The Ritualists announced their album release party for their sophomore album Baroque & Bleeding taking place in NYC. The release party will take place on December 3, 2021 at 6:30PM at the Berlin venue in NYC.
The Ritualist are a NYC based band that had their debut album drop back in 2019 titled, Painted People. The band is lead by Lead vocalist/songwriter Christian Dryden who is massively influenced by the scene of the Lower East Side of Manhattan in the 80’s. The band has an alt-rock and post-punk sound that plays off of 19th Century Romance poetry and musical arrangements.
https://youtu.be/MJ5kH4BJy0E
The band’s sophomore album Baroque & Bleeding dropped it’s title track “Baroque & Bleeding” on July 10, 2021 and it takes the best elements of Acid Rock, Brit-Pop and Electronica and serves it with a dash of ‘90s cynicism. The album was produced by Ed Buller who is known for his work on Pulp, White Lies, Suede.
The album release show took place on Friday, December 3, 2021at Berlin located at 25 Avenue A, New York, NY 10009. The show is a 21+ event and is being promoted as, “A night of rock-n-roll in the heart of the East Village.” The show is being supported by NY based Deep Sea Peach Tree and Chicago Based North by North. Ticket can be purchased for $11 here.
For more information on The Ritualists and their upcoming album Baroque & Bleeding visit their website.
Genre-blurring NYC artist Joshua Crumbly has shared a new video for his nostalgic and moody track “Kolkata.” Crumbly first shared “Kolkata” on his sophomore full-length, ForEver, which he released last month.
Crumbly’s gift lies in emotionally evocative and masterful bass guitar. He made his debut at age 10, performing with his saxophonist father, and eventually pursued his passion at Julliard. His unique style has led him to record and tour with everyone from Leon Bridges to Kamasi Washington. He performed alongside Bob Dylan in Dylan’s 2021 concert film, Shadow Kingdom. He released his debut solo album, Rise, in 2020.
The windswept video for “Kolkata” features crumbly as a cowboy wandering a dusty open road. Carefully stepping along the dotted yellow line, Crumbly walks towards a hazy mountain range in the distance. As the camera approaches him slowly from behind, he sets down his guitar case, removed his hat, and turns to face the audience.
Crumbly is half African-American and half Indian-American, and frequently visits his mother’s family in Kolkata. It was there he experienced something beautiful while looking over the city, sparking the inspiration for “Kolkata.”
“It was a blissful moment filled with gratitude and optimism,” Crumbly said. “I didn’t bring any instruments with me on this trip but I did have my laptop computer to sonically document this moment I was grateful to have experienced.”
Joshua Crumbly
Featuring guests like Shahzad Ismaily, Sam Gendel, and Jay Bellerose, ForEver has received praise from outlets like Hypebeast and Under the Radar. NPR Music highlighted the record on their New Music Friday podcast.
The album’s haunting 11 tracks never hit you over the head with their meaning. But Crumbly’s ability to evoke nostalgia and deja vu through a simple, wavering bassline keeps you mesmerized. In ForEver’s lo-fi environment, each song blends into the next while still setting a unique scene. “Family” is heartbreakingly simple and bittersweet, while “C.S.C.” with Jay Bellerose builds on an ominous, hazy funk. Title track and standout “ForEver” takes hints from midwest emo, but remains hauntingly spare throughout. The soft, undulating melody worms its way into your brain and stays.
Brooklyn-based songwriter Sam Rappaport has released his second single, “Journeyman’s Ballet,” A founding member of Brooklyn indie R&B/blues rock band Gooseberry, the solo effort was led by his debut single “Till the Morning Comes”.
The song follows a traveler’s decent into isolation and contemplates that which provides him company. Silky, melancholic vocals in the vein of John Mayer hang delicately above a buoyant groove. Sam worked with Toledo‘s Daniel Alvarez and Jordan Dunn-Pilz to produce the track, showcasing the duo’s talent for warm, layered arrangements.
Sam spent most of his life believing that he was headed for the NBA. When that didn’t work out, he’s been searching for purpose ever since, traveling the country, taking jobs as a case manager at a welfare office, a reporter for local newspapers, a bartender at a Sichuan restaurant, among others. However, he’s never strayed too far from a piano and a healthy stack of yellow legal pads.
As noted by Eclectic Music Lover, “the song has a pleasing jazzy soft-rock vibe reminiscent of late 70s/early 80s Steely Dan. Rappaport’s keys are well complemented by Daniel and Jordan’s lilting guitar notes and gentle percussion that enhance, rather than overpower, allowing his lovely piano to really shine.”
Give a listen to Sam Rappaport and his underrated vocals that fit the melody of “Journeyman’s Ballet” superbly.
Like many of us, Kate Gratson used the pandemic to channel her inner-self. Consequently, her latest album, The Girl You Knew, does most of her speaking for her. Gratson’s process of self-reflection is something that her fans are all too familiar with and on this latest project, she found a way to perfectly encapture all the intimate feelings we’re afraid to share out loud. A veteran of writing on self-actualization and acceptance, it’s apparent that the she has developed an even deeper understanding of herself and lets it all out in her music.
While growing as a person and artist, Gratson has gotten a hold creatively as well, revealing a new sense of control.
Musically and lyrically, “Watch and Wonder,” is all about tension and release, and my main goal was to highlight this when creating the music video. “Watch and Wonder” is my second music video with Isaac Rosenthal on cinematography, and Grant Sorth on editing, but it is the first time I had a distinct, artistic vision in mind
Kate Granson
When listening to Brooklyn-based singer, songwriter, producer and cellist, it isn’t always apparent that she has a firm foundation in both jazz and classical techniques. Her knowledge of both genres almost silently seeps into her music layered with R&B, folk/indie and electronic elements. Combining both contemporary and aged sounds, she often find herself almost painting a picture of timelessness. Her various identities, paired with the layering of samples, mixed with velvety vocals, gritty drums and melodic synths are surely to catapult her career.
Following her formal music education, Gratson would go on to receive a BM in music composition and vocal performance from the State University of New York at Fredonia. It was during this time that her sound and voice as an artist began to take shape. She then returned to New York City to focus on refining her distinctly eclectic feel, attempting to harness the layers that made up her voice. Later returning to her initial mentors, as she began to write and hone her craft, while steadily releasing singles.
At last, she released her debut album, The Girl You Knew. With a growing fanbase and unique sound, it might not be long before Kate Gratson once again becomes the girl we once knew.
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 Architrave 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.
Architrave
Synthpop duo Architrave have released their new album, Future Ruins. On the heels of their 2020 lockdown effort This Perfect Day, it deals with the aftermath of quarantine. Many used last year’s shutdown as a time of introspection, leading to all sorts of epiphanies and life changes. Each song grapples with some aspect of the pandemic’s psychological effects, from the news cycle to social distancing. Made up of husband-wife duo Paul Coleman and Jennifer Maher Coleman, Architrave is based in Ballston Spa.
Future Ruins.
Album opener, “Blissed Out” deals with the phenomenon of doomscrolling—obsessively checking bad news, something of an international pastime throughout the pandemic. The lyrics emphasize how unhealthy this practice is, opting to spend time with a loved one instead.
Future Ruins’ next track, “Crown Shyness,” uses the evolutionary patterns of trees as a metaphor for social distancing. At the album’s halfway point, “Loved and Lost” tells the story of a couple who feel like strangers. Its dreamy instrumental evokes sci-fi films like Blade Runner and Tron.
Penultimate track “Slice of Life” details the monotony and boredom of quarantine, searching for something unique as the days bleed together. With its darkwave influences, it would fit right in on Depeche Mode’s Violator.
Electro-pop duo Sylvan Esso brought their “Shaking Out The Numb” tour to Burlington for two nights. They played two sold-out nights at Higher Ground on November 8th and 9th.
The brainchild of Amelia Meath and Nick Sanborn, Sylvan Esso is “built on conversation.” The marriage between Meath’s charismatic, inflected vocals and Sanborn’s creative production is euphoric at its best. Crowd excitement was palpable as bodies pressed up eagerly against the barrier.
Sylvan Esso. Photo by Hattie Lindert.
Canadian-Colombian singer Lido Pimienta opened for Sylvan Esso. She won the Polaris Prize for her 2016 album “La Papessa,” and released her most recent project “Miss Colombia” in 2020, to widespread acclaim.
“Watching her every night is so inspiring,” Sanborn said of Pimienta to the crowd.
Lido Pimienta. Photo by Hattie Lindert.
Bells were the first sounds heard in Pimienta’s set, ringing from percussionist Brandon Valdivia’s ankles as he walked onstage. The Nicaraguan-Canadian producer, and Pimienta’s partner, performs under the name Mas Aya. Her use of live percussion emphasized that rhythm is at the heart of Pimienta’s music and mission.
Pimienta dominated the stage with her mesmerizing blend of punk, electronic, and Colombian cumbia music. Chatting cheerily with the audience, often to the point of TMI, Pimienta’s warm stage presence stood out as much as her hypnotizing voice. Stomping, twerking, and prancing in a voluminous white cotton dress, Pimienta made herself impossible to look away from. A natural and candid storyteller, she discussed postpartum depression, lovers who fail you, and a woman’s choice– heavy topics she approaches with grace and humor.
Lido Pimienta. Photo by Hattie Lindert.
“That’s why I sing in Spanish,” she joked with the crowd.
Pimienta’s musical project hinges on combining indigenous tradition, political activism, and experimental music techniques from around the world. Pimienta frequently works with Canadian artist-activists Tanya Taqaq and the Halluci Nation. Employing Taqaq’s shocking throat-singing technique on Miss Colombia track “No Pude,” Pimienta sounded like a whole new artist. When she closed with the triumphant “Eso Que Tu Haces,” Pimienta’s stunning set felt all too short.
Amelia Meath of Sylvan Esso. Photo by Hattie Lindert.
Before taking the stage, Sylvan Esso got a healthy cloud of smoke going, enveloping the venue. Entering to song “Runaway,” Meath in a dramatic fringed purple jacket, the crowd went wild from the barrier to the bar. Higher Ground felt more crowded than it has in a while.
Sylvan Esso performed a crowd-pleasing selection from their last few albums, focusing on hits. An intense strobe setup elevated each song, colors changing and bulbs flashing as Meath made the stage her own. After old fan favorite “Dress,” Meath shouted out fans who attended both nights, and a very special crowd member: Meath’s mom.
Sylvan Esso. Photo by Hattie Lindert.
Sylvan Esso proved at the show that their music is about far more than just a melody. Their attention to movement, light work, and crowd engagement made their performance an immersive, fun experience all about dancing. After a long year of isolation, Meath and Sanborn consistently reminded Higher Ground how much fun they were having. Though Meath mainly ran the crowd work while Sanborn’s focus remains locked on his setup, the bounce of his long hair betrays his fun. On the whipping, popping synth breakdown to Esso’s most recent single “Numb,” Sanborn was all but jumping up and down.
Closing with the classic hit “Radio,” Sylvan Esso left Burlington with a sweet, sparkling taste in their mouths. Watching waving hands illuminated by Esso’s lights, and people of all ages moving their bodies, brought on a wave of gratitude. After all, Esso chose to be with us as well. The duo shared they had added the two Burlington dates in place of scheduled days off. At least for the crowd, “shaking out the numb” together felt like the perfect relaxation activity.
Amelia Meath of Sylvan Esso. Photo by Hattie Lindert.
Sylvan Esso will continue their East Coast tour this month, with upcoming dates at New York City’s Terminal 5 November 15th and 16th.
On his 50th birthday, Luke Smith aka Supraluke has released his first single “Hoot” from the highly anticipated debut album, Songs for the Great Blue Heron. This record marks a first for artist Luke Smith as singer/songwriter and guitarist who has until recently been known as primarily the drummer for Strangefolk.
Album Cover Art by Ida Ludlow Art
Amidst the darkest days of shutdown, Luke Smith of Strangefolk found sanctuary in routine and was completely unaware of the record Songs for the Great Blue Heron he would eventually make for none other than a the bird itself. Luke did not know when tying his shoes for the first of what would become many 4 mile runs that the single “Hoot” would be released on his 50th Birthday. The Folk/Americana artist Supraluke was yet to be born for in those days, many could only think as far as one foot in front of the other.
“Hoot” by Supraluke contains heavy owl imagery
Songs for The Great Blue Heron by Supraluke to be released February 2022
The Situation
When asked to think back to that time when we could not remember the last time we stepped out of the prison that many affectionately named their “home office,” many would shudder. The bittersweet opportunity to spend time with loved ones created balance with uncertainty and similarity between days. Game night filled with tiles of various shapes and colors began to look like bingo boards. Streaming live music helped the mind and created connections; but day in and day out, contributions to one’s own well being seemed to disappear.
When we were stripped down to the framework of who we believe ourselves to be, only growth can follow.
The Question
How did we find our way out of the void? At what moment did we have enough? If our path could look like anything and we had all the time in the world with only our own mental health fighting back, what shape would it take?
Help from the unexpected might come as a surprise, especially in the form of Surpaben.
Outcome
Help from our people would have to exist in order to take whatever future might be forming and bring it to fruition. Teammates seemed to miraculously appear from those that showed up without blinking an eye. Shutdown has astonished many at finding newfound levels of uplift from communities that might have only seemed like the outer sphere of relationship in the beginning.
Suprahoot
How could these musings have anything to do with a single release and an album quite literally written to a bird? Stay tuned for a three part unveiling of the tale of The Run, The Guitar and The Great Blue Heron.
Indie music fans gathered in Brooklyn Steel Monday, November 1st, for a sold-out show featuring co-headliners Beach Fossils and Wild Nothing with support from Hannah Jadagu.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
New York City local Hannah Jadagu opened up the show with a number of her top tracks, including Think Too Much, Bleep Bloop, and he latest track release, “All My Time Is Wasted.” Having been signed to Sub Pop at 18, Hannah has already amassed more than 100,000 followers on Spotify and only continues to grow. During her set she took the time to thank Beach Fossils and Wild Nothing for bringing her along on the tour, and noted bittersweetly that this was her final show with them. You can listen to her music here.
Hannah Jadagu at Brooklyn Steel, Photographed by David Reichmann
Wild Nothing took the stage next, bringing an upbeat atmosphere and their signature synthwave indie-pop sound. Having last played Brooklyn Steel in 2019 to record their live album, Live From Brooklyn Steel, frontman Jack Tatum mentioned how special this venue is to him, thanking the crowd for coming out. The crowd danced and swayed throughout their set, and the setlist included some of their biggest hits, like Partners In Motion, Paradise, and Shadow (which closed out their set). You can listen to their catalog here.
Wild Nothing at Brooklyn Steel, Photographed by David Reichmann
Local Brooklyn legends Beach Fossils entered to an already-fired-up crowd, with Van Halen’s “Jump” playing over the speakers as they walked onstage. They wasted no time jumping into their extended 16-song setlist, playing numerous fan favorites from throughout their catalog. They opened with “This Year,” followed by their hit single “Sugar.” Some notable tracks include “Down The Line” (their most-streamed song to date, with nearly 2.4 million views on Youtube), “What A Pleasure,” “Sleep Apnea,” “Out In The Way” (performed with Wild Nothing), and “Daydream” as the closer.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
Beach Fossils have a new record coming out, “The Other Side of Life: Piano Ballads,” which you can pre-order on vinyl here and listen to here when it releases on November 19th.
The Flaming Lips returned to Brooklyn last night for the first of two shows at Bushwick’s Brooklyn Steel. Only the second stop on a world tour, the band returns to the live stage following the pandemic with dates across the US, Canada and the UK into next summer. Special guest and Flaming Lips collaborator Particle Kid provided opening support, featuring a guest appearance by Sean Ono Lennon.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tragedy of the Astroworld festival last week has not only shocked so many people, but has also changed the mindset of performers and venues alike. Flaming Lips frontman Wayne Coyne began the show with a long speech on the topic, urging fans to look out for everyone around them, promising that they would stop the show in the event someone needed help. He addressed the desire of so many to let their emotions run loose at shows, and he reminded us all that we can still “go crazy” in a good and positive way. This motif continued through the show, with breaks between songs and bright house lights to make sure everyone was safe.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The Flaming Lips released their debut record Here It Is in 1986, and have cultivated an extensive discography ever since. Back in 2020, the band released their sixteenth studio album, American Head via Warner Records. For Record Store Day 2021, the band released The Soft Bulletin Companion on vinyl for the first time ever. The rare recordings are B-sides and early mixes that accompany the band’s early breakthrough record The Soft Bulletin.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
One surprise nugget for the evening was the live debut of deep cut “Assassination of the Sun” off the band’s 2003 EP Ego Tripping At The Gates Of Hell. Afterwards, Wayne addressed the crowd, telling them about his ecstasy seeing a room full of fans enjoy a song they’ve never heard played live. Other essential tracks played included the epic “Yoshimi Battles The Pink Robots, Pt. 1,” “Do You Realize??,” and “She Don’t Use Jelly.”
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tour continues with another show tonight at Brooklyn Steel, plus two more New York shows. They’ll be playing on November 12th in Syracuse at Crouse-Hinds Concert Theater, and then in Albany on November 13th at The Palace Theatre. Check out the full run of dates on Song Kick and see our Brooklyn Steel night 1 photo gallery below. Wayne Coyne also has his own cannabis brand, Love Yer Brain, available now.
Parquet Courts touched down in Burlington, VT on Wednesday night, bringing their latest album and older favorites to a grateful Higher Ground.
The Brooklyn indie rockers released their seventh studio album, Sympathy for Life, on October 22. The stunning effort leans into their expansive sound while feeling more crowd-worthy than ever. With thought-provoking lyrics and mind-bending instrumentals, the band makes a statement on their identity for the dancing masses.
Samantha York of Public Practice. Photo by Hattie Lindert.
New York City band Public Practice opened for Parquet Courts. Their dreamy, punky disco-rock moves as smoothly as lead singer Samantha York sashaying across the stage. The sparkling frontwoman of the band celebrated her birthday that night; Austin Brown of Parquet Courts brought her a celebratory cupcake onstage. As the crowd sang “Happy Birthday,” he knelt to the ground so she could blow out a birthday candle.
Urging the crowd to dance along, York emphasized: “how good it feels to be together and listen to music and move our f*cking bodies.” Her lilting vocals, perfectly complemented by bassist Drew Citron’s high harmonies, begged to be danced to.
Parquet Courts took the stage in the Ballroom after roughly 45 minutes. The crowd remained patient and was rewarded with an “Application/Apparatus,” an opening jam of wild synths, and a breakneck guitar riff exemplifying Parquet Courts’ unique brand.
Sean Yeaton and A. Savage of Parquet Courts. Photo by Hattie Lindert.
Sympathy for Life’s mesmerizing and unexpected melodies draw you in immediately. Performing live, Parquet Courts take their best tracks to the next level with unique riffs and intuitive breakdowns. The jumpy “Almost Had To Start A Fight/In and Out of Patience” felt stadium-sized as Sean Yeaton and A. Savage screamed into their mics. And on “Plant Life,” A. Savage’s masterful melodica was the cherry atop a woozy breakdown that felt wonderfully endless. As swirling green lights took over the stage, in the shape of leaves, the venue seemed transformed.
A. Savage of Parquet Courts. Photo by Hattie Lindert.
The band had a hold on the Vermont crowd, heavy on college kids. Parquet Courts shouted out notorious Burlington spot Pure Pop Records, “for all the vinyl heads out there.” They knew their crowd, and cheers erupted from the pit.
Austin Brown of Parquet Courts. Photo by Hattie Lindert.
After 11 years of “pure unadulterated hits,” as Brown joked, their catalog is far too lush to fit in one set. But the selection Parquet Courts presented showed them at their finest. Their strange, raw music and emotionally charged lyrics can speak on many different levels, to many different emotions. One of their shows is nothing short of a rollercoaster.
Sean Yeaton of Parquet Courts. Photo by Hattie Lindert.
Yet all night, the crowd stayed right there with them. Moments after one chosen individual crowd-surfed to loser’s anthem “Stoned & Starving,” the entire crowd swayed slowly together to mournful, reflective “Pulcinella.” Though the band did not resurface to calls for an encore, the ballad was the perfect conclusion. My personal favorite song on Sympathy for Life (and it’s closer), the stunning outro evokes a cinematic emotion of nostalgia and change. Savage’s soft hum could be a lullaby; he sounds unrecognizable, yet completely himself. Before I knew it, I was swaying in time with the rest of the crowd.
Parquet Courts. Photo by Hattie Lindert.
Parquet Courts will continue their North American tour into 2022, with two New York dates scheduled for next year. See the full list of shows and venues below:
November 6— Stone Pony *– Asbury Park, NJ
November 17 — White Oak Music Hall- Houston, TX
November 19—Stubbs BBQ- Austin, T.X.
November 21 — Corona Capital 2021 – Mexico, Mexico
February 27, 2022—The Orange Peel- Asheville, N.C.
February 28, 2022— Georgia Theatre– Athens, GA
March 02, 2022– Variety Playhouse – Atlanta, GA
March 03, 2022— Saturn- Birmingham, AL
March 04, 2022— Cannery Ballroom- Nashville, TN
March 05, 2022— The Pageant – St. Louis, MO
March 07, 2022— Liberty Hall – Lawrence, KS
March 10, 2022— First Avenue, –Minneapolis, MN
March 11, 2022 — Turner Hall Ballroom- Milwaukee, WI
March 12, 2022—Riviera Theatre – Chicago, IL
March 13, 2022— Museum of Contemporary Art Detroit – Detroit, MI
