Check out these photos from Monday’s private Childish Gambino performance in Tribeca, courtesy of WSN photographer and contributing writer Adam Kargenian.
Check out these photos from Monday’s private Childish Gambino performance in Tribeca, courtesy of WSN photographer and contributing writer Adam Kargenian.
Although the holiday season is in full swing, Christmas day is still a few weeks away.
That didn’t stop Brooklyn-based indie rock band Caveman from celebrating their own holiday called “Cavemas” during a decked-out — and sold-out — show at Bowery Ballroom on December 5.
With two Christmas trees and a blow-up Santa figure sporting a Caveman shirt placed onstage, along with many bows covering each amplifier and microphone, it was clear that the holiday spirit was in the air.
Before Caveman’s set, a dream pop group known as Vacationer, who hail from chilly Philadelphia, filled the ballroom with groovy, feel-good tunes that had an evident “tropical getaway” kind of mood. While it somewhat clashed with all the festive holiday decorations, Vacationer’s set brought the good vibes with songs like “Trip” and “Everyone Knows,” both of which are off the band’s first LP, “Gone.”
As Vacationer’s set continued, they debuted two new songs to the audience. The group’s lead vocalist, Kenny Vasoli — formerly of pop-punk band The Starting Line — stated that the band is in the midst of mixing their upcoming sophomore record, which should be released sometime next year.
Following Vacationer’s performance, the members of Caveman took over the stage and began playing in front of an animated snowflake backdrop, which transformed into a Christmas tree and other seasonal images throughout the night. In the middle of the set, the band’s main vocalist, Matthew Iwanusa, declared his love for Bowery Ballroom, calling it his “favorite venue in all of New York City,” and one that he snuck into several times during his youth.
Caveman then went on to perform the track “December 28th,” a song which Iwanusa wrote about his love for his fellow band members, and he dedicated it to the many fans in the audience who came out to support them. Another highlight of the set was the last song, “In the City,” which the band wrote about New York itself.
Perhaps the best surprise of the night, though, was a cozy cover of “I’m on Fire” by Bruce Springsteen, which Caveman played in front of a fiery background. Fans in the crowd sang along to the well-known classic, in what was a rather sweet bonding moment, even among strangers.
Despite the somewhat-disappointing fact that none of the night’s performances included any seasonal holiday tunes, the “Cavemas” celebration was still one of love, joy, and cheer — which is what the holidays are all about.
Kim Hart is a staff writer. Email her at firstname.lastname@example.org.
Brian Marquis is a powerhouse.
In 2012, he created the Acoustic Basement Stage for the Vans Warped Tour to showcase acoustic singer-songwriters, and the project branched off into an independent winter tour.
Marquis not only produces, but also performs on both projects. To top it off, he is currently finishing up his first full-length solo album, and is opening for Never Shout Never on “The Xmas Tour.”
Marquis sat down with WSN for an exclusive interview before his show at the Studio at Webster Hall on December 6 to discuss his solo music and the Acoustic Basement.
When Therefore I Am, the post-hardcore band in which Marquis played guitar, broke up in 2010, Marquis seized the opportunity to pursue long-brewing creative urges.
“Towards the end of Therefore I Am, I already felt a creative need to do something else that was all under my control,” Marquis said. “So I started writing some solo stuff that was very stripped down and easy to do by myself.”
After the breakup, the east-coast native found himself “bummed out” in Boston. So he moved to Los Angeles, where he met with Warped Tour founder Kevin Lyman, in hopes of finding a job on the tour. Marquis proposed the idea of an acoustic stage, and Lyman jumped on board, hiring him to produce it.
“I called it the Acoustic Basement Stage because I wanted to foster the idea and the vibe of a basement show,” Marquis said. “And I thought it would be cool to carry that experience on to Warped Tour.”
Marquis carved a niche for himself in the Warped Tour scene. In between producing and managing the stage, he performed a daily set. The stage was such a success that Marquis created the Acoustic Basement tour, which runs in the winter and also features him as a performer.
“It’s definitely become a job to do both those things, but I’m stoked because it’s a job I love. And I get to play, so that’s the bonus.”
And play he does. His forthcoming album—pending a release date, but will hopefully be released before summer 2014—will be a conglomerate of his many influences. Marquis’ father played folk and blues, and introduced him to singer-songwriters like James Taylor, Van Morrison, Jackson Brown, and Townes Van Zandt. Marquis also draws inspiration from his contemporaries Chuck Ragan, Frank Turner, and Rocky Votolato, who, like him, have created solo projects after being a part of the punk and hardcore scenes.
“Just by listening to them and knowing some of them, all those guys gave me the courage to do the solo thing myself.”
But Marquis does not rule out the idea of expanding his touring band.
“I’d love to do a different experience every time, you know—do a tour with a band, do a tour solo…do a tour with a full orchestra. I write my songs so they can exist on their own, but there’s always room to expand.”
The Acoustic Basement Tour, featuring Transit, Hit the Lights, Brian Marquis and Front Porch Step, will stop in New York City on January 31, 2014 at Santo’s Party House.
Alyssa Buffenstein is a contributing writer. Email her at email@example.com.
Nineteen year-old London native Archy Marshall, better known as King Krule, is a living contradiction.
With his small frame, pale skin, and delicate features he looks timid and fragile. Yet his voice is a shockingly deep and raw yowl with which he blurts out lyrics loudly and unapologetically.
He is backed by a jazz band and dexterously plays an electric guitar with the proficiency of an older man, but his descriptive, moody lyrics are effective reminders of his youth.
At Webster Hall on November 4th, Marshall serenaded the packed venue with songs from both his full-length debut “6 Feet Below the Moon.” and his self-titled 2011 EP.
He welcomed the excitable crowd with a vigorous rendition of “Has This Hit?” When Marshall bellowed acapella: “I know when I look into the sky there is no meaning / Girl I’m the only one believing,” the crowd enthusiastically joined him. He proceeded immediately with the subdued, hollow textures of “Ceiling,” and then set aside his guitar to perform “Bleak Bake,” an older song in which Marshall tangles rapping and singing.
Other highlights of the hour-long set included the manic, jazzy chaos of “A Lizard State,” and Marshall’s first live performance of “Cementality.” He followed the debut with “Baby Blue,” a tender, candlelit, leisurely tune that he introduced as “a song about the sky.”
The young musician had the entire venue gripped in his small, skillful hands as he began to wind down the evening with the first song that he ever released, “Out Getting Ribs,” a lonely and bleak yet intimate track with arguably the best guitar melody of his repertoire.
He then closed the show with “Easy Easy,” a boorish, prowling song with a driving pulse that he wrote when he was thirteen. With this closer, Marshall again astounded the audience with an aged talent that surpasses his youth.
Alex Berner-Coe is a contributing writer. Email her at firstname.lastname@example.org.
This column will highlight the most notable moments in late night television of the previous week.
“Saturday Night Live” shined brightest this week in the late night world partly because it was one of the few shows not airing reruns but also because it was one of the best episodes this year. To kick off the last three episodes of 2013, Paul Rudd hosted for his third time with musical guest One Direction. Rudd’s previous hosting gigs proved he would be up for anything and go all out but he could also take a back seat. This is exactly what he did this Saturday as he played characters like Dan Charles, One Direction’s best fan, and a white version of Madea. But he wasn’t the only source of characters. The number and quality of guest stars usually reserved for when former cast members return to host made this episode quite special. It started in the cold open when Kristin Wiig returned as the big forehead-ed, baby handed, disgustingly open Judice in the “Sound of Music Live” inspired sketch.
Then during the monologue, when One Direction came on stage, Rudd called up his “man band,” resulting in his costars from “Anchorman 2,” Will Ferrell, Steve Carell, and David Koechner, joining him on stage and singing “Afternoon Delight.” Ferrell and Koechner also returned later in the show to rehash their old sketch involving drunken salesmen swapping stories of the legendary Bill Brasky.
While in the past this sketch almost always occurred during John Goodman-hosted episodes, Goodman will be hosting this upcoming Saturday and will surely be bringing back other sketches and guest stars of his own.
Weekend Update was also quite strong. Taran Killam returned to the desk as late 1800s critic Jebidiah Atkinson after the Internet blew up over his first appearance two weeks ago.
This character is quite clearly the next big favorite and could be Killam’s legacy as Stefon was for Bill Hader. Another great recurring Update character, Jacob the Bar Mitzvah boy played by Vanessa Bayer, pointed out something that surprisingly is just around the corner: Seth Meyers’ farewell to “SNL” to host “Late Night with Seth Meyers.” Depending on each shows schedule in January, Meyers might possibly only have two more episodes left as head writer and cohost of Weekend Update. Personally, I didn’t think I would miss Meyers as much as I did when they pointed to how little time he had left there.
“Late Night with Seth Meyers” is under way, however, as work on the show has already begun. The writing staff has been assembled with notable writers including Peter Grosz who writes for “The Colbert Report” and has acted in “Veep” and the Sonic commercials, Alex Baze who is somewhat Twitter famous and is the head writer for Weekend Update, and John Lutz, who played Lutz on “30 Rock”. Mike Shoemaker, producer for “SNL” and “Late Night with Jimmy Fallon” and co-creator of “The Awesomes” with his good friend Seth Meyers will be leading the “Meyers” team.
This week, with every show back on, I look forward to watching Stephen Colbert on “Late Show with David Letterman” and Snoop Lion on “Conan” on Monday and Jim Gaffigan on “Late Late Show with Craig Ferguson.”
Sean Hickey is a contributing writer. Email him at email@example.com
This column will recognize women in the arts, and celebrate all their accomplishments and contributions.
When Miley Cyrus ascended on to the stage at the VMAs, she was glorious. All anyone’s discussed since was how raunchy her performance was and how bad her outfit was and how stupid her hair looked, but personally, I think she was fabulous. And here’s why: Miley has asserted herself, whether or not it was her intention, as a sort of poster child of third wave feminism.
If you’ve been on the social blogging network Tumblr lately, you might’ve seen the army of young feminists forming. These are girls who have taken to the keyboard armed with nothing more than passion and a little bit of fury. These girls (myself being one of them) are making a new argument for feminism. This little army has gathered to finish the fight our mothers and grandmothers began. But even more than finish the fight, this little army is here to bring something new and radical to the battlefield: To secure our right to make our own decisions regarding all aspects of our lives and then be respected for whatever decisions we make.
If this doesn’t ring true to what Miley’s been doing lately, you’ve been living under a rock. Miley Cyrus, our very own Disney Channel child star, has shattered all barriers in the world of what she is supposed to do, and instead has decided to do exactly what she wants. And she wants to cut her hair, twerk, wear an outfit that looks like a band-aid, and she’s doing this in a very public way.
This brings up an interesting aspect of what I see as the basis of third wave feminism: While Miley wants to be an obviously sexual creature, this new wave of feminists is not necessarily centered around the fact that sex or nudity or the de-sexualization of the female body is the center of feminism. In fact, I recently saw a Tumblr post about Muslim girls against the pressures FEMEN, a radical feminist group, has put upon them to remove their scarves. These girls feel that wearing a Hijab is their own form of liberation, and that, unlike the women of FEMEN, nudity is not equivalent to liberation – rather that living your life in any way you chose and being respected for it, be it in the nude or in a Hijab is the foundation of this new revolution.
This is exactly what Miley is doing. She’s putting herself out there in a very public way, and we, as a society, have reacted in such a way that only confirms the importance of the newest wave of feminists. This time we’re asking for more than equal pay: We’re asking to have sex without being called sluts – or, perhaps even wilder, choose not to have sex without being called a prude. We’re asking to have careers without being seen as child-abandoners. We’re asking to be stay-at-home mothers without being less than our husbands who go to work every day.
We’re asking for respect like we’ve been giving the men of the world for centuries, and Miley Cyrus stands (or twerks) as a surprising third-wave feminist icon.
Addy Baird is a staff writer. Email her at firstname.lastname@example.org.
Jesor is not only and sophomore in Gallatin but also a talented and eclectic electronic music producer.
He is cryptic when asked what his name means, but after cultivating his skills for 7 years, Jake Ruttenburg no longer looks to stay anonymous. Soon to be releasing his first EP, “Work That,” he is ready to define his own music, and blur genres.
WSN sat down with Ruttenburg to discuss the new EP, and his artistic process.
Deriving influence from Brazilian producer Aman Tobin, Ruttenburg revealed he is searching for “interesting balance between this ambient and experimental and industrial sounding music with more dancier stuff.” It’s the sort of album that will leave listeners in a state of flux — it oscillates between dubstep and ambient house.
Incorporating smooth jazz chords on the EP’s first song, Jesor starts the EP off with relaxing sounds — a seeming mixture of Nujabes and Chemical Brothers.
Standout track “Wake Up Call” gives the EP cohesion as it continues motifs from preceding “Café.” The track has a sense of levity; it’s the type of song you would listen to cruising 30,000 feet over the Mediterranean in a private jet.
However, things don’t remain in this tone, as the track takes a surprising shift to metallic melody halfway through. This stylistic choice marks a division in the album; the first half is a light pregame to loosen you up for the second, where you’ll find the rhythm builds in your chest until your whole body palpitates to the thumping bass.
This visceral reaction is no coincidence; Ruttenburg explains that is music intends to elicit this sort of reaction.
“I mean a lot of my music to be visual,” he said. “My inspiration comes from seeing or hearing something in my head then being able to transcribe it into audio.”
With Jesor’s careful construction in mind, listeners are advised to appreciate the EP for one cohesive work.
“It is meant to be listened to from start to finish as an album like Pink Floyd’s “Dark Side of the Moon would,” Ruttenburg remarked, hoping to combat the standard that “most music in EDM these days are singles and the concept of an album really isn’t existent anymore.”
Though making music is important to Ruttenburg sees this EP as “music for other people to listen to.” “[This EP was] me just trying to prove to myself what I can do as an artist.”
“Work That”dropped on November 18th and can be purchased on Beatport.com. Check out more of Jesor’s music at souncloud.com/Jesor.
Adu Matory is a contributing writer. Email him at email@example.com.