Formed in 2017 by Hamilton and Mullen, Ghost Light performed at festivals and lightly toured throughout 2018 and 2019 before their momentum was halted by the COVID-19 pandemic in 2020. The Healing was recorded at Hamilton’s studio The Ballroom in Philadelphia.
The album opens with title track “The Healing,” where Hamilton and Mullen’s harmonies are immediately put on display in the song’s emotional and folk-tinged vibe. The track ends with a rocking and heavily distorted guitar solo that fades into feedback.
Bowling’s keyboards really shine on “Faces in the Moon” and “Take Some Time” – both Mellotron and synthesizers contributing to a gorgeous textural backdrop to the high-quality lyrics and guitar fireworks from Hamilton and Mullen.
“Up Here Forever” has one of Mullen’s strongest vocal performances in an almost Broadway-like song full of raw emotion.
“Opening Credits”, unusually placed in the middle of the album, begins with a mellow guitar soundscape that is slowly joined by piano and then an arpeggiating bass line from Shell. The repeating motifs gradually grow more dissonant as the bass is augmented by a distortion effect. Sweeping waves of Mellotron bring the music to a crescendo before Zwang introduces a slow, pounding and cymbal-heavy groove as each member of the band contributes their piece to the massive wave of sound. Crashing into the shore, we are left with guitar, piano, and Mellotron as the track fades out.
Picking up where the previous track left off, “Sweet Unlimited” and “Dig a Hole” both are built upon the incredible chemistry of rhythm section Zwang and Shell as Bowling continues to excel on Wurlitzer. Dialing up a wide palette of guitar tones from compressed and distorted to ethereal and reverb-drenched, Hamilton really shines on these tracks.
The final track, “Don’t Say Goodnight Just Yet”, opens with a strong bassline from Shell as Bowling plays with synths. Zwang holds down a steady beat throughout the upbeat closing song as it acts as sort of an emotional climax to the album – many of the previous tracks having a darker and more melancholy tone to them. We are left the same way we began the song, with Shell’s strong bass.
The Healing is a fantastic addition to Ghost Light’s catalogue, capturing the band’s studio sound – layers of acoustic and electric guitar atop a solid foundation of keyboards, drums, and bass. One drawback that Best Kept Secret had was a “kitchen sink” approach, with overdubs of percussion and extra instruments almost to the point of extreme – The Healing is a breath of fresh air in comparison, a recording where you can clearly pick out each of the members’ contributions without getting muddled.
Ghost Light return to the road in December for a series of dates on the West Coast.
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.
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.”
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.
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.
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.
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 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.
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.
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.
Gwar decapitates a “fan”. Photo by Samantha RychlickiPustulus Maximus of GWAR. Photo By Samantha RychlickiBlothar the Berserker enjoying a cup of a soldier’s blood. Photo by Samantha RychlickiPutin’s destruction. Photo by Samantha RychlickiBonesnapper surveys the area to make sure there’s no trouble (that they aren’t causing). Photo by Samantha RychlickiBeefcake the Mighty on Bass. Photo by Samantha RychlickiFans of all types enjoy the bloodbath that GWAR brings to their show. Photo by Samantha RychlickiBlothar the Berserker. Photo by Samantha RychlickiBalsac the Jaws O Death on lead guitar. Photo by Samantha RychlickiThe aftermath of the gore. Photo by Samantha Rychlicki
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 DingerRobert Westerholt of Within Temptation | Photo by Michael DingerRuud Jolie of Within Temptation | Photo by Michael DingerMike Coolen of Within Temptation | Photo by Michael DingerJeroen van Veen of Within Temptation | Photo by Michael DingerMartijn 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 DingerJanick Gers of Iron Maiden | Photo by Michael DingerSteve Harris of Iron Maiden | Photo by Michael DingerDave Murray of Iron Maiden | Photo by Michael DingerAdrian 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
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.
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.
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.
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?
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.
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.
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. Possessingan 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 | 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
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.
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, Connectionsfeels 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.
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
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,”
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.
The stage curtain was closed. Behind it, a party was being devised. Or more likely it wasn’t, but once it opened and revealed Australia’s The Babe Rainbow on stage, a party was started nonetheless.
The band had just released their new album, The Organic Band, three days prior, so there was plenty worth celebrating. They appropriately opened their set with the album’s first track, “Inner Space,” though from there it was a healthy mix of new and old, actually skewing toward the old. But it didn’t really matter what was played, every last song exuded dance party vibes. There wasn’t a face without a smile or an ass without a shaking in the comfortably crowded venue. With all due respect to Disney, on Monday October 17, Photo City Music Hall in Rochester was the happiest place on Earth.
The stage sat mere inches off the dance floor which provided ample opportunity for the band and crowd to converge in revelry. Early in the show, lead singer Angus Darling was off the stage dancing and singing from the crowd. “Good dance moves, let’s keep it up!” “Planet Junior” with Jack Crowther’s slinky guitar and unavoidable groove did indeed keep it up, as did “Supermoon,” which had drummer Miles Myjavec bouncing in his seat as he laid down another badass beat.
While there are elements of surf in the music, though not much in there to inspire crowd surfing, but that didn’t stop one woman from cruising above the crowd during the loungy “Peace Blossom Boogy.” More appropriate to the vibe, a dance circle broke out during “Monky Disco,” individuals showing off their moves to the encouraging onlookers while Elliot O’Reilly facilitated with some brilliant bass work.
The party was on stage, in the audience, and backstage. Tour mates seventies tuberide would frequently pop out onto the stage to join in the fun, throwing bananas or paper towels into the crowd (not in a natural-disaster-photo-op kind of way, but more of a this-is-the-most-festive-stuff-we-have-on-hand kind of way), and even, the more usual collaboration of playing together. On “Eureka,” announced as The Babe Rainbow theme song, the bass player and drummer came out to add percussion and extra stage energy, jumping all over the stage. There would be more percussion accompaniment added from members of Maybird as well during the encore performance of Blondie’s “Heart of Glass.”
Local psychedelic band Maybird opened the show. They’ve been a bit quiet lately, even though they put out a new album earlier this year, a trippy song cycle based on Alice in Wonderland. Their set included a few selections from that, like the psych-disco “Lost in Wonderland” with it’s swelling keys, and the ethereal “I’ll Miss You When I Wake Up.” Maybird’s music improves as it thickens, each added layer adds exponential possibilities. For this set, the core trio of Josh and Adam Netsky and Overhand Sam were joined by Cian (sax) and Shane McCarthy (bass) from Mikaela Davis’s band, Sam Hirsh on keys and Greg Maslyn on percussion. They flexed their collective muscle immediately with the set-opening take on “Maybird,” the usual hectic ending going extra heavy and deep with the added power. The set continued to excite with more classic Maybird material like “Don’t Keep Me Around,” “Gonna Lose Your Mind,” and “Turning Into Water,” each benefiting and sounding spectacular with the extra contributions. We can only hope that a quiet 2022 begets a more active year ahead for the band.
California trio seventies tuberide, also touring with a just out new album, played a slow motion punk grunge. Their tube was riding through a river drenched in reverb. Three-part harmonies, guitars, bass and drums all blended into one singular force. Their songs and band name are all intentionally listed in lower case, which perfectly matches their style. “favorite year love letter” and “skin, hair oil” typified their downbeat punk, while a pre-recorded track and sit-ins from Jack Crowther and Miles Myjavec added a little oomph to “completely dry.” Their short 20 minute set closed with Crowther continuing on in support of “sunday,” which had a nice slow and groovy “Walk On the Wild Side“-esque bass line.
The Babe Rainbow at Photo City Music Hall was just about as much fun as could be had on a Monday night. Let’s do it again next week!
Brooklyn artist Sebastien Carnot isn’t new to what he does. Known by the musical alias DIE the Monk, his experience is on full display with his fourth album Nailed to a Star.
The record follows up 2020’s The Beauty Complex, and maintains the brevity signature to DIE the Monk as the fourth consecutive album under 30 minutes. Its cross between industrial music, hip-hop and synth pop makes for a moody, abrasive record about inner turmoil.
Album art for “NAILED TO A STAR.”
The subdued minute-long intro track “Shapeless” sets the tone with Carnot musing, “what if I’m an unlucky person making many bad decisions,” before launching into the pacing, catchy “Underbite.”
On “Underbite,” the album’s lead single, forboding bass pulsates like an alarm clock as he yells about hidden anguish with lines such as “where do you go, a life they see is a life they know, not a life disguised.” The track also introduces the record’s unconventional song structure, shelving a normal verse-chorus pattern for a wave of noise that bursts into a psychedelic outro with melodic synths.
While Carnot’s voice competes to not be drowned out by the volume of his blasting musical backdrop on this record, like a Steve Albini-made album during hardcore’s heyday, there’s something intentional about his distortion-drenched vocals being pit against Carnot’s digital overdrive production.
The same can be said for the following song “Recollect,” with autotuned delivery that reminisces of premier hip-hop experimentalists Injury Reserve that builds an overwhelming environment of metallic drums and wailing horns into a reverb-tinged, gloomy conclusion.
Carnot’s flexibility in approach to noise music remains apparent on songs like the metal-adjacent “Honor” with its rolling drums and dramatic synth melody and the hardcore rap infused “Commander” with sci-fi-esque sound effects in a track that only gains speed.
The interludes on Nailed to a Starassist the flow of the album as well. The lush synths on “Lost” well suit a phone call to friend from a stressed but stable Carnot asking for a ride home, and the melodica-driven “Stars Talk” well articulates his anxiety.
Underneath the chaos, Carnot shows great capacity for writing engaging melodies, and such is the case on the cloud rap oriented second single “Bless Up.” Playful rapping and synth lines make this a brighter song than the rest, even if the subject matter keeps dark with lyrics like “all my fears turn to problems” keeping consistent with the album’s tone.
This loud album ends things rather quietly on “A Boy Untrained.” It stays consistent with the record’s persistent themes of self-doubt and gloom, as tribal drums and mystical synths lay foreground for lines such as “trying to understand why you won’t go, I must be nasty.”
While Carnot doesn’t change up song structure much on Nailed to a Star, he shows plenty of creativity and versatility for different angles of noise music. While short, this is an explorative and intense project that gets personal in an intimate way for DIE The Monk.
On Thursday, October 13, Jeff Beck and Johnny Depp brought their collective talents to the Ulster Performing Arts Center. Musical compadres dating back to 2017, this stop was part of a North American tour offering support for their recently released collaborative album, 18.
Rhonda Smith, Jeff Beck, Anika Nilles
Even though this event was promoted as Beck/Depp, the night belonged to the guitar mastery of Jeff Beck. At 78, this fifty-year musical veteran backed his Rolling Stone magazine ranking of fifth in the list of the “100 Greatest Guitarists of All Time” with his performance.
The multiplicity of tones poured freely from Beck’s guitar. Was it with a whammy bar, created by a hammer on, maybe the use of a slide? It did not matter. Each style illuminated this master’s extraordinary style and ability.
Jeff Beck, Johnny Depp
Supporting Jeff in the rhythm section were bassist Rhonda Smith and drummer Anika Nilles. The power behind their playing could be felt as it hit you in your seats. Keyboardist Robert Stevenson added accents to the music in all the right places and completed the trio behind Beck.
Approximately two thirds of the way into the show, Jeff Beck turn to the side of the stage, put his hands in the air, and started bowing. Out from the shadows strutted Johnny Depp. With his rock ‘n roll swagger and electric guitar strapped on you knew he was ready to rock.
Johnny Depp
With Beck being rooted in instrumentals, Depp’s vocals added another dimension to finish out the night. The two collaborated on a mix of tunes including covers of the Beatles and The Velvet Underground. The night wrapped up with a powerful rendition of Killing Joke’s “The Death and Resurrection Show.”
