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.
Early birds at this year’s tenth-annual Governors Ball Music Festival were treated to a high-energy performance to kick off the festival’s second day. That band, Brooklyn trio Nation of Language, deliver a fresh take on the synth-pop sounds that emerged in the late 1970s/early 1980s that is fun to listen to at home and even more of an experience to dance and groove to in a live show.
Tonight, November 4, Nation of Language are returning to their hometown for a show to celebrate the release of their second full-length album A Way Forward due out November 5. The show is taking place at Market Hotel starting at 8pm with special guest Cutouts. (Tickets and more information are here).
While NYS Music was at Governors Ball, we had an opportunity to talk to Ian Devaney (vocals), Aidan Noel (synths), and Michael Sui-Poi (guitar) of Nation of Language about their experience at GovBall and creating new music during the pandemic.
Steve Malinski: Starting off, how did you guys come together as a band and start making music in your current form?
Ian Devaney: I started kind of as like a, just like a personal writing experiment. I’ve been like making guitar music for a number of years and had this sort of like an epiphany moment when the song “Electricity” by OMD [Orchestral Manoeuvres in the Dark] came on. And I was like, it’s so simple, like, it’s synth music, but it’s so simple, and it’s direct and feels like urgent. And it was just like, very exciting. So I was like, let me switch and like, see how I could make synthesizer music. And then, Mike came on and, like, helps me record the first sort of demos that we put together. And then we got some friends together and started playing around, and then the lineup changed a couple of times. And when all of our synth players suddenly moved to Los Angeles, Aiden stepped up. And she learned to play since she never, she never played music before. So she heroically saved us from my doom and gloom.
Ian Devaney
MichaelSue-Poi: Yeah, Ian and I used to be in a band together. So it was a familiar experience to do demos together. Yeah.
SM: I want to talk a bit about your newer music and some new music you have coming out. So what was that like – releasing an album at the start of the pandemic?
Ian: We were initially quite pessimistic about it. Traditionally, it felt like the live show was really how we kind of, you know, like, really would get ourselves in front of people and kind of bring people on board with what we were trying to do. And so we were three days into a tour when everything closed down. And we were like, that’s it… see all these years of hard work and like, no one’s ever gonna hear it because we can’t play shows.
Aidan Noel: But thankfully that’s not how it turned out at all. We had people at blogs that were writing about it, and at radio stations that were playing the singles. And we ended up making so many new fans over the pandemic, people that were just stuck at home listening to music. And it meant a lot to learn of fans who found that was their soundtrack throughout those difficult times, and for us to know that it wasn’t all or nothing, and that it wasn’t the end of the road. Also in fact, you know, here we are, at GovBall, playing those songs. And even newer singles turned out ok!
Aidan Noell
SM: Was today at GovBall your first chance to play a lot of those songs out live?
AN: No, we’ve actually had a couple of shows leading up to [GovBall] locally. And we played a show in Boston and Philly. So this is our fifth show back in action.
ID: Yeah. Two New York shows and then this…
AN: …getting back into the groove of live shows, it’s been really fun.
ID: It’s also kind of crazy, because we’re getting back into kind of a different groove. Since so many of our fans basically found us during the pandemic, we haven’t met any of them, which is like a strange phenomenon. So going from kind of playing smaller rooms and not selling them out to playing like a sold out show at Bowery Ballroom I was like, isn’t there supposed to be something in between these two things? Just like with our set here at GovBall it’s like, it’s very bizarre.
SM: So how does it feel to play one of these big festivals in New York City’s backyard, your hometown?
MSP: I mean, it’s amazing to finally be playing at GovBall.
Mike Sue-Poi
AN: I’ve only come to GovBall once before and it was two years ago (as a fan) and got rained out. It was like a torrential storm. They had to evacuate the grounds… it was wild. So it’s cool to be here as an audience member and as a band playing this time. I would not have predicted that at that rainy show two years ago.
IN: Yeah. And like, it’s beautiful. And like yeah, we came yesterday to see Future Islands and Billie Eilish and there’s like a whole bunch of people that we’re really excited to see today. So, yeah, it’s crazy being on, like on that stage, knowing who else is gonna come on to it. And it’s like, super humbling, really awesome.
SM: Awesome. So your new album coming out this fall – did you write that in the middle of the pandemic? Or was it intended to be released earlier?
IN: Yeah, it’s kind of a mix. There are a few songs that have been around for a little longer. And then some songs were like, start to finish written in the pandemic. And other ones were, you know, finding old fragments of things and piecing them together. So it was a fun, kind of a fun way of bringing together ideas from right now and trying to curate them together.
Opposites come together for a harmonious result on the first collab album between classical music composer, Michael Vincent Waller (MVW) and multi-platinum hip-hop producer, Lex Luger. Together, the duo combine to release a one-of-a-kind project. The 8-song LP sees them explore a sub-genre that has yet to be saturated and could possibly be the foundation for a brand-new wave of innovation.
The combination of course is the fusion between elements of classical and trap music where the former, which is considered formal, traditional and tedious, meets the laid-back, seemingly careless and braggadocious sub-genre of trap music.
I want to take the same attention to detail associated with classical and chamber music and apply it to one of the most viable, listenable, and casual genres, i.e. trap. It’s got freshness and energy, but there are a whole bunch of nuances and details you don’t typically hear in modern rap. I’m trying to take the best of both worlds.
MVW
Hailing from Staten Island, MVW has always been a hip-hop enthusiast and he developed a passion for classic hip-hop such as Wu Tang Clan, The Notorious B.I.G. and A Tribe Called Quest. As a classical composer, his music filled venues such as Carnegie Hall, ISSUE Project Room, Rouleee and Palais de Tokyo Museum. At the same time, he often listened to Biggie and Wu Tang for inspiration while composing.
When he began making his foray into the world of hip hop, he recruited Lex Luger to play his counterpart. Although the “Round Of Applause” producer is diversified in his own right, his production still contains trap elements (such as his distinctive snare drum and ihats) that make his presence on CLASSIC$ invaluable.
Working on this project was definitely a little challenging. Being in a comfortable zone is cool, but nothing ever grows there. That being said, working on this project helped me try new things and ultimately, I feel like it just made me a better producer.
Lex Lugor
The album is curated with artists that not only correspond with the suis generis blend of styles but thrive on it. Jamaican artist, Shanique Marie, brings much-needed energy. Southern Songstress, Jaydonclover — whom MVW discovered from a WIRE Magazine review — is featured on three of the tracks and since the classical instrumentation already perpetuates a solemn feel, her soulful croons become one with the music. Trap connoisseurs Duke Deuce and Lil Gotit also make appearances, while Good Music artist, Valee — who is featured throughout the album — is the missing link that connects everything, effortlessly riding each beat as he maintains the California cool of a long beach surfer with each luxurious idiom he drops.
I’ve been composing for 15 years, but I’ve been listening to hip-hop for 20 years. Somehow, they inform each other in my head. This project was a long-time brewing. I’m coming full circle
Griselda head honcho, Westside Gunn, is back releasing music. After teasing retirement from rapping with 2020’s Who Made the Sunshine (his third release of the year), the FlyGod is back with his first release in 10 months (long breaks between projects is a rarity in Griselda land). This is the 8th edition of the popular mixtape series which played a big part in his and Griselda’s ascension.
The 13-track, 40-minute EP features usual Westside Gunn collaborators in Benny the Butcher, Conway the Machine, Stove God Cooks, AA Rashid and 2020 Griselda records signee, Boldy James. The mixtape also sees appearances from Jadakiss, DJ Clue and Lil Wayne, who is making a habit of teaming up on tracks with the boys from Buffalo.
In Griselda fashion, Westside Gunn also managed to tease more music while promoting his incoming project. In an Instagram post disclosing the track-list, Westside Gunn captioned the image “Side A,” teasing a possible double album for fans to look forward to. He subtly disclosed his plans for a two-sided project in an Instagram post promoting his GXFR jean brand.
Late Night Work!!!!!! GXFR x @purple_brand jeans getting made and shipped, we’re down to the last 100 pair so if your waiting thank you for your patience it’s worth the wait these are all made by hand that’s why it was a preorder … but this Fri. I’m starting to do online drops again limited and ART sale, I’m going back to doing what I love the most Fashion, ART, and Curation, I just had to take some time off to make an AOTY contender and classic NO SKIPS on a double album BLIENTELE.com this FRI. #GXFR#ART#CULTURE#ICON#PURPLEBRAND
“Side B” of HWH8 will presumably release next week, while the unconventional rollout is exactly the kind of outside-the-box thinking that the FlyGod prides himself on.
The latest Griselda release can be streamed through all available services.
King’s Disease II, the sequel to Nas’ Grammy-winning King’s Disease has officially been released through Mass Appeal Records. The predecessor – produced exclusively by renowned producer, Hit-Boy — obtained Nas the only Grammy award of his illustrious career. As such, the sequel has garnered a fair share of hype, especially after Nas revealed the track list through his official Instagram page.
The project has a varying guest-list, fluctuating between contemporary acts and established legends. The earliest contributions come from Eminem and East Coast hip hop legends, EPMD, consisting of Erick Sermon and Parrish Smith. As fans anticipate how the contrasting lyrical abilities of Eminem and Nas will co-exist on a record, an appearance from EPMD is sure to be Nostalgic and be reminiscent of a classic hip hop posse cut.
King’s Disease II will also see the reappearance of Ms. Lauryn Hill to the mainstream hip-hop scene. While she still tours and drops the occasional record, an album cut of this magnitude has eluded, the Grammy-winning rapper/singer for quite some time. In turn, her presence on the album has raised hopes that the duo can create more magic together.
Apart from old collaborators, the Queensbridge native has also enlisted the likes of A Boogie Wit Da Hoodie, YG, Los Angeles rapper Blxst and Charlie Wilson (who also featured on King’s Disease).
Unlike the prequel, is seems as though the production will vary on King’s Disease II, with only one record featuring Hit-Boy. The Grammy-winning producer will still earn executive producer credits, along with Nas.
Accompanying the album will also be the official music video for “Rare.” King’s Disease II is Nas’ 14th studio album.
“Junkyard-Folk” artist Kate Vargas has released her newest project, Rumpumpo, the fourth studio album for the New York City-based New Mexico native.
Vargas was set to record just weeks before the pandemic struck. After periods of creative block resulting from isolation, she began seeking inspiration and fresh life perspectives through yoga, meditation and clean eating.
Gotta make the levee break, let the tonic take, double-stroking in a swim-or-syncopation/Well you won’t if you don’t get to doing, it’s Newtonian.
Vargas also drew upon a conversation with a friend in which they discussed Newton’s first law: “An object in motion stays in motion and an object at rest stays at rest unless acted upon by an outside force.” This law ended up being a motivating mantra as Vargas grew to move past feelings of stagnation. She sings about this Newtonian logic in Rumpumpo‘s title track.
Rumpumpo has received high critical praise, especially surrounding Vargas’s lyricism and poetic storytelling.
Vargas’ work is marked with deep intention, frequently emerging as some of the most “honest, authentic” in the Americana scene.
American Songwriter
Growing up in the artist and farming village of Corrales, New Mexico, storytelling was a natural part of Vargas’s childhood. The community was rich in folklore and oral histories, including tales of witches, devils and fights between good and evil. Rumpumpo features the previously released singles “Church of Misdirection,” and “Glorieta to the Holy Place” as an ode to her home and its rich traditions.
It was a strange and wonderful place that I’ve really come to appreciate as an adult. There was a culture of storytelling, and the stories were often dark—the way I write songs now is rooted in that tradition. The paranormal and the supernatural always seem to make their way in. It was a great place for an imagination to run wild. If I told my mother I was bored, she’d tell me, ‘Go outside and pretend something.’
Kate Vargas
After the success of her 2018 album For the Wolfish & Wandering, Vargas performed on NPR’s Mountain Stage, shared an official showcase at Nashville’s AmericanaFest, played the 30A Songwriters Festival, and had her songs appear on television shows Stumptown (ABC), Midnight, Texas (NBC) and Good Trouble (Freeform).
Rumpumpo is sure to make a splash in the folk scene and continue to cement Vargas as one of the great rising names in the genre. It is now available to stream (see below) and order on CD/vinyl. Connect with Kate Vargas on her Instagram, Facebook and Twitter pages.
New York City’s Hunter Blair Ambrose has released her latest single, “Too Much,” off her upcoming album, Scorpio Season.
Hunter Blair Ambrose is a Pop/R&B artist and songwriter based in New York City. Inspired by dark, synth-pop, chilling Toronto R&B, and the melodic hip hop of the 2010s, Hunter has created a sound shaped by the music that has been the soundtrack to her life. By the age of 17, she had immersed herself in the company of industry giants, working alongside Grammy-award-winning musicians and producers such as Narada Michael Walden and working as an in-house songwriter and studio vocalist Tarpan Studios in San Francisco, CA.
Shortly after the inception of her career, she enrolled in Boston’s Berklee College of Music and quickly emerged as one of the school’s many promising, young talents. Following her departure from Berklee, from 2017 through 2019, Hunter wrote and produced material with her core creative team for her debut EP, Scorpio Rising (April 2020). Her debut album, Scorpio Season, is a tribute to a fall-time “cuffing season” romance gone wrong, exploring themes of heartbreak, self-doubt, psychosis, and self-destruction – all inspired by Hunter’s life experiences.
“Too Much” is a synth-pop summer track written by Hunter and produced by Jason Strong, with mixing and mastering done by Travis Bruce and Randy Merrill. It’s about acceptance in overindulging in your vices to avoid anxiety. It’s a track that highlights the struggles of drinking habits, obsessing over a love interest, the fear of being “too much” for someone, and the frustration with having too much anxiety over all of the above.
I wrote this song to take accountability for my avoidance issues. For a long time, I would ignore my problems by indulging in partying and drinking until I realized it was getting to be too much. This song is about dancing and drinking to avoid your pain which can be a good and bad thing.
Hunter Blair Ambrose
Ambrose continues to steal the spotlight with her growing music presence and has already produced an extensive repertoire to her name. You can check out a timeline of her projects HERE. Also, be sure to catch the latest of Ambrose by following her on Instagram, Tik Tok, Twitter, Facebook, and on Spotify and YouTube below:
Pop star turned jazz artist Senri Oe has announced the release of his new official music video for “Out of Chaos.” The song is the first track out of his forthcoming seventh studio jazz album, Letter To N.Y.
As a pop Japanese superstar for two decades during the 80s and 90s, Senri Oe did a complete turnabout on his career after deciding to focus on what was important in his life. It was his first love: jazz. Senri left Japan and his legion of pop fans and headed to New York to study at the School of Jazz at The New School. He proceeded to launch his recording career with his debut album Boys Mature Slow via PND Records in 2012.
Letter to N.Y. is very impressionistic in its portrayal of New York music and culture through the lens of the pandemic but heard together, the songs reveal a unique narrative story. It’s about the brokenness and collapse of the old way of life, yet with the hope that as we move into the new normal, restoration and renewal are also possible. The former world is over, so now we have to open a new door and take everything to a brave new level moving forward.
Senri Oe on Letter to N.Y.
Composed and produced by Senri completely during quarantine, the 11-track album, Letter to N.Y., is a special homage expressing Senri’s sincere love for New York City. The album captures the eclectic array of the Big Apple’s musical energies.
Senri, who first started on classical piano, and whose influences are both bebop and Miles Davis’ electronic jazz fusion of the 70s and 80s, was inspired by the same electric keyboard and organ sounds on Letter to N.Y. It follows Senri’s 2020 album Hmmm, and a trio session with drummer Ari Hoenig and bassist Matt Clohesy which hit the Top 40 on JazzWeek and reached number 24 on the Roots Radio Jazz’ Top 50 chart.
Senri’s other albums include the full big band with Spooky Hotel (2013), Collective Scribble (2015), and Answer July (2016), which featured jazz vocal greats Sheila Jordan, Theo Bleckmann, Becca Stevens, and Lauren Kinhan of the Grammy-winning vocal ensemble New York Voices.
Oe’s love for New York is simply contagious. It is not only apparent in his latest album, but also in messages he has given to his fans. Through musical synergies of jazz melodies, riffs, and rhythms, Oe further expresses his passion for the New York music scene with others. Both his story and his songs are inspiring for those with similar ambitions and drive.
When you wake up in the morning, you can hear the voice of birds, and when you open the window, the sound of the wind is soothing. They all turn into music in this room where I live now.
At the beginning of the pandemic, I was at a loss in a tremendously dark tunnel. But after I learned how to live day by day, mindfully, I started to find the birth of soul-shaking events which I have never experienced each day.
Music is at every corner of the street. Honesty, a sense of humor, and the no-pretense kindness fill everywhere.
I am in love with New York more than ever.
Senri Oe’s Letter To N.Y.
Senri Oe’s official music video for “Out of Chaos” is featured onLetter To N.Y. and releases via PND/Sony Masterworks on July 21. Watch “Out of Chaos” now below
Emerging in late 2018 out of Downstate New York, Neckscars turned a variety of stylistic music ambitions into a seamless reimagination of punk. To listeners, their sound is reminiscent of classic punk rock and roll. In reality, the sound is independent of frayed nostalgia and standard song formulas.
Then, in March of 2020, Neckscars entered Nada Studios in Montgomery, NY. The band collaborated with producer John Naclerio and Sean-Paul Pillsworth for their first full-length recording. After ripping through 8 songs in just three days, the session came to a halt in response to the COVID-19 global pandemic.
Eventually, the band returned to the studio in the fall to tie up loose ends and bring another two songs to the table. The album begins with an earthy introduction from “In Front of Me,” followed by an even grittier set of middle tracks, and finishes with more subtle melodic rock undertones espoused by songs like “Let You Down” and “First Time, Long Time.” Finally, the album and new tracks were completed with a mastering by Jesse Cannon followed by the release date announcement.
Courtesy of Neckscars – Labels: Sell the Heart Records (US) | Engineer Records (UK)
Neckscars’ motive with their debut album Don’t Panic? To bring to life a blend of rock and melodic punk with gravelly vocal delivery. The band has teased a new single, “Jarring” to highlight the upcoming album release. Below, check out the official music video via Engineer Records.
Don’t Panic will officially be available on June 18. Until then, stream “Jarring” and more by Neckscars on Spotify and Bandcamp.
Key Tracks: Jarring, Let You Down, and First Time, Long Time
Pencildive, an indie rock band that has been aptly described by fans as “a post-punk visual nightmare” is gearing up to release their debut full-length record, Grown-Ups, out May 28th via Albany startup, Paintbox Records.
Pencildive is a name that may ring familiar to Capital Region music fans. The band has been active since 2018, releasing their debut EP When I Go Outside, in 2019, which was recently reissued by Paintbox Records this past April. Pencildive released a short video to accompany the release of their song “Cricket Man,” which was awarded an Eddies nomination for the best music video category in 2019.
Gina De Nardo, the songwriter of the group, graces the mic with her haunting vocals and a lyrical focus centered around losing love, sleepless nights, and the overall human condition, all composed into the group’s wild, electric arrangements in an eclectic frenzy of gloomy post-punk.
Since the first EP we’ve all become more comfortable with the recording and production process which I think shows in Grown-Ups. Creating a full-length also gave more of an opportunity to tell a story through the songs and explore sounds more conceptually.
Gina De Nardo on the Grown-Ups recording process
Grown-Ups was written by De Nardo over the course of a decade, the first full-length album the Upstate rocker has written on her own and that sense of growth is felt throughout the entirety of the project. Grown-Ups was safely recorded in October 2020 in a cabin in the Adirondacks. The ten-track album features strings, noise improvisations, and haunting cries from the insides of a vintage Leslie speaker.
