Brooklyn-based grunge-pop artist, Middle Part released his debut album, Disruptor, on April 26. The album is a sensitive raw look at mental health in a revolving corporate world. The sound of Disruptor pays homage to late 90’s and early 2000’s grunge rock.
Middle Part or Andy Selkōw, moved from Alaska to New York City in 2019 where he met producer and collaborator Brian Zaremba. Shortly after Selkōw released his first EP in 2021, I Wish I Was Alive. One of its tracks “& Cry” gained lots of attention from fans with its 4 million streams on Spotify.
Since then, Selkōw has found a place within the Bushwick, Brooklyn music scene opening for acts like Biig Piig and Yot Club. Middle part has appeared on Spotify’s Indie Fresh Finds playlist, exposing his sounds to indie listeners everywhere.
Disruptor opens with “Get Fixed,” which samples sounds from what sounds like a home video invoking a sense of nostalgia as the song explains the emotional rollercoaster that comes with the realizations of ageing. Despite the dark subject matters of some of the tracks, the album is still incredibly catchy with upbeat guitar riffs and invoking choruses.
One song that sticks out is “Spin For You.” Selkōw’s voice is distorted, and he uses some wacky instrumentals to represent the depressing and hopeless mood of the song. “Dial” is one of the most important songs on Disruptor. It tells the story of a suicide hotline call but the message is hopeful, encouraging people to seek out help. The track represents a low point in Selkōw’s that he wishes never to return to.
The whole album is a vulnerable, darker approach to songwriting with its emotional lyrics. “I’m so sensitive and hate to show it, but it just bleeds through all of my music,” Selkōw says.
You can watch part of Disruptor on YouTube with its four-part performance series featuring singles from the album that were released in 2023. The videos resemble classic MTV rock videos with their gritty rageful visuals. You can check out Disruptor on Apple music or Spotify.
Indie-rock band juicer released their long awaited debut album Retire The Fences on May 10. The band formed in 2023 and have been blossoming in the NYC area.
Vocalist and Guitarist, James Watson moved to NYC in 2021 and he was inspired by his own personal journey as well as the new sounds of the city. Since 2023, the band including, Donovan Edelstein (drums), Carlo DiBiaggio (bass) and Greg Crotty (guitar) have performed in Boston and Philadelphia along with NYC venues. They released their third single “let go” earlier this year which got great feedback from fans.
Retire The Fences is a reference to lyrics off the Beach Boys song “feel flows,” a song from a more complex era of Beach Boys music, something that Watson was inspired by when recording this album. The harmony in the chorus of the track “Strawberry Life” resembles a Beach Boys song with its harmony and rolling effect of the rhythm.
Despite repetitive, plain lyrics the whole album overall has a great sound. It’s a perfect album for a summer drive, a walk outside or a chill dinner party.
Listening to Retire The Fences takes the listener straight to a classic inspiring Brooklyn show in a small intimate venue. One great aspect of the album is that it doesn’t feel over-produced or watered down with its editing. Fans will be able to imagine hearing these songs live.
One song that sticks out as a darker track is “Let Go.” It opens with grungy instrumentals with reminiscent lyrics. The song explains how changes in your life force you to reflect on your past.
“Trickin” which starts the album and “Dream” which is the last song, both invoke a carefree, light feeling that introduce and tie off the album nicely.
You can check out Retire the Fences here on Spotify.
A night after receiving a warm welcome at Baby’s All Right in Brooklyn, genre-bending psych rockers Levitation Room brought their cosmic vibes up the Thruway to Troy’s No Fun on Tuesday, May 14. Delivering a captivating performance that took listeners to the other side and carefully back, the gravity-defying band showcased exactly why they’ve emerged as one of the leaders of their genre. Playing mostly songs from the recently released album Strange Weather, the cool cats from California made a colorful impression that first-time listeners won’t soon forget. Â
Kicking off the evening with Bob Forget of Schenectady’s The Abyssmals playing his first solo set, followed by a short, high energy set by the local rock trio Stroma, Levitation Room casually took the stage around 10pm. Getting their fingers loose with the technical and shifting rhythms of the opening instrumental “Pintura,” Levitation Room quickly found their groove with back-to-back bangers from their 2019 breakout album Headspace, “Warmth of the Sun” and “2025.”
“I wonder if I’ll be living In the year 2025 You know my futures uncertain I’m losing grip all the time”
Lyrics from 2025
Led by front man Julian Porte on vocals and guitar, alongside Gabriel Fernandez on guitar, Johnathan Martin on drums and Kevin Perez on bass, one look at this band and you could just tell they “weren’t from around here.” Casually dressed in retro threads, the music itself also sounded like a bit of a throwback. Blurring the lines of psych-rock, garage and surreal pop, every song felt catchy, like it could be a radio single, and it made you wonder why these guys aren’t more well known.
Levitation Room performing in Troy, NY 5-14-24.
Far from a “new band”, the East Lost Angeles quartet has been around for nearly a decade now. Carving out a niche in the psychedelic-rock realm and releasing three full length studio albums, it’s perhaps their harrowing experiences from the road that have earned Levitation Room the most publicity. Whether that be coming face-to-face with an alleged U.F.O. while passing through Arizona, or a terrifying incident in 2022 when members of the band were allegedly kidnapped at gunpoint, dosed with unknown hallucinogens, and robbed of all their equipment, Levitation Room has somehow soldiered on and continued making great music. Making their Troy debut on this Tuesday night, the band briefly paused to introduce themselves and invite the crowd of mostly twenty-somethings to come closer to the stage.
Levitation Room’s Julian Porte performing in Troy, NY 5-14-24.
After taking “Mr. Polydactyl Cat” for a walk around the block, Kevin Perez’s infectious bass lines on “Cool It, Baby,” were so mesmerizing and playful that it nearly overshadowed the songs’ more serious lyrical themes. Such was also the case on the follow-up song “Grand Illusion (Expectations), where the far-out pop sound seemed to mask the existential questioning of Porte’s words.
Raise your glass, move your feet Are you dead or asleep? Talking heads on the screen Keeps you stuck in the dream Where the rat race is rigged And the presidents picked By the bankers who lend All that money you spend
And I said cool it, baby
Lyrics from Cool It, Baby
Further captivating the audience by switching gears and showing off their tender side with a pair of love songs “Heaven,” and the well-received “Ooh Child,” the waves of emotion swelled up like an ocean when Levitation Room uncorked what was perhaps the highlight of the set, an extended take on “Revelations,” a song about living in the moment, that saw the band firing on all cylinders and jumping around the stage, while guitarist Gabriel Fernandez navigated through a bevy of effects pedals during the song’s incendiary solo. It was refreshing to see the guys cutting loose, having fun and believing in what they were doing.
Levitation Room performing in Troy, NY 5-14-24.
After reminding the audience to be weary of the CIA, FBI, and NSA keeping tabs on YOU during “The Other Side,” Levitation Room casually eased into their most well-known single, “Friends,” from their debut 2015 EP Minds of Our Own before the equally hypnotic and dreamy vibe of “Immoral Love” sent the entire room into a blissed-out trance. Bathed in abstract visual projections and peering through a pair of old school 3-D glasses, the cool and steady hands of drummer Johnathan Martin mesmerized all evening long. Shifting tempos and playing up their strengths, “Loved” snapped the crowd out of it before the title track of “Strange Weather” brought the main portion of our sonic odyssey to a close.Â
Watch fan shoot footage of Levitation Room performing “Reasons Why” in Troy, NY 5-14-24.
After walking off stage to an enthusiastic ovation, the band decided to treat the crowd to one more song, choosing “Reasons Why” as the lone encore of the evening, bringing the colorfully cathartic, rewarding and fun performance to a close. Afterwards, the band could be found at the merch table taking selfies and signing records for the dozens of new fans they’d just won over. No rest for the weary, Levitation Room would find themselves playing gigs in Canada less than 24 hours later.Â
Taking place at No Fun in Troy, it’s easy to be fooled by the venue’s tongue-in-cheek name. A beacon for Capital Region counterculture since opening their doors in December 2021, the heady, 200 person capacity club known for its DIY punk-rock atmosphere and excellent craft beer selection, No Fun has proven to consistently contradict itself. Booking bands you won’t find anywhere else and holding events nearly every night of the week, it’s shows like Levitation Room on a Tuesday night that stand out as making the place truly special. That’s why when the venue suddenly announced it’s looking for a new owner and operator this week it, it sent shockwaves through the local music community. Claiming a “work life balance thing” as the reason with a listing of $149,000, the current owner wants it to be clear, No Fun is NOT closing, but rather opening the doors of opportunity for someone with the same spirit and passion to take over. Stay tuned to NYS Music as we will be sure to keep you up to date on this developing story.
Levitation Room | May 14th, 2024 | Troy, NY | No Fun
Setlist: Pintura, Warmth of the Sun, 2025, Mr. Polydactyl Cat, Cool It, Baby, Grand Illusion (Expectations), Heaven, Ooh Child, Revelations, The Other Side, Friends, Immortal Love, Loved, Strange Weather
Encore: Reasons Why
Bob Forget (of Abyssmals) | May 14th, 2024 | Troy, NY | No Fun | First Solo Set
NYC-based electronic artist Dasychira has released their second LP and first release in 3 years, Undead, on May 10. The album explores themes of transformation and adaptation, giving listeners a glimpse into Dasychira’s personal development.
Dasychira was raised in Johannesburg, South Africa, but has been a New Yorker for the last decade. Studying at NYU’s Clive Davis Institute of Recorded Music, they took on their pseudonym allowing them to write and produce music while exploring their own identity. Since then, Dasychira has released works of all sizes, including the most recent, Undead.
After releasing their first EP Immolated in 2017, Dasychira went on to co-found the label unseelie in 2018, where they released their last two albums, Hollywood Forever and Undead.
This album represents Dasychira’s navigation through the drastic changes the world has faced over the past few years. These songs articulate their mental journey through COVID-19, war, environmental disasters, and rising technologies. Undead walks you through a dream-like state using a mix of synthesizers and a variety of instruments such as electric guitar, gamelan, and violin, blurring the lines between humans and technology.
The album opens with “Bleed and Glow,” which establishes the feeling of being lost through its lyrics. Using electronics and synths, Dasychira conveys the need for fantasy during such a confusing time. The title track, “Undead,” features ballad-like violin and synth arrangements to express longing and desperation during a personal struggle.
The album’s closer, “Expand Yourself,” signifies the progress of Dasychira’s search for contentedness in the now. By making the electric guitar more prominent than the synth, the music becomes grounded in reality. This completes the album’s goal of accepting personal growth while their surroundings evolve out of their control.
To learn more about the context of Undead and hear the full album, click here
Trey treated an appreciative audience to a mix of electric and acoustic music that delivered both high energy and subtle thrills. The setlist was a testament to the band’s versatility and musical prowess, spanning both familiar classics and experimental improvisations. From the infectious groove of “Gotta Jibboo” to the introspective “Water in the Sky,” each song pulled the crowd in and sent them on satisfied.
Wonderland Forest is a newer venue in the Syracuse area and a great place to see a show. It’s ten miles south of the city near Lafayette, sitting on 400 acres of forests and fields. When you initially enter the venue you walk down a gravel path through trees until entering a pristine clearing with a lovely pond. Vendors are clustered around the water, with a small stage for an opening act to use in the back. Walking further into a forest lit by brightly colored lights once the sun sets, you come to a beautiful amphitheater nestled in a grove.
As dusk descended upon this verdant expanse, eager concertgoers gathered under the canopies, their whispers mingling with the rustle of leaves, anticipating a night of transcendental music. They weren’t disappointed. Trey took the stage a little after 8 pm, opening with a driving, pulsating “Sand,” followed by some nice soloing on “Back on the Train.” He continued with “Stealing Time From the Faulty Plan” and then “Steam” before pulling out the acoustic guitar for “Heavy Things.” The crowd was then treated to the debut of a never before played song called “It’s Happening Again,” followed by the first performance of “Windora Bug” in three years.
Set Two featured a few songs off of Phish’s upcoming album Evolve like “Oblivion” and “Pillow Jets” as well as Phish classics like “Ghost” and “Blaze On,” and Trey Anastasio originals. After finishing, the band took the stage for a two-song encore, with Trey pulling out the acoustic guitar for “Water in the Sky” and then finishing with an electric “Prince Caspian.”
As the final notes of the encore faded, the crowd walked away happy – many no doubt on their way to catch the next stop in the tour. It was a high-energy night of music, only marred by a little rain, and a satisfying experience. Trey and Classic TAB’s playing was imbued with a sense of purpose and passion that resonated with every note. They are bringing their A-game on this tour and it is not to be missed.
Trey Anastasio and Classic TAB – Wonderland Forest, Lafayette, NY – Saturday, May 18, 2024
Set 1: Sand, Back on the Train, Stealing Time From the Faulty Plan, Steam, Heavy Things, It’s Happening Again, Windora Bug, I Never Left Home, Gotta Jibboo, I Never Needed You Like This Before
Set 2: Drifting, Oblivion, Ghost, Outside the Lines, Broken Into Pieces, Pillow Jets, Liquidate the Moon, Blaze On, A Wave of Hope, 46 Days
Sports and hip hop have long been synonymous. In a world where athletes and rappers envy one another, the shared racial dissonance of black entertainers likens them. Thus maintaining a symbiotic link between an era’s biggest rappers and its biggest sports stars. Similarly, the shared cultural influence trickles down to fans and listeners alike, shaping the zeitgeist of the era. However, as we’re firmly entrenched in the “okay, boomer” era, pivotal moments in hip hop and sports have become a tolerated happenstance.
Yet, despite the cultural ambivalence towards the past, multimedia recountings maintain a niche audience. It’s in this essence that Saigon and Fredro’s debut collaborative effort, The Jordan Era, came to fruition. After all the veteran MC was initially only writing and recording a few records for two of Starz’s hit tv-shows Raising Kanan and  BMF — which chronicles the rise of the real life Black Mafia Family drug empire.
Saigon and Fredro capture a moment in time on “The Jordan Era.”
Markedly, BMF gained steam during the late 1980’s and became one of the nation’s largest drug-trafficking outfits during the 1990’s, a time of great cultural significance in urban America. Including the influx of street-level drug dealers making loads of money as a result of the crack cocaine epidemic, rendering them either neighborhood heroes or the latest cautionary tale. Nonetheless, the rise of the DIY pharmacist served as inspiration for hip hop’s golden age as rapper’s mimicked the style of the street hustlers and shared their war stories with the world. All of this combined with the peak of the world’s most popular sportsman — in Michael Jordan — resulted in a protracted cultural nirvana which Saigon and Fredro have summed up as, The Jordan Era.
The Jordan Era Album Review
I was making whole songs and they were only using like 10 seconds of it. I told Fredro we should make a whole album. I had all these great records that sound like ’80’s and ’90’s but I didn’t have any features. That’s when I got on the phone with Grand Puba and I called all these guys.
– Saigon
Much like other renowned biopics such as Walk The Line, Straight Outta Compton, or Ray, The Jordan Era is a time capsule into a significant period in American culture. Produced entirely by Swedish producer Fredro, the album features hip-hop pioneers the likes of Grandmaster Caz, Pete Rock, Big Daddy Kane, Grand Puba, Kool G Rap, and more. Moreover, the album showcases Saigon’s raw ability as an MC. Emerging from the gagster rap craze of the early 2000’s the former Entourage actor is no stranger to hard-hitting lyricism. Yet, his versatility and creativity is at full showcase as he offers his own rendition of the greats that preceded him.
Saigon & Fredro hosted a “The Jordan Era” listening party/ Photo by Rob Tellerman
Standout Tracks
Beginning with the first song on The Jordan Era “G Miller” where he impersonates a fly talking rapper over 1980’s club music. “G Miller is my alter ego,” Saigon divulged during an album listening event. “It’s me just going in the booth and having fun just trying to be one of those fly ’80’s rappers that I grew up with.”
Following “G Miller” is “Lyrical Genius” featuring Grandmaster Caz, a quick-witted, upbeat lyrical onslaught where Grandmaster Caz reminds listeners of his songwriting prowess. In the ensuing music video Saigon goes full ensamble, sporting a full ’80’s style puma getup along with a kangol hat and the requisite dance moves. Immediately after comes “Think Twice” featuring Grand Puba, an upbeat, honest record reminding listeners that hip hop began with a “keep it real” mantra as Saigon spits “a rapper rapping about a killer and ya’ll say he’s the man, I see right through that n**** like he suran.”
As the album ages, so do the records, the beat selection and the lyrical subject, mimicking the dark undertones hip hop undertook in the early-to-mid 1990’s. Namely, Saigon recruits one of the pioneers of the mafioso sub-genre in Kool G Rap for “Make Money.” But all in all, the “The Letter P” rapper seemed focused on bringing back the essence of hip hop, showcasing his status as a professional MC with real, impassioned raps that serve as a tutelage for listeners sans any overt profanity.
Album Production
While Saigon’s skills as a songwriter are apparent, Fredro is a testament to hip hop’s global reach. Hailing from Sweden the multi-platinum producer began his career working with a whose who of the pop world from Sinead O’Connor to Christina Millian. However, hip hop was never too far away. “Hip hop was always the foundation,” Fredro shared. “Even if I work with a girl group in Tokyo there’s some kind of element of hip hop in there.”
As soon as the genre made its way to Sweden in the early 1980’s Fredro became a student and what was presumed a fad became a staple of their music culture. “Everything goes in cycles. This kind of sound is coming back. What’s funny is like boom bap never left Europe or Japan, its huge. All your favorite artists tour Europe and they go to Australia and Japan and Korea, they fanbase always stayed and never left.”
As a result Fredro produced every track on the album except one and even did all the scratches on the records. “I always loved scratching, it’s such a great element of hip hop that no one is doing. It’s like a guitar solo in rock & roll, it should be there.”
Ultimately, Saigon and Fredro offer a small glimpse into the world of yesteryear. Nonetheless, fans of classic hip hop and all its internal components (production, scratching, lyricism, songwriting) will be glad to spend a day in The Jordan Era.
Following a 26 year hiatus, NYC alternative band, The Bogmen have returned with their third album In My Kingdom. The Bogmen will release In My Kingdom on May 31.
Singer Billy Campion and brothers Billy and Brendan Ryan formed The Bogmen in 1990, united by a love of alternative, soul, and afrobeat. The group toured clubs, colleges, and venues around the NYC metro, forging a devoted cult following. Their 1994 debut Life Begins at 40 Million produced by Talking Heads keyboardist-guitarist Jerry Harrison, propelled The Bogmen into stardom. Throughout the 90s, they toured with legends like Shane McGowan, The Barenaked Ladies and Patti Smith, selling out national venues across the country.
Despite their success, the band broke up in 1998, citing frustration with the music industry and creative differences. For the next two decades, the band members’ lives were marked with hardship. Brendan Ryan’s wife died in the 9/11 attacks and other members continued to struggle with addiction and the music business. Despite this hardship, the band continued to sporadically reunite for live shows and EPs before breaking up again. The pandemic ironically brought the group back together, with its members falling back on music to cope with the chaos of lockdown. Following the loss of a close friend, they reunited to write a host of new songs. Those pandemic-era songs make up their new album In My Kingdom.
In My Kingdom is an ambitious collection of tracks, blending alternative, pop, and country. The album’s lyrical themes highlight a wiser Bogmen, tempered with age. Themes tackle ideas of looking back at your youth, wanting to connect with nature, and wanting to get out in the world. With this mature instrumentation and lyricism, The Bogmen return at the top of their musical game.
The album begins slowly with the title track “In My Kingdom.” The track eases in with a spoken word intro, building a utopian setting for the rest of the album. Singer Billy Campion invites the saints, prophets, and Gods of various religions into his kingdom, setting the stage for the album’s more introspective mood. The track slowly grows into a smooth rock song propelled by warm synths and clean guitars. The lyrics reflect the band’s return during Covid, discussing hope for the future in a world full of anxiety. With this opener, The Bogmen prove that they still have the groove of their debut, but with more mature lyricism to propel them into this new era of their career.
The standout of the album is single “Summer of Soul”, a triumphant announcement of the band’s return. Crafted during the height of Covid, and inspired by the isolation and loss of a friend, the track contains heavy lyricism. Campion sings “One thing that I love is being born again, out here on the sea. You need a helping hand, so throw me the rope, I promise not to hang myself.” Despite dark lyrics, the song is overall hopeful for a reemergence into the world, appreciating life’s beauty. A dreamy reverb guitar and piano intro, and lush instrumentation throughout really make this anthem stand out.
The album’s rich lyricism and genre bending aren’t restricted to its singles. “Life on the Ranch” is a track deeply indebted to the outlaw country of Marty Robbins and Johnny Cash. With a driving acoustic backing, aided by clean electric guitar and horns, the song is a real pleasure to listen to. Its lyrics cleverly parallel someone running from their problemsnwith a Western bandit running from the law. Another great track was “Pandemic Blues.” Despite its name, the track is not blues, but rather a motown-inspired soul tune, driven by catchy horns. The song uses Covid-19 as a metaphor for being alone in love. The narrator wishes he could just walk out the door to find love, but is instead trapped dancing alone in his room. Album tracks like these illustrate the Bogmen’s success in cross-genre experiments and deep lyricism.
The Bogmen close out the album with a re-recording of “Raga” from their debut album. This remake is truly jubilant, crafting a celebratory, vibrant atmosphere around it. Incorporating Latin rhythms, choral vocals, and dancy instrumentation, the song is a really enjoyable sendoff. If anything, this song illustrates the band’s growth more than any other, matching the energy of the original but with more fleshed-out production and instrumentation.Overall, In My Kingdom is a testament to The Bogmen’s musical staying power, retaining the energy of their 90s output, but with clear signs of growth.
The Bogmen will release their return album In My Kingdom on Friday, May 31st, 2024. To accompany its release, they will perform a release show at Manhattan’s Irving Plaza. The show, set for May 30th at 7:00 PM, will feature The Bogmen accompanied by Indie-Rockers Pan Arcadia. In addition, The Bogmen have released music videos to accompany the album’s three singles, which can be viewed at their youtube page here.
More information on the release of In My Kingdom and future shows can be found at The Bogmen’s website here.
This past Saturday, May 11, English singer-songwriter Holly Humberstone did not disappoint as she graciously took the stage at the Brooklyn Steel for one of two NY shows.
She is scheduled to tour until the end of May as part of “The Holly Humberstone (This Feels Like the Truman) Show” North American leg. Her tour, which makes lyrical reference to her song, “Ghost Me,” included many tracks off of her latest album, Paint My Bedroom Black.
Holly Humberstone, photographed by Sarah Hyun
The pop-rock artist gained popularity after releasing her debut EP, Falling Asleep at the Wheel. Fans resonated deeply with her heartfelt lyrics, as she sang candidly about the difficulties of navigating familial and romantic relationships, addiction, breakups, and growing up. “Falling Asleep at the Wheel,” one of her most popular songs, includes lyrics like “Oh, you never smoked this much before we / Light up, light up another cigarette / I can tell you’re drinking only to forget / Don’t know how I got you in such a mess.” Holly never fails to cut right to the heart with her words.
Holly Humberstone, photographed by Sarah Hyun
Currently, Humberstone has eighteen tour dates left. She previously played at Webster Hall in 2022, and also toured during Girl in Red’s “Make It Go Quiet” tour and Olivia Rodrigo’s “Sour” tour.
Holly Humberstone, photographed by Sarah Hyun
Holly started the night off strong with her song, “Paint My Bedroom Back,” of which her latest album is named after. Each band member took the stage one at a time, triggering a round of screams from fans who had been camping out hours ahead to make it to the front of the barricade. The energy swelled in the room as Holly’s guitarist, bassist, and drummer built up the opening track seamlessly.
Holly Humberstone, photographed by Sarah Hyun
Upon Holly’s entrance, the crowd made a deafening sound, and she scaled the stage freely, singing her heart out while swishing her hair to the beat. During “Elvis Impersonators,” she recounted her experience in Tokyo, and how she was surrounded by people “dressing up like Michael Jackson.” In the song, she sang lyrics like, “And the Elvis impersonators / Crowding at the elevators / Reminds you of a private joke we had.” The crowd stayed silent during this song, soaking in Humberstone’s beautifully raspy vocals.
Holly Humberstone, photographed by Sarah Hyun
Holly ended the night with “Ghost Me,” before singing “Friendly Fire” and “Scarlett” during the encore. Fans, feeling bittersweet that the show was over, exited the venue with satisfied smiles on their faces.
Setlist: Paint My Bedroom Black, Into Your Room, The Walls Are Way Too Thin, Overkill, Kissing In Swimming Pools, Cocoon, Dive, Deep End, Can You Afford To Lose Me?, Antichrist, Down Swinging, Lauren, Falling Asleep at the Wheel, Elvis Impersonators, Flatlining, Girl, Sleep Tight, Ghost Me
The 2024 concert season at the sublime Opus 40 Sculpture Park in Saugerties opened May 9th with something that delighted ass-shakers and intellectuals alike– a high-energy performance by one of Colombia’s most renowned musical exports – Meridian Brothers.
photo by William A. Loeb
The five-piece is the brainchild of Bogota-based singer-songwriter/multi-instrumentalist Elbis Álvarez. Meridian Brothers is a moniker Álvarez has used on many albums and collaborations, on most of which he plays all the instruments. Friday’s performance was the kick-off of the band’s latest tour, on which Álvarez is supported by a quartet of equally adept and captivating musicians.
The Meridian Brothers sound is an intriguing amalgam of styles and influences. The songs are anchored on danceable Latin rhythms – salsa, boogaloo and cumbia – accented with eerie, experimental keyboard sounds reminiscent of ‘50s sci-fi classics like Forbidden Planet and echoed guitaring that brings to mind Syd Barrett’s work on Pink Floyd’s debut, Piper at Gates of Dawn. In performance, Álvarez’s vocals are often treated with a harmonizer, digital delay and phasing as are some of the ever-present percussive accents. It brings to mind the short-lived era of early Roxy Music when Brian Eno slathered a boatload of sonic treatments on the live sound to ramp up the otherworldly vibe.
photo by William A. Loeb
But make no mistake. As heady and refined as this may sound, this is music for ass-shakers, first and foremost. And that was proved by the multitude that boogied down on the lawn at Opus 40 for all of The Meridian Brothers’ 90-minute plus set.
Álvarez and his cohorts – María Valencia (wind instruments, percussion and keyboards), Mauricio Ramírez (drums), Alejandro Forero (keyboards) and César Quevedo (bass) – ran through a 12-song set of their neo-tropicalista classics from their 10-album discography.
The band commenced with its 2020 single, “Cumbia de la Fuente.” Like many of the tunes, it’s anchored by a sub-harmonic bass riff and thump groove over which float cloud fronts of spacey keyboard effects and samples, triggered by Álvarez and Forero’s midi-keyboards. This track winds down with arpeggiated bells samples that sound like a drunken ice cream truck. Things moved more uptempo with the next number, “Bomba Atomica.” This is an almost traditional salsa groove belied by the slightly dissonant harmonizer vocals. Percussionist Valencia truly shined on this one, unleashing a heady dose of cowbell and delay-treated splash cymbals, something she would do all night with a bright smile delivered with each bash.
photo by William A. Loeb
Álvarez introduced the next number, “Salsa Caliente,” as a salsa boogaloo. This was Plan 9 from Outer Space meets Tito Puente, with some groovy, new wave-y keys and sax accents from Ms. Valencia. The band’s 2022 album, Meridian Brothers & El Grupo Renacimiento, was the source for several of the best tunes performed including “Metamorfosis,” “Hipnosis” and “La Policia.” The next song in the set, “La Policia, provided the space for an extended echo-y guitar solo from Álvarez. The band initially closed their set with the high-energy dance jam instrumental, “Guaracha U.F.O.,” from their 2012 album, “Desesperanza.” After a brief pause, they returned for an encore, their tropicalia take on the Dusty Springfield classic, “Son of a Preacherman.”
The Meridian Brothers’ wonderful show was the first concert of what promised to be a watermark one for Opus 40, which over the years has hosted many legendary performances, mostly notably the one by sax great Sonny Rollins chronicled in Robert Mugge’s documentary, Saxophone Colossus. Read our remembrance of it here.
Opus 40’s headlining events will include two nights with the legendary Sun Ra Arkestra led by 100-year-old Marshall Allen (July 5 and 6), London post-punk with Dry Cleaning (June 27), alternative R&B with Nick Hakim (May 29), reggae with Sundub & Upstate Reggae Posse (August 13), the Afro-Pop of Zimbabwe’s Mokoomba (August 2) and more. Opus 40 will also host Sunday afternoon shows highlighting homegrown Hudson Valley talent including Larry Locust, Biryani Boys, Blueberry, Mac $ Cheeze Balkan Trio and Spaghetti Eastern Music.
photo by William A. Loeb
“At Opus 40, I try to honor the musical legacy here with a curated selection of acts local and international, experimental and accessible, with a focus on spiritual jazz, ambient and singer-songwriters,” adds Mike Amari, Program Manager at Opus 40 and founder of local concert promoter, Chosen Family Presents. “Harvey Fite, who built Opus 40 by himself over 37 years, wanted his sculpture park to host events that uplifted the human spirit – just like his monumental earth art. So, this is why Opus 40 has committed so much effort and taken so much pride in bringing these incredible acts and many more community events to the site.”
“As for Meridian Brothers, I became obsessed with their brand of music via a compilation of ‘chicha’ music from Peru in the ‘60s/’70s called ‘Roots of ChiCha,’ continues Amari. “A friend who knew I liked this music turned me on to Meridian Brothers. They play some of the same ideas but chop them up and put them together in a Frankenstein-like, Krautrock-y way. It’s hypnotic, dissonant but somehow groovy and very danceable. For these reasons, they were the perfect act to launch our new season. It was the first night of their newest U.S. tour and they traveled for 24 hours to get here. So, we commend them on giving us such an energetic performance.”
Special props to the band’s sound engineer, Alejandro Araujo and the crew at Opus 40, for expertly balancing and EQing what could have easily descended into cacophony. This performance was more electric than the first I witnessed by the band at globalFEST 2023, an event co-programmed by another veteran Hudson Valley promoter, Isobel Soffer.
For a list at the Opus 40’s summer concert schedule, visit here.
NYC-based punk-rock band The FMs have released their sophomore double LP, PINK + BLACK on May 10.
Duo Matte Namer and Frankie Rex formed the NYC-based punk band The FMs in 2016. United by their shared transgender experience, the duo spent six years performing at underground shows and recording three LPs. The future of the band was shaken in 2022, with Frankie Rex passing away from a fentanyl overdose. After a two-year hiatus, the band has reformed and released this new double LP as a posthumous memorial to Rex.
PINK + BLACK is a rock odyssey propelled by punchy synth hooks and raw punk energy. The album seamlessly shifts between upbeat dance-punk tracks and Brian Eno-influenced synth passages. With instrumentation that is dreamy yet forceful, the FMs discuss issues of gender roles, and transphobia.
The album starts off with a bang with opener “Hit Yourself.” The track has a rhythmic, almost hypnotic industrial beat. The pulsating rhythms and sharp synths are reminiscent of Nine Inch Nails or early LCD Soundsystem. This instrumentation propels lyrics that tell a story of a sado-masochistic romance, with a repeated refrain rallying against the patriarchy.
The standout of the album was the single “Transformation Dreams,” a dreamy and anthemic song. “Transformation Dreams” combines layered synths and ethereal effects-laden guitars to create an atmosphere reminiscent of 1980s post-punk and dream pop. Fans of The Cure or Cocteau Twins are sure to enjoy this track. Its lyrics touch on the feelings of body dysmorphia and hope for the future, using its catchy instrumentation to back up these heavy topics.
The album has great range, with tracks that you can both dance and disassociate to. It impressively weaves together a mix of industrial dance, goth and ambient that is sure to keep listeners intrigued, all while tackling the important themes of identity and politically-motivated hatred. In all, this album is a testament to the FMs musical prowess that any fans of indie and punk should listen to.
In the wake of this album, The FMs have organized Frankie Fest, a memorial to the late Frankie Rex. The event took place May 11 on Coney Island, and featured performances from a host of NYC-based queer performers. The festival included the first performance by the FMs since the passing of Rex. All proceeds went to the Chosen Family Law Center, providing low-income transgender New Yorkers with free legal services.
For more information on The FMs and their release PINK + BLACK, click here.
