special benefit show with Common this coming Sunday, August 22nd. The show is supported by exciting hip hop artist Rapsody. We will be there – make sure to check back for a photo gallery and review of that show. All upcoming SummerStage shows will require proof of vaccination along with a government issued ID to gain entry. Make sure to check the individual requirements of any show you plan on attending as vaccine and testing requirements begin to take shape.
Dave Matthews Band performed in Syracuse, NY at the St Joseph’s Amphitheater on Wednesday, August 18 on the shores of Onondaga Lake. This marks the band’s third show at the Amp. Dave Matthews Band performed at the old Sky Chief Stadium in 2009 that included special guest Sam Kininger. Dave Matthews performed solo for the Dalai Lama at the Carrier Dome in 2012.
photo by Josh Davis
The rain-soaked masses came out for all occasions to the shores of Onondaga Lake to celebrate live music. It comes as fast as it passes through, so why fear the rain? The band responded with a 23-song set list mixed with old and new material from their catalog.
photo by Josh Davis
“Come and relax now leave your troubles down no need to bear the weight of your worries here let them all fall away.” For the first time in thirteen years, they opened the show with “Pantala Naga Pampa” -> “Rapunzel” that also appropriately starts the Before These Crowded Streets record. Thirteen years from this August 19 also marks the day Leroi Moore gave up his ghost as founding member on saxophone for the band.
The heavy rains commanded the band’s attention on stage. The crowd, as well, who started a “JTR” chant that helped changed the set list to oblige the rain dance request. The lyrics resonated off the stage through the sky, Rain, rain, Rain down on me Again And again, Rain down on me... Some thunder did come off the bandstand from Carter Beauford’s floor Tom drums during the JTR jam.
photo by Josh Davis
Do You Remember all of the Summer Tours this band has consistently put on with last year being its only break? Tim Reynolds was eager to play his electric guitar this tour. He shines during “Crush” and“You Might Die Trying.” His notes are both fueling off the horn section for full crescendo endings.
Dave Matthews debuts a song played for just the second time named “The Only Thing.” The jam includes Buddy and Tim jiving back and forth on funk. The new lyrics hit home in the crowd. I just want some kind of love I know cause I feel it, It’s a lonely world you’re living in. I just want love. more love. Lord knows I need it. It’s the only thing…
photo by Josh Davis
For those in the crowd battling a love they can’t break free from the band drops a raucous “Can’t Stop” The song started on Summer tour of 2006 and has grown to their most recent studio album. Dave’s words on this track clearly show the yearning that hopefully fades So hungry, you make me, I surrender… I’m hurting like a junkie for you. The outro chorus screams Free the Beast inside of me.
“You and Me,” a song written in Lake George, NY was played for the 375th time. The band also busted out “Captain” for the first time since Madison Square Garden In 2018.The “Jimi Thing” mash up jam featured covers by Huey Lewis and the News’ “I Want a New Drug” and Prince’s “Sexy Motherfucker.” Keyboardist Buddy Strong really stepped out vocally with Rashawn Ross on this while howling on that B3 Hammond organ. Its a damn shame to lose your way running wild. The band then went heavy with “Louisiana Bayou” and “Grey Street” to end the performance.
photo by Josh Davis
During the encore, two riders were approaching and the wind began to howl. The band played off the rainy night’s elements again for their finale. Stefan Lessard’s chilling bass intro to DMB’s take on Bob Dylan’s “All Along the Watchtower” was beyond appropriate to end the night. This version also features a tribute to Led Zeppelin during the finale as Dave belts out the infamous final verse to “Stairway to Heaven” before ending ”Watchtower.” No reason to get excited…
Dave Matthews performed solo at a Stephen Talkhouse in the Hampton’s on Thursday evening. The band visits New York for shows in Saratoga Springs and Jones Beach in September. In November they return to the world’s most famous arena, Madison Square Garden.
Dave Matthews Band – St Joseph’s Amphitheater, Syracuse NY – August 18, 2021
Setlist: Pantala Naga Pampa->Rapunzel, Funny the Way It Is, JTR, So Much to Say->Too Much, Squirm, Do You Remember, Crush, The Only Thing, You Might Die Trying, You and Me, Can’t Stop, Dancing Nancies, Warehouse, Captain, Jimi Thing I Want a New Drug (Huey Lewis & The News cover) Sexy M.F. (Prince cover) Louisiana Bayou, Grey Street
Encore: All Along the Watchtower (Bob Dylan cover with Led Zeppelin Verse)
Swagata Biswas, a rising singer-songwriter born and raised in New York City, has just premiered the music video for her sophomore single “Waves”. Biswas brings an indie soul sound to the NY music scene, with a nostalgic, 90s-style twinge. She has peformed at venues like Rockwood Music Hall, City Hall, and Pianos NYC and cites inspiration from artists like Amy Winehouse and Norah Jones.
Photo from @swagatabiswas on Instagram, taken by Brian Wells
“Waves” was released in 2020 and followed Biswas’s debut single, “Lens”. “Waves” opens with pleasant acoustic strumming and Biswas’s clear and strong vocals. She muses, “The waves crash down but reveal smooth sand/The sun falls but it rises again”, sparking a message of optimism and overcoming struggles that seems especially pertinent in today’s unpredictable landscape.
The music video adds even more layers to Biswas’s thoughtful songwriting. We follow her through split screen scenarios, showcasing the butterfly effect of different life choices. On one side, Biswas pours herself into a desk job, typing at her computer, meeting with her boss, and repeating this daily monotony. On the other, Biswas leaves the meeting with her boss and heads home, where color floods the screen and she picks up her guitar to start writing music.
The worlds begin to converge as Biswas experiences highs in her work life, like promotions, and lows in her musical life, like a poor meeting with a record label. By the end, the whole video is in color and the two sides have merged. Biswas seemingly realizes that she does not have to choose one path over the other. She can explore her musical passions while still excelling professionally and life a truly harmonious life.
The video for “Waves” is creative and meaningful and the song itself is easy, late summer listening. Be sure to look out for Biswas in the future and connect with her through her website, Instagram, Facebook and Soundcloud.
Check out the video below, which premiered on August 19 at 12PM EST.
