DJ Muggs, the legendary producer known for his groundbreaking work with Cypress Hill and countless other hip-hop luminaries, is back with a vengeance. On August 25th, he dropped Soul Assassins 3: Death Valley, an album that oozes gritty beats and showcases his production prowess. But that’s not all; it’s accompanied by an upcoming short movie directed by Jason Goldwatch, adding an extra layer of intrigue to this already captivating project.
First things first, the album itself is a masterclass in production. DJ Muggs has assembled a roster of rap heavyweights to spit fire over his beats, and the result is nothing short of spectacular. “It’s On” featuring Boldy James sets the stage with its ominous vibes. “Check In (Original Version)” with Jay Worthy offers a gritty original flavor, while “Sicilian Gold” featuring Ghostface Killah and Westside Gunn is a lyrical showcase over Muggs’ haunting beat. “67 Keys” featuring Roc Marciano, Rome Streetz, and Meyhem Lauren delves into the underground hip-hop scene with finesse, and “Mr. Cartoon Interlude” adds an artistic touch.
“Burn The Playbook” featuring Evidence and Domo Genesis showcases sharp verses over Muggs’ hypnotic production. “Crazy Horse” featuring Roc Marciano and Crimeapple continues the underground exploration, and “Metropolis” featuring Method Man and Slick Rick combines veteran talent for a standout track. “We Coming For The Safe” featuring Boldy James keeps the intensity high, and “Skeleton Bones” featuring Rome Streetz brings it back to the gritty underground.
The album’s energy intensifies with “Dump On Em” featuring B-Real, MC Ren, and Ice Cube, and it all comes to a captivating close with “Outro,” leaving listeners eager to hit replay on this unrelenting sonic journe
Moreover, the cinematic experience associated with this album adds a whole new layer of excitement. The short movie directed by Jason Goldwatch, set to release on September 13th, promises to be an audio-visual journey that complements the music’s dark and mysterious vibes. You can catch a glimpse of what’s in store by watching the movie trailer below.
As if all of this weren’t enough, an exclusive movie premiere took place at SoHo House in NYC on August 30th, giving fans an early taste of the visual storytelling that accompanies Soul Assassins 3: Death Valley. The premiere was made even more special with a Q&A session featuring DJ Muggs and Jason Goldwatch allowing fans to gain insight into the creative process behind this groundbreaking project.
In conclusion, DJ Muggs has once again proven why he’s a force to be reckoned with in the hip-hop world. Soul Assassins 3: Death Valley is an auditory and soon-to-be-visual masterpiece that deserves a place in the collections of hip-hop aficionados everywhere. From the star-studded tracklist to the imminent short movie, this project is a testament to Muggs’ enduring talent and creativity. Don’t sleep on it.
On the picturesque summer night of August 31st, Quinn XCII (pronounced Quinn ninety-two) shifted the EDM narrative of Brooklyn Mirage to experimental hip-hop pop. While the Mirage wouldn’t be the typical host for Quinn’s self-established genre of music, the wrap-around screens and pristine sound system served his performance well. Michael Temrowski, stage name Quinn XCII, has been making music since 2011 when he was a student at Michigan State. From college house parties to venues like Red Rocks and the Brooklyn Mirage, Quinn XCII has established a loyal fanbase.
Openers Stay Over and Skizzy Mars, a New York City native, revved up the crowd. It seemed that Quinn wanted to uphold the experimental artists, to pay tribute to their creativity and brave approach to navigating the music industry. Stay Over put on a show blended with rock and hip-hop, two very loud and vocal genres. Skizzy Mars also dabbled in hip-hop with a more indie flair. Both of their sounds were celebrated by the audience.
Photograph by Shauna Hilferty
When 10:30 PM rolled around, the lights dimmed and the bass amplified. As soon as Quinn XCII stepped foot on stage, confetti cannons showered the fans in an endless spill of rainbows. People cheered and through their hands up, letting the paper wash over their faces. His most recent hit single, “Georgia Peach,” got the crowd grooving.
The setlist was a culmination of old and new music, sort of a “best of Quinn XCII” kind of performance. The audience welcomed each phase on stage with nostalgia induced excitement. Songs dating back to 2015 got the audience just as loud as his latest releases. As notes from the past wove through his set, Quinn’s personal sound was never lost. From “Kings Of Summer” by aokay featuring Quinn XCII to “The Lows,” featuring Big Sean, his reggae influenced and rap driven style remained.
Before his song, “My Wife & 2 Dogs,” Quinn stopped the show to give respect to his beloved french bulldog, Nelson, who had to be put to rest that day. Emotions were heavy on stage and respected in the audience. Each word to the song was sung from Quinn’s heart and from the chest of everyone in the audience. Behind him on stage, was a video montage of Nelson and his other pup.
Photograph by Shauna Hilferty
For one of Quinn’s newer releases, “The Lows,” New York City artist Blu DeTiger joined him on stage to play bass. With her blue sparkly bass guitar, mini-skirt, and stomper boots, Blu added a whole other energy to the song. She tossed her lengthy blonde hair back as she headbanged to Quinn’s catchy beat. The crowd received her rock addition with vim.
Quinn XCII has been around for a lot of listeners since their grade school days. To grow up with an artist is a very intimate experience. To listen to Quinn as an adult is like getting a second chance at growing up again in your twenties. His music normalizes the wide spectrum of human emotions felt while in serious relationships, during inevitable change and stagnancy, and even while getting high in the back of your high school girlfriend’s car. The show at Brooklyn Mirage was a celebration of being alive and figuring it out.
Photograph by Shauna Hilferty
As the show came to a close, the audience chanted for an encore before Quinn was able to leave the stage. He exited the stage, but the lights darkened to a deep blue. Before everyone knew it, Quinn was back singing his first encore song, “Always Been You.” The next song, “Another Day In Paradise,” was another crowd favorite from one of Quinn’s most esteemed records, “Change Of Scenery.” Before he started to sing, he spoke sentimentally to the crowd about being present: “The good shit, the bad shit – nothing is permanent, let it pass…”
Photograph by Shauna Hilferty
Quinn XCII wrapped his show with one of his youngest songs, “Candle.” His original fans bounced on their feet and swayed their arms the entire song, almost as a wave goodbye. The confetti went off once more before the show wrapped. Quinn XCII at the mirage was the perfect summer send off. As the confetti settled and Quinn and his band took a bow, the night ended on a good note.
GWAR have released a 10th Anniversary Edition of Battle Maximus. fully remixed and remastered, this edition features the final recorded vocal performance of Oderus Urungus on the previously unreleased and never-before heard song “Tammy, The Swine Queen.”
10 years have passed since the release of GWAR’s masterwork known as Battle Maximus, which served as a tribute to fallen Scumdog Warrior Flattus Maximus (AKA Corey Smoot) and was also the last album recorded with vocalist Oderus Urungus (AKA Dave Brockie) before he departed the planet Earth in 2014.
“Musically, ‘Battle Maximus’ is a great debut work by Pustulus Maximus, and lyrically, it is the final word of lead singer and band founder Oderus Urungus, The record is run through with the desperate, dangerous, and fully bananas imagination of Oderus. In fact, this re-release includes a song so nutty we named it twice, and then promptly forgot to put it on the record the first time around. ‘Tammy, Queen of Dirt,’ or, ‘Tammy the Swine Queen’ is the final performance of the maestro of mayhem, Oderus Urungus, and for our fans, it does not disappoint,”
Blothar the Berserker
This Fall, GWAR declares war on humanity (again) on their upcoming “Age of Imbeciles” Tour. The infamous Lords and Masters of Shock Rock will return to the road wreaking havoc, and laying waste to audiences across the US and Canada this Fall. Shows in New York include at the Palladium Times Square and The Rapids Theatre in Niagara Falls.
The tour features support from Negative Approach, X-Cops and Cancer Christ on select dates. A complete list of dates can be found below.
Rod Stewart brought the house down at Fallsview Casino in Niagara Falls, Canada on Saturday September 2nd. A concert that was a whirlwind of musical hits, wardrobe changes, and a crowd with an average age of about 65 years old.
Stewart, the legendary British rock star, dazzled the audience with his timeless charisma and signature raspy vocals. He kicked off the night with a bang, opening with the Robert Palmer classic “Addicted to Love.” The audience, a sea of silver hair and nostalgic smiles, was immediately transported back to the heyday of rock and roll.
One of the standout features of the evening was Stewart’s numerous wardrobe changes. From sharp suits to flamboyant outfits, he brought a sense of style and showmanship that has defined his career. Each costume change was met with applause and anticipation, adding an extra layer of excitement to the show.
The setlist was a journey through musical history, with Rod Stewart effortlessly covering a wide range of classic songs. From “You Wear It Well” to “Infatuation” and “Young Turks,” he showcased his versatility as an artist and a performer. The crowd couldn’t get enough, singing along to every word.
Stewart paid homage to some of the greats with his selection of cover songs, including Creedence Clearwater Revival’s “Have You Ever Seen the Rain?” and Cat Stevens‘ “The First Cut Is the Deepest.” These renditions were met with a nostalgic appreciation from the audience, who knew every lyric by heart.
As the night continued, hits like “Maggie May” and “Tonight’s the Night (Gonna Be Alright)” had the entire casino venue swaying and singing along. Stewart’s powerful stage presence and undeniable charm kept the energy levels soaring throughout the concert.
The encore was a fitting conclusion to the night, featuring the Faces classic “Stay With Me.” The crowd roared with approval, and it was clear that Rod Stewart’s music still held a special place in their hearts.
In a night filled with unforgettable moments, Rod Stewart’s performance at Fallsview Casino was a testament to his enduring talent and the timelessness of his music. It was a concert that transcended generations, reminding us all why he is considered one of the greatest rock icons of all time.
A person can be defined by the types of questions they ask. An artist can be defined by the amount of times you have to rewind their song. Therefore, true artists like Che Noir do all that they can to discover information before asking for a helping hand. That way, they ensure that their question and respective response is worthwhile.
We’re not quite sure where Buffalo keeps plucking these different heavy hitter spitters from. Seemingly, everyone who receives a coveted placement on a Griselda Records-affiliated track deserves a rewind. Nevertheless, the difference between these Buffalo Kids and the rest of the hip-hop world involves their craftsmanship, sharp wit and humility.
Many Pieces Comprise an Empire
Every individual incorporated within the Griselda Records multiplex releases tunes through layered release patterns. The content receives clean fine-tuning, polishing, packaging and promotion.
Furthermore, it is downright magnificent to witness these artists couple words, schemes and multisyllabic patterns then just sit back, display humility and even raw shyness in their body language.
Che Noir’s mother shared wisdom with her at a very impressionable age. As time passed, these worldly gems began to stick to her ribs and the craft-sharpening accelerated. One of her first sold-out show checks went directly into studio equipment. As she continued to elevate, this buttery-smooth lyricist realized that the work she put in on her own could finally mesh with some legitimate colleagues.
A trend that we continue to hear about deals with the increasingly timid nature of individuals. Che Noir admitted herself that she had to shake the shyness off and pump her own brand heavily. Conquering interviews, freestyles, podcasts and most importantly booth work separates this quiet one who lets the bars holler loudest.
Certainly, everyone in the session believes in themselves but after these artists finish freestyling it is difficult for the audience to comprehend exactly what just took place. Che Noir’s music really drives home the intensity of her chosen sonics.
Run It Back & Rewind
Che Noir shatters any verse as the most interwoven Shea Butter Queen and a true testament to Buffalo legend DJ Shay. DJ Shay was one of the few engineers who refused to let emcee Che punch in. A lot of times artists will only rap up until a certain point – take a break – then punch in when they’re ready to rhyme again.
DJ Shay from around the way provided some of the fondest recording memories for Che Noir and several Buffalo members of the Griselda camp. His presence and ability to instill work ethic, confidence and skills specific to an artist speak volumes. Much of the reason why Che has great breath control, transitions and poised punchline timing can be attributed to DJ Shay.
“Humans are judged by their outcomes. The results determine the future. Low key it ain’t no such thing as the end, the end is just a new start. You start how you finish.”
AA Rashid
The most intriguing facet of Griselda and Che Noir in unison stems from their copious focus upon the artwork. Music is meant to elicit so many emotions, notably it is supposed to be timeless.
Medieval Hustle
The artwork for Che Noir’s project “The Thrill of the Hunt” series gives medieval behemoth vibes. It exists within the realm of David & Goliath or Attilla the Hun. She actually built the entire project around the artwork from top down.
The wordplay drives the art which extends the marketing as it all operates in a cyclical nature. Che is not selling her body or her image rather she is selling an experience gleaned from carefully-sculpted verses and evocative cover artwork.
Many people just want to release content as soon as it reaches finalization. Going through the process makes one realize full potential can be reached through patience and steady momentum.
Che Noir’s work with 38 Spesh has put her in a sweet spot where she doesn’t need to drop as soon as she records. Rather, she fits right into the circumstance where art and poetic movements lead to immaculate timing and wondrous works of discography.
Punchline Exploration
“Its all about your body language and learn to spell your ABCs.” –Che Noir
This simplistic line builds up a stellar stanza. Are you sturdy enough? Do you personify greatness? Are you outwardly social enough?
“Not equivalent to these ******* not bout they benjamins get my dividends up.” -Che Noir
This line isn’t particularly witty or clever. Its noteworthiness comes from the way she delivers it with a Big-Pun-Little-Italy-type syllabic combination.
“Never kept they word they expose themselves by their memory.” –Che Noir
This line symbolizes nostalgia and perspective. It can be interpreted in so many different ways. We took it as a nod to the notion that memories are the longest lasting moments in your own mind. People come and go, this pen will live forever.
“We playing chess it’s hard to move til you find a Queen.” -Che Noir
If this isn’t the most pure line you will hear..
Looking to be graced by her goodness? Catch Che Noir in Ann Arbor, Michigan on September 24th, 2023, her only announced show at this time.
New York’s goth metal band Nefariant have released their new single “Beg” this August. The first single from their upcoming EP Noct scheduled to release on February 9th, 2024.
The band includes quartet members vocalist Jason Lekberg, pianist Paul Cibrano, bassist Daniel Martinez, and drummer Andrew Maciejewski. They’ve created a new expression of music they call ‘brutal elegance’ that allows metal to work without a guitarist. The band defines their music by using vocals, piano and bass elements to produce an intense and powerful genre of hard metal.
‘Beg’ begins with an instrumental build up that provokes the listeners as Lekberg emits strong and powerful vocals accompanied by the drums. Nefariant once again produces the sound of heavy metal with an array of growled vocals. Thematically darker and deeper with a progressive theme of self-realization and independence.
Nefariant has begun the release process for Noct by releasing one song a month, starting with “Beg”. In addition, the band has announced an upcoming show in Brooklyn on October 21st at The Meadows. Not only did they release just a new single but a music video as well, highlighting how the song adopts strong vocals, drums and invokes an emotional response that connects the fans to the band.
On the threshold of releasing their 12th studio album Relentless (Rhino Records) on September 15, their first in three years, frontwoman Chrissie Hynde and The Pretenders are supplementing their seven summer stadium shows in support of Guns N’ Roses with their own U.S. headlining tour.
The string of special dates – nine in total – are bringing to their fans a rare look at the iconic English-American rockers as they play intimate clubs across America. The trek kicked off at NYC’s Bowery Ballroom on August 16, followed by a second gig in Nashville, TN on August 26. This past Tuesday (August 29), on a humid night in Asbury Park, NJ, it was The Stone Pony’s turn to perform host duties.
Photo: Michael Dinger Photography | Pit Perspectives
The new album’s title, as described by Hynde, refers to “The life of the artist. You never retire. You become relentless.” And relentless she and her crew were as they thrilled the 850-capacity crowd with a 20-song assault that featured deep cuts across the landscape of their 44-year discography. Made famous by their helping hand in launching the careers of local natives Bruce Springsteen and Jon Bon Jovi into superstardom, the seaside bar was filled to the rafters with a healthy contingent of Baby Boomers, hundreds of which were queued along Ocean Avenue more than 2 hours before doors!
Photo: Michael Dinger Photography | Pit Perspectives
Promptly at 8:30 pm, as the entrance aria from the 1875 French opera Carmen played over the house PA, the quartet discretely slipped into the venue from a side door and entered stage right to a raucous ovation. Rocking knee-high leather boots, Levi’s and a black Stony Pony tee over a waffle-knit shirt, Hynde took up her Fender – she would relinquish it only once during the night – and immediately offered up a brand new track (“Losing My Sense of Taste”) for their forthcoming release. Speaking of The Boss, Hynde quipped early in the set, “Bruce, are you hear? I lost your phone number, or I would’ve called.”
Photo: Michael Dinger Photography | Pit PerspectivesPhoto: Michael Dinger Photography | Pit PerspectivesPhoto: Michael Dinger Photography | Pit Perspectives
While playing all their hits in the stadium gigs with Guns N’ Roses – choice numbers the likes of “Don’t Get Me Wrong,” “Back on the Chain Gang,” “I’ll Stand by You,” “Brass in Pocket,” “Middle of the Road” and “Talk of the Town” – tonight’s setlist was tailor-made for all the die-hard Pretenders fans in attendance, the ones who know every album inside and out. For nearly 90-minutes straight, Hynde enchanted her followers while showcasing powerfully distinctive vocals and captivating, emotional depth, making it evident as to why The Pretenders have long since carved their name into the annals of rock history with unwavering authenticity. The only hiccup in an otherwise flawless performance was a false start to the opening verse of “Thumbelina,” a track taken from their third studio album Learning to Crawl (1984).
Photo: Michael Dinger Photography | Pit Perspectives
Injecting a raw, edgy quality into the performance, infused with the unmistakable sound that defines The Pretenders’ signature style, “The Buzz” (Hate for Sale, 2020) was dedicated to the late Johnny Thunders who came to prominence in the early-70s as a member of the New York Dolls and with whom Hynde made a guest appearance on his first solo album. The Pretenders would dedicate another song later in the night, albeit sarcastically to the Sackler family, with their delivery of “Junkie Walk,” another track from Hate for Sale. The epic night of rock and roll concluded with a three song encore featuring the lone cover of the night, “I Go to Sleep,” an homage to The Kinks by Hynde and The Pretenders whose very first single in 1979 was a cover of The Kinks’ “Stop Your Sobbing,” quickly giving the newly founded band critical attention that they would preserve for nearly the next five decades.
Setlist: Losing My Sense of Taste > A Love > Turf Accountant Daddy > The Adultness > Downtown (Akron) > The Buzz > Domestic Silence > Time the Avenger > Biker > Boots of Chinese Plastic > Don’t Cut Your Hair > Gotta Wait > You Can’t Hurt a Fool > Tequila > Thumbelina > Let the Sun Come In > Junkie Walk Encore: I Go to Sleep (The Kinks cover) > Precious > Tattooed Love Boys
UPCOMING TOUR DATES
September 3 – Toronto, Ontario (Rogers Centre)* September 5 – Detroit, MI (Shelter)^ September 7 – Minneapolis, MN (7th St Entry)^ September 9 – St. Louis, MO (Busch Stadium)* September 17 – Leicester, UK (BBC Radio 2 In The Park)◊ September 19 – Paris, France (Maroquinerie)† September 20 – Paris, France (Maroquinerie)† September 21 – Utrecht, Netherlands (Tivoli Vredenburg Ronda)† September 23 – Hamburg, Germany (Reeperbalm Festival)◊ September 25 – Berlin, Germany (Columbia Theatre)† October 1 – Dana Point, CA (Ohana Festival)◊ October 2 – Los Angeles, CA (The Regent Theater)^ October 4 – Pioneertown, CA (Pappy + Harriet’s)^ October 6 – San Francisco, CA (Bimbo’s 365 Club)^
* With Guns N’ Roses ^ Headlining show(U.S.) ◊ Festival appearance † Headlining show(Europe)
New York City is the epicenter of music-making and recording studios in the Empire State, and the Big Apple has over 200 studios spread across the five boroughs. In doing so, New York City surpasses the rest of the state by having the most recording studios in a single region.
Numerous prominent names in the music business have recorded in New York City, including New York natives Jay-Z, Alicia Keys, Lana Del Ray, Christina Aguilera, Lady Gaga, Q-Tip, A Tribe Called Quest, Mariah Carey, and Jennifer Lopez, as well as non-natives like Britney Spears, Beyonce, Destiny’s Child, Kanye West, Rihanna, Whitney Houston, Sia, Taylor Swift, and Gwen Stefani. For the first time, we are doing what no major outlet has done before, listing all the recording studios in New York State and the prominent singers who have made music there.
Radio City Music Hall is one of the top music and entertainment venues in New York State, where several of the industry’s top performers have had shows.
Electric Lady Studios in Greenwich Village has been the go-to studio for several recording artists and originally came to be in 1968 after Jimi Hendrix and his manager Michael Jeffery bought a newly defunct nightclub called The Generation. On August 26, 1970, Hendrix hosted the grand opening of his psychedelic studio lair to fellow musicians and friends. Guests included Steve Winwood, Eric Clapton, Ron Wood, and Patti Smith. Today, Electric Lady Studios is made famous by Jimi Hendrix and classic 70s sessions with The Rolling Stones, Led Zeppelin, Stevie Wonder, David Bowie, and Patti Smith, among others, and maintains its reputation as the most hallowed grounds for recorded music. It is the oldest working and thriving recording studio in New York City.
“I put on my straw hat and walked downtown, but when I got there, I couldn’t bring myself to go in,” recalls Patti Smith in her award-winning memoir, Just Kids. “By chance, Jimi Hendrix came up the stairs and found me sitting there like some hick wallflower and grinned.”
Electric Lady has four studios available for artists’ use, A, B, C, and D.
Studio “A” is home to a fully restored Neve 8078 – a hand-wired analog console that as recently as 2011 absorbed 2500 hours of highly skilled labor, utilizing only the highest-end components. The console was later outfitted with Martin Sound Flying Faders II. The studio’s 35′ x 38′ live room boasts an impressive collection of vintage microphones, instruments, and amps, as well as an almost palpable history. It is Electric Lady’s largest and most versatile space.
Studio A of Electric Lady Studios in New York City.Studio B of Electric Lady Studios in New York City.
For ten years, Studio C has been home to mix engineer Tom Elmhirst. Elmhirst has worked with artists like Adele, Frank Ocean, David Bowie, Amy Winehouse, and more, including 16 Grammy wins. He currently holds the record for most Grammys won by an engineer in a single year. Recent projects at Electric Lady include Adele’s “30,” James Blake’s “Friends That Break Your Heart,” and YEBBA’s “Dawn.”
Tom Elmhirst, mix engineer at Electric Lady Studios in New York City. Studio D at Electric Lady Studios in New York City.
Significant Artists who have recorded at Electric Lady include Beyonce (I am… Sasha Fierce,) Britney Spears (Oops I Did It Again,) Carly Rae Jepsen (Dedicated Side B,) Christina Aguilera (Stripped,) Destiny’s Child (The Writing’s on the Wall,) Gwen Stefani (The Sweet Escape,) J. Cole (For Your Eyez Only,) Kanye West (My Beautiful Dark Twisted Fantasy,) Kid Cudi (Man on the Moon II: The Legend of Mr. Rager and Satellite Flight: The Journey to Mother Moon,) Lady Gaga (Joanne, A Star is Born, and Chromatica,) Lady Gaga and Tony Bennett (Love for Sale,) Lorde, (Melodrama and Solar Power) Lana Del Rey, (Born to Die, Ultraviolence, Honeymoon, Lust for Life, Norman Fucking Rockwell, and Chemtrails over the Country Club)Mariah Carey, (Caution,) Maroon 5, (Red Pill Blues,) Sia, (Music – Songs from and Inspired by the Motion Picture,) and Taylor Swift, (Lover, Folklore, Fearless (Taylor’s version) Red (Taylor’s version) and Midnighs.)
Premier Recording Studio has been graced by musicians such as Beyonce, Ne-Yo, Wiz Khalifa, Aaliyah, Usher, Justin Bieber, and DMX. J. Cole recorded his second studio album, Born Sinner (2013); Nicki Minaj recorded her fourth studio album, Queen (2018); and Travis Scott recorded his debut studio album, Rodeo (2015) at Premier. The facility has four studios at artists’ disposal, A, B, E, and F.
Studio A is made up of a 9′ x 15′ Lounge, an 18′ x 21′ Control Room, a 21′ 24′ Live Room, and a 9′ x 14′ Iso Booth. Studio B is made up of a 15′ x 18′ Lounge, a 20′ x 20′ Control Room, a 9′ x 14′ Iso Booth, and a 20′ x 21′ live room. Studio E comprises a 10 x 13′ Lounge, an 8 x 16′ Iso Booth, and a 16′ x 23′ Control Room. Studio F comprises a 10′ x 13′ Lounge, an 8′ x 13′ Iso Booth, and an 11 x 23 Control Room.
The Control Room in Studio A of Premier Recording Studio in New York City.The Live Room in Studio A of Premier Recording Studio in New York City.The Iso Booth in Studio A of Premier Recording Studios in New York City. The Control Room in Studio B of Premier Recording Studios.The Lounge in Studio B of Premier Recording Studios in New York City.The Iso Booth in Studio B of Premier Recording Studios in New York City. The Control Room in Studio E of Premier Recording Studios in New York City.The Vocal Booth in Studio E of Premier Recording Studio in New York City.The Lounge in Studio E of Premier Recording Studios in New York City.
Random Chance Records in New York City was built by Farida Sheralam, and the studio’s website was created with NationBuilder. Sheralam was working on a book about the life of blues mandolinist James “Yank” Rachell (Blues Mandolin Man, University Press of Mississippi, 2001.) She thought about all of Rachell’s LPs that were out of date by that point, and in the process of obtaining the rights to Rachell’s music, Sheralam inadvertently created a record label. Sheralam obtained a bar code, website, advertising in blues magazines, etc. Then she started getting sent demos from artists, and the rest is history. Since then, Sheralam has kept the label going and has released some really good blues, jazz, Latin, world, and whatever CDs.
The Hit Factory Recording Studio on Broadway in New York City, owned and operated by Troy Germano and also known as Germano Studios, first opened in 1969. In 1975, when Troy was first beginning his career in the music industry, his father, singer, and record producer Ed Germano purchased The Hit Factory, incorporated it into a business, redesigned its studios, and created the logo it uses today, bringing his son along for the journey. Troy experienced the company from the ground up, starting in the tape library and eventually becoming Executive Vice President in 1984. Before opening its current location in the Noho District in 2008 and becoming known as Germano Studios | The Hit Factory, the studio moved around multiple times throughout New York City. Additionally, The Hit Factory has locations in other big cities like Los Angeles and Miami.
The Hit Factory/Germano Studios has produced music for Q-Tip (Amplified) Alicia Keys (Songs in a Mirror, Diary of Alicia Keys, and The Elements of Freedom) Beyonce (Dangerously in Love,) Britney Spears (Britney,) Celine Dion (The Color of My Love, Falling into You, and Let’s Talk About Love,) Christina Aguilera (Stripped,) Coldplay (X&Y,) Destiny’s Child (The Writing’s on the Wall and Survivor,) Jay-Z (The Life and Times of St. Carter,) Mariah Carey (Merry Christmas, and Butterfly,) TLC (Crazysexycool,) Ariana Grande (Sweetener,) Christina Aguilera (Liberation,) Nicki Minaj (Queen,) Kanye West (Yeezus and The Life of Pablo, Kid Cudi, (Man on the Moon II: The Legend of Mr. Rager) Lady Gaga (Born This Way) Lil Uzi Vert (Luv is Rage 2,) Mariah Carey (Merry Christmas II You,) Meghan Trainor (Title,) One Republic (Native,) Post Malone (Stoney, Hollywood’s Bleeding, and Twelve Carat Toothache,) andRihanna, Rated R.)
The Hit Factory has two studios available for use by musicians. Studio 1 is the ideal recording studio for cutting basic tracks as well as mixing for your latest album or single. The live room recently added a C. Bechstein Concert L167 baby grand acoustic piano. The control room has the deepest array of analog outboard gear paired with an endless list of plugins unrivaled by any other U.S. music studio. This studio has become one of the top vocal recording environments in New York City, and what separates Studio 1 from any other recording environment is the complete privacy matched with the constant updating of its equipment and plugins.
Studio 2 is perfectly situated for those mixing projects that are geared toward the mix engineer and producer. The live room recently added a Bechstein A2 upright acoustic piano. The live room is predominantly utilized for lead & background vocals, key drum or guitar overdubs, or any writing session required. A 5-piece group of background vocalists, a string quartet, or a 6-piece horn section can be accommodated by the live recording space. The selection of analog outboard gear and near-field/mid-field monitoring is extensive and the main monitoring is the same Exigy S412G system with custom dual 18” subwoofers featured in Studio 1.
The C. Bechstein Concert L167 baby grand acoustic piano in Studio A of The Hit Factory in New York City.Studio 2 of The Hit Factory in New York City.
Battery Studios is Sony Music Entertainment’s New York City-based music production facility. Battery houses the technology to playback almost all existing audio formats and is capable of stereo and surround mastering, audio restoration and digitization, file verification, and immersive audio mixing. The studio has produced music for A Tribe Called Quest (People’s Instinctive Travels and the Paths of Rhythm, The Low End Theory, Midnight Marauders, Beats, Rhymes, and Life, and The Love Movement) Alicia Keys, Britney Spears (Baby One More Time, Oops I Did It Again, Britney, In The Zone, and Greatest Hits: My Peragotive,) JoJo (JoJo and The High Road,) and Nysnc (No Strings Attached and Celebrity.)
Some of the equipment at Battery Studios in New York City.
Threshold Recording Studio in Manhattan’s Midtown Westneighborhood of Hell’s Kitchen has been in operation since 1997, offering award-winning recording studios, music production, artist development, and commercial project management. Threshold Studios is a hands-on, owner-operated facility with an unparalleled client list from the best and brightest of Broadway to some of the biggest pop stars of the 20th century- and every major broadcast media outlet in between. The studio features top-of-the-line vintage analog and digital gear including Protools HD, logic pro x, and more.
Threshold Recording Studios NYC Vocal Booth Mic Facing Piano.Piano in Live room rear perspective Threshold Recording Studios NYC.The Console at Threshold Recording Studio in New York City.The live room at Threshold Recording Studio in New York City.The Baldwin 7′ Acoustic Grand Piano at Threshold Recording Studio in New York City.The vocal booth at Threshold Recording Studio in New York City.
Quad Recording Studios in New York City has produced music for Alicia Keys (Diary of Alicia Keys,) Chris Brown (Heartbreak on a Full Moon,)Goo Goo Dolls, (Magnetic,)Jay-Z, Volume 2…Hard Knock Life and Vol. 3…The Life and Times of St. Carter,) Jessie J (Who You Are,) Kanye West (The College Dropout,) Mariah Carey (Rainbow and Charmbracelet,)Pop Smoke (Shoot for the Stars, Aim for the Moon,) Post Malone (Beerbongs and Bentleys, and Hollywood’s Bleeding,) Selena Gomez and the Scene, (When the Sun Goes Down,)and Taylor Swift, (Taylor Swift, and Fearless.) Quad is equipped with five studios for use by artists, Q1-5, and the event space Club Quad.
Q1, known as the best-sounding room in the city, can handle all your recording needs. Q1 offers an array of outboard gear and a 64 Channel Neve Genesys Black. The room uses the latest Augspurger technology making it one of the loudest and cleanest sounding rooms in the city. When not in the studio you can relax in the only private studio lounge with panoramic views of Times Square. Studio Q1 also offers a large live room capable of handling extensive tracking sessions.
The Control Room in Studio Q1 at Quad Recording Studios in New York City.The Live Room in Studio Q1 at Quad Recording Studios in New York City.The Lounge at Quad Recording Studios in New York City.
Q2 is known as the medium format studio, with a built-in vocal booth making it ideal for vocal tracking and all sorts of production. Q2 uses a Dual 12” Augspurger system with 18” subs. Numerous hits such as Trains “Soul Sister“ have been recorded in Q2. The room comes with a private lounge and a small balcony overlooking Times Square.
Studio Q2 at Quad Recording Studios in New York City.
Q3 is our most affordable room and uses one of Augspurgers newest products, the Duo 8 system. Equipped with a 35 sq/ft isolation booth, Q3 is perfect for in-the-box production and vocal tracking.
Studio Q3 at Quad Recording Studios in New York City.
Q4is Quad’s latest room and is located on the 12th floor. Built on the success of Quad’s infamous Studio Q1, Studio Q4 offers the same technology and vibe experience found throughout our legendary facility. With a dual 15’“ Augspurgers system accompanied by dual 18” subs, this system will shake you to the core.
Studio Q4 at Quad Recording Studios in New York City.
Q5 is Quad’s largest room and houses the largest Augspurger sound system in the city. Frequented by mainly major labels, Q5 is also available for bookings by an independent artist. With a large live room and high-end preamps like Neve, SSL, and API, this room is ideal for large tracking sessions.
The Control Room in Studio Q5 of Quad Recording Studios in New York City.The Live Room in Studio Q5 of Quad Recording Studios in New York City.The Private Lounge in Studio Q5 of Quad Recording Studios in New York City.
The Cutting Room Studios has two locations in New York City, located in the heart of Manhattan in Greenwich Village and Chelsea. The studio offers a variety of recording/mixing, music production, mastering, and more services. The Cutting Room has produced music for Cardi B (An Invasion of Privacy,) Lana Del Ray (Born to Die,) and Post Malone (Stoney.)
The Cutting Room offers two studios, A and B, and a control room for use by clients. Studio A is the main tracking and mixing room and features a 48 Channel Solid State Logic Duality Console, as well as a Yamaha C5 grand piano. Additionally, a large selection of vintage outboard gear is available in Studio A. The bright and spacious room with urban views along Lafayette and 4th Street provides clients with a relaxed creative environment while remaining in the heart of the city. For late-night sessions, rooms are equipped with Philips Hue lighting, so you can get the color and vibe just right.
Jungle City Studios in Chelsea, the art capital of New York, strives to bring back the golden age of New York City recording studios with an awe-inspiring artistic space never seen before. Founded by Rocco Berardi, Rosemary Spallina, Ann Mincieli, and Robert Baccigalupi and managed by Phil Spallina this three-room creative space fosters an intimate atmosphere while providing inspiring wide skyline views. Mincieli, longtime engineer and studio coordinator for Alicia Keys, has channeled her talents into making Jungle a technical prowess featuring the very best in vintage and modern technology. With over twenty years of experience in the music business, Mincieli has traveled the world engineering for some of the industry’s most renowned artists: Alicia Keys, Jay-Z, Drake, Mariah Carey, Usher, Jennifer Hudson, and Whitney Houston, to name a few. Jungle City has been designed to please the most demanding and diversified lover of sound and music.
Additionally, Jungle City has recorded music for Alicia Keys (Girl on Fire, Here, and Alicia, Keys,) Ariana Grande (Sweetener, Thank u next and Positions,)Beyonce (4, Beyonce, and Lemonade,)Chris Brown (Heartbreak on a Full Moon,) Demi Lovato (Tell Me You Love Me,) Drake (Nothing Was the Same,) J. Cole (2014 Forest Hills Drive,) Jay-Z (Magna Carta Holy Grail,)Nicki Minaj, (Queen,)Justin Timberlake (The 20/20 Experience 1 & 2 and Man of the Woods,) Kanye West (The Life of Pablo,)Katy Perry (Prism)Lorde (Melodrama) Post Malone(Twelve Carat Toothache,) Rihanna (Anti,) Taylor Swift (1989,) The Weekend (Beauty Behind the Madness and After Hours,) and Zendaya, (Zendaya.)
Jungle City is equipped with four studios, East, West, North, and South, and Rooftop Lounge for recording artists. Jungle City Studios Penthouse Studio East features a retro-futuristic design which includes a cutting-edge 48-input SSL Duality Console and a vintage EMI TGI12345 Mark III Console. With the perfect blend of analog and digital gear, Jungle City’s Penthouse Studio East can accommodate any project. Whether it’s recording or mixing an album project, 5.1 surround mixing, video shoots, hosting a listening session or just having an event, the 2400 sq foot space is completely private and is well-fitted with all the latest technologies. The Dual 15″ Augspurger monitors were explicitly built for the dimensions of the room and are beautifully set in the control room glass.
The Penthouse East Studio at Jungle City Studios in New York City.
The Penthouse West Studio is one of Jungle City’s two larger studio accommodations. Mirroring Penthouse East, it features a retro-futuristic design that includes a cutting-edge 48-input SSL Duality Console and a vintage EMI TGI12345 Mark III Console. With the perfect blend of analog and digital gear, Jungle City’s Penthouse can accommodate any project, whether it’s recording or mixing an album project, 5.1 surround mixing, video shoots, hosting a listening session or just having an event, the 2400 sq foot space is completely private and is well fitted with all the latest technologies.
The Penthouse West Studio at Jungle City Studios in New York City.
One of two mix/overdub/production suites on Jungle City’s 10th floor, the North Studio is outfitted with a 32-input Avid D-Control and Pro Tools HD4 with Expansion Chassis. Centered around Digidesign’s Icon D-Control, Studio North is the perfect room for working in the box. The 32-input Icon is the ideal control surface for both Stereo and 5.1 Surround mix sessions. The room is perfectly complemented by a 16-channel EMI Chandler Limited Mini Rack Mixer for summing as well a 2-Channel Lavry Blue converter. Studio North also is equipped with the Antelope Isochrone OCX-V and Isochrone 10M Rubidium Atomic Clock for a tighter, more focused sound that will translate flawlessly in your final mix through our custom 15″ Augspurger Main Monitors and 18″ Pioneer Subwoofers.
The Penthouse North Studio at Jungle City Studios in New York City.
The Penthouse South Studio, lushly appointed with custom work counters, innovative, perforated absorbing diffusers, and acoustically-tuned walls, is one the most versatile rooms in New York City. At the core of the room is the dual-functional Euphonix S5 Fusion console with the ability to become a 64-channel digital desk at the touch of a button. The Euphonix S5 Fusion is one of the most cutting-edge digital consoles using Avid’s latest Madi Converters which allows you to mix utilizing Euphonix’s 40-bit floating point processing.
The Penthouse South Studio at Jungle City Studios in New York City.The Rooftop Lounge at Jungle City Studios in New York City.The VIew of the Manhattan skyline from the Rooftop Lounge at Jungle City Studios in New York City.
The Smooth Spot Recording Studio in Midtown Manhattan is owned by Michael Kevin Walsh, offers a wide array of video and editing services, and is the ideal place for opera, jazz, R&B, rock, pop, voice-over, and musical theater artists in New York City. At the heart of this New York City studio is a whisper-quiet isolation booth where artists can record vocals using the highest-quality microphones available. Whether this is your first time in a recording studio or you are an accomplished professional, The Smooth Spot Recording Studio is the perfect place to record any track.
Flux Studios is a six-room, 10,000 sq. ft. cutting-edge recording, mixing, and mastering music studio located in the East Village of New York City.
Featuring acoustics by Fran Manzella, the Dangerous Room offers a 36-channel 1974 custom Neve console, a Pro Tools HDX system with 32 channels of Avid HD I/O, Focal and ProAc monitors, and the best selection of vintage and modern outboard gear as well as full assortment of up to date plugins, including the complete UAD collection, Waves Horizon bundle and all Avid, Sonnox, Soundtoys, and Flux plugins among others. The Dangerous room, like all Flux Studios’ rooms, is 100% Thunderbolt compatible, allowing visiting producers and engineers to use their personal computers to drive the room’s infrastructure if they desire to do so. It’s the fastest and easiest way to convert a home studio project into a professional project without export and plugin hassles.
The Dangerous Room at Flux Studios in New York City.
Dangerous’ 486 sq ft live room has two separate isolation rooms and a vocal booth with a full line of sight into the live room and the control room. The live room is modular and can be separated into two sonically isolated 200 sq ft rooms with a line of sight. The live room also features a collection of high-end instruments and amps, including a Yamaha C6 Grand Piano with Disklavier system, late 70s Yamaha Recording Custom drums, a 70s Fender Rhodes, a 70s Wurlitzer electric piano, and a 60s Hammond C3 organ with matching Leslie.
The Dungeon room, acoustically tuned by Vicoustics and powered by Focal Trio11 Be + dual Sub6 speaker system, provides an impeccable listening environment for modern music production. Outfitted with a 9.1.4 DOLBY ATMOS setup powered by Focal speakers and managed by a Trinnov room correction system, this room is ideal for mixing in both stereo and spacial audio formats, as well as providing an inviting atmosphere for producing, writing, and recording. The full Pro Tools HDX system, featuring 24 I/O via an Avid HD IO along with a Universal Audio Apollo x8, is readily accessible via Thunderbolt for producers who want to work on their computer and still have access to the room’s gear. The built-in computer features Pro Tools, Logic Pro X, and Ableton Live 9, as well as an up-to-date series of UAD Complete, Sonnox, Soundtoys, FabFilter, NI Komplete plugins, and the Waves Horizon Bundle.
The 208sq ft control room is designed to accommodate writing sessions with easy access to keyboards and instruments. It boasts an assortment of preamps and compressors by brands such as Avalon, dbx, Shadow Hills, Universal Audio, and CAPI among others. The center of the studio is a 24-channel Digidesign D-Command digital console. The accompanying 250sq ft live room has concrete floors and a 12ft ceiling height with a separate vocal booth and an amp iso. Flux Studios has a long list of instruments including a collection of analog synths perfect for writing and tracking sessions.
The Dungeon Room at Flux Studios in New York City.
The Transporter Room is Flux Studios’ all-in-one creative room, designed to allow producers and musicians to quickly go from writing to recording instruments and vocals, and from creating beats to mixing. Powered by Barefoot Master Stack speakers, an SSL Matrix board, and a selection of vintage Neve preamps and various analog compressors, Transporter is the premier writing room in the building. Over the years it has been the launching pad for major artists like The Strokes, The Rapture, Mark Ronson, John Hill, ASAP Ferg, and many others. The large 282 sq ft control room has a vocal tracking area surrounded by TubeTrap treatment, a customized upright piano, analog synths, Fender electric guitar and bass guitar, and midi keyboards.
The Transporter Room at Flux Studios in New York City.
The Fabulous Room is a mixing and mastering studio featuring the highest quality analog and digital gear for a super clean signal flow. It boasts a full assortment of outboards by Dangerous, Neumann, GML, Mercury, API, and many others. Ample space and a flawless listening environment via Focal monitors make it a premier mixing and mastering facility. The Fabulous room also houses an arsenal of vintage analog and hard-to-find synths making it a perfect space for writing and producing. Inspiration comes rapidly when sitting in front of a real CS80 or a perfect Prophet V, Octave Cat, or MS20 among others.
The Fabulous Room at Flux Studios in New York City.
The inspiration room is a writing and production room with perfect integration of a range of digital and analog instruments via a Universal Audio Apollo extended system. The real-time processing power of the UAD hardware and software enables the producer to focus on writing music rather than patching cables.
The Inspiration Room at Flux Studios in New York City.
Home to legendary producer David Kahne, the Revolution room is an ideal production room with a 205 sq ft control room and an adjacent vocal booth that enables tracking of vocals and instruments. The 12ft ceilings make it a pleasant listening environment while two large windows provide natural light during the day.
The Revolution Room at Flux Studios in New York City.Flux Studios in New York City.
Mirrortone Studios is one of the premier recording studios in New York City, with over a decade of producing music for Grammy-winning artists, major labels, and indie musicians alike. In addition to being one of the most sought-after artist-run recording studios, Mirrortone has composed music and provided audio-post services for agencies, brands, commercials, television, feature films, apps, branded content, and videos of all types. Mirrortone offers several services including mixing/mastering, artist/album recording, original music production, track production, professional score recording, and more.
Mirrortone Studios was founded by Jay Rothman and Roman Molino Dunn, who also serve as composers and producers. Rothman is an award-winning New York-based Composer, Producer, and Sound Designer scoring films, and commercials, producing bands, and creating sound design for people and companies of all sizes around the globe. Dunn is an award-winning composer, Billboard-charting music producer (a.k.a Electropoint), and co-owner of Mirrortone Studios in New York City. He has composed and produced music for advertising agencies, corporations, television commercials, TV shows, feature films, radio, and internet campaigns, and his productions have climbed the top 20 Billboard and iTunes charts.
James Quesada serves as a recording and mixing engineer at Mirrortone Studios. Quesada’s engineering style is equal parts industry polish and indie grit. He’s known for being easy to work with, creating an artistic environment, and having fun while getting the important work done. Having worked on countless albums, EPs, singles, and post-productions, he finds inspiration in every genre from garage rock to future trap, radio drama to film score. More than working in any genre, Quesade loves working with people.
It was rain-soaked double header in Cooperstown on Friday, August 25th, as a near-capacity crowd braved the elements at Brewery Ommegang for a pair of headlining sets from legendary alternative rockers Pixies and Modest Mouse. Along with support from critically acclaimed opening act Cat Power, the powerhouse bill proved to be a home run with fans of all ages, despite some minor curveballs thrown by Mother Nature.
Upon arrival, the ominous sky over Brewery Ommegang felt only fitting. That’s because every time DSP Shows bring Modest Mouse to town, dating back to their first visit in 2014 and again in 2021, the weather seems to head south just prior to showtime. The same was true this year when opening act Cat Power had to abruptly cut their set short when it started raining cats and dogs in an absolutely torrential downpour that sent fans running for cover under the tree line.
Dark Center of the Universe: An ominous sky over Brewery Ommegang felt only fitting on 8/25/23.
Doing little else to detour the remainder of the show, however, the audience was quick to embrace the soggy scene and use the minor rain delay to fill up their beer cups and grab some merch of which there was plenty. A simple glance around the grounds showed that while many fans were already sporting their brand new (and dry) Pixies and Modest Mouse threads, plenty of bands they’ve helped influence were represented as well. Twenty-somethings wearing shirts for bands like Nirvana, Smashing Pumpkins and Built to Spill, along with newer acts like King Gizzard and the Lizard Wizard and The Strokes, but it was the surprising amount of Deadheads and Ramones fans in the audience that proved just how diverse the appeal of this show was.
Fire It Up: Modest Mouse was “beautifully bold” in their return to Cooperstown on 8/25/23.
Taking the soaking wet stage shortly after 8pm and greeting the audience with his best impersonation of an old-time radio sports announcer, Modest Mouse front-man Isaac Brock immediately connected with the crowd with some playful baseball banter, before ‘leading off’ with “Dark Center of the Universe,” one of the groups oldest and most iconic songs. Comfortably dressed in a sweatshirt depicting magic mushrooms, on deck was the infectious groove of “Tiny City Made of Ashes,” which the band seemed to jam on for a minute before Brock gave his OK to “Fire It Up.” Then came a pair of songs that helped introduce Modest Mouse to the masses back in 1996 with the first two tracks from their debut album This Is a Long Drive For Someone With Nothing to Think About.
A beautiful and always appreciated “Dramamine” would seamlessly segue into “Life Like Weeds,” before the angst-ridden rock of “Breakthrough” would fall just shy of turning the muddy grounds into an all-out mosh pit. Cooling off the aggression with some of Brock’s signature thought provoking lyrics, “Baby Blue Sedan” had sentimental fans singing along to the lyrics of “I am doing the best that I can” in a touching moment of solidarity.
“Sad song, last dance and no one knows who the band was, except this one mattered and I felt it had a spirit.” – Issac Brock
Up next came “Back to the Middle” from Modest Mouse’s most recent album, 2021’s The Golden Casket, before Brock would swap out his guitar for a banjo and deliver a playful backwoods rendition of “This Devil’s Workday.” His intense delivery and ferocious growls often overshadowing the brilliance of his songwriting, Brock’s unique perspective and ability to translate surrealism into words have long made him among this generations most thought-provoking lyricists.
After busting out the beloved B-Side of “King Rat” and then 1997’s “Heart Cooks Brain,” Modest Mouse would then get the crowd singing along with the recent radio hit “We Are Between,” before Brock would really sink his teeth into the performance with a jaw dropping version of “The Ground Walks, with Time in a Box,” which featured Isaac playing the guitar solo behind his head and then with his mouth! Falling just short of going full blown Marty McFly, the kids at Ommegang absolutely loved Brock’s vintage rock-star antics here and would erupt even further when the song seamlessly transitioned into the chart topping “Float On,” the bands breakout hit from 2004’s Good News For People Who Love Bad News.
Following“The Whale Song,” the quick 75 minute, career spanning set would come to a close with another upbeat singalong, “Dashboard.” Fantastic, focused and swinging for the fences, the amount of “good songs” this band still had left in their arsenal is quite a testament to just how deep and diverse their catalogue runs.
Modest Message: “Don’t worry, even if things end up a bit too heavy we’ll all float on.”
With two bonified headliners on the same bill, there was a strong showing of followers for each. Between sets, it was a playful conversation starter to ask which of the two you were really there to see. While the majority didn’t hesitate to say “both,” I was surprised by just how many blamed the Friday night out on their partners, saying “oh, my wife loves the Pixies, she was obsessed with them in high school,” as if there was some kind of wrong answer or guilt for admiring either of these groups and still listening to them.
After a brief “7th inning stretch”, suddenly the lights went dark and the legendary Pixies stepped up to the plate using The Beatles “You Know My Name (Look Up the Number)” as their walk-up music. Stoic, confident and fierce, the band opened up their performance with fan favorite “Gouge Away,” followed by two more songs also from the bands iconic 1989 album Doolittle, “I Bleed,” and “Crackity Jones,” before going all the way back to the beginning with “Isla de Encanta” from their earliest album Come on Pilgrim.
A lot of Doolittle: Pixies performed 9 songs from their iconic album Doolittle on 8/25/23.
With the current lineup consisting of original members Black Francis, Joey Santiago, and drummer David Lovering, the band would name Paz Lenchantin as their permanent bassist in 2016. Providing ample energy on the low end, the crunchy groove of “Planet of Sound” never sounded better as bandleader Black Francis belted out at the near full moon, before “There’s A Moon On” had fans dancing under it. Black Francis, the type of guy that wears sunglasses at night, appeared to be dressed for a funeral, but make no mistake, Pixies are alive and well in 2023. Often imitated, never duplicated, his primal and raw delivery sounded as visceral this night as it did 30 years ago.
With his distinct vocal style ranging from dynamic bloodcurdling shrieks, to melodic, near spoken word nonchalance, his lyrics remain as cryptic and open to interpretation as ever. We’d get a healthy dose of the new stuff next with a “triple play” of songs from their latest album. 2022’s Doggerel, before bringing the audience back to more familiar territory with some of their biggest tunes like “Here Comes Your Man,” “Motorway to Roswell,” and “Caribou,” which the person next to me hailed as their best song.
Here comes your frontman: Black Francis was in fine form at Brewery Ommegang on 8/25/23.
While many romanticize about the Pixies and their obvious influence on 90’s music, you don’t often think of them as a romance band meant for date night. The fans at Ommegang, however, never got that memo as couples all around found great joy in reliving the soundtrack of their youth, stealing kisses in the key moments, savoring every second as one of their all-time favorite groups serenaded them under the misty, cinematic skies. Enchanting and magnetic, Paz Lenchantin, the original bass player of Maynard James Keenan’s A Perfect Circle and Billy Corgan’s Zwan, here now as a Pixie, seemed to be having the most fun out of everyone. Headbanging through the fog and shadows on her beautiful Fender 69 P-bass, picking away on classic tunes like “Hey,” “Cecilia Ann” and the crowd pleasing “Debaser.”
Debasser: Paz Lenchantin picks away on classic Pixies songs on 8/25/23.
Bright, loud, and beautiful, fans knew almost every word to every song for the remainder of the show. From 1987’s “Holiday Song,” to another pair of hits from Doolittle, a surfed-out version of “Wave of Mutilation” and the climate change wakeup call of “Monkey Gone to Heaven” that saw the often experimental Francis take sonic frequencies to the warning track, building a wall of swirling distortion as he shoved his guitar into the amps creating intentional feedback. The career spanning set wouldn’t be complete, though, without the most well-known song in the Pixies catalog, “Where is My Mind?”
Gone to Heaven: Pixies performed a Hall of Fame setlist on 8/25/23.
While playing it every night may feel like a chore for some members of the band, it was quite clear that it still resonates after all these years and that the next generation of kids who only know Pixies from the 1999 David Fincher film Fight Club – were here for it too. Holding their phones up in lieu of lighters, the massive field of cellular fireflies created a stunning visual image and a feeling that you were experiencing an epic moment in time courtesy of one of Rock’s most influential bands. While the show could have ended there and no one would have complained, we were then treated to one final ‘call to the bullpen’ for a cover by one of the original pioneers of Punk. Closing the show with a searing rendition of Neil Young’s “Winterlong” to put an emphatic stamp on a fantastic 26-song set of timeless alternative anthems. Convening at the center of the stage to take their bows, fireworks began illuminating the night as the Pixies slowly faded into it, triumphantly bringing another successful Summer Concert Series at Brewery Ommegang to a close. A bitter-sweet realization, but hey, as they say in baseball, “there’s always next year.” We’re already looking forward to it.
Pixies closed out Brewery Ommegang’s Summer Concert season on 8/25/23.
Pixies | August 25, 2023 | Brewery Ommegang | Cooperstown, NY
Setlist: Gouge Away, I Bleed, Crackity Jones, Isla de Encanta, Planet of Sound, There’s a Moon On, Who’s More Sorry Now?, Get Stimulated, The Lord Has Come Back Today, Mr. Grieves, Death Horizon, Here Comes Your Man, Motorway to Roswell, Snakes, Caribou, Hey, Doggerel, Cecilia Ann*, St. Nazaire, Debaser, Cactus, The Holiday Song, Monkey Gone to Heaven, Wave of Mutilation**, Where is My Mind?, Winterlong***
*The Surfones cover **UK Surf version ***Neil Young cover
Modest Mouse | August 25, 2023 | Brewery Ommegang | Cooperstown, NY
Setlist: Dark Center of the Universe, Tiny City Made of Ashes, Fire It Up, Dramamine > Life Like Weeds, Breakthrough, Breakthrough, Baby Blue Sedan, Back to the Middle, This Devil’s Workday, King Rat, Heart Cooks Brain, We Are Between, The Ground Walks, With Time In a Box > Float On, The Whale Song, Dashboard.
Rhode Island born pop-artist JVKE took the scenic stage at the Rooftop at Pier 17 this past Wednesday, August 30th. Fans from all over – and many of them younger kids with their parents – flocked to see the “golden hour” singer put on his This is What Tour Feels Like show.
JVKE, photographed by Sarah Hyun
JVKE, blowing up in part on TikTok for songs like “this is what falling in love feels like” and “this is what sadness feels like,” previously played at Irving Plaza on January 25th. Crafting songs with his producer-brother Zac truly transformed JVKE’s music into the masterpieces they are today. The body-shaking beats, powerful vocals, and intricate piano accompaniments have created a sound so uniquely him. Aside from the beautiful melodies and productions of each song, JVKE’s lyrics touch on heavy subjects like love, heartbreak, sadness, and acceptance in the most unfiltered and gut-wrenching way.
JVKE, photographed by Sarah Hyun
Before the show began, a robotic-like female voice came on and introduced itself as JVKE’s emotional intelligence. The stage was set up like his bedroom, with JVKE even sporting a pair of plaid pajama pants and a black oversized hoodie. As he journeyed through his this is what ____ feels like album—which is divided into four groups of three songs—he made a point to give a small anecdote for each by detailing his experiences with certain people and emotions. For example, during “this is what heartbreak feels like,” “i’m not okay,” and “ghost town,” JVKE described the betrayal and utter hopelessness he felt after his first breakup. Before singing songs “this is what falling out of love feels like,” “catch me,” and “i can’t help it,” he described his initial struggle but ultimate success in moving on from that past relationship. JVKE is truly a talented storyteller, as emotions were at an all-time high throughout the whole show.
JVKE, photographed by Sarah Hyun
During “golden hour,” JVKE sat down at his bedroom desk and began playing the iconic opening notes on a keyboard that laid there. Children eagerly climbed onto their parents tall shoulders, tweens stood on their tippy-toes with poster in hand, and couples slow-danced in the back of the crowd as golden lights lit up with venue. The performance of this song was truly breathtaking. Fans passionately reached out their hands as they belted lyrics like, “I don’t need no light to see you shine” // “It’s your golden hour” // “You slow down time” // “In your golden hour.”
JVKE ended the night at Rooftop at Pier 17 with an incredible encore and promised to return for another show. He has two more scheduled dates for this run of tour, one in Philadelphia and another in Boston.
