Brooklyn-based alternative/post-punk group Castle Black recently released their latest single titled, “Heart Can’t Feel.” The single is off of the band’s upcoming album, The Highway at Night.
Castle Black is an ever-evolving thunderstorm of sound on a backdrop of captivating hooks and edgy soundscapes. Castle Black draws elements from punk, post-punk, grunge, alternative and new-wave music. The band sees the release of their first full length album, The Highway at Night in June.
The single, “Heart Can’t Feel” is the second released single off the album. The group has released six EPs since 2015. Castle Black hopes to reach new heights with the release of their first full-length album.
“Heart Can’t Feel” begins with captivating chords, vocal tones, and immediate action. The song has strong influence from a band like Hole. The fierceness of the vocals, the upbeat yet grungy sound, and the song structure are very reminiscent of Hole and other alternative bands from that era.
The riffs throughout the song catch the listener right away and refuse to stay static. The track is certainly very post-punk in its vocals, grunge in its tone, alternative in its pace and instruments, with a bit of a new-wave aura to it. Castle Black does an excellent job here of crafting a catchy, punchy, and fun piece of music.
To give “Heart Can’t Feel” a listen and to learn more about the minds behind the music, click here.
To commemorate their first studio release in nearly 13 years, The Disco Biscuits staged a release party at New York City’s famed Webster Hall on March 29. With help from a couple of friends, the band played their new album Revolution In Motion from start to finish over two sets that spanned nearly four hours, much of it without a break between tracks.
Along with their typically incredible light show via Herm Light Designs, and corresponding animation from Blunt Action and Todd Kushnir projected on a screen behind the band, the album came to life and cemented its lore in Disco Biscuits history.
The sold out show had a buzz about it for weeks leading up, with the night having a slight bit of warmth to it in the East Village, ushering fans inside shortly after doors to secure a spot for a night that was years in the making. With the tracks from Revolution in Motion debuting since 2022, fans are well acclimated to the new material, as well as the depths of jamming that can unfold from any of the songs. Therein lies the beauty of what the Disco Biscuits have created in their ninth studio album, and not just the music – the story that intertwines the songs was revealed in full earlier this day, completing Part 1 of Revolution in Motion, with the band saving the day on the alien world Polyfuzia.
The band was joined by three special guests this evening – Erin Boyd added soul with her vocals on “Twisted in the Road” and “Why We Dance,” Matteo Scammell singing alongside guitarist Jon Guttwillig on “Tourists (Rocket Ship)” and “To Be Continued…,” and guitarist Cloud Chord joining for “Tourists (Rocket Ship)” and “Spagaâs Last Stand,” which had keyboardist Aron Magner step out with a keytar for back-to-back playing alongside Cloud Chord. Guests for the Disco Biscuits are infrequent at best, and the three etched their names into Biscuits’ history as well as the fans memories.
In lieu of a song-by-song breakdown of the show, we encourage you to listen to the full show here on Nugs.net. The show is best enjoyed in full from start to finish, taking the story along with the music and explorative trance-fusion jams.
A full summation of the night, however, is best found from Brian Stollery, who offers the following thoughts on the evening that unfolded at Webster Hall.
In the kaleidoscopic carnival that was the Disco Biscuits’ album release show for Revolution in Motion, their first sonic odyssey in 14 years since Otherwise Law Abiding Citizens, the band once again proved themselves as the cosmic jesters at the crossroads of the Grateful Dead’s experimental psychedelia and the pulsating heart of modern analog techno’s transcendental oneness revolution.
Among the cacophony, “The Deal” emerged as a transcendent hymn, a bizarre yet profound meditation on business acumen that captures the essence of the Biscuits’ ability to spin mundane realities into psychedelic gold, propelling the audience into a state of intellectual spiritual mayhem, where fun collides with the sublime in a spectacular explosion of sound and fury.
Disco Biscuits – Webster Hall, NYC – March 29, 2024
Set 1: Shocked > The Wormhole > Twisted In The Road > Another Plan Of Attack > Times Square >Freeze Set 2: Tourists (Rocket Ship) > Spaga’s Last Stand, Who’s In Charge > Space Train > The Deal > One Chance To Save The World > Why We Dance Encore: To Be Continued
Chyna Streetz loves the process. Through various life experiences she continues to learn and grow. Money comes and money goes but lost time on Earth could never be earned back. Abundantly, the hours in the studio and on tour continue to pay dividends for this NYC-based emcee.
Her latest body of work, From Hell to Chanel showcases just how far she has come since her first project in 2018. After experimenting with different sounds – Chyna now sets her sights on accomplishing feats according to her own timetable.
“Even if the wounds heal, the scars left still show.”
-Judas Kiss by Chyna Streetz & Tiona Deniece
Less worried about what others see fit for her – this artist formerly known as Chy the Empress embodies her lane in the underground East Coast hip-hop scene. Amazingly, strides from the likes of Westside Gunn and Rome Streetz have turned underground hip-hop damn-near mainstream. Label it however you wish – real rap is back on the map and Chyna Streetz pushes her pen to the forefront.
With conceptual storytelling and divine lyricism – everyone better recognize what Chyna Streetz means to hip-hop. From Hell to Chanel (entirely produced by 183rd( illuminates the struggles this woman went through. The determination to prove herself shines very brightly on this tape.
On Bernadine’s Rage she refers to herself as a, “Goddess in the likeness.” In the very next line she proclaims she is, “Tight she had to write this.” Therefore, these two lines together make for an excellent set of opening lines.
Right from the beginning of Bernadine’s Rage – she lets us know that she is a supreme being as those who have utmost confidence are recognized sooner than those who only half-step their way to the goal. Next, being ‘tight’ means she might have been upset she had to write this which portrays growth and shows that she will take any steps necessary to become the best version of herself.
New York is a Nationality
All credit due to the Empress and her efforts – the moment she transformed into Chyna Streetz drove her to become a different animal within the same beast. Spending time with her man Rome Streetz has propelled her lyricism, uplifted her stage presence and given her the bravery to use her past as a turning point for the future.
When Chyna was 17 she went away for robbery in the first degree. She served roughly six years altogether between Bayview Correctional Center and the ‘Staying Out Program’ in Manhattan. Hurricane Sandy ravaged much of Bayview Correctional Center and it is now being renovated into affordable housing.
“Rolled the dice on life and found out time cannot be bought.”
-Judas Kiss
Chyna preaches to live and maintain in the ways that work for you. Do not let outside influence or external gratification dictate the path you know you must walk. Evidently, within the core of every soul – you will find what direction you must choose. Now, take the steps to walk the road less traveled en route to fulfillment of your destiny.
Some ways in which Chyna found self-realization comes from internal strength and stepping outside of her comfort zone. Nonetheless, building confidence from within and surrounding herself with truly talented people have led her to become a difference-maker within the game.
Key Tracks: Matrimony, Sirens Lullaby, Judas Kiss
Stream her latest collection here and write the author on IG and let him know which one you’re rocking with the most.
Over the past year, the Orpheum Theater in Saugerties has renovated and redesigned its third floor into a space called “The Mark.”
The Orpheum in Saugerties, NY – Photo credit: Joseph Janisheski
The Mark is envisioned as a place to host everything from feature films, to director Q&A’s and live musical performances. The theater seats 99 people. It is the latest in many renovations that have taken place since the Orpehum was purchased by the non-profit Upstate Films in 2021.
The Mark officially opened on March 15th and has already screened everything from Dune: Part 2 to a silent film titled The General, which featured live musical accompaniment.
The Mark interior – Photo credit: Joseph Janisheski
The design was led by architect and audio designer John Storyk and his acoustic consulting and architectural design firm WSDG, which is based in nearby Highland, NY. Aside from giving back to the local community, this project was extra special to Storyk.
The Mark is named after beloved community figure and supporter of the arts Mark Braunstein who passed away in 2021.
“As a dedication to Mark Braunstein, there just was a fire under our bellies,” John Storyk said. “This is a passion project.”
Even if you haven’t heard of Storyk, you’ve probably heard his work before … at least indirectly. Storyk is a world renowned architect and audio designer who’s built music studios for the likes of Jimi Hendrix and Jay-Z. He’s also led the charge on projects in venues like the Lincoln Center. His latest project in Saugerties takes place on a slightly smaller scale, however, the work is no less meaningful.
John Storyk – Photo credit: WSDG
Nowadays, there is much hype around the visual quality of IMAX and 3D movie experiences. And while sound isn’t the first thing your average movie-goers might critique, Storyk says good audio is the real key to an immersive experience.
“The audio is magic,” he said. “It gives you the envelopment and it’s what makes the theater experience special.
This is more than just “lights out, popcorn,” as Storyk put it. There has been intricate attention paid to every aspect of the redesign – from the exact angle of the wood panels on the walls to the position of the stage – all to optimize the acoustics of the room.
Photo credit: Joseph Janisheski
Perhaps most notably (or audibly) the new space boasts a Dolby Atmos sound system. It is one of very few theaters in the region
For my own curiosity I asked Storyk what is the best seat to choose at the movies. In general, Stroyk said he preferred to sit about one-third or two-thirds back and off to the side
“I want to hear the room, I want to hear the wall,” he said.
However, in the specific case of the Mark, Storyk says there isn’t a bad seat in the house given the intimate setting and the way the seats are arranged.
One of the main challenges of designing the Mark was optimizing sounds for both movies and live performance. To accommodate this, Storyk installed two separate sound systems for each use case. In total, the space has around 30 speakers
Storyk made use of existing materials as well, in particular keeping the tin ceiling that adds so much character to the room. But beyond the aesthetic, Storyk said the thin ceiling coupled with the insulation behind it was quite good for absorbing certain higher audio frequencies.
Photo credit: Joseph Janisheski
As Storyk explained, much of his design focuses on how the room absorbs and reflects different frequencies of sound to create the optimal listening experience. Have you ever watched a movie and found the dialogue to be muddy or difficult to understand? Chances are the acoustic design of the theater could have played a role.
On April 10th, The Mark will be hosting a free event led by Storyk and eight-time Grammy-winning producer and sound engineer Elliot Scheiner. The two will demonstrate the audio properties of The Mark using samples from Scheiner’s Emmy-winning History of the Eagles and musical work, live performance that showcases the Mark’s live sound system.
Reservations are strongly recommended which you can book for free through the Orpheum’s website: here.
Funky, jam band powerhouse Dopapod stopped in The Williams Center in Rutherford, NJ on Thursday, March 28. The Jungle Jazz Initiative opened up the night, offering a groovy and entertaining set, fitting in well with Dopapod’s sound.
Dopapod’s first set was only 4 songs, which was full of jams and featured a good representation of their career with newer and older songs. It started out with a danceable “Live In the Dream” followed by a Dopapod classic “Turnin’ Knobs” which featured the electronic, synth heavy peaks. Another catchy classic closed up the set, “Braindead”. The chorus is still ringing in my head.
The band opened up the second set with a very distinguishable “Trapper Keeper”. This was followed by an unexpected “No Quarter” played with ferocity. The rest of the set included newer and older songs that flowed together incredibly well. And suddenly a Dead cover appeared, Dopapod’s homage “Smertha” was played to close up the set.
The band encored with “Landmines”. Dopapod’s sound is unique and is distinguishable in a scene that can at times be homogenous. Their unique style provides a refreshing experience and will continue to gather fans.
Dopapod – The Williams Center for the Arts, Rutherford, NJ – Thursday, March 28, 2024
Set 1: Live in The Dream, Turninâ Knobs, Man or Machine, Braindead Set 2: Trapper Keeper, No Quarter, Ebb and Flow, My Elephant Vs. Your Elephant, Peter Banning, Sonic, 2 Somebodies, We Are Not Alone, Shmertha Encore: Landmines
After years of eager anticipation, the historic Brooklyn Paramount Theater reopened its doors to music enthusiasts on Wednesday, March 27, with a spectacular concert featuring reggae icons Damian and Stephen Marley. Part of their highly anticipated 2024 Traffic Jam Tour, the event delighted fans with a night of rhythm, melody, and cultural celebration.
A Brief History of the Brooklyn Paramount Theater
Originally opened in 1928, the Brooklyn Paramount Theater stood as a beacon of entertainment in the heart of New York City. With its stunning art deco architecture and state-of-the-art facilities, the theater quickly became a beloved landmark, hosting a plethora of performances ranging from live music acts to film screenings.
Like many historic theaters, the Brooklyn Paramount faced periods of decline and neglect over the years. By the late 1960s, it had ceased operations as a theater and was repurposed for various other uses, including a disco club and a basketball arena. Despite efforts to revive it, the theater remained largely dormant for decades, with its grandeur fading into memory.
The Renovation Project
In recent years, a dedicated group of preservationists and investors embarked on a mission to restore the Brooklyn Paramount Theater to its former glory. Drawing inspiration from its illustrious past, the renovation project aimed to breathe new life into the venue while preserving its historic charm.
Through meticulous restoration efforts guided by archival research and architectural expertise, the theater underwent a remarkable transformation. From refurbishing the ornate façade to upgrading its sound and lighting systems, no detail was spared in the quest to revive this cultural gem.
The Grand Reopening Concert
The reopening of the Brooklyn Paramount TheaterSetlist: was a momentous occasion, eagerly awaited by both locals and music enthusiasts from afar. And what better way to kick off this new chapter in the theater’s history than with a performance by two of reggae’s most influential figures?
Damian and Stephen Marley, sons of the legendary Bob Marley, graced the stage alongside their band, offering a mesmerizing display of their musical talent. Set against the backdrop of the newly renovated theater, the duo delighted the audience with a dynamic setlist.
The Music
Damian and Stephen Marley chose songs from their popular collection to create a setlist that pleased both longtime and new fans. They performed tunes about unity, love, and social justice, along with some catchy melodies. Some standout songs from the concert included”Welcome to Jamrock,” “Could You Be Loved,” “Exodus,” “Medication” “The Mission,” and “Rock Stone.” Each song transported the audience on a musical journey, infusing the Brooklyn Paramount Theater with the vibrant spirit of reggae and honoring the legacy of their famous father.
A Night to Remember
As the music ended and applause filled the air, it was obvious that the reopening concert at the Brooklyn Paramount Theatre was a big success. For those in attendance, it wasn’t merely a concert but rather a joyous celebration of culture, community, and the unifying power of music.
Damian and Stephen Marley – Brooklyn Paramount – Wednesday, March 27, 2024
Setlist: Big Youth – Intro, 10,000 Chariots, The Traffic Jam, So Much Trouble in the World, All Night, Pimpa’s Paradise, Still Searchin’, Tight Ship, It Was Written, Cast The First Stone, Jah Army, Medication, The Mission, Love and Inity / Punky Reggae Party, Jamming, Is This Love, Rock Stone, Road To Zion, Welcome to Jamrock, Exodus, Could You Be Loved
New York City has been given many nicknames like “the city so nice, they named it twice,” as well as “The Big Apple.” The city at any given moment can hold multiple events at one time. Friday, March. 28 saw country star Zach Bryan play at the Barclays Center in Brooklyn while President Biden hosted a fundraiser which featured former Presidents Barack Obama and Bill Clinton. The fundraiser was only steps away from where former KISS guitarist, Ace Frehley played as he filled up Sony Hall just a month after his newest release, 10,000 Volts.
Frehley has announced 15 dates to his itinerary for 2024. Three of those dates, including the Sony Hall show, are in New York. Frehley is playing at the Rome Capitol Theatre on April. 12 as well as the River Theatre in North Tonawanda on Aug. 21. These tour dates are also in support of his newest release which has been praised very highly by the music community.
Before the rock and roll siege of “The Spaceman,” the New York City natives known as Kore Rozzik warmed up the eager crowd. Kore Rozzik played seven songs and did their part well at getting the crowd hyped up for classic Kiss and original tunes from Frehley. Kore Rozzik, while a harder style of rock music than Frehley powered through technical difficulties and wonky mic feedback to deliver their brand of metal and hard rock. The fans who knew the band loved them and screamed wildly. It took a few songs for the band to win over fans that weren’t so familiar with them. Once lead singer Kore Rozzik graced the stage in different stage clothes for multiple songs and sprayed the audience with water after their final song, “Spellbound,” the band made multiple fans and left a lasting impression on the rowdy crowd.
Joining Rozzik on stage were Andrei Patorski and Alex Devious on guitars, Matias Sanes on bass and Crow Starbird on the drums.
As the house lights dimmed and one of Frehley’s instrumentals blasted of the speakers, a sudden surge rushed from the back of the general admission audience and pushed the crowd closer to the stage. With what seemed like one quick motion, Frehley and his band blasted into “Shock Me,” off Kiss’ 1977 record, Love Gun. Frehley played 14 total songs that took fans through memory lane of his Kiss days while also sprinkling in a few solo songs including the title track to his newest release. Frehley sported a sparkly jacket that draped over his NASA t-shirt to start the first few songs of the night. Dawning classic Rayban aviators and his classic Les Paul guitar, it was clear that Frehley and the rest of his band were indeed “back in the New York Groove.”
Accompanying Frehley on stage was bassist Ryan Cook, guitarist Jeremy Asbrock and drummer Scot Coogan. This was the same band that played on his record in addition to touring with Frehley across the United States recently.
Like Kore Rozzik, the Frehley band was not only battling the bad feedback from their speakers but at one point in between the band’s rendition of “Rip It Out,” and “Detroit Rock City,” Cook’s bass strap broke and had to be taped back together for the remainder of the show. But, with a calm smile, Cook took the minor setback like a true professional and continued to wave and point into the crowd of fans.
Unlike the last show that Frehley played at the Paramount Hudson Valley back in October, multiple fans put on his classic face paint and rushed to the front of the stage before the band’s set. The entire crowd, which consisted of all ages never left their spot in the general admission and continued to clap, throw up the rock horns and raise their fists to the loud wall of sound in front of them. If you closed your eyes and pictured what a Kiss concert sounded like in the mid-1970s’ when the band was at the height of their powers, without a doubt, it would have sounded something very close to last night’s show.
In classic Frehley showmanship, for the band’s rendition of “New York Groove,” Frehley brought out his classic guitar that lights up. When the special Les Paul guitar made its appearance, the crowd went crazy as they knew exactly what song was coming up. At the beginning note of every song, the crowd gave the band a thunderous cheer. The cheering was so loud at one point that it seemed like the roof was going to cave in.
It was extremely impressive to hear the band play their new material from the aforementioned 10,000 Volts. Despite the band only playing the title track, it was neat to hear the band acknowledge their new record. Throughout the show, fans were yelling for the band to play some of their favorite tunes from the brand-new record. Regardless of Frehley being 72 years old, he still had his skill from the ‘70s on guitar while also having his signature voice on lead vocals.
At the end of the show, when the doors were flung open and the cool New York air filled up the downstairs theater, there was not one unhappy fan in the venue. With Kiss now being retired and the band not playing, Frehley is one of two members still out on the road. With that being said, fans were extremely happy to have their night filled with Kiss tunes and seeing the one and only Spaceman
Kore Rozzik Setlist: Welcome To Rock Hell, I Am Your Savior, Can’t Stop Won’t Stop, Vengeance Overdrive, Mistress, Guilty As Charged, Spellbound
Ace Frehley Setlist: Shock Me, Rocket Ride, 10,000 Volts, Rock Soldiers, Love Gun, Parasite, New York Groove, Rip It Out, Detriot Rock City, Cold Gin, Strange Ways, Shout It Out Loud, Deuce, Rock And Roll All Nite
Tuesday nights are usually reserved for a simple McDonalds dinner after I sit through an hour of my daughter’s gymnastics class. This past Tuesday I decided to add the Mong Tong show at No Fun in Troy to the lineup of Tuesday’s to-do list. This turned out to be a welcome addition as I watched 2 men get on the stage, do a quick sound check, and then blindfold themselves before performing a very unique brand of Asian-infused Psychedelic sound.
Mong Tong is a 2 man instrumental group consisting of Taiwanese brothers Hom Yu and Jim Chi and are no strangers to the United States. They’ve performed multiple times in the South By Southwest festivals and have gathered a decent following. This particular appearance at NoFun is the 7th stop of their 9 location US tour with their 9th and final stop being at TV Eye in New York City on March 29th. This tour celebrates their new EP 銘 Epigraphy which dropped on March 8th.
Blindfolded musicians performing music is something everyone should see at least once in their lives. Dressed simply in black pants, white shirts, and red blindfolds, and using an arsenal of electric and electronic gear, the 2 brothers create intricate and complex arrangements that capture the essence of kung-fu movies mixed with punchy beats and well thought out melodies. Staccato guitar arpeggios dance over conga laden drum lines. Traditional Asian instruments and unidentifiable synth sounds mash together in a strange 70s Psychedelic rock jam. All accentuated by the smooth and groovy bass that anyone could get next to.
The duo takes you on a trip though soundscapes that vary from ethereal to hectic to confusing to serene and you’re not sure where its going next. The energy is positive and contagious and while some people are dancing, others are taking in the light show, and others are still amazed at the blindfolded-ness of it all, none are missing out on this one-of-a-kind experience.
With polyrhythmic beats and sampled and non-sampled traditional Chinese instruments it’s safe to say that Mong Tong has few competitors. Since I’m struggling to find a similar band to compare them to I’ll just say I’d classify Mong Tong as Psychedelic Asian Electro-Funk Trip-Hop with a dash of Techno. They’re continuing their tour of the US with shows at the Columbus Theater in Providence, RI on March 28th and at TV Eve in New York City on March 29th. Tuesday to-do lists aren’t the same any more.
On Wednesday March 20, California-based HUNNY took the stage at Empire Live in Albany, supporting Mom Jeans alongside Summer Salt. With a dynamic setlist pulling from the band’s near-decade long discography as well as their most recent album, new planet heaven, HUNNY put on a show that exemplified their long-standing and ever-growing presence in the alternative scene.
HUNNY hails from Northern California, a product of the indie rock scene that flourished in the area in the 2010s. They are the first of two bands supporting fellow California-based Mom Jeans on their US tour; several other bands, including Free Throw and Just Friends, are also set to join for select dates.
This was HUNNY’s second visit to Albany, but their music is well known and well liked within the prominent shoegaze and post-punk scenes in the Hudson Valley, making them a perfect fit to raise the energy for a mid-week show.
The group opened the show with “JFK,” the lead song off of their 2022 album Homesick. Within seconds of the grungy, overdriven guitar meeting the crowd’s wall of sound, everyone was moving. The band’s own energy on stage is tenable from the photo pit, their own jumps and erratic movements matching their audience’s. The band continued to pull the rest of their setlist from 2022’s Homesick, as well as new planet heaven and their mid-2010s hits, such as “Televised,” and their closer, “Vowels (And The Importance of Being Me).” By the end of their set, the house was full, and the bar was open- all eyes and ears were on HUNNY, and the crowd couldn’t help but move.
As I was headed out of the venue, I happened to overhear a Mom Jeans fan mentioning the first opener, praising the group’s ability to appeal to potential fans- the last thing I hear her say is, “I don’t know, but they got me jumping!”
Each Sunday evening from 7-9 p.m. youâll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Shane Guerrette and Joe Mansman & The Midnight Revival Band.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
