ARI JOSHUA'S RAAR TRIO; On the Making Of “Kambo Wambo (extended version)”
Can you share any interesting or unique musical elements or production techniques used in "Kambo Wambo (extended version)?"
The session was held at the end of the pandemic. Trey Anastasio held an ongoing weekly concert series at The Beacon Theater where he was able to fly in his bandmates and quarantine them as the weeks went by. They raised a bunch of money to open up a rehab center in Vermont. Russ and I had spoken about doing some recording together. I love the organ trio format, and we were about to record remotely as the Beacon Jams were announced. Thanks in part to the protocols they used, I was invited to fly out to Burlington and isolate for some recording. I used the time to compose and rest up. Since then I have been out to Vermont to make music a few times, including another session there at Tank Recording. Ben Collette is the engineer in the session. He has been the audio guy for PHISH for years, so he had some of Trey’s equipment laying around and a lot of really beautiful gear. Other than that this track was basically a one-take wonder. We just played it and ultimately chopped it up to make a shorter version.
The shorter version will come out in September, but meanwhile, this version is about 20 minutes of us just jamming. It was tracked on the first day, we did about 5 days all in all. I played the melody loosely, and then later went and laid down the harmony parts on the melody. Russ is so good at this style of playing, it was a quick one to play. There are a few time changes, and the form is like a 6-bar form, so in some ways, there is an element or a technique there. Those guys are some of my favorite players, just a lot of fun to hang with. Ray had all these stories he would tell on the breaks, and Russ is like the kind of person like I felt like I knew. He has a real east coast thing going on, and having lived out there for a long stretch of time, it was really comforting to be around as well.
Were there any memorable or standout moments during the recording sessions for this release?
Waking up in the ice and snow every day and getting in my rental van and driving across town, going for walks, and just taking in the city. The music is great. There’s a whole batch of music on this release called The RaAR EP. The song for Ray was great to track because it was written for organist Ray Pacskowski. Rae of Light was written for one of my grandmothers, and Grammama was for my other grandmother. The songs really came to life in post-production and mixing. My grandmother Rae passed away shortly after the song was completed, but she had her nurses hold the phone up to her ears all the way up to the end. I packed a lot of love into the song, the lyrics were all for her.
“Rae, soaks up the sun, and smiles the rain away. Rae, even a song could never tell how much you're loved by all”. In this case, the song does tell, but she was just so loved by so many, and she had been through so much. Losing 2 sons, and her husband, and surviving cancer, all of that and still so positive and smiling. The other great moment was driving up the snowy hills to Ray’s place, and rehearsing in a wooden barn. The hours went by and the van got stuck and we pushed it out back on the road from the driveway. Good times.
What do you like the best about "Kambo Wambo (extended version)?"
The solid drum grooves, and clavinet rhythms, and the looseness of it. There are even a few mistakes in there like we were just learning the song. But that’s all good, it’s a point in time. The song was written with plant medicine in mind. It really feels like for a while we get into the jungle, and just sit there in the scenery. The sound of the crickets, and bugs, the artwork is also phenomenal for that. Martin Ontiveros did the art, and it was like I saw it, and that was it.
How do you translate your inspirations into musical ideas and compositions?
I let god do that for me basically. I just try to show up, and be present. If I was asked to write on a deadline or for a topic, I could draw from that. When there is a recording on the horizon, I get inspired by the folks I am about to work with. I write for them, for what I imagine they may vibe with. Other times I just sit down to play and the muse comes out to say hi. Most of the stuff I write never gets heard. It’s really a tip of the iceberg kind of thing. I sit down and make stuff up all the time, maybe 1 in 10 ideas gets written down. Of that maybe 1 out of those 10 may get recorded.
How has technology influenced the way you approach composition?
There was a solid 10-year phase where I used Ableton all the time. I wrote with loops, and I got pretty good and working with midi, and cutting things up on the computer. I miss that. When I get serious, I pull out my boss' looper and write sections and interlocking ideas. Other than that I guess I am pretty old school fundamentally. I have a big hard drive full of sessions on Ableton, I did a deep dive on that. I hope I can find some producers I can jam with, and compose with via the laptops thing. There is no substitute for having a band to work stuff out with regularly. I had some really wonderful periods of time where I had close musical partners. That was the best.
Alec Berlin ‘Space Punk and Other Junk’
Bombastic, charismatic. Alec Berlin takes listeners to a galaxy far, far away in Space Punk and Other Junk. Vivid sonic palettes bring an 80s’ futurism in a smooth smash of vintage aesthetic to life. Retro and fantastic world-building blossoming in the captivating riff of “ba ba lum.” Like a flavorful cocktail under a night of spontaneity leading to many unexpected encounters, there’s plenty of charm and intoxicating sparks in this fictitious world of sounds.
Berlin essentially builds a society in Space Punk and Other Junk. Heartwarming and eccentric, awe-evoking and distant, but somehow, there’s a deep sense of belonging. Memories are made, connections are formed. There’s so much to love and remember on top of the swirling otherworldliness under the disco lights. “Man’s Best Friend” is an heartwarming track filled with eye-opening flamboyance, humor and fun-loving. “Beat Confabulator (All Night on the Floor)“ gets under your skin with sensory solos that remind you of killer dance moves that never cease to impress. “LaNoise” retreats into laid-back, lounge mode with bluesy notes and bending notes.
“Life in the Bog” then ventures into the dangerous underworld full of unknown and egotism. Scenic dissonance and dramatic distortion brings a shift to the view. “Flatbush Jaywalk” brings a kind of urgency, coolness and tangle from Bond movies. “President’s Day,” on the other hand, feels most personal. With foot-stomping intimacy and heartwarming intricacy, the track is entangled in emotions and thoughts.
There’s a different scene in every track and its beauty awaits for you to discover.
Read our interview with Berlin where we talk about Space Punk.
Punk Head: I love how “Space Punk” is a smash of futurism and vintage aesthetic. Tell me more about this track. Are there any images that pop into your head while you were working on creating the track?
Alec Berlin: Honestly, I thought a lot about Star Wars - the first one, that came out in 1977. I was a Star Wars kid, saw it an embarrassing amount of times in the theater, completely ate it up. I was the target audience. And I think they did a great job of, to use your phrase, “smashing futurism and vintage” - ‘cuz there were all of these spaceships (futuristic), but they were all beaten up, dented, dusty, etc (vintage). I mean - “A long time ago in a galaxy far far away” - it’s vintage right from the jump, but we’re bombarded with images that we associate with the future - laser beams and whatnot.
So I had that in mind a lot when I was working on the track “Space Punk” in particular, and on all the songs on this record in general.
PH: Can you talk about any standout tracks on the album and what makes them special to you?
Berlin: Not really. They all surprised me, at each step of the way - writing, performing, recording, mixing. The thing I kept an eye (and ear) out for was if I found myself thinking “You know what would be cool? What if I tried THIS?” If that thought arises, that’s a pretty good indication that you are tuned in to your muse, you are reaching for things that feel true and honest and exciting to yourself. I definitely had that experience on the song “Man’s Best Friend” - the section in the middle that sort of references the Jackson 5. Or in the weirdo chord changes on LaNoise. Or the high-pitched, whistle-like melody on “Patchen Avenue”. Or the layered guitars at the end of “What I Wish I Had Said”. I could go on, but those are all examples of times when I listened really closely to my instincts - and it paid off!
PH: How does this album reflect your growth as an artist?
Berlin: Well. The previous 2 albums that I released both had lyrics and singing. And in fact I wrote a 3rd album that I didn’t actually record - it too had lyrics and singing. I might get around to recording some or all of that material some day. But for whatever reason, when I set out to write this music, I wanted to simplify the creative process, so I just bypassed the step of writing lyrics. I think a lot (most? all?) of these songs COULD have lyrics, but I wanted the challenge of creating a listening experience that is every bit as compelling and diverse as if there were a singer - except I didn’t want to have a singer.
So in that way, it’s completely different from the previous records that I made. (Well, I also made a jazz record, called “Crossing Paths” - that too is an instrumental album, but in that case I really approached it like a live performance. In this case I didn’t want to do that. And I didn’t want to adhere to a particular idiom.)
PH: Can you tell us more about you as an artist?
Berlin: Sincere. Either lazy or driven, depending on the day you ask me. I have a tremendous amount of faith in my taste. That’ll steer your ship through all kinds of rough seas.
PH: What would you like to tell your supporters out there?
Berlin: Listen to my music! Space Punk and Other Junk has 12 songs, they’re all available on all streaming platforms. Check them out, click “like”, “follow”, etc, and TELL YOUR FRIENDS! Thanks!
SINGLE REVIEW: LINDA “BALLAD OF ABIGAIL”
Discovery
Photo credit: Istvan Haag
“Ballad of Abigail“ is a new single from LINDA’s upcoming album Trip To Myself. It is a monologue that roughly inspired by a villain, Abigail Williams who was one of the first children to accuse their neighbors of witchcraft which eventually led to the Salem witch trials. Curious about what was truly on her mind and her intention, who was never given a voice in history, LINDA wrote the song because she sees them.
From intimate storytelling between a light piano and a captivating vocal, gradually adding percussion and a thin layer of pads and guitar. The stretching tension is all in LINDA’s voice where it goes up into the sky and keeps rising above the clouds and blossoming into a cathartic, psychotic full-on powerhouse that reminded you of many legendary female punk rockers such as Hole and Paramore.
She takes you on an adventure and emotional roller coaster. “Ballad of Abigail” is theatrical and powerful where the influence of Lady Gaga, Guns and Roses, and Miley Cyrus is somewhere unintentionally yet tastefully hidden. As a strong woman who competes in national flying competitions, LINDA’s heart goes to women in the male-dominated field who have not been given a voice or fair treatment, which became the core idea and inspiration for her upcoming album Trip To Myself.
SINGLE REVIEW: OGGY “Find My Way”
Discovery
Photo credit: OGGY
Growing up in a small town in Croatia, OGGY’s music path was off to a harsh start. Despite the challenges ahead, the artist has never stopped pursuing her dream as a musician. Through years of fighting back against the current, guided by passion and love, the singer is coming back with her third single.
“Find My Way” channeled the best of the old 80s vibes, fusing into today’s sonics. Inspired by heartbreak and finding love again, the song announces its presence with a storming rockscape.
Minimal piano, synth wave, punchy percussion with old time stamp, and striking guitar create a heavy, nostalgic texture rooted in live music. Like the flashing disco light that keeps on swirling and dreaming, “Find My Way” evokes something inside you that eagerly wants to come out.
Simple but powerful lyricism aims to connect and relate. “I will find my way out of this pain. I’ll wait till I can love again” speaks to many broken hearts who are on the edge of believing in love. Like the dynamic 80s and never-ending parties, there’s a healing, uplifting energy preserved in the song that connects and finds strength.
Written by Katrina Yang
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SINGLE REVIEW: JEFF SYMONDS “EMILY”
Discovery
Photo credit: Susee Witt
“Emily” evokes many memories of an earlier time for rock n roll. Electric rhythm, fuller backing vocals, and a fuller, live-band sound with a storyline that is entrancing while remained an emotional distance with its storytelling.
The percussion-driven track has created the perfect sonics for imagination. The introspective guitar solo and expressive percussion that intertwines with the vocal line. The backing vocal fills between the guitars and bass, creating a smooth layer with nostalgic vibes.
“With saying goodbye to someone who’s needed her for all these years; Emily says she is so bad at decisions, she has fears: But I don’t mind I don’t mind”
Revolving around a love triangle of the main character, Emily, who has gotten herself between her toxic old boyfriend and a new guy, circling back and forth with tears. Spiraling down with no return, Jeff Symonds has told the story in the most straightforward yet impressive way.
With simple lyricism and thickening plots, the story unravels before your eyes in “Emily.” The track was inspired by an early personal experience, making a catchy, danceable comeback remembering the frustration and struggles of the early years.
Written by Katrina Yang
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SINGLE REVIEW: ECHO COAST “SYMPHONY OF SOUND”
Discovery
“Symphony of Sound” has the breath of life in its sound. Inspired by the ebbs and flows living on the South Coast of England when lockdown finally came to an end, the song has a positive outlook on life with a bitter tone underneath. Stretching into history, memory, and atmosphere with raw, witty lyricism, “Symphony of Sound” has a poetic approach to the surrounding stories and sounds.
Echo Coast is a creative project of singer songwriter James Hobbs. The artist experiments around influences and the expansion of its color palettes on the song, surprises you with interesting twists and turns at every corner. The visual composes of footages with warmth and witness, resonating with the vibe.
Revolving around the downs and misfortunes in life, the song is off to an electric, rock n roll start. “When this world is breaking your heart, when you don’t know where to start. You got a stone in your shoe, and the light don’t follow you.” Although the lyrics might not be so bright, the contrasting musical elements is an ironic touch that light up the mood.
It goes to a bridge with a periodic pause and asks you a simple question, if nothing ever changes, and everything’s the same, what’s the point of life? Before it jumps into a vibrant symphonic chorus. Instead of defining the answer, the artist offered a gateway for individual interpretation.
Written by Katrina Yang
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ALBUM REVIEW: M.A.G.S ‘SAY THINGS THAT MATTER’
Album of the Week
Photo credit: Avi Loud
Say Things That Matter instantly fills up the space with its vibrant, adventurous shoegazing sonic bath. Characterized by bizarre, stimulated sonic adventures and straightforward lyricism, the resounding reverberant waves continue stretching those lazy, infectious tentacles to the furthest, reaching to anyone who hasn’t heard the magic word, M.A.G.S.
Located in Los Angeles, California, M.A.G.S is a rising artist/producer with great versatility and rich musical vocabulary. Electric guitars may only have six strings, but they become chatty and radiant full of creative new phrases and endless possibilities in M.A.G.S's hands. Like a chameleon that constantly adapts to the surroundings, no matter how bizarre the colors. M.A.G.S continues to surprise you within the three short minutes of each song and the distinctly characteristic 14 tracks on Say Things That Matter.
The magic treasure chest opens its mouth and swallows you into a psychedelic adventure of a charming, kooky world in the warm lo-fi crackles. Flashbacks and shattered pieces of sound add to its sonic collection. No matter how far it has gone, the nostalgic past will always follow you—something to hold on to when you’re losing control.
M.A.G.S music remains a mercurial nature throughout the ebbs and flows of the album. An energetic delight followed by a swirling lo-fi “intro.” Hypnotic, bouncy sound wall splits the time and space into playful little pieces, regrouping into various colors. It escalates into a massive, fast-paced “Waits,” leading you into a fiery, manic world of electric guitar. After a chaotic, exotic encounter, the album temporary rest on a soft, melancholy world of feelings,
Leading by a bendy, bluesy guitar riff earworm, “Sunrise” concludes the album with a revived new beginning with a sense of awe and wonder. There’s no guarantee of where M.A.G.S will take us in the next adventure, but one thing we know for sure is that it would be a place where no man has been before.
Written by Katrina Yang
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SINGLE REVIEW: NICK CODY AND THE HEARTACHE “YOU GOTTA MOVE”
Discovery
Vibration, moment, beauty, and energy; the saucy blues and rock combination on a soulful express. The electric, spirited sophomore release “You Gotta Move” from Nick Cody and The Heartache is a wonderful delight.
Revolving around a captivating hook, the melody sticks in your mind like an earworm cheerfully jumping and dancing around. “You Gotta move real slow, give your body and mind the chance to grow.”
You find yourself humming the familiar melody wherever you go. Can’t help but move your body, uplifted by its lighthearted energy.
Finding stillness in the constant motion, “You Gotta Move” has a calm, inspiring aura. Foot-tapping rhythm with light instrumentation, highlighting an authentic, flavorful vocal expression and lyrical line.
A fast-paced shaker taking a step forward in motion with a soulful choir in the background adding a spiritual experience. Introducing various instruments and percussive elements, the track travels freely in styles and genres, being its truthful self. A fluid-like texture sparks and reflects from underneath.
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