As the world eagerly awaits the grand opening of The Hip Hop Museum in the Bronx in 2025, a nationwide tour is offering fans and enthusiasts a tantalizing preview of what’s to come. In partnership with Mass Appeal and proudly sponsored by CÃROC Ultra-Premium Vodka, this tour is bringing hip hop history to life.
In celebration of hip hop’s 50th anniversary, The Hip Hop Museum Tour is traversing the United States to narrate the story of the pioneers who birthed a genre that would eventually sweep the world. This mobile exhibit offers visitors a chance to take a walk down memory lane, shedding light on the essential milestones that transformed hip hop from a Bronx block party pastime into a global phenomenon.
The Hip Hop Museum Tour offers a diverse collection of remarkable artifacts that provide fans with a glimpse of what’s to come in the forthcoming museum.
Among the standout items are:
Jam Master Jay’s Gold Chain: This iconic piece of music history belonged to the legendary DJ Jam Master Jay, a pivotal figure in elevating hip hop’s status and influencing future generations during his time with Run-DMC.
Kool Herc’s Record Trunk: DJ Kool Herc’s record trunk played a vital role in the early development of hip hop music, symbolizing the birth of turntablism and the influence of DJing in the genre’s early years.
Tupac’s Handwritten Letter: A personal letter from the late Tupac Shakur to Cosima provides an intimate insight into one of hip hop’s most influential and controversial figures.
Coolio’s Low Rider Bicycle: Coolio’s low rider bicycle from his initial tour represents the diverse and eclectic styles embraced by hip hop artists, highlighting how fashion has become an integral part of the culture.
Biz Markie’s Rhyme Book, BIZ Chain, and Gucci Sneakers: These possessions, once belonging to the “Clown Prince of Hip Hop,” Biz Markie, including his rhyme book, chain, and sneakers, offer a glimpse into his quirky and unforgettable persona.
The Hip Hop Museum Tour is making stops across the country, bringing these treasures to fans and enthusiasts in various cities. Upcoming tour dates include:
Atlanta on October 21st Houston on November 4th Los Angeles on November 11th Charlotte on November 18th Miami from December 5th to December 9th
You’re in a circle, running around and bumping into people with the beat of hardcore bass and percussion surrounding you, syncing with the beat of your heart. You feel a sense of violence, and yet safety. All your pent-up rage from yesterday begins to pour out; you feel yourself forget arguments you had with your coworkers, or the piles of homework on your desk. You let yourself enjoy the music for a couple of hours with strangers that somehow– in a few hours– became family.
Moshing, where people in the crowd of a concert run and slam into each other in beat with the music, has been around since the early 80s– but its origins can be traced back to Skanking in the late ’50s and ’60s. Originally called “mashing” in fanzines, it was still pronounced “moshing,” and ultimately stayed that way. There is no definitive origin to the term, or credit for its invention. These mosh pits started at high energy punk concerts. The anarchic nature surrounding the music made the fans need to release their energy somehow– thus, moshing came into the spotlight.
But, you can’t talk about moshing without mentioning the history of punk rock; moshing wouldn’t exist without it.
Punk rock is defined by its unique sound, fashion, and behavior. Typical punk rock is made up of fast tempos, nasal or shouted vocals, black clothing with shocking colorful and spiky hair, with an anti-establishment “stick-it-to-the-man” attitude.
Punk rock has roots in garage rock way back in the ‘60s, preceding the hippie era, and as a movement to rebel against the change in rock n’ roll– how it became more “commercial” and “bloated.” It was the beginnings of other musical genres such as hardcore punk, pop punk, and even Christian punk. But they ALL started as punk rock.
Punk rock was picked up quickly by fans but also musicians because of the overall anarchical vibe: it disregarded musical and social rules, leaving a great deal of freedom for experimentation on numerous fronts.
While it’s hard to pinpoint exactly where punk rock began, there are bands that are absolutely monumental in the punk rock origins, such as The Stooges (or Iggie and the Stooges), MC5, The Velvet Underground, and The Sex Pistols.
The band that is best known as the creator of punk rock is The Stooges– where, in Detroit on Halloween night 1967, Iggy Pop performed what would become common punk behavior. In fact, some fans thought he was possessed– likely because he cut himself with glass, flashed the crowd, and even smeared his chest with hamburger meat and peanut butter. Iggy is also credited with integrating stage diving into hardcore concerts, which later spread to all types of music. But, while The Stooges are credited in the early beginnings of punk rock, they did not have all the requirements to be a punk rock band– sound, fashion, and behavior. Regardless, their actions on that Halloween night started a movement that influenced numerous bands, and also had parents thinking their children were devout Satan worshippers.
MC5 on ‘Kick Out The Jams’: “We weren’t on a meth power trip… just a power trip” – UNCUT
When people think of punk rock, if they don’t think of The Stooges, they think of MC5. They started playing together in Lincoln Park, and were automatically put into the “garage rock” category. However, due to their eclectic performances, they stood out to people as being something entirely different and new.
Shunned in the ’60s for their avant-garde, shocking rock, The Velvet Underground were more important to music’s future than the Fab Four, argues Greg Kot – BBC
The Velvet Underground then took up NYC with their bold and experimental sound in the early ‘70s– “experimental” because many people said their music bordered on noise.
Glam Rock also had immense influence over the punk rock genre, such as David Bowie and the New York Dolls. This genre contributed greatly to the aesthetic and lifestyle of artists in punk rock, such as dressing outrageously, living extravagantly, and producing loud, trashy rock.
The first concrete punk rock scene– where it was purposeful and not accidental– was in the mid ‘70s with The Ramones, Wayne Country, Johnny Thunders and the Heartbreakers, as well as Blondie and the Talking Heads, all playing at CBGB.
But punk is not all-american. There were big influences in the UK as well from The Strand, formed in 1972, later renamed to the Sex Pistols in 1975 with the arrival of John Lydon. The Sex Pistols are credited with kicking off the punk movement in the UK.
The Sex Pistols’ lone album reached number one in the UK charts, and was known as one of the most censored records in history, due to the song “God Save The Queen” – many calling it “treason.” While this would be devastating for most bands, it actually worked precisely the way they had hoped, as the negative press that they accumulated worked in their favor to sharpen their anti-establishment lyrics and attitude.
The Sex Pistols’ God Save the Queen storm: ‘We declared war on England without meaning to’ – The Telegraph
In the late ‘70s, punk rock emerged as a solid musical force, and split into many genres including horror punk, hardcore punk, pop punk, psychobilly punk, Christian punk, Celtic punk, cowpunk, death rock, emo, gypsy punk, hardcore, street punk, and many more.
Boston Concussion Victim Speaks Out Against City’s Moshing Ban – exclaim
Moshing typically emerges in a crowd during punk rock concerts, as well as metal and hardrock. With all the energy that builds up at concerts such as these, everyone needs an outlet to let out their energy in a (mostly) safe manner. Pits form where people slam into each other, on beat with the music, while also dancing and singing/screaming.
The first mosh pits formed in the early ‘80s hardcore punk rock scene, and more followed in hardrock and metal scenes. They later spread to grunge and rock concerts, and in recent years, they even started in hip hop and rap.
Moshing actually took a while to become what it is today. It can be traced back to skanking, created by the Rude Boys of Ska and Reggae music in the late ‘50s and ‘60s.
After skanking came the Pogo, invented by punks in the ‘70s in the UK. This dance is where fans jump up and down, and lightly bump into each other. It likely started at a Sex Pistols concert, where no one could see the band, so they started jumping up and down to see the Sex Pistols– then everyone started doing it, and the short-lived Pogo was born.
After all of this, moshing finally came to life. Originally “mashing,” it’s when people start getting “mashed together” as they jump and move all over in a pit.
There are two types of moshing, starting with the well-known circle pit, where people run along the edge, leaving the middle open. In fact, this is seen as a tame version, as the other type of moshing is called The Wall of Death– where two groups line up and slam into each other. More brutal than the circle pit, The Wall of Death dates back to the ‘80s pun scene, emerging as a variant of the circle pit, said to be invented by the American hardcore punk band Sick of it All– but like punk rock itself, the origin is debated.
When you see moshing, whether on a video or in-person– though it’s SURREAL to see in real life– you may think “that looks really scary and dangerous.” And if moshing is done wrong, yes, it can be. The ideal mosh pit is safe and welcoming, with people helping each other up when they fall, and being aware of who is in the ring and who isn’t.
This writer’s experience with moshing thus far has been a good one. At The Interrupter’s Concert at the Stone Pony in Jersey, I stayed on the outskirts and kept people in, or helped them when they wanted to get out. If anyone had accidentally hit me, they apologized immediately. Memorably, a big, burly dude dressed in black from head-to-toe stepped in front of me to make sure no one knocked me down. Everyone dressed like they could kill, but everyone made me feel welcomed and safe.
Astroworld tragedy renews debate on the safety of mosh pits – The Tribune
More recently, there was a devastating Travis Scott Astroland festival, where 10 fans died with hundreds injured in 2021– and Travis Scott didn’t stop the concert. Victims were pinned against barriers, and unconscious fans were crowd-surfed out of the mosh pit and dumped into the sea of bodies waiting for the rapper to start performing, ultimately resulting in numerous deaths and injuries. The official cause of death for some of these fans was compression asphyxia, which an expert likened “to being crushed by a car.”
While this writer still enjoys moshing, it must be done safely in order to continue to be fun. At any given show, there may be people who don’t trust the crowd enough to join in– which should be respected. That being said, for those who do engage in mosh pits, there are some guidelines that emerged because of the potential dangers from moshing that everyone must follow in order to have a safe environment, and keep moshing from being banned completely.
No karate in the pit.
Never try to hurt anyone intentionally.
Offer help if necessary.
Be aware of everyone else. Pick people up when they fall. Tell everyone to stop if it gets messy, and similarly, if told to stop, listen.
Don’t wear accessories that could hurt anyone.
Those spiky bracelets are cool, but if they can hurt you, they can hurt others. Leave them behind if they’re too spiky.
Don’t bring loose items into the pit.
Don’t bring anything with you that can fall down and be stomped on. If you find anything on the ground, let everyone know.
Respect the borders.
If they’re not in the pit, they are not involved. Leave them alone and respect the pit’s boundaries and their boundaries.
29 Wholesome Pics and Memes Filled With the Feels – eBaum’s World
Punk rock started a new era of music, birthing numerous subgenres that wouldn’t exist without punk. While punk rock scared parents, it gave teens and young adults an outlet to release their rage in a mosh pit. But don’t let the aesthetic confuse you: the goal of punk rock and moshing is never to hurt anybody, but to allow yourself to let go of your everyday worries, and enjoy the trashy music and outrageous clothing.
Albany by way of Altamont prog-rockers Timbre Coup released a new single, “Firestorm,” on September 21, coming two years after the release of Sudden Urge.
Timbre Coup – Andrew Chamberlaine (guitar), Ben Pickering (bass), Dan Gerken (guitar/vocals), Matt Pickering (drums) – grew from the Capital District music scene in 2007, moving on to play hundred of shows alongside bands including The New Deal, Dopapod, Papadosio, Pigeons Playing Ping Pong, and Consider the Source, in additional performing at Camp Bisco, Catskill Chill, moe.down, The Big Up, Mountain Jam, Wormtown and Strangecreek, among others.
Following a hiatus from 2014-18, which saw the band perforing in projects including Mister F and Lord Electro, Timbre Coup began playing and preparing for live shows again, making their triumphant return to a near sold out crowd on March 2, 2019 at The Hollow. Check out the live album from their return show on Bandcamp.
In 2020 the band would go on to record and later release in 2021 their fourth original album, Sudden Urge, a collection of previously unrecorded songs, both old and new.
Timbre Coup performing at Lark Hall – photo by Zak Radick
Singer and lyricist Dan Gerken shares this on the new track:
Firestorm was written in summer/fall of 2022 and consists of a guitar harmony driven theme throughout. The harmonies range from beautiful mixolydian keys to a more minor approach as the song wears on, telling a weaving story of heartache many people can relate to. The lyrics are meant to uplift. The song is a reminder to not be so dependent on a lover or a partner, but each has to stand alone in greatness to magnify the results of the partnership.
“Firestorm” is the latest from Timbre Coup and is part of a new recording and writing goal for the band as they embark on their fifth studio album this coming winter and spring. The band records at Gerken’s studio just outside of Albany, giving the group a great deal of freedom and flexibility in the recording and writing process. With raw ideas aplenty, the band looks to the structure and writing styles for each song as they press ahead.
We have another completed song we are going to finish and release hopefully by the end of the year, and then we get to really start grinding on some new and old ideas in the practice space and the studio to get the desired amount of material for a release.
Dan Gerken, guitar/vocals, Timbre Coup
Timbre Coup brings a little something for everyone in the live setting as well, giving the group room to improvise upon their dynamic compositions, sing both melodic and haunting vocals, all with slick chops from all members, entertaining any crowd with fervor.
There was a place where the water didn’t flow There was a place All that matters is what you hold In spite of it all it’s a hopeless mess for some there was a place I’d like to run
I saw that she left me for dead and I was freaking out I knew I should’ve left her instead But now I’m bleeding out
Description for some Definition for all I don’t want to see you dropping the ball So carry that weight a burden reaffirmed and begin to use all that you’ve learned
“Firestorm” from Timbre Coup was released on all platforms in Septmeber 2023.
The Tea Party, a Canadian rock band formed in 1996 in Windsor, Ontario, Canada started their fall 2023 tour in Buffalo on Oct 13, to a sold-out crowd at the famous Town Ballroom.
The evening began with an intimate VIP acoustic set from the band to a crowd of steadfast fans on the Oxford Pennant stage of the Town Ballroom. This smaller stage worked well for this intimate VIP crowd of around seventy people. A handful of stories from the road along with the songs played made the moment quite special.
The opening act, Human Kebab, a Canadian DJ from Stouffville, Ontario, Canada began the night in the main ballroom in support of The Tea Party by spinning and mixing many genres of high-energy music, including, but not limited to Hip-Hop, Rock, Alternative, Electronic and more.
For the main event, fans of The Tea Party lined up early for night one of this two-night run at the Ballroom as to make sure to get a great spot as close to the stage as possible for what would be an evening they would not soon forget.
As the house lights went down and the walk-on music started, the sold-out crowd erupted with cheers and applause. The energy was high from the beginning all the way to the end of the show with everyone in attendance hanging on to every word sung, and every note played throughout the night.
Setlist: The River, the Bazaar, Psychopomp, Fire in the Head, The Messenger, Black River, Heaven, Save Me, Release, Temptation Encore: Sister Awake
Disco Biscuits have a long history of music festivals in New York State, their own Camp Bisco, as well as numerous performances at festivals of all sizes around the state. For the first time since 2013, a new, intentionally more intimate festival, BISCOLand, was conceived and held in Lafayette at Wonderland Forest over October 6-7.
photo by Tara Gracer
Joining Disco Biscuits were a pair of bands that appeared on earlier Camp Bisco lineups – Lotus and Emancipator, and newcomers to the Bisco fold – Opiou, The Floozies, Eggy and Space Bacon. With classic Camp Bisco lineups featuring up and coming artists as well as staples of the EDM/jamtronica community, the vibe of a stripped down but still well dressed music festival, perfect for an autumn weekend in Central New York.
As for the Disco Biscuits, the jamtronica pioneers took the opportunity to break new ground with some unique musical pairings over the weekend. Biscuits fan Shimmy noted this was the first time the band segued “Confrontation” into “Orch Theme” and followed that up with “And The Ladies Were the Rest of the Night,” the other being December 29, 2014.
Even more notably, the band took the encore on Saturday, October 7 to perform the first ever inverted “Kitchen Mitts,” playing the ending of song first, then the first part. Add to that this inverted “Mitts” appeared inside of a fitting encore appearance of “Home Again” made for an apt coda on the weekend.
Disco Biscuits – BISCOLAND at Wonderland Forest – LaFayette, New York – October 6, 2023
Set 1: Wet, Munchkin Invasion > The Wormhole > Space Train > Cyclone > Nughuffer1 Set 2: Nughuffer 1 > Shocked > To Be Continued > Reactor 2 > M1 > To Be Continued
1 dyslexic 2 inverted
Disco Biscuits – BISCOLAND at Wonderland Forest – LaFayette, New York – October 7, 2023
Set 1: Jam 1 > Bombs > The Deal > Voices Insane 2 > I-Man Set 2: Mindless Dribble 3 > Confrontation 4 > Orch Theme 5 > And the Ladies Were the Rest of the Night 4 > Spacebirdmatingcall Encore: Home Again > Kitchen Mitts 6 7 4 > Home Again
1 w/ ‘Could U Be Loved’ (Bob Marley) teases 2 unfinished 3 w/ Wormhole quotes 4 inverted 5 w/ Crickets tease 6 LTP 2/4/2023 (53 shows) 7 first time inverted
The first episode of Saturday Night Live‘s 49th season aired on October 14, with former cast member Pete Davidson hosting, joined by musical guest and Bronx native, Ice Spice. The show had been on hold due to the recently ended Writers Guild of America strike.
Opening the show with an uncharacteristically serious message, Davidson discussed the events in Israel and Gaza, comparing the recent terrorist attacks to those of 9/11, when Davidson’s father Scott, a firefighter, was killed in the tragic events of that day. It was comedy – Eddie Murphy’s Delirious – that helped Pete deal with the childhood trauma he endured, and with saying that, Davidson shared he would try to be funny this evening.
And try he did, with a few fresh sketches – Wired Autocomplete Interview, Beach Day and Secretary – plus topical sketches including FOX NFL Sunday pregame coverage, where the hosts cannot stop talking about Taylor Swift, regardless of her lack of connection to football.
Davidson didn’t appear as Chad or at the Weekend Update desk as he would while a cast member, instead dialing all his energy into “I’m Just Pete,” a parody of “I’m Just Ken” from this summer’s Barbie movie. Self-deprecating to the core, Pete makes light of himself and criticisms of his character in a poignant and hilarious digital short.
Ice Spice served as musical guest for the first time on Saturday Night Live, having gained a following for her unique voice and style of rapping. This past week, the Bronx-native rapper won big at the 2023 BET Hip-Hop Awards for Best Breakthrough hip-hop artist, and coming up in November, she will open select dates for Doja Cat.
Standing stiffly on the Studio 8H stage, an LED box was created around Ice, with two dancers flanking her with a low LED ceiling and dancefloor, while she sang her hit “In Ha Mood.”
https://www.youtube.com/watch?v=u4t2SKGjkTE
Ice Spice’s second song this evening was introduced surprisingly by Taylor Swift, with her new song “Pretty Girl” on, with Nigerian singer Rema joining her for a duet.
https://www.youtube.com/watch?v=s3FzkxeEACE
SNL returns on October 21 with host and musical guest, Bad Bunny.
On a fall Saturday night in Cohoes, the blues were alive and well at Cohoes Music Hall, with North Mississippi Allstars bringing their patented Hill Country sound to a lively, packed audience that hung on every note.
The power trio of brothers Luther (guitar) and Cody (drums) Dickinson were joined by bassist Berry Oakley Jr. this evening. Dickinson’s hypnotic guitar sound was on display this evening, particularly on “Outside,” off Set Sail, and featuring Lamar Williams Jr. on the studio version. A pair of songs with Cody Dickinson on vocals – “Let Me In” and “KC Jones” peppered the first set, ending with the 1969 R.L. Burnside classic “Po Black Maddie” that the Allstars have brought to a new generation with their amped up version.
Set 2 began with a double dose of southern rock, as the Hernando, Mississippi trio performed a 17 minute version of Allman Brothers Band‘s “In Memory of Elizabeth Reed.” You’ll want to watch this one:
The rest of the set featured classic NMAS songs “Goin Down South” and “All Night Long,” the latter sung by Cody Dickinson who took over guitar duties while Luther switched to bass and Berry hopped on the kit, followed by Cody taking an extended drum solo under a purple hue.
There was nary a flaw in the show this evening, the band members dialed in and playing songs from across their extensive catalog. They’ll be back next year, if not sooner, with an audience that continues to fill in to hear this wonderful Mississippi Hill Country sound.
North Mississippi Allstars – Cohoes Music Hall, Cohoes, NY – Saturday, October 14
Set 1: Up and Rolling, Shake (Yo Mama), Mean Ol’ Wind Died Down, Let Me In, Outside, Ship, Meet Me in the City, K.C. Jones, Po Black Maddie Set 2: In Memory of Elizabeth Reed, Goin Down South, Rabbit Foot, Mississippi Bollweevil, Otha’s Bye Bye Baby, Bumpin’, All Night Long > drum solo, Shame Em on Down, Mean Old World Encore: Didn’t We Have a Time (Luther solo)
In 1972, City Lights Books published The Fall of America: Poems of The States 1965 – 1971, a searing collection of poetry about the turbulent state of the nation from Allen Ginsberg. It was simply some of the best work ever committed to page by the man who kicked off the Beat Revolution with his epic 1956 poem “Howl,” a collection that would go on to be rightfully honored with the National Book Award for Poetry.
This assemblage included Ginsberg’s condemnation of America’s actions in Vietnam, along with commentary about the moon landing, the 1968 Democratic National Convention, the trials of Black Panther Bobby Seale and The Manson Family, the death of Che Guevara and more personal events such as the passing of Ginsberg’s friend and former lover, Neal Cassady. Many of the poems were initially composed on an Uher Tape recorder purchased by Ginsberg with the help of Bob Dylan.
Now some of the world’s most creative musicians and sound artists have come together to add a sonic sheen to these works in The Fall of America Volume II (Allen Ginsberg Recordings). This astounding musical tribute to Ginsberg benefits a most worthy not-for-profit Pen America, an organization that has protected the rights of writers and free speech here and abroad since its founding in 1922. The album, a digital, CD and vinyl release, features performances by Ai Weiwei, Philip Glass, Anne Waldman, Thurston Moore With Saul Williams, Devendra Banhart, Miho Hatori, Jack Dangers, Yoni Wolf, Fennesz & Taylor Deupree, Stephen Hillage & Miquette Giraudy, Kai Campos & CJ Mirra, DJ Spooky / Aka That Subliminal Kid Feat Antoine Drye, and more.
The work on Cassady, “Cremation Piece – On Neal’s Ashes,” is my favorite. The NYC poet and artist No Land joins forces with street poet/noise guitarist Oliver Ray, a former Patti Smith collaborator, to conjure a landscape of electronics and strings that weaves around the recitations by Ginsberg and the cross-talking of the poetess. British DJ and electronic musician Jack Dangers of Meat Beat Manifesto manifests a similar vibe for Ginsburg’s ruminations on gods and spirituality in “Holy Ghost on the Nod Over the Body of Bliss.” It is Indonesian Gamelan meets Indian tablas meets old European string quartet on a Martian soundscape dressing the poet’s riffs on Kali, Krishna and “Zeus riding a reindeer.” The band WHY? brings an ultra-slow groove to their treatment of “Death on All Fronts.” It, and the similarly bouncy “Bixby Canyon,” are perhaps the most commercial entries on this experimental album, a slow dance sway to lyrics that capture Hallmark moments like “poison rats in the chicken house.”
Another worthy track is “Pentagon Exorcism.” Here the great NYC poet Anne Waldman recites Ginsberg’s anti defense industrial complex piece against a backdrop that marries hip hop beats and Art Ensemble of Chicago muted trumpet jazz, something that goes well with the poet’s bebop-inspired word play. Dave Harrington joins up with multi-instrumentalist Will Epstein for “Pertussin.” It’s another slow and dreamy outing with lots of texture and instrumental crunch that brings to mind another musician who I wish had a go at a collaboration here, ECM Records’ guitarist Steve Tibbetts. System 7, a collaboration of GONG’s guitarist Steve Hillage and keyboardist Miquette Giraudy, adds tasty and spacey treatments to “Sonora Desert Edge (The Abyss). It’s an ideal spin for your next rave – all synth washes, echoes and periodic dance beats – a sound visioning of the colors, vegetation and animals of the desert. Only regret here is that Hillage doesn’t inject the king of fleet-fingered, melodic guitaring that has been a signature of his earlier band and solo releases.
There are a couple of misses here too. This list is led by Thurston Moore’s mercifully brief (:55!) “A Prophecy,” a tuneless strum (or loop) that goes nowhere fast. Also work worthy of hitting the skip for is the album opener, “Hum Bom!” In this, the great poet serves up a non-sensical word salad, one unfortunately read by the brave Chinese artist and activist Ai Weiwei, to very bad (ironic?) synth that sounds like the theme for a Grade-D James Bond movie knockoff. But thanks to Philip Glass, the album closes on a high point with “Have You Seen This Movie?” It’s a nine-plus minute epic rant from Ginsberg set to a slowly building heavenly solo piano, one that brings to mind the work of Cal Cobbs on Albert Ayler’s live recording of “Angels.”
I have always been a fan of the marriage of poetry and music, as heard in the works of John Cooper Clarke, Jack Kerouac, William Burroughs and Material and one of my own humble projects, Vapor Vespers, with Alaskan poet Mark Muro. I also love that this benefits Pen America. Pen is a group I had the pleasure of working with in my former life as a PR executive, through which I met many of the brave writers and artists it honored like Salman Rushdie, Pussy Riot and the editors of Charlie Hebdo.
While you can stream this on Spotify, why not pony up and get the vinyl with the killer bonus track by the always excellent DJ Spooky? It’s a purchase that will not only delight your ears, mind and soul. It is something that will support free speech and the many journalists, authors and artists around the world who are endangered and jailed for simply seeking to disseminate truth and facts.
Digital Track Listing:
Ai Weiwei with O Future & Aliah Rosenthal – Hum Bom!
Anne Waldman and Fast Speaking Music – Pentagon Exorcism
Thurston Moore feat. Saul Williams – A Prophecy
Kai Campos and CJ Mirra – Bixby Canyon
Devendra Banhart – Dear Queer Bar
Jack Dangers – Holy Ghost on the Nod Over the Body of Bliss
System 7 – Sonora Desert Edge (The Abyss)
WHY? – Death on All Fronts
Seb Taylor – Over Denver Again
Fennesz & Taylor Deupree – Guru
Ashes (Bill Laswell, Eraldo Bernocchi & Reeno) – September on Jessore Road
Oliver Ray and No Land – Cremation Piece (On Neal’s Ashes)
Brooklyn-based salamander has announced their forthcoming debut LP, [container],set for release on October 18, but keeps their fans occupied with their newest single, “the label.”
salamander, currently made up of Leo Frampton, PJ Hunter, and Ben Verde (percussion), began when songwriters PJ Hunter and Leo Frampton decided to play a last-minute experimental pop show during the last week of their spring semester SUNY Purchase in 2019. The show included a flute, a loop pedal, pre-set casio beats, heavy distortion, and, under all of it, melodies. In the winter of 2021, drummer Ben Verde joined the group, solidifying the three-piece setup of the current-day band. salamander’s songwriting process is fluid and highly collaborative, with contributions coming from multiple, sometimes all, members of the band.
While some songs, such as “wildfire” and “xylem,” have lyrics and chords written mostly by one of the band members of salamander (the former PJ and the latter Leo), other songs such as “ride” and “” were written in full collaboration. Leo and Ben currently live in Brooklyn, and PJ lives in upstate New York near New Paltz.
Following the previous release of the record’s first few singles, among them “xylem,” “wildfire,” as well as “ride,” salamander returns with its newest cut, “the label.” With a distorted yet melodic bite, the track propels forward with sludgy verses and a guitar-driven backbone.
“I woke up one morning with the melody to the label in my head, and immediately made a guitar demo on my computer. PJ’s ableton beat on this really gives me chills. I have a verse about loneliness and alienation, PJ later sings about surviving the apocalypse, and in an emotional ending, we bring it all together. ‘the label’ is what people see from the outside, it is what they choose to look at or away from.”
Leo Frampton
The intro of “label” opens with a cool syncopation between the percussion and backup vocals. About 20 seconds in, the lead vocals begin– raspy and supported by melodic harmonies that calmly fade into the background. The middle portion of this song is especially captivating due to an encapsulating electric guitar solo backed with some percussion and synths.
Israeli-American rapper Kosha Dillz has released a new song, “Bring The Family Home,” written following the news of Hamas’ recent attack on Israel. The song came alongside a video shot in Manhattan’s Lower East Side, featuring the famous Yonah Schimmel’s Knishery and the new Beastie Boys Square.
Kosha Dillz, also known as Rami Even-Esh, was born to Israeli parents, and has been an outspoken advocate against anti-semitism in the US. After hearing the news of his friends and relatives experiencing the recent violence in Israel, Dillz felt called to speak out against the violence as an Israeli-American.
“Bring The Family Home” is an honest reflection of Dillz’ experience with antisemitism and his family experiences as an Israeli-American. A native of New Jersey, he spoke out against Kanye West’s antisemitic comments, and continues to be a voice for his community advocating for peace. Kosha Dillz has made a successful career touring with artists such as SZA and Matisyahu.
The music video for “Bring The Family Home” released on October 12, featuring Kosha Dillz in Manhattan’s Lower East Side. The video shows the famous Yonah Schimmel’s Knishery and the new Beastie Boys Square, as Dillz speaks out against antisemitism, calling for peace.