Category: Features

  • YoFiFest Returns With Music Films “Kings of Blah” and “Louder Than You Think”

    YoFiFest returns for its 11th year as an international film festival that welcomes filmmakers and film lovers from across the globe to Yonkers. This year, YoFiFest will showcase many films, including music films “Kings of Blah” and “Louder Than You Think.”

    YoFiFest launched its annual festival just 11 ago. Starting as a small non-profit, their mission was to raise the level of arts and culture in its community by showcasing the work of independent filmmakers and providing educational and cultural opportunities that otherwise wouldn’t exist in the area. This year, the organization is more committed than ever to not only continue that mission, but expand on it. For ten days, YoFiFest will present around 125 films from 24 countries, as well as films from our home state. The films include features, documentaries, shorts, animation, music videos, web series, and student work. 

    This year, two great “music movies” will be featured in the YoFiFest lineup, Kings of Blah and Louder Than You Think. 

    Kings of Blah is a story centered around two coworkers– Danny and Tom– at an electronics supply store, but by night, they are “Frog”: a guitar rock duo looking for their break. When their new EP makes a big splash in England, the boys bid farewell to Queens to seek glory “across the pond.” Frog will also be holding a live performance and throwing a record release party just after the screening of their film. 

    Louder Than You Think is an up-close cinematic film through the life of Gary Young, the original drummer of indie rock royalty, Pavement. His booze and drug-fueled stunts (such as on-stage handstands and gifting vegetables to fans) and haphazard production methods (which accidentally helped launch the lo-fi aesthetic) were both a driving force of the band’s early rise and the cause of his eventual crash landing. Leaving a wake of joy and/or destruction at every turn, Gary teeters the thin line between free-form self-expression and chaotic self-destruction. 

    “When we started the film festival nine years ago, Yonkers wasn’t known as a film-friendly city…but with an increasing number of movies and television shows shooting here, and a new studio complex right outside our YoFi Digital Media Art Center, it’s beginning to feel like people are realizing what we’ve know for awhile—Yonkers is Hollywood on the Hudson!”

    Dave Steck

    The 10 day festival kicks off on November 10 and offers over a hundred independent films, live filmmaker Q&A’s, educational workshops led by entertainment industry professionals, networking events, receptions, and parties.

    Most of YoFi’s film programs will be followed by a live Q&A where the audience has the opportunity to ask the filmmakers questions about their movies. Patty Schuman, the festival’s co-founder and programmer, notes that nearly every one of their filmmakers plan to attend their film’s Q&A’s this year. 

    The festival provides an amazing opportunity for audiences to watch films that they might not see anywhere else. FilmFreeway named YoFiFest one of the “Top 100 Best Reviewed Festivals” nine times. YoFiFest also been named “Best of Westchester” twice by Westchester Magazine, and it was named as one of the top ten reasons Yonkers was voted the “Hippest Town in the Lower Hudson Valley” by The Journal News/LoHud.

    All the screenings and workshops are held in downtown Yonkers within a few blocks of each other at either the Yonkers Riverfront Library theater, directly across the street from the Yonkers Metro North Train Station, or YoFi’s own year-round DMAC (Digital Media Art Center). The festival is convenient to public transportation, as well as several nearby parking lots.

    Besides the festival, YoFi offers year-round programs, screenings and events throughout the winter and spring. This year it piloted its new TEAM (Training for Employment in the Arts and Media) program that gives 18-26 year olds the skills they need to enter the entertainment industry in entry level positions. The program is preparing to expand and start its next cohort in January, 2024. The participants will receive classroom instruction, as well as location visits, mentorship and job placement. 

    More information and tickets are available at their website.

  • Tool in Rochester: Sonic Mastery and Visual Spectacle

    In a mind-blowing spectacle that filled the hallowed Blue Cross Arena in Rochester with an eager crowd of 10,400 fans, the mighty progressive rock maestros Tool proved once again that they can pack any venue in the heart of Western New York. Their popularity in this region is nothing short of legendary, with sold-out shows being the norm.

    The Tool faithful are a zealous bunch who ardently believe in the gospel of Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor. They’ll gladly regale you with countless reasons why Tool reigns supreme and why your existence remains incomplete until you’ve bathed in the band’s unparalleled glory. Opening the night was Steel Beans from Everett, WA.

    While Tool devotees can be a tad vexing at times, it’s hard to fault their passion. They speak the truth when they beseech others to witness this sonic juggernaut live in all its grandeur. The band’s musical prowess alone warrants pages upon pages of discussion, but if you’re a neophyte to the world of Tool, or simply curious about the enigmatic quartet, here’s a taste of what transpired at their mesmerizing Monday November 6 performance.

    The atmosphere within the arena was nothing short of transcendental, much like a religious congregation, albeit one with a penchant for intricate time signatures and cryptic lyrics. Despite Tool’s audience not being a sea of saccharine girls in pink dresses and glitter, the sense of unity was palpable. “Lotta dudes here” a friend texted during intermission, and indeed, the crowd comprised primarily of prog-rock Gen Xers, all donning knowing smiles and exchanging high-fives. However, in stark contrast to other male-dominated events, there was a conspicuous absence of lewd remarks or reckless antics. Beer flowed without incident, and by the end of the evening, the floor was mercifully unmarred by spilled brews.

    The absence of cell phones was instrumental in preserving this immersive experience. In a world where every fleeting moment demands digital documentation, Tool remains steadfast in its commitment to a strict no-cell phone policy. After all, who needs grainy concert footage on their phone that will likely languish unwatched in the depths of their gallery? Tool’s discerning guardians diligently enforced the rule, ejecting over three dozen misguided souls during the show. A few lucky souls escaped with warnings after proving their contrition by deleting their videos or images. But for the stubborn second-time offenders, there were no second chances. After the notes of “Invincible” reverberated, Maynard James Keenan, in a rare act of benevolence, granted the audience permission to whip out their phones to capture the ephemeral moment.

    Tool may shun technology like cell phones, but they fully embrace cutting-edge light effects. The band’s unwavering commitment to privacy and mystique extends to the live experience as well; they avoid interviews and public appearances to ensure that all eyes remain on the music. Mark “Junior” Jacobson, Tool’s lighting virtuoso, orchestrates a symphony of lights, lasers, and screen images that synchronize seamlessly with every note change. This visual spectacle draws the audience even deeper into Tool’s sonic realm, amplifying the emotional resonance of the music and its profound messages.

    The imagery displayed on the screens is nothing short of mind-bending. Volcanoes spew molten lava before transforming into the all-seeing Eye of Sauron, which seamlessly transitions into new, surreal landscapes. Fractal heads pour forth from other heads, while an eyeball twitches its iris over the captivated audience. Tongues spill forth from gaping mouths in an intoxicating loop, and alien-like forms twist and turn in eerie dance. It’s as though the most spine-tingling horror movie has met the soundtrack of your wildest dreams.

    Crafting a subpar setlist is an impossibility for Tool, given their extensive catalog of exceptional, heavy songs accompanied by ethereal vocals. The journey began with the iconic “Fear Inoculum,” setting the stage for a mesmerizing odyssey. Favorites like “Jambi,” “Stinkfist,” and “The Pot” enraptured the crowd, intermingling with tracks from newer albums, such as “Culling Voices” and “Pneuma.” But the pièce de résistance came early on when Maynard declared that the band would resurrect a long-dormant song. The ensuing performance of “Rosetta Stoned” was a jaw-dropping revelation – a song not performed with live vocals since 2009, and it sent shockwaves through the enraptured crowd.

    In the end, Tool’s concert is more than just a musical performance; it’s a transformative experience. With their strict rules, awe-inspiring visuals, and an undeniably majestic setlist, Tool is not just a band; they’re an otherworldly force of nature that sweeps you into a realm of unparalleled sonic and visual artistry. Tool fans may be a vocal bunch, but when it comes to experiencing their live show, words alone can’t do justice to the transcendental journey they offer.

    Tool – Blue Cross Arena, Rochester, NY – Monday, November 6, 2023

    Setlist: Third Eye Intro, Fear Inoculum, Jambi, The Pot, Rosetta Stoned, Pneuma, Descending, The Grudge, Intermission, Chocolate Chip Trip, Culling Voices, Invincible, (Ions excerpt)
    Encore: Stinkfist

    Upcoming tour dates:

    November 10 – Uncasville, CT – Mohegan Sun Arena
    November 13 – Manchester, NH – SNHU Arena
    November 15 – Boston, MA – TD Garden
    November 16 – Philadelphia, PA – Wells Fargo Center
    November 19 – Montreal, QC – Bell Center
    November 20 – Toronto, ON – Scotiabank Arena
    November 21 – Toronto, ON – Scotiabank Arena

  • AZ Releases ‘This Is Why’ In Anticipation of Latest Album

    With hip hop’s ever-changing landscape, it had been a decade since Brooklyn native AZ graced fans with an album. The reserved hip hop legend has maintained status as a result of his pen and classic album cuts. However, his long-teased sequel, Doe Or Die IIbecame one of 2021’s undeniable success stories and proved AZ’s potent hip hop poetry still had a place in the rap game.

    Since the release of Doe Or Die II, AZ has appeared on Westside Gunn’s “99 Avirex” Rick Ross’ “Vacheron,” Statik Selektah’s “Historic” and most recently on Tony Touch’s “Rampage 2.0” for Def Jam’s mixtape Documentary.

    AZ "This Is Why" single release cover

    Now AZ is back with the release of his single “This Is Why” in anticipation of his latest album, Truth Be Told, set for release on December 1. “This Is Why” interpolates a classic Slick Rick sample throughout, as the hip hop veteran takes on the role of the “been there, done that” MC. In light, he shouts out two Brooklyn legends — The Notorious B.I.G. and Mike Tyson — for serving as inspirations behind his success. With his effortless delivery and poignant rhymes, AZ embodies the grace and knowledge that comes with having survived some of New York City’s roughest eras.

    Album Details

    After contributing behind the boards on both Doe Or Die and Doe Or Die II, AZ and legendary producer Buckwild team up once again. The GRAMMY-nominated Buckwild handles all of the production on the new album. With his own crate of classic production, Buckwild will look to recreate the mafioso, final-boss themed production that the elder AZ has thrived on in his late career surge. In addition, the album will feature guest appearances from fellow New York rhymers Fat Joe and Pharoahe Munch, adding diversified flavor and point of views.

  • The Japanese House Plays Sold Out Webster Hall Show with Quinnie

    English indie pop artist The Japanese House played a sold out show at Webster Hall last week on November 2 with support from Quinnie.

    The Japanese House at Webster Hall. Photography by David Reichmann (@davidpresspass)

    Fronted by singer Amber Mary Bain, The Japanese House released their second studio album, In The End it Always Does on Dirty Hit Records earlier this year. The album included hit single “Sunshine Baby,” which features vocals from The 1975 frontman Matty Healy. Notable features on the record also included Bon Iver’s Justin Vernon, Muna, and Charli XCX.

    Quinnie plays Webster Hall. Photograph by David Reichmann (@davidpresspass)

    Quinnie opened the show, playing delightful melodies full of charming and quirky lyrics. Fans packed in early for the show, filling up the venue before her set. Her set was met with big applause.

    The Japanese House

    The Japanese House played a powerful set featuring highs that shook the room with fans jumping up and down, and sorrowful lows that left a hush over the audience. Several fans could be seen crying during various moments throughout the show. The energy only increased from song to song, culminating in the main set’s final song, “Dionne (featuring Justin Vernon).” For the final song of the encore, they played fan favorite “Sunshine Baby.”

    The Japanese House North American tour continues, and you can listen to their music here. Check out future tour dates here. Listen to Quinnie here.

    Check out our gallery from staff contributor David Reichmann below.

  • Indie Rock Band Divining Rod release new single “King of The Night”

    Indie country-rocker band Divining Rod released the first single “King of The Night” on Friday, October 20, from their upcoming EP entitled The House Will Always Win, due for release in January 2024.

    Originally, Divining Rod was the solo project of Hawaiian native Miyuki Furtado of the former TooPure recording artists, The Rogers Sisters. The band includes lead Miyuki Furtado, guitarist/vocalist Patrick Harmon, bassist Matt Svigals, and drummer John Malone.

    “King of The Night” combines a vocal performance that’s full of confidence and force with dynamic chords and soulful production to create a blues rock gem. The song explores themes of nightlife and the excitement of hitting the town on the weekend, with the monotony of misbehaving with the same folks, listening to the same tunes and ordering the same rounds of drinks. The song uses prominent and smooth country driven vocals, fused with the rhythm of rock and blues. The backbeat sets the tone and emphasizes the vocal-centric structure to make up the story of two gamblers who are headed for romance and heartbreak.

    The new single will accompany four other songs to be released on their upcoming EP The House Will Always Win due for release in January. The EP was crafted during the same sessions as their previous EP, Santa Monica And Other Golden Classics. Divining Rod headed into the studio after a month-long residency on New York’s famed Circle Line. The House Will Always Win speaks of the affordability and accessibility of the city. Despite being a fun town, Miyuki sees a sense of sadness and desperation in the city

  • Now is the Time: The Eleven brings a new Vibe to Lark Street

    On the corner of Lark and Hudson, one building hosts a great deal of women’s history that continues to be written to this day. 

    lark hall
    photo via Historic Albany Foundation

    Built over 100 years ago, this building served as the location for the 48th Annual Suffrage Convention, as a chapter house for the Daughters of the Eastern Star (the female equivalent to Free Masons), as well as hosting USO events, dances, and a then serving as the eba Center for Dance & Fitness from 1977 until 2017.

    Lark Hall, opened in 2021, continues this tradition of music and the arts at Lark and Hudson still being written 11 decades later, with the opening of a coffee house/bar/taproom, The Eleven.

    the eleven lark hall

    Owner and manager of The Eleven, Jenn Miller, looks at The Eleven as bringing the building vision to full capacity, replacing Lark Street Yoga and Lark Street Mercantile in the downstairs of the building. Connecting to Lark Hall upstairs makes this an ideal pre-show stop, unique among all the choices Lark Street has to offer.

    With a staff of four full time employees and another 20 part time between Lark Hall and The Eleven – including Chef Dale Hajdasz and General Manager Neil Benjamin, Jr. – Miller’s experience in the restaurant industry during college as well as many years within the live music scene puts a hospitality driven focus towards the guests, artists and staff. Whether it be the restaurant industry or music industry, knowing how to treat people so they want to come back, and bring their friends, is at the forefront of her business ethos. 

    photo by Zak Radick

    Now is the time of returning

    Miller attended college at Eastern Connecticut State University, and would meet her husband, Justin, in Saratoga Springs. The pair married in 2002, having three kids and relocating to Rochester where she earned a Masters in Counseling, then moving back to Albany with their family. Working as a guidance counselor in Rochester, Schenectady and Albany City Schools, after 15 years she looked to move out of education and into something new.

    photo by Zak Radick

    The Millers are true live music aficionados who have traveled the country and beyond seeing the best of live music and music festivals, as well as their favorites: My Morning Jacket and Phish. When they would return back to Albany, they lamented the music scene not having certain bands and shows, let alone a venue that club/bar bands can graduate from. At first, they joked about the idea of opening a music venue, and soon it became a goal, and then a serious venture.

    Since purchasing the building in 2018, the Millers have invested more than $1 million into the space to increase accessibility to Lark Hall, and also received a grant from the City of Albany for further work. Now with two businesses both opened in the past two years, the vision has come full circle, with a dedicated bar/restaurant downstairs and music venue upstairs. 

    photo by Zak Radick

    Now is the time past believing

    The Eleven came to be about a year ago when they sought to utilize the vacated Lark Mercantile space downstairs. With a tenant gone and a grant for small business renovation from the City of Albany, they began work on refurbishing the downstairs into a waffle/charcuterie/taproom, something different and not found elsewhere on Lark. Add in a coffee bar, pastries and desserts, it took about a year for the vision to come full circle and be complete, with a grand opening coming on Saturday, November 11, featuring the music of Holly Bowling.

    photo by Zak Radick

    Dining on small plates of local, French or Italian meats and cheeses, waffles, and Grateful Dead themed sandwiches – “Reuben and Cherise” a fresh take on a classic reuben – the menu is not overwhelming and invites you back to try more of these samplings, carefully curated by Chef Dale. A selection of 12 beers – that’s Eleven, plus (the other) one – from around the Northeast pair well with all culinary offerings, was accompanied the evening of November 3 with a crackling fireplace on the widescreen TV, along with an acoustic set of covers from Jeff Becker. 

    A décor of Grateful Dead posters, Stealies, Garcia handprints, and classic show posters from upstairs at Lark Hall around the soffit, the Grateful Dead roots abounding through the modern setting in the perfect neighborhood in Albany for it. Chuck Berry, who played Lark Hall in the 1950s, would smile seeing how far rock ‘n roll has progressed, inspiring the genesis of Lark Hall and The Eleven.

    photo by Zak Radick

    Thought Jewels Polished and Gleaming

    Bringing Lark Hall and The Eleven to where they are now has not been easy, as Miller recognizes and recounts the struggles she has experienced as a woman in the music industry. Miller faced an oft male dominated music industry upon the purchase of the building, which led to more skepticism and in-group favoritism against Miller as she navigated getting bands to play at Lark Hall, in the process bringing Albany a needed mid-size venue (current capacity is ~325). Despite opportunities, Miller found a scene less than responsive at first, yet persevered and has proven skeptics wrong, and does so a second time with the addition of The Eleven.

    photo by Zak Radick

    Working with Dan Smalls and Ed Maier – two promoters covering a great deal of Upstate New York and the Northeast – as mentors to Miller, offering guidance on booking shows and bringing in a variety of acts to Lark Hall. Miller sees the bigger picture of what is possible in the area as a result of this mentorship.

    “With the growing scene in Albany, what should be happening is everyone in the local industry – tourism, businesses and promoters – working together to grow the scene for all benefit.”

    Jenn Miller

    The result is a calendar with a wider variety of shows than any other venue in the Capital Region. This summer, Lark Hall featured a month long residency of musical RENT, and in the past year welcomed Daniel Donato, The Motet, Ghost Light, Circles Around the Sun, The Seapods, LaMP, Karina Rykman, Yo La Tengo, Midnights: A Taylor Swift Dance Party, among dozens of others.

    photo by Zak Radick

    With a background of a guidance counselor as well as a business owner, I asked Miller what resources she would suggest for ambitious female entrepreneurs who are looking to open their own business or venture. Research through experience, as well as patience, are the keys to Miller, starting with making sure to find your spot in the scene. Beyond that, it is most important to learn the backend tasks that no one sees, as she sees that knowledge and experience to be where everything comes together. Indeed, getting involved and off the periphery is the best start, but diving in and finding a niche can bring greater curiosity and reward.

    photo by Zak Radick

    Were Miller able to give advice to her younger self, she shares a nod to the Grateful Dead, “Without love in a dream it will never come true.”

    the eleven lark

    Albany’s Lark Street – the “Village in the City” – gains a feather in its cap with the City Winery vibe found at The Eleven, and along with Lark Hall upstairs, this double threat venue on Lark Street brings new life to an old building and neighborhood. Tickets for Holly Bowling at Lark Hall on November 11 can be found here.

  • Ambrose Getz Releases Empowering Album “Great House of Embers”

    Ambrose Getz, a Brooklyn-based pop artist, has released her newest album, Great House of Embers, which showcases her musical talent, as well as her impactful storytelling capabilities surrounding women’s experiences in today’s society.

    Ambrose Getz deconstructs and reconstructs various genres, including American folk music, Bossa Nova, classic rock, 40s jazz, and more. Getz recorded with a talented group of international musicians consisting of Almog Sharvit (also the producer), Ben Silashi, Tal Yahalom, and Micha Gilad. Emerging from the indie art-pop scene in Brooklyn, Getz has built a network of artists who inspire each other to reconsider American identity. They’re all top-notch musicians she knew could complement her range.

    Her current band that contributed to House of Embers consists of Almog Sharvit (bass, production), Ben Silashi (drums), Tal Yahalom (electric guitar), Micha Gilad (keys), Noah Rott (additional keys), David Leon (saxophone & flute on “Black Hole”), Hila Tako (background vox on “Grace”), Lisa Hoppe (string arrangements), Bergamot Quartet (“Arms Around Her,” “Carrie”), Ledah Finck (violin), Sarah Thomas (violin), Amy Tan (viola), Irene Han (cello).

    Throughout the record’s nine tracks, Getz showcases her fluency in many styles, all run through an art pop filter a la St. Vincent or Bjork. Synths, strings, and electric guitars blend with jazz-inspired percussion as Getz’s voice delivers the lyrics. Ambrose released the single and accompanying video for the jazz-influenced beauty of a song, “Starlight.” 

    “Starlight is about staying up past midnight, waiting for your crush to call. I wrote it on one of those long nights, losing myself in romanticism, knowing it was foolish to hope and laughing at myself for hoping anyway.”

    Ambrose Getz

    Wanting the song to transport the listener (the same way the jazz standards of the 40’s and 50’s do), after recording the song with her band, Ambrose added a special guest feature: a string arrangement composed by Berlin-based bassist Lisa Hoppe and performed by Brooklyn-based string quartet Bergamot Quartet.

    For the video, Ambrose and the band continued their theme of featuring women-led projects and performers with the addition of the directing team Las Lauras (Laura Sofía Pérez & Laura Isabel Tropi). Visually, they riffed on the theme of waiting through picking flowers and playing musical instruments. The video was shot by Lucas Hrabal, edited by Almog Sharvit, and colored by Alexey Zavolokin.

    The appeal of dynamic innovators like Getz and her collaborators lies in their ability to create work that defies passing trends.

    Great House of Embers ambrose getz
    Ambrose Getz

    Sometimes Getz’s adventurous spirit means adding synths and strings to a song inspired by jazz standards (“Starlight”), and sometimes it means crunchy guitars and twinkling synths (“Fantasies”). “Mary Awakens” takes a psychedelic detour through clips of Getz’s aunt speaking, girl-group harmonies, and a walking bassline. Getz has a strong, adaptable voice reminiscent of Suzanne Vega’s, and she uses every bit of it.  

    “When I wrote the song ‘Great House of Embers,’ I was thinking about JFK’s 1961 speech where he called America a “city upon a hill” and how Americans believed we had to be an example for other nations. My generation now sees the destruction our country has caused. Visualize a giant house on a big hill that has been on fire for a hundred years and is reduced to embers. That’s what my generation inherited.” 

    Ambrose Getz

    Singing loud, breaking forms, and telling complex stories converge in the album’s themes. The title track was inspired by Citizenfour, a documentary by Laura Poitras about NSA surveillance brought to light by Edward Snowden. 

    An avid reader, one of Getz’s favorite writers is Nobel laureate Alice Munro, whose work serves as inspiration for the song “Grace.” Getz’s said, “Her writing always has a subtle flip that can turn you on your head. She was the first author I read who consistently centered women’s stories, with depth and darkness and subtlety.” This influence is evident in Getz’s own lyrics, which deliberately delve into the experiences of women across generations, crafting narratives that are so apt and thought-provoking that they are sure to spark conversations between mothers and daughters. Through her shrewd songs about women’s lives, Getz shines a light on the cultural legacies we inherit both politically and personally. Her lyrics offer a keen insight into the complexities of these legacies, inviting us to explore and challenge the narratives that shape our understanding of women’s experiences.

    Getz never sacrifices the music for the message, as you can hear on debut single “Black Hole.” Written to be “dark and danceable,” the lyrics personify capitalism as an insatiable femme fatale, echoed in the music video directed by Margot Bennett and filmed by Eurica Yu. The video’s imagery—shot with dark backgrounds—pulls the viewer into a world where the allure of capitalism is as irresistible as it is dangerous. A single spotlight follows Getz, clad in androgynous black and white and sporting alarm-call red lipstick. Those images intercut with scenes of Getz wearing skintight black clothing and dancing, her red hair catching the light.

    Rather than posit herself as a victim of zeitgeist or a savior for our times, Getz offers candor and imagery alongside her range of musical styles. “Ultimately I see myself as an artist who writes songs that center women’s stories,” she says. Just as she asks what Americans inherited socio-politically, she looks to the women in her family to investigate what she has inherited personally. “Many of the songs on this album are short stories about my female relatives. ‘Mary Awakens’ is for my aunt, Mary Frances Ambrose, and ‘Carrie’ is for my maternal grandmother.”

    With Great House of Embers, Ambrose Getz adds another valuable record for the future to inherit. It’s a snapshot of a dark time illuminated by the hope of innovation. 

    The strings in her music are captivating, especially in the song “Arms Around Her,” which adds a classy feel and really creates a beautiful blend between the background music and the vocals.

    Every song is a little different and she truly showcases her abilities both in songwriting, but also in adapting to different genres. “Carrie” sounds more pop-influenced with a little country, while “Black Hole” is jazzy, and “Great House of Embers” might even have a little bit of rock influence.

    Many artists claim to be “breaking” genres, but this album is actually doing it.

    For more information on Ambroze Getz, visit her website, Instagram, or TikTok.

    Stream Getz’s music on Apple Music, Spotify, or Bandcamp.

  • Hearing Aide: Shooter Jennings and the Werewolves of Los Angeles Channel Zevon to Perfection

    The music of the late, great Warren Zevon is celebrated on the new live album Shooter Jennings and the Werewolves of Los Angeles Do Zevon, released on Friday, November 3.

    Werewolves of Los Angeles shooter jennings warren zevon

    Recorded at Monterey, CA’s Revels and Renegades Music Festival, Jennings leads the Werewolves of Los Angeles and channels Zevon’s music with precision and enthusiasm behind each song.

    The outlaw country legend, and son of original outlaw Waylon Jennings, Shooter brings together multi-instrumentalist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and his longtime collaborators Jamie Douglass (drums), Ted Russell Kamp (bass) and John Schreffler (guitar) for an ideal mix of Warren Zevon for lifelong fans, casual fans and new fans.

    The band performed earlier this year during GRAMMY week at the Roxy Theatre in West Hollywood, and just this week, on November 1, performed the set to a sold-out Brooklyn Made.

    Featuring popular songs (“Excitable Boy,” “Werewolves of London”), deep cuts (“Mohammad’s Radio,” “Mama Couldn’t be Persuaded”) and final album tracks (The Wind’s “Dirty Life and Times,” “Keep Me in Your Heart”), there is something for everyone in a well laid out flow, capped off with Zevon’s autobiographical “Desperados Under the Eaves.”

    This last year we had a blast doing two separate shows paying tribute to one of my favorite artists of all time, Los Angeles legend Warren Zevon. When Zevon was picked to be potentially inducted into the Rock & Roll Hall of Fame this year we, along with millions of Zevon fans, were hoping that he would finally get his due in the halls of Rock & Roll History.

    Unfortunately, Zevon didn’t make it in this year and won’t be honored tomorrow night in New York City at the Rock & Roll Hall of Fame ceremony. Upon hearing this news, the Werewolves of Los Angeles gathered in our Wolfcave to discuss what we could do about it. We decided that even though Warren wasn’t going into the Hall of Fame, we could take a special trip up to New York City this week and do our own celebration of Warren’s bad-ass music.

    Shooter Jennings

    Shooter – a three-time GRAMMY Award winner, founder of Black Country Rock (a label and multimedia outlet), and host of “Shooter Jennings’ Electric Rodeo” on Sirius XM’s Outlaw Country channel – takes on a rock and roll legend still searching for a heart, and recognition for the indelible influence and mark Zevon left on rock n roll and Los Angeles. That recognition continues on through Shooter Jennings and the Werewolves of Los Angeles Do Zevon.

  • The Paper Kites & The Roadhouse Band at Racket: A Halloween Special

    On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.

    With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.

    Photograph by Shauna Hilferty

    A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence. 

    Photograph by Shauna Hilferty

    Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.

    Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound. 

    Photograph by Shauna Hilferty

    The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.

    On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary. 

    Photograph by Shauna Hilferty

    From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.

    Photograph by Shauna Hilferty

    Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.

    Photograph by Shauna Hilferty

    An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.

    Photograph by Shauna Hilferty

    One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders. 

    Photograph by Shauna Hilferty

    After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.

    The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.

  • Consider The Source Drop Star Wars-Inspired Music Video “Kashyyyk”

    Consider The Source, a NYC-based progressive jazz-rock trio, dropped their newest track alongside a music video for “Kashyyyk.” The video explores the band’s Eastern influences, with psychedelic graphics to accompany the new song.

    Consider The Source

    Consider The Source made a name for themselves in the NYC scene with their unique, genre-bending sound. During the pandemic, the group found themselves stranded apart from each other, forcing them to learn new techniques to record and collaborate. Their newest album, a re-issued version of their Are You Watching Closely, comes nearing the 15-year anniversary of its original release.

    Consider The Source Kashyyyk

    The group’s newest single, “Kashyyyk” is a reference to a Star Wars fictional planet, where Chewbacca calls home. The psych-rock track demanded over 30 hours of work by producer Jacob Nadeau and editor Francesca Belcastro. 

    Consider The Source will embark on a US tour this fall, with four dates in Woodstock, Saratoga Springs, Rochester, and New York City. The group will support numerous acts, including SkyDaddy, Bella’s Bartok, The Mushroom Cloud, and more. More information and tickets are available here.

    Consider the Source Tour Dates

    11.02 The Colony – Woodstock, NY +
    11.03  Bayside Bowl – Portland, ME %
    11.09  Putnam Place – Saratoga Springs, NY ^
    11.10  Nectar’s – Burlington, VT !!
    11.11  The Stone Church – Newmarket, NH &
    11.17  Flour City Station – Rochester, NY *
    11.18  Thunderbird Music Hall – Pittsburgh, PA !
    12.07  The Fox Theatre – Boulder, CO =
    12.08  830 North – Fort Collins, CO ==
    12.09  Globe Hall – Denver, CO
    12.29  Sultan Room – New York, NY #
    12.30  Electric Haze – Worcester, MA $
    12.31  Arch Street Tavern – Hartford, CT $

    + w/ SkyDaddy

    % supporting Bella’s Bartok
    ^ w/ Bella’s Bartok
    !! W/ The Mushroom Cloud
    & w/ Sqwerv
    * w/ Grub
    ! w/ TrailHeads
    = co-bill w/ Cycles
    == w/ Pipin’ Hot
    # w/ Habbina Habbina
    $ w/ Leon Trout

    Watch “Kashyyyk” from Consider the Source below.