Earlier this summer, Albany-based band Coupons released their 3rd full-length record, Wasted Intimacy, via Counter Intuitive Records.
The indie-rock band consists of Dan LaFave, Collin J Reynolds, Shannon Straney, Dylan Depice, and Dan Maddalone. The 11-track album is upbeat, unique, and a great listen with different styles intertwined throughout the project. Wasted Intimacy also showcases the band’s creativity and talent, with various members contributing to vocals, lyrics, and instrumentation.
The album includes songs for everyone to enjoy, with the first single released, “Waiting,” giving listeners an intense rock track with powerful vocals whereas other singles, such as “Milk,” slow things down. Produced by Scoops Dardaris, Wasted Intimacy highlights Coupons’ range of melodies, rhythms, and beats on this release.
Throughout the duration of Wasted Intimacy, listeners are met with catchy lyrics, and songs seemingly perfect for the stage. In the song “Break a Leg,” written by band member Collin Reynolds, the lyrics “do you wanna celebrate, do you even know my name, are you getting home okay, it’s not too late” are relatable and work perfectly to hook listeners in.
With the snappy guitar on “Mardi Gras,” beautiful vocals from Straney on “Milk,” and the building piano track “Anyone Else,” this album from Coupons shines. Every track holds your attention and leaves you captivated.
In support of the album release, the band recently played a show at Empire Live Underground in Albany. Joining the group included music from the likes of Oso Oso, Another Michael, and Laveda. Be sure to take a listen to Coupons’ full discography, and stay tuned for their next live show.
Fans of Coupons music can keep up with them on Instagram and Twitter. The new record is also available to purchase on vinyl as well as to stream across platforms.
After a 2 year hiatus due to COVID, Afropunk made its return home to Brooklyn at Commodore Barry Park. The long-awaited festival took place the weekend of Sept. 10-11 and featured headliners The Roots and Burna Boy. Keeping up with the times, the entire festival was live-streamed on Twitch for the entire weekend.
Ebonee Davis at Afropunk 2022
The festival originated in Brooklyn at the Brooklyn Academy of Music in 2005. It was a free festival aimed at making a safe space for young black punks to be properly represented. As the festival grew bigger, the focus shifted from youth interested in punk to a wider array of music genres to grow a bigger audience. Today Afropunk is more than just a music festival. It is considered a celebration of black culture and art.
There is a common stigma that black culture is monolithic. It is often that black artists who do not make traditional rap or R&B are still categorized in these genres or they may not even get a chance to have work played on mainstream radio. Afropunk offers the opportunity for artists who do not fit the norm to have a platform to display their work for what it is to members of their own community.
But Afropunk is more than just music. When you entered the gates, you walked right into markets set up on either side of the park. Both markets featured local art, fashion, and beauty services, mostly from black-owned businesses. There were also food vendors that offered many vegan and vegetarian options to accommodate all types of diets. There were 2 stages; the red stage was set up in the corner of the park, and the green stage was towards the back of the park. Behind the green stage, in a separate part of the park, featured what was called a “Wellness Village.” Services such as massages, yoga, meditation sessions, and djembe drum lessons were offered to festival goers.
A Hot Start for a Highly Anticipated Return
Saturday started off hot, but the outfits were even hotter. Going with the theme of Afro-centrism, fans came in stunting with their best Afro-centric inspired outfits. Many were homemade or altered articles of clothing that made every look unique. Fans traveled from all over the country to experience the festival.
The Red Stage featured a fashion show from Lavntg and an energetic performance from Rodney Chrome. Rodney Chrome had his mother in attendance and gave her a shout-out while performing. Chrome discussed with fans his struggles growing up as LGBTQ in Little Rock, AR.
Freedie Gibbs at Afropunk 2022
The Red Stage was headlined by Freedie Gibbs who started his set about an hour late. With the ongoing tension between police and the black community, he had fans release that frustration by screaming “f-ck the police.” Gibbs’ DJ also played memes from Dr. Umar during the set that helped to break the tension from the crowd.
Doechii Lives up to the Hype
Bodies were moving all day on the Green Stage. Doechii delivered a highly anticipated and widely energetic performance. As part of this year’s XXL Freshman class, Doechii has a lot to live up to as one of this year’s up-and-coming rappers.
Doechii at Afropunk 2022
There was no moment when Doechii was not moving during her performance. Her set started out by cleansing the stage of bad energy by burning sage. Only good vibes were shared from there on out between Doechii and her beloved fans. She evokes confidence from her fans and her audience. It was undeniable that Doechii and her dancers had full control of the crowd for those 45 minutes she was up there.
Her alternative rap style fused with a well-choreographed dance sequence made her one of the more memorable artists that took the stage on Saturday. Doechii also did take a moment to pay tribute to her mother by bringing her on stage. Doechii would come back later to perform a song with Isaiah Rashaad during his performance.
The Roots Solidify a Strong End to Day 1
The Roots closed out Saturday on the Green stage with an exhilarating performance. They played for at least an hour and a half and took no breaks. The band moved very fluently together and had smooth transitions between songs that made it feel as though you were listening to one song the whole time. The band’s unique rap style infused with jazz had the crowd grooving for the rest of the night.
The Roots lead vocalists, Black Thought, performing at Afropunk Brooklyn 2022The roots drummer, Quest Love, performing at Afropunk Brooklyn 2022
Sunday was wet and muddy as it rained all day. The drastic weather change from the previous day did not stop people from showing up in droves. The theme shifted from mostly rap and R&B artists to alternative rock, rage rap, and afrobeat. On display were alternative forms of Afro-centric music that typically wouldn’t be heard on mainstream radio.
Kaleta and Super Yamba Band bring Afro-funk to Afropunk
The band centered around Afrobeat brought a little more than that to the Afropunk stage. Drawing inspiration from small bands in Nigeria and Ghana to large American music pioneers such as Jimi Hendrix, James Brown, and The Who, the band offered listeners a unique version of Afrobeat all sung in the native language of Benin. Listening to their music, references to Afrofunk, American funk, and jazz could be heard.
Kaleta and Super Yamba Band at Afropunk Brooklyn 2022
Kaleta has studied behind the pioneer behind Afrobeat, Fela Kuti, and toured with him throughout the 80s and 90s before coming over to America. In Brooklyn was where Kaleta united with the Super Yamba band. They released their debut album, Mèdaho, in 2019. They were playing their album across America and soon were going to start a European tour before the pandemic canceled everyone’s plans. They were not able to play together for 15 months.
Sean Smith of the Yamba Band performing at Afropunk Brooklyn 2022
Though Afropunk was not their first time playing together since quarantine, it was special playing on such a big stage in the place where they got their start. With such a unique blend of styles of music, Yamba Band Drummer, Daniel Yount, described their set as “bringing the Afrofunk to Afropunk.” From the James Brown-like grunts to the psychedelic guitar, to the Afrobeat of the drums, it is hard to really just put this band in just one category.
They have a tour coming up starting in October that kicks off in Pittsboro, NC.
Ambré Brings Light to a Dark Day
The Grammy awarding winning artist Ambré took the Red stage on Sunday and showed the crowd that there was still fun to be had despite the rainy day. The New Orleans Native described her performance at Afropunk “as one of the best shows I’ve ever done.”
“The energy in the crowd was amazing. Everyone still had fun despite the rain.”
Ambré
While on stage Ambré brought out her entourage who sprayed bubbles all over the stage. Her light and airy voice coupled with the bubbles floating around the stage lifted the spirits of her fans who probably were not expecting to be drenched all day. Ambré energy and charisma faired well in getting her fans to sing “I’m Baby” with her.
Ambré at Afropunk Brooklyn 2022
Ambré has a pretty impressive track record thus far in her career. Not only does she have a Grammy, but has had the chance to work with other artists including Khelani, 6LACK, and H.E.R. She continues to grow and learns from every show she does, offering something different at every show she performs. Ambré plans to release more music soon and put together her own tour.
Fans Hold their Breath Before the End of Afropunk
Afropunk closed out with headliner Burna Boy. He showed up half an hour late to his set, but fans waited patiently and anxiously in the rain for his performance. There was no announcement about him running late, but instead, his absence was filled by a word from Afropunk’s founder.
Burna Boy did not disappoint as the crowd sang “Last Last” with him in the pouring rain. He played for about 10 mins past the scheduled set time. With the way the crowd was singing, it felt as if you were walking into a summertime block party.
Afropunk’s long-awaited homecoming was worth the wait. It was built on the idea of highlighting artists who may not fit the norm for black music. This year continued the tradition of not only giving musical artists a platform but all kinds of black artists a chance to display to their community that black culture is not monolithic. Afropunk’s next installment moves to Bahia, Brasil for the weekend of Nov. 26 and 27.
Adekunle Gold at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Bartees Strange at Afropunk Brooklyn 2022BbyMutha at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Earl Sweatshirt at Afropunk Brooklyn 2022Freedie Gibbs at Afropunk Brooklyn 2022Isaiah Rashad at Afropunk Brooklyn 2022Jany Green at Afropunk Brooklyn 2022Lavntg Fashion Show at Afropunk Brooklyn 2022Ebonee Davis at Afropunk Brooklyn 2022Kah Lo at Afropunk Brooklyn 2022Lucky Daye at Afropunk Brooklyn 2022Mick Jenkins at Afropunk Brooklyn 2022Pawpaw Rod at Afropunk Brooklyn 2022Rodney Chrome at Afropunk Brooklyn 2022The Roots Drummer, Quest Love, at Afropunk Brooklyn 2022The Roots lead vocals, Black Thought, at Afropunk Brooklyn 2022The Roots at Afropunk Brooklyn 2022Tierra Whack at Afropunk Brooklyn 2022Sean Smith of the Super Yamba Band performing at Afropunk Brooklyn 2022Kaleta and the Super Yamba Band at Afropunk Brooklyn 2022
The Long Island music scene has a star with a trajectory rising like a Phoenix out of the music halls around town. Meet Kelli Baker, a transplant from Arizona, who has momentum unlike anyone. This soulful singer is a cross between Amy Winehouse and Susan Tedeschi. Her original music erupts in an emotional whirlwind as she draws you in.
I had the chance to interview Kelli Baker on The Long Island Sound podcastback in June and her rise to prominence has been something to behold. After the passing of her dad several years ago, Kelli packed her bags and headed for Huntington Village, on the Northshore of Long Island. Her energetic live performance is insync with her go-for-it attitude and work ethic. Continuing with skills in hospitality, Kelli worked several jobs while gigging around the village with her bag of cover songs and an occasional original song snuck into the mix.
With a chuckle in her voice, this starling belts out emotional verses with the ease of a carnival barker. She connects with her audience as she calls us into the curiosity of her sideshow. The circus of sideshow gigs as a result has landed Kelli on the main stage. She was recently signed to the parade of Sony Music artists this past January under the Bad Jeu Jeu CDX Record label.
The hard work and song writing has seemed to have payed off, as she landed Monster Cables as a sponsor and just a few days ago She also landed a spot on Spotify’s Editorial Playlist, Blues Roots among some of the top names in the business, Jon Baptist, Tedeschi Trucks, and The Black Keys.
Blood on the Nile
Her recent single release, Blood on the Nile hit the airwaves on September 9th. Recorded in Cove City Sound Studios in Glen Cove, It features another guest on the podcast, Brother Dave (Solomon) . Dave is an excellent slide and lap steel guitar player also featured as a guest on the podcast.
Kelli BakerKelli Baker – Blood On the Nile
The song, Blood on the Nile invites you in with the call of a pedal steel guitar, and slowly builds to a crescendo of emotion as Kelli exudes a passion that only a heart with scars can comprehend. Her catalog of songs are deep and insightful. The track, Cathedral released early in 2020 sets a scene as the bells toll for thee and me. The exploration of Kelli’s music has just begun for me. She tailored her sound both as a solo performer in the music halls, wineries, bars and pubs, from North Shore to the South Shore and to points East on the Island.
Gathering excellent band members around her, Ms. Baker embarked on a Summer tour along the East Coast to excellent reviews. This past month the Kelli Baker duo opened for the all female Swedish band, Thundermother at the Paramount in Huntington.
This exploration into Kelli Baker’s music has just begun. I could wax poetic with flowery prose, but after seeing her performance at the Blue Point Brewery, this past August, I left the venue having gone through a memorable experience, weary with emotion and thirsting for more.
NY-based solo artist ALYXX released her newest single, titled “Serenity.” The emotional track reminds listeners it is okay to put mental health first and take time for yourself amidst the chaos of life.
Based out of Rockland County, ALYXX wrote the track in March of 2022 and recorded “Serenity” at her home studio and at Cinderella Man Studios with Zaki Ali. The song is haunting, starting slowly with piano and backing vocals before building with an impressive vocal style and rock instrumentals.
Drums from Ali and guitar from Brandon Hawkes contribute to the single’s intense sound. The accompanying music video showcases all three musicians performing the song alongside moody lighting and visuals.
“Serenity” is powerful not only in sound but also message, with ALYXX singing, “Let the weight of the world / Fall on someone else’s shoulders / Cause I’m tired of taking on the responses of others” as part of the track’s bridge. The melodic metal single is catchy, and the artist’s talent as a singer and songwriter shines.
It’s about putting yourself and your mental health first. Wanting to do something and being able to do something are two different things. Sometimes you have to say no, for your own well being. Life will always be hectic, but one must find the calmness within the chaos.
– ALYXX
Take a listen to ALYXX’s latest musical release and video below. “Serenity” is out now on all streaming platforms. To keep up with ALYXX, find her on Instagram, Facebook, and Twitter.
In a dream double-bill for heavy metal fans, Lamb Of God and Killswitch Engage joined forces for their tour opener on Friday, September 9 at the Ford Amphitheater in Brooklyn. With a chill in the air signaling that the fall season is nearly upon us, the initial throng of what would be nearly 5,000 guests excitedly began to file into the covered, open air venue fronting the Atlantic Ocean at the 5:00 pm doors call. The Spanish Colonial style venue, complete with nautical-themed motifs, is a New York City designated-landmark originally constructed in 1923 that was restored to its former glory in 2016.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Hailing from Richmond, Virginia and originally formed in 1994 as Burn the Priest, Lamb of God are at the forefront of the new thrash metal movement. Vocalist Randy Blythe and company will be releasing their ninth studio album Omens (Epic Records) on October 7. Described by Blythe as an “extremely pissed-off” record, it is a self-reflective piece of work regarding the fragile state of the world in which we currently reside. Omens was recorded at Henson Recording Studios (formerly A&M Studios) in Los Angeles, California with their longtime collaborator since 2006, Josh Wilbur.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Although they are not touring in support of a recent release, the last being their eighth studio album Atonement in 2019, metalcore giants Killswitch Engage are the featured special guest on all 28 dates of the current tour. Formed in Westfield, Massachusetts in 1999, Killswitch Engage’s lineup consists of vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike D’Antonio and drummer Justin Foley.
Jesse Leach of Killswitch Engage | Photo by Michael Dinger
However, prior to Killswitch Engage taking the stage in a couple more hours, the first band to warm up the crowd would be Suicide Silence, formed in 2002. With a lineup of vocalist Hernan “Eddie” Hermida, dual guitarists Chris Garza and Mark Heylmun, bassist Dan Kenny and touring drummer Ernie Iniguez, the deathcore quintet established in Riverside, California performed a 7-song set showcasing varied speed changes, complex time signatures and plenty of death growls from Hermida. In early-2023, Suicide Silence will be releasing their seventh studio album, Remember… You Must Die.
Hernan Hermida of Suicide Silence | Photo by Michael Dinger
Hitting the stage promptly at 7:00 pm, Baroness followed with their own blistering, 6-song set. For the next 35-minites, these sludge metal heavy hitters from Savanna, Georgia would melt our collective minds with heavy distortion and frontman John Baizley’s harsh and abrasive vocals. Baizley is also an accomplished painter whose artwork has been incorporated into album art for Baroness, amongst many other bands. The rest of the quartet, formed in 2003, is rounded out by Nick Jost on bass, Sebastian Thomson on drums and Gina Gleason on lead guitar. Fans of Baroness will also be happy to learn that they are currently in the writing stages for their sixth studio offering.
John Baizley of Baroness | Photo by Michael Dinger
As the last remaining light of the day peaked through the openings in the venue’s massive canopy, and plenty of fans still lined up at the long merch table positioned at the top level of the amphitheater, Killswitch Engage appeared onstage shortly after 8:00 pm. Leach and his bandmates knocked it out the park on the first pitch, as they launched into “Strength of the Mind” with a ferocious intensity, an offering from their seventh studio album Incarnate (2016).
Band merchandise | Photo by Michael Dinger
Up until this point in the night, fans in attendance had been relatively subdued, but not for much longer. During 2006’s “This Is Absolution,” from their fourth studio album As Daylight Dies, Leach descended into the pit and engaged with several lucky fans in the front rows, sharing his microphone as he made his way along the rail, before climbing his way back up to the stage.
Jesse Leach of Killswitch Engage and fan | Photo by Michael Dinger
The band continued to dig into the early part of their discography, giving us “Rose of Sharyn” from 2004’s The End of Heartache and “To the Sons of Man” from 2002’s Alive or Just Breathing. During the remainder of the eleven songs that followed, an endless stream of crowd surfers seemed to emerge from out of nowhere – each metal head riding the wave of outstretched arms of their brethren to the front rail – where they were safely collected into the waiting arms of a security team member.
Crowd surfer | Photo by Michael Dinger
The surprise of the night was a cover of Dio’s metal classic, “Holy Driver,” released by the metal legends in 1983 as the lead single from their debut album of the same name. Killswitch Engage had originally covered the song as part of compilation for Kerrang!, the British weekly magazine. The Killswitch Engage set would end after a little more than an hour, but not without a few offerings from their most recent studio work, 2019’s Atonement, including “Unleashed,” “The Crownless King” and “Know Your Enemy.” Killswitch Engage closed their hard-hitting set with “The Signal Fire,” the recorded version of which featured guest vocals from Howard Jones, the band’s lead vocalist from 2002 to 2012 when Leach had left the band.
Killswitch Engage set | Photo by Michael Dinger
During the much-needed 30-minute break when the stage was turned over by Lamb Of God’s roadie, most of the fans dripping in sweat hastily exited the General Admission floor as they slipped by one another on their way to the restroom, grabbed a quick bite to eat (hot dogs and Bavarian-style soft pretzels were the only two options that I saw) or bought one last cold beer from the concession areas strategically placed throughout.
As the time approached 9:30 pm, the atmosphere inside Ford Amphitheater was now intense with excitement as fan chatter calmed in anticipation for headliner Lamb of God to appear. Moments later, as the instrumental anthem and introduction to their 2020 self-titled new anthem “Memento Mori” was played over the house PA, bassist John Campbell, guitarists Mark Morton and Willie Adler and drummer Art Cruz entered stage left. As they took up their instruments, Blythe appeared in his customary stage attire – black running sneakers, long, vintage-style cargo shorts and a Cinemetal t-shirt featuring a mashup logo with a nod to the iconic German film director Werner Herzog and heavy metal titan Danzig. Blythe is also the first performer I have ever noticed wearing knee pads and ankle support braces, and in short time, I would see why. The 51-year old Blythe hardly ever stands still. If he is not pacing furiously from one end of the stage to the other, he is either getting a running start for a giant leap off the top of the drum riser (set to a backdrop of pyrotechnics explosions) or can be spotted perched atop his own center stage riser, windmilling his long dreadlocks at a dizzying speed.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
After breakneck executions of “Walk With Me in Hell” (Sacrament, 2006), “Now You’ve Got Something to Die For” (Ashes of the Wake, 2004) and “Resurrection Man” (Lamb of God, 2020), fans were finally treated to the first of two tracks they would hear tonight from Omens, the thunder-inducing “Nevermore.” Before the thrash metal veterans would tear into “Ruin” (As the Palaces Burn, 2003), “something a little bit older” that Blythe dedicated to “anyone who’s ever been to the club CB f***ing GB,” Blythe addressed the audience at length for the first time. “What the f**k is up motherfuckers? Holy s**t. Look at all you beautiful people gathered here in one of the coolest places, Coney f***ing Island. For those of you who do not know, or for those of you who smoked too much weed on the train on your way over here and cannot remember where you are anymore, we are Lamb Of God. We came to New York together today to do one thing and one thing only, completely f**k this place up. Are you ready? Welcome to the first night of “The Omens Tour.” We got a new record coming out October 7, pick it up if you want.”
It was near the middle portion of Lamb of God’s 80-minute set when not one, but two circle pits formed the number ‘8’ a mere few rows back from the stage. It was an incredible sight to behold firsthand, from the safe confines of the periphery of course, as frenzied tornadoes of souls twirled around and collided heavily into one another, and more than occasionally, falling hard to the ground. However, in keeping with the mosh pit code of etiquette, any fallen mosher was quickly pulled up to safety by the nearest person, before rejoining one of the flowing circles of bodies yet again.
Art Cruz of Lamb Of God | Photo by Michael Dinger
At the conclusion of the title track from Omens, the fans were more vigorous than ever, repeatedly chanting “Lamb Of God,” “Lamb Of God,” “Lamb Of God,”” Lamb Of God,” . . . Blythe, visibly thriving on the adoration, then said “It is always a f***ing pleasure to be back here, give yourself a big round of applause. Make some noise for the other bands that have played here for you this evening, goddamnit. First up, all the way from California, make some noise for Suicide Silence. And from down our way in Georgia, give it up for Baroness. And of course, make some noise for our brothers Killswitch Engage.”
John Campbell of Lamb Of God | Photo by Michael Dinger
The final five songs of Lamb Of God’s set would be their best, including “512” from VII: Sturm und Drang (2015), a song about Blythe’s self-proclaimed “extended European vacation that [he] took a while ago,” referring to his manslaughter court case that stemmed from a 2010 concert in Prague. “Ghost Walking” (Resolution, 2012) highlighted Cruz’s nuclear bomb drum slams and Campbell’s swift and velocious bass picking, while “Vigil” (As the Palaces Burn, 2003) featured intense groove metal shredding by guitarist Morton. The penultimate offering from Lamb Of God, “Laid to Rest” from 2004’s Ashes of the Wake, was the night’s highlight as the crowd went berserk during the chorus, “Smother another failure, lay this to rest. Console yourself, you’re better alone. Destroy yourself, see who gives a fuck. Absorb yourself, you’re better alone. Destroy yourself.”
Mark Morton of Lamb Of God | Photo by Michael Dinger
Blythe acknowledged the packed amphitheater one last time before the band burst into the fan favorite from 2006’s Sacrament. “Do you want one more f***ing song? Let me hear you! I think we can oblige. Before we do this, I need all you to do me a favor. As I said [earlier], tonight is the first night of the f***ing tour. You guys showed up and you showed out as New York City always f***ing does. I need every single mother***er in here to give themselves a big round of applause. Alright, I wanna see a f***ing big circle pit down there, set this mother***er off old school style. No one stands still! No one stands safe! This thing is called Redneck!”
“The Omens Tour” runs through October 20 and will conclude in Irving, Texas at The Pavilion at Toyota Music Factory.
Killswitch Engage Setlist: Strength of the Mind > This Is Absolution > Rose of Sharyn > To the Sons of Man > Unleashed > The Crownless King > Hate by Design > Know Your Enemy > My Curse > A Bid Farewell > This Fire > The End of Heartache > In Due Time > Holy Diver (Dio cover) > The Signal Fire
Lamb Of God Setlist: Memento Mori > Walk With Me in Hell > Now You’ve Got Something to Die For > Resurrection Man > Nevermore > Ruin > 11th Hour > Contractor > Omerta > Omens > 512 > Ghost Walking > Vigil > Laid to Rest > Redneck
With Beak and Skiff Orchards back to their bread and butter of serving up apples and apple-related products and activities, and Brewery Ommegang back to concentrating on brewing great beers, Dan Smalls Presents moves their shows back inside. The 2022-23 season at the State Theater of Ithaca opened on Friday September 9th with a show from rock veterans Dinosaur Jr.
Nearing 40 years of existence, one wonders when they graduate to Dinosaur Sr. Though minutes into their tour-opening show, it was clear the youthful energy, vigor and drive to push their musical boundaries was still alive and well.
Some observations of their show from a late-arriving newcomer.
J. Mascis’ guitar, with the help of six gigantic Marshall stacks, shook the walls of the historical theater. Lou Barlow strummed his bass wildly, filling the space with a vortex that swirled around you, spit you out and sucked you right back in. Murph’s limbs flew every which way, pounding out rock-ready rhythms you felt as much as heard. Yep, Dinosaur Jr. delivers an ear-splitting full-body aural massage. That was no surprise. But behind the bombast, casualness and nuance ruled the day.
Dinosaur Jr. just sauntered onto the stage, beating the house lights, which only went down after they started playing.
The roadies spent the show just hanging out behind the amps, readying the load out about halfway through the show. During “The Wagon” one joined in on guitar while another took over a second drum set. The band’s on-stage demeanor was also more attuned to a hang with pals than a blistering rock show. In between songs, Mascis would often saunter off to the side of the stage to take a shot. Murph at one point walked off stage, returning just in time for the next song.
Amidst the hang, some real inter-song magic came via short tuning jams that frequently popped up. What started as casual noodling could evolve into a three-way improv. After “The Wagon”, Mascis started riffing out some power chords and Murph tossed in some nice rumbling drums. A particularly tasty nugget, with some jazz undertones, nestled between an anthemic and bombastic “Been There All The Time” and monster rocking “Raisans.” Before the encore, Mascis dropped a blink-and-you-miss-it “London Bridges” teaser, a subtle tip of the hat to the Queen perhaps?
The show started and ended similarly. After strolling on stage they came out swinging on a big rocking “Thumb.” 80 minutes later, after a blistering “Gargoyle,” they again just casually walked away, without fanfare, the final notes still crackling though the walls. Sandwiched in there they mixed a variety from the full breadth of their catalog. Melodies pushed through on “Garden” and “Feel the Pain,” funk-tinged wah work highlighted “Little Fury Things” and “Start Chopping” and spine-melting shredding sparked in “Mountain Man.” Is it possible to finally fall for a band already four decades into their career?
By shows end, Barlow’s shirt was fully sweat through, a different shade of grey. Murph’s sweatiness, however, was masked by the black tour tee Ryley Walker provided, just as Walker had advised him it would. Walker’s support wasn’t reserved to wardrobe advice though, he was also the show’s opener.
With his drummer unable to make the show, and his bass player’s instrument lost in transit, Walker called an audible and presented a set of “guitar fuckery” and “type 2 jams” with bassist Andrew Scott Young joining in on second guitar. For 45 minutes without stopping, their guitars danced around each other in beautiful cosmic weirdness. It was spacious and free, but mostly remained accessible. Walker worked his pedals and loops while Young played it straight and unfiltered, at times settling into a bass-like groove. Experimental rhythmic squeaks, eerie textures, droid-like bleeps and bloops… a thrilling opening set.
On Friday, September 16th, The Mars Volta end their decade-long hiatus and release their self-titled seventh LP. The Mars Volta is the group’s first record under Clouds Hill Records, following the label’s reissue of the band’s back catalog in 2021; a vinyl box set dubbed “La Realidad De Los Sueños” (or “The Reality of Dreams”). This reissue was truly a dream come true to the many fans that have become familiar with The Mars Volta long after their records were available on the shelves.
Omar Rodríguez-López and Cedric Bixler-Zavala of The Mars Volta. Shot by Fat Bob on Leica M10.
The set included all 6 previous LPs on 180g black vinyl, along with their 2002 debut EP Tremulant and the original demos from the Deloused In The Comatorium recording sessions called Landscape Tantrums. The demos were an intriguing part of the set, giving fans a look at the raw sound of the band before Rick Rubin put his finishing touches on. Limited to 5,000 copies the box set sold out nearly as fast as it was announced.
Shortly after the release of their sixth LP Noctourniquet in 2012, the El Paso prog rock titans announced that the band was no more. Evolving from a rift in the friendship of band leads Omar Rodríguez-López and Cedric Bixler-Zavala, the feud spilled online and caused the band to announce their break up. The Mars Volta had just completed a European tour behind the new album and Rodríguez-López wanted to move on to new projects while Bixler-Zavala wanted to do a full tour of North America. The feud was short lived however, with Omar and Cedric reconciling after the birth of Bixler-Zavala’s children. The two became creative again, forming the new band Antemasque for a short lived self-titled release and even resurrected At The Drive In for that project’s fourth LP, in*ter*a*lia. All of this activity left fans longing for The Mars Volta, but hope that the band would one day reconvene was as strong as ever.
According to an updated bio, Rodríguez-López began composing fragments of songs that would become The Mars Volta around the time in*ter*a*lia was coming together. The reunion of At The Drive In was cathartic for Rodríguez-López and Cedric Bixler-Zavala’s relationship, albeit short lived. The group left it on good terms after a sizable tour behind the album, but the music of that project left Rodríguez-López feeling trapped in a style that was hard to be creative with. He knew that the time had come to resurrect The Mars Volta for the next chapter and Bixler-Zavala was on board.
The Mars Volta Cover Art.
Rodríguez-López wanted to make a “heavy pop” record. What could that possibly mean from a band that has alway made spastic and dense psychedelic prog rock with songs stretching well past the 10-minute mark? Ideas of a pop record floated around as early as 2008, but at that time, the band felt the urge to stay true to the frenetic prog rock sound they had pioneered up to that point and could not comprehend what pop sounded like for The Mars Volta.
After going through such a long hiatus from The Mars Volta and attempting to discover new things with old bands and new, Rodríguez-López and Bixler-Zavala knew it was time to evolve The Mars Volta into a brand new era. This meant isolating the musical elements that made The Mars Volta so unique, giving them more space in the mix to breathe, and shortening the songs into cohesive “pop” structures. This also meant giving Bixler-Zavala the freedom to write melodies based off his natural reaction to the instrumentals and treating them to a unique recording process. Rodríguez-López constructed a portable recording studio where Bixler-Zavala’s head was zipped inside of a box to create a level of intimacy to the vocal tracks. The vocals are as sharp and crisp as ever and without the dense layers of noise roaring behind them, we hear Bixler-Zavala in the most detail we ever have.
Omar Rodríguez-López and Cedric Bixler-Zavala of The Mars Volta. Shot by Fat Bob on Leica M10.
The “heaviness” also refers to the lyrical content itself. The songs focus on various tragedies and personal loss suffered by Bixler-Zavala. On previous records, Bixler-Zavala would write in deep riddles and invent his own lexicon for certain tracks. On The Mars Volta, the foreign riddles are traded for straight forward, yet poetic and haunting passages that are easier to decipher. “The most revolutionary thing for us to do was just be very simple and straight forward” Bixler-Zavala says about the lyrics. “Palm Full of Crux” was written as an ode to Jeremy Ward, who died shortly after recording Deloused In The Comatorium. “Flash Burns From Flashbacks” and “Collapsable Shoulders” are littered with courtroom and justice metaphors, referring to the impact Danny Masterson’s conduct has had on Bixler-Zavala’s family. It’s the “centrifugal ways” (sung on “Vigil”) always acting in opposition to our intentions that tear us apart – the one constant theme on The Mars Volta.
I think I’m coming undone, he bought the gavel to run all the crooked little cities.
The Mars Volta
The Mars Volta sees the band successfully exploring many different musical genres, and stringing them together in surprising and exciting ways. Bixler-Zavala cites David Bowie specifically as inspiration,“noting that [Bowie] had mastered both challenging, experimental music and the pop format, often on the same song.” The dense overlapping of musical layers of the band’s past works is absent here, in favor of concise song writing focusing on groove and melody while allowing Bixler-Zavala’s vocals to seamlessly glaze over and come through cleanly. A prime example is on the second single, “Graveyard Love” where a sputtering drum beat plays behind a distinct bass line and swirling synths as Bixler-Zavala sings a delicate and haunting melody. Similarly, on “Tourmaline” Bixler-Zavala duets with a sparse acoustic arpeggio before a haunting array of psychedelic guitar and synths drop in, reminiscent of Radiohead’s darkest, jazzy moments.
A dominant presence on the album are funk-rock and Caribbean infused latin-jazz elements. “Qué Dios Te Maldiga Mí Corazón” might be the shortest song in the band’s catalog, but it‘s furious with a driving bongo rhythm and Bixler-Zavala’s Spanish vocal melodies (thinking “L’Via L’Viaquez” here). “The Requisition” and “No Case Gain” fuse funky rhythms, anthemic rock & roll vocals, and groovy guitar riffs that scream early Red Hot Chili Peppers (and even At The Drive In on “No Case Gain”). “Flash Burns From Flashbacks” is another psychedelic mix of guitar and synth arpeggios backed by a punchy and complex drum beat. Much of the drumming from new member Willy Rodriguez Quiñones seems influenced by a combination of Mahavishnu Orchestra and latin-jazz great Steve Berrios.
The album is “heavy” in many ways, but gets the most experimental on the slower ballads. “Palm Full of Crux” is a classic 70s folk/prog sound, floating somewhere between Fleetwood Mac and Led Zeppelin III. “Collapsable Shoulders” again features Bixler-Zavala’s croon, but over a genre-defying slow-paced trap beat while he sings “a truancy of wasps begin trying to make us their home as we pull their wings off one by one.”
All of these varying musical genres and song structures are woven together in a meticulous way that never allows there to be any dead space on the album. When a band like The Mars Volta tune it back the way they do on The Mars Volta, the album can easily become disjointed and drag on in sections. Here, the album goes back and forth consistently between slower ballads and upbeat bangers, constantly peaking the listener’s attention as if on a roller coaster. Album closer “The Requisition” bottles this up in and of itself, kicking off with an uplifting and light keyboard driven ballad before dropping off into an evil Red Hot Chili Peppers style groove.
The menagerie of prog displayed on this album is only pulled off with the incredible production and engineering provided by Johann Scheerer of Clouds Hill Records, in collaboration with Rodríguez-López. While intentional in style, previous Mars Volta records were so dense that many of the layers blended into indiscernible psychedelic arrays. Here, every individual track is given so much space to ring out which somehow amplifies their presence. Every bass note, drum hit, and guitar pluck shine through in extreme detail, and the vocals have a level of depth that we have not heard from Bixler-Zavala before.
The three singles that were chosen to preview the album eclipsed the new direction perfectly. “Blacklight Shine” and “Graveyard Love” came off as different yet familiar, but then “Vigil” solidified the evolution, and shocked fans. The song kicks off with a R&B vocal ballad that swells into a shimmering, 70s era folk rock song with an anthemic chorus one might hear on Rumours or a number of other folk albums from that time period. Towards the end, the song dissolves into a sputtering and complex drum pattern while Bixler-Zavala’s vocal loops dissolve into the background. It is truly a remarkable change of pace for the band, and admittedly, shocking on first listen. The more you listen, the more the subtle elements fill in the perceived empty space, and you really appreciate the complexity they are able to achieve in the subtle instrumentals, while still discussing hauntingly tragic themes Volta fans are accustomed to.
“Vigil” by The Mars Volta. Via YouTube
First listen of The Mars Volta is admittedly a jarring, but an incredibly rewarding experience. The suspense that is created on the slower and more deliberate songs culminates into funky grooves, psychedelic arrays, and Latin jazz fusion around every corner. I could not help but to think back to the last time I saw the band live – Roseland Ballroom, 10/8/2009 – almost 13 years to the day the album will be released. I still have the poster from that night hanging in my apartment and will argue it is the best show I have ever seen. But hearing The Mars Volta in 2022, those shows are going to evolve into something even more special and beyond comprehension. The band loves to jam and mix songs live, and we are all on the edge of our seats waiting for our chance to experience it.
The Mars Volta is out on Clouds Hill Records this Friday, September 16th. You can still pre-order the standard and gold foil “Kinetic Editions” on vinyl from the band’s store, and copies of the limited box set La Realidad De Los Sueños have appeared online as well. The tour kicks off in Dallas, TX at The Factory In Deep Ellum on 9/22 and the New York shows happen on 9/29 and 9/30 at Terminal 5 in NYC. Tickets are still available for both nights on AXS.
If the catatonic walls close in on the hem again, pull the tether down for me. I’ve been hemorrhaging the sins of these lesser men.
The Mars Volta
Key Tracks – Tourmaline, EQUUS 3, Flash Burns From Flashbacks
On Friday, September 9th, Mike Campbell & The Dirty Knobs rocked The Paramount In Huntington, Long Island. They played for two and a half hours mixing some Tom Petty & The Heartbreakers classics with songs from both of their albums. Their most recent album, External Combustion, which is also the name of this tour, came out in March.
Mike Campbell at The Paramount 9.9.22
Mike Campbell was the guitarist for Tom Petty and the Heartbreakers for over 50 years. He is responsible for some of the most famous guitar riffs in music history. Campbell co-wrote many of the band’s hits including “Refugee,” “Runnin’ Down a Dream,” “Here Comes My Girl” and “You Got Lucky.” He was inducted into the Rock Hall of Fame with the Heartbreakers in 2022.
Campbell started The Dirty Knobs in 2001. The original lineup included guitarist Jason Sinay, bassist Ron Blair, and drummer Steve Ferrone. Lance Morrison, Matt Laug and Chris Holt joined when Blair, Ferrone and Sinay dropped out of the group. The band became Campbell’s main priority after the death of Tom Petty in 2017. Their first album, Wreckless Abandon, was released in 2020. Until then they were just a live band that played when The Heartbreakers weren’t on tour.
They were on fire Friday night at The Paramount. Their set started with “Wicked Mind,” the first single off the most recent album. Other songs featured from Wreckless Abandon included “Dirty Job,” “In This Lifetime,” and “Electric Gypsy.” Many times during the set, Campbell went off into intricate psychedelic guitar solos. The rest of the band also sounded great as they backed Campbell on Tom Petty covers like “Even the Losers,” and “Runnin’ Down a Dream.”
Country Blues guitarist Alvin Youngblood Hart opened the show on Friday night. Bluesman Taj Mahal once said about Hart: “The boy has got thunder in his hands.” His debut album, Big Mama’s Door, came out in 1996. Hart received a Grammy Award in 2005 for his contribution to the album Beautiful Dreamer – The Songs of Stephen Foster.
They will be playing The Capitol Theatre in Port Chester on Friday, September 16th. Visit their website here for additional tour dates.
Setlist: Wicked Mind, Lightning Boogie, External Combustion, Even the Losers, State of Mind, Dirty Job, Fuck That Guy, Wreckless, Somewhere in London, I Still Love You, In This Lifetime, Electric Gypsy, Sugar, Southern Accents, Southern Boy, Runnin’ Down a Dream
On Sept. 9, alt-rocker Andrew Thomases released his newest single, “Two Sides.” With varying instrumentation, the song explores the line between leading an energetic existence and needing time to yourself.
Hailing from just north of NYC before making the move out to San Francisco, much of Andrew Thomases’ music draws on personal experiences, and this “Two Sides” release is no different. The artist picked up the bass guitar at the age of 12 and continued to pursue music with cover bands in high school and as a DJ at a radio station in college. During the pandemic, Thomases recently picked up his passion again, sharing music and recording new work.
Andrew Thomases’ newest single shines with his enthralling vocals and relatable lyricism. He sings, “I wonder why I can’t be that guy who always arrives with fun in his eyes, always happy, now that isn’t me, why can’t I see, happiness ain’t free.” The switch between a slow acoustic guitar and the upbeat rock portions of “Two Sides” really drives Thomases’ message to his audience and listeners straight home.
Do you ever feel torn between wanting to have an always-effervescent personality and just wanting to hang out alone? Do you long to be the life of the party sometimes, while other times, you just want to stay at home with a good book or show? Does this split depend on your mood at the time? I certainly have these competing desires, so I decided to write a song about it. “Two Sides” explores this split, both in its lyrics and in its music. The song varies between a slow acoustic guitar portion and a more upbeat rocking portion, with driving bass and guitar lines. In the end, the song explains that it is ok to have different personalities at different times.
– Andrew Thomases
“Two Sides” is the perfect single and reminder for the ambiverts of the world. The accompanying lyric video also illustrates the sentiment exactly with fun and engaging graphics. With this newest track, Andrew Thomases shares a relatable and genuine experience many people can resonate with.
Utilizing retro-rock rhythms and melodies that pay homage to the music of the ‘80s and ‘90s alongside conscious lyricism, Thomases’ music captivates. Much of Thomases’ work reflects on our world and society, where he breaks up serious topics with the occasional satire and a keen sense of humor.
Fans of Thomases’ sound can find him on his website, as well as on Instagram and Facebook. Take a listen to some more of Andrew Thomases’ music with the video below.
Bluegrass grows among the Damn Tall Buildings in Brooklyn. Music discovery is quite an expedition; you never know what you’re going to find. Brooklyn is a melting pot, with its cacophony of beautiful genre influences, which can be heard moment by moment as you walk down its litered city streets. Discovering the band, Damn Tall Buildings is an absolute joy.
Assembled now as a trio, this Americana-Bluegrass band hails from various points around America, from Montana, Pennsylvania and New Hampshire. Max Capistran is the main lyricist, playing guitar and banjo while contributing vocals. Avery Ballotta, plays the fiddle and banjo and vocal harmonies. Sasha Dubyk completes the vocal trifecta with her beautiful voice while playing the Upright Bass.
On September ninth, they released their latest album, Sleeping Dogs. Playing their album and getting to know the band, I interviewed two members on the The Long Island Sound podcast. Max Capistran, and Avery Ballotta recounted their beginnings and their decade -long relationship which resulted in a friendship that is clearly exposed in their newly released album. Starting out as buskers on Newbury Street in Boston, they began touring nationally, and then moved the band to Brooklyn in 2017. They connect in the day to day interactions and hope their music brings joy to be spread around.
“Our innate desire is to connect with people on a level that’s beyond day-to-day interaction. Our hope is that the joy that making this music brings us will somehow get passed along to the people listening, which they can then take with them to pass along to someone else. It’s a shared celebration of positive energy, and that’s what keeps us cooking.”
Damn Tall Buildings
Popping their album, Sleeping Dogs into my car CD player, yes I still have a CD player, I was able to digest the essence of their music into my subconscious. The result brought a smile to my face and a hop in my step.It may do the same for you.
The curiosity lies in wondering why three people from diverse parts of our country would decide to settle Brooklyn? I have been to Montana. Fearing an extended stay would keep me in that heavenly place, my vacation soon ended and I was back to the familiarity of taxes and traffic on Long Island. Why anyone, with roots in paradise, would transplant themselves to Brooklyn is still a mystery. No disrespect to the “forgetta-bout-it” borough, but I wonder why? Maybe this new resignation from a rural existence is a lesson on how to immerse yourself into a metropolitan culture to get your creative juices flowing.
A Band Built on a Solid Foundation
New Album “Sleeping dogs”
Damn Tall Buildings has been around as a group for the past ten years, Max, Avery (a.k.a. Montana) and Sasha met in college at the Berkelee School of Music in Massachusetts. They honed their craft by literally playing on the street. What a great incubator for this Bluegrass-Americana band to grow. You’ll find that the album, Sleeping Dogs, is much more than a toe-tapping exercise in Bluegrass-Swing style music.The band invites us into their living room to experience their music. Their style is stripped down to the essentials, a standup bass plucked by Sasha, Banjo, a guitar fenesed by Max and Montana’s fiddle bringing it all together. Add some select harmonies, the twang of Max’s voice and you’ve got something special.
Their sound fits like an old coat, that’s weather worn, yet comfortable. A cloth that carries you through the seasons of your musical journey. The band makes you feel at home, warmed by the fires of a hearth, alongside your sleeping dog.
Discovering a well-spring of talent in New York is a worthwhile endeavor. The streams of creativity in Brooklyn and the rest of Long Island may have many flavors and are drawn from distant sources, but the satisfaction comes from drinking it all in.
Until next time, be generous with your joy, and let the music take you on a journey!
The Long Island Sound Podcast can be found at GigDestiny.com or wherever you listen to your podcasts. We feature original singer/songwriters and showcase some of their songs, as you get to know the artist behind the music.
