#sax and the city band rock

[davidca]

Elevate Your Wedding Day with Sax and the City Wedding Band Ireland

Your wedding day is a momentous occasion, a day filled with love, joy, and cherished memories. One key element that can truly elevate your wedding celebration is the music. It sets the tone, creates the atmosphere, and ensures that your guests have a fantastic time. If you're in search of the best wedding band in Ireland, look no further than Sax and the City Wedding Band Ireland.

Why Choose Sax and the City Wedding Band Ireland?

Sax and the City Wedding Band Ireland is a musical powerhouse, known for their exceptional performances at weddings and special events. What sets them apart and makes them a top choice for couples looking to create an unforgettable wedding day? Here are a few compelling reasons:

1. Musical Versatility: Sax and the City Wedding Band Ireland boasts a wide-ranging repertoire that can cater to a variety of musical tastes. Whether you're into classic hits, modern pop, or timeless jazz standards, they've got you covered.

2. Talented Musicians: The band is composed of highly skilled and talented musicians who are passionate about what they do. Their dedication to their craft shines through in every note they play.

3. Saxophone Magic: As their name suggests, they feature a saxophonist whose melodic tunes can add a touch of elegance and sophistication to your special day. The saxophone's soulful and smooth sound creates an unforgettable atmosphere.

4. Interactive Performances: Sax and the City Wedding Band Ireland doesn't just play music; they engage with your guests and ensure everyone is on the dance floor, having a great time. Their interactive performances are a highlight that your guests will remember for years to come.

5. Professionalism: From the first inquiry to the final note of the night, you can expect professionalism and top-notch service from Sax and the City Wedding Band Ireland. They work closely with you to tailor their performance to your preferences, ensuring that your vision for your wedding day is realized.

Discover More on Their YouTube Channel

If you're intrigued and want to see Sax and the City Wedding Band Ireland in action, their YouTube channel is the place to go. There, you'll find a treasure trove of videos showcasing their incredible performances at various weddings and events. These videos offer a glimpse of the energy and magic they can bring to your wedding day.

Watching their YouTube videos allows you to:

- See Their Talent: Experience the band's exceptional talent and musical prowess.

- Feel the Atmosphere: Get a sense of the vibrant and celebratory atmosphere they create at weddings.

- Gather Ideas: You might even get inspired with ideas for your own wedding from their performances.

In the digital age, YouTube has become a valuable resource for couples planning their weddings. It offers a convenient way to preview wedding bands and other vendors before making a decision. Sax and the City Wedding Band Ireland's YouTube channel provides the opportunity to do just that.

Your wedding day should be a reflection of your love story and your unique style. The music plays a crucial role in making that vision a reality. With Sax and the City Wedding Band Ireland, you're not just booking a band; you're securing a key ingredient for an unforgettable, music-filled celebration.

So, if you're on the quest to find the best wedding band in Ireland, make sure to check out Sax and the City Wedding Band Ireland's YouTube channel. There, you'll witness firsthand the magic they can bring to your special day, ensuring that your wedding is a harmonious symphony of love and joy.

[doomandgloomfromthetomb]

Sister Ray In The 70s

Something special to close out the year — SISTER RAY IN THE 70s! This custom-made Doom & Gloom compilation gathers together a whole lot of "Sister Ray," as performed by Lou Reed and his various bands between 1972 and 1980. One hour, 47 minutes. More ding-dongs than Hostess. Would make a great quadruple LP bootleg, if you ask me.

Everyone’s favorite transgressive-in-many-more-ways-than-one Velvet Underground epic wasn't exactly a standard during this time. But when Lou wanted to let everyone (including himself) off the leash for a bit, he'd break "Sister Ray" out as a vehicle for some unholy/unhinged jams/vamps/raveups ... and judging by what we've got here, he really enjoyed doing so. This is gnarly stuff, shameless, harrowing and totally fun. Not for the faint of heart — but none of you are faint of heart, right?!

"Sister Ray" (Leicester University, Oct. 14, 1972)

A roar rises up from the crowd when Lou announces: "This is the sad, sad story of Sister Ray." With the Tots grooving behind him, it starts off in a mellow mode — which is good, because it allows Lou to really sing, making sure to annunciate every nasty lyric. Soon, everyone’s cooking (for the down five).

"Sister Ray" (Kansas City, May 2, 1973)

The short-lived Moogy Klingman-led lineup gives "Sister Ray" a cartoony, streetwalking funk strut, hooting and hollering behind Lou. Extra props to the drummer (known only as Chocolate), who taps out the appropriate beat during the "Who is that knocking?" section. "RIGHT!!!!" Lou exclaims approvingly.

"Sister Ray" (Buffalo, Dec. 8, 1973)

As far as I know, this is the only recording of the Rock & Roll Animal band tackling "Sister Ray," but it's a 20+-minute doozy. Of course, it takes about 10 minutes for Lou to enter the scene — lord only knows what he was getting up to backstage. Despite a wonky mix that occasionally is overtaken by pummeling drums and bass, it's a vicious listen. I like that it all comes to a pretty definitive conclusion before Lou realizes he hasn't sung the concluding verse and revs things for a final ride ride.

"Sister Ray" (Stockholm, May 14, 1974)

This one starts at a blinding white light/white heat pace, everyone riding a locked-groove riff for as long as they can. Guitarist Danny Weis is off the chain here, reveling in both chicken scratch funk and insane feedback. Lou's tambourine accents make me think of On The Corner's infernal sleigh bells, and his "CooooouLLLLDDDNnnnnt hiiiiIIIIIIIIITTTTTttttt iiiIIIIITTTTTtttttt siiiiiIIIIIIIIIdewaaaaaayyyys" vocalizations towards the end are wicked.

"Sister Ray" (Boston, October 29, 1976)

Lou had Doug Yule, an actual member of the Velvet Underground, in his band in 1975, but for some reason, "Sister Ray" wasn't played that year. But she was back in action in '76 — and in Boston, we get to hear a key "Ray" ingredient we haven't heard much of so far: Lou's skronked out guitar work. It's as if he walked past the old Boston Tea Party on the Fenway that afternoon and thought, "Ohhhh yeah, I used to really shred!" And shred he does, dueling mightily and furiously with sax man Marty Fogel. I'll also recommend this video of "Sister Ray" from a week later, which doesn't feature any six-string pyrotechnics but is awesome nonetheless.

"Sister Ray" (Lund, March 26, 1977)

With Michael Fonfara's icy electric keys mixed way up and Michael Suchorsky's locked-in drums, this almost sounds more like "Kicks" than "Sister Ray." I think that's Lou on distorto guitar there at the beginning, but he mainly focuses on delivering his whiplash vocals as the song progresses. Fogel starts to get pretty loose towards the middle, though I wish he'd cut loose even more — and I definitely wish there was a tape of Don Cherry sitting in on "Sister Ray" from around this era! The car crash ending is a blast, too.

"Sister Ray" (New York City, May 21, 1978)

"Sister Ray" takes no prisoners! This one from one of the many Bottom Line sets Lou and the Everyman Band played in 1978 is a tense slow-burner, sometimes dropping down to a whisper, Lou adding profane/profound asides and stopping to tell an old Warhol story. "Andy said, 'Make sure you do the song that's got suckin' on my ding-dong on it.' I said, 'Oh, why? Social commentary?'" Also fun: the band seems to be having a long disagreement about where the changes of this three-chord boogie are. Come on, Moose! (Sadly, this is one of the more lo-fi documents included here — where, oh where, is my Take No Prisoners: The Complete Recordings boxed set?!)

"Sister Ray" (London, April 10, 1979)

One of the weirder "Sister Ray"s I've come across — though that might be partly the fault of the cavernous acoustics we're dealing with. There's a long solo guitar extravaganza (Chuck Hammer, I presume?) to kick things off, and then a monomaniacal/mechanical beat from Suchorsky, the crowd clapping along, Lou hollering over the top; it almost has a Suicide vibe? Then there's a terrifying drone-metal dirge coda ... Chaos! But that's what "Sister Ray" is all about, right?

"Sister Ray" (Avellino, June 16, 1980)

Lou's insane 1970s had ended and the sober 1980s loomed (Loum-ed?) before him. But he wasn't done with "Sister Ray." Or maybe "Sister Ray" wasn't done with him. Fittingly, this version feels a little bit exhausted, some flop-sweat, some out-of-gas fumes. "Give me some rhythm — FUCK!" Lou yells at the gang early on. But it still rocks, don't worry. My favorite part is Fonfara's wildly inappropriate synth solo. Mainline located!

📷: Lars Jonsson, Copenhagen May 1974 (via weaponsetc)

[dustedmagazine]

Jeff Parker ETA IVtet — The Way Out of Easy (International Anthem/Nonesuch)

The Way Out Of Easy is the second album by Jeff Parker’s ETA IVtet. The combo, which comprises Parker on guitar and electronics, Anna Butterss on double bass, Josh Johnson on alto sax and electronics, and Jay Bellerose on drums, took its name from ETA, the Highland Park, Los Angeles oyster bar where it held down a periodic gig on Monday nights devoted to open-ended sets that were both unscripted and unified in intent. Like its predecessor, Mondays At The Enfield Tennis Academy (Eremite), it’s a double LP that captures the band stretching out and seeing where the vibe takes them.

The fact that the IVtet was able to sustain such a run says something about what making music this way means to its members. Not only does it take commitment to reconcile calendars beholden to the touring schedules of Tortoise, Robert Plant and Makaya McCraven, among others. It’s absurdly difficult even for players working at that level to get a regular gig in LA. It’s an industry town, and anyplace that capital concentrates, it’s liable to hog art’s oxygen. ETA, which had neither a stage nor a PA, was one of the very few places in LA where one could go to hear bands make music in real time, and when it closed at the end of 2023, the city’s heads mourned.

One ETA regular was a lapsed studio engineer named Bryce Gonzales. Burned out on the computer-bound processes of modern recording, he had dropped studio work in favor of hand-building compressors and preamps. When he heard Parker and crew at ETA, he found himself lured back into recording by the challenge of capturing a live band in a very particular and unforgiving setting. Gonzales’ liner notes for The Way Out Of Easy go into detail about the mixer that he built specifically for this job, which he has now performed twice for the IVtet, but you don’t need to know anything about signal paths to grasp what he ultimately learned from the journey; that in order to capture the band’s essence, you have to keep out of the way of their real-time rapport. Producers tend to be dubbed honorary bandmembers when it is obvious how they’ve shaped a record’s sound; Gonzales earns said honor by making sure by leaving no trace of his fingerprints.

Played back-to-back, the new album doesn’t sound drastically different from Mondays At The Enfield Tennis Academy. Once more, Parker’s unfussy and adroit guitar playing suspends lyric phrases within a matrix bound by Butterss’s supple lines, the peanut butter and jelly tonal compound of Johnson’s combination of sax and signal processers, and Bellerose’s endlessly inventive rhythmic variations. But the feel is different, not in kind but in quality. The quartet’s already natural grooves and spaces feel more like the product of a single organism, breathing and flexing in response to collective effort. Each reed + circuit smear, each contrapuntal bass figure, chain of plucked phrases that don’t change until they do, and each shift of percussive emphasis adjusts the music as inevitably as a rock thrown into one end of a pond ruins the sleep of the frogs on the other side. Parker gets plenty of cred for the production acumen he has exercised with Tortoise and the New Breed; his work with the ETA IVtet affirms his mastery of making music that feels and is felt in real time.

Bill Meyer

[daggerzine]

Class- A Healthy Alternative (Feel It Records)

Hot damn! I just saw Class less than a week ago at Gonerfest in Memphis and they blew my ears out in the best way possible. Four fairly unassuming guys from Tucson, Arizona who've been put on this planet to rock. I had heard a handful of cuts before this album, but I hadn’t really done a proper deep dive into the band. This past week, after Goner, I dove into their previous LP and now comes this new one.

The songs come rapid fire and whoever it was that described them as "Wire meets an Oi! band" was on the mark. 10 songs in 25 minutes and they barely come up for air.

The first three cuts, "Scared to Care," "Burnout City,"' and "Be-Bop with the Rats" (some wild sax on that one) will definitely serve as an appetizer for the rest of the album. 

Seriously, if you haven’t given these guys a listen yet, and you’ve read this far, please do so. I know you've got some Class somewhere in there.

https://nowthatsclass.bandcamp.com/

[rjwhite]

That's the Day I Throw my Drugs Away

The Morphine album Cure for Pain came out 30 years ago, on September 14, 1993. A few years back, I was on this music review mailing list, where each member had to take a turn writing about an album of great importance to them. This was mine.

Ever since I was a kid, cities always held a fascination for me. I was not well-traveled, growing up in the middle of Michigan. The idea of being in some cosmopolitan, dense, East Coast metropolis was amazing to me, yet it took until well into college to even head out there, for a college television conference in Providence in 1996. We made the drive from Michigan State University, cut across Canada in the dead of night to spend a day in Boston, then head down to Providence in rush hour traffic. Checked into the hotel and one of the people in our group asked who was playing in town. Morphine at Lupo’s Heartbreak Hotel. A friend said we absolutely had to go, as the band was amazing. I’d never heard of them, but went along because, hey, a concert in an actual, real city and everything, you know?

A loud club with cheap beer. Lots of people crowded in. The band came on. It was one of those weird things you always remember. These guys were on stage- not young, one of them playing a bass with only two strings? The one guy playing two saxes at once? The lead singer going into some beat poetry? What was this? I’d never seen or heard anything like it. My mind exploded. The band, the crowd, everything was in sync. Leaving the club, being downtown in an old, established city- the whole weekend of experiencing something I’d built up for so long … it just cemented that I needed to be in a place like that. I needed to live somewhere with history, vitality.

We got back to East Lansing and one of the first things I did that week was go to Flat, Black and Circular (still one of the best record shops I’ve ever been lucky enough to shop) and pick up Cure for Pain. It wasn’t even the album they were touring for (Like Swimming). I think Cure for Pain was the first one I saw in the rack? But it grabbed me and entranced me and hooked me for life. I listened and listened and listened. This incredible, smooth, wonderful mix of I don’t know what- jazz? Rock? Stories of cheating and sleaziness and sadness and loss and regret?

It’s just a wonderful thing to just discover a band you had no idea existed and instantly be taken with them. To feel that connection you never knew was there and somehow know you’ll be listening to them for a good, long while. It’s almost like falling in love with someone, you know?

I just always associate the album with that time and it’s all smashed together in my head, making that absolutely certain decision that, someway, somehow, I was going to live on the East Coast, in an honest-to-god city where I could go to places like Lupo’s and see bands like Morphine for the first time.

Now, I live in Philadelphia and never go to shows!

Though the odd, strange miracle of the internet, I’m able to hear a bootleg of that very night, knowing that 21-year-old RJ is in that crowd somewhere, just happy and dumbfounded by what he is hearing and utterly enjoying being in that moment.

I don’t know if I can hear myself in there, though. That might be too strange, like thinking of the dead people in the repeated laugh tracks of old sitcoms.

But, the record! Just a pleasure to listen to, front to back.

“Dawna” and “Buena” kicking it off… “I’m Free Now” as a sad, incredible post-breakup song where you feel like that terrible jerk who’s made a bad mistake (I'm free now to direct a movie/Sing a song or write a book about yours truly/How I'm so interesting I'm so great I'm really just a fuck-up/And It's such a waste to burn down these walls around me)... That delicate mandolin of “In Spite of Me”... The barrelling train of “Mary Won’t You Call My Name”... That jazzy, smoky rambling of “Let’s Take a Trip Together”... “Thursday” is almost a short film, with the wenching title track slamming you right after… all of it...

July 3 will mark the anniversary of Morphine frontman Mark Sandman’s death from a heart attack in the midst of a 1999 concert in Europe. If you could throw this (or anything from their wonderful catalog, really) on, I think that would be nice.

Anyway, that's why I love this 30-year-old record and this band. Listen to it wherever you can, it's a hell of a beautiful thing.

[5sosfanfictioncatalogue]

Bisexual!Ashton Masterlist

7 Minutes (More Like Hours) In Heaven (ao3) - drummer_boy Luke/Ashton T, 3k

Summary: “It’s just a prank. They’ll open the door soon enough.” Luke was about to run out of patience. He’s waited 2 hours already, and he wasn’t sure if he could endure any longer in the dark, small closet, let alone with somebody else crammed in there.

They didn’t open the door. Not until the next morning, when 7 minutes had become 7 hours in heaven.

Or, Luke falls in love with a boy he can’t even see.

Boys/Boys/Girls (ao3) - doplicdrone Luke/Ashton N/R, 2k

Summary: Ashton is bisexual and Luke isn't getting it.

I'll let you have it (ao3) - tinyglitterrose Luke/Ashton M, 3k

Summary: “I don’t want to pressure you, Lukey”, the drummer mumbled, looking up at him almost shyly now, “But if you want it, I’ll let you have it.”

basically Luke is horny and Ashton offers to let him take it out on him.

'I wasn't expecting that' (ao3) - Forbiddenmichael Calum/Ashton G, 10k

Summary: On his sixteenth birthday, Ashton gets his soul mate tattoo, and it's everything he hoped for. Even is his soul mate does sound a little bit sarcastic and snarky. A few months later, on the other side of Australia, Calum woke up on his sixteenth birthday with his soul mate tattoo. And needless to say, it's everything he hoped it wasn't. 'What colour even are your eyes?' 'Wait, you’re a boy? You’re meant to be a girl.’

or when Calum and Ashton have waited for there soul mate tattoos for so long and what they get isn't what either of them expected. they aren't what each other expected either...

Maybe This Time (two wrongs make it right) (ao3) - gravityinglass Luke/Ashton, past Ashton/Bryana M, 33k

Summary: Five years ago, Ashton Irwin vanished from 5 Seconds of Summer's radar without a trace. After five years and a string of unsuccessful drummers, Luke suggests that they track down Ashton and get him to give them another shot. Luke expected Ashton to put up a struggle. The last thing Luke expected? Ashton with twin children.

It'll take awhile to rebuild what they once had, but that's a challenge Luke--and Ashton--are willing to take.

My Respite From Winter (ao3) - spacepixie Luke/Ashton, Michael/Calum T, 4k

Summary: Luke spills Ashton's drink on him, Calum has a party-Angst and Fluff ensue. *I don't own any characters/lyrics used in this work*

Renaming 5 Seconds of summer to Gay-Punk-gay-Rock-gay (ao3) - orphan_account OT4 T, 1k

Summary: Cal: I need new friends cuz mine ones are so gay their brains turned to superwholock fandom, or some other gay shit.

Luke: you said yourself you’d enjoy getting down on your knees infront of Jack.

Ash: I bet Alex would join immediately.

Cal: All time low are shittiest band ever

running from the daylight (ao3) - pnkrckclffrd Michael/Calum, Luke/Ashton M, 5k (WIP)

Summary: before we started it was over

The Drum Major's Always Right (ao3) - ThtGrnGntlmn Luke/Ashton, Michael/Calum T, 10k (WIP)

Summary: Little sophomore Luke has his second band camp, but it's his first being a section leader. He's utterly terrified. Until he catches his eye on a new student in percussion who is seriously gorgeous. Too bad he's a senior.

OR the one where Luke is hella into Ash and drum-major-Calum is done with alto-sax-Michael's shit but there is an unrelenting mutual crush between them that's not so subtle.

when i think of summer, i think of you (ao3) - mimi_reads Luke/Ashton, Michael/Calum T, 2k

Summary: Heat settles over the city and with summer come the thoughts of Luke.

[burlveneer-music]

Elite Terrorism Modulus - s/t LP - noise rock from Dayton, Ohio, out today from Orange Milk Records

There is something about tiny rust belt cities that is charming and mythical and Dayton, Ohio is no exception. Home to some of the best Funk music ever made, Zapp, Ohio Players, and a 90’s renaissance of indie rock, most notably Guided By Voices, Brainiac, Kim and Kelly Deal, with a strong harsh noise scene - Being, Developer, Yes, Collapse, Dan Rizer etc. Dayton is a fertile place for weird and fun music. There are many ways to embrace and channel this spirit. Elite Terrorism Modulus’s first LP lives in this musical geist of its hometown. The band made this record soundtracking a long mythology where buildings are gods and dilapidated malls are places of worship. A sincere subversion in music, they are a jam band influenced by Don DeLillo, private press gospel LPs, Spring Breakers, Naqoyqatsi, Five Starcle Men, Sonny Sharrock and Chrome. The self-titled record possesses the fervor of this music community, endearingly weird, really energetic, and very midwestern. The record spans from free jazz, hardcore, noise, and at times melding into absolutely absurd lo-fi strangeness. It's a great record made in a place that is considered obsolete by many, a demonstration that compelling art is thriving in the flyover states. Drums - Griffin Girard Bass - Danny Berg Vocal, Alto Sax, Programming - Fred Grof Guitar - Chance Berberich Electronics, Cut-up Noise - Matthew "(Property) Developer" Reis Produced by Smiffmaff & The Salesmen Art and layout by Seth Graham

[barricadebabe]

A Night In Fischer Hall - Frankenmuth

Intro

This week I am jumping ahead a little bit to discuss/showcase the first ever show I had a part in promoting, organizing, managing and being a part of. On December 30, 2022 one of my close friends Peyton and I put on a four band lineup at Fischer Hall in Frankenmuth Michigan. This came to be known as A Night in Fischer Hall.

This show took months of planning & organizing and included a lot of really cool features and people. It included the bands Lyons Lane, The Euclid Motel, Loud Thoughts and V*A*S*E. All bands being east side Michigan local.

The Show

Opening the show was the band Lyons Lane from Detroit. Lyons Lane is made up of Mark Leo lead singer, Thomas Thompson bassist and Nathan Gonzales lead guitar. The band was joined by Ramone Cerda on drums and Jarrett Koral on sax. This was the first show Lyons Lane performed together after rebranding. Lyons Lane definitely knows how to put on a performance, gathering influence and sound from 60s rock and roll. I love hearing this type of sound merged with modern day rock, I know I am not the only one who is a fan of this band and what they are continuing to radiate into the air.

Following Lyons Lane was local Bay City band The Euclid Motel. The Euclid Motel is made up of five band members, guitarist & vocalist Connor James, lead guitarist Darrian Loehne, bassist Ryan Seifferly, drummer Nathan Seifferly and keyboardist Tim Cary. The psychedelic rock band added the perfect amount of energy needed to help tie all these fantastic bands together. I know that many of the attendees had never heard of this band before this night and everyone I received feedback from talked about how much they loved their sound, energy and the band members. Drummer Nathan Seifferely talked about how great the night was “if anything, it was the most love i’ve ever felt in a full room. Just seemed like everyone was there for the right reason and that doesn’t happen all the time.” Being able to see what Nathan described first hand both from a fans perspective and behind the scenes, I think he perfectly put into words how the energy felt throughout the course of the night.

Local band Loud Thoughts from Saginaw followed The Euclid Motel’s performance. Loud Thoughts has played many different venues in Frankenmuth, most of the band members originally being from the small town. The band is made of close friends & family, Clayton Singer lead vocalist, Chase Singer lead guitarist, Cade Lambert bassist and David Hansen drummer. Fischer Hall is a venue the band has played before but not at this high level of intensity, love and this many eager attendees.

I got the chance to interview Loud Thoughts before they took the stage, “We are finally sold out at Fischer Hall. We have been here so many times, almost too many times and just now with the help of these people it's been done.” One of the things the band is most excited for this next year is to write and record new music. “I feel like one of the things we have been focusing on is writing a lot of new music and so we have like a couple new songs that will be happening tonight. We have more that we have cooking up right now” said David Hansen. Minutes later David’s words came to life, Loud Thoughts definitely got the crowd going. Clapping, singing, dancing and enjoying all songs old & new. Loud Thoughts is currently working on raising money to help fund the recording of their new album. (Gofundme Link at the bottom of this article or can be reached at the link in my bio).

To wrap up the night the band V*A*S*E took the stage to celebrate and play some of their new songs from their latest EP release. To put into a few short words, V*A*S*E closing out the night was definitely the cherry on top. The band V*A*S*E is joined by lead vocalist Christian Thibodeau, guitarists Drew Kussmal & J.T. Jasinski and bassist Derian Parsons. The band closed out the night with a jumping, sweat dripping, head shaking take on (ICan’t Get No) Satisfaction by The Rolling Stones. While members of the crowd joined on stage with the band and closed the night jumping, dancing and singing to the Stones. (Videos on my Instagram @barricadebabe)

Ascertainable Appearances

Peyton and I originally had a vision when planning and organizing this event, I think it went almost perfectly to plan! We were able to have two very cool vendors come out and support the event. This included AwYeah Records and Currency Clothing Company both local to the area. AwYeah Records is a Record company that also hosts a weekly podcast. This podcast was able to come in and record live during the course of the show. Peyton and I were able to speak on this podcast along with many of the concert attendees. Currency Clothing Company also had a table at the show where they were selling all types of Merch.

We also offered concert goers the opportunity to purchase raffle tickets. These raffle tickets could be purchased for four different types of raffle baskets we strategically put together to feature each of the bands. While also including a lot of really cool things in each basket. I personally custom painted four different vinyls for each of the bands as well as two A Night in Fischer Hall vinyls. Each of the baskets contained these custom vinyls, donated records from AwYeah Records, custom A Night in Fischer Hall totes & shot glasses (made by Peyton & I’s good friend Jill), custom made band cups and additional goodies. Even the bands donated merch items such as picks. T-shirts, drum heads and CDs to each of their baskets.

Finality

Words can’t describe how well each and every one of these bands performed this night. Fischer Hall holds up to 250+ people standing room, the place was packed with people of all ages. All of these bands were so deserving of the night they had and collectively everyone came together for a great night of love and music. As of right now we have been speaking of hosting another Night in Fischer Hall. Until next time, see you at the barricade!

[saint-soap]

hi im the girl that obsessively keeps up with new music releases. lemme drop some 2024 stuff

cakes da killa makes insanely hype dance-rap influenced by ballroom & runway music, constantly calls attention to house's origin as black music. this dude is Gay and this music is Gay and it bops unreasonably hard. his new album Black Sheep owns

nia archives is a UK artist blending pop & breakbeat, sorta like if pinkpantheress went harder on both the pop elements and the breakbeat elements. catchy as hell & very straightforward

1010benja is a kansas city weirdo whos music is rap & r&b influenced but takes a much stranger angle at it, my partner described him as "singing like an anime protagonist" and i do get it. reminds me of hearing frank ocean for the first time, it sounds expensive and well put together but also really out there. also his voice kinda sounds like justin timberlake

she popped off earlier this year so idk if she counts as obscure anymore but rachel chinouriri just put out her debut album and it's absolutely killer guitar pop that throws it back to uk stuff from the 2000s

lustsickpuppy is a new york artist who straddles lines like industrial & breakbeat & hard electronic & rap & hardcore, their stuff isnt for the faint of heart but if you love to go stupid & crazy to stuff like machine girl or black dresses or death grips or ministry then you will dig on this for sure. they shouted "dont forget to always kill your rapists" when i saw them live

baltimore synth-funk wizard dude nourished by time just put out a new EP on xl recordings, synth funk has sounded the same for so long that its super cool to hear somebody like them pushing the genre forward in DIY ways. this is dance for ur soul

baby rose is an r&b/soul singer with the smokiest, bluesiest, prettiest voice, it's so unique in the current landscape. the instrumentals for this EP were done by jazz group BADBADNOTGOOD so if you want pretty singing over lush sax and piano this is where to get that

uk rapper john glacier is hit or miss for me but her whispery, ice-cold style is really identifiable and a ton of people i know love her. this new EP is her best work yet imo, lots of very different instrumentals on here

brittany howard, formerly of southern rock band alabama shakes, has her second solo album out and its AMAZING i cant rec this enough. crazy mix of soul & psychedelic rock

like black people are present in every single fucking genre and scene and popularized and straight up created several but people are so fucking hell bent on finding every possible excuse to not engage with their music because its easier than trying to confront their own racism. like okay well if its truly just a disinterest in most rap music then surely you listen to black artists in other genres right? who am i fucking kidding. of course you dont.

[percontaion-points]

Lost Boys chapters 17 & 18

Click here for the rest of the series!

Click to see the rest of the snark & image descriptions

Chapter 17

Chapter Seventeen 

Lost Boys 

Are we actually going to get an explanation as to why people are lost in this series? 

The second book is “Lost Girl”. 

[Context: Music was the other activity she signed up for. Tristan also signed up for it]

After lunch we had Music class. 

What kind of bizarre school is this, where they have after-school activities, but in the middle of the goddamned school day?

The classroom was filled with instruments placed randomly on shelves…

Expensive prep school or not, nobody wants to be wasting money because a violin or sax fell off a goddamned shelf. Those would be in fucking cases. 

/band kid anger and frustration over something clearly not written by an actual musician

“You better step away from the piano, Joe! Only Professor Rubick plays it. He’s rather possessive of the thing. He says we ‘murder sound’ when we try to play piano,” Seth said with a short laugh. “You should see his face when someone tries the violin! He looks like he’s about to die!”

What a shit-ass music teacher. 

What, he couldn’t get a job conducting the local city orchestra, so he decided that insulting a bunch of children was somehow the consolation prize? Fuck you, buddy. You should have gone into any other field. 

“And no, you’ll probably have to learn the little drums first in the class …”

What kind of fuck-ass class is this that forces the children to not play any instrument, and starts them off on the drums?

Granted, learning drums is a great way to learn rhythm. HOWEVER…!! The rest of the goddamned band started off on other instruments, and also somehow managed to learn rhythm. 

This was 100% written by somebody who has never once taken a band class once in their goddamned life. 

I didn’t know Tristan could play the guitar! And he was good, too! But I guess it made sense, since he’d been a teen when rock ’n’ roll was born.

[Image description: A scatter-plot graph, with a bunch of random blue dots. The graph is labeled with “No correlation” at the top. End description.]

A few students were picking random instruments from the walls and starting to play a few screeching tunes.

I’m not even going to excuse myself when I say this but AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

I saw Tristan flinching at the horrible noises around us, and I tried my best to put on a straight face, but wasn’t succeeding much. Now I understood why there were so few names on the Music class list! Staying here for a couple of hours was going to be pure torture! Seth could’ve warned us about this, the numbnuts!

Considering everything that has been said about the “teacher”, he’s not exactly teaching a goddamned thing. He’s instead insulting people who don’t know how to play an instrument already, and heaps praise on those who came to school having taken music lessons prior. 

Soon we arrived at the practice room. It was on the farthest east side of the school building…

Why the hell is the practice room so far from the actual music room? 

I smiled while I hugged Seth. Tristan was looking at us kind of seriously, with a weird expression on his face, but when he caught me looking at him he averted his eyes, fast. I wondered why …

This is yet another thing that keeps coming up in this book. I’m going to give myself brain damage with how often I beat my head against the wall. 

[For the record: I’m not actually beating my head against a wall. This is not the first book that made me feel like this, and it won’t be the last.]

“I hope you like it, Joey! And welcome to The Lost Boys!” he said, striking the first chord.

So it has nothing to do with ghosts, and everything to do with… A teenage boy band? 

“I hope you like it, Joey! And welcome to The Lost Boys!” he said, striking the first chord.

Chapter 17 summary: Joe wakes up in a panic, but almost immediately decides that she isn’t going to tell Tristan about this. At least, not until she can talk with Ms. Violet. 

We ignore all and anything else after this, and jump to Tristan, Joe, and Seth going to music class. I said what I said about all of that. The entire thing is a mess, and I hate it so much. 

Before class starts, Tristan starts to play the guitar, playing the song that Joe had helped Seth to write on her first day there. Joe joins them on the piano. When the teacher hears them, he agrees that they’re somehow too good for his class, and loops Tristan and Joe in on the deal he made with Seth and his band: you don’t have to come to my class, but I want to hear one of your songs by the end of the term. Since the rest of the students are making unholy noises around them, Joe and Tristan are quick to agree. 

Seth takes them to the practice room with the rest of his band. The only member that we haven’t been introduced to is Sam, which is done right now. Then, Seth explains the situation to his bandmates. However, they refuse to change the name of the band from “The Lost Boys” which… no. Stop it, author. Stop. But they agree that Joe can help them to write songs. 

Chapter 18

I spent the rest of the week, and my whole weekend, working on lyrics and melodies.

I feel like there’s two different stories going on here, that were randomly smashed together when the author failed to come up with enough plot for both. 

At the start of the previous chapter, Joe said that she wanted to talk to Ms. Violet. Yet instead of taking the bus back home and doing that, she… Sits around and participates in a high school rock band she’s randomly joined?

Tiffany and Seth were the only ones who almost never went to see their parents, since they lived in another state, and visiting was difficult and took too much time and effort.

I mentioned in an earlier chapter how odd it was that they were staying behind… Would it have been so hard to have dropped this tidbit back in Joe’s first weekend?

Mom welcomed Tiffany and me with open arms, and I smartly avoided saying Tiff’s family name during the whole time we were there, so my mom treated her just like any of my friends.

Why would Rose treat Tiffany differently? That’s kind of rude, honestly. 

I wouldn’t care if my friend invited freaking Kim Kardashian’s kid over. That kid is going to get the same sort of treatment as my own kid… Or any other child under my care. 

[Note: I don’t currently have children.]

On Sunday I snuck out while Tiffany was occupied talking fashion with my mom, and I paid a quick visit to Miss Violet. I really needed to talk to her about all those weird dreams I’d been having lately.

Oh, the narration finally remembered the actual fucking plot. 

We were going to be fine. We’d be fine as long as we were together.

Chapter 18 summary: Most of this chapter reads like the author was bored with her own story. Most of the first couple of pages are nothing but a summary of stuff that the readers already know. It’s so freaking boring. 

Then, we get a super-glossed over weekend where Joe brought Tiffany home for a sleep-over. If the author doesn’t care, why should the readers? We don’t even see anything about the conversation with Ms. Violet, so like… What’s the fucking point?

When Joe gets back to the school, she’s got a pounding headache. She finds Tristan lying in bed, sick out of his mind. Joe is obviously worried about him, and “nurses him back to health”. She ends up falling asleep on his bed, and wakes up in his arms. She tells him that they have to talk about this after Seth leaves. 

When Seth goes, they talk about how sick he keeps getting. However, they don’t think that their proximity to one another is the cause, since as I mentioned, Joe went to the school for a week, and both of them were fine. However, their current theory is that it was February 1st, and that the previous time, it was January 1st. But there’s only one way to tell, and that’s by waiting to see what happens next month. 

[rainydawgradioblog]

threegoofballsreview: Jazz

This week the three of us reviewed Jazz albums. While Jazz originated in the 20 century, it has blossomed into many different genres over the century of its existence. We reviewed a couple classics of the genre, as well as a lot of new jazz fusion albums of the modern era that we enjoy.

Stan Getz & João Gilberto - Getz/Gilberto

In the early 1960s, jazz was in a slump. The explosive popularization of rock and roll throughout the 50s captivated the American market and pushed jazz into the background. During this creative drought, jazz artists Tony Bennett and Don Payne took a trip to Brazil, where they caught wind of an emerging jazz scene called bossa nova. When they returned to the US they shared the music with American saxophonist Stan Getz, who was excited about the new sound. As Getz began performing bossa nova in America, record producer Creed Taylor saw the artist’s potential and connected him with Brazilian bossa nova pioneers João Gilberto and Antônio Carlos Jobim. Before Getz began spreading bossa nova to the states, pianist/composer Jobim and guitarist Gilberto were busy laying the foundations of the genre, taking inspiration from American jazz and indigenous Latin music to craft a new sound. When these three musical titans Getz, Gilberto, and Jobim met in 1963 in New York City, it was clear that a landmark work of bossa nova was on its way. Their NYC recording sessions resulted in Getz/Gilberto, an album now widely regarded as the catalyst for bossa nova’s global popularity.

The album begins with a song that is instantly recognizable to most Americans: “The Girl From Ipanema”. The track opens with João Gilberto’s warm humming accompanied by a mesmerizing, summery guitar. He carries the song over a classic bossa nova rhythm until the chorus, when his wife, Astrud Gilberto sings with an almost eerie, melancholy tone. Then the team’s roster is completed with an undeniable sax solo from Getz, rounding out the song. The next song, “Doralice” moves the album forward with an upbeat tempo and energetic performances from both Gilberto and Getz. Each song consists of incredible work from every musician involved, showcasing the absolute brilliance on display. At only 8 tracks long, or 34 minutes in length, Getz/Gilberto is the quintessential bossa nova body of work and a perfect project from front to back that is responsible for forever changing the landscape of jazz. Link: https://open.spotify.com/album/73ZRKdD3Ds43IjHrhKgucY

Charles Mingus - Let My Children Hear Music

There is a video of Kamala Harris walking out of a record store with Charles Mingus’ Let My Children Hear Music in hand. I think listening to this album opens a window into the world of Kamala Harris’s mind.

Let My Children Hear Music (LMCHM) is quite avant-garde, even for the standard of American jazz figurehead and visionary Charles Mingus. Many songs begin with strange, oftentimes disturbing samples of distorted screams or heavy rain. The awkward, abrasive sounds Mingus is able to pull out of the album’s instrumentation are shockingly impressive. When he does anything on LMCHM, he goes all the way. The bass line on the intro to “Hobo Ho” is insanely groovy. The horns on “The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers” are explosive and violent. At times LMCHM feels like a precise composition, while at others it sounds like it is dying in a horrific fashion. The way Mingus continuously withdraws then attacks keeps you guessing throughout the album and creates an incredibly entertaining experience. If you want to feel like Kamala Harris for an hour, this album is perfect for you.

Kamasi Washington - The Epic

Being a three hour jazz fusion album, The Epic takes you on multiple journeys of sounds and textures. Kamasi Washington brings out all the stops on this record, while he mainly plays the saxophone he also conducted the band that created the album. Each instrument has its time to shine somewhere in the album, whether it be the sporadic bass plucking and bowing in “Miss Understanding”, the shimmery keyboard on “Re Run”, or even some of the vocal appearances on multiple tracks, it all contribute to this spiritual jazz atmosphere. The album is split into three sides, almost as if three albums were compiled together to achieve a 3 hour run time. I find it hard to choose moments on the record that are my favorite, as each track blends together it feels as if the album is one experience rather than singular tracks, though there are some notable standouts. “Change of the Guard” is the introduction to the “The Plan” side of the record. 

The track feels triumphant, as these strings and choir fill the atmosphere with these feelings of grandeur. Kamasi solos most of the track's melody with the saxophone and he uses it to its fullest capacity, even blowing out the sound of the sax at one point. As said before “The Rhythm Changes” has a vocal performance I really enjoyed, celebrating the reasons of living in the world through the human experience. The start of the second side “The Glorious Tale” called “Miss Understanding” gives the same energy as the first track off “The Plan” side, full of energy as Kamasi gives another great sax performance. “The Magnificent 7” has this crazy approach to the track. The melody of the saxophone over this ethereal choir as each other's instruments pops in and out for 12 minutes is this crazy exhilaration of energy. “Re Run Home”, the intro to the third side “The Historic Repetition” seems to be a parallel to the track “Re Run” on the previous side. What makes this stand out for me is a super unique percussion line with so many different little percussion sounds sprinkled throughout. The interpretation of the famous piece “Clair de Lune” also shows up on this side. It takes the track and reinterprets it into a slow moody saxophone piece I found super interesting. The last track I wanted to add is “Malcolm's Theme” which is a track that commemorates Malcolm X, who helped push the civil rights movement in the 1960’s. It features two different vocalists, male and female, that sing about Malcolm and his accomplishments. The album is long but I don’t think there is one dull moment on the album, it is a modern classic in the new age of jazz. Highly recommend this album, it's something you can get lost in for a couple of hours. 

Link: https://kamasiwashington.bandcamp.com/album/the-epic-1 

Uyama Hiroto - Freeform Jazz

Uyama Hiroto is a name I found through collaborations with the artist Nujabes. While their collaborations focused on both the lofi hip production of Nujabes, Freeform Jazz takes the jazz elements of those tracks and elevates them. This album falls under the genre of Nu Jazz, while containing a lot of elements of jazz instrumentation, it incorporates electronic elements into each song. “Yin And Yang” is a perfect example of this, where we get little sprinkles of synth melodies throughout the lush instrumentation of a saxophone and a live drum break. “Taiko” incorporates an actual taiko drum performance into its track, making for these fast rhythms to accompany these hazy melodies. What I also liked about this album is the contrast of higher and lower energy songs being woven together under the same umbrella of the album. “Laidback” is this super relaxing track, with a rhode piano taking the center of most of the song. In contrast “Solidscreme” starts with this super fast paced drum break, leading the track to become more and more chaotic. It's a blend of these two elements that Freeform Jazz really shines for me. There are some vocal appearances on the record. Shing02 appears on the track “South Side”. I really enjoyed his rapping on the album Luv(Sic) Hexology with Nujabes, so this track is a highlight for me. Both artists get time to shine, rapping and the saxophone melodies shine brilliantly with one another. “Imagination” is another highlight of the album. It's this off kilter, disjointed piece where the percussion just goes all out, however somehow it just works perfectly. “Spacemountain” transitions from “Imagination”, sharing this same sparkle. It feels as if the track is climbing this mountain, energetically climbing faster and faster with the melodies presented. I think this album has a really pleasing atmosphere to it, it's rich without sounding too grandiose, keeping it down to earth.  Link: https://rophrecordings.bandcamp.com/album/freeform-jazz

André 3000 - New Blue Sun (bottom right)

Coming out of nowhere, André 3000 dropped the album New Blue Sun in 2023, a new age ambient jazz album. André 3000 got his acclaim through his rap career with the group Outkast, so it came as quite a surprise in 2023 when he announced this album. The intro track even plays fun at the idea of the album, “I Swear, I Really Wanted to Make a "Rap" Album but This Is Literally the Way the Wind Blew Me This Time”. I really enjoy the quiet melody of the intro track, it is quaint over the strings and the chimes layered throughout. “The Slang Word P(*)ssy Rolls Off the Tongue With Far Better Ease Than the Proper Word Vagina . Do You Agree?” presents these lower frequencies, almost as whatever synthesizer is humming the chords as André lays out more lush flute melodies. “That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn't Control ... Sh¥t Was Wild” is one of the more percussion based tracks, as this reverberated percussion echoes over these so called low register purring tones. Funny enough “Ninety Three 'Til Infinity and Beyoncé”, the shortest track, is my favorite on the record. It brings all these sounds together as if you are traveling through this spiritual forest, each sound glistening over your ears as you travel deeper into the track. The album ends with this 17 minute long track called “Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout Into Undying Gardens”, a lush piece where, while minimal, lets the instruments shimmer as a final goodbye. While the titles of this album are quite goofy, I think the music stands out. Listening to it a couple of times over, it really is an album you can easily get lost in its sound. Link: https://open.spotify.com/album/33Ek6daAL3oXyQIV1uoItD

[thebowerypresents]

Sturgill Simpson Dazzles over Three Hours on Saturday Night at Forest Hills Stadium

Sturgill Simpson – Forest Hills Stadium – October 19, 2024

Sturgill’s back. And with a vengeance. “Sturgill,” as in Simpson, the what-do-we-call-this-progressive-country (?) singer-songwriter-guitar man with an aces collection of music that refuses to let itself be pinned down, from traditional honky-tonk and outlaw sounds to sprightly bluegrass to synth-y psychedelic rock to tender folk. 

“Back,” as in welcome: Simpson on Saturday played his first proper headlining show in New York City since 2019, back on the road at long last after a 2021 vocal cord hemorrhage made some observers wonder if he’d ever regain full performance strength. 

“Vengeance,” as in pow-pow-pow: Like other shows of this gloriously rambling, full-tilt tour, Sturgill Simpson went long and heavy, roaming all over his own catalog and a boatload of covers over a protracted set that lasted three unbroken hours at Forest Hills Stadium. It felt full, not composed or scripted. The stage itself was lit more like a club than a stadium bowl, and the chugging and-piece band was the attraction, dialing in the music. 

They did a little or a lot of everything, from the outlaw-leaning country tunes of the older days (“Railroad of Sin”) to comfortable saloon gallops (“Long White Line”), elegant and stately weepers (“Juanita”) and crunchy rockers heavy on the choogle (“Some Days,” “It Ain’t All Flowers,” “Life of Sin,” “Call to Arms”). There was also plenty from Simpson’s new album, Passage du Desir, and his recent Johnny Blue Skies persona, including the gorgeously tender “Mint Tea,” easy-grooving “Scooter Blues” and starry-eyed “Jupiter’s Faerie,” an ethereal, folk-fable kind of tune that’s among his more cosmic-sounding stuff.

This version of Simpson’s band lands somewhere in balance of how he's previously structured his touring bands, which have been as large as seven members and as slim as four, with Simpson for a time handling all the guitar workload himself. But here, he had alongside the amazing Laur Joamets on lead guitar and steel, heavy on the string pyrotechnics but also leaving plenty of room for Simpson himself to scorch (taking lead in spots like “One for the Road”). 

Everyone in the band was a standout, in fact — Simpson’s longtime rhythm corps of bassist Kevin Black and drummer Miles Miller had it all locked in, while newer Simpson band addition (former Deer Tick keyboardist) Robbie Crowell had full and spicy keyboards, also occasionally playing sax. 

The cover tunes similarly ranged — Procol Harum, the Allman Brothers, Prince — and were at their best when they emerged from segues out of sprawling, unhurried jams on Simpson’s own material. Maybe best of all was a sequence featuring “A Good Look,” which drove hard, like a countrified version of pre-pop Fleetwood Mac, and then saw the band careen from its 10-minute rendering right into the Doors’ “L.A. Woman,” producing a guitar battle so fierce everyone onstage was rocking out as hard as the crowd. 

This show was full of those moments. That they came chained together and rolled right from one to the next, vs. in a more composed pattern, felt precisely the point. —Chad Berndtson | @Cberndtson

(Sturgill Simpson plays Hampton Coliseum in Hampton, Va., on 11/15.)

(Sturgill Simpson plays the Anthem in Washington, D.C., on 11/21.)

Photos courtesy of Jenna Murray | @jennamurray

[dustedmagazine]

Vague Plot — Crying in 9 (Island House)

Vague Plot’s jams shimmer like highways melting in the heat, running straight on through Kansas or Nebraska until they disappear in the undecipherable distance. Which is to say, they go on for while, repeating the same short grooves ad infinitum, with modest changes, until the measures blow by like mile markers and the journey transcends itself.

“Moto” which opens, metes out the time in sharp, strummed intervals, a little syncopation marking irregular edges in the tick-tocky flow. And within that context, a sax can wail, a guitar can howl, a lick can bloom and fade and collapse in distortion. There’s order so that disorder can grow, a white picket fence around wild tangles of vegetation.

Vague Plot is made up of New York City avant-indie regulars, veterans of other bands, who got together to make driving, moving, long-form instrumental music a la Can and Popul Vuh during the pandemic. The one you’d probably pick out of a line-up first is Zachary Cale, here one of two guitarists, alongside Uriah Theriaultof Woodsy Pride. Phil Jacob of Psychic Lines plays the sax sometimes and a keyboard otherwise, while Ben Copperhead plays bass and John Studer drums.

The music grows contemplative in blues-tinged “Haunted Head” before spinning off into psychotropic grooves, like some weird mesh of Loren Connors and Om. It attains purity in the slow-evolving tones of closer “Windswept” which has a bit of Kluster in its crystalline lucidity.

You might think, with Cale involved, that there’s be a rustic rocker thread in Vague Plot’s aesthetic, a little Neil Young crashing through the motorisms. There mostly isn’t, sorry to disappoint, except oddly enough, on the tape’s best cut, “Cyclic.” Here Jacob’s sax wanders in and around a heavy groove that’s ever so slightly shaded with country rock tones. It’s a puzzle palace, a metronomic experiment in extended pulse, but with a ragged heart, and it’s the wildest and most excellent part of an excellent little album. Fuck the cowbell. Let’s have more guitar.

Jennifer Kelly    

[parkerbombshell]

Cobwebs And Strange Radio Show #378

Cobwebs And Strange Radio Show  Mondays 12 noon EST , 5pm BST , 9am PDT Archival Shows: bombshellradiopodcasts.com COBWEBS AND STRANGE #378 - Salford Jets - Who You Lookin’ At? (Single, 1980) - The Boomtown Rats - Lookin’ After No. 1 (The Boomtown Rats, 1977) - Primal Scream - Ready To Go Home (Terry Farley & Wade Teo Remix) (single, 2024)* - The Monkees - Porpoise Song (Head, 1968) - Keeley - Forever Froze (Beautiful Mysterious, 2024)* keeleyband.bandcamp.com - The Stone Roses - Waterfall (The Stone Roses, 1989) - Gary Numan - Down In The Park (with The Skaparis Orchestra) (When The Sky Came Down: Live at The Bridgewater Hall, Manchester, 2019) - The Passage - XOYO (Degenerates, 1982) - Erasure - Dream Like State (24 Hour Technicolour Mix) (Singles: EBX 3, 2001) - The Rude Awakening - Plastic Friend (single, 2024)* - Propaganda - p: Machinery (A Secret Wish, 1985) - Swansea Sound - Toxic Energy (single, 2024)* swanseasound.bandcamp.com - Chumbawamba - More Whitewashing (Pictures Of Starving Children Sell Records: Starvation, Charity And Rock & Roll - Lies & Traditions, 1986) - The Zeroes - Sophisticated (The City of Dreams, 2019) - Fea - Feminazi (Fea, 2016) - Go Betty Go - You Want It All (Nothing Is More, 2005) - The Plugz - A Loss - A Gain (Electrify Me, 1979) - Virgins - g l i s s (single, 2024)* bandofvirgins.bandcamp.com - Rudy De Anda - Take Me For A Little While (single, 2024)* rudydeanda.bandcamp.com - The Beatles - Magical Mystery Tour (2023 Mix) (Magical Mystery Tour, 1967) - Xposed 4Heads - Tricked Out Tailspin (Internal Combustion, 2024) xposed4heads.bandcamp.com - Fleur East - Sax (Love, Sax and Flashbacks, 2015) - Inca Babies - Spacewalk (Ghost Mechanic Nine, 2024)* incababies1.bandcamp.com - Invisible Head Band - Poppin’ Spit (single, 2024)* lostentakills.bandcamp.com - Third House - Inside Outside (Inside Outside EP, 2024)* thirdhouse.bandcamp.com - The Ron Grainer Orchestra - The Prisoner (Main Title Theme) (Original Television Soundtrack, 1967) - Joe Geni - Cities Where The Sky Subsides (Cities Built Upon Cities, 2024)* joegeni.bandcamp.com - Pink Floyd - Crumbling Land (Zabriskie Point (Original Motion Picture Soundtrack), 1970) - All Seeing Dolls - That's Amazing Grace (single, 2024)* - Zoe Ko - DIRT(ier) (single, 2024)* - bbno$ - two (single, 2024)* - Monsieur - Turn On Da Lite (1, 2024)* - Stevie Wonder - I Wish (Songs In The Key Of Life, 1976) - The Hard Quartet - Hey (The Hard Quartet, 2024)* thehardquartet.bandcamp.com - The All Night Workers - Why Don't You Smile Now (Why Don't You Smile Now: Lou Reed at Pickwick Records 1964-65, 2024)* - The Calamatix - Still Rudy (The Calamatix, 2024)* - DoM - Anarchy in the UK (ska version) (SEX PISTOLS vs DUBMATIX) (unreleased, 2024)* - Librarians With Hickeys - No More Goodbyes (single, 2024)* bigstirrecords.bandcamp.com - Abstract Crimewave - The Longest Night (The Longest Night, 2024)* abstractcrimewave.bandcamp.com - Cinéma Lumière - Wishing It Was Sunday (Wishing It Was Sunday, 2024)* cinemalumiereph.bandcamp.com - JJ72 - October Swimmer (JJ72, debut album 2000) - Juliet McLean - We Girls (The Dance EP, 2016) - The Errant Hair - A would be king (single, 2024)* theerranthair.bandcamp.com - Kris Kristofferson - Me And Bobbie McGee (Kristofferson, 1970) - Brotherhood Of Man - Oh Boy (The Mood I'm In) (Oh Boy!, 1977) - Joaquin Phoenix - True Love Will Find You In The End (Joker: Folie à Deux, 2024)* Read the full article

[altroottv]

'Hamp's Hump' - Jimmy Vivino from The Extended Play Sessions on Vimeo.

The Extended Play Sessions - March 9, 2024

Jimmy Vivino and Friends perform the song "Hamp's Hump" on The Extended Play Sessions. Jimmy Vivino (aka Jimmy V) has always considered himself “a blues man with a job”. Although best known for serving 26 years as Conan O’Brien’s musical director, guitarist and bandleader, his experience in the music business predates that by 20 plus years. Jimmy V has produced, lead bands and recorded with a countless number rock and roll and blues artists for five decades including the likes of Hubert Sumlin, Warren Haynes, Bob Weir, Keith Richards, Elvis Costello, Johnnie Johnson, Son Seals, Shemekia Copeland, Levon Helm, Phoebe Snow, Dion, Laura Nyro, Bob Margolin, Lowell Fulson, John Sebastian, Joe Louis Walker and Al Kooper to name a few.

The Band: Jimmy Vivino - guitar, vocals, Hammond Organ Jesse Williams - bass Jerry Vivino - tenor sax, vocals, soprano sax, flute Mark Texeira - drums

Guests Tyler Morris - guitar on 'Feelin' Good' Dwayne Haggins - vocals on 'Inner City Blues'

Production Staff Maribeth Arena - Camera 2 Bill Hurley - Boom Camera John McBreen - Boom Camera Joanne Craig - Camera 3 H Nat Stevens - Cam 1 Remote Connor Quigley - Sound Engineer, Livestream Producer Eric Nordstrom - Front Of House Photographer - Dan Busler Connor Quigley - Post Audio Mix Engineer

The Fallout Shelter is an all ages 100-seat performance venue and state-of-the-art broadcast and recording studio, offering one of the most unique live music experiences in New England. Located in Norwood, MA, just 15 miles from Boston, The Fallout Shelter is run under the auspices of the Grass Roots Cultural and Performing Arts Center, a non-profit organization dedicated to preserving, promoting and advocating for traditional American Roots music.

Youtube: youtube.com/@thefalloutshelternorwood Website: extendedplaysessions.com Facebook: facebook.com/epsfalloutshelter Instagram: instagram.com/thefalloutshelternorwood

[chrisryanspeaks]

Crumb Unveils New Single “The Bug” and Announces North American Tour!

Following last month's announcement of their new album AMAMA, Crumb has unveiled a fresh preview with the single "The Bug." Along with the new track, the band has released an engaging and playful music video directed by Haoyan of America. Additionally, Crumb has announced a headline North American tour starting in mid-July. The tour will cover 30 cities, including stops in Chicago, Austin, Boston, Los Angeles, and a hometown concert in Brooklyn. L’Rain, Vagabon, and Discovery Zone will join Crumb on select dates. The full tour schedule is available below, with tickets going on sale this Friday, April 26th, at 10 AM local time. Discussing the new single, Lila Ramani of Crumb explains: "‘The Bug’ has been part of our musical journey since the early days, before the Jinx era. It started in a motel in Nebraska where I woke up covered in bed bug bites. Unable to sleep, I roamed the motel humming what would eventually form the outro of the song. As we recorded it years later, it gained a deeper, more tender meaning—the 'bug' isn't just an insect; it can be a friend, a lover, or a persistent late-night thought." Check out “The Bug” below: AMAMA represents Crumb’s most carefree and heartfelt work to date, mixing poetic abstraction with introspective honesty and inventive soundscapes. The album showcases Crumb in a dynamic and lively mode, incorporating elements like glitchy vocals, cell phone recordings, nautical sounds, sax mouthpiece solos, distorted drum samples, and piano strings muted with Silly Putty. Set for release on May 17th through Crumb Records, the album includes the title track "AMAMA," a vibrant homage to Lila Ramani's grandmother. This track is further enhanced by a music video directed by Abraham El-Makawy, which blends Lila’s archival home footage with fan-submitted artwork, creating a poignant mosaic of nostalgia. With its blend of psychedelia, pop, jazz, and rock, AMAMA further cements Crumb's distinctive musical identity. The album, produced in Los Angeles with Johnscott Sanford and Jonathan Rado, reflects on themes of stability, connection, and clarity amidst a nomadic life. In 2023, Crumb released the single “Le Temple Volant” with Melody’s Echo Chamber, earning praise from Pitchfork, The FADER, Stereogum, and others. AMAMA continues the narrative arc from their earlier works, including the self-titled EP Crumb, Locket, 2019’s Jinx, and 2021’s Ice Melt, which Rolling Stone described as "a captivating trek to the metaphysical and back down to Earth.” Upcoming Tour Dates * with L'Rain and Discovery Zone ^ with Vagabon 7/18 - Des Moines, IA @ Wooly's 7/19 - Minneapolis, MN @ Varsity Theater 7/21 - Chicago, IL @ Pitchfork Music Festival 8/20 - Philadelphia, PA @ Brooklyn Bowl * 8/21 - Silver Spring, MD @ The Fillmore Silver Spring * 8/23 - Richmond, Virginia @ The National * 8/24 - Charlotte, NC @ The Underground * 8/25 - Atlanta, GA @ Buckhead Theatre * 8/27 - Nashville, TN @ Brooklyn Bowl * 8/28 - Indianapolis, IN @ Deluxe * 8/30 - Detroit, MI @ Saint Andrew's Hall * 8/31 - Toronto, ON @ The Concert Hall * 9/01 - Montreal, QC @ Théâtre Beanfield * 9/04 - Brooklyn, NY @ Brooklyn Paramount * 9/05 - New Haven, CT @ Toad's Place * 9/06 - Boston, MA @ Roadrunner * 10/03 - Santa Cruz, CA @ The Catalyst ^ 10/04 - Oakland, CA @ Fox Theater ^ 10/05 - Sacramento, CA @ Ace of Spades ^ 10/07 - Salt Lake City, UT @ The Depot ^ 10/09 - Denver, CO @ The Mission Ballroom ^ 10/11 - Dallas, TX @ Ferris Wheelers ^ 10/12 - Houston, TX @ White Oak Music Hall ^ 10/13 - San Antonio, TX @ Aztec Theatre ^ 10/15 - Austin, TX @ Emo's ^ 10/17 - Albuquerque, NM @ El Rey Theater ^ 10/18 - El Paso, TX @ Lowbrow Palace ^ 10/21 - Santa Ana, CA @ Observatory OC ^ 10/22 - San Diego, CA @ Observatory North Park ^ 10/23 - Los Angeles, CA @ The Wiltern ^ Read the full article