Fake Dad, a Brooklyn alt. pop duo just released their new single “Painkiller,” about struggles with mental health and addiction, and how hard it is to support someone as they struggle with both.
Fake Dad is made up of Andrea de Varona and Josh Ford. They make music out of their tiny Brooklyn apartment, and since the beginning of 2018 have been inseparable with a love of music at the center of their relationship long before they started writing together.
Their music has a signature production sound with distinct voice styles and is there to give you a friendly pat on the back after a long day, and they want you to know everything is going to be okay.
We hope listeners feel understood and not alone in their respective battles with anxiety, depression, substance abuse, self-harm or really any kind of mental health struggle. Sometimes our connections with others, and a sense of belonging alone are reasons to stay on this earth and try to get better.
Fake Dad
Their new single “Painkillers” is a nod to the 80s synth-pop era, with uplifting lyrics about trying to break free from inner demons, and an ode to a relationship between two extremely anxious individuals desperately looking inward for ways to love each other better.
The lyrics that get repeated a lot throughout the song are “Someone tell me I’ll survive this/please just tell me I’ll survive.” These set of lyrics are very emotional and fans have actually thanked the band for writing it, as it helps those going through a mental health crisis tell themselves they will get through it.
Overall, the song is very well produced, and Varona’s vocals are very haunting and make you feel like you will make it through anything. “Painkillers” by Fake Dad is out now on all streaming platforms.
Brooklyn Comes Alive, the one-day festival well-known for presenting a potent mix of unique new projects, rare collaborations, and nationally touring heavy-hitters, returns to The Brooklyn Mirage on Saturday, September 17th, complete with lounge areas, a food court, and sunset views.
This year, Brooklyn Comes Alive will feature livetronica heroes STS9, avant-groove explorers Medeski Martin & Wood, future-funk sextet Lettuce, and the debut of Cool Cool Cool, a new project from former members of Turkuaz that is funky, fresh, and ready to throw a party.
Built from the vibrant live music community of Brooklyn, NY, and inspired by New Orleans, LA and its famed Jazz & Heritage Festival, Brooklyn Comes Alive has been breaking the mold of traditional festivals with unprecedented music experiences since 2015.
Much like past “Comes Alive” events, the 2022 Brooklyn Comes Alive lineup presents a number of exciting firsts and notable milestones. The event will serve as STS9’s first show in NYC since its last Brooklyn Mirage takeover in 2019, and the band plans to celebrate its return to Brooklyn with a two-hour late-night set. Similarly, Medeski Martin & Wood, who have not played together on their home turf in NYC since 2019 and have not performed live since before the pandemic, will use the special appearance to celebrate their 30th anniversary as a band, which took place last year.
If the lineup hasn’t sold you, perhaps the huge visual oddysey that’s in store will get you to Brooklyn on Saturday. One of the world’s largest outdoor video walls is found right at Brooklyn Mirage. Over 1000 LED panels form 6000 square feet of wall, and with 15k ultra wide resolution, the visual effects are film grade, and as state of the art as it comes.
Add in a custom built media server and processing technology that allows leading visual content creators from around the world to create truly immersive show visuals, one the makes the potential for a hyperrealistic environment to be created at Brooklyn Mirage.
Mike Doughty announced his first solo tour in two years, as well as an exclusive Brooklyn residency with his band, Ghost of Vroom at Union Pool in Nov.
Photo Credit: Jamie Harmon
Mike Doughty hasn’t had a solo show in over two years because of the pandemic. He is known for his over two-decade career full of solo work, and his band Ghost of Vroom, which he created with his longtime musical collaborator, bassist Andrew “Scrap” Livingston. They have two albums, praised by American Songwriter for their “urgency and relevance…a beyond-perfect union, centered around a solid rhythm section, that elaborates on the hip-hop influences Doughty picked up as a young kid when he had just moved to New York in the late eighties.”
They change their sound up a lot, mashing up weird jazz, psychedelic trances, and Doughty’s blend of his signature art pop. The band will be having a residency in Brooklyn at Union Pool, every Sunday in Nov., starting the 6, with Doughty doing a set of his solo music. Surprise guests will be announced soon, some including Billy Martin (Medeski Martin & Wood), Michael Wilbur (Moon Hooch), and Jamie Saft (John Zorn, Wadada Leo Smith).
For more information and to buy tickets to Mike Doughty’s tour and Brooklyn residency, go here.
After a 2 year hiatus due to COVID, Afropunk made its return home to Brooklyn at Commodore Barry Park. The long-awaited festival took place the weekend of Sept. 10-11 and featured headliners The Roots and Burna Boy. Keeping up with the times, the entire festival was live-streamed on Twitch for the entire weekend.
Ebonee Davis at Afropunk 2022
The festival originated in Brooklyn at the Brooklyn Academy of Music in 2005. It was a free festival aimed at making a safe space for young black punks to be properly represented. As the festival grew bigger, the focus shifted from youth interested in punk to a wider array of music genres to grow a bigger audience. Today Afropunk is more than just a music festival. It is considered a celebration of black culture and art.
There is a common stigma that black culture is monolithic. It is often that black artists who do not make traditional rap or R&B are still categorized in these genres or they may not even get a chance to have work played on mainstream radio. Afropunk offers the opportunity for artists who do not fit the norm to have a platform to display their work for what it is to members of their own community.
But Afropunk is more than just music. When you entered the gates, you walked right into markets set up on either side of the park. Both markets featured local art, fashion, and beauty services, mostly from black-owned businesses. There were also food vendors that offered many vegan and vegetarian options to accommodate all types of diets. There were 2 stages; the red stage was set up in the corner of the park, and the green stage was towards the back of the park. Behind the green stage, in a separate part of the park, featured what was called a “Wellness Village.” Services such as massages, yoga, meditation sessions, and djembe drum lessons were offered to festival goers.
A Hot Start for a Highly Anticipated Return
Saturday started off hot, but the outfits were even hotter. Going with the theme of Afro-centrism, fans came in stunting with their best Afro-centric inspired outfits. Many were homemade or altered articles of clothing that made every look unique. Fans traveled from all over the country to experience the festival.
The Red Stage featured a fashion show from Lavntg and an energetic performance from Rodney Chrome. Rodney Chrome had his mother in attendance and gave her a shout-out while performing. Chrome discussed with fans his struggles growing up as LGBTQ in Little Rock, AR.
Freedie Gibbs at Afropunk 2022
The Red Stage was headlined by Freedie Gibbs who started his set about an hour late. With the ongoing tension between police and the black community, he had fans release that frustration by screaming “f-ck the police.” Gibbs’ DJ also played memes from Dr. Umar during the set that helped to break the tension from the crowd.
Doechii Lives up to the Hype
Bodies were moving all day on the Green Stage. Doechii delivered a highly anticipated and widely energetic performance. As part of this year’s XXL Freshman class, Doechii has a lot to live up to as one of this year’s up-and-coming rappers.
Doechii at Afropunk 2022
There was no moment when Doechii was not moving during her performance. Her set started out by cleansing the stage of bad energy by burning sage. Only good vibes were shared from there on out between Doechii and her beloved fans. She evokes confidence from her fans and her audience. It was undeniable that Doechii and her dancers had full control of the crowd for those 45 minutes she was up there.
Her alternative rap style fused with a well-choreographed dance sequence made her one of the more memorable artists that took the stage on Saturday. Doechii also did take a moment to pay tribute to her mother by bringing her on stage. Doechii would come back later to perform a song with Isaiah Rashaad during his performance.
The Roots Solidify a Strong End to Day 1
The Roots closed out Saturday on the Green stage with an exhilarating performance. They played for at least an hour and a half and took no breaks. The band moved very fluently together and had smooth transitions between songs that made it feel as though you were listening to one song the whole time. The band’s unique rap style infused with jazz had the crowd grooving for the rest of the night.
The Roots lead vocalists, Black Thought, performing at Afropunk Brooklyn 2022The roots drummer, Quest Love, performing at Afropunk Brooklyn 2022
Sunday was wet and muddy as it rained all day. The drastic weather change from the previous day did not stop people from showing up in droves. The theme shifted from mostly rap and R&B artists to alternative rock, rage rap, and afrobeat. On display were alternative forms of Afro-centric music that typically wouldn’t be heard on mainstream radio.
Kaleta and Super Yamba Band bring Afro-funk to Afropunk
The band centered around Afrobeat brought a little more than that to the Afropunk stage. Drawing inspiration from small bands in Nigeria and Ghana to large American music pioneers such as Jimi Hendrix, James Brown, and The Who, the band offered listeners a unique version of Afrobeat all sung in the native language of Benin. Listening to their music, references to Afrofunk, American funk, and jazz could be heard.
Kaleta and Super Yamba Band at Afropunk Brooklyn 2022
Kaleta has studied behind the pioneer behind Afrobeat, Fela Kuti, and toured with him throughout the 80s and 90s before coming over to America. In Brooklyn was where Kaleta united with the Super Yamba band. They released their debut album, Mèdaho, in 2019. They were playing their album across America and soon were going to start a European tour before the pandemic canceled everyone’s plans. They were not able to play together for 15 months.
Sean Smith of the Yamba Band performing at Afropunk Brooklyn 2022
Though Afropunk was not their first time playing together since quarantine, it was special playing on such a big stage in the place where they got their start. With such a unique blend of styles of music, Yamba Band Drummer, Daniel Yount, described their set as “bringing the Afrofunk to Afropunk.” From the James Brown-like grunts to the psychedelic guitar, to the Afrobeat of the drums, it is hard to really just put this band in just one category.
They have a tour coming up starting in October that kicks off in Pittsboro, NC.
Ambré Brings Light to a Dark Day
The Grammy awarding winning artist Ambré took the Red stage on Sunday and showed the crowd that there was still fun to be had despite the rainy day. The New Orleans Native described her performance at Afropunk “as one of the best shows I’ve ever done.”
“The energy in the crowd was amazing. Everyone still had fun despite the rain.”
Ambré
While on stage Ambré brought out her entourage who sprayed bubbles all over the stage. Her light and airy voice coupled with the bubbles floating around the stage lifted the spirits of her fans who probably were not expecting to be drenched all day. Ambré energy and charisma faired well in getting her fans to sing “I’m Baby” with her.
Ambré at Afropunk Brooklyn 2022
Ambré has a pretty impressive track record thus far in her career. Not only does she have a Grammy, but has had the chance to work with other artists including Khelani, 6LACK, and H.E.R. She continues to grow and learns from every show she does, offering something different at every show she performs. Ambré plans to release more music soon and put together her own tour.
Fans Hold their Breath Before the End of Afropunk
Afropunk closed out with headliner Burna Boy. He showed up half an hour late to his set, but fans waited patiently and anxiously in the rain for his performance. There was no announcement about him running late, but instead, his absence was filled by a word from Afropunk’s founder.
Burna Boy did not disappoint as the crowd sang “Last Last” with him in the pouring rain. He played for about 10 mins past the scheduled set time. With the way the crowd was singing, it felt as if you were walking into a summertime block party.
Afropunk’s long-awaited homecoming was worth the wait. It was built on the idea of highlighting artists who may not fit the norm for black music. This year continued the tradition of not only giving musical artists a platform but all kinds of black artists a chance to display to their community that black culture is not monolithic. Afropunk’s next installment moves to Bahia, Brasil for the weekend of Nov. 26 and 27.
Adekunle Gold at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Bartees Strange at Afropunk Brooklyn 2022BbyMutha at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Earl Sweatshirt at Afropunk Brooklyn 2022Freedie Gibbs at Afropunk Brooklyn 2022Isaiah Rashad at Afropunk Brooklyn 2022Jany Green at Afropunk Brooklyn 2022Lavntg Fashion Show at Afropunk Brooklyn 2022Ebonee Davis at Afropunk Brooklyn 2022Kah Lo at Afropunk Brooklyn 2022Lucky Daye at Afropunk Brooklyn 2022Mick Jenkins at Afropunk Brooklyn 2022Pawpaw Rod at Afropunk Brooklyn 2022Rodney Chrome at Afropunk Brooklyn 2022The Roots Drummer, Quest Love, at Afropunk Brooklyn 2022The Roots lead vocals, Black Thought, at Afropunk Brooklyn 2022The Roots at Afropunk Brooklyn 2022Tierra Whack at Afropunk Brooklyn 2022Sean Smith of the Super Yamba Band performing at Afropunk Brooklyn 2022Kaleta and the Super Yamba Band at Afropunk Brooklyn 2022
In a dream double-bill for heavy metal fans, Lamb Of God and Killswitch Engage joined forces for their tour opener on Friday, September 9 at the Ford Amphitheater in Brooklyn. With a chill in the air signaling that the fall season is nearly upon us, the initial throng of what would be nearly 5,000 guests excitedly began to file into the covered, open air venue fronting the Atlantic Ocean at the 5:00 pm doors call. The Spanish Colonial style venue, complete with nautical-themed motifs, is a New York City designated-landmark originally constructed in 1923 that was restored to its former glory in 2016.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Hailing from Richmond, Virginia and originally formed in 1994 as Burn the Priest, Lamb of God are at the forefront of the new thrash metal movement. Vocalist Randy Blythe and company will be releasing their ninth studio album Omens (Epic Records) on October 7. Described by Blythe as an “extremely pissed-off” record, it is a self-reflective piece of work regarding the fragile state of the world in which we currently reside. Omens was recorded at Henson Recording Studios (formerly A&M Studios) in Los Angeles, California with their longtime collaborator since 2006, Josh Wilbur.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Although they are not touring in support of a recent release, the last being their eighth studio album Atonement in 2019, metalcore giants Killswitch Engage are the featured special guest on all 28 dates of the current tour. Formed in Westfield, Massachusetts in 1999, Killswitch Engage’s lineup consists of vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike D’Antonio and drummer Justin Foley.
Jesse Leach of Killswitch Engage | Photo by Michael Dinger
However, prior to Killswitch Engage taking the stage in a couple more hours, the first band to warm up the crowd would be Suicide Silence, formed in 2002. With a lineup of vocalist Hernan “Eddie” Hermida, dual guitarists Chris Garza and Mark Heylmun, bassist Dan Kenny and touring drummer Ernie Iniguez, the deathcore quintet established in Riverside, California performed a 7-song set showcasing varied speed changes, complex time signatures and plenty of death growls from Hermida. In early-2023, Suicide Silence will be releasing their seventh studio album, Remember… You Must Die.
Hernan Hermida of Suicide Silence | Photo by Michael Dinger
Hitting the stage promptly at 7:00 pm, Baroness followed with their own blistering, 6-song set. For the next 35-minites, these sludge metal heavy hitters from Savanna, Georgia would melt our collective minds with heavy distortion and frontman John Baizley’s harsh and abrasive vocals. Baizley is also an accomplished painter whose artwork has been incorporated into album art for Baroness, amongst many other bands. The rest of the quartet, formed in 2003, is rounded out by Nick Jost on bass, Sebastian Thomson on drums and Gina Gleason on lead guitar. Fans of Baroness will also be happy to learn that they are currently in the writing stages for their sixth studio offering.
John Baizley of Baroness | Photo by Michael Dinger
As the last remaining light of the day peaked through the openings in the venue’s massive canopy, and plenty of fans still lined up at the long merch table positioned at the top level of the amphitheater, Killswitch Engage appeared onstage shortly after 8:00 pm. Leach and his bandmates knocked it out the park on the first pitch, as they launched into “Strength of the Mind” with a ferocious intensity, an offering from their seventh studio album Incarnate (2016).
Band merchandise | Photo by Michael Dinger
Up until this point in the night, fans in attendance had been relatively subdued, but not for much longer. During 2006’s “This Is Absolution,” from their fourth studio album As Daylight Dies, Leach descended into the pit and engaged with several lucky fans in the front rows, sharing his microphone as he made his way along the rail, before climbing his way back up to the stage.
Jesse Leach of Killswitch Engage and fan | Photo by Michael Dinger
The band continued to dig into the early part of their discography, giving us “Rose of Sharyn” from 2004’s The End of Heartache and “To the Sons of Man” from 2002’s Alive or Just Breathing. During the remainder of the eleven songs that followed, an endless stream of crowd surfers seemed to emerge from out of nowhere – each metal head riding the wave of outstretched arms of their brethren to the front rail – where they were safely collected into the waiting arms of a security team member.
Crowd surfer | Photo by Michael Dinger
The surprise of the night was a cover of Dio’s metal classic, “Holy Driver,” released by the metal legends in 1983 as the lead single from their debut album of the same name. Killswitch Engage had originally covered the song as part of compilation for Kerrang!, the British weekly magazine. The Killswitch Engage set would end after a little more than an hour, but not without a few offerings from their most recent studio work, 2019’s Atonement, including “Unleashed,” “The Crownless King” and “Know Your Enemy.” Killswitch Engage closed their hard-hitting set with “The Signal Fire,” the recorded version of which featured guest vocals from Howard Jones, the band’s lead vocalist from 2002 to 2012 when Leach had left the band.
Killswitch Engage set | Photo by Michael Dinger
During the much-needed 30-minute break when the stage was turned over by Lamb Of God’s roadie, most of the fans dripping in sweat hastily exited the General Admission floor as they slipped by one another on their way to the restroom, grabbed a quick bite to eat (hot dogs and Bavarian-style soft pretzels were the only two options that I saw) or bought one last cold beer from the concession areas strategically placed throughout.
As the time approached 9:30 pm, the atmosphere inside Ford Amphitheater was now intense with excitement as fan chatter calmed in anticipation for headliner Lamb of God to appear. Moments later, as the instrumental anthem and introduction to their 2020 self-titled new anthem “Memento Mori” was played over the house PA, bassist John Campbell, guitarists Mark Morton and Willie Adler and drummer Art Cruz entered stage left. As they took up their instruments, Blythe appeared in his customary stage attire – black running sneakers, long, vintage-style cargo shorts and a Cinemetal t-shirt featuring a mashup logo with a nod to the iconic German film director Werner Herzog and heavy metal titan Danzig. Blythe is also the first performer I have ever noticed wearing knee pads and ankle support braces, and in short time, I would see why. The 51-year old Blythe hardly ever stands still. If he is not pacing furiously from one end of the stage to the other, he is either getting a running start for a giant leap off the top of the drum riser (set to a backdrop of pyrotechnics explosions) or can be spotted perched atop his own center stage riser, windmilling his long dreadlocks at a dizzying speed.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
After breakneck executions of “Walk With Me in Hell” (Sacrament, 2006), “Now You’ve Got Something to Die For” (Ashes of the Wake, 2004) and “Resurrection Man” (Lamb of God, 2020), fans were finally treated to the first of two tracks they would hear tonight from Omens, the thunder-inducing “Nevermore.” Before the thrash metal veterans would tear into “Ruin” (As the Palaces Burn, 2003), “something a little bit older” that Blythe dedicated to “anyone who’s ever been to the club CB f***ing GB,” Blythe addressed the audience at length for the first time. “What the f**k is up motherfuckers? Holy s**t. Look at all you beautiful people gathered here in one of the coolest places, Coney f***ing Island. For those of you who do not know, or for those of you who smoked too much weed on the train on your way over here and cannot remember where you are anymore, we are Lamb Of God. We came to New York together today to do one thing and one thing only, completely f**k this place up. Are you ready? Welcome to the first night of “The Omens Tour.” We got a new record coming out October 7, pick it up if you want.”
It was near the middle portion of Lamb of God’s 80-minute set when not one, but two circle pits formed the number ‘8’ a mere few rows back from the stage. It was an incredible sight to behold firsthand, from the safe confines of the periphery of course, as frenzied tornadoes of souls twirled around and collided heavily into one another, and more than occasionally, falling hard to the ground. However, in keeping with the mosh pit code of etiquette, any fallen mosher was quickly pulled up to safety by the nearest person, before rejoining one of the flowing circles of bodies yet again.
Art Cruz of Lamb Of God | Photo by Michael Dinger
At the conclusion of the title track from Omens, the fans were more vigorous than ever, repeatedly chanting “Lamb Of God,” “Lamb Of God,” “Lamb Of God,”” Lamb Of God,” . . . Blythe, visibly thriving on the adoration, then said “It is always a f***ing pleasure to be back here, give yourself a big round of applause. Make some noise for the other bands that have played here for you this evening, goddamnit. First up, all the way from California, make some noise for Suicide Silence. And from down our way in Georgia, give it up for Baroness. And of course, make some noise for our brothers Killswitch Engage.”
John Campbell of Lamb Of God | Photo by Michael Dinger
The final five songs of Lamb Of God’s set would be their best, including “512” from VII: Sturm und Drang (2015), a song about Blythe’s self-proclaimed “extended European vacation that [he] took a while ago,” referring to his manslaughter court case that stemmed from a 2010 concert in Prague. “Ghost Walking” (Resolution, 2012) highlighted Cruz’s nuclear bomb drum slams and Campbell’s swift and velocious bass picking, while “Vigil” (As the Palaces Burn, 2003) featured intense groove metal shredding by guitarist Morton. The penultimate offering from Lamb Of God, “Laid to Rest” from 2004’s Ashes of the Wake, was the night’s highlight as the crowd went berserk during the chorus, “Smother another failure, lay this to rest. Console yourself, you’re better alone. Destroy yourself, see who gives a fuck. Absorb yourself, you’re better alone. Destroy yourself.”
Mark Morton of Lamb Of God | Photo by Michael Dinger
Blythe acknowledged the packed amphitheater one last time before the band burst into the fan favorite from 2006’s Sacrament. “Do you want one more f***ing song? Let me hear you! I think we can oblige. Before we do this, I need all you to do me a favor. As I said [earlier], tonight is the first night of the f***ing tour. You guys showed up and you showed out as New York City always f***ing does. I need every single mother***er in here to give themselves a big round of applause. Alright, I wanna see a f***ing big circle pit down there, set this mother***er off old school style. No one stands still! No one stands safe! This thing is called Redneck!”
“The Omens Tour” runs through October 20 and will conclude in Irving, Texas at The Pavilion at Toyota Music Factory.
Killswitch Engage Setlist: Strength of the Mind > This Is Absolution > Rose of Sharyn > To the Sons of Man > Unleashed > The Crownless King > Hate by Design > Know Your Enemy > My Curse > A Bid Farewell > This Fire > The End of Heartache > In Due Time > Holy Diver (Dio cover) > The Signal Fire
Lamb Of God Setlist: Memento Mori > Walk With Me in Hell > Now You’ve Got Something to Die For > Resurrection Man > Nevermore > Ruin > 11th Hour > Contractor > Omerta > Omens > 512 > Ghost Walking > Vigil > Laid to Rest > Redneck
For the 11th year at Brooklyn Bowl, The Friday Night Jam & FANS have announced a series of spiritually and musically inclined High Holidays services. Four services in late September and early October will be broadcast live for free via Fans.live, led by Rabbi Daniel Brenner and musical director Jeremiah Lockwood, featuring Antibalas’ Jordan McLean, Yuli Beeri, Lenny Kaye, saxophonist Stuart Bogie and a full live band.
The livestreamed shows will take place at Williamsburg’s Brooklyn Bowl (with a select number of tickets for sale) and Relix Studios.
The services will feature a mix of live music and remote video contributions from a mix of musicians. Confirmed remote guests include: Dave Harrington (Darkside), Alex Bleeker (Real Estate), Dan Lebowitz (ALO), Eric Krasno (Soulive and Lettuce), Karina Rykman, Ross James (Terrapin Family Band), Aron Magner (Disco Biscuits) and Josh Kaufman (Bonny Light Horseman), among others.
The house band consists of Jeremiah Lockwood, Antibalas’ Jordan McLean, Antibalas’ Timothy Allen, drummer John Bollinger, saxophonist Stuart Bogie and Yula Berri on vocals and bass. The services arrive at the end of a busy summer for Bogie and McLean, including appearances at the lauded Newport Jazz Festival. Internationally based teacher Aliza Rivka will also lead a guided meditation at each event. On the morning of September 26, Leslie Mendelson, Eric Slick (Dr. Dog), and Armo will also make special appearances at Brooklyn Bowl as part of the High Holidays festivities.
We have said for years that Brooklyn Bowl is our sanctuary, clubhouse, church and synagogue, so it only makes sense that it has grown into the spiritual home for our musically inclined Rosh Hashanah services over the years. Especially at a time when so many of us have been apart from our friends and family due to the pandemic, we hope that our suite of traditional-but-open-minded-and-inclusive services will allow us to connect with each other as we ‘begin again’ at the start of this new year.
Relix’s Editor-in-Chief Mike Greenhaus.
As part of the event’s anniversary celebration, as part of the Sunday, Sept 25 service, Lockwood’s The Sway Machinery will present Hidden Melodies Revealed 15 at Brooklyn Bowl. This new iteration of the concert-ritual will celebrate the widening circles of cantorial revival, and Yiddish experimental expressive culture that have emerged in the last decade.
Offering a counterpoint to The Sway Machinery’s futurist sound, a second stage will be set up in the middle of the venue that will host a “radical traditionalist” band performing new arrangements of Jewish ritual music on strings, led by virtuoso violinist Jake Shulman-Ment, and featuring vocal soloists Yoel Kohn, a leading voice in khazones emerging from the Brooklyn Chassidic community, and Shahanna McKinney-Baldon, Midwest Ska pioneer and thought leader on Jews of Color in the United States. For this performance, McKinney-Baldon will premiere a piece from her upcoming performance project inspired by the life and work of Goldye Steiner, a pioneering Black woman cantor of the 1920s. The resulting worlds of sound will cross boundaries of time, calling upon ritual, and invoking the power of ancestors to imagine radical futures.
In addition to musical guests, the event will also feature revered actor Debra Winger, in the role of the narrator of the animated films The Akeidah, by Shawn Atkins, and Scenes From the Life of Ben Zion Kapov Kagan, by Andrea Dezsö. The narration and score for these animated films will be performed live.
Schedule of High Holidays Events
Sunday September 25 – 7:30PM EST at Brooklyn Bowl. Tickets available here, stream live via Fans.live
Monday September 26 – 10AM EST at Brooklyn Bowl. Tickets available here, stream live via Fans.live
Tuesday, October 4 – 7PM from The Relix Studio, stream live via Fans.live
Wednesday, October 5 – 10AM from The Relix Studio, stream live via Fans.live
Brooklyn alt-rock duo Locations has dropped “Moves,” a jovial dance rock track which is the band’s first release in over two years.
The track is centered around a bright, melodic guitar rhythm and the band’s falsetto vocal harmonies in this ode to optimism and getting up to dance. “Dance if you wanna dance, move if you wanna move, you have got to do it for you,” they sing on the chorus.
(left to right) Niko Rummell (lead guitarist/vocalist) and Thomas Whidden (drummer/vocalist) of Locations. (photo by Hannah Turner Harts)
While simple, the hook is catchy and succinctly expresses the song’s straightforward ideas. It provides a solid contrast from the track’s verses, which build towards something a little more hyper in the chorus. This is especially the case in the song’s final minute, as muted guitar creates a light tension which is released in satisfying fashion for the outro.
The song is also part of an impassioned campaign from the band, with them using the single to promote universal healthcare. Looking to raise funds for Campaign for NY Health, Locations is selling limited edition t-shirts to support the organization which seeks to pass a single payer healthcare system in New York State.
Also as part of this campaign, the group will be performing at the Mercury Lounge in Manhattan on Monday, September 5 along with ALIENS, Witch Slap, Nuclear Family Fantasy, and Lumberob. Tickets can be found here.
Not only is “Moves” the band’s first single in over two years, but it was also the first written after a “major medical event” involving one of the members put activities on hold for several months.
“Moves” by Locations is a vibrantly optimistic song that looks to build optimism for a cause of passion, and it does so in an easily listenable way.
Accessible Festivals officially launched its Dan Grover Memorial Ticket Grant Program this week, providing a limited number of free access tickets to recreational experiences like concerts, festivals, and conventions for disabled music fans and their loved ones. This marks a huge step forward towards accessibility for all throughout major events across the U.S.
Pictured: Past recipient Cindy Navarro at Escape Festival
Accessible Festivals is partnering with the largest festivals in the country, such as Austin City Limits Music Festival, BottleRock Napa Valley, Electric Daisy Carnival, Lollapalooza, Rolling Loud NY, Stagecoach and more. The idea was born out of the organization’s founder, Austin Whitney’s own personal experience. In 2007, Whitney was injured in a car accident that severed his spinal cord and paralyzed him from the waist down. He became consumed with depression and anxiety about his new life living with a disability.
Photo credit: Abbey Madrid Stagecoach
After some time, Whitney attended his first music festival, Coachella. For the first time since his injury, he was able to simply enjoy life. With the realization of the importance of festival accessibility, he decided to devote his life to ensuring people of all abilities can have an equal opportunity to experience live music and recreational activities to the fullest extent possible.
Photo credit: TJ Hayes Lollapalooza
Dan Grover was born on December 6, 1962, in rural New Jersey. At an early age, he was diagnosed with Muscular Dystrophy, a genetic condition that deteriorates muscular strength over time, and began using a wheelchair for mobility at the age of 21.
Dan was responsible for implementing and improving ADA operations at some of the nation’s largest music festivals including Electric Forest, Outside Lands, Life is Beautiful, and many more. He helped ensure thousands of disabled guests were able to see the show safely and comfortably and was a fierce advocate for greater inclusion and accessibility for all.
In an unfortunate turn of events, Dan passed away on July 27, 2022. This program is intended to keep Dan’s legacy alive and honor him by sharing his passion for music and continuing to help other people with disabilities see the show.
Sci-fi Middle Eastern fusion prog rockers Consider the Source announced their fall “Maxx Power Tour” and released a cover video of Opeth’s “Death Whispered a Lullaby”.
Maxx Power Tour
Consider the Source is a Sci-fi fusion trio blends progressive rock and improvisatory jazz, soaked in Indian and Middle Eastern styles. Their latest electric album, You Are Literally a Metaphor, reaches a peak of their fifteen-year musical journey. It includes he same fury and dazzling virtuosity of their previous work, Metaphor is also a portrait of three musicians reaching new levels of maturity.
Consider the Source
The “Maxx Power Tour” will be their return to a fully electric performance since they performed a hybrid acoustic electric tour with their “Hybrid Vol. 1: Such As A Mule”. From the bluesy swing of “When You’ve Loved and Lost Like Frankie Has” to the ethereal electro-synths of “Sketches From a Blind Man”, they continue to infuse minimalist pop, progressive metal, and freewheeling improvisation in their omnivorous musicality.
Three of Metaphor’s nine songs are Eastern European traditionals. Bassist John Ferrara’s new Taurus bass pedals and guitarist Gabriel Marin’s new custom Vigier double-neck guitar add new dimensions to the band’s already diverse sound.
As for their new cover music video, Opeth is one of the few bands who influenced the three of Consider the Source individually during our adolescent years and later collectively as a group.
They write extended compositions that are emotionally dark and brilliantly tie together sections of extreme heaviness with mellow acoustic passages. Their top-notch production, tight rhythms and catchy melodies have become something we strive for in our own original music. We’ve wanted to cover one of their songs for a long time but couldn’t pick just one favorite. We hope you enjoy our interpretation of “Death Whispered A Lullaby” with a couple of our favorite riffs added in at the end from “Closure” and “Deliverance”.
Consider the Source
FULL SCHEDULE:
09.02 Millersville, PA – Phantom Power * 09.03 Stuart, VA – Front Porch Fest 10.13 Baltimore, MD – The 8×10 ** 10.14 Abingdon, VA – Between the Vines 10.15 Pamplin, VA – Fly High CROPtober Fest 11.04 Portland, ME – Bayside Bowl 11.05 Hartford, CT – Arch Street Tavern *** 11.10 Saratoga Springs, NY – Putnam Place 11.11 Burlington, VT – Nectar’s 11.12 Asbury Park, NJ – Wonder Bar **** 11.17 Sellersville, PA – Sellersville Theater * 11.18 Pembroke, MA – Soundcheck Studios ***** 11.19 Brooklyn, NY – Brooklyn Made **** 12.01 Charlottesville, VA – The Southern 12.02 Asheville, NC – Asheville Music Hall 12.03 Charlotte, NC – Heist Brewery and Barrel Arts 12.08 Atlanta, GA – Smith’s Olde Bar 12.09 Raleigh, NC – The Pour House Music Hall * w/ Chestnut Grove ** w/ Seven Teller *** w/ The Mushroom Cloud **** w/ Baked Shrimp ***** w/ Bella’s Bartok
Brooklyn artist Tyrin unveiled the new music video for his latest single “It’s All Alright”. With daydreaming hues and visuals, this cinematic music video is fulfilled with nostalgia.
Tyrin
Tyrin is an evolving creative artist born and raised in Brooklyn. He is never afraid to reflect on what keeps him up at night while he has a genreless approach to composition. Influenced by the pop-punk and hip-hop, Tyrin started making music in 2010 to explore the realm of rap. With years of progress, he has accumulated his influence and been continuously growing while working and performing alongside his band to produce a truly unique soundscape.
Tyrin recently unveiled “Its All Alright”, a song explaining and concerning mental health. He hopes to give out his energy to reduce his listeners’ loneliness as he new music video offers a meditative visuals to enjoy.
The blaring basslines and an ecstatic realm of sound in “Its All Alright” illustrated the comfort with dreamy hues and euphoric visuals. Tyrin hopes listeners will find a minute for themselves within his latest tune. Sitting atop echoing vocal energy, relentless melodies and a truly encapsulating rhythm, his latest release and accompanying visuals make for an idyllic pairing.
“It started with heavy Hip-Hop roots, and through the few months of working on it with my engineer the song started to evolve and mimic my true musical influences. ‘Its All Alright’ uncovers my truly impressive musical persona, I wrote this song to affirm that even with my flaws, I have value.”
Tyrin
Tyrin is looking across the alternative genre and inject his passion for hip hop and euphoric rap into something truly extraordinary. With enriched performing experience in pervious performances at numerous larger venues like Webster Hall and The Gramercy, he is nurturing a blossoming community in the heart of New York City.
