Larkin Poe Hit The Festival Circuit and Bring Album ‘Paint The Roses’ to Life September 12, 2021 News Musicians
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The sister duo comprised of Rebecca Lovell and Megan Lovell rock the house with their gritty and soul-driven style of music. They took the Hightide Stage on Friday at the BeachLife Festival to the delight of faithful fans and new listeners alike.
Larkin Poe and their live performance at BeachLife Festival gave fans a dose of what’s on their latest album, the live record, Paint The Roses.
Born in Georgia and living in Nashville, Larkin Poe have amassed a fan base that grows with each music festival and concert they play. The gals have a vigorous tour schedule and play a slew of shows in the U.S. and abroad.
Named after their great great grandfather, the Lovell sisters of Larkin Poe have been making music since they were youngsters. In addition to their many albums, they also recorded harmonies and played a role in the recording of Lost On The River: The New Basement Tapes.
By DAN MACINTOSH The 2021 BeachLife Festival takes place today through Sunday and South Bay music lovers are in for a special time. This year’s BeachLife Festival lineup may not feature the ultimate “Rock-Meets-Beach” musician […]
Originals and Cover Songs Impress By DONNA BALANCIA Larkin Poe, two young sisters from Atlanta, are making a big mark in the music world with some old-style southern blues. Rebecca and Megan Lovell, AKA Larkin […]
BeachLife Festival Gets ‘Cagey’ on Day 1 as Fired Up Fans Return to Redondo Beach September 11, 2021 News Musicians
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Pent-up demand certainly was the name of the game as, even in the face of continuing pandemic cancellations and restrictions, people wanted to enjoy some sense of concert normalcy. (Proof of vaccination or negative Covid tests are required for entry to BeachLife Fest).
Friday’s co-headliners Jane’s Addiction and Cage The Elephant proved they were not rusty from down time caused by the pandemic and the bands earned their headliner status, giving high-energy performances.
Revivalists, Silversun Pickups as well as Larkin Poe and even Tommy Curren all took their places on their respective stages, with surf champion Curren playing the new SpeakEasy stage.
One of the more interesting performances of the day was Paris Jackson, daughter of Michael Jackson, the King of Pop, who captured the audience with an upbeat performance that would have made her Pop proud.
Day 2 features Counting Crows, Fitz and the Tantrums, Men at Work, Cam, Sugar Ray and Jim Lindberg of Pennywise playing solo. Lindberg curates the SpeakEasy stage, which puts the spotlight on notables of Beach Culture.
Their aggressive and explosive energy is only accentuated by their unconventional approach to hardcore. Julian Pratt’s intense vocals are accompanied by his sharp distorted banjo. Harlan Steed provides low end support and harsh noise with bass, synth and assortment of nasty pedals.
Show Me The Body left no shirt dry as the crowd turned from a group of individuals to a congealed pile of bodies, moving and pulsing almost as one entity as the band practically became the life blood that drove the energy.
Gilby Clarke and Teddy ‘Zig Zag’ Andreadis Take their Music to Universal Bar and Grill August 23, 2021 News Musicians
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Singer, songwriter and guitarist Gilby Clarke performed a satisfying, emotionally stirring, and often rockingly intimate acoustic set at the Universal Bar and Grill Saturday night. Friend and musical partner Teddy “Zig Zag” Andreadis provided melodic accompaniment to Clarke on keyboards, harmonica, and backing vocals to the delight of the devoted fans on hand.
The two musical heavyweights drew a large and throughly pumped up crowd, clearly wowed by the wattage of the star power radiating from stage. Excitement and anticipation was in the air as the rocker duo took over the stage.
Yet despite their fame, in person the artists were truly down-to-earth, humble and low-key. Clearly anyone watching the show could see the musicians had a lot of love and mutual respect for one another as well. They joked and smiled effortlessly with each other and with their fans.
The wide-ranging and diverse set showcased new material from Clarke’s first solo album in nearly two decades, The Gospel Truth. This LP is chock full of fist-pumping rock songs with fat choruses and comprised of bluesy licks propelled by Gilby’s Keith Richard and Johnny Thunders-influenced vocal style.
Clarke also performed numbers from previous releases. Strong covers too were played: Guns N’ Roses’ “Patience” and “Used to Love Her,” Alice Cooper’s “I’m Eighteen,” Bob Dylan’s “Knocking On Heaven’s Door,” The Rolling Stones’ “Dead Flowers,” and The Replacements’ “Bastards of Young.”
California rocker Clarke is a seasoned frontman and knows how to play to an audience having played for literally hundreds of thousands of people over the years. He has a great stage presence and looks the part of a rock star. He is effortlessly cool.
Both Clarke and “Zig Zag” Andreadis have stellar resumes. Their renowned credits being GNR alums and having worked with Alice Cooper. Clarke played rhythm guitar in GNR for three years. He replaced Izzy Stradlin and appeared on The Spaghetti Incident, Live Era 88-91 and Greatest Hits. He also played guitar for the MC5, Heart, Nancy Sinatra, Slash’s Snakepit, Kathy Valentine and formed his own group Rock Star Supernova with Metallica and Motley Crue. Candy was his first band when came to L.A. and he also formed Kills For Thrills.
In addition to being a great performer, Clarke has produced various albums for different bands including L.A. Guns. Andreadis also worked with Carole King and The Boxmasters. He is a multi-instrumentalist that plays harmonica, guitar, bass, Bouzouki and ukulele. All in all it was a treat to see these two greats and the fans enjoyed every moment of music from this duo.
Check out Gilby Clarke’s ‘The Gospel Truth’ on Spotify:
By JOHN DALY San Diego alt-rock favorites Switchfoot have released their new album interrobang via Fantasy Records and the band takes on a new style with the 11-track release. The new record is produced by Tony […]
Interview: Pete Cunningham Talks Sweet Satisfaction of ‘Recognition’ for Ishmael Ensemble August 23, 2021 News The Latest
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Ishmael Ensemble Interview by Ava Liversidge – Courtesy
By AVA LIVERSIDGE
I was able to hop on a Zoom call with saxophonist and producer of Ishmael Ensemble, Pete Cunnigham, to talk about the group’s stunning new record, Visions of Light. Cunningham discussed the unique, pandemic-induced recording process for their latest and the benefits of letting tracks flourish and grow on their own timeline. We also spoke about Ishmael Ensemble’s elusiveness when it comes to genre categorizations and how the two extremes of music, ambient, spatial sound, and highly textural, heavier experimentation come together on Visions of Light for an undefinable, yet atmospheric body of work.
AL: ‘A State of Flow,’ Ishmael Ensemble’s debut LP, was received quite kindly in 2019, though this is a bit of a double-edged sword as any congrats add to the mounting pressure of the ever-ominous sophomore album. Did you have any worries about ‘Visions of Light’ as a follow-up record or making an equally, if not better, record from the last release? Did that pressure encourage any sort of evolution between the two records?
PC: Yeah, it’s strange. I think A State of Flow was a bit of a surprise to us, how well it was received. It was a very DIY record and in a way, it was kind of more of an experience or project at the time, that I didn’t really think too much of it for the future. And then, suddenly you have to do gigs and you have to present it on stage, and it’s a thing. So, obviously, there was a lot of pressure going into the new record, and it was also the first time we worked with an engineer in a recording studio– up until then, everything had been recorded at home and we kind of mixed all the tracks in a friend’s living room who was a sound engineer.
… And now, this was the first time it was kind of like, “Oh, that’s how you record a drum kit properly or how you record vocals.” So, that was a big step. And, in a way, I think working in that professional environment made everything exciting and fun, so I didn’t really dwell too much on the pressure side, to be honest. And, in a way, I think the association with the UK jazz sound and that being so big, I sort of felt tempted to take a step away from that. I think the easy option would have been to make the jazzier sounding record possible, and I feel I’ve gone the opposite way and maybe tapped into some other influences.
Ishmael Ensemble – Feature Courtesy
AL: You are the producer in the room of an Ishmael Ensemble recording session. I think one of the standouts in this record is how well each individual instrument seems to be incorporated in a very unified manner. What does the collaborative process look like for you and the ensemble?
PC: I’ve sort of been trying to work that out and I think it’s probably just my production technique is very much based on a collage, kind of tapestry, of sounds. In which, yes, there’s all of these musicians, but, generally, they send me loads of stuff, and then I kind of mess with it. For example, all of the guitar on the record, there are a few parts that are straight riffs that [Stephen] Mullins wrote, but he also just sends me endless guitar noises and ambient pieces of music in their own right that I, then, chop up and make new again.
… And I guess that’s the same thing I do with a lot of Rory’s [O’Gorman] drums. We’ll do a whole day drum-take and then I take that and turn that into loops as you hear on “Feather” or “Soma Centre,” that’s all live drums, but it’s sort of sampling ourselves. At least, that’s the way I see it and that’s a continuation of my experience as a producer, starting out with sampling boards. Now, I’m lucky enough to be surrounded by great musicians and am sort of sampling them. And, it’s kind of easy as that really, that naturally through the process my voice or sound gets applied to all those instruments and it’s nice to hear that someone listening without perhaps knowing that can see that.
AL: Speaking of your last record, it’s only been 3 years since Ishmael Ensemble’s debut LP, but a lot has happened. This record’s title, Visions of Light, sounds very hopeful, and the closer sort of ends on an airy, potentially hopeful, note. How has the turbulence of the last few years inspired or uninspired the record?
PC: I think it made for a better record if I’m totally honest. There was less pressure; I had more time. It was interesting to complete– I’m sure it will be a kind of “sign of the times” of that era. We had two weeks booked in a recording studio in March 2020, which was going to be the solid two weeks to make the album, and that turned into: “Oh, obviously that’s not going to happen. We’ll try to pick up a week in July, and then maybe another week in September, and then maybe finish up around November.” That, in a way, let the tracks kind of breathe and, I think, made the record a bit more diverse and interesting.
… As much as I love the idea of going into a room and smashing something out in a week, I don’t think that’s what Ishmael Ensemble is to me. It’s a lot of sitting on ideas and working out the best thing for a song, and that can take months. So, yeah, in all honesty, the album itself is far more accomplished and, perhaps, far more interesting and unique because of that. Also, just the confidence to carry off those ideas– if we’re listening to demos that are 6 months old and need a bit of finishing touches and I’m still happy with those songs six months later on, that’s great. I hate to think of going in a studio and doing a whole album in a week and hating it. You can’t go back then. So, I think it has completely benefitted on the creative side and just having the time– that never happens for a touring band.
AL: Also, you must’ve been two completely different people from when you initially went into the recording studio and when you returned.
PC: Yeah, I mean, the tracks were worked on in bits, but it also meant that different people were completely recording from home. Mullins recorded all of his guitar parts at home. The engineer wasn’t in a rush to have like 6 people in the studio, so it was done kind of at each other’s leisure and with a bit of distance anyway.
Ishmael Ensemble – Ava Liversidge Interview – Courtesy image
AL: It must put more on the producer to have all of these bits coming at you.
PC: Yeah, there’s less of a reaction. You spend the day working on a track, and especially the way I mangle everyone’s parts together, the idea that the musicians can’t be there immediately to either say, “I like that or not,” is interesting. Luckily, that didn’t really happen. But, especially with the vocalists– that’s a really big thing. You have to be respectful of other people’s choices and how they want to come across and that came through on different songs.
… Like Holly [Wellington] was staying in Scotland for most of the summer and recorded a lot there, and we weren’t quite happy with what had been recorded remotely and luckily we got some time in the studio again and that felt a lot more natural to be together and, I think particularly with the vocals, you really need someone to be in the room with you to support or be cutthroat. Even as a producer, I felt it helpful to have the engineer, Ali Chant, there to say when something could be done better or visa-versa.
AL: You talk a lot about vast musical influences, particularly Bristolian influences, but such an interesting mix that you’re drawing on. How do you approach what may seem like a dissonant group of sonic inspirations? Also, how do you approach being sonically influenced in general— are you wary of the “I want to make something that sounds like this record” approach or not?
PC: I think in a way you sort of said it earlier– that the music is sort of ambient at times but it’s also sort of loud and extreme and heavy, and I see those two worlds as similar in a weird way. They’re sort of the extreme edges of music where it’s super loud, phonetic, weird jazz or metal and then, the other end, of very open, ambient, almost near-silent music at times. They’ve both heavily influenced me. And, in a way, the idea that the three of us– Jake [Spurgeon], who plays synth and bass live and Mullins who plays guitar– grew up together and went to secondary school together. I’ve been playing in bands with Jake since I was 8 and he was 12. So, there’s a long lineage of playing together.
… And all of our favorite bands growing up were rock bands — Nine Inch Nails, Radiohead, or, for me, Placebo, and I definitely hear that permeate through this record. Then, I’d say the ambient stuff is more of a recent discovery and using both those techniques and finding space somewhere in the middle. I don’t think there’s a lot of jazz influences. I’d say it’s the ambient and then more heavy side that has influenced this record particularly.
PC: And then there’s another group that I’ve fallen in love with and everything they’re associated with over in Dublin called Lankum who are kind of folk music, but that’s a way too simple definition in the same way that calling us jazz is– it doesn’t really mean everything to what their music is. They experiment a lot with ambient, textural tones and super heavy tones in their music. I was listening to that a lot while I was making the record as kind of a soundtrack to the pandemic.
Ishmael Ensemble – Visions of Light album
AL: I once read an interview of yours titled, “The Band Making Jazz Punk Again.” You are technically classified as jazz, which has a somewhat heady, inaccessible reputation. To those, like myself, who have always been slightly daunted by the genre, what makes something jazz music and what does that moniker mean to you? You’re a saxophonist, you play a quintessential jazz instrument, but Ishmael Ensemble certainly doesn’t sound like a classic jazz quartet.
PC: I’d say more the ideology of jazz than the direct influence of jazz. For me, it’s that freedom and that experimental element that excites me, and I hear that in a lot of the jazz that I love. I love Pharoah Sanders and John Coltrane and Alice Coltrane and Archie Shepp– the more avant-garde, spiritual-leaning stuff. So, I’d say the record is much more jazz in spirit than it is in sonics. I think, at some points, of course, it’s a jazz band– it’s an ensemble led by a saxophonist and that’s very much what it is; it’s quite traditional at some points. But, in other ways, calling the ensemble strictly jazz is almost offensive to those jazz players that really play, because we’re not trying to step on those shoes and claim that we’ve spent our 10,000 hours going over our scales because we certainly haven’t. It’s a weird one, but, as I said, it’s more the philosophy of jazz than the straight sound of it.
AL: In that vein, tell me about “Wax Werk.” It’s a bit rambunctious next to the other tracks on the record, and I absolutely love it. How did the track come to be?; it sounds like the product of much tinkering.
PC: I use a lot of resampling, so a lot for this record was built with parts from our last record or I’ll record live sets and get the sound engineer to record our performances and sample bits of that. In a way, “Wax Werk” is a real mashing together of trying to capture that sound of us playing live, which, I think, after touring A State of Flow, we realized that we’re a much heavier band than that debut record suggested. In a way, that tension and energy found in “Wax Werk” is something I wanted to get across to portray the band in a more natural light.
… And, it’s sort of black-and-white simple in that it’s a mixture of electronic music and live, jazz-mad-soloing and boiled down that’s what Ishmael Ensemble is. You can listen to Rory’s part on there, the drummer, and that is who Rory is– he plays very loud and very fast and very hard and I’ve never felt we’ve captured that on record before, so I wanted to just demonstrate what we’re capable of and try to get the energy of a whole live set in three minutes which felt like a big achievement, and it was quite a conscious idea to try and do that.
AL: I’ll end with the upcoming live dates which are hopefully still scheduled as planned. The last time Ishmael Ensemble went on tour, you received praise for reworking the studio tracks into completely new creations when played live. Does this come naturally for the band and/or will you begin the tour with more of what’s on the record and then, as the tour progresses, expand on the tracks?
PC: I think the latter really. In a way, because this record has a lot more involvement from the musicians I play with, we’re naturally staying closer to the album and I think there are a lot more “songy-songs” that are less open to interpretation. We’ve only done three gigs, but already we’re thinking about tinkering with a few songs, and that’s the real fun of it. I kind of keep my producer- head on while organizing the live sound and feel that’s a big part of it. Like, okay this element doesn’t sound great in the live setting; it’s perfect for the record but maybe we need to switch that up or something. As the list of collaborators gets bigger, it becomes quite a production so there’s a lot of organization behind that, and naturally, that makes for bigger songs– sometimes the much softer songs become much bigger and louder to compensate. It’s so much fun to be adding whole new sections and catching people by surprise– that’s the joy of it. I don’t want to go out as a karaoke band, playing like-for-like.
AL: And, of course, are you excited to be back in front of an audience?
PC: Definitely. I’d sort of forgotten about it and the importance of it, and the idea of meeting people in the flesh. The number of times I’ve had the joy of seeing a band on a friend’s suggestion– it’s that meeting people on the road that I’ve missed, people that may not even know our music and just happened to be passing. Everything has been very orchestrated and premeditated during the pandemic; everything has been very deliberate. Whereas, I’m looking forward to things being a bit more chaotic. And, you know, stuff going wrong is helpful as well.
… As we were saying about the songs developing live, you don’t really know that until you are ten gigs in and can tell it wasn’t a hunch, like, you figure out when something’s not right and you can play around with it. I guess with the more radio play we’ve had and the buzz, I feel that this time around, people are beginning to recognize songs of ours. I’d say this is the first time that’s happened– people acknowledging the title of a song before we play it. That feels really special.
Ishmael Ensemble has embarked on a European tour and are beginning to hit their stride as a performing band. Thank you to Pete Cunningham for speaking with California Rocker.
By DONNA BALANCIA – Dr. Boogie has the prescription for Saturday night. The bandmates in Dr. Boogie — guitarist Dustin James, dynamic blond-haired frontman Chris Parsekian, bassist and drummer Luis Herrera — are Rock ’N’ […]
California Rocker Honored as Six-Time Finalist for Southern California Journalism Awards August 11, 2021 News Musicians
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California Rocker has been named a finalist in a six categories of the Southern California Journalism Awards, it was announced today.
The Southern California Journalism Awards honors the work of media members in Southern California-area online publications, print newspapers, broadcasts and podcasts, and print magazines. The awards are bestowed annually by the Los Angeles Press Club.
California Rocker is published by Donna Balancia and she and staffers attend and report on live events, review music and report the news on pop culture and the arts.
California Rocker’s coverage of A David Bowie Celebrationat The Rose in Pasadena was included as a finalist in the Best Individual Blog category and Best Photo Essay category. The David Bowie Celebration, organized and produced by Bowie’s pianist and friend Mike Garson continues to inspire and remind fans of the legacy of the beloved “Star Man.” The 2020 tour was abbreviated by the pandemic. Performers included Bowie’s band members Kevin Armstrong, Gerry Leonard, Alan Childs, and Carmine Rojas. Featured performers were Judith Hill, Corey Glover, Joe Sumner, Gaby Moreno and Sass Jordan.
Balancia’s photo of Mick Jagger revving up the fans in Pasadena at The Rose Bowl was included as a Best Entertainment Photo finalist (the image also secured second place in the 2020 National Arts and Entertainment Journalism Awards). In 2020, the Rolling Stones announced they would return to tour and we recapped our Best Photos of the Year.
Mick Jagger of The Rolling Stones Rocks the Rose Bowl – Photo by Donna Balancia
Balancia’s review of Bob Dylan’s“Murder Most Foul” was named a finalist in the Best Music Criticism category. Balancia, who also publishes U.S. Rocker and East Coast Rocker online, has interviewed celebrities, personalities and newsmakers across all industries since the beginning of her journalism career in 1979 while attending Iona College of New Rochelle, N.Y. She started as a part-time sportswriter and a music reviewer for Gannett’s Westchester Rockland Newspapers while majoring in Communications Arts in college. Read the review here.
Balancia’s daughter, Malia Balancia, a well-regarded artist and designer in Los Angeles, received two finalist designations for her work with California Rocker. She received finalist designation in Best Graphic and in Best Moving Graphic categories for her work on The Weeknd’s “After Hours” review.
Malia Balancia’s artwork for the review of ‘After Hours’ by The Weeknd earned two finalist designations from SoCal Journalism Awards – Courtesy Art by MIMI
The list of the Southern California Journalism Awards finalists can be found here.
Jared James Nichols Rocks ‘Bad Roots’ and Takes his Show on the Road July 28, 2021 News Musicians
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Jared James Nichols – Courtesy image
By JOHN DALY
Jared James Nichols has released “Bad Roots” and will take his show on the road for a U.S. club tour with John 5 starting August 10.
His EP Shadow Dancer will drop September 17 on Black Hill Records.
The trek includes a handful of headlining shows, as well as festival appearances. Nichols and his band will also join KISS for the KISS Cruise from October 29-November 3.
“This song is an audio affirmation, an anthem to rise above, and continue to reach for good instead of evil,” Nichols said. “We cannot hide or change the past, and we must learn from and own our mistakes, to ensure ourselves a better future. So, turn it up LOUD and hang on tight!”
The new single “Bad Roots” comes on the heels of his first single “Skin ‘n Bone”
Check out the video for ‘Skin ‘n Bone’ here:
With his Gibson Les Paul — aka “Old Glory” — and his strong vocals, Nichols virtually reinvents blues-drenched Rock ‘N’ Roll.
His shows are high-energy, and his pick-less guitar-playing leave an imprint. His records include Old Glory & the Wild Revival (2015), and the follow up Black Magic (2018).
Nichols has performed over 400 live dates traveling all around the world with his band and performed onstage with giants like Slash, Billy Gibbons, Joe Bonamassa, Zakk Wylde, and the late, great Leslie West, among others.
Check out Jared James Nichols rocker ‘Bad Roots’ here:
Joe Bonamassa Tells the Story of His Music Industry Experiences with ‘Notches’ July 23, 2021 News Musicians
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Joe Bonamassa has ‘Notches’ – Photo by Eleanor Jane
By DONNA BALANCIA
Joe Bonamassa has dropped “Notches,” a rocker anthem with a liberating video, off his upcoming studio album to be released later this year.
“Notches” tells of the journey Joe has taken to find success. The new music by the prolific blues-rocker reflects the experience of a wiser artist who once was at the mercy of the record companies. Bonamassa’s new sound is raw and is a cry of victory, a result of his years of resolute devotion to his craft.
“Twenty years ago, I recorded a record of covers that eventually was called ‘Blues Deluxe,’ ” Bonamassa recalled. “It was recorded at Bobby Nathan’s studio in Manhattan. It captured an energy and purpose that always stuck with me as an artist…The music business is tough, very tough. Especially back in those days when major labels pulled all the strings and, in my case, all the punches.”
Joe Bonamassa on TV in Notches – Courtesy Paul van Kan
The new music video was directed by Paul van Kan.
On “Notches,” Bonamassa hit the studio with Kevin Shirley, who produces, and manager-business partner Roy Weisman who executive produces.
The track was mixed by Bob Clearmountain (Bruce Springsteen, The Rolling Stones, Toto, Bon Jovi) and was co-written with Charlie Starr (Blackberry Smoke). Recorded in New York City at Germano Studios-The Hit Factory the band includes Steve Mackey (bass), Lachy Doley (piano), Bunna Lawrie (didgeridoo), Bobby Summerfield (percussion), and Late Night with David Letterman‘s Anton Fig (drums and percussion), along with Mahalia Barnes, Juanita Tippins, and Prinnie Stevens on backing vocals. The fantastic artwork on this single was created by famous graphic artist Hugh Syme (Rush, Aerosmith, Whitesnake).
For Joe Bonamassa records and tour dates go to his website at jbonamassa.com.
By DONNA BALANCIA – Dr. Boogie has the prescription for Saturday night. The bandmates in Dr. Boogie — guitarist Dustin James, dynamic blond-haired frontman Chris Parsekian, bassist and drummer Luis Herrera — are Rock ’N’ […]
Master Nate and the Reprobates Rouse and Rock with ‘Wake Up’ July 14, 2021 News Musicians
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Master Nate and the Reprobates – Courtesy
By JOHN DALY
Just when we were starting to wonder why it’s so quiet out there, Canadian outfit Master Nate and the Reprobates have released the rousing new single, “Wake Up,” off the band’s upcoming debut record The Dawn.
“Wake Up” is a driving, punk rock rager off MNR’s debut record, The Dawn, which is the first in an eight-record “Diem” series. The Diem eight-record series is an artistic mural when put together, following concepts that reflect the darkest and brightest emotions.
With each record, a new guest collaboration takes place. The Dawn features Roger Lima of Less Than Jake, joining in on the track “Long Life in a Small Town.”
Wake Up is an energetic tune that blends a great unique riff with cool vocals and excellent beat. Master Nate and The Reprobates prove you can blend different styles with a cohesive result, in this case as if Rancid teamed with Midnight Oil.
The Dawn was recorded at The Tragically Hip-owned Bathouse Recording Studio in Bath, Ontario, Canada, with engineer Nyles Spencer.
The Dawn is set to release Friday, July 23rd on the band’s Bare Bones Records.
Rancid Tackles Important Issues with New Record By DONNA BALANCIA Rancid’s new record, Trouble Maker, was inspired by freedom of speech and people using music as a message, and they’re making their point. There aren’t too […]
Nederlander, Live Nation and Bruce Springsteen Host Theatre Receive Millions in SBA Grants June 24, 2021 News Musicians
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Concert promoter Danny Wimmer Presents among those to receive SBA Grant
By DONNA BALANCIA
The Nederlander Organization, James Nederlander Inc., and Live Nation’s The Regent Theater in Los Angeles were among top recipients of the SBA Shuttered Venue Operators Grants, according to documents published by the Small Business Administration this week.
Nederlander, which operates Broadway shows and which produced concert events, was awarded $20 million, with $10 million awarded to Los Angeles-based James Nederlander and $10 million going to Nederlander Organization in New York.
Live Nation, which trades on the New York Stock Exchange under the ticker symbol LYV, was also awarded money, collecting at least $2.46 million for its Regent Theater in downtown Los Angeles.
Additional recipients of Shuttered Venue Operators Grants in the Los Angeles area were listed as:
Golin Theatres Inc., $10 million
Regency Theatres Inc., $9.589 million
Danny Wimmer Presents, $9.413 million
Sterling Venue Ventures, $7.028 million
Laemmle Theatres, LLC, $5.569 million
WERM Investment LLC of Sherman Oaks, $4.895 million
Metroplex Theatres, LLC of Torrance, $4.387 million
Cineconcerts LLC, of Thousand Oaks, $2.788 million
Lodge Room HP LLC, $1.651 million
Laugh Factory Inc., $1.484 million
Ben Bollinger Productions, Inc., $1.41 million
Also in Los the Los Angeles area, Izamaxali LLC, which does business as The Bootleg Theatre, received $622,948; Cafe Fais Do Do Inc. received $152,930 and The Pan African Film & Arts Festival received $276,929.
In Orange County, LFA Group, operator of The Garden Grove Amphitheater received $457,575 and Festival of Arts of Laguna Beach received $4.254 million and Rumba Room Live Anaheim LLC received $1.428 million. In San Diego, Casbah Rock Inc. received $1.05 million; San Diego Theatres got $3.773 million and SD Bayfest LLC received $563,647 million. In Encinitas, the La Paloma Theatre received $262,520.
In New York City, Jujamcyn Theaters LLC, which operates the St. James Theatre, where Bruce Springsteen is expected to resume his widely publicized one-man show, received $10 million, according to the SBA documents.
By JOHN DALY Hollywood Park has teamed with Live Nation to partner on a multi-year booking pact for a brand new 6,000-seat performance venue, called The Performance Venue at Hollywood Park. The space is part […]
Interview: Brandon Jenner EP ‘Short of Home’ Inspired by Legacy of Family and Friends June 18, 2021 News By DONNA BALANCIA, Musicians
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By DONNA BALANCIA
– Brandon Jenner is grateful for every moment, and this family man has made his feelings clear through his songwriting. His new EP Short of Home captures the gratitude this second-generation songwriter feels today.
Jenner has a famous name: He’s the son of Caitlyn Jenner and songwriter Linda Thompson. But he’s kept a low profile and quietly pursues the best that life has to offer not only for himself, but more importantly, for his young family.
“‘Fame and fortune’ was something that from a young age I realized doesn’t bring you any more happiness than you already have, and as a matter of fact, it can even make things darker,” Jenner said. “I focus on priorities for me. I don’t try to shy away, I just try to live my authentic life.”
Jenner said the center of that authentic life revolves around his wife, Cayley, and his children who help him stay grounded and happy.
“I have a 5-year-old daughter and twin boys, which is exciting as can be,” he said. “They’re fraternal twins who couldn’t be more different. We chase them around all day, unless they’re sleeping.”
Brandon Jenner ‘Short of Home’
Jenner said the collection of songs on Short of Home have in some way been inspired by family and friends.
“Kids definitely change your outlook on life and in general,” he said. “I think everything I do I filter through whether or not it would be good for them, whether or not it honors them in the right way. That affects my music, the kind of music I make, what I write. And all my effort is making the world a better place for them, not necessarily for myself any more, so they have a lovely world to live in and hopefully they can achieve the happiness I’m achieving these days, which I’m grateful for.”
Jenner’s attitude is one of appreciation.
“I notice that with the people around me that with maturity comes appreciation for the little things,” he said. “That’s something I emulate and practice as I’ve grown up. Even a breath of air, the way it makes your body feel, the fact we’re functioning and alive and aware and concious … is a real blessing. It’s a blessing to be here.”
Life Experiences Shape Brandon Jenner EP
Short of Home, the new six-song EP, has some important themes that Jenner said transcend normal everyday life.
“One of the songs that’s most important to me is a song called ‘Life For Two,’ which I just finished a video for,” he said. “That is the only song on this record that someone asked me to write a song for them, for their experience. I’ve done it in the past, where I’ve used something someone has gone through in their life as inspiration to write a song. But I was approached by a woman in Denmark a couple of years ago and she told me about her experience that she would be leaving behind a couple of young kids because she was diagnosed with an illness. She wated me to write a song about her and for her kids because I was her favorite songwriter. I was honored and humbled that she would even ask. That’s a song that’s super important for me on this record.”
‘Life For Two’ by Brandon Jenner:
“‘Something About You’ is about my wife, the love and admiration I have for her and the gratitude I have for the universe putting us together,” Jenner said. “Short Of Home’ is a collection of songs written with a lot of heart and emotion.”
One of the favorites on the record is “Give It All You’ve Got,” and Jenner said that upbeat track was inspired by a former presidential hopeful.
“I was listening to a podcast (N.J. Sen.) Cory Booker was on,” Jenner said. “He was talking about how he was sitting on his couch, he was having a terrible day, he grabbed a Ben and Jerry’s out of the freezer and he sat down and before he put the spoon in the first bite, he set it down and was overwhelmed with ‘I have to do something’ to change what was going on that day. He got up and grabbed a tent and camped in the park for days and started a fast.”
In 1998, Booker won a seat on the Municipal Council of Newark. A year later, to draw attention to the problems of rampant crime, violence and drug dealing, he went on a 10-day hunger strike while living in a tent and then a motor home in the city. Booker’s efforts made the media pay attention to the issues.
“He said everybody in every single moment has so much more power and they’re capable of so much more than they give themselves credit for,” Jenner said. “We just have to be brave, we have to put ourselves out on a limb and speak our mind and if we’re able to do that, we can really make the changes in this world we want to make. That’s where that song came from. ‘Give It All You’ve Got,’ doesn’t mean run the race harder or lift more weights at the gym. It means be yourself to the core and honor that and express that to the world.”
Advice for Young Musicians
In a world that’s overpowered by technology and hype, what advice would Jenner give young musicians so they can stand out?
“Continue to the ask the question, ‘Do I have anything I really want to say?’” Jenner said. “Do I have a message that I feel so strongly and passionate about that I need people to hear it. My focus on what music is here for is to get a message across. You have a few minutes to say anything you want to say with a captive audience and that’s a powerful tool.”
As for Jenner’s plans for the next year?
“Watching my kids grow up and make more music and hopefully my veggie garden continues to thrive,” he said. “Focus on my family, not just my kids but also my in-laws and mother and try to do things that make me smile. And try to, if I can, use music as a way to do it. But also I want to try to make people feel good in my life. I feel that when we’re gone, the only thing we leave behind is how we made people feel.”
Songs Tell The Story of This Second-Generation Actor By DONNA BALANCIA Kiefer Sutherland took guitar in hand and hit the Southern California stages last week, moving from Stagecoach to the Roxy Theatre in West Hollywood […]
Eminem, Alborosie and Jason Derulo Collaborations Top New Releases May 28, 2021 News Musicians
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Eminem teams with Jack Harlow and Cordae on KILLER RMX
By JOHN DALY
Now that people around the world are getting together again, it should be no surprise that cool collaborations dominate hot releases. This week’s drops come from Eminem, Alborosie, Jason Derulo and LA’s own Blxt and Bino, who keep the beats lively.
Eminem Feat. Jack Harlow & Cordae on Killer Remix
Eminem has teamed with Jack Harlow and Cordae on a hot remix of “Killer.” Eminem teased the release on social media and within a few hours the post had more than half a million hits.
The first version of “Killer” was on Eminem’s December 2020 album Music To Be Murdered By: Side B.
“You know we had to do a remix, right? K I L L E R RMX w/ @jackharlow & @cordae Midnight ET,” Eminem posted on the socials.
Check out ‘Killer’ the remix here:
‘Ginal’ by Alborosie Feat. Collie Buddz
“Ginal (featuring Collie Buddz)” is the kick-off single to the new Alborosie album, For The Culture.
“Ginal” is Jamaican slang for a trickster. The song is illustrated with humorous lyrics about people who “talk too much.”
The collaboration was born out of a mutual respect between the artist-producers. Alborosie shared that he had recently voiced a track that Collie Buddz produced on the CaliRoots Riddm. Buddz after listening to “Ginal” he “could feel it.”
On the Alborosie album For The Culture, there are 14 new songs written, produced, and performed by Alborosie. Guest performers on the project are Buddz, Jo Mersa Marley (“Ready”), Quino of Big Mountain (“Where Do You Go”) and Wailing Souls (“Life To Live”).
Check out ‘Ginal’ here:
Tesher x Jason Derulo Team on ‘Jalebi Baby’
Jason Derulo adds a dash of Hip Hop flavor to the Tesher hit “Jalebi Baby” on the duo’s new collaboration. The song has been a major hit for Tesher and the new Derulo remix gives new life to the popular track.
“My goal has always been to bring cultures together and create music that anyone can enjoy, regardless of language or background” said Tesher. “Seeing ‘Jalebi Baby’ find listeners all over the world has been amazing.”
“Jalebi Baby,” which riffs on the classic South Asian dessert jalebi, was originally released in 2020.
Check it out ‘Jalebi Baby’ here:
Blxt and Bino Rideaux Drop ‘Movie’
LA hip-hop artists Blxst and Bino Rideaux join forces on the release of their new single, “Movie.” Out now via Red Bull Records, “Movie” is the first single off the South Central artists’ release of Sixtape 2, the sequel to their 2019 collaborative mixtape.
“Me and Bino are like Shaq and Kobe, it’s only right we doubled back for part two to tear the summer up,” said Blxst of the release. “LA is looking good right now; we have to keep the torch lit.”
“When Sixtape dropped it felt like everything tha city needed that summer…from bad b*****s to street n****s to old folks and kids,” says Bino Rideaux. “Me and Blxst on a tracc together guaranteed to bring that vibe out you.”