Enrique Iglesias and Ricky Martin will kick off on September 25th, the 26-date tour will begin in Las Vegas at the MGM Grand Garden Arena, and wrap up on November 20th, at the Anaheim Honda Center. Iglesias and Martin have created notable solo pop and Latin music careers, combining forces as well as bringing in special guest, Sebastian Yatra, to create an incredibly fun, yet safe, live show experience.
To say we are going on tour has lifted all of our spirits after the profoundly difficult year the world has gone through and still is. Myself and my entire crew are very excited to bring our best live show safely all over the U.S. and Canada, and let the music bring the healing power and happiness that we all need. I’m also ecstatic to be sharing the stage with my friends Enrique Iglesias and Sebastián Yatra, it’s going to be a blast. Can’t wait! See you all very soon. Get ready to party!
Ricky Martin
On Sunday, October 17th, the tour will showcase at the Madison Square Garden, that being the only New York date. For more information on the rescheduled tour dates and locations, you can visit Ticketmaster.
From their hometown of Philadelphia, the Disco Biscuits will live stream a special show on Tuesday, May 18, 2021, from The Fillmore Auditorium in Philadelphia. The show will be limited to 42 lucky guests through the Disco Biscuits Facebook page. For those who can’t attend, streaming will be available via CouchTour.TV.
The Disco Biscuits will be returning to Philadelphia for a stream from The Fillmore, an iconic venue that has hosted more sold out Disco Biscuits shows than any other artist. The band will take the stage Tuesday, May 18 in the city of Brotherly Love, with an exclusive set streaming on Couchtour.tv starting at 7pm ET/4pm PT. This single-day virtual tour stop will be followed by a series of sold out shows at the legendary Red Rocks Amphitheatre over May 28-30, 2021.
Couchtour.tv has been the virtual host for The Disco Biscuits’ tour as the streaming platform offers each of The Disco Biscuits shows from the 2021 tour for purchase through their website for single day tickets and weekend passes. Fans can log in on Couchtour.tv to watch the shows live in hi-definition audio and video in addition to having access to watch the shows on-demand.
The Disco Biscuits are deep in their 2021 tour that features an array of drive-in concerts and group pod events, in addition to livestreams via Sessions Live and Couchtour.tv. The band wrapped up two shows in Sussex County, New Jersey this past weekend, May 14-15.
The Disco Biscuits – May 14, 2021 – Sussex County Live, Augusta, N.J. Set 1: Mulberry’s Dream-> Jigsaw Earth (inverted)-> Mulberry’s Dream, Jam-> The Great Abyss-> 4th of July Set 2: Air Song-> Hero-> And the Ladies Were the Rest of the Night-> Cyclone-> Orch Theme-> Rapture-> And the Ladies Were the Rest of the Night Encore: The Great Abyss (middle)-> Clocks
The Disco Biscuits – May 15, 2021 – Sussex County Live, Augusta, N.J. Set 1: Helicopters-> I-Man-> Bombs-> Voices Insane-> I-Man-> Helicopters Set 2: Reactor-> Anthem-> Lunar Pursuit-> Bernstein and Chasnoff (inverted)-> Little Shimmy in a Conga Line (ending only), Triumph-> Reactor, Run Like Hell-> Rock Candy (ending only) Encore: Confrontation
On May 17, 2017 Metallica played a sold out show at the newly renovated Nassau Coliseum as part of their WorldWired tour. The tour was in support of their tenth studio album Hardwired…To Self- Destruct. This was the only show of the entire tour not played at a stadium.
After the opening combination of “Hardwired” and “Atlas Rise” Hetfield asked the crowd “Strong Island, how do you feel?” He continued, “There is a little bit of history here. We’ve been here a lot.” This was the eleventh time Metallica performed in Uniondale. The first was on April 28, 1986 while opening for Ozzy Osbourne. The setlist was composed of 18 headbangers that covered 6 of their studio albums.
This was the first show in 13 years that “Ride the Lightning” and “Welcome Home (Sanitarium)” were performed in Uniondale. It was also the first time in 26 years that “Harvester of Sorrow” was performed at The Coliseum. The two and a half hour show was merely a tease of what Metallica has in their arsenal. As a true Metallica fan, it was a real treat to see them in such a small venue during this stadium tour.
It was recently announced that Metallica will headline the Louder Than Life festival in Louisville, Kentucky this fall with Nine Inch Nails and Korn. The even that takes place over four days will also feature Jane’s Addiction, Snoop Dogg, Cypress Hill and many others. It will take place at the Highland Festival Grounds at KY Expo Center, September 23rd through the 26th.
Metallica, ‘WorldWired’ tour – Nassau Coliseum, Uniondale, NY – May 17, 2017
Setlist: Hardwired, Alas, Rise!, For Whom the Bell Tolls, Ride the Lightning, The Unforgiven, Now That We’re Dead, Moth Into Flame, Harvester of Sorrow, Welcome Home (Sanitarium), The Four Horsemen, Sad but True, One, Master of Puppets, Fade to Black, Seek & Destroy
Encore: Blackened, Nothing Else Matters, Enter Sandman
The FMs have released two new singles highlighting the stigmas and ignorance in society’s gender experience. The double feature of “Song X” and “Bad Girl” dropped on April 30, 2021.
The FMs are an up and coming duo hailing originally from Brooklyn and are now Ithaca based. The duo is made up of Matte Namer (they/them) and Frankie Rex (they/them, he/him) and started officially making music together back in 2017. The two have been friends since high school and their music tackles topics such as sexuality, gender, and politics.
The FMs are not making music just for entertainment’s sake, but to call on society to change its historical ignorance. Music can be used as a foghorn for their unwavering support of anyone who remains steadfast in their truth and identity. They embrace androgyny and amplify the voices of “the other” through their music and their very existence is a statement and they are not backing down.
The single “Song X” dropped with an accompanying video that featured both Namer and Rex. The song speaks to the confines of gender in society between it’s lyrics and visuals the release pulls the stereotypes and expectations of gender apart. The song stresses that gender should not be a box, but an act of self-expression.
“Bad Girl” was also released at the same time as “Song X” as a double-feature project. The track is funk-inspired with a sample beat from “It’s Raining Men” accompanied by the FMS signature brand of rock flare and covers similar topics about gender and gender expression that “Song X” does.
The duo also released merchandise that is available in conjunction with the release with all profits being donated to the Black Trans Travel Fund. For more information on The FMs visit their website.
When terms like the Grateful Dead and Barton Hall come up in conversation, there’s a good chance the show being discussed is the band’s venerable May 9, 1977 performance. But there were two other shows played at this field house on the campus of Cornell University in Ithaca, NY. The final one occurred 40 years ago today. Pound for pound, it can certainly hold its own with the legendary ’77 show. And it’s certainly one of finer shows from 1981. So much so that the band recently included it on their massive 30 Trips Around The Sun box set that was released in 2015, 80 CDs worth of previously archived Dead shows celebrating the band’s lifespan. One listen shows why this was an easy choice for inclusion.
This year, the Dead take off from the starting blocks with “Feel Like A Stranger,” and Brent Mydland making his presence felt early with his electronic keyboards that are turned up way high in the mix. As the opener progresses, Jerry Garcia and the effects his guitar bring to the table rise to the top, giving it an injection of funk. For a song that had only been debuted weeks earlier at the Capitol Theater in Passaic, NJ, the groove is easy and seamless already, serving as the perfect opening salvo for this powerhouse show. Almost surprisingly, they decide to ease up immediately afterwards with a slowed down and soulful take of “Friend Of The Devil.” Mydland’s keyboard tone takes a turn for the heavens, lacing the Dead classic with an ethereal tone throughout. His efforts are rewarded with a spot for a solo and he produces a phenomenal one before handing the reigns back to Garcia.
The “Me And My Uncle” that follows finally gives Bob Weir a chance to take center stage and he navigates through the longtime Dead staple effortlessly. Mydland, still turned up plenty high in the mix, and Garcia go back and forth supplying the instrumental harmony for a band that sounds completely locked in. As was now Grateful Dead custom, once “Uncle” wraps up the drumbeat doesn’t stop and carries right over into a smoking “Big River,” highlighted by a jaw dropping run on the fretboard from Garcia. For gigs going as far back as 1978 and until 1982, these two songs would be joined at the hip just like this.
One of the real high points of the first set is the “Althea” that follows. It’s Garcia at his peak, delivering both soulful lyrics and another poignant guitar solo. Bassist Phil Lesh adds some nice extra layering on a somewhat slower but certainly potent version.
Weir then takes over again for “C.C. Rider.” But the Dead’s take on this blues standard is really fueled by another Garcia solo and the wailing rhythms emanating from Mydland’s Hammond organ. The two go back and forth once again, building the onstage chemistry that would be a mainstay of the ’80s.
The first extend inter-song break gives the Barton Hall crowd a chance to catch their breath and then it’s back to business with “Brown Eyed Women.” Garcia’s mid-song solo seems to go on a little longer than usual, only serving to ramp up the emotions even more. The band then shifts gears from old school to new with “Passenger,” with Mydland filling in the vocal part vacated by Donna Jean Godchaux. His raspy overtones don’t quite carry the same effect and, sadly, this song would be shelved for good at the end of the year. Though certainly not due to lack of effort.
A slow shuffle beat then signifies the start of “High Time,” and it never lets up. Garcia and company nail the harmonized vocals and delightfully toy around with this crowd favorite. The Dead then shift gears in the blink of an eye, with Weir quickly strumming and Garcia moving in rapid fire up and down the fretboard as they launch into “Let It Grow.” This one means business from the get-go as the rest band follows in pursuit, led in earnest by Lesh on bass. There’s a four-minute span before the song’s breakdown that’s a pure whirlwind, with each band member almost chasing one another, creating a rich texture of sound. It’s another one of the true first set highlights. A quick run through “Don’t Ease Me In” then caps off another stellar first set of Dead at Barton Hall.
The second set starts off with a “Shakedown Street” that seems to live up to its title early with some shaky lyrics from Garcia. As it progresses though, the kinks get ironed out and the funk increases, albeit at a somewhat slower pace. Weir’s rhythm guitar and Mydland’s keyboard fills mesh perfectly, and before long, a bluesy three-part vocal harmony is in full gear. But the real action takes place once this breaks down, with Garcia and Mydland soon engaging in a call and response-type jam. In keeping with tradition, “Shakedown” is immediately answered with “Bertha,” just like the Dead opened last year’s second set at Barton Hall.
https://www.youtube.com/watch?v=1IDpVffVSY4
Afterwards it’s another vintage Dead 1-2 tandem with “Lost Sailor” once again spearheaded by Weir. It proves as a more than worthy respite until the familiar chimes of “Saint Of Circumstance” kicks in. Weir navigates seamlessly between the two, with emotions respectively aligned with the respective moods of each. Almost abruptly, “Saint” comes to a halt and another immersive jam begins to develop. This one manages to work itself into a full fledged “Spanish Jam,” with influences from Miles Davis and his Sketches Of Spain album in full bloom.
As the “Spanish” element of the jam recedes, “Drums” begin to kick in and takes its usual assignment in the latter portion of the second set. The last Dead show at Barton Hall show has a lot to offer still , and the drumming tandem of Kreutzmann and Hart plays a major part. A particularly rowdy last movement of percussion soon finds its way into the familiar overtones of the beginning of “Truckin’.” As to be expected, the State that’s got the “ways and means” gets an appropriate response in Ithaca,
The ensuing jam soon sparks another one of the show’s highlights, as it devolves into a bluesy, funky ” Nobody’s Fault But Mine” jam that would make Led Zeppelin proud. Although no lyrics are sung, the sentiment is made clear and creates one of the better, off-the-cuff moments that make this last show at Barton Hall a special one.
https://www.youtube.com/watch?v=PrGmm6fEsXc
“Stella Blue” then emerges from this, winding things down and allowing one last chance to get sentimental. Garcia delivers the lyrics, and another staggering guitar solo, with raw emotion and just a bit of flare. The music slows a near crawl at one point, with the Cornell crowd so rapt and quiet one can hear a pin drop. Before long, the energy skyrockets back, with “Blue” turning into more of a rocker, a true testament to the Dead’s versatility.
This gives “Going Down The Road Feeling Bad” an opportunity to make an appearance and the Dead run with it. Afterwards, Bob Weir gets the last laugh, closing out the second set by leading the band through a peppy and near raucous “One More Saturday Night.” Barton Hall rings out in a roar of applause at its completion, leaving no doubt about their feelings on this one. The Dead then grace the crowd with a bit of an atypical encore selection. Instead of a cover or a quick song, it’s an “Uncle John’s Band” that produces one last patient and inspired jam – more than a fitting choice for the final song they would ever play at Barton Hall.
Grateful Dead Barton Hall – Ithaca, NY 5/16/81
Set 1: Feel Like A Stranger-> Friend Of The Devil-> Me & My Uncle-> Big River, Althea-> CC Rider, Brown Eyed Women, Passenger, High Time-> Let It Grow-> Don’t Ease Me In
Set 2: Shakedown Street-> Bertha-> Lost Sailor-> Saint Of Circumstance-> Spanish Jam-> Drums-> Truckin’-> Nobody’s Fault But Mine-> Stella Blue-> Goin’ Down The Road Feelin’ Bad-> One More Saturday Night
An iconic location in mid-town Manhattan is closing its doors for good. The Hotel Pennsylvania will not reopen, succumbing to this past year’s lack of business and years of narrowly avoiding the chopping block. The fourth largest hotel in New York City was well situated, right across from Madison Square Garden and Penn Station, making it a natural and affordable stop for travelers and concert goers alike.
Located on 7th Avenue between 32nd and 33rd, and built by the Pennsylvania Railroad under the operatation of Ellsworth Statler, The Hotel Pennsylvania first opened on January 25, 1919. Original Pennsylvania Station designer William Symmes Richardson was the architect of the well-situated hotel. The hotel would undergo a few name changes, including Hotel Statler (1949), The Statler Hilton (1958), New York Statler (1979) New York Penta (1983) and finally Hotel Pennsylvania, beginning in 1991. If there was a centennial celebration, it was muted, but earned.
Hotel Penn has had its share of criticisms in recent years, being perpetually under renovation in the last decade, and not living up to the glory years of the mid-20th century. There were rumors it was haunted, the elevators would sometimes not open entirely on your floor, or need a moment before ascending from the lobby. But amid any issue with Hotel Pennsylvania, the location and history could not be beat.
Full disclosure: I’ve stayed at Hotel Penn at least 40 nights, dating back to December 2005. I’ve heard all the complaints of Hotel Penn, and while some are justified, it always felt like this Grand Hotel got a bad rap. I never had a bad stay, or encountered the issues that people complain about. You look for a 3-star hotel in mid-town, you have to accept what a 3-star hotel brings to the table.
The Music
There is a fair amount of history in this huge hotel, most notably The Glenn Miller Orchestra’s “Pennsylvania 6-5000.” Until early May 2021, you could call 212-PE6-5000, and hear the refrain from “Pennsylvania 6-5000” before connecting to an operator. It was, until this month, the longest continuous use of a phone number in New York. From the moment you called the hotel, music and history was inviting you in.
Jack Albin Orchestra held a long term engagement at Hotel Pennsylvania in the early 1930s, often led by vocalist Bill Coty. Despite being popular in his day, little is known of Albin, although he did record for many labels, including Hotel Pennsylvania Music. “You’re The One,” recorded in 1930 features vocalist Paul Hagan. Hagen recorded with several bands including Ben Bernie’s groups, Bill Moore’s Syncopators, and Fred Culley and his Royal York Hotel Orchestra.
In 1930’s and 40’s, the Café Rouge at Hotel Pennsylvania was one of the most popular nightclubs in New York City. Home to Big Bands at the height of their heyday, including Glenn Miller Orchestra, Duke Ellington, The Dorsey Brothers, Woody Herman, Count Basie, and The Andrews Sisters, among others. The Café Rouge was connected to the NBC Red Network (the NBC Radio Network after 1942) which brought the music from the hotel and Café to captive audiences across the country.
In November 1939, bandleader Artie Shaw, who had a long-term engagement at Café Rouge left the bandstand between sets. Shaw decided he had had his share of the band business amid his success over the past two years, and quit his band on the spot. Shaw’s principal orchestrator from 1937–39, Jerry Gray, was hired by Glenn Miller as a staff arranger when Shaw deserted the band.
In the pre-war 1940s, the Glenn Miller Orchestra had multiple long-term bookings in the room, corresponding with the time of Miller’s highest profile as a bandleader. Broadcasting from The Café Rouge, some performances were recorded by RCA Victor. During the time of Miller’s residency at Hotel Pennsylvania, Gray wrote “Pennsylvania 6-5000,” with lyrics by Carl Sigman, a song that would become iconic alongside the hotel.
Other notable musicians to perform at Hotel Pennsylvania include Benny Goodman‘s famous orchestra including Harry James, Ziggy Elman and Gene Krupa, who broadcast from the hotel’s Madhattan Room in 1937. Les Brown‘s band, with vocalist Doris Day, would introduce “Sentimental Journey” at The Café Rouge in November 1944.
Present Day
The era of music at Hotel Pennsylvania would seemingly cease by the 1950s, with limited evidence of music performances at the hotel. The Café Rouge would be severed from the hotel at an unknown time, having a standalone address on 32nd street. By 2014, The Café Rouge was converted into an indoor basketball court known as Terminal 23. The original interior decor remains intact, with a fountain, beamed ceiling and other architectural details remain.
As for the hotel itself, Vornado CEO Steven Roth, who owns the property, said of the hotel in a letter to shareholders, “while it may have been a grande dame in its time, it is decades past its glory and sell-by date.” In an effort to revitalize the area as the Empire Station Complex, meaning that more than a city block, including Hotel Penn, will soon be razed to make way for PENN15.
With no protection that comes with Historic Landmark status, beginning with a denial in 2010 by the New York City Landmarks Preservation Commission to designate Café Rouge as a landmark, the Hotel Penn as a whole has likewise not been saved by the status that prevents facing the wrecking ball.
Architect Richard Cameron, contests the grounds on which developers seek to demolish what was at one time the largest hotel in the world. Using the history of old Penn Station, which met a similar fate, Cameron said:
We used to have the greatest train station in the world right across the street, literally right across the street, and sadly for me I was too young – when I got to New York it was already gone. The language that was used to destroy that station is the exact same language Steve Roth is using today to argue to destroy this; it’s tired, it’s old, it’s dirty, can’t be reused. We need something new. Everybody admits that what happened across the street was one of the worst crimes in terms of architectural legacy that ever happened in this country. We’re about to commit the exact same crime right here with the Hotel Pennsylvania.
The proposed layout of PENN15 and surrounding area around Hotel Pennsylvania.
Staying at Hotel Pennsylvania
While there was music ingrained within Hotel Pennsylvania, there was of course music across the street at Madison Square Garden, making the location prime for crowds arriving for concerts and events, while looking for the easiest location to stumble back to afterwards. Bands that thrived on multi-night runs – the Grateful Dead and Phish, among others – meant Hotel Penn was often fully booked, offering a proximate and affordable rate for travelers and fans on a budget. This is precisely how I ended up staying there over December 30, 2004 through January 1, 2005. The Hammerstein Ballroom was a short walk for the Disco Biscuits’ New Years Eve show that year, and made for great late night revelry with many fans staying there or just popping by to celebrate the New Year as so many had in decades prior.
Upon arrival, check-in could be the longest line in the world at any time of day, or the shortest. Your keys would work when you got to the room, then not when you returned from a show. The valet doors, well outdated, were a nice historical touch. Rooms varied in size – people were much shorter and smaller when the hotel was built – so you might find the confines of a two-bed room tighter than modern hotels.
Even remodeled rooms at Hotel Penn were still small compared to modern hotels.
Hotel Pennsylvania was dog friendly too, serving as the official hotel for Westminster Kennel Club Dog Show, held annually at Madison Square Garden. Being able to bring a dog to the hotel can be helpful to some travelers, and the courtesy extended by the staff with regards to pets was top notch. The support for Westminster in providing the closest location possible for pets in New York City is noteworthy in itself.
A Personal Story
Having stayed there and willingly accepted the 3-star-ness of the hotel, I looked to Hotel Penn as the perfect location for a PhanArt show. Despite New York City being one of the most expensive cities in the country, Hotel Penn was able to provide an affordable location for these event, the only option beyond venues such as the now closed American Beauty on 30th street. The Gold Room provided well for five PhanArt shows beginning in January 2016, a rare find in a town where the cost to rent out a space for an art exhibit is cost prohibitive without major financial backing. For a group of Phish-inspired artists, Hotel Penn provided a home that the streets and lack of vacant lots in Manhattan could not.
In 2019, after much encouragement from past successes, the hotel brought the event to the 18th floor, which allowed for even more artists to take part, in addition to yoga sessions and providing a meeting place for fans, friends and groups. The staff worked with the artists as professionally as any other, and gave me more reason to look at Hotel Penn as having no more than a faded glory in need of a polishing.
The artists and team behind the December 30, 2019 PhanArt Show at Hotel Penn. Photo by Jamie Huenefeld.
The history of Hotel Pennsylvania may be overshadowed by the past few decades where it fell farther from its glory days, but the history from within should not fade away as the hotel meets its doom.
Maybe it sounds a bit funny When I’m away from my honey Here’s what I do with my money Pennsylvania Six, Five Thousand
Heading into the homestretch of the season, Saturday Night Live welcomed Keegan Michael Key with musical guest Olivia Rodrigo. Led by a cold open with Dr. Fauci (Kate McKinnon) reviewing scenarios related CDC mask regulations being lifted, the evening also featured The Muppets return to SNL.
Rodrigo got her start on the Disney Channel, and is the lead in High School Musical: The Musical: The Series on Disney+. She released her first song (unrelated to the show), “Driver’s License,” in January where it debuted at #1 and stayed there for eight weeks. The inescapable breakup ballad about co-star Joshua Bassett has a mix of Lorde, Taylor Swift, and Billie Eilish.
Beginning the song sitting atop a grand piano, she moved about the Studio 8H stage, slowly revealing the full band spread around the perimeter of the state. With a light up floor, Olivia Rodrigo poured her heart into her breakout hit.
https://www.youtube.com/watch?v=HBik0MjXeMs
The second performance featured “Good 4 U,” a breakup song with an old-school Paramore vibe, released this past Friday, May 14.
https://www.youtube.com/watch?v=kiaCdUACJp8
Saturday Night Live‘s 46th season will come to a close on Saturday, May 22 with host Anya Taylor-Joy (The Queen’s Gambit) and musical guest Lil Nas X.
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 fromHaley Moley, 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.
Haley Moley
Haley Moley’s newest release, “Narcissus,” is equal parts rock and electronic. Sporting a silver spoon on the single cover, the song’s lyrics speak of a selfish lover. Jennifer Maher Coleman’s vocals fade in and out, acting as another instrument beside the pulsing guitar and synths. Based in Troy, NY, Haley Moley also features Paul Coleman on guitar, Andrea Kosek on keyboard and guitar, Pat Thorpe on bass and Mike Broomhead on drums.
Architrave
Architrave, another project from Jennifer Maher Coleman and Paul Coleman, channels the new wave of the early 80s. The title of their recent single, “Headcount,” is deceiving. Its opening lines say, “There’s safety in numbers, here’s the headcount / One, one, and another one, I’m the only one.” While equally moody as “Narcissus,” Coleman’s vocals take center stage here.
Anacortez
Anacortez harkens back to the alt rock sound of the early 2000s. Consisting of Jessie Comtois, husband Michael Comtois and drummer Kevin Couture, the band is named after a town in Washington. Their latest single, “Another Sad Song,” resides on the softer sound of 00s rock.
Danger! Ken
Lastly, multi-instrumentalist and composer Danger! Ken will be playing “Astral Traveler” off his new release, Up is Down.
From the post-industrial hellscape of Syracuse, New York comes Trauma Cat, who have delivered to the world their first full length LP entitled Prepare to Apologize which was released in April 2021. This irreverent and ecclectic gem that was co-produced by the band and the elusive St. Julian P. Dingusand, sports 15 tracks (3 tracks including “Joshua,” “Fire in the Jail,” and “Freaks with Wings” are re-issued singles) that span rock genres that include pop, alternative, electronica, and prog rock.
The band has cheekily branded their special brand of musicial gumbo on their website, “Though critics speculate on the band’s true origin and the meaning of their existence, Trauma Cat are widely credited as the founders of “cuck rock,” an indeterminate school of music indebted to incessant apology and shameless cross-genre appropriation. Others have described Trauma Cat’s sound as “uncomfortable art rock,” and their politics as “alt-wrong.”
The Trauma Cat roster is comprised of the musically talented and fashion forward Ralph Kojig (guitar and vocals), Roman Pando (bass and vocals), and Rutger DiBoyere (drums). Together they comprise a wonderfully creative power trio that has been successful in creating a personau that is reminicent of a combination of punk pioneers Devo and Saturday morning cartoon favorites Josie and the Pussycats. The glorious result of this concoction is the band’s demonstrable irreverance and hilarious comedic take on the music biz, and yet despite this silliness, they have created an enjoyable record and that is fun, fresh and creative.
Trauma Cat has released the following “documentary” to introduce listener’s to their own distinct brand of “Cuck Rock” and to “apologize for their new LP.”
https://www.youtube.com/watch?v=y7DSttG7mx8
The record starts off with title track “Prepare to Apologize,” which is initially a short verbal rant between members Kojig and Pando, that leads into a short but sonically pleasing acapella number. The track seamlessly transitions into the second song on the LP “Indivisible,” reminiscent in musical style to a mash up of Rage Against the Machine and Tool. Heavy on bass and sporting great vocals that are both provided by Kojig, “Indivisible” illustrates why Trauma Cat won the 2021 Syracuse Area Music Award for Best New Artist.
Prepare to Apologize’s third track is “Trauma Cat.” This is a fun and upbeat tune that has all the makings of the band’s offical theme song if they ever decide to create their own must see reality TV series (look out Kardashians). Kojig provides just the right amount of heavy guitar and along with DiBoyere percussion this track will get the listener’s blood pumping.
Another highlight on the record is fourth track “Joshua”, which was originally released as a single by the band back in November of 2020. Trauma Cat deftly released a remarkably professional music video for “Joshua” that was animated and directed by El Salvadorian sensation Lincktendo back in January 2021. Lyrically the song describes a daliance into bisexuality that ends up in a bad breakup which then ultimately ruins a friendship. “Joshua” is a strong tune with loads of pop sensibility which makes it ideal for radio play. It features songwriter Kojig’s hypnotic chorus, “It came over me like a wave”, which is a catchy and memorable hook that will stay with listeners.
“Fire In The Jail” is the eleventh song on Prepare To Apologize. This anti-social anthem promtoes dissent against the world’s demanding vapid conformity. Breaking out of the prision of these imposed expectations. Kojig sings, “I just can’t believe that these people…content to live like sheep following the crowd.” Living on your own terms without worrying about other people’s perceptions an expectations is the core message of this rebellious song, which utilizes a good amount of vibrato on guitar and reverb on Pando’s vocal to evoke a distopian landscape.
Although this trio of self-depricating muscians does not take itself too seriously, the musical craftsmanship and production value of Trauma Cat’s debute LP shows passion and commitment that these Jester’s of “Cuck Rock” have for their craft. Prepare To Apologize is a great album that hopefully will be the first of many that these denzians of musicial mayhem produce for an ever increasingly bleak world that is crying out for more mirth and humor.
Key Tracks: Joshua, Trauma Cat, Lob A Grenade, Fire In The Jail
Jeremy Hilliard has released Long Lives: A Collection of Home Demos that represent the first incarnation of songs that are later worked out and performed by his band PEAK.
Hilliard stresses these are home demos and are very rough around the edges, originally not intended for release. Hilliard recorded them using only an outdated version of Logic Pro X, one 58 mic, one electric and one acoustic guitar, and a little 1.5 octave keyboard. A testament to the raw tracks, he spent no more than a session recording each one. These demos are released ahead of the new PEAK album, due out this September.
About half of the songs on here I’ve been carrying with me for ten years or more, and the other half is from recent writing. These are songs that are super chill and Americana in style, falling outside the usual material I end up presenting to the band. They also seem to be a bit more personal in nature. In fact, I realized recently there’s a full song cycle here, and I engaged Beth to sing the harmony vocals on a lot of these to help finish them, especially as we have lived them all together.
Jeremy Hilliard, PEAK
Enjoy this 35 minute collection of demos from Hilliard, with “extremely homemade” video slideshows. Follow Jeremy Hilliard on Facebook.
Tracklist: Shot In The Dark, Long Lives, While The Days Go On Back Home, Pahrumpadise, Low-Down Fahrenheit Frostburg Blues, The Wind and the Rain, Soulard Wedding, Four Forces, Morning In Brooklyn, Blue Parkway
