The trailblazing program by New Music USA and the Berklee Institute of Jazz and Gender Justice, Next Jazz Legacy, has extended the 2023 application deadline through October 31. Next Jazz Legacy crowns awardees with personalized apprenticeships with jazz legends and financial support to combat gender and racial injustice in terms of access and opportunity in the music industry.
The awardees are chosen through a meticulous process of review by esteemed jazz musicians. On the 2023 board is tenor saxophonist and composer JD Allen, Berklee College of Music Brazz Department chair Tanya Derby, saxophonist, flutist and composer Caroline Davis and more to be announced. Those awarded will receive $10,000, performance opportunities, mentorship programs, a cohort of progressive jazz students and professional promotional support.
Next Jazz Legacy is only in its second year supporting female and non-binary jazz musicians; but even in 2022, its inaugural year, participants saw apprenticeships with icons such as Esperanza Spalding, Lizz Wright, Marcus Muller, Tia Fuller and Chris Potter. Awardees have performed at such prestigious events as the Kennedy Center’s Mary Lou Williams Jazz Festival and Brooklyn’s JazzFest.
The deadline to enter the empowering program is now October 31, the application can be found here, the program FAQ page here, an overview of the program with application tips here.
All in-person activities have resumed for the Celebrate Mexico Now festival in New York City for the first time in three years. The inclusive and groundbreaking festival features Mexican and Mexican American innovators and will happen from Nov. 14-22.
Celebrate Mexico Now was founded in 2004 by award-winning curator and producer Claudia Norman of CN Management. It is NYC’s first and only independent arts festival spotlighting contemporary Mexican culture. Norman has brought hundreds of native Mexican artists – sculptors, musicians, poets, chefs, filmmakers, actors, dancers, painters, and directors – to perform and show at venues across the city.
The festival will start on Nov. 14, with a book presentation by American-Mexican writer Jennifer Clement on her book Prayers for the Stolen. She writes about some of the most dangerous states in Mexico, where adolescent girls and young women are abducted from bus stops and schoolyards. This is the horrific truth, and her books talk about these things through the lens of fiction. The event will be on Nov. 14 at 6 p.m. at the Center for Fiction.
On Nov. 15 at 6 p.m. there will be an art gallery showcase of Contemporary Mexican Photography with Mexican photographer and visual artist Martha Naranjo Sandova. She will talk about Mexican photography and its impact of it on the art circuit of New York City and the world.
The Celebrate Mexico Now festival will have performance art on Nov. 19 at 9:30 p.m. for $20 a ticket. NYC-based artist Carlos A. Cruz Velazquez will be performing with the group Psychedelic Spectacular. The performance invites the audience into a journey of self-acceptance through music, dance, costume reveals, and dramatic stupidity.
There will be storytelling and musical performances as well. Storyteller Valentina Ortiz will share stories of Quetzalcoatl and the essence of life and wisdom. Storytelling will be followed by Mariachi Angeles de New York, music from the hearts of young people, who from childhood gathered in the community to learn the musical traditions of their ancestors and preserve the art form for future generations. These will happen on Nov. 19 at 3 p.m. and Nov. 20 at 3 p.m.
To celebrate Mexican Revolution Day on Nov. 20 at 8 p.m., there will be a special event at Sobre Masa Tortilleria & Restaurant. Mexican chef Zack Wangeman and his wife Diana Wangerman created a special three-course menu for the occasion.
Celebrate Mexico Now presents a special musical performance by the chamber group Mexamorphosis. Led by Guadalupe Peraza, the group performs cross-cultural concerts with different musical elements with traditional African, Turkish, and Mexican instrumentation. They will perform on Nov. 21 from 7-8 p.m.
On the final day of the festival, there will be a closing cocktail reception and screening of Los Guardianes del Maíz (The Keepers of Corn), directed by Gustavo Vazquez and produced by Jonathan Barbieri. The film tells the story of native corn by the indigenous farmers, artisans, and cooks in Mexico whose ancestors brought life to the seeds since the agricultural revolution. This will take place on Nov. 22 at 6 p.m.
For more information about the Celebrate Mexico Now 2022 festival in NYC, and to buy tickets to select events, go here.
Over November 1-6, Birdland will be alive with “Hot Gypsy Jazz,” featuring the Django Festival Allstars. True virtuosos of Django’s style, The Allstars swing like crazy and will break your heart with a ballad, while carrying on Django’s legacy.
Called the “Hardest swinging band at The Newport Jazz Festival” by Downbeat Magazine, the lineup for the upcoming tour is a true family affair. Samson Schmitt (lead guitar) and part of the famous Schmitt French ‘gypsy’ Manouche musical family brings his 2 daughters Stefi (vocals), and Stenli (guitar/vocals). They’ll be joind by Ludovic Beier (accordion), Pierre Blanchard (violin), Antonio Licusati (bass), and Michael Harris (guitar).
The Django Reinhardt Festival carries on the legacy of gypsy guitarist Django Reinhardt with top players from Europe combined with America’s great jazz stars to bring joy to the public with its swinging sound, virtuosity, romantic melodies, and camaraderie amongst the musicians.
The Django Reinhardt NY Festival was launched in 2000 and was the first-ever festival of its kind in America and established a home at the legendary club, Birdland, in New York City. 2022 will mark its 22nd anniversary, and it’s still going strong. The Festival is produced by Pat Philips, and founded by Pat Philips & Ettore Stratta.
Django Festival Allstars shows at Birdland will be held on November 1-3 at 7 pm and 9:30 pm, while on November 4- 6, shows will start at 8:30pm and 10:30pm. More info on the Birdland shows can be found here.
Django Festival AllstarsTour Dates
October 30: Rosen Performing Arts Center, Wayne, NJ
November 1-6: Birdland, NYC
November 8: Boca Black Box, Boca Raton, Florida
November 9: Faena Theatre, Miami, Florida
November 12: Manchester Craftsmen’s Guild , Pittsburgh, PA
November 13: Bach Dynamite & Dancing, Half Moon Bay, CA
Andrea Bocelli, the Italian pop and opera singer is coming to the US to share his talented and moving 2020 album, Believe. On December 13 and 14, Bocelli will be on tour in New York for the first time ever at the UBS Arena and at Madison Square Garden, respectively.
His performances for the Andrea Bocelli In Concert Tour will feature his last uplifting and powerful album that highlighted the power music has on the masses to enrich our souls. Additionally, this album is full of crossover hits, love songs, as well as music for the Holiday Season.
UBS Arena located at Belmont Park, is New York’s newest venue for entertainment and sports. Although it has just opened in November of 2021, prominent artists have already begun to perform there, including Harry Styles, Sebastian Maniscalco, Billie Eilish, Dua Lipa, Genesis and TWICE.
Bocelli is a not only an artist, but has been an inspiration to fans internationally for over 20 years. Bocelli has performanced at the Olympic Games, the World Cup and the Global Citizen and has nearly 90 million records sold worldwide, sold out concerts, record-breaking live-streams, a Golden Globe, seven Classical BRITs, seven World Music Awards, and a star on the Hollywood Walk of Fame.
Stifel, the global investment firm sponsoring Bocelli’s tour, has a pre-sale that begins on Monday, April 4 at 10 a.m. local time. Additionally, Citi cardholders will have access to pre-sale tickets at the same time. Andrea Bocelli Fan Club members will be able to acquire tickets on Wednesday, April 6 at 10 a.m. local time, while access to general sale tickets will begin on April 11. For more information visit Andrea Bocelli’s website.
B-Real, Sen Dog, Bobo, and Dj Lord, better known as Cypress Hill, took to the stage at The Vine, at Del Lago Casino in Waterloo, NY on Friday October 21, as the band celebrated 30 years of mainstream hip hop and rap, as well as promoting new album, Back in Black.
The Vine @Del Lago
Activists for legalization of cannabis, the band members routinely take the stage with blunts in hand and enjoy the Mary Jane throughout the show and this show did not disappoint! After an approximately 18 minute intro by DJ Lord who seemed to be in his own little haze, B-Real took the stage with blunt in hand and continued to get the crowd pumped up with collaboration of “Roll It Up, Light It Up, Smoke It Up,” “I Wanna Get High,” “Cisco Kid,” “Dr. Greenthumb,” and “Hits From the Bong.”
30+ years and 10 albums later, these guys from South Gate, CA can still kick it and toke it just as hard as they did in 1988. Fans were in the aisles, on the steps, and on section dividers grooving and moving as the beat played on.
Setlist: DJ Lord intro/ Roll It Up, Light It Up, Smoke It Up, I Wanna Get High, Cisco Kid, Dr. Greenthumb, Hits From the Bong/Real Estate/Hand on the Pump/Sound of da Police/When the Shit Goes Down/Tequilla Sunrise/Lowrider/Illusions/Latin Lingo/Lick a Shot/How I Could Just Kill a Man/Throw your set in the Air/I Ain’t Going out like that/(Rock Superstar)/Insane in the Brain/Jump Around (House of Pain cover)
The Empire State Youth Orchestra (ESYO), a prominent NY youth ensemble, has announced its 2022-23 concert season.
The first event of their upcoming run is a 3 p.m. matinee on Sunday, October 30 which features the orchestra in full at the Troy Savings Bank Music Hall performing Beethoven’s “7th Symphony.” Other pieces on display include Gabriella Smith’s “Field Guide,” which is described as “a musical safari into the natural world,” and an original student-led “instant” composition.
Also including a three-event holiday concert series from December 10 to the 20th, the season will feature performances in the capital district up until June 4, when the ESYO will close out with a concert at Carnegie Hall.
ESYO Music Director Etienne Abelin.
This marks the first season as Empire State Youth Orchestra Music Director for Etienne Abelin, a Swiss violinist and conductor. “The season builds upon what makes the ESYO experience so unique,” said Abelin. “It challenges the most passionate young musicians in the region to see music-making as a joyful pursuit of musical excellence. This new season will carry this hallmark with a sprinkling of something new.”
As director, he’s sporting a philosophy called MusicNOW which “allows for more curiosity and risk-taking, which are at the heart of creativity and our sense of well-being,” said Abelin. As part of MusicNOW, the ESYO’s 2022-23 season will include workshops for Soundpainting, a musical sign language which uses more than 1500 gestures to compose music live, something available as early as opening day on the 30th.
The orchestra rehearses.
Information regarding tickets and more can be found on the ESYO website.
2022-2023 FALL CONCERT SCHEDULE:
Opening Day Matinee
SYMPHONY ORCHESTRA
Sunday, October 30, 2022, 3:00pm
Troy Savings Bank Music Hall
ESYO PERCUSSION ENSEMBLES
Monday, November 7, 2022, 7:30pm
Brown School, Schenectady
Three Orchestras! One Incredible Afternoon of Music
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!
Spoiler NYC frontman, Life of Agony bassist, and graphic artist Alan Robert was recently caught on video being arrested with his bandmates from Spoiler at Brooklyn’s Lucky 13 Saloon.
Well, not really. The group’s music video for “Banned in 38 States,” released this past Thursday, October 18, showed the band being carried out of the heavy metal-themed bar in handcuffs and performing from behind bars in a skit-like approach.
Produced by Ken Lewis, a producer whose repertoire includes work with the Wu-Tang Clan, Eminem, and countless other hip-hop icons, it’s a quick, pounding punk rock track which just crosses the two minute mark. Robert proclaims the band’s infamy as inciters of punk-infused chaos, yelling on the first verse, “no where left to play, lots of hell to raise, pour me another bourbon, whiskey or wine.”
“Banned in 38 States” is one of two new tracks from their August-released album of the same name. It’s a 15th anniversary edition of their debut album Grease Fire in Hell’s Kitchen, featuring remastered versions of the record’s original 12 songs.
Spoiler NYC band members from left to right: Chris “Junkyard” Silletti (guitar), Alan Robert (lead vocals/bass), Tommy “The Kid” Clayton (drums).
The other new addition is the slower, more melodic “Damaged Goods,” an ode to Robert’s tumultuous upbringing with an abusive father. “People say I will never amount to nothing, and then they’ll wait ’till I kill myself or something, then they’ll say ‘oh what a shame, he was damaged goods,” he sings on the chorus.
The song received a Taxi Driver-themed music video back in August when the remastered album dropped.
Spoiler NYC is also promoting Banned in 38 States with three upcoming shows: one in November in a return to the Lucky 13 Saloon, and two in December, with appearances at Coney Island USA and Bowery Electric.
Information regarding tickets, Banned in 38 States’ limited vinyl release on Halloween, and more can be found on the Spoiler NYC website.
