Gary Lucas (Jeff Buckley, Captain Beefheart) has released over 50 acclaimed albums as a leader or co-leader to date and toured in over 40 countries worldwide since cutting his teeth as a featured soloist and member of Captain Beefheart and the Magic Band. Gary may be best known for co-writing and playing on Jeff Buckley’s “Grace” album (Jeff thanked him in the liner notes for “magical guitarness”)— but those who have heard him live in whatever context he is playing in are still shaking their heads in amazement and trying to pick their jaws up from the floor!
In 1989, Lucas formed his longtime band GODS AND MONSTERS, featuring a revolving cast of stellar players orbiting Lucas’s incendiary guitar playing electric and acoustic. The December 22 performance at the Colony Woodstock will serve as the debut for the latest iteration of the band. In the words of the acclaimed guitarist, GODS AND MONSTERS is now “a psychedelic power trio” featuring the rock-steady propulsive bass of Ernie Brooks (Modern Lovers, Arthur Russell) and the exploding nebula of drummer extraordinaire Calvin Weston (James “Blood” Ulmer, Lounge Lizards).
Gary Lucas’ varied works have generated critical acclaim that is second to none in the world of guitaring. Rolling Stonecalls him “one of the best and most original guitarists in America” and his trio “a 21st Century Cream.” UK music bible Melody Maker labels him “a true axe god” while MOJO Magazineproclaims him “the psychedelic guitarist for the post-modern set.” The New York Times says Lucas “plays guitar like Salvador Dali paints…guitarist with a global beat.” His work has also received praise from many musicians, from Lou Reed and Bruce Springsteen to Nick Cave and Leonard Bernstein. You can stream Lucas’ extensive discography here on Spotify.
Show opener Spaghetti Eastern Music is the genre-leaping solo project of Woodstock-based guitarist/keyboardist and NYSMusic contributor Sal Cataldi. Spaghetti Eastern Music marries funky, acid jazz-fueled guitar instrumentals and ambient soundscapes with bare-bones acoustic ballads straight out of the Nick Drake school. Cataldi debuted the project with the critically acclaimed 2016 album, “Sketches of Spam,” followed by numerous singles and EPs.
The New York Times says Cataldi “has a beat unmistakably his own” while Time Out New York praises his “delicate guitar work and the hauntingly moody atmosphere he conjures.” His music has been called “beautiful and unique” by WFUV’s Mixed Bag and “charmingly melodic and off-center” by WFMU.Hudson Valley One has called Spaghetti Eastern “part Sergio Leone fever dream, part Ravi Shankar raga, a whirling dervish of musical creation… a must-see” while Chronogram Magazine calls his music “cool, melodic, inspired and transcendent, a wave of sonic warmth and light.” Look for his music here at Spotify
Colony Woodstock is located at 22 Rock City Road, Woodstock – for information and tickets to Gary Lucas and Gods and Monsters, visit here.
White Plains born and New York City-based singer-songwriter Sabrina Monique has released her debut album It’s Not Me, It’s You.
Born and raised in Brewster, Sabrina Monique has been performing to brighten others’ days since the beginning. Living with her single mother and grandparents in a tense environment, she quickly realized how much value there is in the power entertainment holds over someone’s emotions, and before long she was skipping high school classes for auditions in New York City.
Moving into an apartment in Manhattan at 17 with 12 other girls, Monique was determined to see her dreams through- and that she has. While auditioning, performing at the iconic Ellen’s Stardust Diner, and developing her personal sound, Sabrina auditioned for American Idol 2020 and landed herself a feature on the show’s nineteenth season.
While incredibly exciting, this opportunity proved to be challenging. Her entry into the pop industry came with subsequent body image issues as she felt the pressure to fit the “pop star ideal”. Emotionally tense and creatively stifled, the 2020 pandemic that put the world to a halt offered Monique a unique opportunity to create without inhibitions.
“I wrote everything I held in my body—it was like a faucet you couldn’t turn off.”
– Sabrina Monique
Tucked away in a Nashville studio, the songs seemed to just flow out of her. These tracks would eventually become her newly released debut album, It’s Not Me, It’s You.
A collection of dance songs, ballads, and seething guitar-heavy tracks, It’s Not Me, It’s You is a powerful series of battle anthems. Artistically liberated both in personal creativity and industry restraint, Monique tackles and gives voices to the stories of women fighting sexism, body imaging, the patriarchy, and the archaic stereotypes perpetuated throughout the music industry.
Tracks like her debut single “It Was Always You” take heartbreak and wrap it into an upbeat reggaeton-inspired dance-pop anthem, while “Love Again Unplugged” strips the layers of production and pretense down to their most raw forms in a vulnerable show of emotional honesty and growth.
“I needed to write this album to move forward. It’s been cathartic for me, and it represents stepping into my power. I pick my producer. I write my own music. I am the captain of my ship.”
– Sabrina Monique
A stunning collection of songwriting with contributions from hand-picked producers, It’s Not Me, It’s You is an admirable show of raw emotion and poetic ponderings from the mind of Sabrina Monique.
To learn more about Sabrina and keep up to date on her latest ventures, visit her official website here.
Tannery Pond Center has announced two magical Christmas concerts on Dec 7 and 15 as part of their 2024 season.
Tannery Pond Center in North Creek, NY, is the premier arts venue for the lower Adirondack region. The intimate and welcoming performance space brings high-quality music, dance, and dramatic performances to the Gore Mountain region. The Center presents concerts throughout the year in a variety of styles including, but not limited to, folk, rock, classical, jazz, and bluegrass, in our state-of-the-art Lyle Dye Auditorium, where every sound and artistic nuance can be heard and appreciated. The region has a rich history as a retreat for artists and musicians from New York City and we regularly feature the music of touring artists as well as established and talented musicians and performers from the local area.
Tannery Pond Center (TPC) presents a full schedule of arts programming, including exhibits of original art, musical concerts and performances, as well as workshops and children’s programs. TPC also manages the community center for the Town of Johnsburg. Other groups presenting arts programs at the center include Our Town Theatre Group, North Country Singers, Adirondack Lakes Center for the Arts and more. Put simply, TPC is a keystone of the community, and they work to provide upstate New York with fun, captivating performances, activities, community events and more.
On December 7 and 8 at 7pm and 4pm respectively, Tannery Pond Center presents ‘A Holiday Celebration’ by North Country Singers. This concert includes all of your favorite holiday season jingles performed by the best of the North Country’s voices. All ages are welcome, but make sure to reserve your seat, as these festive concerts always fill up. On Sunday, December 15 at 3 PM, The McKrells bring their signature Celtic-infused bluegrass for an afternoon of holiday cheer – featuring traditional and original songs, classic Christmas stories and good humor. The band is led by singer/songwriter Kevin McKrell and features Frank Orsini on fiddle, Scott Hopkins on banjo, Peter Pashoukas on guitar, Arlin Greene on bass, and Brian Melick on percussion.
The McKrells
For more information on Tannery Pond Center’s Christmas concerts, other upcoming events and to purchase tickets, click here.
NYC-based ‘The Orchestra Now’ has announced Manhattan performances of ‘Siena, Wagner & Parsifal’ and ‘The Nutcracker & The Planets’ as part of their Sight and Sound series starting Dec 8.
On Sunday, December 8, the iconic Metropolitan Museum of Art (MET) hosts The Orchestra Now’s performances of ‘Siena, Wagner & Parsifal’ which kicks off the organization’s Sight and Sound concert series. The program will examine Wagner’s remarkable innovations in opera via selections from his work Parsifal, set against the background of notable painterly invention during the Italian Renaissance in Siena.
The Orchestra Now (TON) Sight & Sound series at the Met explores the parallels between orchestral music and the visual arts. Each performance includes an introduction by a Met curator, a discussion with conductor and music historian Leon Botstein accompanied by on-screen exhibition images and live musical excerpts, followed by a full performance of the works and an audience Q&A. Tickets include same-day museum admission.
Richard Wagner
At the dawn of the Italian Renaissance, Siena was the site of remarkable artistic innovation. Sienese artists—including Duccio, Pietro and Ambrogio Lorenzetti, and Simone Martini—played a pivotal role in defining Western painting. Over 500 years later, Richard Wagner revolutionized opera composition in much the same way. Twelve years after he read Wolfram von Eschenbach’s Parzival, a poem from the Renaissance era, he began working on a libretto inspired by this tale of the quest for the Holy Grail. This eventually became his final composition, the opera Parsifal.
The Orchestra’s second December performance will offer a FREE holiday concert of audience favorites by Johann Strauss II, Tchaikovsky, Borodin, and Holst, led by Leonardo Pineda and joined for some of the pieces by the All-City High School Orchestra at New York City’s Talent Unlimited High School on December 15.
The Orchestra Now and Interim Assistant Conductor Leonardo Pineda present a free holiday season concert at the Talent Unlimited High School for the performing arts on the Upper East Side of Manhattan. The program of high-spirited popular works includes Tchaikovsky’s Nutcracker Suite and Johann Strauss II’s Tritsch-Tratsch-Polka. TŌN is joined by NYC’s All-City High School Orchestra for Borodin’s Polovtsian Dances and two movements from Holst’s The Planets.
For more information on the upcoming Manhattan performances by The Orchestra Now and to purchase tickets, click here.
Amber Martin returns to her country roots with her latest album, the highly anticipated Unbreakable Heart.
Musician, producer, writer, curator, choreographer, and star of her own shows, Amber Martin has worn many hats over the course of her career- and has balanced each and every one with grace. Having toured the United States and beyond, held residencies, hosted cabarets, and performed on several festival stages, Martin is a tour de force of both the creation and performance of music.
Returning for her second album, Martin has tapped into her country roots with Unbreakable Heart. A masterful balance of boot-stomping, slow-swaying, and deeply heartfelt songs, the album feels every emotion to its fullest regardless of how bright or blue.
Described as a series of independent tracks, Unbreakable Heart crosses the full span of the lived experience all while coming together in its own beautifully eclectic way.
Martin balances the floaty strings and can-do trucking-on attitude of “The Moon’s A Reminder” with the spark of tracks like “Devil Came Down The Dancefloor” that contains all the swinging energy you’d expect from such a title with absolute grace.
The utterly nostalgic Pawpaw’s Yodel features floating vocals and finger picking over a warming conversation with her grandfather on his yodeling passion and skill that plucks all the right heart strings.
Other tracks like the hilariously witty breakup piece and final pre-release single “I Left My Weed In Texas,” in which Martin is resentful over a breakup but is left grieving the weed she’d left behind rather than the ex-lover, are effortlessly counterbalanced by the slower movement of songs like the titular track “Unbreakable Heart,” which is full of crooning vocals and brushed percussions that bring a beautiful sway to the listening experience.
In addition to her own handiwork, Unbreakable Heart features a sparkling set of her long-time friends Rufus Wainwright, John Cameron Mitchell, and Jake Shears. All co-writers and vocalists on their subsequent tracks, the culmination of the artists’ skills and evident passion for their craft results in a set of three songs that round Unbreakable Heart into completion.
“Every song on ‘Unbreakable Heart’ is a standalone in its uniqueness. No two songs are alike. It’s brightened by the fine musicianship of some truly talented Texas musicians and collaborators in New York City. Everyone involved in this album, whether as writer, backing vocals singer or musician is a dear friend and ‘family’ member. It’s truly a love letter.”
– Amber Martin
Rufus Wainwright’s collaborative track comes in the form of “I Want You To Be A Real Man”, a hauntingly honey-warm duet that dissects concepts of masculinity over waltz-y piano and guitar licks that enchant.
Opening over crooning birds beneath the soft sounds of a guitar is “Second Heart” with Jake Shears. With swaying instrumentals and beautifully penned lyrics, “Second Heart” pulls listeners into a sense of pensive peace.
“Call Me Joe” concludes the collaborative trifecta, a bittersweet track made in partnership with John Cameron Mitchell that feels more like a ‘see you again’ in place of a ‘farewell’- a hopeful goodbye and nod towards the future.
Closing out the album with “Until Marianne,” a song filled with longing and love, Martin leaves listeners with a feeling of fond persistence with her moving vocals floating over the simple guitar instrumental.
A well-rounded experience of country twang highs and lows, Unbreakable Heart is a testament to Martin’s ability to put the intangible into lyrics and the indescribable into sound.
To celebrate the release of Unbreakable Heart, Amber Martin will be taking the stage at The Cutting Room in Manhattan on Tuesday, November 19. Supported by her band and several special guests, the evening will be host to an unforgettable night of live performance- not to mention the after-party with some of Amber’s own special DJs.
For more information on the celebration and how to attend, visit the event page here.
To learn more about Martin’s story, other releases, and future endeavors, be sure to visit her official website here.
The first and most comprehensive history of the birthplace of punk music, CBGB, has just been re-issued by Trouser Press Books, an all-music imprint headed by veteran music journalist Ira Robbins.
A History of CBGB – by Roman Kozak
Originally published in 1988 and out of print for decades, This Ain’t No Disco: The Story of CBGB is a warts-and-all history of the legendary Bowery venue related by nearly 100 of the insiders who performed, worked and braved pre-gentrification Downtown NYC to witness the birth of punk music. Written long before the legend overtook the reality — while the club was still open and most of the principals alive — this is the real story told in gritty, outrageous and sometimes hilarious detail by onetime Billboard Magazine editor, the late Roman Kozak. The 2024 edition includes a new forward by Chris Frantz of Talking Heads, 12 pages of photos by Ebet Roberts, and a post-script by Ira Robbins that takes the story forward from 1988 to the October 2006 shuttering of the club.
Kozak’s book includes unguarded quotes from CBGB found Hilly Kristal, Joey and Dee Dee Ramone (the Ramones), Chris Stein and Clem Burke (Blondie), Richard Hell and Richard Lloyd (Television), Lenny Kaye (Patti Smith Group), Annie Golden (The Shirts), David Byrne (Talking Heads), Seymour Stein (Sire Records) and many more.
As a member of several of the more than 10,000 bands that performed at the club in its 33-year run, it was a treat to take a trip back … without having to once again experience the foul ambiance of its legendary and always-broken bathrooms!
CBGB came about when its owner, Hilly Kristal, a wannabe singer, left his former bar in the West Village for the grimy Lower East Side to escape the noise complaints of his Greenwich Village neighbors. His short-lived attempt at a country music venue, one with sure to fail breakfast time gigs, would be shelved when Tom Verlaine and Richard Lloyd of Television lied their way into a performance in March 1974. Television’s stint would shortly attract other bands, including The Ramones, the first act signed to a major label, a quartet that could crank out 20-song sets in 17 minutes or less. By the end of the year, CBGB, which would initially feature other kinds of music along with comedians, would become an all-rock venue.
The first two years of CBGB would be hand-to-mouth, with Hilly living on a cot in the back of the club and supplementing his income by buying a truck and starting a moving business, one that employed his favorite starving musicians like the members of The Shirts. Various musicians and staffers humorously relate memories of dodging the many “care packages” left on the floor by Hilly’s dog, Jonathan, and the suspect quality of Hilly’s infamous chili and hamburgers. Mink Deville claims Jonathan was the source of the crabs he got four times in the seedy but beloved club. And there is much talk in the book about the decrepit bathrooms, for their sub-Third World sanitary conditions and where the truly brave might partake in the classic drug-and-sex combo. “You could always see four feet in the bathroom stall,” said Dick Manitoba.
The book contains interesting facts about the humble and initially stumbling beginnings of the early CB’s bands who would become legends, including Blondie and Talking Heads. Elda Stiletto and busy backup singers/present-day cosmetic company giants, Tish and Snooky, tell of Blondie’s early days, the gestation in Elda’s band, and false starts as Angel and Blondie and the Banzai Babies before settling on a firm lineup anchored by drummer Clem Burke. Another memorable night was when Talking Heads and The Shirts auditioned together. Hilly loved the first because they were “neat” and carried “very little equipment.” And though they didn’t reach the commercial heights of other early CBGB bands, The Shirts would prove Kristal’s favorite. He would go on to manage them, secure their three-album deal with Capital Records, and a role for their lead singer, the now busy actress Annie Golden, in Milos Foreman’s movie version of the Broadway musical Hair.
The Dead Boys – photo by Ebet Roberts – the History of CBGB
CBGB began to pick up steam with the arrival of Patti Smith, who had a four-day-a-week, seven-week residency in Spring 1975. Kristal compares the excitement to comic Lenny Bruce’s residency at the Village Vanguard when Hilly was helping manage the club for owner Max Gordon. The two-week CBGB Rock Festival in July 1975 wouldn’t bring in a huge amount of cash, but it generated tons of press from outlets like The Soho Weekly News, Village Voice, etc. Writer Legs McNeil, the man who popularized the term “punk” appropriated from a favorite term of TV’s Kojack, called CBGB “a juvenile delinquent hangout, where everyone was equal because they were broke.” To Richard Lloyd, it gained traction because “it was a reaction to hippie stadium music.” By 1976, the club started making money, and one of the essential ingredients of success began to happen: the girls started coming in droves, according to Tish and Snooky. In July 1976, CBGB invested in a new sound system, which would be ripped off then replaced, making it the best-sounding live room in New York City and maybe the world. It became a venue that would attract artists from around the globe, including the then-unsigned Police, who played for an audience of 10 in July 1977.
There is lots of good dish on Hilly’s failed ventures, like his short-lived CBGB Theater on Second Avenue, the proposed punk rock sitcom, TVCBGB and his ill-fated management of another popular attraction, The Dead Boys. The book also relates how CBGB’s slow burn rep as the birthplace of punk was usurped a bit by the UK – the rapid rise of the Sex Pistol and the appropriation of the spiked hair and torn t-shirt originated by Richard Hell. When the club launched it was the only game in town for bands playing original music, a refuge where virtually anyone could get a shot at their Monday audition nights. But by the 1980s, CBGB would have competition from new clubs like Hurrah, The Ritz, Danceteria, The Peppermint Lounge, the Mudd Club and more. But most would not survive the decade.
But even with all this buzz, CBGB-style punk was “poison as far as record companies were concerned.” Except for Blondie, whose breakthrough came from a disco infusion in their #1 singer “Heart of Glass,” CBGB bands didn’t move platinum units of vinyl or CDs or get much radio airplay. Bands like latter-day favorites, the chainsaw-wielding, car-blowing-up Wendy Williams and her Plasmatics, had to make their living on the road.
The History of CBGB – Owner Hilly Kristal, photo by Ebet Roberts
In the mid- and late-1980s, CBGB would birth another musical genre – hardcore. It’s Sunday hardcore matinees did big business at the door but not much at the bar, as many devotees were underage or straight arrows who didn’t drink beer. One CBGB barkeep recalls: “We could make $2,000 at the door and only $200 at the bar.” Bands like Murphy’s Law, Agnostic Front, Cro-Mags, Bad Brains, The Beastie Boys, and Damage were featured; some also on cassette-only releases of live performances on a CBGB imprint created with Celluloid Records. Many of these and other new artists would have their albums featured at a new satellite, CBGB’s Record Canteen.
Kozak wraps up his history in 1988, well before the legend was glammed up via the 2013 feature film and the ridiculously “reopened CBGB” restaurant at Newark Airport. Trouser Press’s Ira Robbins provides a coda detailing Hilly’s losing battle with his landlord and the August 2006 benefit concert that attempted to save the club. (Note: this reporter did PR for that event pro-bono during his agency days. He also had his electric mandolin stolen at the club! The first gig by my long-running project, Spaghetti Eastern Music, took place at CBGB Gallery in 2003).
Kozak’s tale concludes with one of many significant observations in the book from guitarist/writer/record producer Lenny Kaye, a thought posited on the Lower East Side’s new monied residents.
“The key and glory of CBGB is that they’ve never gotten too big for their britches. They’ve never gone above their own Bowery station…even though the Bowery is above its own station now.”
Jessie Murph brought an electrifying energy during her tour stop at the historic Landmark Theatre in Syracuse. With fans wrapped around the block, they were treated to an unforgettable night filled with emotions and powerhouse vocal performance that left them wanting more.
The night opened with Big Yavo, an emerging artist from Alabama who delivered a set with southern charisma and sounds. His blend of hip-hop and rap had the crowd dancing on their feet, primed for what was to come, setting the perfect tone for Jessie’s entrance.
The historic Landmark Theatre, with its architecture and old-world charm, was the perfect venue for Jessie’s soulful vibe. The 20 year-old Alabama native began her music career by sharing heartfelt covers and original songs on social media platforms, where her voice quickly gained widespread attention.
Now, she’s made her place as a force in contemporary pop/country and R&B, captivating audiences with her unapologetically honest storytelling. Performing hits like “High Road,” “Sip,” “Pray” and “Heartbroken” had the crowd singing every word along making the Landmark echo with energy.
Her breakout hit “High Road,” a collaboration with Koe Wetzel, dove into themes of resilience and facing personal battles. This track blends her emotive vocals with Wetzel’s gritty, country-rock influence, creating a unique crossover fans have welcomed with open arms.
Another highlight of her career is “Heartbroken,” her collaborative hit with Diplo and Polo G, which blends electronic beats with her signature raw lyrics. This song’s success further cements her as a versatile artist capable of thriving across different musical landscapes.
Ruf Records celebrates three decades of success with an anniversary tour which includes a show at Sony Hall in NYC on Saturday, Nov. 23. The lineup will feature Samantha Fish with Mitch Ryder, Canned Heat with special guest Bernard Allison, and one-woman band, Ghalia Volt.
Ruf Records has been a cornerstone of the blues genre, nurturing some of the most renowned and respected artists in the world, Since its founding in 1994 by Thomas Ruf. Indeed, the 30 Anniversary Tour is not just a celebration of the label’s past, but a testament to its ongoing commitment to preserving and advancing the blues tradition.
Headlining this tour is Samantha Fish, who opened for The Rolling Stones and performed on Slash’s S.E.R.P.E.N.T. Tour this past year. Joining the tour as Samantha Fish’s special guest is rock ‘n’ roll icon Mitch Ryder. Ryder’s career spans over five decades who’s known for his high-energy performances and hits like “Devil with Blue Dress On.” Ruf Records released The Roof Is On Fire, a two-disc live album recorded by Ryder, last January.
Canned Heat will also perform on this tour. The quartet is known for timeless hits “Let’s Work Together” and “Going Up The Country” and performed at the iconic Woodstock Music & Arts Festival in 1969. Canned Heat’s special guest, Bernard Allison, is son of blues legend Luther Allison. Last January Ruf Records released Luther’s Blues, a tribute to his dad’s songs, re-imagined in Allison Jr.’s unique style. Last but not least, is “one-woman band” Ghalia Volt. Born in Belgium, Volt decided during the pandemic to embark on a month-long Amtrak journey across America, writing songs and performing solo shows from the train. Ruf dropped her most recent release, Shout Sister Shout, last October.
The show at Sony Hall begins at 6:30pm. Tickets start at $69. Learn more and purchase tickets here.
Ruf Records 30 Anniversary Tour 2024:
Nov. 7 (Thu) – Pittsburgh PA@Carnegie Music Hall of Homestead
This shows offers the opportunity to experience the magic of the holiday season like never before at the Endicott Performing Arts Center. Immerse yourself in the festive spirit with a handpicked selection of captivating Christmas Shows that are sure to create lasting memories for audiences of all ages. Prepare to be transported to a world of wonder and joy with the EPAC Christmas Show December 6 & 7 with 7pm showtimes.
This enchanting production is a heartwarming journey through the holiday season, featuring a dazzling array of music, dance, and captivating performances that perfectly encapsulate the magic of Christmas.
Delve into the enchanting world of The Nutcracker December 12 – 15, a timeless holiday classic that continues to captivate audiences year after year. Follow Clara on her magical journey to the Land of Sweets as talented dancers from EPAC (1st Act) and The FUSE Dance Center of Binghamton (2nd Act) bring this beloved ballet to life with grace, skill, and artistry. This show begins at 7pm on Friday, Saturday and 3pm on Sunday.
Experience a holiday extravaganza like no other with the EPAC Holiday Burlesque Show, Naughty & Nice December 21. This unique and sassy twist on traditional holiday entertainment combines comedy, dance, and glamour to create a festive experience that is both entertaining and unforgettable. Don’t miss your chance to be part of this one-of-a-kind celebration. This show is one night only and begins at 8pm Saturday.
For more information on the upcoming EPAC Christmas Show Series and to purchase tickets, click here.
Brooklyn based singer-songwriter Camille Schmidt has released her latest single “XOXO” in preparation for her debut album Nude #9.
Brooklyn based and raised in a constant environment of creativity, it’s no wonder why Camille Schmidt has picked up all spans of musical skill over the years. Spending extensive amounts of time in her parents’ art studio, Schmidt found endless inspiration in both the work her parents created and the people who would come in and out of the space.
Debuting as a musician this past June with the EP Good Person, Camille carved out a queer folk-rock sound for herself that reflected her larger ability to balance an innately wry sense of humor with deeper moments of devastatingly quiet self-reflection with tracks like the alt-country “Your Game” and her wistful approach to heartbreak with “Bumblebee Drinks Lavender.”
Returning for her debut album, Schmidt pulls from her experiences in her parents’ studio in Nude #9, each track a portrait of herself, her family, and her lovers past and future- just as each live model drawing session would result in pieces titled in the same convention, a unique reflection of each individual’s perspective on the subject.
Whimsical, hilarious, and deeply felt, Schmidt’s debut album digs deeper into her experiences with romance, sexuality, friendship, and her sense of self. Newly released from the Nude #9 project is “XOXO,” a fascinating layering of electronic manipulation that speaks to every corner of Camille’s inner thoughts.
Wandering from thoughts of raising a child with her best friend to contemplating the “demon in my room” she faces when she’s alone, “XOXO” is a track tinged with an unplaceable sense of something impending. Beginning with a rather upbeat digital track, the song progressively spirals and collapses in on itself as Schmidt becomes half-woman, half-machine. By the conclusion of the song, listeners are left with a feeling of evolution- she’s buried her former self and grown into something new.
Paired with the release of “XOXO” is its official music video that takes the concept of burying your past self to another level. Viewers watch as Camille dons a hazmat suit and brandishes a mop, opening the door to the bloodied motel bathroom where the body of her past self lies.
A perfect echo of the song’s themes that are simultaneously impressive and ironic, the “XOXO” music video is a testament to Schmidt’s signature creative attitude and growth as an artist.
“XOXO” by Camille Schmidt is out now and Nude #9 is slated for release on January 10. To keep up with Camille Schmidt’s current works and future endeavors, check out her official website here.
