Tag: Piano’s

 


Currently comprised of Andrew Kissel (vocals, guitar, piano), Travis Pinkston (bass, vocals) and Brian Yurachek (drums, percussion), the New York-based indie rock act Valentin Marx originally formed in 2012. Shortly after their formation, they wrote, recorded and released their debut EP, which lead to shows at a number of renowned indie venues across town — including Piano’s, Arlene’s Grocery, Berlin Under A and Pete’s Candy Store and others. Since their formation, the band has gone through a lineup change while retaining the sound that first won them attention locally. 

Interestingly, the lineup change has resulted in a much more collaborative approach to their songwriting and recording, utilizing the skills and life experiences of each of the band’s members.  Their new single, the jangling and anthemic “Made Up” recalls 120 Minutes-era MTV but as the band notes the song is rooted in the frustration and disappointment surrounding modern relationships. Despite the fact that we’re all constantly connected to each other with Instagram, Snapchat, Facebook, Twitter and online dating sites, no one is actually having an authentic and meaningful interaction. 

 

 

 

Founded by some of the originators of CMJ and its long-running CMJ Marathon, Mondo.NYC is a music, technology and innovation-based festival that within its first couple years has quietly taken the place of both the CMJ Marathon and New Music Seminar’s New Music Nights Festival. Now, as you may recall, the third edition of Mondo.NYC took place last week and it found the global, emerging music, technology and innovation conference moving a few miles east across the East River to Williamsburg, Brooklyn with  The Williamsburg Hotel,Rough Trade and Brooklyn Bowl hosting daytime conference-related events hosted by  The Recording Industry Association of America (RIAA), Guild of Music Supervisors,Record Store Day, and others meant to connect fans, artists, music industry professionals, business pioneers and leading names in tech and music to network, trade ideas and learn in a rapidly changing industry landscape. Additionally, the panels, talks and other events were meant to inspire young people to take control of their careers — whether they were heading towards a technological-based career, behind the scenes in A&R, marketing, promotion, management and publicity or up in front as an artist.

Live music showcases took place across a handful of venues in the New York metropolitan area, including the aforementioned Brooklyn Bowl, Piano’s, Berlin, Arlene’s Grocery,  Coney Island Baby, The Delancey, DROM, Hank’s Saloon, Niagara, N.O.R.D. and Jersey City’s White Eagle Hall that featured artists from the US, Switzerland, Sweden, Hungary, Canada, France and elsewhere performing music across a wide array of genres and styles.

One of the artists who played during the music festival portion was the Swedish adult contemporary pop artist ELINDA, the collaborative music project of the Ekerö, Sweden-born, Stockholm, Sweden-based singer/songwriter and dancer Linda Östergren Frithiof and her husband, multi-instrumentalist and producer Mikael Frihiof. Linda Östergren Frithiof can trace the origins of her performing career as a trained dancer, studying at  the Lasse Kühler Dansskola School and the Ballet Academy, one of Scandinavia’s leading dance schools. While training as a dancer, it was discovered that Östergren Frithiof had a commanding voice and once she graduated dance school, she began performing at nightclubs, cabarets, vacation resorts, cruise ships and corporate events before landing gigs as a backup singer for a number of major Scandinavian artists including Magnus Uggla, Markoolio and E-Type, Shirley Clamp, Martin Stenmarck and Charlotte Perrelli, as well as Lutricia McNeal. She’s also sang vocal demos for Celine Dion, and collaborated with the likes of Leif Larsson and Anders Borgius for Swedish artists like Björn Skifs and David Hasselhoff. (Yes, David Hasselhoff.)

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Adding to a rather diverse and eclectic career path, Östergren Frithiof has played Sally Bowles in the Stockholm-based production of Cabaret and Joanne in the Stockholm-based production of RENT before joining The Original Band — The Abba Tribute, which features a number of musicians who have played with ABBA either on their records or tours. Additionally, Östergren Frithiof, was involved in the casting, choreography and scripting for the show, which has toured across Sweden and has performed in China several times, including a televised audience of more than 100 million viewers for the Chinese New Year broadcast.

Östergren Frithof, has been building up a profile as a solo artist largely inspired by the sounds, vocal styles and stage shows of Celine Dion, Whitney Houston, Chaka Khan, Prince, Justin Timberlake,Beyonce, Alicia Keys, Ariana Grande and Bruno Mars. With her husband and collaborator Mikael, they formed a label Breaking Records and began writing and recording original material that draws from her own life, centered around her struggles and victories as an artist and mother of five. Interestingly, her MONDO.NYC set at Piano’s was her Stateside debut and I spoke to the up-and-coming Swedish adult contemporary pop artist and her husband at P.J. Clarke’s Lincoln Center location about her career to date, the MONDO.NYC Festival, her dance floor friendly, feminist anthem “Superwoman” and a lot more. Check it out.

Preview: MONDO.NYC 2018

Founded by some of the originators of CMJ and its long-running CMJ Marathon, Mondo.NYC is a music, technology and innovation-based festival that within its first couple years has quietly taken the place of both the CMJ Marathon and New Music Seminar’s New Music Nights Festival. Interestingly, the third edition of Mondo.NYC, which will take place October 2, 2018 – October 5, 2018 finds the global, emerging music, technology and innovation conference moving east across the East River to Williamsburg with The Williamsburg Hotel, Rough Trade and Brooklyn Bowl hosting daytime conference-related events. Interestingly, those daytime events feature partnerships with The Recording Industry Association of America (RIAA), Guild of Music Supervisors, Record Store Day, a collection of international consular and export agencies and others to connect fans, artists, music industry professionals, business pioneers and veterans, leading names in tech and music to network, trade ideas and learn in a rapidly changing industry landscape as well as inspired others to become the industry leaders and up-and-coming artists of the future. Live music will take place on both sides of the East River with showcases being hosted by the aforementioned Brooklyn Bowl, Piano’s, Berlin, Arlene’s Grocery,  Coney Island Baby, The Delancey, DROM, Hank’s Saloon, Niagara and N.O.R.D.

Some quick highlights include:

  • RIAA hosts “Everything You Need to Know About Streaming Revenue and Policy in One Hour”
  • Guild of Music Supervisors NYC Education Event & Film Fest, an immersive full-day symposium to meet, network and learn from some of the top music supervisors and industry executives in the business, that will take place at The Williamsburg Hotel, October 5.
  • Record Store Day presents “A Conversation With…” Series at Rough Trade Records
  • The Second Annual Marauder Radio Room @ Pianos — College stations record interviews and live sessions with Mondo showcasing artists.
  • MusicTech Day @ Mondo.NYC hosted by Brian Zisk
  • Northern Beat: Indigenous Canadian New Music Showcase at the Metropolitan Museum of Art with iskwé, DJ Shub with James Jones and Elisapie
  • HOTS, The Hungarian Music Export Bureau, presents Breakthrough Artists from Hungary Ivan & the Parazol and Mörk
  • SWISS LIVE TALENTS present KT Gorique, The Last Moan, Sophie De Quay & The Waveguards, Eliane Amherd

Mondo’s speakers include key leaders from the emerging music and frontier tech industries:

●      Preeti Adhikary, VP of Marketing, FuseMachines

●      Danielle Aguirre, General Counsel, National Music Publishers’ Association

●      Lauren Apolito, SVP Strategy & Business Development, Rumblefish/HFA

●      Shelita Burke, Pop Star/Data Scientist

●      Bryan Calhoun

●      Susanna Choe, Co-Founder, Peace Accelerators

●      Thomas Emmanuel, US Business Development Advisor, Sonm

●      David Garrity, Partner, BTBlock

●      Mitch Glazier, President, RIAA

●      Adam Huttler, General Partner, Exponential Creativity Ventures

●      Lenny Kaye, Artist, Guitarist for The Patti Smith Group

●      Scott Kessler, Director of Business Development, L03 Energy

●      Tammy Khan, Partner, BTBlock

●      Clara Kim, General Counsel, ASCAP

●      Michael Kurtz, Co-Founder, Record Store Day

●      Andrew Levine, Content Director, Steemit

●      Jonathan McHugh, Director/Producer/Music Supervisor

●      Arjun Mendhi, CEO, MTonomy

●      Tatiana Moroz, Founder, TATIANACOIN

●      Ed Morris, Co-Founder and Director, Gate Reality

●      Rohan Reddy, Co-Founder, Y2X

●      Emma Reeves, Executive Director, Free the Bird

●      Jordan Rudess, Keyboardist/Composer, Dream Theater

●      Xander Schultz, VC, Galaxy Investment Partners

●      Cary Sherman, CEO, RIAA

●      Stephen White, CEO, Dubset

●      Bill Wilson, Co-Founder, Indie Ninja

●      Brian Zisk, Co-Founder/Executive Producer, SF MusicTech Summit

●      Shoshana Zisk, General Counsel, George Clinton Enterprises

 

Of course, I’m looking extremely forward to catching some of the incredibly diverse music offerings, including:

 

  • Omar Souleyman (Syria)
  • Laxmi Bomb (India)
  • Lord Esperanza (France)
  • Crosa Rosa (UK)
  • Kingswood (Australia)
  • Sevi Ettinger (China)
  • Mörk and Ivan & The Parazol (Hungary)
  • Eliane Amherd and Sophie de Quay & The Wave Guards (Switzerland)
  • DJ Shub, Elisapie, Goodbye Honolulu, iskwé, Karimah, and Kielley Koyote (Canada)
  • BriGuel, Girl Skin and HoneyChrome, RYAL (NYC)
  • THRILLCHASER (Providence)
  • The Darbies (Los Angeles)
  • and a long list of others

 

For more information, including tickets, showcases, talks and more, go the following: https://mondo.nyc

Hopefully, I’ll be covering the events of the conference, and if so, be on the lookout for a variety of live conference through my various social accounts:

Twitter: @yankee32879

Twitter: @williamhelms3rd

Instagram: @william_ruben_helms

New Video: The Floral and Femme Punk-Inspired Visuals for Taleen Kali’s “Half Lie”

Last month, I wrote about Taleen Kali, an up-and-coming Los Angeles-based singer/songwriter and musician, who’s best known for being a member of TÜLIPS, and as  you may recall, after the band broke up, Kali decided go to solo — and within a relatively short period of time, she developed a reputation for being one of her hometown’s next big artists, as she’s opened for the likes of Madame Gandhi and Kimya Dawson, and has played sets at Echo Park Rising Festival, Mothership Festival and Women Fuck Shit Up Fest.

“Half Lie,” the first single off her soon-to-be released Kristin Kontrol-produced EP Soul Songs, has received to attention from the likes of Stereogum and others, and it shouldn’t be surprising as it’s a decidedly New Wave-like take on noise rock that will remind some listeners of Gothic Tropic,Dum Dum Girls, Dirty Ghosts — but while interestingly enough nodding at Go-Gos and others, complete with an infectious, arena rock hook. And much like “Lost & Bound,” “Half Lie” reveals an artist, who can effortlessly walk a tightrope between a slick studio sheen and a scuzzy punk rock air — without feeling contrived or ridiculous.

Centered around a concept devised by its director Leila Jarman, the recently released video is all about bright, springtime colors and as Kali told The Grey Estates,  “The video for ‘Half Lie’ is all about floral femme with a punk rock edge…it expands on the theme of the song, which is about half truths we hear from others, and the lies we tell ourselves. In the video, we celebrate the journey into new truths, turning them into ceremonies. The visuals depict lush rituals performed by some of my favorite L.A. artists, Madison René Knapp and Kayla Tange, who lead us up into the grand spiritual unveiling at the end.”

New Video: The Hauntingly Eerie 360º Visuals for Oginalii’s Moody and Slow-Burning “Substance Abuse”

Comprised of founding members Emma Hoeflinger (vocals, guitar) and Karolyn Winegarner (vocals, drums), and Kurt Kraft (bass), the Nashville, TN-based psych rock/sludge rock trio Oginalii derive their name from the Cherokee word for “my friend,” and the up-and-coming band can trace their origins to when its founding members met in the dorm hall they both shared while studying at Belmont University back in 2014 — with Kraft joining the band in 2016. 

Locally, the trio have developed a reputation for a sound that’s difficult to pin down, as their material finds the band at one moment playing slow-burning, dreamy shoegaze and then the next moment playing ripping, sludgy power chords paired with Hoeflinger and Winegarner harmonizing and trading vocals throughout; in fact, from what I understand the Nashville-based trio, who released their critically applauded debut EP earlier this year, won quite bit of attention from crowds at SXSW last week. 

Building on the growing buzz that the Nashville, TN-based trio has already received for their debut EP, their follow-up EP, The Grey is slated for an October 20, 2018 and while reportedly continuing in a similar sonic vein as its predecessor, the Curtis Roush-produced and engineered effort thematically focuses on “the grey.” As the trio’s Hoeflinger explains in press notes, “The grey [as a concept] has been a thing for me my whole life. The in-between. Black and white shuts the demons up, but the grey is always constantly calling my name. It’s in between the grey of things that not  a lot of people talk about.” And as a result, the material discusses the sensation of feeling lost, the space between the inner self, which you rarely reveal and the out self, which you present to the world — but interestingly enough the material balancing pensiveness, with a tongue-in-check irony at other points while  being self-aware of both. “Substance Abuse,” the EP’s firs single and opening track begins with a slow-burning and mournful jangling reminiscent of Mazzy Star but boozier and bluesier with a chugging, sludgy chorus and an anthemic, beer raising, fist pumping chorus; however, throughout the song, it’s narrator is desperately and transparently putting on a brave face, smiling and claiming that everything is fine, when it’s obvious that everything is on the verge of complete 
collapse. 

The recently released 360º virtual reality video features the band performing the song in a basement that quickly turns into an eerie and ominous graveyard with bare, swaying trees just above them with haunting cult-like figures surrounding them. It’s incredibly creepy and further evokes the sense that something isn’t quite right.