New York-based songwriter and artist Kevin Devine announced his new album titled Nothing’s Real, So Nothing’s Wrong, as well as its first single “Albatross.”
Kevin Devine’s new single, “Albatross.”
Devine has been making music for a long time. In the early 2000s, he performed with Miracle Of 86, which moved him forward into his own solo career. In 2015, he started his Devinyl Splits 7″ series with a variety of artists. He has also been a touring musician with Frightened Rabbit, John K. Samson, Julien Baker, and more.
Kevin Devine, photo by Erik Tanner.
His new single “Albatross” is a symbolic set of what his new album will be. Heavy drums, synth, and bass accompany Devine as the chorus spews, “If you’re sinking, sing-along/Nothing’s real, so nothing’s wrong.”
Devine decided the album will be titled Nothing’s Real, So Nothing’s Wrong through this song, and speaking of the single itself, Devine had a few words to say.
‘Albatross’ is a hard reboot, a fragmented emptying-out for us strugglers whose life experience invalidates cookie-cutter solutions or miracle cures or 21st century coping mechanisms. Where do you turn for comfort when the generally-accepted value system and discourse is this degraded and grotesque?
Kevin Devine is releasing his tenth full-length record titled Nothing’s Real, So Nothing’s Wrong on March 25, and he invites listeners in to discover the journey or self-preservation and its meaning. The album is available for preorder here.
Last winter, with the ongoing pandemic still raging, South African-born and American-raised guitarist Ari Joshua took a trip to the East Coast, specifically Burlington, VT, to work with Russ Lawton and Ray Paczkowski on a much-discussed organ trio collaboration. Now, this bicoastal musical endeavor has come to fruition in the form of the recently released, six-song EP RAAR, an acronym for the three musicians. With the assistance of Phish’s recording engineer Ben Collette, the trio churned out about 25 different tracks of Joshua-penned selections, mostly brand new compositions and concepts. The final product is a nifty little musical excursion that explores elements of jazz, rock, gospel, funk and everything in between.
The making of RAAR was both delayed and aided by Trey Anastasio Band’s eight-show residency at New York City’s Beacon Theatre the year before. While this would require the attention of bandmembers Lawton and Paczkowski, it also helped initiate the quarantine protocols that allowed Joshua to travel east and make this collaboration a reality. “I owe a great thank you to Trey Anastasio for opening the doors to a protocol to collaborate during his Beacon Theater run, and for sharing these great players with the world,” Joshua told Relix recently.
Russ Lawton, Ari Joshua, Ben Collette, Ray Paczkowski (l-r), photo courtesy of Ari Joshua
The EP is bookended with a couple of tributes to Joshua’s grandmothers. Fittingly, “Gramama” begins the musical journey. It’s a soul-fueled, uptempo number that has the feel of a Sunday celebration at church. Joshua mans the lead vocals with some heavenly female backup vocals added later while ebullient play on the Hammond organ from Paczkowski gives the opener a dash of zydeco flavor as well. “For Ray” sounds exactly how one would expect a Soule Monde “side project” to sound like. The steady, infectious shuffle drum beat from Lawton and aggressive organ and clav runs dominate this signature track while Joshua feathers in the occasional effect-laden guitar lick giving it a somewhat more psychedelic Medeski, Martin and Wood vibe. “Audio Bicycle Day” introduces some haunting background special effects behind motivated electric guitar play from Joshua whose Anastasio influences are omnipresent.
“The Bernie Meme” is a song named for exactly that, the viral meme of Bernie Sanders sitting cross-legged in the middle of winter. Joshua takes more of a lead with a beautifully simplistic guitar lick on another Soule Monde-ish number that hits on aspects of pop, soul and funk resulting in a delicious melting pot of sound. “Star Lord” is a fun romp from start to finish riddled with more psychedelic production and sees Paczkowski shifting nimbly back and forth between the clav and organ once more with Joshua delivering a slew of infectious jazz guitar fills. It’s one of the more cohesive and well-produced tracks on the EP. Lastly, “Rae of Life” serves as the other tribute for Joshua’s late grandmother and definitely evokes a celebration of life mantra, with its delicate guitar licks and soaring, inspirational organ fills atop choir-like backing vocals that gives the ending of RAAR a discernible feel-good quality to it.
From the first note of recording I could sense that Ray and Russ were a perfect musical fit, there was a shared respect and love for the music you don’t always find out there.
Ari Joshua
The band has no current tour plans but there is a vinyl release of RAAR expected later this year. For now, the album can be found at Ari Joshua’s website or on streaming platforms. Joshua is also the founder and owner of The Music Factory, an online music lessons portal which has been running for nearly 15 years, employing close to 100 musicians since its inception.
New York hornsman Lee Hamilton recruited sensational artists to create the group The Super 20. The curation of this group is marked by the January 7 release of their debut single ‘The Good Life.’ Their debut album, Winds of Wareika, is scheduled to come out in the spring on Color Red.
The group consists of performers that have worked along side artists like Chicago Jazz Underground, Debo Band and Jeff Parker. While still having their own sound, inspiration is pulled from greats such as Rico Rodriguez, Tommy McCook and Quantic. Hamilton personally cites literature as another source of inspiration, with Paulo Coelho’s book “The Alchemist.”
The album is a collaborative effort between Hamilton and renowned producer and engineer, Craig Welsch at Rear Window Studio in Boston. Welsch is cited as a “crucial piece of the puzzle” when it came down to exactly how the ideas of this single would come to fruition.
The two started collaborating in the early days of John Brown’s Body with Hamilton forming the horn section and Welsh serving as the band’s sound engineer. The two share a common idea of what “feels good” about creating music.
Lee Hamilton on tenor saxophone
The Good Life’s sound is something that tries to transcend genres. The track’s ideas of optimism and positivity towards the future blend perfectly with the reggae and afrobeat inspiration, as the horns keep you captivated.
Hamilton’s saxophone provides a strong base for the entire song and it’s easy to see just how well his curation of this group worked out.
Brooklyn post-punk band SAVAK release their new single “Cold Ocean,” with hints of a new album on the way.
Savak and “Cold Ocean.”
SAVAK is a two-headed machine led by Sohrab Habibion and Michael Jaworski, and Matt Shulz on drums. Jaworski and Habibion have been sharing the duties of singer and songwriter since the band’s creation in 2015.
All the members of the band played in bands in the 90s-The Obits, Holy Fuck, and The Cops. Their prior experience in 90s rock bands helps reform the sound of SAVAK, as touches of the scene are heard in their music.
SAVAK, photo by Taylor Sesselman.
“Cold Ocean” comes off the A-side digital single with the accompanying B-side “Adolescence Obsolete.” The single is guitar-heavy, and there is a lot of emphasis leading up to the big hook. The song has deep and meaningful lyrics, like the line, “Cold, cold ocean/Gonna break my neck/A wave of deep regret/I know we’ve already met.”
The video itself features SAVAK’s home of Brooklyn, with scenes occurring throughout the city. The video is funny and uses shifting colors from gray to light to emphasize mood shifts. The story follows “Walker Slim” and his hustle to hawk a ring to give to a lover that never shows.
This past Saturday in New York City, Grammy Award-winning artists Anderson .Paak and Maurice “Mobetta” Brown surprised the Blue Note audience with an unannounced special performance at DJ Logic‘s headline show.
.Paak took a seat behind the drum set, showing off his impeccable skills and creating the perfect foundation for Brown to lay down some funky trumpet improvisation.
Julie Greenhouse attended the show, and shared her first hand take on the surprise performance:
Last night’s Blue Note shows were absolutely incredible. The core crew for the first and second set included Logic, Deitch, Karl D, MonoNeon, Fred Wesley, Jay Rodriguez, Marcus Muchado and James Hurt. They tore it up on their own – Fred Wesley is still amazing and all the musicians were so excited to be playing with him.
Jojo Hermann (WSP keys) came out for a song towards the end of the set, which was awesome! But it was really the second set that took it up a notch, with Anderson .Paak and Maurice Brown sitting in for a couple songs, as well as JSwiss and Kosha Dillz. The energy at the Blue Note was fantastic and it just felt like a special NYC moment that we were lucky to be a part of.
Throughout the weekend, the four-night DJ Logic and Friends run featured performances from Karl Denson, MonoNeon, Adam Deitch, Fred Wesley, Marcus Machado, James Hurt, and Angie Swan from David Byrne’s American Utopia.
Upcoming January shows at Blue Note include GZA with Live Band (1/11-1/12), Bobby Rush (1/17), Walter Wolfman Washington & The Roadmasters, Ron Artis II & The Truth (1/18-1/19), Veronica Swift (1/20-1/23), Talib Kweli with Live Band + Special Guests Bob James & Slick Rick (1/24), and Bob James Trio (1/25-1/30).
New York State has some of the finest bands in the U.S. From Clouds Taste Satanic, to Diluted, Wasted Space to Caustic, and Less than Hate, NYS knows how to throw down a heavy riff or three. With that in mind, our focus today is on a band from Troy, the immensely talented The Final Sleep.
The Final Sleep is a five piece that features founding members of Arsis (drummer Mike Van Dyne), Burning Human (bassist Jason Van DerVoort and guitarist Mike Stack), and Withstand (guitarist Kevin Maloney) joined by Jeff Andrews (guitar and vocals). Together they utilize melody, heavy riffs, sizzling lead guitar work, expertly performed vocals, and a ton of power in order to get their message across; they also throw in some progressive elements to bring their music up to new levels. Their upcoming album, Vessels of Grief, is due out February 4th.
I was shocked as I listened to Vessels of Grief for the first time, mainly because The Final Sleep hits upon several different genres, and manages to keep the record cohesive despite that. I can hear influences from viking metal, dark melodic metal like Witherfall, death metal, hardcore, and a bit of black metal; the band specifically states that they take influence from Opeth, Edge of Sanity, Control Denied, Amorphis, and Mercyful Fate/King Diamond.
The first single is called Screaming in Silence, and it’s easy to see why they chose this one to lead off with; it’s heavy, the vocals are incredible, and it has a serious Witherfall vibe thanks to those excellent vocals. A huge selling point for me are the heavy vocals, which ride the line between death metal and your standard metal vocals.
Tracks four and five, Soul in Between and Funeral Seed respectively, are everything that I love about heavy metal. The band utilizes a diverse approach in both tracks by incorporating dark and light, heavy and melodic, and it all hits like a ten ton hammer of awesomeness. There also seems to be a splash of black metal, particularly in Funeral Seed, but only as coloring for an already amazing piece of art; this one also has that Witherfall feel in its slower, clean sections, and in how the vocals are performed during them.
I would highly recommend The Final Sleep to any metalhead out there, without even taking their genre of choice into consideration, because Vessels of Grief hits so many sweet spots, and uses influences that are far ranging. This album will be one of New York’s finest metal releases.
To many, the term “hippie” is often associated with counterculture, drug-induced dreamers. Sure, they may have the right societal ideals, but they are often followed by eccentric and unconventional behavior with abstract resolutions instead of anything concrete. Others turn the hippie persona into an identity, becoming a caricature that further discredits a way of life that has many valid ideologies.
As the Hippie persona loses credibility within contemporary culture, up-and-coming duo, dp.thuH and blond.bomber, are looking to revive what it means to be against the grain. Collectively, the Pittsburgh (blond) and Toledo (dp) bred artists are recognized as Hippie Tribe. A fitting name as their blend of rock & roll, hip hop, alternative music along with their live instrumentation and overall mix of musical elements create a magnetic sound that sways further away from popular contemporaries with each listen.
Now, different does not always mean better. Yet, their organic approach to their sound is a direct result of the duo’s realization that some spaces aren’t meant for them and that their niche isn’t any particular sound, but rather an encapsulation of their influences. They don’t occupy a sub-genre of hip hop, or Rock or R&B, they are those genres and whatever else they choose to become.
Operating out of Brooklyn, the duo feel as though they have the world at their fingertips, Assured about what they bring to the table. The duo answered some questions for NYS Music.
NYS Music: What part of Brooklyn are you guys from?
dp.thuH: We stay out in Bedstuy. We aren’t originally from BK. I’m from Toledo, Ohio and Niko’s [blond.bomber] from Pittsburgh.
NYS Music: How did you guys come together?
blond.bomber: We’ve been making music together for about five years now. We met playing ball in college. We spent a lot of time before we decided to make music just talking about it. Freestyling at parties, chatting on why certain albums were better than others. It all happened real organic like.
NYS Music: Your music is very diverse and does not confine itself to any genre. How much do you feel if (any) did your environment play a part in that?
dp.thuH: It played a huge role. And it still does. Growing up in gospel choirs naturally shaped our eclectic ears. You can hear hella genres in gospel music – blues, jazz, funk, rock. Once I got my own headphones and smart phones came around, it was over. So our music is a reflection of the sounds we’ve been hearing our whole lives.
blond.bomber: And playing instruments and producing all of our music gives us an advantage too, we can really manipulate and shape our music so that it’s super palatable to the average listener. But still unique too.
NYS Music: Your LP on Apple Music is labeled as “Alternative Rap” but what would you guys label your style as?
dp.thuH: Honestly, I don’t really know. It fluctuates so much. Hip-Pop&B? Alternative Punk Rap? It’s just different for real. In the best ways, like it’s uniquely refreshing.
NYS Music: You call yourselves “Hippie Tribe,” is that because you guys see yourselves as musical outcasts? Or different from the norm? Even your individual names (dp.thuH & blond.bomber)
dp.thuH: I guess so, we definitely go against the grain with our shit. But I think I felt like an outcast my whole life. And it took me some time to accept it too but I realized I was moving further from my purpose the more I tried to integrate myself into places that were never meant for me. Truthfully, it’s not on purpose. I think we’re different because unfortunately, a lot of this world is made up of bullshitters and people looking for photo ops. People who like to hear themselves talk and say things just to say they said them later. We’re not just being different because it’s the cool thing to do. We got chosen for this shit – that’s why we’re different. And that’s why we take it dead ass serious. It’s our job to push the art further, really push boundaries.
blond.bomber: This is just how our brains work. And it’s beyond the music like Dee said, we’re mad unorthodox without trying. We speak in cursive and dream abstract. I don’t claim to be cool or none of that shit and I don’t try to be. I just know God loves me and my shorties love me and I try to treat every breath like it’s my last. We’re here to leave a legacy and you can’t do that tryna fit in. our homies say it all the time, we’ve just always been different.
blond.bomber
NYS Music: Describe your songwriting process.
dp.thuH: I think I’m like 70/30 when it comes to freestyling versus writing so it doesn’t take us long to make records once we have production, or vice-versa. It isn’t hard to produce once we have lyrics or a melody. We feel like we’re vessels so producing records top to bottom comes naturally. And there’s no ego in this so if one of us is like, ‘yo, I feel like you should change the flow here’ or ‘I think we should find a stronger way to say this bar,’ the other is all ears. It’s all about putting the best product together possible.
NYS Music: Why only 2 songs for Gullah Punk: mod 1?
blond.bomber: Gullah Punk: mod 1, is the first of several capsules we’ll be dropping. We’ve always been pretty eclectic with our sound but over the past couple of years, we’ve been really focused on creating dynamics within minimalistic production. We love to rap and we love to rage so rock and hip-hop tethered naturally. This two-pack is littered with those little moments of perfectly balanced raw emotion, vulnerability and disorderliness. These capsules will be both auditory and visual too, we’re releasing a series of film shorts leading up to a short film. We pitched our film to a few directors and now we’re blessed to have a whole ass incredible production company behind us believing in our vision and mission. Along with the drops, we also put together a few community events in Bed-stuy. So this music project has sort of turned into a living, breathing movement.
dp.thuH: The goal for this particular project rollout and accompanying events is two-fold; We love music and the arts so if our presence and efforts allow kids to discover a new passion or encourage others in the community to pursue theirs, perfect. The second piece is probably most important for us… we want to ignite a new mindset in our people that together, we have the tools necessary to rewrite our fate. The philosophy is simple – “Kill your demons”. But in order for us to get that done, we got to shine a light into the dark.”
dp.thuH
NYS Music: Do you guys consider yourselves abstract artists?
dp.thuH: To us, we’re just doing our thing. I kinda feel like we’re Queen when they first wanted to drop “Bohemian Rhapsody.” They’re banging coffee mugs against chandeliers and shit, singing until their voices can’t crack any more. And all that “abstract” stuff was just their process. It’s exactly the only way they knew how to get out whatever it was they were hearing in their heads. So I don’t know if we’re abstract artists. I don’t know if that’s something we can even say because it looks like 1+1 to us.
NYS Music: Is there any particular artist that influenced you guys’ sound?
blond.bomber: Particularly, no. And that’s not to say that we don’t have influences – it’s actually the opposite. We get influenced everyday by everything. You could be sitting at the park and words come to you or, with your homies or, having sex or, dreaming. We just let things flow as organically as possible. So, sometimes Dee will have a beat that inspires me or someone will come in with some bars they came up with on the random. We really just let the universe decide.
dp.thuH: Yea it’s hard to name particular artists because it’s such a fusion of hella sounds. But lately we’ve been listening to a lot of N.E.R.D, Nirvana, Yves Tumor, and Willow…
blond.bomber: Haley Williams.
dp.thuH: Yup. We’ve been getting some gnarly sounds out of it.
NYS Music: What are your goals in the music industry?
dp.thuH: Because we’re super-producers, we’ll be a powerhouse label soon, with some of the dopest artists under our wing, all while producing and writing songs for the biggest acts in the world. We’re going to have a full-blown production and multimedia company soon too. We’re already writing, directing and scoring our own visual projects so, we feel confident that with the right infrastructure, we’re going to make some serious noise before people can even blink. And we’re going to debunk the whole notion of celebrity. Because, we’re giving it all back to the streets. We’re about to revamp Bedstuy to be the hub for the best art, regardless of medium, in New York. Studios on every block, random installations on the sidewalks and in parks, immersive programs. We’re about to turn it all up.
Long Island funk band, Baked Shrimp, makes an intriguing return with their third studio album, Pork Etiquette. The January 7 release coincides with the band’s fifth anniversary and it’s obvious just how much experience they’ve gained.
Album Cover
They recorded the album during the same sessions as their second studio album, Conscious, and it serves as an elevated part two. The Brothers Nylon assisted in the process from their studio in Patchogue, NY and Anthony Cimino at Mojo Music Studios mixed and mastered the final product.
The group utilizes a variety of sounds as they take listeners through the tales of each song, with jazz, alternative rock and early 2000’s pop rock being heard throughout. However, funk remains a mainstay.
Baked Shrimp performing at LonCon 2021
“Cannabis Bob” showcases just how well two different sonic themes can be meshed together. Fittingly named, the rhythm on this track makes you bob your head before it brings you up high. The song then crescendos in a mash of guitar, drums and bong rips before it brings you back down to the ground.
“The Gopher”’s introduction is one that you won’t forget as the horns come in to prove just why they’re included. The slick instrumental keeps your ears locked as smokey vocals feed you the tale of one bad gopher, ending with a snappy flourish. The drums never let up as they bind everything together. Don’t mess with the gopher.
“Tulu” does not waste its’ track length on fluff as Jared Cowen shows his composition prowess. The tropical beat brings you away from NY’s frigid winter and into an island paradise. The guitar and drums keep things cohesive as the band does their integral sound switching. The track provides a fitting end to the album.
As promotions for Pork Etiquette commence, it’s safe to say that Baked Shrimp has earned their spot in the East Coast music scene. Although the pandemic rages on, fans will have the chance to see their 2022 Winter Tour. They will perform in Ithaca on January 28.
Long Island singer-songwriter Jason Flashner is gearing up to release his third studio album, Rocks and Roots, on March 11, 2022. The new LP ends an almost eight-year gap between his last effort, 2014’s Indie Tale, and falls on the tenth anniversary of his first album, Acoustics and Stones.
Rocks and Roots comprises two parts: one with a full band (although Flashner plays every instrument), and the other with acoustic versions of the same songs. Flashner debuted the first song, “Alive, Awake!” at the tail end of November, and has more waiting in the wings. The album’s second single, “Like Nobody’s Watching,” premieres today.
“Like Nobody’s Watching” is an upbeat, breezy guitar tune perfect for warming our hearts in the dead of winter. The lyrics are about taking a bad day and turning it around, using dance and music as a remedy. Accompanying the song is a homemade music video, with clips of children dancing happily. Before the release of Rocks and Roots in March, Flashner plans to release one more single, “This Wave,” in February.
Jason Flashner, who also goes by Jay, is an independent artist through and through. He’s learned the business side of music by himself, watching tutorials to learn how to promote and pitch his work. He recalls an incident earlier in his career when his hard drive stopped working and he lost an album’s worth of music, and didn’t have it backed up. Going forward, Flashner used the experience as a learning opportunity:
If we learn from our mistakes, we minimize that from happening, so whenever something like this does occur, I try to remain as patient as possible and know that there will be something to learn from it. It is all a marathon rather than a sprint, and we can all get there with patience.
Jason Flashner
While he never lost an album again, Flashner re-recorded Rocks and Roots multiple times until he felt confident in his work. Given his patience and perfectionism this time around, it might be his best yet. Listen to it on March 11, 2022, on all major streaming platforms.
Mad Dabber710, an American musician, hip hop artist, funk producer. and cannabis activist born in Bandera, Texas, will be the host with the most at Alien Opera House for “Its A Party Festival” on January 15 from 3 PM till 2 AM in Syracuse. 2 stages. Green Skylines stage upstairs and Exotic Pop/ Slapwoods stage downstairs.
This past December the Alien Opera House hosted a performance of the Frank White Experience with Lil Cease of Brooklyn artist Notorious BIG. Expect the same variety at the Opera house on January 15 with all day performances by funk, NEO soul, hip hop, reggae, delta blues and indie jazz lounge artists of New York State.
The Alien Opera House is located on 211 Catawaba Street in Syracuse’s historic Little Italy district. Legendary Italian Conductor Vincent Falcone of Frank Sinatra’s band first cousin Frank Romano’s home is located around the corner in Washington Square Park. The neighborhood is still a sweet melting pot of fine art and rich culture. PhokOuttaHere offers the best blend of Vietnamese cuisine in New York State. Fresh Kola Nuts from the rain forest are available on Salina St at the African & Caribbean Central Market.
Sponsors for ” Its a Party” fest are Exotic Pop, Green Skylines, Slapwoods, Party105, 3D Grow, The Wallflower Hour. The Higher Calling THC and production provided by PVM Entertainment. The Green Skylines stage will be upstairs and the Exotic Pop/Slapwoods Stage will be downstairs at the Alien Opera House.
