Obsession Collections Music

Killen It at Mercury Lounge 2/08/18

noreply@blogger.com (ARTIFACT) — Fri, 16 Feb 2018 17:39:00 +0000

Art Credit: Dave Singley

Jack Killen EP Release show at Mercury Lounge was an experience with live music that I rarely have without being an insanely devoted fan. State the obvious, Killen it!! Holy shit did I just see this. I rarely see music and do no research, which makes me a total Killen newbie.

The crowded room had just enough space to hold a beer and move your arms in the air. Starting with hearing what sounded like a gaming soundtrack on the keyboard I was giddy staring at the unlikely frontman Jack Killen with his hard-hitting band. He is adorably uncool in a cool kind of way which had me imagining how Andy Kaufman might appropriate a rockstar. Whatever, you just gotta love him!

Jack Killen’s affection and inclusiveness with his audience is a delight to witness. While playing the keyboard and singing, he nods his head and opens his arms to affirm his solidarity with his devoted fans. They chanted while fist-pumping these words / I'm going renegade, renegade / and money money money / with repetitive conviction. The comradery at the Mercury felt like a small-scale Pogues show.

Killen and his band play with ease and familiarity. Making music together is just second nature. Alex Forbes fast guitar runs dart around the manic keyboard while Mike Henry on bass and energizer drummer Joey Campanella bring on the punch. The spontaneity continued with the finale as Henry switched to saxophone with stand-in guitarist Rikky Walsh. The blinding strobes added to the never-ending climax of intensity, making this Thursday night the ultimate party power-rock experience.

"I’m not Folk” claimed Jack Killen, he continued, "there is no Folk in NYC.....you go live upstate, I’m staying here." But with lyrics like / it makes me want to SCREAM / I'm tired of being broke in the land of money / he finds his voice in topical dissent. In his unfolky way Jack and the band party and protest Killen style.

EP: Black Sneakers on Concrete

Label: Axis Mundi Records

Jack Killen: keys / vocals

Alex Forbes: electric guitar

Mike Henry: bass / saxophone
Joey Campanella: drums
Ricky Walsh: electric guitar

PHOTOS

Sixteen Jackies; a talented band going somewhere

noreply@blogger.com (ARTIFACT) — Fri, 09 Feb 2018 01:07:00 +0000

Sixteen Jackies are an infectious four-piece band going somewhere. For the past two years, they've built a reputation in their home base of Philly and surrounding areas. Presented by PopGun last Thursday at Elsewhere in Brooklyn, Sixteen Jackies played between two formidable bands Ackerman and Oh Malô.

They played a seven-song set from their new and old EP. On display were catchy instrumental hooks, guitar leads that mimic electro-synth, dirty drum beats and thick basslines. Joey DeMarco high range dreamy pop vocals produce a surreal mixup of genres when he adds yelps and unworldly sounds. His campy showmanship was in full gear creating a flirtatious connection as he moved around the stage singing freaky but substantive lyrics. He delivered them tongue and cheek with a wink / I was in a movie / and the movie was bad /. Especially endearing is when DeMarco thanks the audience between songs.

Sixteen Jackies memorable live set will bring them back to New York sooner than later, and I'm all in.

Sixteen Jackies: Joey DeMarco (Vox, Guitar) Jeremiah Bull (Guitar, Keys) Ian Staley (Drums, Keys) Tim Davis (Bass)

Label: Born Losers Records

Max Vernon's Musical, The View UpStairs is an Unfiltered View of LGBTQ History

noreply@blogger.com (ARTIFACT) — Thu, 09 Mar 2017 12:05:00 +0000

The Lynn Redgrave Theater was transformed back in time to 1973 to the gay bar the UpStairs Lounge. Forty-four years earlier a fatal attack of arson took the lives of thirty-two individuals and injured fifteen others. The UpStairs Lounge was home, a paradise of sorts, a haven for queens, queers, hustlers, the unwanted and marginalized; it replaced the homes, family, and churches where their “kind” were no longer welcome.

Max Vernon’s passionate and inquisitive nature propelled him to write the book, lyrics, and music for the musical The View UpStairs. Directed by Scott Ebersol the play is a snippet of time where a young gay fashion designer named Wes, played by Jeremy Pope, buys an abandoned space in the year 2017 that once was the UpStairs Lounge. It is there that he meets the ghosts/patrons as they surprisingly appear in retro 70’s attire among the inventive cheap yet chic decor of the lounge in its heyday. They enthusiastically swirl around the bar and sing about a place they call home / I think I found some kind of paradise / no angel wings / or fairy dust /just a rush of lust / but it’s alright. /

Vernon’s editorial style turns the future inside out by presenting it through the perspective of the gay community forty-four years earlier. Their wisdom is refreshing, and their reactions to Wes’ virtual world of selfies, branding, likes and hashtags is hilarious and provocative. Wes tries to brag about the future as he sings /ain’t it great how far we’ve come since 1973 / the future is great there / you are what you own / if I could take you back with me / your mind will be blown /.

Throughout the play, the ghosts teach Wes many lessons and remind him of the rights he takes for granted. He, in turn, is perplexed by the hiding, hustling and sex lives of his ghost hosts; as they live their lives in the shadows. The trajectory of their futures altered by rejection and limited choices. Wes' new love interest Patrick played by Taylor Frey explains why he became a runaway / father sent him away / with a plan / fry the fairy out of him / and he’ll come back a man / more or less /the doctor guaranteed success /.

The show tackles many issues through the lens of LGBTQ history including Trump’s election that achieves a cutting edge. Hanging like a dark cloud over the theater is impending death; with Aids just around the corner and the future arson. / how the eighties came killed all your friends / you just don't know it yet /. Weighing heavily and interspersed between dancing and song is the anxiety and fear of new laws designed to undermine all the rights gained in recent years.

I fell in love with the talented, diverse and lovable cast. The staging created a viable interaction as some audience members sat in the lounge among the actors who worked the aisles as well. The fabulous Queen den mother Willie played by Nathan Lee Graham delightfully shares his earned wisdom. His over the top personality is the comedic relief and connection to the heart of the show as it offsets the dark content. Another significant aspect of the script is the invisible patron Dale played by Ben Mayne. He is rejected by his peers and exposes the flaws in their community much like, any other.

The beautiful score, effervescent cast, all the sequence, glitz and glam can’t camouflage the issues facing the LGBTQ community. But what a way to tackle these matters proudly singing and dancing into the future. This timely musical celebrates and honors the lives of the patrons of the UpStairs Lounge in all their colorful and unfiltered glory and paves the way for the fight ahead.

The View UpStairs

Big Hands Rhythm and Blues Band at Rockwood Stage 2

noreply@blogger.com (ARTIFACT) — Tue, 28 Feb 2017 19:27:00 +0000

The brisk electric set by the accomplished musicians that make up Big Hands Rhythm and Blues Band finished at breakneck speed. I was fortunate to hear them play at Rockwood music Hall Stage 2 at 11 pm on Friday. Osei Essed posted that there would be some howling, traditional blues standards, and originals. That was enough to count me in and invite my cousin who loves live music.

The band is a great outfit and a joyous side project. Osei possessed deep vocals as he howled the Willie Dixon song “Easy Baby.” His voice whisked us in and captured our inner blues spirit, but would worry any throat doctor. Joined by a tight, and spirited band, who finished the set before we could come up for air! Yes, there was soul and blues traditions with some Jazz slipping through via the piano/keyboardist. They ended the set with a lively all out urgent roar of the Beatles tune “Why Don’t We Do It In The Road.”

Members of the Big Hand Rhythm and Blues Band: Simon Kafka from Elle Kings band on lead guitar, Osei Essed from (The Woes) lead vocals and guitar, Zach Jones Music (Sting, Elle King, A Great Big World) on drums, Chris Kuffner (Ingrid Michaelson and currently with A Great Big World) on bass Todd Caldwell (Crosby Still and Nash), on organ and piano.

César Alvarez’s new musical NOISE, at AUPAC

noreply@blogger.com (ARTIFACT) — Tue, 21 Feb 2017 04:14:00 +0000

Yesterday I was thrilled to see the workshop production of César Alvarez’s new musical NOISE, at Adelphi University Performing Arts Center. The Larson Legacy Concert (in association with the American Theater Wing showcases some of the annual recipients of the Jonathan Larson Grant given to rising musical theater composers and lyricists.

NOISE is an interactive theater experience where actors and the audience are united together to hear the “noise.” A unique aspect of the production was the random changing order of the play; accomplished by choosing numbers pulled from a bag, making each performance entirely different. With every new random number, actors had to rearrange audience members on the stage and scramble to get props and move sets. The actors were really on their game.

Inspired by Noise: The Political Economy of Music the nonfiction book by French economist and scholar, Jacques Attali. César uses his concepts to inform the structure and language of the play. Through the history of music, he engages how society creates systems to organize, divide and separate people from experiencing, hearing and appreciating the noise.

The actors moved, stomped, sang and spoke while engaging the audience to confront our presumptions and judgments that inform all our decisions. The message was cerebral while the messengers (the actors) were funny, animated, engaging and full of life.

César Alvarez is composer/lyricist/librettist whose musical FUTURITY received the 2016 Lucille Lortel Award for Outstanding Musical. César also received the 2016 Jonathan Larson Award.

The Most Beautiful Rock Music I Never Heard

noreply@blogger.com (ARTIFACT) — Wed, 15 Feb 2017 15:07:00 +0000

“The sound resonates beauty, truth, fierceness and love without compromise” ~ Dan Bell, friend

I accidently heard some extraordinary music. It is the most beautiful rock music I never heard. I made it my goal to find “the band” and was completely blown away by the story that unfolded when I finally met Robe in person. I am writing this review with his permission. My mission is to bring this beautiful work into the universe and off a dusty shelf. ~ OCM

Creating music was his gift and a lifeline for expression rather than a commodity for sale. In the year 2000, he completed a diary in the format of a thirteen song rock soliloquy, recorded on tape in his bedroom, basement and bathroom over the course of three years.

“It has been five years since I was diagnosed with type one insulin dependent diabetes. I am broken with illness. Simply said, this record is a compilation of my life over the past five years.” This is how the liner notes began for the album Five Years Later by the fictitious band The Daisy Chains.

At age eighteen Rob McCleery’s opus was completed primarily as a solo project created in the sanctuary of his parent’s middle-class home. The mastered CD was packaged as The Daisy Chains with many contributors while "only a few friends actually helped out."

"The "band" also really didn't exist, I just wanted it to look as though it was a band. Right around the time I finished the record, I realized how personal it was to me and didn't feel comfortable having anyone listen to it. I felt exposed. So I stuck it on the shelf and forgot about it." ~ Robe

Five Years Later is full concept album produced in the form of a movie script. The album’s first track begins five years after McCleery's diagnosis, and songs two through thirteen explain how he got there. While some songs express his feelings about societal issues, most are a confessional dialogue where the reference to I, you, me and you’re are interchangeable; as he counsels his broken ego through the medium of his former stronger and healthier self.

His small bedroom was ground zero in the process of creation. Words emerged like a tumultuous stream of expression from a microphone to tape to form the first recordings, one of which is the song “Gunshy.” McCleery usually composed on piano first and later fleshed out the mix with a wide array of instruments. As a musician, he had an innate ability, but he embarked on the recording process as a novice. Obsessed with learning and a desire for perfection he utilized every recording technique he thought would do the work justice.

McCleery captured the music zeitgeist of the 90’s rock genre but had the instinct to meld hard rock, flavor it with folk, pop, and splice it with old country traditions. Five Years Later has hard hitting guitar licks, slamming screeching reverb, twangy strings, catchy melodies, piano arrangements and a variety of percussion all of which reflect the multi-instrumentalist dexterity of McCleery’s raw talent. Adding to his acumen was a newly found enthusiasm for jazz which he devotes to only one track titled “Dark Blue.”

The signature imprint on this album is McCleery’s vocal style; His fractured bedroom vocals, raspy intimate whispers, and tortured screams draw the listener into a private space. It captures vulnerability, fierce intensity, and tenderness.

“Five Years Later” the first song, comes on like a roar, with screeching guitar reverb and a mix of hardcore nineties rock. What’s unusual is McCleery has combined his tortured screams with fragile vocals. Together It works to express his anger, frustration, and need to gain control over his life circumstances. “Believe It” is a song motivated by McCleery’s protective instincts and distress he feels over a girl who’s a victim of parental sexual abuse. The repetitive melody and volume build with layers of intensity while he mixes buzzing bee vibrations and grunt-like noises to depict the father.

Three outstanding songs recount a throwback to early country western stylings. Each song has a semblance of twang in a chord or the high pitched bend of a guitar string while combining catchy melodies with maudlin topics. “Gunshy” has the most acoustic folk sound on the album with its sweet singalong hooks and campfire like strum, singing / I’m not really gunshy, anymore / I got my head blown off /. While “Beautiful Mondays” falls into the category of epic Monday songs; woven with a seductive country strings, and rock-centric guitar licks as McCleery's voice encompasses the saddest whispers and passionate outcries. He assures himself / I think you’re perfect / as perfect as you can be /. “Yours in Utter Sickness” is a synopsis of the onset of his diabetes diagnosis and hospitalization. McCleery contemplates a suicide note to, / sign my name away /. He reflects on all the things he loves like / all my beautiful flowers /nothing could take them away / and imagines how thoughtfully he’ll compose his letter / with the sweetest words I know /. The lyrics are heartbreaking, but I found myself singing / this mother fucker kills me / with enthusiastic zeal to a breakout melody.

Five Year Later has orchestral rock arrangements and sounds effects that broaden the contextual listening experience. The confessional country flair of “Landing” adds lush fluttering flute in the backdrop. “M.F.O.C,” a more traditional rock ballad uses an echo on the vocal tracks as he mourns the demise of his former self / I cherish you more and more with every day /. The eerie field recordings create a whirlwind of confusion in “Kitten and the Dog Bite,” while the chorus / I don’t want to be the last one here, in this sugar coated deal, / highlights the struggle and universal pain of divorce. To emphasize feeling small like a vulnerable kitten, he sings through a World War II, Japanese radio tower mic. He feels disconnected, and states / I used to be a winner / as the orchestrated movements peak, and metaphorically fade out.

McCleery understood the pulse of the quintessential rock song adding the essentials without being formulaic. Starting with a gently picked guitar melody, “Reason to Move On” soars with epic guitar runs and explosive crescendo. “Orange” continues in that vein with an unforgettable harmony-laced chorus / where are you / where are you dad / is McCleery’s take on parental neglect. Tapping into a Nirvana like force the chorus in “I’m Not a Feather”/ I’m not a feather / you can’t push me around / gains muscle to depict his resolve to recover what he has lost.

The final eight-minute track “Completely Confused / A Lesson in Love” makes every heart-wrenching minute count. Starting with a tortured wail of emotion he surrenders to a self-soothing mantra repeating, / everything you needed / is everything I had / if anything I needed / everything you had /. A beautiful piano passage accompanies a haunting lyric /someone help me escape /.

I found this recording accidently uploaded fifteen years later on just a few platforms with no information and just a sepia toned picture of a nonexistent band. Every part of my being welcomed this into my heart. It is the truest form of art. For Rob McCleery it was his only option, to do what he loved and wrap himself in music.

This epic rock music was buried on a dusty shelf, a closed chapter in the life of a young man whose dreams were stolen by the necessity for insulin. Trapped in a vicious cycle of jobs that offered health insurance and stymied by a disease that took away his spontaneity, delayed his independence and altered his music trajectory. With every passing year, his insulin became more and more unaffordable, making the prospect of touring a taxing possibility. He did give it a try.

“I did get a group together, and we played about 60 shows. We sold about 500 copies of the record (which is exactly how many I had mass produced)” ~ Robe

The Daisy Chains Five Years Later by Robe McCleery Bandcamp

Free download or contribute what you wish

Max Vernon Brings His Observational Style to The View UpStairs

noreply@blogger.com (ARTIFACT) — Mon, 06 Feb 2017 16:19:00 +0000

Performances begin for The View UpStairs February 15th for the new musical written by Max Vernon at the Lynn Redgrave Theater. This contemporary American theater production will highlight Max Vernon’s observational style. His insightful intellectual curiosity reflects nuance and the dual complexities of modern day life. Vernon is passionately inquisitive about societal issues and expresses his concerns with many words. His songs of content always hit just the right note.

The View UpStairs is a provocative new musical that pulls you inside the UpStairs Lounge, a vibrant ‘70s gay bar in the French Quarter of New Orleans. This forgotten community comes to life in all its gritty, glam rock glory when a young fashion designer from 2017 buys the abandoned space, setting off an exhilarating journey of seduction and self-exploration that spans two generations of queer history. Inspired by one of the most significant yet all-but-ignored attacks against the LGBTQ community, The View UpStairs examines what has been gained and lost in the fight for equality, and how the past can help guide us all through an uncertain future.

For more information and tickets The View Upstairs

Max Vernon

SOBO Blues Band @ the Parkside Lounge

noreply@blogger.com (ARTIFACT) — Sat, 04 Feb 2017 17:57:00 +0000

SOBO Blues Band from Israel played at the Parkside Lounge last Saturday on January 28th as a first stop and warm up to their final destination the 2017 International Blues Challenge in Memphis. Their style of playing is what I call "happy blues." They exude the purest form of pleasure in music collaboration while celebrating the American art form they treasure and proclaim is universal.

Assaf Gansman, the bass player with deeply soulful vocals, is also the band's master of ceremonies. Daniel Kriman shreds on electric resonator slide guitar, together with harmonica creates the group's signature sound. The first beat in of drummer Eden Bahar, I knew I was in for a treat. He is classically trained, but unlike other players of that ilk, he brings grit to the mix.

Together they generate love from the stage. Shout out today; they made it to the finals, sending their brand of love in the form of blues to Memphis.

SOBO was founded in 1995 in Jerusalem by the songwriting team, Assaf Ganzman, and Daniel Kriman. Ganzman is also co-owner of the legendary Mike's Place live music bars and restaurants in Israel. Two years ago the team was joined by 24-year-old Eden Bahar who is considered one of the best percussionist in Israel.

SOBO Blues Band from Israel played at the
Willpilot Productions and Jack Baxter present SOBO Blues Band live in New York City.

SOBO on bandcamp#Blues #Memphis #MikesPlace #ParksideLounge #resonatorslideguitar #JackBaxter #BluesByTheBeach #SariSinger #StrengthToStrength

Arkansas’ Adam Faucett; Soulful Poetry in Song

noreply@blogger.com (ARTIFACT) — Fri, 30 Dec 2016 14:09:00 +0000

I saw Adam Faucett live last month and bought his 2014 release Blind Water Finds Blind Water. Yes, I’m old school and like to support directly. Since 2006 with a little break I’ve been writing about under the radar music. I’m late to Adam Faucett, he was just not on my radar but is now, thanks to a friend and musician I admire who treasures him. I am also from east coast and references to rock piles, sleeping Opossum, old train lots, are not common jargon for me, but each song speaks to me through the universality of love, breakup, hurt, regret and fine storytelling.

Adam Faucett has one of the greatest voices I’ve ever heard. His smooth high notes and diaphragm defying fervent belts possess soul, grit, and beauty. Best of all they are delivered with his Arkansas accent. Blending finger-picking on electric guitar with bass and drums. These contemplative songs are the perfect mix of Southern soul, rock and roll and folk. The only track that goes in a different direction is “Killer on Staten Island”; It is eerie, gorgeous, and highlights the piano.

His songwriting applies snippets of memory retrieved and blended into a poetic narrative with references to small-town America. Faucett weaves dreams, hopes, memories and predictions as complicated expectations. A paragraph recited in full in the song "The Poet" inscribed by the local Oracle on the bar bathroom wall. Faucett cites the famous mystic to make themes realized in the song "Edgar Cayce" / your dreams have swallowed me whole /. And a descriptive narrative using the word (I remember) travels through the song "Opossum," imparting some folk wisdom; / all that truly love you / been traveling with you always / well I hope your right /.

I can feel the heartache and regrets and can smell the bar, and picture its dark oppressive dimly lit interior on the first track “Day Drinker” / Nobody / nowhere is gonna outdrink me / It’s so lonesome in the afternoon / when you’re the only one / with nothing to do /.

While vocals express longing in "Walking Home Late" / Walking home late /with you on my mind / because all that I have is you on my mind / the music simulates a pulse like a heartbeat stressing the aloneness of the moment. The instrumentation in “Melonie” is musically masculine combining guitar, bass, and a persistent war-like drumbeat, emphasizing regrets about an affair that went wrong as he sings / Melonie I don’t want to hold hands / get killed by your ex-old man / but no more /. And the unintended fallout / We did / we did him wrong / he was our brother in song /.

I love the two songs about different Arkansas towns. "Benton” constructs the memories of youth re-visiting the old rockpile and reflects on the dreams left behind / the flowers walk away / from the grave of my young dreams / just easier that way / just easier that way /. While “Sparkman” is about a regretful longing through the prism of a man thinking he might regain a relationship that has gone terribly wrong.

Ending with “Rock Ain’t Gold’ where Faucett depicts the act of digging and searching to represent all dreams not actualized. / Struck gold now the sun won’t rise / been a digging for most of my life/ trade it all for a little bit of life / rich comes at the bottom of the mine /.

This music was a gift to me like folklore passed along from one friend to another. In today’s music climate, people only hear parts of a whole my suggestion is to listen to the entire body of work and buy the whole damn thing.

Looking forward to his next record said to be released in 2017.

Adam Faucett – Guitar and Vocals

Jonny D – Bass

Will Boyd – Drums

Conor Oberst Solo at Carnegie Hall

noreply@blogger.com (ARTIFACT) — Wed, 30 Nov 2016 14:58:00 +0000

The minimalist stage was set for a solo evening with Conor Oberst. Conor switched between piano, guitar while the harmonica remained a constant. His songwriting took center stage at Carnegie Hall while the instruments like jewels glimmered around his poignant lyrics. The first half of the performance he played his new album Ruminations in full. Having purchased Ruminations recently, I was familiar with the raw pared down recordings. The accompaniment of Miwi La Lupa on bass and the acoustics at the Carnegie created an interesting dichotomy giving the songs magnitude while hearing private intimate songs become very public.

The second half he played older songs curated for content. They were familiar and with the advent of time took on new meaning as history unfolds post election.

Lenders in the Temple, Cape Canaveral, White Shoes, Passing Through (Leonard Cohen cover and dedication) Ladder Song, Lua, The Big Picture and At the Bottom of Everything.

Whether the material was old or new each word sung echoed through the majesty of the hall. Speaking to me as they always have for the last 16 years. Conor has become a seasoned performer, his lyrics carry levels of imagery and inference like no other. His phrasing and delivery creates the winning dynamic as chosen words are highlighted for affect or a consonant pronounced with clarity.

The audience at Carnegie Hall cheered from the top tiers every time Conor sang the line / victory is sweet, even deep in the cheap seats / from the song “Cape Canaveral”. The sound experience was the same regardless of the price or location of any given seat. The only seat I would have really liked was Sean Foley’s (harmonica cleaner) next to the grand piano with a fishbowl full of water.

Adam Faucett's Voice Delivers at Rockwood Music Hall

noreply@blogger.com (ARTIFACT) — Fri, 11 Nov 2016 17:22:00 +0000

There is no better healing for a beat up soul with election blues than powerful live music. Thank you, Adam Faucett! Was I on sacred ground or stage 1 at Rockwood Music Hall? His voice bellowed and reverberated from the rafters and made me a believer. When he brought down the volume the soothing tenderness of his voice settled inside my spirit. His poetic songwriting was delivered like a moving sermon. I am not religious but sign me up!

Two other newbies were there sitting next to me and said, "There is nothing better than discovering extraordinary music accidentally".

http://www.adamfaucett.com/music

Four Star Mecca EP by Peoples Rohoss

noreply@blogger.com (ARTIFACT) — Fri, 30 Sep 2016 11:00:00 +0000

Peoples Rohoss is a power trio. Two brothers and a childhood friend who play a scattered rock mix of guitar, bass, cello and drums, intertwined with high-frequency vocals and woven with an adventurous orchestral sound. They rely on improvisational chance and musicianship that they synchronize with each other. To say they are interactive is an understatement.

Their EP Four Star Mecca takes all those elements and blends them to create a statement. The “Intro Song” is an orchestral rock composition that combines unfamiliar instrument sounds with distant vocals that fade and suddenly vanish. Surprisingly ”Young Elitists” starts as a poppy punk song with the catchphrase / It’s two AM / we're wide awake /. The songs muscular start pauses only to pick back up with an outpouring of energy. It ends with a lone guitar player's mindless strumming possibly imagining this recording was his pipe dream.

The lyrical hook / to find the grays, in this dotted space / mimics the sound of discordant melody in the song “The Four Star Mecca.” It is a high powered mix with splattered vocals and drums that sound like dropping bombs. Coming on strong is the appropriately titled “Back and Forth” in which every instrument commits to an intense dialogue creating an invigorating tension. The vocals / It could have been bittersweet to go home, stoned / come in gently in contrast to the rough and tumble mix. Ending this unique collection is “The East End” that starts with a seductive, strong bass line and has a rousing and unpredictable exuberance that builds to crescendo following the phrase / you always run / but never make amends /and pauses with a drum roll.

This EP collection is invigorating smart rock music. It is not an easy listening experience, and that is a compliment.

Peoples Rohoss Bandcamp

Bass / Cello - James Acampora

Drums -Sean Perham

Guitar / Howling / Everything else - Mike Acampora

Sawyer Fredericks Shines Through

noreply@blogger.com (ARTIFACT) — Tue, 21 Jul 2015 18:54:00 +0000

Screenshot D Strait YT

When I first heard Sawyer Fredericks deep soulful and emotionally charged voice I was immediately captured. My heart was racing, eyes were welling and my emotions were being played like a violin.

How was this possible? It was just a Monday night and I was mindlessly watching The Voice. The emotional connection that Sawyer expressed while singing was channeled through the television screen and seemed to be directly aimed at me. It was as if I had receptors and was open to receive.

Sawyer’s voice can elicit longing, empathy, aching and compassion. It is especially potent when he reaches for high notes and it warbles and vibrates while emoting every last drop of feeling. At times he sings quietly or pauses so that a word can linger and within a short time frame, he can powerfully amplify his voice to soar with energy and surge with purpose.

What was most delightful to discover was that Sawyer Fredericks is a songwriter. Through his thoughtful phrasing he masterfully sings and shapes words that resonate with the listener.

That night I was ready to receive and surprised to find so many viewers obsessively hungry for genuine original music as well. My reaction had something to do with the fact that certain genres of music are rarely celebrated on mainstream television.

One added detail really sparked my interest. In several interviews off the show Sawyer Fredericks mentioned his favorite artist is Langhorne Slim, someone I've been writing about since 2006.

Faren and the French Fries! New Video

noreply@blogger.com (ARTIFACT) — Sat, 17 Sep 2011 18:41:00 +0000

Hello, Hello, I know you’re there.. Well, I just need to talk....... OMG this video is so cute and the song Answering Machine by the pop duo Faren and the French Fries is sooooo catchy!

The Children’s Museum of the Arts (CMA) art colony class have created a POPTASTIC video production (as described on CMA’s blog). Watch for the awesome credits with the featured kids and listing of the production team of teaching artists along with Faren and the French Fries song “Hey You”.

CMA's new headquarters will be a 10,000-square-foot former loading dock in Hudson Square at 103 Charlton St. The grand opening is set for Oct. 1.

Oh to be a kid again. I wish!!

Ava Luna @ the Clocktower Gallery

noreply@blogger.com (ARTIFACT) — Wed, 03 Aug 2011 04:05:00 +0000

Ava Luna played a show at the Clock Tower as part of Above the Law Series curated by Joe Ahearn. One flight up from the 13^th floor and adjacent to the roof the audience squeezed in close for an intimate experience.

This is a great band and the acoustics in the space only enhanced their sound. We were all lucky enough to hear almost a complete album of gems performed for the first time, creating an immediacy and edge.

Dynamic acoustics, crazy awesome harmonies, soul strutting and hard-hitting music structure were made for a listener who enjoys being challenged. Ava Luna combines so many music genres, that create a jumbled juxtaposition of dynamic excitement.

Flickr Set:

Style Meets Substance; A Poets Guide To The Bars

noreply@blogger.com (ARTIFACT) — Sat, 30 Jul 2011 18:25:00 +0000

Style counts today even in the world of poetry. The latest reprint of Kenneth Sonny Donato’s “A Poet's Guide To The Bars” has hit the shelves, bringing poetry up front and out of the dusted stacks of treasured finds in the backroom.

Pax Americana Productions, LLC has curated Sonny’s poetry into a visually graphic format where text, imagery, editing and layout meet to house his retrospective of legendary LA bars in which dreams are one shot away. For online promotion they have created a must see book trailer. (below)

Kenneth Sonny Donato reads and shares stories alongside his friend Harry Dean Stanton, to whom the book is dedicated @ Book Soup on Wed. Aug. 3, 7pm.

Geo Wyeth's, One Man Exceptional Band @ Joe's Pub

noreply@blogger.com (ARTIFACT) — Mon, 13 Jun 2011 01:09:00 +0000

Geo Wyeth’s masterful skill and intentional hesitation created an edge of uncertainty and unpredictability at his solo show at Joe’s Pub last night. Although the set was clearly planned it felt like a conceptual foray into musical chance operation.

Geo opened with the set creating a disorderly clutter of drum beats with a strapped together Tom Tom. He paced through the crowd leading his own parade to join guest saxophone player on stage. Throughout the set he played the baby grand with unbridled force and exuberance. Geo sung with conviction but created a vocal stutter step suspending his vocals in mid air. While playing a hand held Casio he sang phrases gathered from field studies of New York conversations. When he picked up the acoustic guitar I didn’t expect it to be beat with a drum stick.

Whether he played the electric guitar, keyboard, baby grand or drums, each instrument provided and opportunity for self expression and undeniable experimentation.

Introducing Faren and the French Fries

noreply@blogger.com (ARTIFACT) — Fri, 07 Jan 2011 03:22:00 +0000

What a great way to start the new year with a bang and the song AK-47 from Faren and the French Fries.

Myspace

Peasant's Video; Perfect For Last Day of Summer

noreply@blogger.com (ARTIFACT) — Wed, 22 Sep 2010 00:05:00 +0000

The song "Well Alright" from Peasant's 2010 release Shady Retreat is featured on this sweet and simple video. Perfect......

The Shivers; Affectively Charged Set @ Rockwood Music Hall

noreply@blogger.com (ARTIFACT) — Tue, 14 Sep 2010 02:07:00 +0000

There were many hindrances. The 18' by 18' room, the mini stage that just fit the grand piano, leaving the drums on the floor; the folks "just trying to get through," the peep-show reminiscent red light above their heads, the nine dollar rail whiskey. Through all these obstacles, including the strict 45 minute set restrictions implemented by the Rockwood Music Hall, The Shivers valiantly and deftly jumped through the hoops.

The duo opened with a guitar and piano only version of "Love is in the Air," a track off frontman/songwriter/master-dancer Keith Zarriello's debut solo album, Truants From Life. With Jo's piano taking the melody, Zarriello slowly and methodically sang the first verse, but at the songs climax "love doesn't care, if you prance around in your underwear, in your underwear, you're in your underwear," his face was riddled with emotion, excitement and a undisclosed manic glee that stayed hidden on his face throughout the show. Including one song on her own, Jo's thunderous piano exists as the structure of each song played, teaming in perfect harmony with Keith's sharp yet minimal guitar picks, and the occasional marching band drumbeat.

I can't tell you the rest of the set list, I can't tell you how many songs they played, all I had written on my hand at the end of the show was "LIITA," detailing the opener. It wasn't that I necessarily forgot to write as the show went along, it was that I couldn't bring myself to do anything but stare. Enthralling, rapturous, magnetic, these words don't make the cut in my memory. I remember his face, I remember her face, I remember their cues to each other, I remember hearing the bartender telling people to "wait a minute," because she couldn't stop watching either.

There are so many musical references you can tally up when describing The Shivers' sound (The Velvet Underground being the biggie), but they transfer so well between all their influences that it creates something only them, making a list pointless. If I must create a profile for your imagination, think the intensity of Mick Jagger, the emotional outbursts of Mark Hollis, and all wrapped up in a similarly-sporadic David Byrne. It's just so damn entertaining; and these are not happy songs! This is (apparently) not a happy man, and he's letting you know this, which becomes extremely admirable as you witness his disappointment manifest on stage.

And while contained in each song may lie a story of unrequited love, depression or hatred, the path one travels through a Shivers live show is not one of heartbreak, but one where you take desperate stabs at trying to attain that eternal glee disguised on the face of the performer; and at least this audience member was ecstatic to be allowed that attempt.

The Shivers are: Keith Zarriello and Jo Schornikow; they are taking a hiatus from New York City, Zarriello stating, "I forgot there were places with…trees. I gotta get out of the city for a while.”

Pulse Films Weird Hero 'Documentary' Director D.A.R.Y.L. Here

Elias Necol Melad is my first guest contributor. He is an avid and knowledgeable music fanatic with exceptional taste, a visual artist who also can complete the Times Sunday Crossword Puzzle with a pen in record time.

Ava Luna @ Piano’s; Trichotomy of Styles

noreply@blogger.com (ARTIFACT) — Wed, 08 Sep 2010 01:56:00 +0000

The twisted soul, punk attitude and divine harmonies of the band Ava Luna were welcome sounds @ Piano’s.

The seven member band presented a very lively set full of soul / funk and a bass line groove that made dancing my only option.

Carlos Hernandez the lead singer and ultimate contortionist aptly put his falsetto into hard drive. His enthusiastic rendering of soul-ridden vocals brought to mind Sam Cooke. The female trio’s sophisticated Doo-wop harmonies worked as passages along side the synth, bass and drums that had a scratchy almost garage band feel. Ava Luna effectively created a trichotomy of styles into a soul melding mash.

Having only seen a few videos and hearing some tracks seeing the band live left me with a strong impression. I loved their energy, spirit and intention.

This was the conclusion of Patrick Duffy’s relaunch party for the music blog Pop Tart Sucks Toasted that was taken down by Google’s Blogger in February earlier this year. Duffy’s taste and hard work has helped enumerable musicians gain much deserved exposure. Sorry I only came out to see Ava Luna but the other bands on the line-up were MiniBoone, Your Youth and Bermuda Bonnie.

Ethan Bassford – Bass, Felicia Douglass – Vocals, Carlos Hernandez – Vocals, Becca Kauffman – Vocals, Anna Sian – Vocals, Alex Smith – Drums, Nathan Tompkins – Synthesizer.

Kickstarter Campaign For Adventures in Plymptoons

noreply@blogger.com (ARTIFACT) — Mon, 16 Aug 2010 23:21:00 +0000

In the spirit of the independent music I write about I was compelled to feature this Kickstarter project, because it reeks of DIY gone right. Determination, conviction and a little humor goes a long way and independent filmmaker Alexia Anatosio has all that and more.

Her documentary Adventures in Plymptoons about Oscar nominated animator Bill Plymton is currently in post-production and in need of additional funding. Alexis is hoping to achieve her goals through an inventive Kickstarter campaign that bring fans and donors into the fray. To achieve her goals she is wiling to give it her all, including shaving her beautiful locks of hair and fashioning a Mohawk.

Alexia’s enthusiasm for this project is contagious. She celebrates and is inspired by Bill Plympton’s career as an independent filmmaker and is making this documentary with the same independent spirit. All filmmakers, artists and musicians should take note and be inspired as well.

Alexia’s Kickstarter campaign is absolutely worth a click to view. It features some takes with Bill Plymton and anecdotes by a few of his voice-over team edited with clips of Plympton’s animated world.

Even if you don’t have the funds to help her achieve her goals you can help spread it around through networking.

For additional inspiration read Alexis’ interview with Film Threat here
And..
video interview Alexia Anastasio at Comic Con 2010 for Adventures in Plymptoons
by Jon Raymond from The Writers Muse

Coyote Eyes, Dynamic Set @ The Delancey

noreply@blogger.com (ARTIFACT) — Mon, 09 Aug 2010 17:31:00 +0000

On Friday night I attended a fundraiser for the band Coyote Eyes at The Delancey. Their goal was to recoup the costs incurred recording their EP after the small label who offered financial backing folded, leaving the band with expenses they hadn’t planned for. On hand to help were the Flying Pace, Marie Stella from Portland Maine and Quiet Loudly who played sets and offered cheap merch while friends baked treats for sale. It was an atmosphere of love support and good music making.

As soon Coyote Eyes hit the stage it was apparent why everyone there was showing the love. The foursome floored me with two guitars, peddle boards, synth, bass, drums and combined vocals.

Coyote Eyes were engaged creating an invigorating sound guided by melodic sonic movements and rev-ed up clean bell like guitar riffs that build and scaffold, blasting with pulsating fast strumming meant to take you somewhere. Leading from the back and divine to witness was Jeremiah McVay whose thunderous drumming skill was always on queue and the force and backbone of the sound.

The dynamic contrasts of two vocalists diversified the sound and what made it more surprising is how they fluctuate between dominating one song or another or sing in unison. Manny Nomikos emotional singing style with bursts of volume, multiple pitch and at times Yoko like channeling while Marta’s Deloreon vocals were smooth intoxicating and perfectly phrased.

What is especially strong is how Deloreon’s voice rises above the amplified sonic rock cycles hanging suspended like a cloud above the surface of the forceful instrumentation. Calling and cooing and taking the listener in.

I am looking forward to the EP and ready to be wowed.

Listen Here and hear why.

Flickr Set!

Marie Stella pictures as well

Jive Grave & The Fancy @ Ars Nova

noreply@blogger.com (ARTIFACT) — Mon, 26 Jul 2010 04:33:00 +0000

Jive Grave and The Fancy were the line-up for Wednesday as part of Ars Nova 54/10 music marathon series. Two bands with accomplished musicians and visions.

It has been my pleasure to chronicle Geo Wyeth’s music incarnations for the last two years. What a satisfying ride it’s been.

I arrived just as Jive Grave was finishing their first song. Geo Wyeth thanked Ars Nova for their support as their 2009 Composer-in-Residence. The residency gave him the opportunity to explore and compose / Haunts song cycle. With Geo at the helm the band Jive Grave was spawned.

The set explored looping with bells, vocals and guitar notes, solo material, claps, horn arrangements and an intricate beat between two drummers featuring a drum kit and tom tom. The music frames the lyrics with it’s melting pot of sound where repetition is fleeting and snippets of sound are segmented and disjointed. Geo’s lyrics reference legacy, lineage, memory and the city are pieced together in collage of ripped, rough and sometime soft edges.

They played "Black One On the River" with a sound rich with texture, sax accents, vocal harmonics and Afro-centric guitar. The tremelo picking soared at a high pitch rising like a blustering current to an abrupt ending. / Will you wait for me for me / in the water / it’s a mighty / current we are running from./

Geo Wyeth emphasised, “this is a song about where I live, Bedford Stuyvesant. “So Funny It Might Be Death” began with scat vocal blurts, claps and the saxophone played by Tina Richadson and Wyeth’s guitar with punched chords and chiming note flourishes. The celebratory sound was fitting for Wyeth’s lyrical poetic perspective making the neighborhood come alive / The kids all got scowls under their breath like old church ladies /.

Jive Grave’s sound is cerebral and vibrant provoking the listener to pay attention.The release date for 7” Blackone in September features vocalist Becca Kaufman whose voice is a treasure and creates striking contrasts. Listen Here
geo wyeth, keith parker, dan arnow, tina richerson, mike irwin, simeon kezengwa other featured contributors: tim johnson, becca kauffman, brian newman
Flickr Set

The Fancy play gorgeous orchestrated pop that is so smooth and yummy it tastes like butta. Composer/songwriter and lead vocal duo Clara Latham and Seth Garrison are classically trained and their compositions reflect a commitment to the accessible and smart. What sets this group apart is not just their choice of instrumentation but how it is applied. Key board and synth, electric guitar, bassoon, viola and gorgeous vocals

They started with “Honey Baby” which had great orchestration with viola scales woven through. “Out Of The City” had luscious harmonies, creamy confection that is sticky kind of a sophisticated Abba mixed with serious instrumentation. Kind of a dichotomy of sound.

The cover song of choice was Laurie Anderson’s “O Superman”. It was a complex interpretation that coordinated a steady bass with the bassoon and viola played in a round. You could visibly see the concentration and efforts Katherine Young and Amy Cimini two incredible soloists.

They brought out their guest drummer Craig Bray for the song “O Willa” that started slow with a singing dialogue and then grew to a fast, furious action and timing.

Their attention to details was apparent as they asked to bring down guitar levels and more sound on the bassoon and vocals. They care about delivery. I was very impressed with this band. They even have a great website that is informative and a joy to explore. They got it together!

Crazy Over Brian Newman @ Duane Park Live Review

noreply@blogger.com (ARTIFACT) — Wed, 21 Jul 2010 20:05:00 +0000

Been meaning to go to Duane Park to see the Brian Newman Jazz Trio After Dark at Duane Park for a while. They perform there every Friday night with a rotating cast of beautiful burlesque performers.

Brian Newman's singing voice is impeccable reaching gorgeous high notes while adding his own spin to classic jazz standards. As a trumpeter his trumpet is an extension of his being. Somehow he finds enough air to dig in and blow improvisational bursts between lyrics.

Dressed to please the svelte dapper Newman visually pulls out all the stops as the quintessential master of ceremonies. With his cool demeanor and awesome showmanship, he worked the room like a fast witted vaudevillian comic adding enough spice and a little grit without loosing his classy flair.

The clanking of glasses, endless chatter and lively bar action added to the atmosphere but I would have preferred a quiet room to fully take in the marvelous music.

Earlier this month Brian Newman made his television debut with Lady Gaga on the Today Show. His underground reputation with fellow musicians as someone to collaborate with is now out of the box. A much deserved career boost.

It was sweet to see a few of those new fans last Friday at Duane Park who came to listen.