Jerusalem-native Avinoam Ettun, currently based out of Brooklyn, has announced the release of his latest EP Looking Into Your Soul, released on December 6.
Avinoam Ettun is a contemporary music performer-composer and improviser based in New York City. With a focus on creating compositions for large ensembles and his own string quartet, Avinoam combines the sounds of electric guitar and chamber music. Ettun actively collaborates with animators, painters, filmmakers, and dancers and explores the intersections of different art forms. Ettun holds a Bachelor of Music in Composition from The Jerusalem Music Academy and a Masters from the New School.
The EP features three instrumental tracks inspired by portrait imagery, recorded in collaboration with pianist Itamar Dahan, with Avinoam on guitar. The project combines jazz, contemporary sounds, and visual art. The first song on the EP, “East West” features a powerful piano riff, coupled with somber guitar tones. The track grows and morphs, hits highs and lows, before coming to a blissfully peace-laden ending.
Similarly, the title track, “Looking Into Your Soul” presents a hearty and emotional piano with an accenting guitar that adds little nuances to each section of the song. Each song sounds familiar, like it has a classic, vintage sound of talent that existed in the past. Avinoam Ettun takes this sound and makes it his own with a blend of notes of eastern instrumentation, and golden era classical music.
Finally, the last track of the EP, “The Dreaming Kid in the Sand” tells a story without using words, as Ettun’s other songs on the album do. The title perfectly encapsulates the theme and vibe of the song. The song truly feels like a child daydreaming in a peaceful yet whimsical place. Avinoam’s music is dynamic, powerful, unique, and inspiring. This kind of music is what today’s soundscape lacks in my opinion. True compositions about true, heartfelt, spiritual themes.
For more information on Avinoam Ettun and to check out his newest EP, “Looking Into Your Soul,” click here.
Crisis to Crisis, the third album by NYC band Sons of Venus was released on in June. The album is a nuclear missile of existential prog-rock aimed at the heart of American greed.
Sons of Venus are John Sully, (Composition, Production, Vocals, Guitars, Keyboards) Ruslan Baimurzin (drums), and Igor Reznik (Bass). Sully the band’s frontman, was a composer and sound designer at Ideal Glass, a film and TV studio in the east village, where he put together after-hour jams when he met Baimurzin. After adding Reznik to the trio, the band now experiments with musical styles like prog, psych, punk, and funk, and has three albums to their name.
Crisis to Crisis, the third Sons of Venus album was recorded first by Sully; who tracked all the vocals, guitars, and keyboards, then sent the tracks to Baimurzin and Reznik for overdubbing. The result is a psychedelic journey that stays true to progressive and punk roots.
The particular sound of Sons of Venus’ Crisis to Crisis is difficult to pin down for many reasons. First, it is of a fleeting genre that has been out of the spotlight for decades. Second, the length of the songs averages over 6 minutes each, and third the lyrics are quite sad – depressing really. In all, Crisis to Crisis is not a pop album by any extent of the word. Sully says, “Crisis to Crisis is not music for the casual listener.” It will not be played on the radio. This, to me, is a positive. While not being tethered to what the broader population wants, the project has the freedom to speak of the future honestly and refreshingly. The lyrics explore the disappointing trajectory the world is heading down. Look no further than the album cover to see images of forest fires natural disasters, nurses, and the stock market.
The album has a spacey psychedelic sound that is clearly inspired by classic 70’s prog and psych bands such as, Yes and Rush. Additionally, many of the songs have distinctly David-Gilmore-esque, bending, trembling solos which add to the 70’s zeitgeist. Even the vocals are often mixed in such a way that adds to the aesthetic of belonging to a different era.
Standout Tracks:
“Dead Languages,” the opening track, begins with a crunching scratchy acoustic guitar that I wish there was more of throughout the album. The song blasts by on an intergalactic mission to expose the crux of our society. Sully’s lyrics reflect on the current state of human affairs. “We will forget the truths we let die inside ourselves.”
“Guaranteed,” the second track on the record has a unique groove to it that brings The Flaming Lips to mind. Sully says, “Forget about the world you can hardly care, as long as you’re getting what you think is fair.”
“The Art of Coincidence” is the sixth and final track which is the existential climax of the album. Heavy ominous bells ring announcing judgment day for us all. The finale of Crisis to Crisis has heavy synth production, tremolo, delay, reverb, and the tappings of crash symbols. Sully advises, “Touch the heart, tilt the scales, unfold the flags, raise the sails.”
On August 16, Albany-based singer-songwriter, Josh Breden released his long-awaited quintessential passion project, Unfinished Business. The new body of work represents what Breden’s career has led up to, as well as who he is as a musician.
About Josh Breden
Josh Breden has been making music since he was a child. After experimenting with different methods of bringing his music to life, Breden took it to the next step with bands, collaborations, becoming a recording artist, and performing anywhere at any time. As a live musician since 2005, he took every opportunity to strengthen his craft and expand his knowledge and abilities, thus learning more about himself in the process.
Through the journey of completely indulging in the art of making music, Breden learned that he never wants to be confined to a genre, as his artistry flourishes with creative freedom. Because of this, he faced the grapple of being an authentic musician in an industry of patterns, labels, streaming, and money.
Unfinished Business came about when Breden entered the streaming service sphere with a few old tracks. Effectively, it put into perspective the necessary new-age demands of being a living artist. It confirmed two things for Breden. Firstly, if he was going to put an album out into the world he wanted each song to be its own unique entity. Secondly, he knew if he was going to successfully be a streaming artist, he needed a method to the madness which came in the form of producer Dan Gerken.
The two clicked and the vision pursued into what is now a 10-track album and possibly Breden’s most genuine piece of music. Every song has its own character with elements of rock, folk, country, tropical, and whatever Breden was feeling at the moment. Appropriately, Breden created a rock album that is never just rock.
The name unfinished business has a lot of significance here; It’s a little bit of closing the book on parts of life, a little bit of going back to my old self to see if it’s still me, its a little revenge, and a little understanding that theres more to do.
Josh Breden
Standout Tracks
Though it’s hard to single out specific tracks as they’re all unique and contribute to the final product in their own right, certain songs are more different from the others. In particular “Islands of Calleja” stands out as a tropical escape through its instrumentation and lyrics. Another track, “No Bueno” has that cosmic jam band sound with elements across a multiple-genre spectrum. Lastly, “Just Wasn’t Made for These Times” provides a commentary about adjusting to the evolving world. A true musician through and through, Breden lets the messages guide the music without conforming to anybody’s control but his.
Rochester-born McKinley James released his debut album, Working Class Blues, on June 7. With classic sounds reminiscent of Chuck Berry, Elvis Presley, and Buddy Holly, the album takes us back to the first days of modern rock’n’roll.
Through stories of love and heartbreak, McKinley James celebrates the early days of soul and rock while simultaneously giving it a modern, personal twist.
McKinley James – Official website
Since 2015, James has been making a name for himself in the soul and blues scene. At the age of 13, he appeared on the cover of the platinum-selling Eric Church album Mr. Misunderstood. In the two years between the album’s release and James’ arrival in Nashville, he had gained enormous amounts of popularity and recognition. Nine years later, at only 22 years old, James has headlined gigs and events all across North America and Europe. Although this is only his debut, Working Class Blues paves the way for up-and-coming McKinley James‘ inevitable soul stardom.
Originally from Rochester, McKinley James has been making music with his father and fellow bandmate, Jason Smay, since he was a child. Inspired by nearly every genre, from country to R&B, James became a guitar prodigy as a child. The father-son duo shared an admirable passion for the vintage sounds, and were committed to recreating them themselves. The two were so dedicated to the genre, that the album was recorded with older instruments and technology. Jason played a vintage Ludwig drum set from 1970. McKinley played a vintage ’54 Stratocaster through a Peavey Pacer. Neither band member wore headphones, and microphones were minimal.
The “archaic” methods of recording were an essential part of the album’s production. Without it, replications of the old-fashioned sound would be artificial and inauthentic. There is a sense of originality to the production, especially when juxtaposed against the modern music scene and genres, that this kind of recording gives to the album.
When your band is only two people, there’s no hiding. It keeps you honest, and that was the goal with this album, tooâto be as honest as possible about who we are and what we do.
McKinley James
However, the method of production is not the only element of this album that gives it its key sound. James’ vocals, instrumentation, and singing style all emulate key figures of the era. With his gritty tone, calming guitar grooves, and swing-style approach, the album is not just a tribute to what rock was built on. In fact, Working Class Blues is an original, deeply personal piece that gives us a perspective as to how the genre has progressed. Its outreach to younger generations ignites a passion for music and storytelling previously unthought of.
Many of the tracks on Working Class Blues are stories of falling in love, heartbreak, and dealing with the aftermath. James’ melancholy about his own loneliness, captured in tracks like “Call Me Lonesome” and “Movin,” is something every listener can relate to. Yet, there is an undeniably personal tone to these tracks. James has shown, through each track, that this album is not just a collection of songs, but a story that he wants us to listen to. Despite his age, the voice James uses reminds us of tales as old as time.
Following the release of his album, McKinley James has announced upcoming shows. Tour dates are listed below.
JUN 8 – Orpheum Theater @ 7:30 PM, Madison, WI
JUN 9 – Rialto Square Theater @ 6:00 PM, Joliet, IL
JUL 25 – Robinson Center @ 7:00 PM, Little Rock, AR
AUG 1 – Brown County Music Center @ 7:30 PM, Nashville, IN
AUG 15 – Cleekwood @ 6:30 PM, Nashville, TN
AUG 24 – Minnesota State Fair 2024 @ 7:00 PM, St. Paul, MN
AUG 27 – KEMBA Live! @ 7:00 PM, Columbus, OH
SEP 29 – Amphitheater at Quarry Park @ 7:00 PM, Rocklin, CA
Fans can listen to Working Class Blues on all streaming platforms, as well as with this link, on June 7th. For more information, songs, albums, or tour announcements, visit here.
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
NYC-based indie-folk group Rookie Mistake have released their debut EP I Will Not Die in Upstate New York on March 29. The album is full of intriguing sound and promising talent.
Rookie Mistake is made up of Nick Fioravanti, Gianna Minerva, Justin Gambardella, and Ethan Brown. They were originally formed in May 2022 in college at SUNY Oneonta and are currently based in the NYC Metro. They’re excited to share their debut EP, I Will Not Die in Upstate New York after playing house shows and small clubs around New York State.
The group is heavily swayed by artists from genres like folk, indie, alternative, and classic rock. You can hear similarities to groups like Joy Again, The Walters, The Lumineers, and Mumford and Sons. The group refuses to conform to a specific genre. They have elements of folk, indie, bluegrass, and glimpses of alternative.
The opening track “I Will Not Die in Upstate New York” sets the tone of the EP with a heavy emphasis on acoustic folk, but still gripping the indie sound. It is a story of returning home, leaving the past behind, traveling far and wide and living life. The next track “Fortune Cookie” is quite laid back, but transforms into a heartfelt, hopeful and fast-paced tune. This track really shows the singer’s heavier vocals and the instrumental capabilities as more than just soft folk.
When the song “Trampoline” plays, the band really starts to show their indie roots. They prove their talents are simply multi-dimensional. “Famous” and “I Love it Here” bring back those soft, folk elements and showcases that the band can play a range of sound and can make indie-folk really pop. The songs are filled with depth, both emotionally and instrumentally.
To hear Rookie Mistake’s debut EP and to learn more about the band, click here.
NYC-based pop/indie-rock band Um Jennifer? released their debut EP titled, The Girl Class, released on April 5.
The group’s debut extended play is chock full of charming, energetic, punk-tinged indie rock. Each song on the album is different than the last, with its own sound and charm. There is clear influence from The Cure, Eyedress, Sonic Youth, MGMT, and more. Much of their songs are reminiscent of love, sexuality, adventure, and youth.
Elijah and Fig set out to pierce the soundscape with their sharp-witted, psyche-puncturing, and simply fun musical skill. The EP does exactly that. The Girl Class collection of songs is an ode to break ups, freak outs, and deep queer longing. Um Jennifer? utilizes their pop/indie/alternative sound to convey their dynamic range of song.
Throughout TheGirl Class EP, love is personified as something fantastic, gory, loud, needy, and needed. These songs were all written within the past year of the band’s life, and were the first songs they wrote together. These songs are the band’s attempt at measuring the immeasurable; at understanding themselves, each other, and the world around them.
Um Jennifer? has conveyed their ideas and vibe as a band well on this EP. They have proven their ability to switch sound and still remain original and themselves. With a debut album like this, with punchy, catchy, emotional, and passionate tracks, the band catches attention and has an audience awaiting further release.
NYC-based folk group The Folklorkestra are releasing a new unique and titillating album titled, A Strange Day in June on March 29.
A Strange Day in June is an album that had me intrigued instantly. The sounds that emanate from this album are nothing short of mystical and diverse. Many of the tunes feature much mandolin, woodwind, and acoustic percussion.
The opening track, “The Girl I Never Knew” consists of a kind of eastern melody coupled with a very Mediterranean sound. The usage of mandolin, shakers, accordion, and operatic vocals make for something real captivating.
Each song on the album has a unique sound that almost entrances the listener. The second track, “My Cousin the Spy” has a sort of Latin-folk sound that starts off like ballroom music. It later evolves with its saxophone-heavy progression, with many backing instruments carrying the melody.
John Kruth
The Folkorkestra is led by John Kruth, who has been active in the music industry for decades. He’s worked with countless other notable names like Meat Puppets, Jim Belushi, Steve Buscemi, Allen Ginsberg, Laurie Anderson, and more.
The group draws inspiration from various genres and sounds from around the world including American folk, jazz, chamber music, as well as eastern instruments, and European melodies. The group consists of versatile, multi-instrumentalists, Kathy Halvorson, Premik Tubbs, Kenny Margolis, Ray Peterson, and Rohin Khemani.
The Folklorkestra’s recent album, A Strange Day in June is certainly one to check out. It is complete with unique, diverse, and intriguing sound. Each song has a different feel and tells a different story. Each song combines multiple sounds together and makes it something you’ve never heard before.
The artisanship exhibited throughout the album is something to gaze at. There are miniscule sounds that inhabit every crevice of the songs. The songs are sonic portraits, displaying moving images via the music. There is a lot of character and charm from this album.
To learn more about The Folklorkestra and their upcoming work, click here. Stay up to date on the release of A Strange Day in June, releasing March 29.
Folk/country artist Christian Parker has announced his upcoming album, Change is Now, set to release on March 22. The album pays tribute to some of The Byrds’ classic hits.
Christian Parker
The album, Change is Now is something of a power-folk medley. Each song has an energetic folk melody, but a very distinct sound that Christian Parker made his own. The album pays much homage to the Byrds’ classic hits like “Ballad of an Easy Rider,” “Chimes of Freedom,” and “The World Turns All Around Her.” You can very clearly hear Parker’s own original spin on the tunes.
Along with The Byrds, Parker has clear influence from other classic artists like The Beatles, Blue Oyster Cult, and of course, Bob Dylan. Each song on the album has its own spark, its own character and its own rhythmic flair. Some tunes on the album are perfect for a excited countryside drive, while some fit for a calm, hopeful campfire.
Christian Parker hails from Canton, New York up by the Canadian border. Parker’s dazzling collection of songs have been warming the hearts of listeners over the past 3 and a half decades. His music contains lyricism around emotion, tension, and hope, carried by chiming guitar, and unforgettable hooks.
Earl Poole Ball, one of the original Byrds studio members, joins Parker on the album. This addition adds another element of honor to the album already paying homage to The Byrds. The album’s folk-driven, country-twanged, and mainstream appeal brings people of all tastes together.
Earl Poole Ball
To learn more about Christian Parker, and to stream his upcoming album, Change is Now, click here.
Chris Pellnat announced the release of his latest folk, synth, rock fusion album, Cairn and it is certainly something unique. The album showcases several unique and intriguing sounds from Chris Pellnat’s repertoire.
Chris Pellnat is a singer-songwriter based in Hudson, New York. In addition to his solo work, he plays guitar in the Poughkeepsie-based rock band, The Warp/The Weft. He is also half of the duo, Teeniest. He performs mostly in upstate New York. Chris creates melodic, memorable songs using unusual instrumentation, including vibraphone, clarinet and dulcimer in addition to guitar, bass, drums and synthesizers. His songs are sometimes cleverly humorous, but always with an underlying message.
There is clear vocal and instrument influence from artists like Bob Dylan, Tom Petty, John Lennon, Paul Simon and more. Cairn combines elements of traditional American folk, orchestral music, acoustic rock, and even electronic. Each song on the Cairn has its own feel and theme. Some songs are about hope, some are about endings and beginnings, some are about nothing. The album has an overwhelming ability to calm, but also the ability to get your feet tapping or your head swaying.
Cairn has a good deal of variety in terms of musical vibe and style. It starts off with “Ship on the Horizon,” a dulcimer-and-accordion-driven song that sets the tone with the sound of ocean waves. “Wandering Squandering” is a straight-ahead electric rocker. “Forest Giants” is a trippy, electronic exploration inspired by the wilderness. The album continues like that: you never know what the next song will sound like, and you’ll likely be surprised when you find out.
For more information on Chris Pellnat’s music and to listen to Cairn, click here.
