Kaatsbaan Cultural Park in Tivoli, just across the Hudson River from Saugerties, will host their inaugural, outdoor Spring Festival. Joining them will be Patti Smith and her longtime collaborator Tony Shanahan, who will offer tribute to Bob Dylan ahead of his upcoming 80th birthday, through original songs and poetry as well as works by Dylan, on May 22, 2021.
On Instagram, Kaatsbaan Cultural Park said they were “Thrilled to have poet performer Patti Smith participate in our upcoming spring festival.”
Smith and Dylan have a longstanding relationship going back to the 1960s, and Smith even performed at Dylan’s Nobel Prize for Literature ceremony in 2016 in his absence.
Additional offerings for the late-May festival will the include works of dance, culinary arts and sculpture.
Artistic Director of Kaatsbaan, Stella Abrera, explained what the event will entail.
The name Kaatsbaan, derived from the Dutch language for ‘a playing field,’ will embody our Spring Festival in every way. We have always been a haven away from the constraints of city life where artists can realize their most ambitious projects. In May, the public will have the opportunity to see this in action, as we create immersive experiences across our fields where they can safely encounter an unparalleled range of artists and styles.
Kaatbaan Artistic Director Stella Abrera
Following the success of a 2020 Summer Festival, held despite challenges faced at the height of the COVID-19 pandemic, the first Spring Festival will take place on May 22. During last year’s nine-week Summer Festival, Kaatsbaan was able to support over 100 New York-based artists, as noted by executive director Sonja Kostich.
This spring, the greatly expanded program will not only support artists in dance but also across music, poetry, visual and culinary arts, as well as the invaluable individuals who work behind the scenes to make a festival come to life. Kaatsbaan is also committed to the health and vibrancy of our local economy, with the Spring Festival providing opportunities for local economic growth that includes exciting new partnerships.
It has been four years since the members of Melt came together as a band. Co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) both NYC natives, started playing music together in High School. They and some of their friends entered a local battle of the bands competition and won. They took the prize money from that competition and used it to produce the band’s first song“Sour Candy” which was released as a single in 2017.
Melt is a septet, which is comprised of an additional five members: Marlo Shankweiler (Guitar), Josh Greenzeig (Drums), Coulou (Trumpet), Lucas Saur (Bass), and Nick Sare (Saxophone). Melt’s successful debut single propelled the band into the limelight with the strategic utilization of social media and substantial exposure on various internet streaming services. “Sour Candy” holds the distinction of having over 5 million streams on Spotify since it’s initial release. Between this heavy exposure and the band’s high energy live performances, Melt has been successful in establishing themselves securely in the rough and tumble NYC music scene.
Melt has a reached another important milestone with the February release of their Debut EP West Side Highway, which includes six tracks of previously unreleased music. Recorded at the Bunker Studio in Brooklyn, West Side Highway reflects a new level of maturity that Melt has been successful in developing as a band. “Coming into the studio with the goal of creating a longer work, we thought more intently on how each track worked with one another and used the opportunity to weave together the wide set of influences helping to shape a seven-person band,” said Josh Greenzeig (Drums).
“We used the EP format to create a snapshot of what that moment in time was for us, cementing elements of our sound that we love and finding new ones worth exploring.”
West Side Highway starts out with opening track “Don’t Want Me,” a moody number that details a love affair that has gone bad and is still painfully lingering in it’s final death throes. The masterful guitar instrumentation by Shankweiler and the melancholic vocal by Stewart-Frommer both work in concert to create a setting of sad desperation with a longing to be released. It was a great way to start the record and one that was interesting in it’s selection. It set the meditative tone of the EP which is soothing, comforting, and introspective in it’s entirety. This on going theme is again illustrated with third track, the EP’s title track, “West Side Highway,” which can be considered a love letter to pandemic ravaged NYC. This thought evoking number features a wonderfully muted trumpet solo by Coulou that is enhanced with Gabriel’s creative keyboard playing. his type of musical craftmanship results in another gem of a track on the record.
We were able to get some time with Melt co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) in order to discuss the band and it’s debute EP – West Side Highway.
Tim Bopp: How did the band Melt form and what were the circumstances that caused the genesis of the band.
Eric Gabriel: Veronica and I went to High School together and towards the end of high school we had some more time to kind of start playing with people around the city and that was really the first iteration.
Veronica Stewart-Frommer: The first call we made was Marlo who is our guitar player.
TB: How did you come up with the band name Melt?
VS-F: The funny thing about that is that we actually had the song even before we had the name for the band. Suddenly we were sitting with this single and we were like, “Alright and we kind of want to put this out there but we don’t have a name.” So we went down this very long list of random names. The night before we were going to release “Sour Candy” we actually made a Facebook page called Big Deli Chain. We were like, “That is it! That is the name! We are going to be Big Deli Chain (laughing).” At some point between 2AM and 4AM that night I was just like this band can’t be named Big Deli Chain and we changed it to Melt. It was so random.
TB: How has the Pandemic Affected the band and the new EP West Side Highway?
VS-F: The EP really is a product of the Pandemic. In a lot of ways, it feels like an entirely new Melt. This was such a unique time for us. Something that is interesting about us is that during the year we are all either doing our day jobs or even in school. A lot of us are still in college. So we do this kind of funky long distance band thing where we unite for these crazy weekend shows and then go our separate ways. In a lot of ways due to the Pandemic, if we wanted to work, we had to live together for multiple weeks in order to justify moving anywhere. It was kind of the first time since four years ago when the band started that we were able to settle down and really be together for weeks on end and write and hang out. We are such a live band that our songs are usually tested over months and years at live shows and they are based on what the audience reacts to and how we are feeling at the show but there was none of that this time.
EG: We have mostly been thought of as a live band. On most of our singles we typically try to document that energy that we all love about playing together at a live show. This EP we kind of wanted to go into a different direction. I think it is much more chilled out and doesn’t really have as much of that live band sound. The individual tracks we kind of wanted to take a different approach in the crafting of the songs.
TB: What are some of your musical influences?
VS-F: Part of what makes up the Melt sound is that we are seven people and some of us went to school for Jazz music and some of us studied political science and were raised on the Beatles and Bob Dylan. A lot of us have been into the Jam scene. That is actually how I met Marlo, through Phish and the Grateful Dead. I think we are kind of all over the map on that. Obviously as a singer I really adore a lot of artists like Aretha Franklin, Etta James, Otis Redding. That is where I fell in love with that genre and that type of singing. We are really all over the place. Right now a lot of us are into Phoebe Bridgers and the more Indie scene. I think that comes through on this EP.
EG: I grew up with a ton of Bruce Springsteen. More recently I listen to more folk music like Adrianne Lenker and also bands like the National. That kind of music.
TB: So, are you two the predominant the songwriters for Melt?
VS-F: Typically, that is how it has been. In the past, Eric and I usually write the lyrics to the songs that we sing, but we edit with each other and with other members of the band. Usually, it will either be one of the two of us will start a song and then bring it to the band. It evolves into a completely different direction from there. For this EP, since we were all together and couldn’t perform live, we wound up focusing a lot more on the production side of things as a band. Our bass player Lucas is really skilled at recording and in engineering production. He played a huge role in creating the foundation for the songs on the EP. We experimented a lot on this record this time around.
EG: This time around we started with Josh the drummer literally laying down songs, sometime just on his own. Then we would add the bass track and then that leads us into the guitar and usually vocals at the end. We really just build it up.
VS-F: We don’t know which way we like better. Maybe in the future we will go back in and play everything as if we are playing live. I think part of the beauty of Melt is that we are so young, so we don’t feel tied to any of our ways and we like to try out new things and see how it goes.
TB: How long did it take a band like Melt to complete the West Side Highway EP?
VS-F: Start to finish it was like two months. We were really lucky to be able to record the EP at the Bunker Studios in Brooklyn. We had a really wonderful producer and engineer named Aaron Nevezie who mixed some of the tracks as well.
EG: Some songs were written earlier, like Hours I wrote about a year ago.
TB: What does the future have in store for Melt?
Eric: We cannot wait to start playing shows again. We are really looking forward to playing out. The last real show Melt played was at the Sinclair in Cambridge last February. It felt like that at that show we all came together and we were fully on it. Our trumpet player Aaron even stage dived at the end of the “Sour Candy” solo that night.
VS-F: That show was awesome. It wasn’t the biggest room we have played, but just the layout of the place was great. It went straight back so you could see everyone and there was great energy that night. I also think the Knitting Factory show we played in Brooklyn. That was the first time we played “Waves.” Before a show we are always saying to the band don’t go too fast let’s keep the energy contained. Once we get out there it is just like an explosion and we are always playing at 100%. We don’t have many moments during a set where we just drop back and take a moment to breathe. In the bridge in “Waves” there is a moment where everyone drops out and it is just me and Eric. That was really a special moment. I always think about that moment when I picture live music coming back. It was the first time that we had ever played the song and I think the audience was psyched to hear a new song and it was kind of a sentimental little moment. It was really cool.
Key Tracks: Don’t Want Me, West Side Highway, Waves
Lonnie Jordan is a singer-songwriter and a founding member of the American funk band WAR. The band is best known for hits such as “Spill the Wine,” “The World Is a Ghetto,” “The Cisco Kid,” “Why Can’t We Be Friends” and “Lowrider.”
Over the years Lonnie had a number of roles in the band. Not only was he a vocalist, but also played guitar, piano, synthesizer and percussion. Jordan was one of the first three people to form the group even when they were known at the time as the Creators and Nightshift. Currently he is the only remaining original member.
On July 21 2019, NYS Music had an opportunity to ask the rock legend a few questions about his life and his 50-plus year career in the music industry at The Great South Bay Music Festival in Patchogue, Long Island. Lonnie Jordan was 70 years old at the time and looked great; he couldn’t have been nicer or more humble. With only minutes to spare for an interview, I dove right in.
Rob Tellerman: What drew you to the music industry?
Lonnie Jordan: Being young and watching other artists perform and saying “Aw man! That looks like fun! That’s what I want to do when I grow up!”
RT: Who were some of your influences?
LJ: You have to understand, I’m almost 71 years old so back in my time it was Ray Charles, Jimmy Smith, The Everly Brothers, of course Elvis, Wilson Pickett, James Brown and the list goes on. A lot of gospel, a lot of Latin. Later on, in my life Fania All-Stars came in with the soulful boogaloo and Latin boogaloo.
RT: Before it was WAR, it was The Creators? Am I correct?
LJ: Yes. We were called The Creators and then we changed it to Nightshift. Then when we were Nightshift, playing with Deacon Jones for a minute, I believe he was #49 on The Rams, Eric Burdon and Lee Oskar, by now producer, manager and engineer, came down to hear us play and the rest was history.
RT: Are you still friendly with Eric Burdon?
LJ: Yes of course. He’s busy and at his age and he has to stay busy otherwise he will get tired or as some people say “retired” (Laughs).
RT: Is it true Jimi Hendrix joined WAR on stage in London 1970 for what was to become his last performance?
LJ: Yea Jimmy and Eric (Burdon) were very good friends. A lot of people don’t know that Eric’s old band The Animals’ bass player Chas Chandler was the one who introduced Jimmy to his first album deal. He produced his first album so he introduced Jimmy to the music industry. Being that Eric, Jimmy and Chas were good friends, Eric got this weird band together, which happened to be us. But Jimmy was supporting Eric’s new journey.
RT: Was he ok at the show?
LJ: Well he came down Tuesday night and he was fine, but he didn’t bring his guitar. We said “Man you gotta bring your guitar tomorrow”. So, he brought his guitar and we were backstage talking. I believe the band Osibisa was playing downstairs, but all the smoke was coming up. So, he (Jimmy) jumped on stage. We gave him an amplifier. There were no gimmicks. We all played like we did back in the early days when we were playing holes’ in the wall. Ironically, we played “Mother Earth” by Memphis Slim and he wound up going back to “Mother Earth” the next morning.
RT: Is touring as fun now as it was in the 60’s and 70’s?
LJ: Well I wasn’t drinking coffee back then. It’s more fun because I have more knowledge now of my surroundings. I’m a vegan and my wife is a raw vegan chef so that helps me stay active at my old age. Also, my Rock and Roll Hall of Fans supports me and makes it more fun. My mind and heart are open and I’m not being swallowed by a cloud of smoke.
RT: Have you ever had performance anxiety?
LJ: Not yet.
RT: If you had 1 message to give your fans what would it be?
LJ: Come here us play! Every chance you get because our stage is always smokin’!
RT: Do you think it’s ridiculous that WAR is not in the Rock and Roll Hall of Fame?
LJ: We’ve been nominated but you have to understand, there is no category for us. That’s why we haven’t won anything. I would say that may be a bad thing for people who think materialistically, but for me, my Rock and Roll Hall of Fame is my Rock and Roll Hall of Fans! I’m so honored that the people still have us here working. Our music has so many different genres. I never thought our music was even going to be played on the radio so I’m honored and blessed the people still support us.
The Orchestra Now (TŌN) will continue its Spring 2021 season by live streaming two concerts March 7 and March 20, with conductors Andrés Rivas and Zachary Schwartzman.
The Orchestra Now from theorchestranow.org
Works on both concerts, ranging from rarely performed music for string orchestra to Vivaldi’s Concerto in G minor, Pärt’s memorial for composer Benjamin Britten and Shchedrin’s Carmen Suite after Bizet’s beloved opera, will be prefaced with brief remarks by TŌN musicians.
On March 7, assistant conductor Andrés Rivas will lead the orchestra in four works for strings. The english composer Bruce Montgomery will have his Concertino for String Orchestra performed. Montgomery’s work ranges over several genres, including soundtracking for the infamous British comedy series Carry On. There will also be works from composers Victor Herbert, Ingvar Lidholm, and Andrés Gaos.
On March 20, resident conductor Zachary Schwartzmen will lead an arrangement from Bizet‘s classic opera Carmen by Russian composer Rodion Shchedrin in advance of his 90th birthday in December 2022. Shchedrin’s works are known for their avant-garde and neoclassist sensibilities as well as folk and jazz sounds. His Carmen suite was intended for his wife, who is a ballerina. Conductor and Grammy-nominated recording artist Zachary Schwartzman will offer musical insights on the concert in a Zoom seminaron Thursday, March 11 at 7 PM EST. You can RSVP HERE.
The Orchestra Now from theorchestranow.org
It is a free concert with a suggested donation of $15-35. If you cannot attend the concerts in real-time, they will be posted here after March 11.
The Orchestra Now is a group of 72 young, vivacious musicians from 14 different countries. All members share a love for orchestral music, keeping it relevant in the 21st century by sharing their personal insights and artistic capabilities in a welcoming environment. Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. The Orchestra Now offers both a three-year master’s degree program in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. You can find more about TŌN here.
Spaghetti Eastern Music returns with the maxi-single, “Blues for a Lost Cosmonaut.” The solo project of NYC and Hudson Valley-based musician Sal Cataldi, Spaghetti Eastern’s latest releases have ventured into ambient music. The sprawling new track occupies almost ten minutes of time and space, taking the listener on a peaceful star trek through the galaxy.
Despite lacking lyrics and hooks, “Blues for a Lost Cosmonaut” still makes room for a narrative and recurring themes. While an overall peaceful auditory experience, suspense and uncertainty creep up on the listener between stretches of serenity. In its most tense moments, “Blues” evokes the eerie prog-pop bookends of Gary Wright’s 1975 “Dream Weaver,” but this time the dissonance is in the middle. If Walt Disney World’s Space Mountain had a secret chill detour, this would be the soundtrack.
The inspiration came from watching some old videos of the early Soviet space program, especially the first space walk by Alexei Leonov. It was about recreating the contrasting moods and feelings that the film of this moment imparts. There’s peace, wonder and weightlessness combined with the realization that this could spin out of control at any moment, as it did for some early Soviet space explorers.
Sal Cataldi
Another clear inspiration is Fripp & Eno, an ambient side project consisting of Brian Eno and Robert Fripp. “Blues” is the third offering in a trilogy of similar pieces: in 2020, Cataldi released “Her Lemon Peel Raincoat” and “Peace Within.”
It’s just a fun exercise in soundscapes, in impulsive sound painting recorded in the wee small hours during the lonely moments of the COVID quarantine.
Sal Cataldi
Cataldi released his first album under Spaghetti Eastern Music in 2015, titled Sketches of Spam. He recorded “Blues for a Lost Cosmonaut” on his houseboat in Port Washington, Long Island, Houseboat Garlic Knot Studios, as well as at Sonic Garden in West Saugerties, New York. “Blues for a Lost Cosmonaut” is available for download and streaming on Bandcamp, CD Baby, iTunes, Spotify and elsewhere.
A little March madness may complement and contribute to sanity and help keep society on an even keel
Henry V. Porter, 1939
Since 2015, New York State Music has crafted a March Madness bracket delving into the musical harbors of our great state. As fans and musicians ourselves, we spotlight the great talent across New York in friendly competition and discovery.
Porter coined the term that went dark for four decades. March Madness, as you know it today, is commonplace in sport and bracketing. NYS Music is here to put a musical namesake on March Madness 2021. Its furry never looses sight of the underdog, a headliner’s humble beginnings, new musical discovery and rolling with the punches in our ever-changing industry.
These are 64 bands you might not know about, but should. Artists big and small, but all homegrown in New York. With the aide of our sponsors, NYS Music March Madness is a medium for these artists to be heard, grow and discovered. Go Listen. Go Vote. And let the Madness begin.
For any band starting out, there are things that need to be addressed. Among them, what venue you’ll play, who the promoter is, who handles the sound and lights, how you’ll market yourself, where you get merch from, and more recently, how you’ll stream your show. Fortunately, NYS Music has partnered with businesses across New York State to help bands meet these needs.
Central New York promoters Creative Concertsbring together fans at venues, stretching from Albany to Rochester and Syracuse to Ithaca. Lark Hall is the soon to open mid-sized venue in Albany that will host bands of all sizes, events and more. If you need to market your show, event, band or brand, Rochester’s Balbert Marketing has you covered. Need merchandise? Homegrown Eastern New York’s 518 Prints makes quality goods for local, regional and national bands or tours. High Peaks Event Production is a team with years of experience, aiding in all your stage, lighting and sound demands.JamCast proves high quality streams for bands, podcasts and much more. Between these companies, bands will find a great deal of what they need, and support businesses from across New York and the Northeast.
Vote now for your favorites and discover some of the great up and coming music that New York State has to offer!
NOTE: Make sure you vote in ALL matchups for each region.
Polls are now closed. Stay tuned for Round 2 voting, beginning Saturday, March 6 at 8am!
JamCast is a streaming platform that provides a unique experience using live, pre-recorded, archived audio & video performances, podcasting, vlogs, blogs, and more. It’s an online resource and database for all music industry professionals.
We’re also proud to present a bracket designed by the good folks at Wook+ Media, who have been keeping brackets going strong throughout the year, with unique topics and incredibly artistic designs. Check out the Round 1 graphic below:
Amityville Music Hall released a compilation album on Friday, February 26 to benefit its Long Island music venue.
Twenty-eight artists are included on the compilation, including John Nolan (Taking Back Sunday, Straylight Run), Jade Lilitri of Oso Oso, Johnny Booth, Sainthood Reps, Brian Byrne (Envy On The Coast, Violent Joy), Somerset Thrower, Rare Futures, and Wreath Of Tongues.
The album will be a mix of covers, originals, and stripped-down songs, available for a $15 donation on Long Island Emo’s bandcamp page starting on February 26th.
Amityville Music Hall has been a beloved hub for rock music in Long Island for many, many years. It has been the starting point for many bands that end up growing larger, but their nascence is from the Long Island scene. These small venues are critical to musicians and music lovers. As the pandemic continues, these venues need support in order to come back when it is safe in the future.
Go support AMH here:
Live music acts and DJ’s. Craft beers on tap. Daily events and specials. Available to rent for private events.Additional InformationLive music acts and DJ’s. Craft beers on tap. Weekly bar events and specials. Catering hall for private events.
Saturday Night Live welcomed Nick Jonas for 15th episode of Season46. Tonight’s cold open featured cast members feigning medical conditions in order to receive the COVID-19 vaccine. Kate McKinnon continued her portrayal of Dr. Anthony Fauci, with Aidy Bryant as Senator Ted Cruz and Pete Davidson as Governor Andrew Cuomo. Despite criticisms of SNL having a liberal bias, both politicians were teased equally, with more than a nursing home joke thrown in Cuomo’s direction.
Gearing up for his first solo album since the success of the Jonas Brothers’ 2019 comeback, Nick Jonas had double duty as host and musical guest. In addition to new songs “Spaceman” and “This Is Heaven” he appeared in several skits throughout the night, playing Prince Charming and a Mirror fitness coach.
Besides promoting his new music, Nick is also set to return for his sophomore season as a coach on The Voice. In a Dionne Warwick Talk Show skit opposite Ego Nwodim, she told him, “I’ve heard you’re the most boring coach, even though one of the other coaches is John Legend.”
In his opening monologue, Nick paid homage to Broadway theatre, still shuttered nearly a year later, by singing “Drink With Me” from Les Misérables. Back in 2010, Nick played Marius in the London production of Les Mis at the O2 Arena. He also gave a shout-out to older brother and bandmate Kevin, who was in the audience, as well as his home state of New Jersey.
https://www.youtube.com/watch?v=wCy5Gb9NYN0
Nick’s first song was his new single, “Spaceman.” With themes of isolation and disillusionment, the song references mask-wearing and the rising pandemic death toll, tying them up with an outer space metaphor. “And the numbers are high but we keep going down / ‘Cause we ain’t supposed to live with nobody around,” the chorus says.
https://www.youtube.com/watch?v=12akdhW8OEs
He closed out the night by debuting “This Is Heaven,” which sounds suspiciously like his 2014 hit “Jealous.”
https://www.youtube.com/watch?v=7p9TzfI6WGM
SNLreturns on March 27, with former cast member Maya Rudolph hosting and Jack Harlow as the musical guest.
Greg Graffin is most recognized as the lead vocalist and songwriter for the punk rock band Bad Religion, which he co founded in 1979. Graffin has also earned a PhD from Cornell and teaches natural science courses at UCLA. He has written several books on the topics of evolution and religion. In 2017, he released his third solo album, Millport.
In support of the album he played 3 sold out shows at Rockwood Music Hall in the Lower East Side of Manhattan on February 27th, 28th and March 1st in 2017. The album was released on March 10th of the same year.
Ken Rockwood opened the venue in 2005. It is a very small and intimate venue that has 3 stages, a bar and a record label of the same name. Usually Graffin plays on bigger stages with his main band Bad Religion, so to see him perform these new songs up close and personal was a real treat for me. I have been a huge fan for over 20 years.
The small stage was packed with instruments you would not see at a BR show such as a banjo, fiddle and a madalin. The band featured Guitarist Tommy Andrews, Drummer Jamie Miller and David Bragger who played multiple instruments.
The first song they performed was “Backroads of my Mind” which happened to be one of the first singles off the album. After the song, Greg noted that these were the first shows he has ever played guitar in front of a group of people while standing up. You can tell he wasn’t lying because he was using an actual shoelace as a guitar strap which was somehow perfect for matching the Country Rock/Folk genre.
The band then went into several more songs off the album including “Too Many Virtues”, “Time of Need” and the electric guitar driver “Lincoln’s Funeral Train”. One of the highlights of the night was the harmony filled Bluegrass track “Echo on the Hill”. The song was a great showcase of the band’s skills, particularly Bragger’s mandolin playing.
Before the last song, Greg Graffin jokes “for everyone who waited all night for a Bad Religion song” as they went into an rearranged version of “Sorrow” from BR’s 2002 Process of Belief album. The new version sounded awesome in the tiny room as the whole crowd sang along. It was really a great moment for any Bad Religion fan. It was a perfect night and the audience really felt connected with the band. I enjoyed it so much that I went back the following night which was just as amazing. After the shows Greg even stuck around to take pictures and sign autographs for the fans. It was a truly magnificent experience.
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, AliT, Annie Scherer 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.
Kicking off the night is Architrave with their cover of True Widow’s “O.O.T.P.V.” A dark and cool jam, the track is brooding with a huge, electrifying sound. After discussion with members of True Widow, Architrave agreed all proceeds from the sale of the track would be donated to Feed the People Dallas Mutual Aid.
WEQX will also be matching that donation with a donation to something more local to us, the Free Food Fridge of Albany, a cool project that sets up fridges stocked with food staples, to help tackle food insecurity in the area.
Next up is AliT with “Sitting Pretty,” featuring a bright pop sound, drum machines, a huge boundless voice, and an all-heart sensibility. AliT is a true singer-songwriter and instrumentalist making pop music with a touch of grit, soul, and emo harmony. Tune in for AliT’s weekly set live on her Facebook page every Friday at 7:30 pm.
In the vein of Lana Del Ray comes Annie Scherer, a modern pop cinematic journey with images of longing and desire. Open minded listeners will hear the voice of a songwriter opening up her soul, crawling up the walls to find a new plane of existence. “Take Me Places” is a cool tune that transcends the idiom and is treated delicately with plenty of space for the listener to attach their own images to and yet want to listen again to bring those feelings back.
