Twiddle performed for two nights at the legendary Capitol Theatre for their annual Friendsgiving, this time welcoming Dogs In a Pile on Friday and Neighbor on Saturday.
Dogs In a Pile have been quickly gaining fame and have been on tour with Twiddle. Twiddle welcomed a two-piece horn section and members of Dogs in a Pile for multiple sit-ins, notably a “How Sweet It Is” encore featuring both bands, as an homage to Jerry must be paid when playing The Cap.
“Apples” proved to be a lengthy, psychedelic jam. Favorites such as “Orlando’s,” “Syncopated Healing,” and “Lost in the Cold” were great within a jam heavy set list, especially with the added horns section.
Twiddle “Frendsgiving” – The Capitol Theatre, Port Chester – November 25, 2022
Set 1: Every Last Leaf I [1], Beautiful, Stroganoff, Life Back Now, Complacent Race [2], Moments [2], Latin Tang [2], Polluted Beauty [2] > The Box#
Set 2: Syncopated Healing [2], Distance Makes the Heart [3], Enter [2] > Orlandos^ [2], Apples > White Light > Mushrooms of the Sea > Apples, Lost in the Cold [2]
Encore: How Sweet It Is (To Be Loved By You) [4]
[1] First time played. With Adrian Tramontano on guitar [2] With Michael Bafundo and Mike Oehmen (Horns) [3] With Brian Murray and Sam Lucid (Dogs In A Pile) [4] Marvin Gaye (Debut). With Jeremy Kaplan and Jimmy Law (Dogs In A Pile), plus Michael Bafundo and Mike Oehmen (Horns)
# with Mihali Cowbell Jam ^ with Crosseyed and Painless teases
Twiddle “Frendsgiving” – The Capitol Theatre, Port Chester – November 26, 2022
Set 1: Frends Theme, The Devil, Dr Remidis Melodrium [1], Fighting For, Every Soul > Mamunes The Faun [2] > Every Soul
Set 2: Grandpa Fox > The Mission, Beethoven & Greene, Frankenfoote > Grandpa Fox, Slippin in the Kitchen [3]
Encore: Why Canât We Be Frends [4] > When it Rains it Poors > Every Last Leaf II [2]
[1] Apples Vocal Reprise [2] With Scott Hannay [3] With Rick James (Neighbor) & Scott Hannay [4] WAR (Debut)
Karina Rykman is a name that is often brought up in conversations discussing everything from “who is next ” to “who is doing it best” with good reason. Growing up in New York City and never adhering to a single band or bending the knee to one musical subculture, Karina breaks down genre barriers naturally. Charismatic and upbeat, Karina’s live music experience provides a sense of togetherness during a time of intense isolation and separation. Karina Rykman’s music defies perceptions by providing a big sound with few bodies on the stage.
Photo: Jesse Faatz
Karina is currently hitting the road with her power trio featuring Adam November (Guitar/Looper/Effects) and Chris Corsico (Drums). Destinations will be throughout the Northeast and begin in Upstate New York. She’ll be performing at The Upstairs in Ithaca on November 30th and at Albany’s Lark Hall on December 1st. Karina’s live show provides nourishment for the brain with technical hypnotism while simultaneously allowing stress relief with an attitude heavily weighing on the side of fun.
Photo By Em Walis
Opening the night in Albany for Karina Rykman is Burlington, VT-based Quiltro, who bring a psychedelic sound reminiscent of Circles Around the Sun. Their 2020 debut record has been described as the soundtrack for a dystopian sci-fi film that has yet to be released. Featuring Mark Taylor (guitar/keys), JD Hoffmann (drums) and Mike McKinley (bass), their Lark Hall performance marks the first hometown show for the Albany-native McKinley. Get a taste of what’s in store with their performance of “Antilla,” filmed at Autochrome, a community studio space in the south end of Burlington.
Karina took time to chat with Em Walis about her upcoming tour, creative process, oysters and the metaverse. This conversation took place the week after filling in on Seth Meyers for the second time and before playing a few shows with Marco Benevento. Karina gave insight on how growing up in New York with parents in academia led to a mindset framework for discovery and integration.
Em Walis: Where are you right now?
Karina Rykman: I’m home actually. Unbelievably, I’m home. I will play with Marco tomorrow. It’s nice – a little hometown vibe then off to Connecticut followed by Massachusetts and then home on Sunday. Then Thanksgiving week, and then on to the next. We’re going to enjoy this time. It’s pretty crazy. Last week specifically I thought “oh my god, I have a weekend at home to dial everything in”. I’m really trying to prepare in a big way.
EW: And some recovering I’m sure.
KR: Oh, definitely and in a super big way because my October was so slammed and just, just crazy. I spent two weeks on the road with Marco on the West Coast. And the first weekend of the month my band did a festival in Virginia, and a festival in Pennsylvania. It felt as though I was just on the road the entire time; flying, driving, planes, trains, automobiles. November was going to be chill, rehearsing with my band, and just one weekend with Marco, and then I get a call from my buddy Eric, who’s the producer on Late Night with Seth Meyers asking “Hey, are you around this week?” “Oh snap. Yes, I AM around!”
EW: Stars aligning is awesome.
Photo: Jesse Faatz
KR: Crazy, crazy. And then I did last week and it was amazing. It was on guitar. The last time I publicly played guitar was last December at the Capitol Theater. I played two tunes on guitar for this Headcount benefit. It was with Larry Campbell and so many incredible players. In the past I played guitar on the Today Show, backing up Julia Michaels in 2017. So anyway, all I’m trying to say is there have been very few and far between guitar gigs. I got that call late Monday night, and they asked for me to come in on Wednesday and Thursday. That Tuesday was Election Day, so I was voting and then practicing, just trying to become a confident guitar player again. I just want to do such a good job and I don’t want to let anyone down, almost to a fault. I over prepare and over prepare.
Photo By Em Walis
EW: This can be good. Even if it’s just a visualization or something. I would be curious how you manage all of the hats that you wear? In switching head spaces from Marco mode to solo mode to, you know, selling guitars on the side. Haha
KR: Great question. It definitely requires patience with yourself, as well as actively recognizing that you’re switching gears and shifting hats. When I work with Marco it’s really fun for me because I am a hired gun who’s not in charge of anything.
EW: And he’s really fun.
KR: Oh, he’s the most incredibly fun loving, hysterical, wonderful band leader and mad scientist. He’s just incredible. So all of that combined, results in not a lot of stress for me in the same way that my solo band is. The solo stuff is more pressure on me because it’s my band, it’s my name, I book the hotel rooms and rent the van and figure out all the logistics, and everything. It’s my music. So you’re kind of putting yourself out there in a big way
Photo by Em Walis
EW: On all sides of music, from every angle, it seems we all have this similar internal story going on or a question of how safe is this space for me? Just emotionally and with that, you know, there are different levels. Sometimes it’s totally chill and at other times, as you said, which I think is great. Just a little more active noticing where am I? What’s the actual thing that’s at stake here? Why is everybody here? Sometimes you’re in situations where you feel a little more pressure or more scrutinized. Depending on the venue or if it’s a festival with strangers.
KR: Especially this TV gig, you know? Those nerves never quite go away. Working on a new thing, or taking a new gig, or launching into some sort of uncharted territory, I’m often thinking “I’m so nervous, why do I keep putting myself in these situations?” But honestly, those are the moments where you know you’re doing something cool as shit, because you feel that way. There’s something worth suffering over. And then you overcome it. You’re like, wow, learn from that.
Photo: Michael DiDonna
EW: Absolutely. I’ve been curious about what brain scans of musicians might look as compared to extreme sports dudes. We are acclimated to these huge buckets of epinephrine and dopamine being poured all over us. It seems as though in those down moments, when we can remember that one time that you were home. We look at our laundry. It’s not all the excitement, tea cups are worth of satisfaction from that. I don’t know if that’s worth it.
KR: It’s so funny. I find that especially in the last few years, having adjusted to no gigs for a minute there. Now, with them coming back, you’re in a constant state of readjustment – you’re either adjusting to tour life or adjusting to home life. And honestly, if you do it as much as I do it, you don’t have the time to be fully adjusted to either, but as soon as you do, you have to go home and then you are a total circus freak at home for a minute with this misplaced adrenaline that hits you at midnight when you’re supposed to go to sleep and you’re thinking, ‘Wait, where’s my show? Where’s the show? Where are the people? Where are my friends?’
Photo By Em Walis
EW: I was curious about your creative process and how you manage or if you have any recommendations for those that are newer in this back and forth. Do you have anything that helps you get into it?
KR: That’s a great question. I’m very lucky to have such a great producer and writing partner whose name is Gabe Monro, whom I’ve written almost all my tunes with. I can’t speak too much on this, but I have a whole record that’s going to see the light of day next year. I’m so much more of a social creator, if that makes sense. I don’t go into my bedroom and come out 12 hours later with the greatest song – I find that when I work with Gabe or I work with my band, we make the creative process sort of a communal thing and that elicits better results. For lyrics though, I do need to be alone. Gabe and I have this process where we basically write what we refer to as ‘seedlings’, which can be just an A section and a B section or whatever it might be, but it’s just a vibe. I bring that home with me and if I always know that, if we work in the studio all day and then I come home with a seedling that I’m so geeked on, it’s two in the morning and I HAVE to listen to it, you know that it’s worth developing and worth sticking to. But sometimes you have seedlings and then you listen back the next day, and you’re not inspired at all. So it goes.
EW: We’re not seeing roots. We’re not seeing a little leaf pop out on that paper towel.
KR: Totally. It’s amazing to have folders and folders of seedlings that maybe in a year or two I can go back through them and be like, ‘Oh my god, there was something here! This is an inspiring moment.”
Photo: Steph Port
EW: What’s your view on the balance between a purist straight plugged in sound versus effects driven sound?
KR: I am a big fan of both things in moderation. With my band specifically, I really love the fact that with Adam November on guitar, he’s so much more than just a classically ripping guitar player. He is a complete mad scientist over there with multiple loopers and effects and crazy stuff going on. I don’t even know what to call it or what it is, but I think that’s very specific to us. That is a big part of the sound.It’s obviously a trio, but we are larger than the sum of our parts. I don’t want you to come to my show and think that you’re seeing a measly three piece – you’re seeing a power trio. You’re coming to see a full, lush sonic experience.
EW: I was wondering if you ever, in perhaps middle school years, had any particular musical identity commitments?
KR: You know, from the jump I had very diverse tastes, I had my metal friends, my jam friends, and beyond. I was a sponge. I never pledged allegiance to one style or genre. I would see Slayer on Saturday and Phish on Sunday.
EW: I think sometimes it gets forgotten is that you can you can belong in multiple spaces and be welcomed into multiple spaces and your status or validity does not come from your commitment to one particular scene or your amount of shows on your spreadsheet or you know, which you know which special event with that special seat and you happen to be present for that. There’s so much more.
KR: I never pledged allegiance to one style or genre. I would be at Slayer on Saturday and Phish on Sunday.
Photo By Em Walis
EW: What was music the relationship with music in your house growing up?
KR: Well, my parents are both academics.They both teach at Columbia University. They are so supportive. They’re so thrilled, and can recite to you every lyric of every song I’ve ever written. They’re at every show that they possibly can be at, but there was very little music exposure in my house growing up. My dad would listen to Goldberg Variations (Bach) on CD while he was writing, but they didn’t show me the Beatles, The Stones or Led Zeppelin, or any normal stuff, and I’m super grateful honestly. I was able to form these absolutely insane bonds with the music I enjoy, and it was such a desire of my own and not a desire of somebody else’s. Those were all my own discoveries. I really appreciate them for that.
EW: Beautiful. Correct me if I’m wrong, but it seems your parents provided a framework to pursue a curiosity and manifest a passion. Maybe there wasn’t literally music in the house, but there were many curiosities being pursued.
Photo by Em Walis
KR: In a big way. My dad writes books and gives lectures, he’s a philosopher, and for me growing up, I saw this guy wake up every day, sit on his yellow chair and write and write. And then he goes for a walk, and then he comes back from a walk and, you know, in his super jovial, hilarious manner, has all these thoughts that came to him on his walk, and he runs back to his yellow chair and writes them all down before he forgets them. And seeing his complete dedication and commitment and joy for what it is that he’s interested in, gave me the utmost permission to do the same, and it allowed me to explore the stuff that did it for me in that exact same way.
EW: Thank you again for taking the time. My last question is from Dogs In A Pile. They would like to know what your favorite gas station snack is while on tour?
Hip hop’s never ending machismo contest has reared its ugly head again. This time it involves two rappers whose words (or actions) could lead to serious legal complications. This latest brouhaha began with a Rowdy Rebel appearance on Math Hoffa’s My Expert Opinion podcast.
At around the four-minute mark of the clip, Rowdy begins to explain the reasoning behind some of the senseless violence in the streets. As he made his point, the “Computers” rapper used King Von’s late 2020 death at the hands of NBA Youngboy associate, Lul Tim as an example.
His mind, off the rip, went to kill. How you went to kill? How much hate you have already to kill this man?” Rowdy continued. “Was it the drugs? You had the upper hand but just clear the seen and said, ‘Yo chill.’ You had the upper hand and could have just been like, ‘Yo, back your n***as up and get your dawg outta here.’ But you already chose the murder route.
– Rowdy Rebel on Math Hoffa’s podcast
In similar vain, Rowdy Rebel’s GS9 cohort, Bobby Shmurda, took to Instagram to share his thoughts on people who take credit for what their friends have done, since King Von’s death has been a major point of verbal warfare. Bobby’s rant began a long social media back-and-forth between the rappers.
In turn, NBA Youngboy took offense to Bobby Shmurda’s words and posted his own response on Instagram.
Replying, “Ok mr ‘von shmurda’ you better stop the vilence boy!”
“I thought you was a fan [laughing emoji] & don’t lie. Go make a hit. I just want to be friends.”
Via NBA Youngboy’s Instagram story
The “Make No Sense” rapper then provided another retort that read, “Well talking violent,” Youngboy wrote. “Help me keep the peace or just stay far away slave.”
Youngboy continued his verbal attacks, posting another video message on Instagram addressing his New York counterparts.
Bobby Shmurda countered with with an Instagram live session and tried to get NBA Youngboy to join to they could have a “face-to-face” conversation. WIth his efforts for naught, he then started going off on a tangent, saying he doesn’t do “this Internet sh*t,” but that NBA Youngboy got what he wanted. He then countered Youngboy’s assertion that he needs a rub from the Louisiana rapper, going on to claim that he makes $100,000 a week and is “2-and-0 on the year” while being on parole.
Bobby Shmurda continued with several more Instagram videos in which he accused Youngboy of being an “industry slave” and that all the streaming numbers (Which NBA Youngboy is known for) are fake. Before declaring that he will “boom” all the people speaking on his name.
NBA Youngboy laughed off Bobby’s threatening remarks, YoungBoy then responded to Bobby‘s “boom” statements by laughing it off. He went on to say he has security and isn’t worried about anything. “I’m gonna stay out yo’ way, and hope you don’t get too close,” he said.
Their exchange continued with another retort from Shmurda, walking back his initial threatening statement. He said his parole officer had been calling him and that he doesn’t want any problems with anyone due to him being on parole. The “Hot N***a” rapper added that he felt like this entire back-and-forth with YoungBoy might be a plot to put him back in jail.
After that, Bobby posted a photo on his Instagram feed of the DMs that YB had shared, calling him the “feds” in the caption.
“Nah you da feds how dis get outtt I don’t wanna hear nothing else I’m sorry to all the gangster entertaining this I apologize please I don’t want no beef with nobody,” he wrote.
The duo then went ahead and shared several more thinly vailed Instagram messages aimed at each other before moving on. With hip hop culture becoming increasingly more violent, rappers are getting into disputes over the slightest of shots. While the two artists settled their differences by laughing off each other’s remarks, they are both paroled felons, and are putting their own freedom at risk by sending each other violent threats.
Criminal History
NBA YoungBoy is currently under 24-hour house arrest in Utah, while awaiting trial in Baton Rouge on weapons charges. Meanwhile, Bobby Shmurda was released from prison last year after serving 6 years on charges of drug and gun possession, reckless endangerment and conspiracy to commit murder.
It would be in both rappers best interest to no longer involve themselves in rap beef.
Queens dream pop group Iceblynk’s eponymous debut EP is a solid five-song, 25-minute effort that showcases the best of the genre.
Appearing to be named after the acclaimed Cocteau Twins track “Iceblink Luck,” the group leans into dream pop’s prized traditions. From reverb-tinged vocals that ring familiar of the easy melodies and loose enunciation of Elizabeth Frazer, to the whirring, effects-drenched guitar playing of My Bloody Valentine, Iceblynk captures key elements of the genre with precision.
Cover art for the record.
Notes of surf rock are obvious as well, especially on the EP’s first two tracks. Summery guitars characterize “Tragic,” an upbeat opener with slippery drumming and wistful lyrics that define the record. Its follow-up, the new-wavey “Spared,” is a highlight with its infectious, harmonic-laden guitar riff and a simple chugging bassline. It also features some of the EP’s most pointed lyricism, with lines such as “and then you’ll ask me to explain, I know I know that you won’t do the same.”
All tracks are consistent but none are static, with guitar solos and waves of swirling effects padding out almost every song to around five minutes in length. Such is the case for track #3 “Imagined Life” with its subtle verses of watery synths contrasting atmospheric guitar-driven choruses. While melancholic, it’s not depressing with lyrics such as “and when you can’t imagine life, another day of asking why, I’ll take you to a quiet place.”
This subdued energy continues on “Seen Gone,” the only number shorter than four minutes. Genuine lines such as “I always take two moments to break it all apart, to form a simple sentence from my scattered thoughts” add vulnerability to this lowkey, surf-rock oriented track, which also features some of the record’s grooviest drumming.
This EP starts upbeat and fast, becoming subdued and meditative, before finishing loud with “Sunshine.” A slow, waltzy closer, its array of synths and vocal effects reminisce a bit of Animal Collective. Uplifting lines such as “sunshine, you always make me feel like I’m the only one in the sky” make this a final note that comes off as genuinely uplifting.
Iceblynk’s debut EP doesn’t reinvent dream pop or shift drastically in tone at any point, but it doesn’t need to. The band’s musicianship is solid, the lyrics are endearing, and the songs are enjoyable. While just five songs long, this is a fulfilling debut project.
In December, Long Island-based alternative acoustic rock band, Phil Firetog Trio & Co. will close out the holiday season with a festive and heartwarming set at Beach Brewing Co. in Westhampton Beach, NY. Their first show at the brewery is on December 30, the perfect way to end the year. The show follows their newest holiday single, released today, that speaks directly to their home community, “Long Island Christmas Eve.”
Thanks to the musical talents of Phil Firetog Trio & Co — Firetog on lead vocals and guitar, Johnny “Pots” Potocnik on drums and Liam Gordon on bass — anyone can fulfill a secret desire to be from Long Island for the duration of the song. The tune is catchy, as most Christmas songs are engineered to be, so I’ve been singing it while home in Washington, D.C. for the holidays. This has been confusing, I’m sure, for family and friends.
Phil Firetog Trio & Co. have an indie-pop take on rock and roll, that feels nostalgic for decades past and, overall, spreads positive messages through chords. Their upcoming gigs come as they arrange and prepare material for 2023, so there is much to look forward to in the next year from the band, including two more shows at Westhampton beach Brewing Co. on January 21 and February 4.
Tickets to their show at Westhampton Beach Brewing Co. are on sale now on their site.
Earlier this month, Bob Dylan made waves with the publication of his long-awaited critique of 66 of his favorite tunes by other songsmiths, The Philosophy of Modern Song. Now veteran music journalists Marc Myers and Steve Baltin are weighing in with their own fascinating and divergent explorations of this turf, with Anatomy of 55 More Songs (Grove Atlantic Press) and Anthems We Love (Harper Horizon).
Unlike Dylan’s book, which doesn’t delve into the paint-by-numbers makings of the classics, Myers and Baltin’s approaches are straightforward explorations of the creation and lasting impact of some of pop’s most iconic compositions. Where Dylan often employs his selections as jumping off points for impressionistic, very personal essays about the subject matter of his chosen songs (divorce, career crash, gambling, etc.), Myers and Baltin serve up approaches that are far more direct and satisfying, especially for music-makers.
Myers’ newest is the second book culled from his long-running Wall Street Journal column, “Anatomy of A Song.” The first, a critical smash released in 2016, provided oral histories on the making of 45 era-defining hits from interviews with the artists that crafted them, names like Mick Jagger, Jimmy Page, Stevie Wonder, Joni Mitchell, Rod Stewart and Roger Waters to name a few. Myers’ latest takes on 55 more including Creedence Clearwater Revival’s “Bad Moon Rising,” The Beach Boys’ “Good Vibrations,” Black Sabbath’s “Paranoid,” Joan Jett’s “Bad Reputation,” The Spinners’ “I’ll Be Around,” Blondie’s “Rapture,” Donovan’s “Sunshine Superman,” The Youngbloods’ “Get Together” and Journey’s “Don’t Stop Believin’.”
In his interviews with the songwriters and collaborators like producers Tony Visconti and Bob Ezrin, Myers brings you backstage for an incredibly detailed view of their inspirations and creations. These are engaging narratives that are dressed up with offbeat trivia that will make you the star conversationalist of any cocktail party.
John Fogerty tells how his “Bad Moon Rising” was a marriage of the short story, “The Devil and Daniel Webster,” and Scotty Moore’s guitar licks on early Elvis records. The secret sonic sauces? He did it with his Les Paul tuned down to D and slapback echo on the vocals that make everyone think his final lyrical couplet may be “there’s a bathroom on the right.” The latter is something Fogerty now periodically deploys in concert to the amusement and delight of his audience. The versatile Todd Rundgren shares how his twice-recorded “Hello It’s Me” may not have come to be if his high school girlfriend’s dad hadn’t turned the garden hose on him for having long hair or if he hadn’t heard jazz organist Jimmy Smith’s version of “Johnny Comes March Home.” Tommy James and the Shondells’ “Crystal Blue Persuasion” was not an “acid song” as many believe. It was something inspired by a poem put in James’ hand after a college gig by a kid who was never heard from again. Bob Weir of The Grateful Dead shares that their “Truckin’” really crossed over largely because of the harmony tricks they had picked up from jazz great Jon Hendricks. As for AC/DC’s “Highway to Hell,” it also was almost not to be when the cassette containing the rough rehearsal demo became unraveled and was nearly destroyed before they could share it with producer Mutt Lange.
Shock rock pioneer Arthur Brown’s hit “Fire” sprang from a poem he had written at 15, while Steve Miller’s “Fly Like An Eagle” only solidified after he added electronic trimmings from “the cheapest, dumbest synthesizer” he could find at his local music store. Steely Dan’s “Peg” only got its finishing touch when they wrestled the perfect guitar solo from session man Jay Graydon, the eighth musician to try his hand at it. Earth, Wind & Fire’s lyric collaborator Allee Willis never knew the significance of the date in their song “September” until years after leader Maurice White’s death (September 21 was the due date of his son as told by his widow to Willis). And even though she begged White 20 times or more, he would not replace the “ba-dee-yah” in the song’s refrain with lyrics “that made sense.”
Myers’ book also provides astute musical analysis that places the songs within the context of their time and meta musical trends. His chapter on Journey’s “Don’t Stop Believin’” begins with a pocket history of power ballads of which this tune is a solid gold example. Myers’ traces the birth of the power ballad to days of movie musicals and Judy Garland’s show-stopper, “Over the Rainbow,” from The Wizard of Oz.
Where Myers is more focused on the big bang of their creation and immediate aftermath, Steve Baltin’s book is more focused on the reverberations – how hit songs with a unique staying power become anthems that connect with generations and have many lives beyond their time on the charts.
Baltin’s book investigates 29 iconic songs that have grown to anthem stature with the passing of time. These include everything from 60s classics like The Temptations’ “My Girl,” The Beach Boys “Good Only Knows” and The Doors “Light My Fire” to more modern rock and pop staples like Linkin Park’s “In the End,” My Chemical Romance’s “Welcome to the Black Parade” and TLC’s “No Scrubs.”
To become an anthem a song needs two things per Baltin – timelessness and universal appeal. Most anthems are “mistakes.” Some like Tears for Fears’ “Everybody Wants to Rule The World” were throwaways that nearly didn’t get finished or recorded (it only was when Roland Orzabal’s late wife insisted that he decided to complete what he called his “rubbish song”). Others like Chic’s “Le Freak” were almost too silly in the minds of their creators, while still more like Graham Nash “Our House” were deemed almost too simple to be really proud of, even with their runaway success.
Baltin’s chapter on “God Only Knows” is a good template for his approach. While Paul McCartney and others called it “the greatest song ever written,” it was buried on a now-classic album that was largely ignored upon its release, Pet Sounds. Beach Boy Al Jardine compares it to “The Nutcracker,” a classical not pop production, something that its writer, Brian Wilson, also admits. He notes the “Tchaikovsky-influence” on his writing at the time. As with most of the entries here, Baltin goes on to note the many cover versions of the song (200 and counting for this one, from the likes of mellow crooner Andy Williams to art rockers Flaming Lips). He also completes many entries with a list of their frequent and very lucrative use in film, television and commercials.
In his chapter on Neil Diamond’s “Sweet Caroline,” Baltin relates how this bit of sunshine pop from 1969 became a sports anthem for The Boston Red Sox and something that helped heal the city when Diamond performed it at Fenway Park five days after the 2013 Boston Marathon bombing. Jefferson Airplane’s Grace Slick labels her “White Rabbit” a “rip-off of Ravel’s Bolero and Alice in Wonderland.” She credits its popularity to the “sex build up to climax” of the song’s arrangement. Interestingly, her favorite version of the song is not her own, but the one done by Pink – though she would still love to hear a cover by Barbra Streisand. In the same spirit, the Tears for Fears duo actually now prefers the downtempo electronica version of “Everybody Wants to Rule The World” recorded by Lorde for The Hunger Games: Catching Fire soundtrack. It’s an arrangement they sometimes perform in concert and have considered re-recording.
The only anthem in the book that was conceived as one was KISS’s “Rock and Roll All Nite.” According to guitarist Paul Stanley, the president of their record label, Casablanca, Neil Bogart, said to the band they were still struggling need an anthem to really breakthrough. Stanley went straight to his hotel room and penned the killer chorus which was fused with a partial tune by bassist Gene Simmons, “Drive Me Wild.” The tune did not really take off until it was re-recorded and featured on their 1975 live album, Alive.
The descriptions above just scratch the surface of these fine books, ones which belong on the bookshelf of any diehard music-lover and every music-maker seeking to capture lightning in a bottle.
Vermont-based jam band Twiddle has announced an indefinite hiatus starting in 2024 after 18 years of touring together. Coming with the announcement is probably their final tour as a band, called the Distance Makes The Heart Tour.
Twiddle is comprised of members Mihali Savoulidis [vocals, guitar], Ryan Dempsey [keys, organ, synth], Brook Jordan [drums], and Zdenek Gubb [bass]. They recently celebrated the release of their fifth full-length album Every Last Leaf. Over the past almost two decades, the group has performed many at notable places and started traditions of their own, including Tumbledown and their annual Frendsgiving celebration. They have also played the newer Memorial Meltdown festival in Lake George as well.
Savoulidis spoke in a statement about the announcement, citing that change is important for creative growth and necessary for proper reflection.
We are so blessed to have been able to live out our dreams because of you and your support. Without all of you, none of this would have been possible. I wouldn’t trade a second of this experience for anything. So from the bottom of my heart and with all my love, thank you so much for everything. The Twiddle community really feels like a big family and the amount of kindness and love that you have shown us and each other over the years has been nothing but inspiring. I am so proud to have been a part of it.
Mihali Savoulidis [vocals, guitar] of Twiddle
Savoulidis went on to say that their new tour will be their last tour for a long time. More shows are to be announced soon, and they are excited to bring people together to celebrate the group’s music. He stressed it isn’t the end, but it is goodbye for now.
The Distance Makes The Heart Tour will be find Twiddle stopping in Huntington and Ithaca in the winter of 2023, and newly added dates in Plattsburgh and Ithaca in March and April. There will be a limited amount of VIP packages available, with presale starting Nov. 30. You can purchase tickets here.
Distance Makes The Heart Tour
2/17 | Flagstaff, AZ ^ 2/18 | Tempe, AZ ^ 2/19 | Tucson, AZ ^ 2/22 | San Luis Obispo, CA ^ 2/23 | San Diego, CA ^ Tickets going fast! 2/24 | West Hollywood, CA ^ Tickets going fast! 2/25 | San Francisco, CA ^ 2/26 | Crystal Bay, NV ^ 3/1 | Portland, OR ^ Tickets going fast! 3/2 | Seattle, WA ^ 3/3 | Bend, OR ^ 3/4 | Boise, ID ^ 3/5 | Bozeman, MT ^ 3/7 | Jackson Hole, WY Tickets going fast! 3/8 | Salt Lake City, UT ^ 3/9 | Aspen, CO Tickets going fast! 3/10 | Denver, CO * 3/11 | Denver, CO ^ 3/12 | Frisco, CO ^ Tickets going fast! 3/30 | Plattsburgh, NY ** NEW! 3/31 | New Haven, CT ** NEW! 4/1 | Boston, MA ** NEW! 4/2 | Ithaca, NY + Rescheduled – Tickets going fast! 4/6 | New York, NY NEW! 4/7 | Baltimore, MD ** NEW! 4/8 | Harrisburg, PA $ Rescheduled – Tickets going fast! 6/16-17 | Northlands Music & Arts Festival • 6/29-7/2 | Peach Music Festival 10/5 | Providence, RI + Rescheduled – Tickets going fast!
^ with Eggy + with Yam Yam ** with One Time Weekend * with Banshee Tree $ with Great Time
Never considering myself attracted to post-punk, I was engrossed by the story of both a visual and audio post-punk artist, Blake Sandberg of ALIENS. His story opened me up to a genre I would have not considered to be in my wheelhouse. It is one of a thousand 9/11 attack survival stories and how an artist can dig into his craft to cope with suffering on the way to survival. You can hear the rest of the story in the interview I conducted with Blake on The Long Island Sound Podcast.
EP Release Party in Brooklyn
Blake Sandberg’s New York City post-punk band ALIENS announced the last show of the year and EP release party at Littlefield in Gowanus, Brooklyn. Friday December 2. I was able to sample their songs a few weeks ago.
The AGORAPHONIC EP compiles singles from 2007 to the present. ALIENS new songs were captured in Brooklyn at B.C. Studios, by Martin Bisi. The singles are “Leave Luck to Heaven” and a cover of Leonard Cohen’s “Tower of Song.” The songs feature Blake Sandberg on guitar and vocals with ALIENS new bassist Kevin Jones and George Fiala on drums.
AGORAPHONIC is getting steady radio airplay across the country landing it in the NACC Top 200 and in the Top 20 Alternative Chart – currently at #13. Check out the Brooklyn Release Party at Littlefield’s here.
Blake Sandberg is an accomplished American artist. He creates iconic images and uses words in his paintings to explore meaning and associations with objects in our environments.
The Best Laid Plans
Blake Sandberg battles a rare inner-ear disorder and illnesses from exposure to Ground Zero after 9/11. Blake died in a hospital in 2005 and was resuscitated. He is an artist and has been described as an “idea machine.” His first guitar was given to him by a friend, it became a mission. Words he wrote quickly became songs. Chords bashed out on the guitar to carry them. And his 9/11 story begins with the planned opening of his art exhibit.
BLAKE BY ANDREA BUCCI
… and then 911 happened. And I had an art opening a couple of days before that. And my parents and my brother were in town for it. You know, there were fires a few blocks below me. It was a strange world to be in. So I think it naturally went to painting and writing and things.”
Blake Sandberg
The New EP
ALIENS frontman, Blake Sandberg says “Tower of Song” became important to him during the Covid shutdown.
I thought I might learn the song. I was home playing guitar and looking out the window
Blake Sandberg
Leonard Cohen’s lyrics have similar imagery. One day while walking to get something to eat he found a vinyl copy of Hank Williams Greatest Hits album someone had put out on their steps. He took it as a sign. In the song Cohen says “I said to Hank Williams how lonely does it get?”
Leonard Cohen
Sandberg sped up the song up to a runaway train pace, while managing to cram all the words into the song without ruining it and making something of his own out of it. He also related the current times with political upheaval and division to the lyrics of this song. “I see you standing there on the other side. I don’t know how this river got so wide.” Sandberg takes on the weight of this cover song and his vocal performance is noteworthy. Martin Bisi’s production work keeps the train on the tracks.
“Enjoy Killing Time” was released in the first Covid shutdown in NYC. This track was recorded with guest drummer Hunt Sales, the legendary drummer for Iggy Pop “Lust For Life” and David Bowie’s Tin Machine.
ALIENS are Blake Sandberg, Miguel Vela, and Kevin Jones. Vela has taken over the drums over the last 12 months. As a trio they form a powerful post-punk band capable of scream-along anthems, searing sci-fi guitar riffs, with a heavy dose of Jones’s bass and Vela’s pounding drums.
It’s refreshing to come across an artist who takes his suffering and joys and bangs out raw emotion into his music. Post-punk is a discover, I need to explore, it’s an appropriate megaphone to express what we need to hear. ALIENS deliver!
On Saturday November 19, WonderFront Music and Arts Festival 2022 continued on for an unforgettable Day 2. Since the last festival in 2019, WonderFront has made a comeback with headliners Kings of Leon, G-Eazy, Lauren Daigle and Swae Lee, all making headway to restore the annual festival within Seaport Village along the pier in downtown San Diego.
Starting the day with Fitz and The Tantrums at the Events.com main stages, the show-goers belted the lyrics to fan favorite “Out of my League” which was a huge milestone in the band’s early career. Saturday’s afternoon sun became the perfect natural spotlight for the indie pop rock band founded in 2008 by lead vocalist Michael Fitzpatrick when they released their first hit single “Breakin’ The Chains of Love” in 2009.
Noelle ScaggsMichael Fitzpatrick
The festival moved towards transpiring viral success Tai Verdes, known for his pop and indie inspired music. Tai grew to fame during the pandemic in 2020 for his hit single “Stuck in The Middle,” which successively sprung him into a well-deserved music career. The crowd grew full as Tai was engaging with fans with an urge to hurl over the pit’s rail guard, as Verdes made it all worth the wait, especially when the performance of hit single “A-O-K” was embraced by a sea of loyal fans.
As the sun started winding down, singer/songwriter Bill Dess took a stand on the stage with his blue electric guitar. Going by the stage name of Two Feet, Bill balances a groove with a heavy tone and edgy electric guitar riffs. Representing the east coast, Bill Dess was born and raised in Manhattan where he began the production of his music career. Dess set the tone for those around as he strung his hit release “I Feel Like I’m Drowning” which reached number 36 on The US Hot Rock Songs Chart.
Leading into one of the top headliners of Saturday’s lineup was the unforgettable Swae Lee performed an impressive and crowd pleasing show. Swae leaped onto stage telling the crowd “I’m gonna make this shit unforgettable for y’all,” leading into featured hit release “Unforgettable” with French Montana. Leaning over the guard rails into the crowd, Swae was standing over the monitors, jumping from stage left to stage right and throwing his shirt into the crowd. Festival goers swung left to right as top hit “Swang” boomed through the bass. He made his appreciation for the fans known, putting on quite a remarkable show.
Swae Lee has been best known for songs from the album SremmLife from a duo Rae Sremmurd with his brother.. Swae Lee has featured artists on many tracks, such as Jhene Aiko, Post Malone, Traviss Scott and Nicki Minaj. Some of his fan favorites include “Unforgettable,” “Sunflower” and “Sativa” For one of WonderFront’s many headliners, Swae Lee put on an unforgettable show.
Headliner G-Eazy made an appearance Saturday night, having risen to attention in 2014 when his first major label album These Things Happen hit number 3 on the US BillBoard charts. G-Eazy cherished this show in honor of his fanbase to carry on their support over the years.
Playing one of Saturday’s concluding shows in San Diego’s all time ocean overlook, Ruocco Park. Echosmith took the stage to honor their last show on the band’s 2022 tour. Lead singer and keyboardist Sydney Sierota held a special place for San Diego, it being her hometown, which made their last show of the year more memorable for the fans and the alternative pop band.
To conclude an eventful Day 2 of WonderFront Music and Arts Festival. headliner Kings of Leon dropped an outstanding closing performance. The crowd was packed with show goers urging to get upfront for a better view along the marina, where fans filled the venue from front to back. With millions of follower on Spotify, their listeners were ecstatic for their show and appearance to the multi-genre festival. The group, composed of brothers Caleb, Nathan, Jared and their cousin Matthew Followill, performed “Sex on Fire,” “Use Somebody” and “Closer” from Kings’ most iconic album release, Only By The Night.
The wait for the American rock band was worth the wait when the crowd belted each song and roared of applause. The closing on Saturday November 19 set the bar for a remarkable show, raising high hopes for the final day of WonderFront Festival.
Tai VerdesSwae LeeSydney SierotaEchosmithFitz and The TantrumsMichael FitzpatrickTwo FeetG-EazyKings of Leon
Finger Lakes rock band Sweats has released their second studio album, I End Where You Begin, a 50-minute project showcasing strong musicianship and vulnerable lyricism. A multi-disciplinary record, incorporating elements of bluegrass, hard rock, and funk, the band also shows no mind to brevity, with most of the project’s 10 songs angling towards the five-minute mark with solos abound.
Cover art for I End Where You Begin by the Sweats.
This approach is well introduced on “Indulgent Days,” a swinging opener with subtle, echoey verses contrasting the noisy, pounding chorus. It also sets the tone for the record’s lustful lyrical approach, with lines in the chorus such as “license to misbehave, you can’t take em to your grave, these indulgent days.”
Relatively playful, the album’s opener contrasts a bit from what follows. The next track “Broken Life” features a dark lead riff, screechy rhythm guitars, and a menacing hook. “You and I pick up the pieces of a broken life, hold em together see they fit right if we hold each other tight,” the chorus articulates. “Broken Life” is also a great example of the record’s dynamics, with bendy soloing, cymbal crashing, and urgent vocals highlighting the track’s climax.
This continues for the following two tracks. The guitar work on “Whiskey Thursday” is both urgent and dream-like, with an urgent keyboard riff on the verses setting the tone for a moody track that maybe shows off the best solo on the album. The album’s impressive drum work is on display for the funky grunge-like “Lose My Mind,” with moments of creepy, metal-esque vocal delivery, and forboding lines such as “he sleeps through days and is up all night, he said ‘it’s always dark before you see the light.’”
The record’s tone doesn’t stay this way though, with playful moments such as “Strawberry Girl,” an upbeat funk rock cut with lyrics like “juices are on my chin, summer nights begin,” and the danceable piano rock of “Holding Hands” with a romantic mantra being repeated for the last minute of the song: “I know you’re getting tired of the way things have to be, you don’t ever get tired of dreaming away with me.”
When I End Where You Begin isn’t angsty or cheery, it has its stretches of lust and melancholy. On “Witchoo,” the song’s jagged guitar solo adds expression to its slow, subdued approach, assisting wistful lines such as “thinking of the right things to say and do, as I dream away the night time just trying to be with you.”
“Nicks,” the longest song on the album at nearly seven minutes, marks the record’s emotional point as its penultimate track. “I saw you with a friend of mine I hadn’t seen in years, you saw me with a soggy mind after a couple beers,” the opening line articulates. While also subdued, the song’s two solos and explosive outro make the emotional payoff of the song all the more visible.
The album’s final track “Too Many Cooks” is much more playful and laid back than what comes before it, with sardonic lyrics that almost seem political. “Everything’s broke, no one needs fixin, everything’s a joke, nobody’s gigglin’, and if you see smoke don’t be surprised, it’s just the world on fire,” the chorus articulates. It’s a closer which doesn’t relate much to the rest of the record, but it still fits, covering a bit of extra musical ground.
Overall, I End Where You Begin is a strong album with impressive showings of musicianship on each track. Its lyrics are personal, it covers plenty of stylistic territory, and finishes right where it feels right.
