Ithaca Reggae Festival 2023 took over Stewart Park this over June 23-24, bringing some roots and rhymes to local reggae fans. Giant Panda Guerilla Dub Squad closed the festival off Saturday evening playing some favorites.
For five years now the Ithaca Reggae Festival has been drawing crowds to the Finger Lakes Region. This years line up included Sundub, New Planets, Scientist, Double Tiger, and the Giant Panda Guerilla Dub Squad. With great food, arts, and activities for youth and adults, the reggae festival helps build community and keeps the music alive.
Rochester Reggae and Jam band Giant Panda Guerilla Dub Squad finished the festival off Saturday night with high energy felt from both the crowd and the band. Founded in 2001, the band is well known for their reggae roots and dub sounds. Performing old and new songs from their latest release, Love In Time, the crowd was left wanting more.
Even a day of hard rain was not enough to prevent Rodney Atkins and Sammy Kershaw from helping the Southern Tier celebrate 4th of July weekend at Tags in Big Flats, NY on Sunday, July 2nd.
By the time Sammy Kershaw took the stage at 7pm, it was light sprinkles and by the time Rodney Atkins took over the rain had completely stopped and made a wonderful night of classic and modern country music.
Sammy Kershaw at Tags in Big Flats
Sammy opened the night with one his most popular hits “Cadillac Style”. Along with the wonderful gift of his music, Sammy took the fans down memory lane with mini stories of his life in between songs. How he started playing the “Honkey Tonks” and bars of Texas as early as 12 years old. He also told a tale of his life with Country Music legend George Jones. His hit “Queen of my Double wide” got a huge ovation.
Sammy Kershaw at Tags, in Big Flats NY.
Rodney Atkins hit the stage with his hit “Backroad”. Atkins, a native of Cumberland Gap, TN, has been banging out hits since 2003 with his debut LP Honesty. Fast forward to 2023 with Atkins supporting his latest LP Caught up in the Country witch the title single has set a record for the longest run on the Country Singles charts.
Rodney Atkins helped the southern tier celebrate the 4th of July with a well received show at Tags in Big Flats, NY.
During a recent local interview Rodney stated that Charlie Daniels was a major influencer to his chosen path. He honored Charlie Daniels tonight by adding the opening segments of CDB “The South’s Going to do it Again “ into his hit “About the South” and played Charlie’s hit, “Long Haired Country Boy”.
Rodney told a story about how when was getting started and how the “suits” in Nashville tried to influence him on what he could and could not write about. The song “Cleaning My Gun” was a direct response to wanting to be in control of his subject matter and lyrics which has proved very beneficial for Rodney.
Rodney Atkins at Tags in Big Flats NY.
The night ended with huge CMA hits “Watching You,” “It’s America” and “ These Are My People.” Coming back for one more, Rodney treated the mildly soggy crowd to a encore with his huge single “Going through Hell”.
Local fans missing this show can catch Rodney very soon on August 5th at the Buffalo Country Music Fest in Akron NY. This show was a continuation of the 30 year anniversary of concerts at Tags, in Big Flats NY.
Big shows still coming up is next Saturday July 8th rock fans will fill the place as Cinderella’s Tom Keifer, joins Stephen Percy (Ratt) and the all-girl band Vixen come to the Summer Sound Stage. After that country music sensation Dustin Lynch will play for the Southern Teir on Aug.11th. For more info on Tags and tickets to their remaining events go to tagstickets.com.
In order to drive oneself to new heights – you must obsess. Moderately, everything arrives in due time. The contextual irony cloaked within the bubbling progression shown by lowkey Nas of my generation amounts to Don’t Feed the Pigeons. One to cause contemplation, it truly remains an honor and a privilege to witness YL’s progression.
Carrier Pigeon v. Passenger Pigeon
Heretofore, any endeavor relies upon its core components. The way that YL of the RRR Music Group drops content tends to resonate. Indubitably, he facilitates his functions with multiple cryptic previews and properly timed balance of project releases. Again, core components derive from learning all facets of music – production, promotion, precision. Intellectually appealing aesthetics and scenarios never hurt either.
Aside: As a thorough interviewer and journalist – I pay attention to my surroundings. Twice a week, time is spent at the Empire State Plaza displays and interesting walks of life. Ironically, many public moments with her occur in the opposite manner – as if surrounding glances hold absolutely no weight. Yet it goes to show how incredibly poignant Upstate NY foliage genuflects the rhythmic nature of existence.
Additionally, the simplistic nature of mathematical musical lens’ lends generously beneficial outcomes. Simply done, YL provides ample time to build up hype revolving around upcoming releases. “Illusions” proved worthwhile with staying power as a skit and small verse sample hit airwaves last October. Clearly, this album serves reminiscent of previous intellectually calculated releases with thematic imagery via intros/skits/outros too.
Artistically, one of the first, Pigeon singles to drop made its way onto timelines one month before RRR dropped their project titled after their music group.
Wholeheartedly, the most ideal characteristic about thee Triple R timing propels any life joy. One thing is for sure – two for certain – any listener cannot hear their collections and resist the urge to feel. The feeling elicited by some of these smooth synchronous samples creeps up on a meticulous listener and hits ‘em where it counts.
Contextually, many of YL’s albums released within just the right era to help me navigate dark times. The songs have carried cruises for extended views and such. Alas, nobody needs to brave this world or music industry alone – big shouts to Waqas.Ghani [RRR Orchestrator] Also loved was a Roper Williams reunion – the top rope from whence the producer duo struck!
Among the highlights of Don’t Feed the Pigeons: YL lets the beat speak on Nothing’s Changed ft. Ankhlejohn, YL says: “Gettin poppin on some present day fame – kind of strange how you hate but stuck in the same place,” and Beat says: “Guess nothing’s changed”
‘Tis impossible to undermine the magnitude of giving space to three man weave with the beat speak.
Real artists make you look inward via introspection. With that being said, i find it very intriguing the way in which @youngwhybaby approaches the notion of $20 pic.twitter.com/mQczHClIUL
“Can’t dwell on what it once was – you finally getting bread that’s wassup.” – YL consistently taps in and touches upon thematic lines. He simply rearranges placements and tests out pockets where words, phrases and lingo might interact more beneficially.
Seemingly, his concept of $20 has escalated to $100 on this project – listen closely.
“$100 dollars on the floor Y’s it seem like a test?”
Looking for a family-friendly music festival this summer with a focus on the family aspect? The Catskills has your answer with Grey Fox Bluegrass Music Festival.
Photo courtesy of the Grey Fox Bluegrass Festival press release.
First being held in 1984 (and with roots going back to the 1976 Berkshire Mountain Bluegrass Festival) Grey Fox Bluegrass has been held on the Walsh Farm in Oak Hill, NY, on the banks of the Catskill Creek, since 2008. The festival has enjoyed great longevity with host band Dry Branch Fire Squad welcoming major bluegrass names including Del McCoury, Bela Fleck, Sam Bush, Tony Rice, Peter Rowan, Abigail Washburn, the Gibson Brothers and hundreds more.
Grey Fox has a bright future especially thanks to the welcoming nature of families and children to the festival, as well as with the Grey Fox Bluegrass Academy for Kids introducing children to bluegrass music and bringing everyone together for a final performance on the last day of the festival.
North Carolinian Lynda Dawson shares with NYS Music her experience at Grey Fox Bluegrass Festival 2022, with a first-hand account of how her family spent the weekend, Bluegrass Academy for Kids and an attestation at the family-friendlyness of this long running festival in the Catskills.
It’s a 700-mile drive from our home in Raleigh, NC to the Walsh Family Farm in Upstate NY, where the Grey Fox Bluegrass Festival takes place every July, yet my husband and I knew it would be worth the trek. We had made this pilgrimage pre-children, and Grey Fox instantly became one of our top favorite music events, so as soon as the youngest of our two daughters turned eight, we booked our Festival + Camping tickets and their spots in the 2022 Grey Fox Bluegrass Academy for Kids (BGA for short).
BGA at Grey Fox is a four-day group lesson environment where children ages 8–17 gather for instruction from top notch musicians each day, spending a couple hours before lunch, a couple hours after lunch, and culminating in a Sunday afternoon performance on the main stage. My 11-year-old daughter was psyched to know she’d get to be part of the final act of the festival. My 8-year-old, prone to hiding rather than play in front of others, wasn’t so sure.
The first evening we walked from our campsite up to the big tent where the Academy would be taking place. We were welcomed by other kids, the instructors and Academy Director, Mark Panfil, who enthusiastically kicked things off by sharing his passion for bluegrass and teaching young musicians, “I especially love working with young people who are willing to work and try new things. These are exceptional kids. Any teacher with experience knows these kids are special!”
The next morning, feeling proud and encouraged, our girls rode their bicycles up Smiley Street towards the Academy tent with fiddles on their backs. The Grey Fox site team builds a pop-up “city” on a farmer’s field every summer, complete with bluegrass-themed street names, and neighborhood camping sections like Picker’s Paradise and Generatorville. Our children quickly figured out the lay of the land and were independently navigating their way between our campsite and the BGA tent. My husband and I smiled, then we opened our own guitar and mandolin cases, relaxed in our camping chairs, and relished in the joy of playing songs together outside on a beautiful summer morning. We hoped our kids were having as much fun as we were.
“Yes!” says our oldest when we picked them up for the lunch break, “The people are awesome, and it is super fun!” Mark Panfil agrees, “The BGA is special to me because of the people involved. From the teachers to the parents to the students. People who believe in the future of Bluegrass music are all around this festival. This experience stands out because this festival stands out, open to innovative programs and maintaining a family friendly space.”
And so the festival fun continued. In the evenings we enjoyed sitting together as a family on the hillside listening to music from the High Meadow main stage, then dancing until the kids were practically falling asleep in the Catskill Stage dance tent. During the day while our girls were playing and learning bluegrass songs with new friends, my husband and I would play music with our neighbors, or shop along vendor row, or discover new bands at the Creekside Stage.
Our youngest was even overcoming her fear of playing in public. When she got back to the campsite late Saturday afternoon she asked if she could join in the jam happening across the street from us. “Sure!” we said, trying not to sound too excited, and watched her walk over, unpack her fiddle, and start playing along with a dozen welcoming musicians.
On Sunday morning the kids met at the BGA tent to run through their songs for the big performance, then they headed backstage as the parents joined the audience. To our delight, Jerry Douglas took the stage with them and kicked off, “Long Journey Home” on his Dobro, grinning ear to ear as he sang along on the chorus, “Lost all my money but a two-dollar bill…” During the set he addressed the audience and said, “Man, I wish I had something like this when I was a kid!” It was joyous.
When the show and festival were over, we met up with the girls amidst families giving hugs and high-fives. As soon as they saw us they both rushed over and asked with excitement, “We’re coming back again next year, right?!?” “Absolutely,” we said. Absolutely.
As Lynda Dawson detailed above, Grey Fox Bluegrass Festival is an ideal destination for families looking to get their children a healthy dose of music and the outdoors this summer, with opportunities for fun abounding and a lifetime of memories to be gained.
Check out the daily schedule below and get more info on the weekend here.
Wallice, the rising indie-pop sensation, graced the stage at Bowery Ballroom in Manhattan on June 27th, captivating the crowd with her infectious melodies and magnetic presence. This performance marked her triumphant return to NYC (and Bowery Ballroom) after her opening act with JAWNY last March.
With her irresistible charm and undeniable talent, Wallice delivered a performance that was nothing short of electric. Sharing the spotlight was the indie rock boy band Nitefire, whose infectious energy and captivating melodies set the perfect tone for the evening.
As the lights dimmed and the first chords resonated through the venue, it was evident that this would be a night to remember. The atmosphere was charged with anticipation as fans eagerly embraced the fusion of Wallice’s honest lyrics, vulnerability, and witty storytelling. With each song, she effortlessly transported the audience into her world, exploring themes of love, self-discovery, and the rollercoaster of emotions that come with growing up. The synergy between Wallice and Nitefire created a dynamic and unforgettable concert experience, leaving the crowd craving for more.
Nitefire,the dynamic musical project of Nico Geyer and Luke White, boldly defines themselves as the “budget Wallows.” Blending the pop sensibilities of turn-of-the-century indie rock with the vibrant sonics and youthful spirit of Brit-pop, Nitefire fearlessly carves out a lane that is uniquely their own, leaving nostalgia behind. With their roots embedded in the thriving Los Angeles music scene, the band has gained recognition for their DIY approach, hosting their own events and shows that embrace an “if you build it, they will come” mentality, diverging from the digital-dominated landscape of today. Nitefire’s sound and attitude are entirely their own as they carve out a distinct lane. With their debut single “Up 2 U” released, the band has already amassed an impressive following and garnered over 40K monthly listeners on Spotify. Nitefire’s journey has only just begun, and their upcoming releases and live performances promise an exciting and vibrant future for the band.
Nitefire’s opening performance was an electrifying display of energy and connection. Despite a minor setback earlier in the day, with Luke breaking his pinky, the band turned it into a playful guessing game during their set. Nico, the charismatic frontman, challenged the crowd to speculate on the cause of Luke’s injury, teasing them with the statement, “You’ll literally never guess.” Hilarious suggestions of door-related incidents were quickly debunked, fueling the curiosity of the fans. To their surprise, it was revealed that the pinky was actually broken in a Frisbee accident, leaving many scratching their heads and engaging in animated discussions.
Nico’s crowd interaction was a highlight, as he jumped into the crowd multiple times with guitar and mic in hand, creating a central pit of excitement. One fan attempted to converse with Nico in French, only to be misheard, prompting Nico to ask if she was speaking Spanish instead. The lighthearted exchange drew laughter and further showcased the band’s down-to-earth and approachable nature. The finale saw Nico leaning back into the crowd, crowd surfing during the last song, “Saturday.” Nitefire’s performance was a thrilling and engaging experience, leaving fans captivated by their boundless energy and genuine connection.
Nitefire Setlist: Daisies, Here We Go, La La, LAâs Got Gorgeous, Love Gets Ug, Uptight, Lovekiss, Life Gets Funny, Worth It, Saturday
Wallice, the rising indie-pop sensation hailing from Los Angeles, is making waves with her captivating blend of honesty, vulnerability, and wit. With a musical upbringing that exposed her to a diverse range of influences, from classic rock to 90s R&B, Wallice has developed a unique sound that sets her apart in the industry. Her breakout hits, including “23” and “Off The Rails,” have garnered attention for their raw and authentic approach to songwriting, tackling themes of love, loss, and self-discovery with remarkable vulnerability. Her newest EP, “Mr Big Shot,” released June 23rd, further showcases her exceptional songwriting prowess, offering a masterclass in Gen Z’s hopes, dreams, and failures.
Following a successful run of North American shows with JAWNY and Australian dates with The 1975, Wallice is now embarking on her own headline tour across the US, captivating audiences with her infectious energy and tongue-in-cheek, self-effacing anthems. With each release, Wallice reaffirms her status as an artist to watch, captivating listeners with her authentic storytelling and undeniable talent.
Wallice’s performance at the iconic Bowery Ballroom was an extraordinary display of her artistry, accompanied by heartwarming moments and genuine interactions with the audience. The show kicked off with a sweet gesture as she gave her guitarist a peck, setting a playful and affectionate tone for the evening. A fan’s gift of a black gemstone studded cowboy hat became a striking accessory as Wallice embraced it during her soulful rendition of “John Wayne,” captivating the crowd with her magnetic presence. After the song, she graciously returned the hat from whence it came.
Throughout the set, Wallice’s affection for New York was evident as she expressed her love for the city, instantly establishing a connection with the enthusiastic crowd. The audience reciprocated with adoration, elevating the energy in the venue. A touching moment occurred when a fan handed her a crochet bandana and a heartfelt letter accompanied by personal photos. Wallice graciously accepted the gift and wore the crochet bandana while performing the introspective and introspective song “Quarterlife,” adding an intimate touch to the performance.
In a playful exchange, Wallice humorously reprimanded her bassist for removing his goggles after the spirited performance of “Why Do You Love Me?“. This lighthearted banter showcased the camaraderie and dynamic chemistry within the band, further enhancing the overall experience for the audience. Following the energetic performance of “Prepaid Wireless,” Wallice took a moment to introduce her talented band members by name, highlighting their contributions to the music.
Although faced with a technical glitch during “Japan,” Wallice’s professionalism shone through as she gracefully restarted the song, seamlessly carrying the audience along with her. Her ability to handle unexpected situations with poise and maintain a strong connection with the crowd was a testament to her artistry and stage presence.
Wallice’s set at Bowery Ballroom was a memorable and captivating experience, filled with genuine moments of connection. Her ability to embrace fan gifts, engage in playful interactions, and overcome technical challenges showcased her authenticity as an artist. With each song, Wallice’s honesty and vulnerability resonated deeply, leaving the audience with a lasting impression of her talent and charisma.
Wallice Setlist: Disappear, Little League, Loser At Best, Punching Bag, 90s American Superstar, Wisdom Tooth, Rich Wallice, John Wayne, Headache, Quarterlife, Dramamine, Hey Michael, Why Do You Love Me?, Prepaid Wireless, Off The Rails, Japan, 23, Best Friend, Funeral
In terms of upcoming shows, Wallice and Nitefire will be on the road with plenty of chances to catch them on tour until they wrap up on July 20th in San Francisco.
Updates for any future Wallice shows can be found on her socials, and her linktree. The same goes for Nitefire, and you can find their socials and linktree here.
For those looking to dive deep into the darkness that is inherent in the Goth scene, “The Art Of Darkness: The History Of Goth” was released on May 16th (Manchester University Press). Author John Robb takes an in-depth look at all that makes up the Goth music scene – the music, the culture, and the history.
A book that took eight years to be published, “The Art of Darkness: The History of Goth” has received rave reviews across Europe, the nexus for Goth. The Irish Independent said of the tome, “Gloriously knowledgeable…stuffed with stories about the bands who changed your life as a teenager.”
John Robb is a veteran of the global alternative music scene, coining the term “Britpop” in the 1990s, was the first UK writer to interview Nirvana back in 1989, and has written on popular music for The Times, The Guardian, NME, and founded the UK music website, Louder Than War. John has previously written the best-selling books “Punk Rock: An Oral History” and “The North Will Rise Again: Manchester Music City 1976-1996”.
John Robb: Photo by John Middleham
This 546 page book takes the reader into a Goth club, before expanding to take a look at the wider culture and history of the times. Examining the subculture that rose in underground UK clubs, spread thrrough word of mouth at pubs or via posters and handbills, the early scene included hippies, scenesters, dominatrices, and gives a breakdown of what went down in the club scene.
Taking a look at the social conditions at the time that led to the rise of Goth in the post-punk period, Robb finds history influencing art, shifting gears as he looks upon the fall of Rome, folk tales from Europe, the occult, Gothic architecture and more to tie present-day Goth to these continental roots.
Examined is the Goth connection to the punk club scene and how it shifted from punk to goth over time, plus that which makes up various goth sub-groups: mall, traditional, romantic, vampire, etc… all the way to Glam Rock and how Goth arrives at present day, and even how certain genres of music (heavy metal, indie) correlate to the Goth culture.
The book is built mostly around the 80s post-punk Goth period and features interviews with Andrew Eldritch, Killing Joke, Bauhaus, The Cult, The Banshees, The Damned, Einstürzende Neubauten, Johnny Marr, Trent Reznor, Adam Ant, Laibach, The Cure, Nick Cave and many others.
An enjoyable read, one of the biggest takeaways, especially for the uninitiated, are the origins of Goth in the club scene of the 1960s, and the evolution of the beatnik/mod era through punk and post-punk, with goth borrowing as it arose during the time period.
Order a copy of the definitive deep-dive into Goth here!
Ed. note: Thanks to Lola for her insight into goth culture.
NYC electronic act MIDNIGHTCHOIR has just released the single “Lovecrimes,” along with this, a music video to accompany it. Along with this, they have also confirmed the forthcoming release of their second album, Loverboy Molotov, to be released July 14th.
New York-born and raised electronic producer Patrick Bobilin has been producing music as MIDNIGHTCHOIR since 2014. Bobilin’s love for 80s goth rock and pounding electronic beats combined with his political experiences color the tone and tenor of his music.
Speaking on this new single, Bobilin wrote, “After 7 years of being in the public eye, the only times I felt I could be myself were at NYC dance bars like Pyramid Club or Saint Vitus. I started traveling to Austin, TX more often to visit a group of friends, free from the political infamy I’d become ensnared in.”
“I recorded it quickly in one night, with the urgency of having to get out of town and shake loose of those tangles. ‘Lovecrimes’ was inspired by late nights in NYC and dancing at Barbarella in Austin, where they always play INXS on 80’s Night. The cover of ‘Need You Tonight’ was also inspired by those late nights and features guitar from David Simutis who I met at an office job and who I learned was a seasoned indie rock vet, having engineered and played on some of the coolest records of the last 20 years.”
The combinations of sex, politics, and gothic imagery explain the lyrical content and the inclusion of three covers: Bauhaus’ “Bela Lugosi’s Dead,” INXS’ “Need You Tonight,” and “Personal Jesus” by Depeche Mode.
Since then, Bobilin ran for public office, led community action organizations during the 2020 social justice uprisings, and has been an active community organizer. He was even arrested twice during the 2020 movement for black lives while organizing protests. That social justice work, which had Bobilin arguing with former-mayor de Blasio about policing on live radio, has found its way into the lyrics of the punk-infused new darkwave album he recorded in the first few weeks of 2023.
The new album was made with much of Bobilin’s urgency and energy of his political campaigns in 2017, 2020, and 2022. Having firmly decided to leave politics behind, Bobilin was compelled to write about many of the frustrations that inspired his far-left politics.
While Bobilin may lean on 80’s new wave and goth influences, the autobiographical elements of the album reflect his experiences in politics and protest. The politics of the album are far left, with emotional, social, religious, and political concerns peppered throughout.
Listen to “Lovecrimes” by clicking the link here. Loverboy Molotov will be available on all streaming services this July.
When it comes to making music, everyone charts different territory through various methods of approach. Some people choose to pay homage to those that came before them in order to emulate and reciprocate greatness. Such is the case with Roc Marciano, a smooth operator out of the 100 Block of Terrace Avenue in Hempstead.
Growing up in Hempstead was rough for this New Yorker but he managed to climb his way out of the, “city in the suburbs.” His residing area receives major attribution for the direction of his approach, style and taste within the genre of hip-hop.
Alchemist x Roc Marciano
Six Degrees of Separation
Coming up, many people were hip to Marciano’s talents and abilities. Once he linked up with Busta Rhymes – those recognizable traits started to gain major traction. Marciano attributes his Busta Rhymes connection to the “six degrees of separation” theory. Subsequently, he went to school with Busta’s younger brother who caught wind of some early musical efforts and passed them along to Busta.
Obviously, both of them thought highly of his capabilities and gave him the chance to shine on a brighter platform. Around 2000, Roc Marciano sparred bar for bar with some of the hardest artists in the game. Along the way, he bestowed the utmost respect to legendary artists who paved the way for him to thrive. He paid homage to those before him but also would gauge where they set the bar and try to surpass that. When he contributed to “The Heist” on Busta Rhymes’ album, Anarchy – he exchanged verses with the likes of Ghostface Killah (fresh off classic album Supreme Clientele) and Raekwon, both from the Wu-Tang Clan.
UN or U Out?
In 2001, he formed his own clique called “UN Crew” with his Uniondale High School counterparts, Dino Brave, Laku and Mike Raw. They received cosigns from major influential artists such as Large Professor, Madlib and Just Blaze. The group rapped over Pete Rock beats called, “Petestrumentals” and navigated their way into a record deal.
After their deal with Loud Records fell through, the UN Crew would ink an agreement with Carson Daly and 456 Entertainment. Roc Marciano grew tired of obeying commands and having to rap over beats chosen for him and eventually disbanded from the UN Crew and the record label they were signed to.
After a while, Roc began to truly differentiate himself from his peers. Rather than constantly trying to rap over the “hardest” beat, he strayed from the typical path and shifted the paradigms of his artistry. Large Professor played a monumental role in the encouragement of Roc Marciano’s solo career. Large Professor encouraged this burgeoning artist to tap into the twisted sounds within his brain and individually produce every track for his forthcoming album.
Often, rappers have a leg up on their competition when they are able to rhyme over self-produced beats and melodies. Furthermore, Roc Marciano executes his verses well with an off-kilter and complicated form. He received widespread internet acclaim when he dropped Marcberg in 2010. On his debut album, he received high amounts of underground reception because he was able to display the intricacies of his artistry. By rapping over his self-produced beats, Marciano was able to deliver sounds in pristine form and enter a zone that made him truly stand out.
Smooth Maneuvers
Roc Marci exists as a New York individual that keeps it fresh – stylistically, metaphorically and within his approach to the genre. His casual intensity makes what he does seem effortless, with a highly stylized stream of consciousness. Alas, every move made on wax and between the scenes requires a great deal of calculation, rehearsal and craftiness. Being both smooth and strange has yielded beneficial results for this New York artist. Roc Marciano puts forth masterful bodies of work regardless of theme/concept, ultimately serving the hip-hop ecosystem with compositional lyricism.
As an unpredictable, risk-taking and edgy performer, Roc Marciano keeps it very interesting when it comes to creating tunes. In order to change the landscape of the genre and push culture forward he consistently tests the boundaries and takes risks to improve himself as an artist. He chronicles his endeavors extravagantly and uses a hyper syllabic percussive flow. By doing so, he extricates great detail through the use of imaginative imagery.
https://www.youtube.com/watch?v=JNxCljW2uWQ
Verse Starts at 1:03
He paints narratives with specific skill and prolific penmanship by layering images via dense wordplay. Hence, he masters his entire process with non-traditional methods. Roc Marciano illustrates so well that his verses could be translated into movie scenes. With carefully crafted concoctions, he aims to develop scores for cinematic production.
With psychedelic wordplay, Roc is a hip-hop natural. By proceeding upon an organic path, the music that he releases allows the audience to follow the voyage of a time traveling wordsmith who is magic whenever he graces the mic. As a lowkey legend, Roc remains recluse and observant. In general, he does not care for radio spins as long as the checks come in and those who truly appreciate the music continue to catch wind of his endeavors. He has extremely high standards and tries to outdo himself every time he steps in the booth. He is constantly reinventing his craft and submits his ultimate contribution to the game by submitting songs that sustain with longevity.
Roc Marciano x Flee Lord Delgado
Verbal Technician
Roc Marciano nonchalantly devastates his opponents. As a descriptive and introspective emcee he illuminates the virtues of a true player in the game. His stone cold delivery accentuates elements of linguistics and exuberance. He flourishes with precise timing, cadence and tonality. His hyper-controlled nature allows for him to direct the process in the direction he sees fit for his persona.
He amassed a significant following in part to his extremely impressive flair for storytelling. He attributes his gravitation to the art of rap to the group, Ultramagnetics. They showed him the “scientific” aspect of rap and Roc was highly intrigued by the possibility of evolution within the genre. With an innovative approach, authenticity and discrete nature – no wonder why people appreciate him and his music.
NYC’s indie-pop and folk-rock artist KAZIMI shares the single “Fever Dream,” the second track from her debut album River Run out later this year. The layered percussion is the heartbeat of this single, with drums that are both slinky and sexy, a groove comes across your hips effortlessly.
The singer-songwriter wrote, “’This is a song about pleasure and craving. About wanting something (someone) so bad that the desire seeps into your every moment, coloring everything you see. That obsession, that need, that want. Bodies seeking bodies.”
“I never sat down to make a record. I don’t think I would’ve started if I had.”
-KAZIMI
For most of her life, KAZIMI played music alone and in secret. She crafted songs as a way to work through life’s peaks and valleys but they were never meant to be shared. When the world stopped, something in her changed and that change led to the writing and recording of her debut album, River Run.
The New York-based singer-songwriter offers up her personal brand of indie-folk with tracks that explore the trials of being a living, breathing human: betrayal and heartbreak, pleasure and resilience, the death of loved ones, and the rebirth of self. With a soundscape that drifts effortlessly between dreamy, seductive, cinematic, and folky, River Run is as evocative in its style as it is in its storytelling.
The indie-folk (although very different it’s also somewhat reminiscent of John Grant, don’t you think?) artist deals with the myriad layers of the human condition as a way of wrestling with difficulties.
– Americana UK
For KAZIMI, the project was an opportunity to dethrone the internal demons that lurked in the shadows of her mind. “Part of making music is letting go so there can be space for magic to enter the room, but giving up control is not something that comes easily to me. I had to constantly recenter the importance of making something true over the temptation to chase perfection.”
The title track was written in an empty hotel lobby in Nashville at the height of quarantine in 2020, “I was driving from Texas to New York. Passing through Memphis, I crossed the Wolf River and something about the name stuck in my mind. That evening I went downstairs and sat at the keys. I hadn’t had a piano to play in 4 months. Over the course of the time I wrote the song, I never saw another person. No other guests, no staff. Just me alone in a hotel, singing to the walls,” she says.
Swimming in the depths and then soaring through the clouds, the record traces the journey of a path unknown. The very act of making it, says KAZIMI, is a victory. “I am following what makes me feel most alive, even though I don’t know where it will lead. I found an ember and I held it close. I blew on it until a fire burst forth.”
In the Capital Region of New York State, there are numerous recording studios that provide aspiring musicians with a space to record their music and help artists in their efforts to one day make it big in the music industry. Across Albany, Saratoga Springs, and Schenectady, you’ll find a great selection of studios to support musicians, artists, and bands from all genres and scenes.
In Albany, you can find North Albany Studios in the village of Menands, where the handicapped-accessible Studio A comes equipped with a five-piece drum kit, bass amp, guitar amp, lounge facilities, natural light, high ceilings, and green-screen capabilities, and more for making music, film, photography, and theater.
Studio A of North Albany Studios.
The SAG-AFTRA-approved Overit Studios in the city of Albany offers film/tv/games, commercial, music, podcast, and audiobook services. The former church is a 2000-square-foot space with 28-foot ceilings, a spacious live room, three isolation booths, and an oversized control room to can accommodate anything from a singer-songwriter to a full band and even a choir.
Capital Mixers Recording Studios in Albany County offers professional recording, mixing, mastering, and more services to recording artists, Musicians, DJs, bands, and record labels worldwide. It has three studios, A, B, and C, and a podcast and film studio.
DJ mixing at Capital Mixers Recording Studios.
Albany’s AAA Recording Studio C offers recording services for all kinds of musical acts solo artists, small combos, acoustic acts, acapella groups, rock bands, and full-on Big Band groups.
A drum set in AAA Recording Studio C.
White Lake Music and Post in Albany offers four studios for singers to produce music in. The studio has produced, recorded, and mixed multiple Billboard Top 40 singles and provided audio services for clients including Netflix, Discovery, Lifetime, Universal, Disney, Nickelodeon, HBO, and numerous others.
For over 20 years, the hamlet of Delmar, in the Albany County of Bethlehem, is home to Blue Sky Recording/Music Studios, equipped with a full-service recording studio, private music lessons, music classes, music camps, instrument rentals, and a music store all under one roof for professional musicians, music teachers and students of music in the Capital Region. Its recording facility is the premier studio in the Albany area, offering audio recording, mixing, CD mastering, audio transfers & restoration, music editing, music production, commercials, custom jingles, on-location recording, and much more. Blue Sky also offers music lessons for all ages, levels, and styles on most instruments, music therapy classes, ‘Make the Band’ summer rock band camp, audio engineering classes, and Romper Rhythms classes for babies/toddlers and parents.
Blue Sky Recording/Music Studio in Albany,
Don Fury Studio in Troy records music “New York style,” with real drums, real guitars, and real vocals, unedited as if you were right in front, or even on, the stage. “When you hear a record produced at DFS – everything you hear is real.”
Don Fury Studio in Troy.
First opened in 2001, Classical Recording Service in Albany County is a popular choice for recording among musicians in Upstate New York. The studio has made thousands of recordings all over the Capital District, including concerts, recitals, and recording sessions. In the capital region, Classical Recording Services has work locations at the Troy Savings Bank Music Hall in Troy, the Palace Theatre in Albany, and the Proctors Theater in Schenectady.
The stage at Classical Recording Services in Albany County.
The full-service Soundcheck Republic in the Rensselaer County of East Greenbush featuresstate-of-the-art digital and analog recording equipment, providing all the features of a larger studio, acclaimed engineers, and producers.
A typical studio space in Soundcheck Republic.
There are among the many recording studios in the Capital Region where aspiring musicians can make their music, on their journey of one day making it big in the music industry. If we missed a recording studio from the greater Albany area, please email editors@nysmusic.com.
