Category: Features

  • Hudson Valley’s Upstate Films Puts the Focus on Music

    Music has been an integral part of the moviegoing experience ever since the Lumière Brothers screened the first silent shorts with musical accompaniment in Paris in 1895.  Today, Upstate Films is continuing the tradition of celebrating film and music together at its theaters in Rhinebeck and Saugerties and many other locations via its traveling Hudson Valley Picture Show.

    From musicals to documentaries and biopics to staging live performances before and to complement silent film screenings, Upstate Films is putting a uniquely creative touch to the fusion of music and moviegoing. 

    Upstate Films  Hudson Valley Picture Show

    The venture launched in 1972 as a single-screen, not-for-profit cinema in Rhinebeck. In 2010, it added to its footprint by leasing Woodstock’s Tinker Street Cinema for a decade. With its departure from Tinker Street in 2020, Upstate Films moved on to an even grander space, The Orpheum Theater in Saugerties.  This new acquisition was forged by Upstate Films’ newly appointed co-executive directors, the creative team of Jason Silverman and Paul Sturtz.

    “The Orpheum Theater is a true classic,” says Katie Cokinos, Senior Programmer for Upstate Films. “It opened in 1908 as a vaudeville theater and has a big, beautiful stage which is ideal for live events.  We’ve had everything from staged readings of plays to poetry and book events and, of course, a bounty of live music.  That’s not only here, but also at our Rhinebeck location and throughout the area with our Hudson Valley Picture Show.”

    Upstate Films  Hudson Valley Picture Show

    Launched in Spring 2021, The Hudson Valley Picture Show is a traveling film experience, one that is often staged “al fresco” at some of the region’s most bucolic backdrops.  With the purchase of a state-of-the-art outdoor screening system including a 24-foot screen, an ultra-bright projector and a powerful sound system, Upstate Films has popped up at venues like Olana, Kingston’s Old Dutch Church, Catskills Community Theater and many more.

    “Our Hudson Valley Picture Show events always incorporate a live music component,” says Jason Silverman. “My co-director Paul and I really love music. And since we are new to the area, we thought this would be great way for us to not only get to know but showcase the unparalleled wealth of musical talent that call the Hudson Valley home. 

    “Over the course of the past two years, we’ve probably had 40 acts performing in our theaters and Hudson Valley Picture Show,” continues Silverman.  “We’ve had everyone from jazz greats like Bill Ware and local legends like Simi Stone to up-and-coming younger bands and solo artists as well as a revival of the John Street Jam, a long-running singer-songwriter event in Saugerties that was without a home for a few years. ”

    On Friday, October 28, Upstate Films’ Hudson Valley Picture Show will present a screening of the 1920 horror classic, The Cabinet of Dr. Caligari, with live musical accompaniment by The Anvil Orchestra. Founded by Roger Clark Miller (Mission of Burma) and Terry Donahue more than 30 years.  The event will take place at The Community Theater in Catskill, New York.  

    “The marriage of silent film and live musical accompaniment is something we’ve been exploring since we reopened The Orpheum in November 2021,” adds Silverman.  “Our opening weekend actually featured a screening of Buster Keaton’s Sherlock Jr. with a live score by pianist Barbara Lee.  It was something that not only pleased adults but kids as well. We look forward to doing more of it in the future.”

    Upstate Films and its Hudson Valley Picture Show have also boasted screenings of many of the best music documentaries. The list includes the Prince-focused Sign of the Times, the recent Bowie doc Moonage Daydream and Anonymous Club, a critically-acclaimed profile of enigmatic singer-songwriter Courtney Barnett.

    Upstate Films  Hudson Valley Picture Show levon helm

    On October 18, Upstate Films celebrated the life of one of Woodstock’s most beloved music-makers, Levon Helm, with a screening of the 2010 documentary, Ain’t in It for My Health. The film was preceded by a presentation about a fascinating new book, Levon Helm: Rock, Roll and Ramble: This Inside Story of the Man, the Music and the Midnight Ramble, by local music journalist John Barry.

    Barry’s book is a ‘fly on the wall” account of the final chapter of Helm’s life and the scene that grew up around his legendary, star-studded home concerts, the Midnight Rambles.  These weekly events were a way for Helm to both recover from bankruptcy and battle against throat cancer, something that had robbed him of his legendary voice for a time. Barry spent years just hanging and recording conversations with Helm, both in his home and on the road.  The book, which took the writer 14 years to complete, may provide the truest look into the spirit of this legendary American music-maker and his triumphant final turn with the Grammy-Award winning album, Dirt Farmer, before his passing in April 2012.

    Barry was joined at the sell-out event by Barbara O’Brien, who served as Helm’s manager during this final chapter, and Radio Woodstock’s amiable morning host Greg Gattine.  The trio provided many humorous and heartfelt anecdotes about their time with Helm, providing unique insight into both his music and his life in Woodstock. The event was co-sponsored by Inquiring Minds Books in Saugerties which, in this writer’s estimation, has the largest selection of music biographies and histories to be found in the Hudson Valley. For more information on Barry’s book, visit rockrollramble.com.

    Upstate Films  Hudson Valley Picture Show

    Silverman continues: “We think of ourselves as a cultural center, something that is about film, of course, but also about the other arts that flourish here in the Hudson Valley.  We pay every musician who plays here too, which is important.  There are many ways to use a theater and music is just one.  But it’s one that is a true cornerstone of Hudson Valley culture, one, as with Helm’s story, can have a lasting, worldwide impact.”

    Upstate Films will mark the holidays with two additional musical events.  Woodstock-based singer/songwriter Chris Maxwell will be teaming with Holly Miranda and Ambrosia Parsley on a quirky holiday musical/variety show, The Great Big Christmas Show.  Slated for December 11 at The Orpheum Theater, it will include tune created by the trio for their 2016 holiday CD, Catskill Christmas. Also upcoming in a holiday themed rock-and-roll performance by the youngsters at Woodstock’s own rock school, The Rock Academy, at The Orpheum on December 4 at noon.

  • Indie-rock band Late Sea share video for War Protest Track “Cover Up”

    The Late Sea has shared their latest video for the war protest track, “Cover Up.” Songwriter and multi-instrumentalist, Izzy Gliksberg, derived inspiration to make the debut single, “Cover Up”, after seeing conflict between Israeli and Palestinians in the news. Gliksberg grew up in Israel and the war in the Middle East affects him, as he said he was “used to seeing this kind of trauma on TV”.

    Late Sea cover up
    (Photo credit: Bill Wadman)

    The Brooklyn-based band has performed all over New York State and in festivals along the east coast. Late Sea is comprised of members, Izzy Gliksberg, drummer Graham Dobby, bassist Clinton Greene and keyboardist and vocalist, Kalen Lister. Their track list starts with their 2017 release of the debut EP The Writers Trilogy, as well as a cover release of the 1964 “The Sounds of Silence” by Simon and Garfunkel.

    Late Sea cover up
    (Single art credit: Alex Lorenzo)

    The group’s most recent released work is is their EP, Rumor, having came out last year and was produced by Grammy Award-winning, John Davis. Prior, Late Sea shared a video for their track, “Swan Song”, and gained coverage by Audio Fuzz on their Simon and Garfunkel 1964 staple cover.

    Music video for “Cover Up” by Late Sea
  • GWAR and Friends Tear The Crowd Up at Rapids Theater in Niagara Falls

    For many, GWAR has been one of the most consistent heavy metal bands in their lives. On October 22nd, they brought their bloodbath to the Rapids Theatre in Niagara Falls.

    gwar rapids theater
    GWAR brings a bloody great time to the Rapids Theater in Niagara Falls. Photo by Samantha Rychlicki

    If you search the name GWAR, it’s easy to see just on the outside what this band brings when they put on a performance. Big costumes, heavy metal, blood and guts. When you go to see them, however, there is something so much more.

    But before we go into the main event, let’s talk about the other groups that GWAR brought along.

    The opener was a band from Pottsville, PA named Crobot. With a name like that, I wasn’t too sure what to expect. However, as soon as lead singer Brandon Yeagley popped out of a foam egg, the crowd was immediately enthralled with this group. With groove mixed with a lot of Rock ‘n Roll, you couldn’t help but dance/scream/head bang. The energy they brought was incredible and they are certainly a group to keep your eyes out for.

    Brandon Yeagley of Crobot flies high while band mates Chris Bishop, on guitar, and Tim Peugh, on bass, rock out. Photo by Samantha Rychlicki

    Immediately following Crobot, we have the melodic death-metal group Nekrogoblikon. They. Killed. It. The audience was absolutely in love with this group, and with John Goblikon. Their sound was totally unique and they definitely rocked the house down.

    gwar rapids theater
    Nicky Calonne and John Goblikon jamming out together. Photo by Samantha Rychlicki

    And finally, we have GWAR. Formed in 1984, this group has been non-stop for more than three decades. Fans of GWAR at Rapids Theater were some of the most dedicated people to a group I’ve ever seen. Normally when you go to a rock show, there is a unspoken dress code of all black all the time. But for this one, fans were dressed in white, in hopes to be part of the carnage that this band brought. Of course there were crowd surfers and mosh pits. What else can you expect? Blothar the Berserker’s vocals are out of this world and the rest of the band are a recipe for success.

    This being said, there was also plenty of the blood spewing that the band is known for. From the dismemberment of a ‘GWAR fan’ and a soldier, to the ‘pissing match’ between Blothar’s alter-ego from another universe (which he said was a manifestation of everything that he hates about himself). There was a certain political undertone that was hard to miss and the crowd ate up with the infamous presidential decapitation of Joe Biden, Putin’s demise and even the destruction of Amy Coney Barrett.

    gwar rapids theater
    Blothar’s alter-ego from another dimension. Photo by Samantha Rychlicki

    The ‘so much more’ piece mentioned before about this group? The fans of the GWAR are die-hards, they are all connected in a way that is so much more than just the costumes, guts and gore.

    If you ever have the chance to see this band perform, do not miss your opportunity. And if you’re too scared to get a little dirty, stay in the back or stay home. This is not for the lighthearted.

    GWAR at Rapids Theater
    Setlist: The Cutter ft. Lzzy Hale, The Issue of Tissue (Spacecake), Bring Back the Bomb, New Dark Age, Mother Fucking Liar, Rise Again, Bored to Death, Saddam a Go-Go, Ratcatcher, Womb With a View, Black and Huge, Venom of the Platypus, Berserker Mode, U Ain’t Shit, None but the Brave
    Encore: Sick of You, Fuck This Place.

  • Iron Maiden Bring their Legacy of the Beast Tour to “The Rock” in Jersey

    Nearing the end of the 2022 leg of their world tour that commenced six months ago in Croatia, East London heavy metal legends Iron Maiden landed at the Prudential Center (affectionately known as “The Rock,” a reference to the Rock of Gibraltar corporate logo) in Newark, NJ this past Friday night, October 21.

    The Rock | Photo by Michael Dinger

    Iron Maiden’s Legacy of the Beast Tour, inspired by the 2017 video game of the same name, is an all-encompassing retrospective of their history, complete with a visually stunning stage design featuring jaw-dropping, thematic backdrops and stage props. Dating to the first leg of the tour consisting of European dates in 2018, Iron Maiden have played nearly 150 shows to more than 3 million fans, their biggest world tour since their formation on Christmas Day 1975.

    Bruce Dickinson of Iron Maiden | Photo by Michael Dinger

    Taking over support duties from Trivium, who departed the tour at the end of September after opening eleven shows for the heavy metal icons, Within Temptation took the stage promptly at 7:30 pm. Formed in 1996 in the Netherlands, the symphonic metal band are led by vocalist Sharon den Adel and guitarist Robert Westerholt. The Dutch sextet is rounded out by Ruud Jolie (lead guitar), Jeroen van Veen (bass), Mike Coolen (drums), Stefan Helleblad (rhythm guitar) and Martijn Spierenburg (keyboards).

    Within Temptation performed three tracks (“Raise Your Banner,” “Supernova” and “The Reckoning”) from the latest of their seven studio albums, 2019’s Resist (Spinefarm Records), which found the band exploring new genres such as industrial and electronic dance music. The remainder of their 8-song set included single offerings from their discography, albeit their 1997 debut album (Enter) and their third studio album, 2004’s The Silent Force. Nearing the end of their set, Within Temptation presented “Don’t Pray for Me,” the fourth and most recent independently-released single in a series that is a precursor to their next studio album – expected for release in 2023.

    Sharon den Adel of Within Temptation | Photo by Michael Dinger
    Robert Westerholt of Within Temptation | Photo by Michael Dinger
    Ruud Jolie of Within Temptation | Photo by Michael Dinger
    Mike Coolen of Within Temptation | Photo by Michael Dinger
    iron maiden tour
    Jeroen van Veen of Within Temptation | Photo by Michael Dinger
    Martijn Spierenburg of Within Temptation | Photo by Michael Dinger

    At approximately 8:45 pm, as “Doctor Doctor” by UFO played over the house PA, the lights went dark and it was game on! To thunderous applause from the 20,000 capacity crowd, the heavy metal icons appeared before us – the 64-year old Bruce Dickinson known for his legendary, operatic-style vocals, bassist Steve Harris, drummer Nicko McBrain and the trio of guitarists comprised of Adrian Smith, Janick Gers and Dave Murray.

    Maiden’s 15-song, nearly two hour set kicked-off with the three lead tracks from their most recent studio album and 17th overall, Senjutsu, including the title track, “Stratego” and “The Writing on the Wall.” The opening trifecta of songs was accompanied by a magnificent stage production that matched the Japanese theme of the record’s visual graphics, including an early appearance by their mascot Eddie as a samurai warrior. Eddie would make another appearance later in the night as “The Trooper” to do battle with Dickinson.

    Eddie | Photo by Michael Dinger

    The setlist was a retrospective of their voluminous, four decade discography celebrating their biggest hits (“The Trooper,” “Hallowed Be Thy Name,” and “Fear Of The Dark”), while also including some deeper cuts such as “Revelations” (Piece of Mind, 1983), “Blood Brothers” (Brave New World, 2000) and “Sign of the Cross” (The X Factor, 1995). Maiden played two encores consisting of “The Trooper,” “The Clansman,” “Run To The Hills” and the closing number of the night, “Aces High,” as a life-size replica Spitfire plane swayed high overhead.

    Bruce Dickinson of Iron Maiden | Photo by Michael Dinger
    Janick Gers of Iron Maiden | Photo by Michael Dinger
    Steve Harris of Iron Maiden | Photo by Michael Dinger
    Dave Murray of Iron Maiden | Photo by Michael Dinger
    iron maiden tour
    Adrian Smith of Iron Maiden | Photo by Michael Dinger

    In the closing moments of the show, before Monty Python’s “Always Look on the Bright Side of Life,” Dickinson addressed his audience for the last time of the night:

    We’d like to take you home with us, but you won’t fit through the front door. Have a great weekend, have a great week, have a great month, have a great year. In fact, have a great fucking life, because you only get one. Live every fucking day you can of it. We’ll see you again, thank you everybody.

    Maiden’s 24-date journey across North America culminates at the Amalie Arena in Tampa, Florida on October 27, followed by a much-needed rest for this band on the cusp of their golden years. Lord knows they sure haven’t wasted any, especially with 2023 dates already announced for The Future Past Tour that will launch at the Sweden Rock Festival in early-June. And hopefully, by then, these metal behemoths will finally be on the Rock & Roll Hall of Fame’s list of new inductees.

    Iron Maiden | Photo by Michael Dinger

    Within Temptation Setlist: The Reckoning > Paradise (What About Us?) > In the Middle of the Night > What Have You Done > Supernova > Don’t Pray for Me > Raise Your Banner > Mother Earth

    Iron Maiden Setlist: Senjutsu > Stratego > The Writing on the Wall > Revelations > Blood Brothers > Sign of the Cross > Flight of Icarus > Fear of the Dark > Hallowed Be Thy Name > The Number of the Beast > Iron Maiden > Encore: The Trooper > The Clansman > Run to the Hills > Encore 2: Aces High

    Within Temptation

    iron maiden tour

    Iron Maiden

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    iron maiden tour
  • NY Rapper Dylan Owen Produces and Scores Film Pairing for Album

    How To Find Yourself is a new film produced by rapper Dylan Owen and directed by Brian Petchers. In it, the two try to answer that very question by following teens through those familiar coming of age film tropes: traipsing through wheat fields, impromptu fight clubs, screaming for joy on a roof in slow motion, motorcyling through back alleys. The characters speak over those portraits of adolescence in interviews — airing the regrets, joys and discoveries their juvenile years brought them.

    And playing underneath it all is a heartfelt acoustic score by Dylan Owen, of the same name, made for the film and featured on the artist’s upcoming EP, Take Care Of Yourself.

    Dylan Owen

    Dylan Owen found himself moving all around Upstate NY as he grew up. He’s from Orange County, NY, and has lived in Goshen, Middletown, Circleville and Chester; Owen now calls himself proudly a “nowhere kid from a nowhere town.” Now living in NYC, Dylan Owen’s poetic songwriting and sensitive style has found him a wider audience and prompted comparisons to icons such as Mac Miller and Wiz Khalifa. How to Find Yourself is Owen’s foray into film making, and fans who know of Topaz Jones’ short film – that paired with his album Don’t Go Tellin Your Momma which looks at Jones’ own upbringing in Montclair, NJ – will connect with Owen’s film.

    Through the testimonies from the film’s characters and the emotionally evoking scenes of innocence juxtaposed with violence and sudden danger, the film creates a space for people to openly share their stories of growing up, with an emphasis on those working through mental health problems. How to Find Yourself focuses on the harrowing journey to love and know other people and yourself while working through obstacles of anxiety and depression.

    The short film will be released on October 25, and Owen’s album will be out in November. 

  • Danielle Ponder Gives Rochester a Whole Lotta Love at Water Street Music Hall

    Danielle Ponder returned to Rochester for her first show after her major label debut, Some of Us Are Brave. She was back after crisscrossing the country as Marcus Mumford’s opener along with numerous festival dates. But on this night, she was no opener and she needed no warmup, this night belonged to Danielle Ponder and no one else.

    danielle ponder rochester

    The agnostic daughter of a pastor reached back to her roots and preached from her pulpit to the sold out Water Street Music Hall. Instead of seeing God, with the help of some mushrooms, she had seen herself and her place amongst the trees and oceans and earth. Her speaking quickly turned into singing, her voice exponentially more powerful in song, “What a joy it is to be alive… I feel your love and it gives me power…” Her congregation responded not with Amen’s but melodic lalala’s. The power of music was in the house, and Ponder was delivering.

    danielle ponder rochester

    As always, in shows, in interviews, anytime anywhere, her love for her hometown was effusive. Off the bat she inserted a “Rochester NY!” into the opening song. She followed by explaining how Rochester was involved in a group effort to lift her up to the heights she’s reached in the past year. It prepared her to be a professional, impressing the industry bigwigs she’s been rubbing elbows with as of late. Later in the night, she noted humbly, that if she ever falls back down, she knows she can always come back home.

    But it wasn’t just about her homecoming. Nearly every song was dedicated to a group of people that resonates with her. “Some of Us Are Brave,” to black women all over the world. “Someone Like You,” to all the singles, including Ponder herself, who wondered why her DM’s weren’t more active then they were. On the contrary, “Only the Lonely” was dedicated to the people who stayed with someone too long. “Poor Man’s Pain” was dedicated to all the Public Defenders, of which she was one not too long ago. Now as she was following her passion of being a professional musician, “So Long” was dedicated to all the dreamers and artists that know their purpose. Her songs were deeply personal, but for everyone.

    danielle ponder rochester

    And for the old school fans, of which there were many, she reached back into her vault to pull out some old favorites. The bluesy “Working” appropriately reminisced her 9 to 5 days, while a cover of Laurny Hill’s “Doo-Wop (That Thing) got the whole place hopping, her friends and family pouring into the pit much to the chagrin of security.

    Ponder presented a couple of more cover in the encore. Though when she sang “Whole Lotta Love,” it wasn’t as much a Led Zeppelin song as it was a Danielle Ponder song with lyrics by Robert Plant (though even then some of those words belong to Willie Dixon). Likewise, when she sang “Creep” to close the show, it wasn’t a Radiohead cover, but a Ponder original, that just happened to be written by Thom Yorke. As a song that band has abandoned, it might as well belong to Ponder now anyway. Like one of her inspirations, Nina Simone, Ponder takes these songs and reinvents them for her own purpose, as she has reinvented herself.

    As her star begins to rise and explode, is Danielle Ponder at the Blue Cross Arena in Rochester in the not too distant future?

  • How to Reinvent Community with a Rock Choir

    They say there is no such thing as coincidence, well that was before Artificial Intelligence was deployed in our browser searches. In the case of Rock Voices and Tony Lechner, its founder, I’m grateful either way. 

    The Collision of AI & Coincidence

    Rock Voices

    The impact of harmony cannot be denied when you discover a new ways to connect in community with Rock Music. I spied the Rock Voices advertisement on Facebook, combing the Internet for potential guests on my podcast The Long Island Sound. Intrigued by the YouTube video of various people singing a choral arrangement of Rock songs, I am reminded of the Playing for Change, Songs Around the World videos, which began on the web during the Covid quarantine. Leave it to the musician community, who will not be deterred from delivering their art to the masses, while endeavoring to draw communities together. Ever amazed at the seeds of creativity, I am drawn to unpack Rock Voices, an amazing program. Taking a stab at an invitation and reaching out to Tony Lechner, we were drilling down on the particulars after a couple of days for an interview.

    Follow the full conversation with Tony Lechner, a music professor turned entrepreneurial rock coral arranger on The Long Island Sound Podcast

    Professor Tony planted the seeds of a rock coral group ten years ago in Hadley, MA.  Our cousins across the pond in England had flushed out the idea and Mr. Lechner knew the time was right to start a no-audition Rock chorus in America. He was so amazed with the early impact and results, he told the pioneers of Rock Voices that he’d quit his full-time job as music teacher and pursue the dream of bringing a Rock-based choral group to life.

    Recalling the many Zoom calls we all engaged in during quarantine, and recognizing the need to stay connected to the community, Rock Voices is well worth investigating. The program seems to be a prescription to allow singers of every skill level re-enter the local collective and have some fun along the way.

    I don’t even like to call it a choir, I’d like to call it a Rock Band with a ton of singers

    Tony Lechner

    Communities Making Connections

    Today, Rock Voices has chapters in six states, and there is a waiting list for new locations as the vetting process for directors continues.  New York State has chorus’ in Albany, Brooklyn Heights, Saratoga Springs, Syosset, and Syracuse.  They perform concerts in the Spring, Summer and Autumn seasons.

    The various Rock Voices Choral Groups have performed selections from the Beatles, James Taylor and the Foo Fighters to name a few. 

    I was amazed at the arrangements, in particular, the cover of “Somebody to Love ” by Queen, raised the hair on my arms and pulled at my heartstrings.

    A choral group is a great place to hide and learn in a no judgment zone

    Tony Lechner

    Healing Harmony

    Tony spoke about the various studies which highlight the mental health benefits for the participants who engage in harmony singing. The positive feedback from the choral group members is an endorsement of the healing powers that music can bring to a community. Rock Voices flings the door wide open and provides an easy entry point for everyone to participate in a fun-loving learning experience. So if you’re ready to Rock, this just might be the therapy you need.

  • Cypress Hill Lights up Del Lago

    B-Real, Sen Dog, Bobo, and Dj Lord, better known as Cypress Hill, took to the stage at The Vine, at Del Lago Casino in Waterloo, NY on Friday October 21, as the band celebrated 30 years of mainstream hip hop and rap, as well as promoting new album, Back in Black.

    The Vine @Del Lago

    Activists for legalization of cannabis, the band members routinely take the stage with blunts in hand and enjoy the Mary Jane throughout the show and this show did not disappoint! After an approximately 18 minute intro by DJ Lord who seemed to be in his own little haze, B-Real took the stage with blunt in hand and continued to get the crowd pumped up with collaboration of “Roll It Up, Light It Up, Smoke It Up,” “I Wanna Get High,” “Cisco Kid,” “Dr. Greenthumb,” and “Hits From the Bong.”

    30+ years and 10 albums later, these guys from South Gate, CA can still kick it and toke it just as hard as they did in 1988. Fans were in the aisles, on the steps, and on section dividers grooving and moving as the beat played on.

    Setlist: DJ Lord intro/ Roll It Up, Light It Up, Smoke It Up, I Wanna Get High, Cisco Kid, Dr. Greenthumb, Hits From the Bong/Real Estate/Hand on the Pump/Sound of da Police/When the Shit Goes Down/Tequilla Sunrise/Lowrider/Illusions/Latin Lingo/Lick a Shot/How I Could Just Kill a Man/Throw your set in the Air/I Ain’t Going out like that/(Rock Superstar)/Insane in the Brain/Jump Around (House of Pain cover)

    Check out Cypress Hill’s newest album here: Back In Black | Cypress Hill | Official Website

  • Post-punk rockers Viagra Boys and Shame lay siege to Brooklyn Steel

    A shining beacon in the Williamsburg neighborhood since it opened in 2017, the 1800-capacity structure originally occupied as a steel manufacturing plant, Brooklyn Steel, welcomed post-punk rockers Viagra Boys and Shame for their only New York show on Tuesday evening, October 18.

    Viagra Boys
    Brooklyn Steel | Photo by Michael Dinger

    Viagra Boys, who hail from Sweden, are touring in support of their third studio album, Cave World, released by Year0001 this past July. Written during the COVID-19 pandemic and recorded last winter at Silence Studio and RMV Studio, the album was produced by Pelle Gunnerfeldt and DJ Haydn.

    Viagra Boys
    Sebastian Murphy of Viagra Boys | Photo by Michael Dinger

    Joining Viagra Boys on the bill as a co-headliner was Shame, an English band from South London. Their debut album (Songs of Praise) was released in 2018, followed by Drunk Tank Pink in 2021 – both to critical acclaim via Dead Oceans, an independent record label based in Bloomington, Indiana.

    Charlie Steen of Shame | Photo by Michael Dinger

    In support of the co-headliners were Kills Birds, a trio of talented young rockers based in Los Angeles who are fronted by Nina Ljeti (born in Bosnia and whose family escaped to Canada soon after the Bosnian War began), along with guitarist Jacob Loeb and bassist Fielder Thomas. Formed in 2017, they released their debut self-titled album in 2019 on KRO Records. Their second album, Married, was recorded at Dave Grohl’s Studio 606 (by invitation from the man himself) and was released last year.

    Taking the stage promptly at 7:30 pm, Kills Birds played an unrelenting, electric set for a little more than 30 minutes. Performing songs embodying a hybrid style of new wave punk and grunge – such as “Jesus Did,” Volcano,” “Natalie,” “Cough Up Cherries” and “Offside” – Kills Birds grabbed our collective attention with a visceral intensity spearheaded by Ljet’s energetic stage presence. Combined with Loeb’s scorching riffs and Thomas’ thumping basslines, Kills Birds has an undeniable chemistry that is sure to lead them down the path to a bright future.

    Nina Ljeti of Kills Birds | Photo by Michael Dinger

    Formed in 2015 and with three studio albums under their collective belt – Street Worms (2018), Welfare Jazz (2021) and the aforementioned Cave World – Viagra Boys have already gained a reputation as being an unapologetically raw live act. Led by frontman Sebastian Murphy (originally from California), whose debauched stage persona has led to comparisons with iconic performers Iggy Pop and Nick Cave, the sextet is rounded out by Henrik Höckert (bass), Tor Sjödén (drums), Oskar Carls (saxophone), Elias Jungqvist (keyboards) and Linus Hillborg (guitar).

    With Viagra Boys and Shame flip-flopping their set order each night of the tour, it was the boys from Stockholm who were up first. Possessing an atypical vocal style to that of the everyday punk frontman, with yelling and screaming kept at a minimum, Murphy delivered the night’s first offering (“Ain’t No Thief” from Cave World) in his monotone, deadpan fashion. His lyrics are both cerebral and surreal, often drawing on themes of drug addiction that are laced with satire. Viagra Boys songs often invoke crude imagery, as embodied in the newly christened fan favorites also performed this night from Cave World, including “Troglodyte” and “Punk Rock Loser.”

    Viagra Boys
    Viagra Boys | Photo by Michael Dinger

    As per usual, Murphy performed most of the hour long set shoeless and shirtless, displaying his tattoo-covered (he is also a tattoo artist by-day) and bloated beer belly. The driving force of the band, Murphy addressed the fervent crowd on more than one humorous occasion:

    Listen up folks. It’s fucking beautiful to be up here. I literally felt like I was an olive marinating in some horrible alcohol this morning when I woke up. And I thought that I was gonna cry before the show. I was like, I can’t fucking do this man! I don’t got it in me anymore! But then I come out here, and I see all your beautiful fucking faces, it gives me reason to live one more day and make it back to Switzerland where I’ve got seven beautiful dogs and a fiancé. [I’ve also got] a couple of gerbils. One of them disappeared recently, I’m not gonna say where.

    It’s probably a bit confusing for some of you that are here tonight that were at the last show in Brooklyn. Because, back then, I was incredibly good looking [with] the perfect specimen of a body. It was then, on the US tour, where I sampled some deep fried food every now and then, and I had some candy, and the occasional beer. And, I have become somewhat of a big boy. But I am proud of myself.

    Viagra Boys’ 12-song set closed with the absurdly hilarious “Sports” and “Shrimp Shack” (a Swedish idiom for someone who hasn’t had to work hard to get where they are), both from their debut release (Street Worms) in 2018. In just a few short years since that time, Viagra Boys have created a brazen palette of heavily intoxicating punk melodies which often feature frantic guitar shredding, hefty drumbeats, meaty basslines, jazz-style keyboards and saxophone solos.

    A perfect pairing with Viagra Boys, Shame are the British quintet of Charlie Steen (vocals), Sean Coyle-Smith (guitar), Eddie Green (guitar), Charlie Forbes (drums) and Josh Finerty (bass). Formed in 2014, around the same time as their tour mates, Shame took the stage at approximately 9:45 pm to Zac Brown Band’s “Chicken Fried” playing over the house PA.

    Charlie Steen of Shame | Photo by Michael Dinger

    In keeping with tradition of his homeland’s post-punk predecessors (the original wave formed in the late-1970s), Steen exudes a magnetic stage presence that demands your attention. Tuesday night, when he was not smoking a cigarette mid-song, instigating the mosh pit or crowd surfing, Steen was lurking along the stage apron with sweat streaked along his cheeks or smirking at bandmate Finerty after he successfully completed another of his signature, one-handed flips (while still holding his bass!).

    Shame played their entire, 14-song distortion-filled set with an unbridled emotion that could only be accomplished by a band who has risen to success amid a grueling, relentless tour itinerary. Highlights of Shame’s night included back-to-back presentations of tracks from 2018’s Songs of Praise – “One Rizla” (introduced by Steen as “the first song [they] ever wrote”) and “Angie” for the first time on the current tour. With the emergence of post-punk peers IDLES and Fontaines D.C. in recent memory, it’s now time for Shame to breakthrough with their own brand of loud and abrasive punk anthems.  

    At the conclusion of their U.S. tour in Dallas, TX at the end of the month, Viagra Boys will head oversees with a slew of dates that will take them to Primarvera Sound in São Paulo, Brazil (November 6), followed by stopovers in Mexico, Germany, Netherlands, France, Italy, England, Scotland, Ireland, Wales, Denmark and finally, Norway (March 30, 2023). Up next for Shame will be a much-needed break, before embarking on a journey to Mexico City for the Hipnosis Festival on November 5.

    Viagra Boys Setlist: Ain’t No Thief > Ain’t Nice > Troglodyte > Punk Rock Loser > Return to Monke > Secret Canine Agent > Slow Learner > Worms > Big Boy > Cold Play > Sports > Shrimp Shack

    Shame Setlist: Dust on Trial > Alphabet > Fingers of Steel > Concrete > The Lick > Six Pack > Tasteless > Adderall > Born in Luton > Burning By Design > One Rizla > Angie > Water in the Well > Snow Day

    Kills Birds

    Viagra Boys

    Shame

  • MVW’s Connections Comes Full-Circle

    It wasn’t long ago that classical composer, Michael Vincent Waller, first forayed into the hip hop world. On his debut LP CLASSIC$, the Staten Island native merged elements of classical and trap music, bringing about an unheard of sub-genre. What made for a sometimes awkward fit was overshadowed by MVW’s nuanced production and his chemistry with Valee — who occupied the album’s starring role. CLASSIC$ was experimental in its nature, while his latest album, Connections, sees MVW harness his vision.

    mvw connections
    Connections tracklist

    With this intention, MVW’s progression came from putting his classical side on the back burner, allowing it to play a more subtle role. On his prior album, the two genres shared equal footing, while on Connections the classical sound plays a complimentary role to the hip hop rhythms. The result makes for an energetic, yet nuanced body of work, with enjoyable contemporary melodies.

    The attention to the melody and nuance of the texture stands out. It’s about taking you on the journey from minimal to maximal — going through the ebbs and flows of layers, lyricism, and transitions between those two aesthetics.

    – MVW on the making of Connections

    Connections Review

    Amidst hip hop’s growing stagnation, Connections feels like a breath of fresh air and a leap into the future. The album is laden with features from both veteran and new artists alike. Past collaborators (Valee, Lil Gotit, Lex Luger) and new voices (Matt Ox, Desiigner, TiaCorine, Zelooperz, Xavier Wulf, Warhol.SS) lent their voices and verses. Moreover, it’s a project which fully expands and elegantly distills the vision MVW forged on CLASSIC$, while showcasing his versatility.

    mvw connections
    The composer-turned-producer has released two one-of-a-kind projects.

    After all, it is a testament to MVW’s abilities that he can curate his minimal-expressionist approach for a song with Valee and his laid-back delivery, Matt OX‘s energetic howls, while channeling the enigma that is Desiigner. Yet, that was the goal of Connections. The album is about urging the listener to reckon with the ties between unexpected things; minimalism and maximalism. A juxtaposition that MVW has been keen to express in his music since crossing over from the formal, controlled landscape of classical music to the braggadocios and expressive hip hop world. The album’s sequencing reflects MVW’s experiences, as it ranges from delicate vocal placements (“Oscar,” “7 Bandz,” “Bali”) to high-octane controlled chaos (“Check In,” “Mobb Ties,” “Never That”).

    The music was unlike anything else I’d heard. No one is rapping over that kinda stuff so I wanted to try something different. It was a challenge and definitely had a spooky element to it. I like that.

    – Valee on working with MVW
    mvw connections
    Valee and MVW’s Connection is undeniable.

    Album Highlights

    Valee once again takes center stage on an MVW project. The duo’s chemistry is undeniable, as Valee’s own minimal, yet luxurious flows make for a perfect jump-off point creatively. For his part, MVW’s own vision for his music’s direction allows him to recruit effectively. “Mobb Ties” sees Desiigner at his best, using his overpowering voice to create a melodic banger, free of incoherent shouts. Concurrently, Valee and Matt OX serve as the contrasting hues on MVW’s musical canvas, as he uses their contrasting styles to fulfill his musical ethos.

    Notably, MVW’s use of classical instrumentation to capture Matt Ox’s spirited delivery pushes the limitations of both genres. Songs like “Check In” and “Epiphany,” are laced with adequately placed cello and violin riffs that compliment OX’s energy. Conversely, MVW and Valee fit like two peas-in-a-pod. Their comparable styles means that there is no need for a smoothing out period. Records like “Bali,” feel as though the two have been recording together for years.

    “Working with Valee is always special, but this is one of those tracks where I think Valee and I are working on a higher intuitive level,”

    – MVW on the making of “Oscar

    Other standout tracks include “TikTok,” “Right Back” and “7 Bandz”, on a project which ultimately saw MVW’s vision come full-circle. In doing so, the Los Angeles based producer has managed to carve out a lane all to himself.