#they should come back to irving plaza - i would love that

[exsqueezememacaroni]

ok ok, it's a good shirt i guess

Mike Patton with Mr. Bungle at Irving Plaza 1999 Photos by Kristin Callahan

[girlsbtrs]

How Being a Woman in Hardcore Helped Me Learn to Love Myself

Written by Jen Moglia. Graphic by Laura Cross. 

Since this is my first piece written for Girls Behind the Rock Show, I figured that I should introduce myself; hi, my name is Jennifer, but most people call me Jen. I live on Long Island in New York, and my favorite things include my cats, the color pink, giving gifts to my Animal Crossing villagers, and watching sports. Above all else, however, I love music.

I frequently refer to music as the love of my life. It somehow plays a role in everything that I do. I got my first iPod when I was five years old, stacked with everything from Miranda Cosgrove and Avril Lavigne to Tool and Deftones. Some of my favorite memories growing up are sitting in my pink and purple bedroom singing and dancing along to Paramore’s crushcrushcrush and Fall Out Boy’s Thnks Fr Th Mmrs on the local alternative radio station. I danced for 12 years, played cello for seven, and am currently a wannabe ukulele rockstar after buying one on impulse and starting to teach myself how to play four years ago. Even on the simplest, barely noticeable levels, music has been everywhere in my life for as long as I can remember; even now, I can’t complete a basic task without a song playing in my headphones.

Music became an even bigger part of my life when I started attending live shows. I went to my first concerts at age 10, seeing my two favorite artists - Nickelodeon boy band Big Time Rush and classic progressive rock band Rush - within one month of each other. By the time I was 15, I had been to my fair share of arena/seated shows with one or both of my parents, from Fifth Harmony to Fitz and the Tantrums to Alice in Chains. My first general admission show was seeing the Foo Fighters at Citi Field with both my mom and dad when I was 12, but my first pop-punk general admission show (yes, they’re different) came a few years later. I had the typical list of favorite bands that you would expect from a young teenager getting into alternative music: Neck Deep, Knuckle Puck, Real Friends, and State Champs. 

In late 2018, I was able to see all four of these bands for the first time, and I am a firm believer that it changed the course of my life. I met, cried-during, and eventually got the setlist for Neck Deep at Stereo Garden on Long Island in September. I sang all of “Untitled” at the barricade for Knuckle Puck at SI Hall at the Fairgrounds in Syracuse in October. I had my first minor concussion scare (yay!) before Real Friends’ set at Irving Plaza in New York City in November. Finally, I crowd surfed for the first time during State Champs’ anniversary show for The Finer Things at House of Independents in Asbury Park in December. After just a few shows, I had fallen in love with this new brand of live music that I had just been introduced too. There was something so magical to me about skin covered in sweat and Sharpie marks, feet hurting from dancing in the pit all night, and meeting strangers on line outside the venue who would become your best friends and know your deepest secrets by the end of the night.

After making some friends at all of the pop-punk shows I was going to, they started to tell me that I should get into hardcore music. I was hesitant at first - the heaviest thing I had listened to at that point was nowhere near the snippets of hardcore that my friends had played for me - but, eventually, I decided to give it a chance. I was bored and home alone with nothing to do one night over the summer of 2019 when I listened to my first hardcore album, Laugh Tracks by Knocked Loose. Immediately, I got that gut feeling that you have when you know you’ve heard one of your favorite bands for the first time. I knew that this was something special that I was meant to find at this point in my life. For the rest of the summer, I worked my way through the rest of my friends’ hardcore and hardcore-adjacent recommendations, with Cost of Living by Incendiary, Stage Four by Touche Amore, You’re Not You Anymore by Counterparts, Time & Space by Turnstile, Springtime and Blind by Fiddlehead, Smile! Aren’t You Happy by Absence of Mine, Bad to my World by Backtrack, and Reality Approaches by Harms Way being some of my favorites. By the time the next school year started, I was hooked, and I already had tickets to my first few hardcore shows in the fall.

My first hardcore show was in November 2019, seeing Knocked Loose at Webster Hall in New York City - fitting, right? They were on tour supporting their new record A Different Shade of Blue, which I had become obsessed with the minute I heard it for the first time. Although I was ridiculously scared of getting stepped on and breaking all my bones (yes, that was an actual fear of mine), I had the time of my life at that show. There was something about this newer kind of live music that prompted a cathartic release, one that I hadn’t found anywhere else before. As soon as the show was over, I was counting the days until my next one.

My love for live hardcore music (and live music and hardcore music in general) has only grown since then, and that story sort of ends there. However, I want to go back to that first hardcore band that I listened to, Knocked Loose, and the album they put out that first summer that stole my heart. I was taken by storm as soon as the first notes of A Different Shade of Blue rang through my headphones, but something was different about the third track, A Serpent’s Touch, particularly the ending; I heard a voice that sounded a little bit more like my own.

This song features Emma Boster, who does vocals for one of my favorite hardcore bands right now, Dying Wish. When I heard A Serpent’s Touch for the first time, though, I had no idea who she was. I was used to the aggressive vocal delivery of frontmen in hardcore, particularly that of Knocked Loose’s Bryan Garris, but hearing it come from her changed my perspective on a lot of things. It’s not like the song was super angry and changed its tune to be lighter once the token girl came along; in her verse, Boster sings, “I watched the venom / Overcome your spirit / Jealousy holds you now / Distorting your appearance / Bleed out.” These were lyrics that held the same intensity that the lines screamed by the men held, and they sounded just as cool coming out of her mouth. As cheesy as it sounds, it had never even occurred to me that women had a place in this new world that I had discovered. The audiences in the live videos I watched (and eventually at the shows I attended) were made up of mostly men who looked bigger and older than me. When I did start going to shows, most of the non-man population consisted of my friends and I. Emma Boster, along with so many others, began to open my eyes to the fact that a place for people like me existed in this community. It didn’t matter that I had bright red hair or liked butterflies or wore pink - I was just as much a part of this magic as the men multiple feet taller than me with tattoo-covered arms, and I belonged there just as much as they did.

As time went on and I got more involved in the genre’s music and community, I discovered more bands with women in them, and it only fueled this fire of empowerment inside of me. When I felt insecure, I’d watch live sets from Krimewatch, a hardcore band from New York City, just half an hour away from my hometown. They have multiple women as members, including their energetic badass of a vocalist, Rhylli Ogiura. Year of the Knife became one of my all-time favorites, and their bassist Madison Watkins became a serious inspiration to me; the way that she can balance killing it on stage and running the cutest, most pink apparel brand I’ve ever seen (aptly titled Candy Corpse) amazes me. Even some of the bands I’ve found more recently have had an impact on me. I started listening to Initiate last year when their EP Lavender came out, and their beautifully colorful cover art caught my eye before I had heard any of their songs. Their vocalist, Crystal Pak, is also a woman, and she’s insanely talented. Discovering this kind of representation in this new universe that I had come to feel so at home in introduced me to a world of confidence and determination that I had never known before.

When people ask me why I love hardcore so much, I often give the easy answer; “the music sounds good.” If the person allows me to ramble on for a little longer, the answer becomes much more emotional and cheesy. Hardcore taught me that speaking up for what I believe in is important, and if there’s something I’m passionate about, it’s worth shouting about. I became familiar with this when listening to one of my favorite bands ever, Incendiary (the second hardcore band I ever checked out), before quickly realizing that politics are a pretty common topic within the genre - it’s what this music was practically built on. The first time I heard their vocalist Brendan Garrone singing about police brutality and injustice on songs like Force of Neglect and Sell Your Cause, I realized that there is so much more to music than just sounding good.

However, at its core, the thing I love so much about hardcore is what it taught me about being a woman. Growing up, I was the loud girl with the personality bigger than the room who always had something to say and had a never ending supply of excitement about just about everything. As I got older, I was taught that this was not okay. People didn’t like how enthusiastic I was about everything, or that I constantly had new ideas and new discoveries I wanted to talk about. As cliche as it sounds, I felt like everyone around me was trying to dull my sparkle, especially some of the men that I was encountering on a day-to-day basis. Even when I started to come to terms with my big and bright personality, in turn also coming to terms with my own femininity, I was told that this wasn’t how girls acted. I had to pick one - I could watch Disney princess movies and wear Hello Kitty hair clips, or I could be outspoken about my beliefs; but never both. The women that I mentioned earlier, along with so, so many more, helped me unlearn these toxic mindsets. Seeing someone like Emma Boster take the stage and scream ferociously for a full set helped me see that I could be a girl and still be a powerhouse. Following Madi Watkins around on social media showed me that I could love bands like Year of the Knife and also love heart-shaped purses and wear pink from head to toe. My aggression and passion didn’t make me any less of a woman, and my femininity didn’t make me any less of a force to be reckoned with. 

So, at the end of this love letter to hardcore and the women who run it, I say this; thank you for teaching me that I don’t have to shrink myself anymore. It has made a world of a difference.

[qualitylu]

Big Time (l.h.)

Pairing: Reader x Luke

Requested: yes

@oh-annaa said: Hey bby!! Could I request an imagine if that’s not too much to ask? Could you write about me being an aspiring musician who met Luke at one of their smaller shows (preferably nyc) and we hit it off so we became like bffs and we really like each other but I don’t want to date him and have people think that I’m dating him for fame because I want to find success on my own (bc I’m stubborn and I need to do shit for myself) and you can go where you please with that happy ending tho pls tysm love ya💛

Word count: 2094

Summary: You’re an aspiring artist living in NYC and soon run into Luke who wants to help you advance your career but also date you.

April 2018

I was currently walking around New York City, making my way to the small cafe I usually played at. With my guitar in hand I opened the small shop door and awkwardly fit my guitar in-between my body and the door frame. “Still can’t figure out how to get through the door I see,” my favorite barista, Kaleb, joked lightly as I approached the counter. I asked for my usual before I began to set up while they made it. I sat my guitar case down in front as a makeshift tip jar. After that I set my Ibanez on the guitar stand that was available before I plugged the chord into the microphone that was lodged onto the stand. I rushed back over as Kaleb called my name as well as my order out into the small, serene place. I took a couple sips of the beverage before setting it down beside the stool. I sat down on the wooden furniture before angling the microphone to where it was right in front of my mouth. I picked up my guitar before I finally started speaking.

“Hi, guys,” I looked around the place to see if I could spot any of my regular viewers. Instead of waving to the small children that gawk at me I smiled at a new guy that had showed up. He had dirty blonde hair that was in loose curls, framing his strong features. I tucked a strand of hair behind my ear before lightly tuning my guitar for a second. I strummed the strings, causing the perfect sound to ring out through the small space. “I’m going to try something new today, an original song that I finished up last night. I hope you guys enjoy it.” 

After I finished up my set I began to pack up things when I noticed someone slip a hundred dollar bill into my guitar case. I looked up and noticed it was the new guy from earlier; I quickly stood up to thank him but before I could speak he cut me off. “You sounded really good. Have you ever played like in larger venues?” I shook my head no before telling him about how this was my usual spot for playing. His lips grew into a smile before he began to fish out his wallet form his back pocket. My eyes widened as he handed me a ticket, not really sure what to do with it and still in shock enough that I didn’t even look to who it said the band was, I just kind of look at him while his smile turned into a smirk. “My band is playing at the Irving Plaza if you want to stop by. My number’s on there so if you get there early, just send me a message and I’ll come let you in.” I nodded my head before thanking him for not only the money but the ticket. He smiled at my praise and sipped on his drink before heading out, leaving me questioning why he did what he did.

After a walk around the city to run a few errands I made my way back to my apartment. As I unlocked the door and set my guitar in it’s usual place I made my way to my small kitchen. I pulled an apple out from the fruit basket that sat on my counter, beginning to eat it as I scrolled through my twitter feed. I noticed a bunch of people going crazy and posting pictures of them with what seemed to be a famous band. I quickly stopped as you realized that one of them was the guy you met in the cafe. I pulled the ticket out of my pocket and read it to see who the band was. 5 Seconds of Summer. Woah, I thought. How could I have not realized that’s who it was, I had been listening to them for so long. I quickly texted the number that Luke had left me.

ME: be there soon, just got to my apartment and it’s right around the corner, I'll let you know when I'm outside

It wasn’t long until I received a text back.

LUKE: okay, we just got done with soundcheck, let me know.

I smiled before plugging my phone into the charger and hooking it up to the bluetooth speaker that was nearby. Do I Wanna Know? by Arctic Monkeys flooding through the room. I quickly changed into a yellow tube top, with my black brallette straps peaking out, paired with a pair of ripped skinny jeans and a pair of black suede, heeled boots. I put highlighter down the bridge of my nose and the tops of my cheekbones before heading out the door, my small purse hanging off my shoulder. As I rounded the corner towards the venue I sent Luke a message saying I was outside. It wasn’t long until the back stage door swung open and I was quickly pushed inside by a large man.

“Sorry, didn’t mean to rough hand you like that. Just didn’t want other fans to see the entrance.” The bodyguard gruffed while leading me into the dressing room area. My heart stopped as I saw Luke make his way over to me, giving me a small hug before introducing me to the rest of the people that were in there. I sat down on the couch next to Luke while he sat beside Calum. Everyone was chatting and having a few sips of different types of alcohol before Luke grabbed my attention. “You sounded really good today, was that your first original?” I shook my head no before speaking, “definitely not my first original but first one I’ve felt comfortable with preforming.” “Would you be willing to play it for the guys?” My eyes widened at his boldness and I shook my head slightly. “I don’t know, Luke, I’m not really comfortable.” “Well, whenever you’re ready of course. I really think you should join us on the rest of the tour. I could help you out, give you connections.” “That’s really sweet but I don’t want people to think I’m using you.” “You’re not when I’m offering.”

July 2018

I had decided to pick up my life in New York and follow 5 Seconds of Summer on the rest of their small tour. I had mustered up the courage to show them my original songs as well as some covers. I was currently subleasing an apartment outside of Los Angeles, due to it being the only one I could afford, and working with some of the producers Luke had introduced me to. Luke. How do I even describe how grateful I am for him. He helped jumpstart my career but that also came with people constantly hating on me for leeching off of him. I didn’t want to, I wanted to make it on my own but I couldn’t stop him from sneakily recording me while I was playing and sending it to one of his producer friends. It wasn’t long until I had someone reach out to me and told me they heard what Luke sent them and that they would love to work with me. I was pissed off at him for a little bit but I couldn’t be happier to see my music being played and produced professionally.

I was currently hanging out with Luke at his house, my hand resting on Petunia’s head while I watched Luke strum his guitar lightly, playing out small chords here and there. “Luke,” I started, grabbing his attention, “I just want to say thank you.” His eyebrows furrowed together and he sat his guitar down to hear what I had to say. “I really appreciate you taking a risk and sharing my music even though I didn’t want you to. It means a lot.” “I wouldn’t do it for anyone else. You’re really good and you deserve to be heard.” My heart fluttered at his words and he smiled at me when he noticed I had moved my attention back to Petunia. He would watch this everyday if he could, me petting Petunia and all of us living in his house. “Do you want to go out tonight?” I looked up at his words and shrugged my shoulders before speaking. “I don’t mind? Is there a party tonight?” “I don't,” he paused to inhale, trying to calm himself, “I meant like as a date? Do you want to go out, on a date?” I nodded my head yes before wrapping my arms around his neck and pressed my lips against his cheek.

I pulled back suddenly and remembered all the hate I got when I first started hanging around Luke. “Luke, I -- I can’t.” “Wait, what? Why?” “I don’t want them thinking I’m dating you just to boost my career and status. I do like you, I really do but I don’t think it’s best right now.” His head fell as well as my heart, looking at his face I weighed my options. “How about this,” his eyes met mine, “we date, but we don’t go out alone, if we go somewhere we show up at different times and leave at different times, but we can hang out at each other’s places and such alone. I know it doesn’t ideal but it could work, until everything dies down.” He nodded his head and gave me a weak smile. “I’ll pick you up from your place at 6?” He smirked, which caused me to smile before I left to go get ready.

It wasn’t long until I heard a knocking at my door and I rushed over to answer it. Luke stood in my doorway, holding a small bouquet of flowers, I quickly grabbed them and sat them on my counter before coming back to leave with him. His hand rested on the small of my back as he led me down the hallway towards the elevator. It was a small elevator to begin with and three people standing in it made it feel even smaller. Luke walked in first and turned me around so that we could both fit, my back resting against his front while one of his hands rested on my waist while the other fell to my hip. I smiled as felt him subconsciously pull me closer to him. Once the elevator opened I gripped his hand and lead him out towards the lobby. He changed positions with me and walked me out the car. I climbed into the passenger side seat and waited for Luke to come around. Once we were on the highway his hand rested on my thigh before I grabbed his hand and interlaced his fingers with mine.

“Where are we going?” I asked while rubbing my thumb along his knuckles. “I figured a club would be nice, what do you say?” My eyes widened but before I could speak about what we talked about earlier, Luke interrupted me. “I’m just playing with you, I made dinner at my place.” My open mouth soon turned into a goofy smile as I stared down at our interlocked hands. When reached Luke’s house he quickly rushed out to come over and open my door. I grabbed his hand as I climbed out and followed him into his house. My smile only grew as I saw the table was set with two plates, piled with food. It was nice to be with Luke, it felt natural, it felt like everything was right in the world. After we finished our dinner we moved to the couch to watch some movie on Netflix. I picked a rom-com type movie called Happy Gilmore and cuddled slightly into Luke’s chest. We both laughed at the funny parts and Luke chuckled when he noticed how emotional I got at the end scene. I pushed on his chest teasingly as I wiped away the few tears that had fallen. “You’re cute when you get like this,” Luke said while smiling, his eyes dropping from mine to my lips. His tongue dropped out to wet his lips before he leaned in and connected ours in a slow but meaningful kiss. My fingers wrapped around his neck and tangled into his hair as I brought him closer so he couldn’t pull away.

Once I let him go he let a breathy chuckle out before wrapping his arms around my waist as we continued our movie night. Definitely one of the best first dates I’ve ever been on.

[thotyssey]

On Point With: DJ Sammy Jo

A veteran NYC DJ who’s stellar career began during the Great Nightlife Shift of the late 90s, this legend remains an integral beatmaster on the dancefloors of today. Thotyssey gets all the glamorous, glittery details from DJ Sammy Jo!

Thotyssey: Thanks for chatting with us, Sammy! You DJ’ed at the legendary Night of 1000 Stevies in Irving Plaza the other night... how did it go? DJ Sammy Jo: It was fantastic. It’s my fave party of the year. Just tons and tons of good energy always.

Excellent! Oh, and of course, happy birthday! How are you celebrating today / tonight / in the near future?

A quiet dinner, and then I’m working at Club Cumming “hosting”. I’m saving a big blowout for when they get their new license approved. [CC co-owner] Darren Dryden and I have the same birthday, and since we DJ together on Saturday nights normally, we decided to wait til we could really do it up.

I was gonna ask you about all that business with the zoning and licensing snafu later, but we might as well get into it now. How do you feel about this whole mess--where because of some discovered filing error, Club Cumming has had to cease all live music and dance parties? How is everybody who works and performs there handling this weird state of limbo? 

I have to say everyone--employees and patrons--has been amazingly supportive. In nightlife, you expect to people to jump ship the minute something like this happens. But we’ve had some record nights on Saturdays, and the hardcore Monday crew is still coming. It’s such a great sign that it has nothing to do with hype--that it’s really just a place where people genuinely want to hang out.

Is there hope for the future? Things seem more complicated then we all originally thought.

Cross fingers, it will be resolved in a week or two.

Wonderful, here's hoping! 

You've had a stunning career, and I suppose you've seen a fair share of highs and lows in this challenging industry. Which reminds me: isn't it weird to see our ex-mayor Giuliani--the killer of nightlife in the 90s--just behaving like a garbage lunatic, sabotaging his last good friend President Trump on national TV?

There’s something slightly satisfying watching his complete meltdown and--most likely--ostracization from the shittiest administration in American history. I mean, if you get fired from the Trump administration because you’re too much of a loose cannon, then you have to be a fucking moron. Like I always say, everything comes out in the wash. It’s nice to see the whole nation catching up to what we already knew.

It does seem impossibly odd that these states who hate New York types embrace Trump and Giuliani, two of the most extreme cases of obnoxious New York personalities. Yeah. I don’t know if it’s a testament to how stupid those people are, or what accomplished grifters Trump and Judy are!

Ha! Okay, so Sammy Jo! Where are you from?

Two places, sorta. My first eight years were in northern Florida, and the rest were spent in an NYC suburb. I’m so thankful my family moved back down to Florida to retire.

Florida is good for that! Were you always musical?

Yeah, pretty much. When I was 5, I used to set up a stand at the end of our driveway and try to sell my Winnie the Pooh and Lambchop records. Seriously. Most kids had lemonade stands. I had a record store.

Aw, that's cute! By the way, are you really named Sammy, or is that a nod to Heather Locklear in Dynasty? Dynasty. My real name is David, but only my parents call me that.

Werk! Aside from Lambchop, who were some of your favorite artists and genres growing up?

Disco and AM radio rock were really important to me in my early years, but then I dove right in to new wave and goth in the 80’s. Erasure, The Cure, Siouxsie, New Order, The Cult, Nitzer Ebb, Cocteau Twins. And then later on I was very into British bands like Saint Etienne and Pulp.

That's all the soundtrack of my life!

Haha! I feel very fortunate to have grown up with those bands just emerging. 

How did you start DJing? 

I was working at the nightclub Mother in the late 90’s One night, my boss and mentor, Johnny Dynell, was playing on some off-night, and he had to take care of something in the office. So he said “here, just play my records ‘til I get back.” When he came back, he said he knew I had “it.” He couldn't say what it was, but he knew from the stuff I chose and how I lined up the tracks that there was a DJ in me just itching to get out. Then I started DJing at bars and restaurants around the East Village, and it kind of grew and grew from there.

I guess you could say it was kind of accidental, but I was always obsessed with music and making mixed tapes for friends. I would also read album sleeves and study who did what on my favorite records.

That's the best education!

What's something about the partygoers and partythrowers, the club kids, the drag queens etc. from that period that was really unique to that time... that maybe you don't see so much today?

I never went to the big gay clubs back then. I was going to Jackie 60, Squeezebox and Cake. I preferred parties with a little dirt on them. What I miss now is a certain intellectual hedonism from that time. The weekly themes at Jackie were so intricate and referential--and even though a lot of them went way over my head, I always felt part of something bigger happening. Like, we were all there making art, even if we were just drinking and dancing and laughing at the shows they put on. 

And Squeezebox was so OUT of the box for drag, making queens sing live instead of lip syncing. and Miss Guy playing the best rock and roll for faggots. I had no idea what was happening at Sound Factory or Palladium, and I didn’t care. I had found my home.

Sounds like Heaven! You’ve also been a touring DJ for the Scissor Sisters. How did that come about?

[Scissors’ frontman] Jake lived two buildings away from me on East 12th St, but we met when he was dancing while I was DJing at Click +Drag, a cyberfetish party. We got along like a house on fire... and this was the beginning of Scissor Sisters, so I would book them at parties where I DJed. Then they disappeared for a bit to go and work the UK scene. 

One morning, I was laying in bed with my then-partner Vivian Bond, and at some ungodly hour the answering machine clicked on (this was 2004, mind you), and it was Jake saying “things are going really well here in the UK, and we’re about to start a proper tour... and we wanna know if you will be our opening DJ?” From then on, they were stuck with me! 

It was kind of a perfect match, because I like playing all kinds of music--and their references were so all-over-the-map that I could play whatever I wanted. 

They've had a great career, and Jake Shears is an electrifying frontman. So I think it's ironic that their biggest American hit had Ana Matronic as the lead vocalist!

I know, it is bizarre that of all their songs, the gayest one was the big American hit. I think a lot of people don’t understand the magnitude of what SS accomplished. There never was--and there hasn't been--a fully Out and Proud, successful American pop / rock band like them. We had Michael Stipe barely out of the closet in the 80’s. Then what? Adam Lambert, like 4 minutes ago. It was really special what SS were able to accomplish, and on their own terms. I think people wanted to dismiss them as ironic, but they actually are one of the most genuine pop bands.

You just mentioned your ex-partner Justin Vivian Bond, who of course has become this legendary cult cabaret performer and activist over time. What do you think of Mx. Bond’s evolution as an artist and a person over the years?

It’s been so amazing seeing V change and grow, and become so happy in her own skin. V is proof that we are constantly evolving--not just as a society, but personally. She’ll always be the love of my life....even when she’s a pain in my ass.

Incredible! It seems like these days, DJs in the gay bars are kind of expected to stick to Top 40. Do you feel this limitation on your nights, or do venues only get you on board when they want something different than that?

I feel lucky right now that I get to DJ at places that don’t dictate what I should play. I’m at The Cock, Club Cumming and House of Yes. They could not be more different from each other, but they all just want me to do my thing. So it’s great to have that kind of freedom, and none of them want me to play current pop music.

You've been DJing the Cock Friday night party King-Size alongside Nashom, Ernie Cote and Chris Flynn for a minute now. Are you distracted by all the sexy skankiness that can go down there?

I love it! I’m never one to participate in that kind of stuff, but I like being near it. I like the energy of people who feel free enough to carry on like that in public.

And when can we next find you at Brooklyn’s House of Yes?

Eric Schmalenberger and Steven Klavier do a monthly gay Sunday party called Bad Behavior. The next one is May 13th. It’s really fun!

And before that: on Thursday, May 10th at the Town Hall, you'll be part of an all-star tribute to the late nightlife legend Flawless Sabrina. That should be a moving night. How do you remember Sabrina?

Yes, that’s gonna be great! I first got to know her when she would come to Cheez Whiz, a night I did with Sweetie (RIP!). She would be there ‘til the latest hour, and get onstage and just tell stories about “back in the day.” It was always fascinating and hilarious. She was so supportive of the younger generation, even though she had every right to be snarky and jaded. A true queen, she was.

She'll be greatly missed! 

Anything else?

I’m DJing outside at Times Square on the 13th for the NY X Design Expo 6-8pm. It’s fab! I just play a bunch of disco outside, and strangers all start dancing together. If we’re living in a bubble here, then I hope it never pops! Amazing! Okay, last question that I like to ask DJs, especially of your caliber: what's the best advice you can give to a new DJ coming up today?

Always be aware of who you’re playing for. There’s nothing more annoying than seeing a DJ wanking to themselves in the booth. Your job is to try to make everyone in the room have the best night of their lives... without dying. Words of wisdom to spin by! Thanks, Sammy Jo!

DJ Sammy Jo spins weekly Fridays at the Cock (10pm) and monthly Sundays for “Bad Behavior” at the House of Yes (10pm). He hosts--and hopefully soon will once again DJ--“Haus of Cumming” Saturdays at Club Cumming (10pm) Check Thotyssey’s calendar for other scheduled appearances, and follow Sammy on Facebook, Instagram, Twitter and Soundcloud.

On Point Archives

[anime-herald]

I was very excited to see Wagakki Band return to New York after a three-year absence. In the music industry, three years may as well be an eternity. I’d been listening to their new music, but I hadn’t had an opportunity to see how they’ve grown as a live band. That chance finally arrived, thanks to the Kinoshita Group and Japan Night.

I arrived at the  theater early, and was able to watch Kurona and Daisuke go through the sound check while Sisyu prepped the calligraphy. In retrospect, I wish I had paid more attention to what Sisyu was doing. I didn’t realize just how complex her performance was going to be, but I’ll get to that.

Photo Credit Eric Chu

The show began with Sisyu’s calligraphy presentation. Daisuke and Kurona provided traditional music in accompaniment. The display began as a fairly straightforward event. She painted the outline of a bird of prey. The first sign that something was up, though, was when she painted something on the upper-left of the piece in a clear liquid. There was nothing that we in the audience could see. Sisyu proceeded to go behind the piece. We saw colors fill in around the clear portions that she had painted. That was unexpected and quite cool. Sisyu posted a time-lapse video of the process.

Photo Credit Eric Chu

With the calligraphy display finished, the rest of the band joined Kurona and Daisuke on stage. Yuko came to the front and addressed the audience. It was showtime.

Photo Credit Eric Chu

They opened with Akatsukino Ito (sans dragon; customs held firm on this one). They briefly addressed the audience before jumping into Ikusa (remind me never to get into a sword fight with Wasabi).

Photo Credit: Eric Chu

After that, the group switched gears, and showed off their traditional chops with Yoshiwara Lament. There was a brief break while they thanked the audience and spoke about returning to New York.

Photo Credit: Cool Japan Music

Next up was Strong Fate. After that they performed a pair of instrumentals in Tohno Monogatari Kyuuyon and Homura. Check out Homura if you want to see just how talented they are when they want to rock.

Photo Credit: Cool Japan Music

Holmes of Kyoto fans quickly recognized ending theme song Sasame Yuki, but I’m curious how many people were also familiar with Koi no Shizuku (For Love’s Sake). Sasame Yuki was the theme song for the film.

There was another brief address, before they slowed things down a bit with Okino Tayu.

Photo Credit: Cool Japan Music

No Wagakki Band show is complete without a Kurona/Wasabi drum duet. As a Rush fan, drum solos will always hold a special place in my heart. Kurona and Wasabi do a great job of playing off each other, so that was a treat.

Photo Credit: Eric Chu

Kishikaisei was up next. Despite coming out in 2016, the video seems perfectly suited to Japan 2020. The flame has been lit.

We knew they weren’t going to return to New York without performing Senbonzakura. The song blew me away the first time I heard it. Seeing it live was when I realized Wagakki Band were off-the-charts in terms of raw talent. Hearing it again in 2019 was a nostalgic moment for me.

Some things have changed about Wagakki Band; they’ve moved away from being a pure rock band. Instead, they have leaned in on their traditional Japanese music. In accordance with that, they’ve further balanced their sound. I could close my eyes and hear all seven instruments distinctly. That’s impressive, given how much louder Machiya’s guitar can be relative to Kiyoshi’s koto.

Photo Credit: Eric Chu

The performance itself was electric. Machiya is still the rock god I remember from Los Angeles (where he channeled Jimi Hendrix for the national anthem). Daisuke and Kurona remain masters of the shakuhachi flute and wadaiko drums, respectively. I must confess, though, that I don’t have any frame of reference to compare Kiyoshi’s koto skills to aside from himself. How many modern bands have a koto player? He remained at least as good as I remember him. Certainly, though, this was the performance where I could hear his notes the clearest.

Japan Night 2019 – Wagakki Band – Kiyoshi

It’s with Asa, Beni, and Wasabi that I noticed clear evolution in their play. Asa’s stage persona was much fiercer than it was in L.A.. Likewise, Beni’s solos were faster and more aggressive than I remember. She plays a thick-necked Tsugaru Shamisen. It’s built to withstand quite a beating. Her play was a particular highlight this time around.

As for Wasabi, his play was a mix of what I had previously seen from him. He had the same energy I had seen in L.A., combined with the technique he showed at Irving Plaza. I guess that’s what three years of experience on the kit gets you.

Photo Credit: Eric Chu

Photo Credit: Eric Chu

Yuko released a mini solo album titled Cradle of Eternity in 2016. It’s worth checking out to see what she sounds like in a prototypical rock band. Don’t let the solo side project fool you, though; she remains the committed leader of Wagakki Band. Speaking of commitment, Yuko noted that the long-sleeved Furisode she was wearing is only worn by single women. A good tip, there. Her English training showed throughout the show, as she was comfortable addressing the crowd in English.

Photo Credit: Eric Chu

If you’re curious about her classical piano skills, they’re still sharp. Daisuke and Kiyoshi shine, as well. Also, that koto is bloody enormous.

I was able to speak briefly with Yuko and Kurona after the show. It was Kurona’s birthday week, so we took a moment to commemorate it. We chatted about her English/ninja training. The English training is clearly paying off. I don’t want to find out about the ninja training.

Hopefully, we’ll see Wagakki Band return to America in 2020. It was a wonderful performance, and the crowd loved it.

Set List:

Akatsukino Ito

Ikusa

Yoshiwara Lament

Strong Fate

Tohno Monogatari Kyuuyon

En + Shamisen (Homura)

Sasame Yuki

Okino Tayu

Wadaiko Drum Battle

Kishikaisei

Senbonzakura

Hyde headlined the show. Unfortunately, I was only able to stay for a few songs. I would have loved to see Hyde’s live performance of the Duran Duran classic Ordinary World. From what I saw, though, Hyde still brings it. A comprehensive review from Ken Pierce should go up at Piercing Metal in a few weeks.

FAKE DEVINE

AFTER LIGHT

INSIDE OF ME

OUT

DON’T HOLD BACK

ZIPANG

WHO’S GONNA SAVE US

UNDERWORLD

ANOTHER MOMENT

SICK

MAD QUALIA

ORDINARY WORLD

  Wagakki Band Rocks Japan Night 2019 I was very excited to see Wagakki Band return to New York after a three-year absence. In the music industry, three years may as well be an eternity.

[olieolieoxnfree]

Concert asks - 2, 4, 7, 9, 15, 23, 52, 65?

Oh boy, a response!

2. Have you been to any festivals?Yes I have! I went to Bamboozle a few times back in college and something a few summers ago in London. Wireless, I wanna say? There are so many festivals in Hyde Park, I can’t remember which one I actually attended.

4. First concert you went to?I think it was the Monkees back when I was three years old. Either the Monkees or Ronnie Milsap (an old country singer who gets a shoutout in the Deadpool movie). I saw them both the same year but can’t remember which was first (for obvious reasons!). My first concert without my parents, however, was *NSYNC. It was a sign of things to come for sure.

7. Which artists/bands would you love to see live?ONE DIRECTION AGAIN OBVI!!! But besides them, there are other obvious answers like Paul McCartney, Billy Joel, Adele, a reunited *NSYNC, etc. and less obvious answers of Everclear and Stormzy. 

9. Best opening act?I have a lot of respect for opening acts because they give their all every time even though almost no one listens to them. The best I ever saw was a guy called Butch Walker. He wasn’t technically an opening act (it was one of those tours that has like a dozen artists that each play for 20 minutes), but he wasn’t the headliner so I think it counts. Butch should teach a class in performance and every single frontman should have to attend. He is the single most charismatic performer I have ever had the pleasure of seeing, and a darn lovely gent as well.Honorable mention goes to OK Go, Charlotte Martin and Boys Like Girls. I fell in love with all of them after they played.

15. Worst concert you’ve been to?Daughters. Without question. I only went because a guy I liked mentioned he was going. Not only did he not show up, but he turned out to be gay, so I sat through that horrible nightmare for less than nothing.

23. Favorite concert venue?Ooooo tough one! I have to say, I kind of weirdly love the basement at Webster Hall. It’s kind of shitty and terrible but also amazing. Bowery Ballroom is always a winner as well. I used to practically live at Irving Plaza, so that’s a fave, too. Also the Kings Theatre in Brooklyn, because it’s right down the street from my house- very beautiful and very convenient. And Warsaw, because the only thing better than seeing a concert is seeing a concert with a pierogi in your hand.

 52. Favorite song you’ve heard live?Thank you so much for asking this one!! I have had two truly beautiful music moments, and this was one of them- “Modern Nature” by Sondre Lerche. He split the crowd into sections and had us sing the chorus in a round. I wasn’t familiar with the song, so I just stood, surrounded by all of these voices, creating something incredible. It was transcendent and a perfect example of how music can take you somewhere else.

65. Have you seen any artists in concerts that you don’t like anymore?Ooooo, you know, I don’t think so. There are certainly some I’m not as big of a fan of anymore, but not any that I straight up don’t like. The closest you could come is maybe Sum41, as I have no interest in anything new they put out, but, like, Fat Lip is still a jam.

[her-culture]

A Gay Icon Grows in Brooklyn: King Princess & The Queer Renaissance in Pop Culture

She’s been hailed as “Lesbian Jesus” and for good reason. Born and raised in her father’s recording studio, Mission Sound, in Brooklyn, NY, King Princess (born Mikaela Straus) grew up surrounded by music, and was afforded the opportunity to “f*ck around with instruments and equipment”, to see how the industry operates, and to grow into the rising (see: shooting) star she is today.

She burst onto the scene in spring of 2018 with her debut single “1950”, an affecting love song which the singer-songwriter has described as being inspired by Patricia Highsmith’s 1952 novel, The Price of Salt. “I was reading a lot of gay literature,” she explains “and that really stuck with me because it’s just a beautiful story, and I think what I loved about it was it took place in the ‘50s and the way that queer people were allowed to be public was so censored and it was all about body language and this kind of icy interaction because you had to hide yourself So, I was interested in the parallel between the metaphor of “1950” being how queer love looks in public and how it’s very similar to having a very cold relationship.” Oh, and she also wrote the hit song in the shower of her dorm at USC. She recorded the song in two days, and she hasn’t changed it since. “I kind of just held onto it,” she shares, “reassuring myself that it would come out one day.”

On social media and in interviews, King Princess is laid back and blunt, candid and self-deprecating yet utterly confident, the #coolgirl we all want to be. She describes her child self as “such a f***ing loud, obnoxious kid.” Underneath her frank, funny and irreverent exterior,  however, there is a quiet sensitivity; a poetic attunement to the small graces of life, which is given a voice through her music.

In June, she released her “Make My Bed” EP, which features six equally breathtaking tracks. In “Talia” she grapples with the heartbreak that often follows the swell of euphoria which accompanies romantic love, and which imbues the almost divinely sweet track that is “1950.” In “Upper West Side,” she re-imagines a familiar cultural clash and delves into the nuances and contradictions of romantic infatuation; it is a gay, less campy take on Billy Joel’s “Uptown Girl.” It is a story about the strained, and perhaps severed, relationship between a girl who lives downtown (maybe in Brooklyn?) and a girl from the Upper West Side, the kind of girl who, according to King Princess, buys herself a diamond chain and then tells her friends it’s fake. “I can’t stop judging everything you do/but I can’t get enough of you,” she sings, acknowledging how our intellectual dissatisfaction with someone’s behavior is often challenged by the far more capricious and unaccountable allegiances of the heart. There is something haunting, delicate and wistful about her voice, at once raspy and yet also angelic, ethereal. Every word seems to carry a weight that far surpasses its ordinary application, leading us to linger on each syllable with her as we are transported to a lighter, dreamier, more beautiful reality.

Perhaps most radical about her music is the manner in which it describes homosexual relations with the same authority with which straight songwriters have been exploring romantic love for, well, ever. This is a bold gesture in a hetero-normative culturethat demands that non-heterosexual relationships be defined by their difference, be boldly asserted as gay with a capital G, leaving little room for the meaningful reflection and oh-so-human messiness which artistic depictions of straight relationships are afforded.

There is arguably a similar trend taking place in film and even literature, in which art does not necessarily pose queerness or homosexuality as something to be appraised or dissected, or as anomalous in some way, but rather as a kind of certainty, as an element of one’s life that is as innate and undemanding of lengthy discussion as one’s name, job, hometown, etc.

Take Princess Cyd - an underrated movie you can watch right now on Netflix- for example. In the 2017 drama, we get to experience a young, female protagonist who seems interested in both boys and girls. Whether or not this is a newfound discovery is not clear, but it ends up not mattering so much; her sexuality is never discussed. Instead, the viewer has the joy of watching a young girl who accepts her sexuality with openness and grace, and able to her and the other characters involved.

In the literary world, we can turn to Carmen Maria Machado’s Her Body and Other Parties (shortlisted for the 2017 National Book Award). This genre-bending masterpiececonsists of eight stories in which homosexual, specifically lesbian, relationships are explored, and presented without exposition or explication.

The last few years have seen the release of a steady stream of this kind of art in which queerness is implicit. This is not to say that it is necessarily subtle or that it is peripheral to the heart of the work, only that it’s presence is one which does not ask to assert itself, it just does. We are perhaps moving into a cultural moment in which it is ok for not all content about queer individuals to explicitly revolve around their oppression. In many ways, the struggles  faced and the history of oppression of LGBTQ+ folks is so woven into the fabric of their experience and sensibility that the inescapable weight of these experiences does not need to be announced so much as felt and, as the adage goes, “the personal is political.” The song “1950” is a prime example. To the average listener, it may just sound like a straightforward love song about a lesbian relationship. However as King Princess shares, it was deeply influenced by the culture of secrecy and fear surrounding homosexual relationships in the 1950s.

The 20-year-old singer has alsocommented on the need for openly gay artists to represent their communities. She accepts the title of “Lesbian Jesus” and reflects that “I am obviously not the perfect representation of anything and neither is anyone else, but I do feel it’s important that we have people who say they are gay because there are gay people who aren’t bi, who aren’t pan, who aren’t just queer, who feel that they need people who are going to just be with women or men in television or film and music and relate to that.…Everybody needs their people.” It’s an interesting assertion, considering it seems to typically be those who fall somewhere in the middle of the Kinsey scale and who maybe less certain about their sexuality who are most underrepresented in media. But the core message is clear: We all deserve (and all of society benefits from) proper representation. I’m transported back to 2013, when Macklemore released “Same Love” and we were all kind of confused as to whether he himself was gay or not. This is not to say that he didn’t have the right to or should not have made the song, only that, perhaps the impact of the song would have been greater if it had come from a gay individual. While songs like “Same Love” are all fine and good, perhaps even necessary, they should not be the be-all and end-all of queer pop.

In just a few months, King Princess has established herself as the Gay Icon we didn’t know we needed, and fans are anxiously awaited her debut album as they replay the the six tracks included on Make My Bed ad nauseum. Now she is kicking off her “Pussy is God” tourand will return to New York this month with a show at Irving Plaza in Manhattan and another at Warsaw in Brooklyn. She’s also performing at a number of upcoming music festivals, including Governor’s Ball and Firefly. Check out her website for her upcoming tour dates: https://kingprincessmusic.com/.

[kacydeneen]

Couple's Social Experiment Leads to Criminal Charges

A couple's attempt to highlight public reaction to child endangerment backfired, their hidden camera social experiment instead led to criminal charges, an investigation and their 3-year-old being taken away from them.

Laura Quijano can be seen on camera explaining the social experiment to her 3-year-old son Leo. The hidden camera experiment involved 28-year-old Boguslaw Matlak placing his son in the trunk of his car to see if bystanders intervened.

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“The back of the seat was folded open and my wife was in the car and she was just taking him," Matlak said.

The multi-camera shoot took place outside the Panera bread at the Harlem Irving Plaza in Norridge on Sept. 2.

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"I was thinking maybe I should do a video to show people that they should do something about it when they see something wrong, to get involved," Matlak said.

Witnesses called police — and Matlak, despite his explanations, was arrested and charged with child endangerment.

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"I was in shock," he said. "I got arrested."

As a result, the Illinois Department of Children and Family Services removed Leo from his parents' custody and placed him with a relative. For the last three weeks the couple has complied with every request trying to get him back.

"We have provided them with all of the proof that this was not real," Quijano said. "That my son was not in danger."

DCFS investigators even re-enacted the trunk illusion with the young boy at his home.

Rina Infelise, Quijano's attorney, says her client made a mistake, but doesn't deserve to be treated like a criminal.

"Anybody can make a poor decision, every error in judgment made by a parent doesn't equal abuse and neglect," Infelise said.

While they say they understand the need for the investigation, Quijano and Matlak say it’s taking too long.

"They are hurting my son emotionally at this point," Quijano said. "He's not home with his parents who love him very much and what else do they want from us? I just don’t understand at this point."

Shortly after NBC 5's inquiries to DCFS, the family was notified that the agency would be returning Leo to their custody.

Matlak still faces one count of misdemeanor child endangerment and is scheduled to appear in court on Friday.

Couple's Social Experiment Leads to Criminal Charges published first on Miami News

[kchatjjigae]

When I heard that Miyavi was coming to town, I was all…well that’s nice. I remember Cherry Cordial and the Mystical Being of Unicorns have a big heart-on for him and he was on heavy rotation on my first KCon/Cherry Cordial visit. I think at one time I may have had some of his music on his phone but I didn’t really connect with it enough to keep it there. However, when it was suggested to me that I should go I was ‘eh’. When I found out the tickets were only twenty-five bucks? My tune turned to ‘heck yeah, I’ll go!’

Turns out though, it wasn’t just Miyavi who was playing. The whole concert was a tour called Asia on Tour, get this, Kiha and the Faces were going! That turned my heck yeah, into something even more excited. Then, of course, I had to admit, though Korean I liked Kiha and the Faces for the exact same reason I liked Miyavi — Cherry Cordial liked them.

There was also a third band playing named Slot Machine however since I didn’t know anything about them and didn’t care enough for the entire concert in general, I didn’t actually do any research on them in advance. That sounds terrible. I did care for the concert. It just wasn’t something I was excited with a bullet for….at least until someone kept sending me hot AF Miyavi gifs (seriously, how is someone allowed to be that sexy??) I sent one to Leila and she turned it into a Khottie of the Week. Then? Then I was excited.

Turns out I’m such a perv.

The night of the concert I met up with my work friend Oana, she is a HUGE Miyavi fan so when I brought it up she was all like, fudge yeah I’m coming.

The venue was a place called Irving Plaza which turns out is teenie tiny. Ahem. I believe the preferred term is intimate. Thinking back on it, I think it was about the same size as the venue where B1A4 performed earlier this year. They were late letting us in, they were late starting the show, the whole thing went laaaate. However. We got fairly close to the stage. I was a little concerned about being obvious with my camera as the security guard who waved me in said they might make me check it, which I didn’t want as I hate not being able to bring my camera places AND coat check was $4.50.

As it took a while for the concert to start, we met up with a friend in the crowd of Oanas’s who told us the second band was a Thai band he liked. Okay. Prepping for second band complete.

The first band to perform was Kiha and the Faces. Let me tell you this, Kiha? Flipping adorable. He knows how to play with the crowd, and totally appears to not take himself too seriously. When I heard that he was dating IU a while back I just didn’t understand, but after seeing him? I totally get it. Though they have since broken up, I totally ship them together and hope those crazy kids and work it out and be together.

While their music wasn’t my cup of tea, his personality and crowd interaction made the entire thing a lot of fun. My favorite part of the concert was when they covered at Talking Heads song.

  I love that song and I love that cover of it. From the sounds of the crowds, I wasn’t the only one who was having a good time. Even Oana, who didn’t really have any interest in it, came out of there liking him and even liking their music.

Unfortunately, it was time for them to leave and the second band to come on stage. But not until Kiha played around with the mike stand, carrying it around like he was one of the seven dwarves off to work the mines, there was also an odd attempt at crowd surfing which was ill-advised and from the looks of the security guard who ran up to the stage, unappreciated by them.

Goodbye Kiha, you are too adorable — we’ll always have the Talking Heads.

Next up, Slot Machine.

Here is where I’ll have to admit? I was TOTALLY not into this band. Like really, really not into this band. Like so not into this band I was texting my friends while wishing I had enough battery on my phone to be able to read my fanfiction. (Okay. I maybe at one point I said damn the battery I’m reading!) I didn’t like their music, I didn’t like their act, I didn’t like them.

I feel terrible for saying that.

They only way I can describe them is as an 80’s hair band. Or they got their schtick from an 80’s hair band. There was one point, when at the last song the lead singer came back onstage with this weird visor over his face that me and the girl next to me both laughed inappropriately. What the? However. I had one of the BEST moments while watching these guys! Why?

There I was, discreetly scrolling through my phone (because I am not a monster) and all of a sudden, familiar notes began to play. Notes that I was obsessed with for what seemed like an entire year. My head perked up, my jaw dropped and I scrambled to hit the record on my phone because I KNEW all of my friends would murder me if I didn’t document this astounding moment.

THEY SING THE LOVESICK THEME SONG!

GAAAHHHHHHHH! My mind blew. I was so excited I’m fairly certain I was grinning like a stupid idiot. But I didn’t care. It was Lovesick guys, Love. Sick.

Night? Even if Miyavi forgot to come out on stage my night was totally made. By this band that I literally rolled my eyes at. I’d apologize guys but then the visor thing happened and your guitarist licked his guitar strings and all my good will slipped away.

Eventually, they were off the stage, which meant one thing and one thing only.

Miyavi. 

The man and the guitar. 

Is there another more powerful word for guitar? 

Something that is infinitely sexier? Whatever that word is that was what was on stage with Miyavi that night.

Okay, let’s get this out of the way. This man is sexy AF.

And he totally knows it. Like for real totally knows it. 

But here’s the thing, Miyavi is crazy talented. He sings some. I’m pretty sure I remember that. But what I remember the most is his amazing guitar skills. What he could do with that instrument while strutting around the stage and pose, pose, posing was pretty amazing. 

He has this stage presence which overtakes the whole room. He knows just how to pose, just how to preen, to act while performing to capture the audience’s attention, egging on the crowd’s enthusiasm for him. It was pretty astounding to watch. I think it comes from his background in the Visual K (I think that’s what it’s called, but it could be Visual J? Would that make sense? His JPop roots.) style that taught him this. 

While again, his music wasn’t really for me, that night it didn’t matter. His presence was enough to win over the whole crowd for the night. I’d go and see him again in a heartbeat. Heck, I’d pay double to see him. Triple. (Thank goodness those tickets were only $25.) If he comes to perform anywhere remotely around you, I suggest you do the same.

  Here’s a gallery of my photos taken that night.

  Asia On Tour: Or How I’m Currently Pregnant With Miyavi’s Musical Baby When I heard that Miyavi was coming to town, I was all...well that's nice. I remember Cherry Cordial and the Mystical Being of Unicorns have a big heart-on for him and he was on heavy rotation on my first KCon/Cherry Cordial visit.

[sonicawareness]

Phil Herring’s Best Albums of 2016

Phil Herring is a close friend of Sonic Awareness and a concert aficionado, regularly attending 100+ concerts per year. He has listened to a large number of albums throughout the 2016, and we’re happy to have him provide a guest column: his personal picks for the 40 Best Albums of 2016! 

Browse the full list below and check out the key tracks on Spotify!

40) BRIAN FALLON – Painkillers

After relentless touring and five records with his main act (The Gaslight Anthem), Brian Fallon steps out on his own with a collection of lovely mid-tempo roots-rock that establishes him as the singer-songwriter we always knew he was. While not quite as personal as the previous Gaslight Anthem record, Fallon allows himself to expand his sound. Fans of The Gaslight Anthem will still find plenty to enjoy but Painkillers is able to retain its own identity.

KEY TRACK: “Steve McQueen”

39) THE NAKED AND FAMOUS – Simple Forms

These Aussie electro-poppers always tend to have a few banging singles and then a bunch of so-so album tracks so it was nice to hear them to put together their first all killer no filler collection. The hook on “Laid Low” alone will ring in your head for days while elsewhere they strip their sound down to focus on vocal interplay between the two leads

KEY TRACK: “Laid Low”

38) CHAIRLIFT – Moth

Sadly this Brooklyn art-pop duo will be coming to an end next year but they really went out with a bang on this one. Their previous records tended to collapse under the weight of their own pretension so it’s nice to hear Chairlift (formerly most well known for their track “Bruises” featured in an iPod commercial) lightening up a bit and indulging in their pop fetishes that were only hinted at before.  

KEY TRACK: ”Cha-Ching”

37) GROUPLOVE – Big Mess

Parenthood hasn’t softened indie-poppers Grouplove. They still are able to bring the ruckus to your local festival’s 4pm time slot. Grouplove is one of the last bands standing which can still readily be played on alternative radio and keep a straight face when referring to themselves as “alternative”. The vocal connection between husband and wife duo Christian Zucconi and Hannah Hooper continues to be leading anchor to this band’s sound.  Big Mess also plays well because it avoids getting slowed down by too many mid-tempo anonymous numbers, a trend that many bands in this category fall into. As we go into a very uncertain 2017, Big Mess is a nice joyful break.

KEY TRACK: “Cannonball”

36) BEAR HANDS – You’ll Pay For This

Not totally indie, not totally retro, not totally electro-pop, not totally rock, Bear Hands refuses to sit into any sort of comfort zone. Led by unique instrumentation and singer Dylan Rau’s slacker-influencer vocals, every record these guys do sounds fairly different. Sure, you could probably draw some sort of comparisons to the likes of Passion Pit, Foster The People, etc. but that wouldn’t be telling the whole story. These guys have made their own brand of Brooklyn indie rock that thankfully isn’t indebted to all the passing trends the genre (and city) sees every few years. 2016 gave them their biggest single to date (“2AM”) but the whole record shows each of the band members bringing their biggest strengths to the table which results in their best record yet.

 KEY TRACK: “Winner’s Circle”

 35) DRIVE-BY TRUCKERS – American Band

 There are still American rock and roll lifers in this world and Drive-By Truckers are one of the few who continue to, er, truck on year after year logging endless miles on the road and putting together and incredibly consistent catalog. No Drive-By Truckers record has ever been light subject-matter wise but American Band is likely their most somber and reflective album to date. No doubt inspired by the political landscape and racial tensions in America over the past few years, American Band contemplates exactly what it means to be a southern rock band during this unstable time. Patterson Hood and Mike Cooley have always been excellent story tellers and this record continues to see them evolving in their craft while pleasing their core.

 KEY TRACK: “Ever South”

 34) SLEIGH BELLS – Jessica Rabbit

 Nothing about Sleigh Bells is ever subtle. Like Beach House in their approach (not sound), they continue to tweak and make small changes while still sonically assaulting the listener with gritty guitars and hard dance beats. This time around, the “rock” in their formula is less pronounced which leaves room for more pronounced melodies, beats and overall rhythmic pleasures. It makes for an overall lighter affair but since the songs still stick with you, Jessica Rabbit now makes them 4 for 4.

 KEY TRACK: “Rule Number One”

 33) DAUGHTER – Not To Disappear

 British mope-rock has provided us with plenty of gloomy soundtracks for rainy days. Daughter proved to be one of the stronger candidates with their successful release, If You Leave in 2003. Touring the world a few times over hasn’t softened lead singer/first class mope Elena Tonra. She even wonders if she should “get a dog or something” at one point. If anything, Daughter’s second full length release sounds even more brooding and morose than the first! Years of playing live will beef up anyone’s sound and Daughter doesn’t resist adding a bit more bombast and weight to their post-punk bitter neon-folk. There are still plenty of dark tones and delay pedals present to please fans of the first while giving this young band a whole new sheen. It might sound sad but there’s plenty of joy to be found when listening.

 KEY TRACK: “Alone/With You”

 32) THRICE – To Be Everywhere Is To Be Nowhere

 After going on hiatus back in 2012, Thrice were never actually gone for that long. They bounced back in 2015 playing a slew of festivals while putting together ideas for their 9th proper studio album. The band members, now in their mid-30’s, have put together a fine collection of post-post-hardcore. No longer infatuated will fast tempos and rifts, To Be Everywhere Is to Be Nowhere is one of their most straightforward collection of songs. There’s a new sense of comfort in the music which, to some, might indicate the band is on auto-pilot but Thrice sounds perfectly comfortable streamlining their ambitions in an effort to make a record that pleases both them and their dedicated fan base.

 KEY TRACK: “Wake Up”

 31) THE HUNNA – 100

 Rock and Roll’s true death happened about five years ago at this point but leave it to the UK to still export some excellent guitar-based pop year after year. The Hunna may never get to play a venue bigger than Irving Plaza but their adolescent charm still gets me every time. Here’s hoping that bands like this still continue to exist even after the idea of rock stardom is completely impossible

 KEY TRACK: “You and Me”

 30) WET – Don’t You

 I have no idea why I was so turned off to R&B in the mid-90’s yet when there’s a bunch of pasty white folks from Brooklyn who make it I’m all ears in 2016. There’s a bigger discussion to be had about that topic but in the meantime, Wet’s debut record is a totally competent and fulfilling update to the indie/r&b fusion we’ve been hearing in the past few years. Somber, reflective yet also not excessively melancholy, this was one of my favorite new acts of the year.  

 KEY TRACK: “Don’t Want To Be Your Girl”

 29) THE LAST SHADOW PUPPETS – Everything You’ve Come To Expect

 On the previous Lash Shadow Puppets record it was really all about Alex Turner. Most people, myself included, forgot that Miles Kane was also a force to be reckoned with. The most likely reason for this, if you’re American, is that Miles Kane’s previous accomplishments were usually only recognized within England and nowhere else. On their second album, eight years after the first, Turner and Kane make it a more democratic practice while taking the R&B-infused rock blueprints from their day jobs. The end result is a sexy, smoky, hazy trip full of late nights out, late-night burnout accompanied by swelling strings in the right places. Both personality’s shine through and all the songs are keepers.

 KEY TRACK: “Bad Habits”

 28) BASTILLE – “Wild World”

 Bastille is a band that is constantly working. In today’s age, you have to be creating constantly to not only get attention but remind your hardcore fans you’re still around. After the success of 2013’s Bad Blood, the band kept busy touring, releasing mix tapes, and more touring. During this time they tightened up their modern approach to pop music and crafted an ambitious 20-song (if you have the deluxe edition) collection of arena-level pop/rock. Their sonic approach remains consistently modern as front man Dan Smith demonstrates the level of influences one would expect from someone who likely grew up with all music available at the click of a button. Lead single “Good Grief” might not have captured the public’s conscious like “Pompeii” did a few years back but Bastille remains one of the most interesting and dynamic pop/rock acts out there.

 KEY TRACK: “Good Grief”

 27) TOVE LO – Lady Wood

 Tove Lo tightens up on her second album of dark pop. This is the sort of thing that can easily sit alongside Katy Perry and Rihanna but there’s a certain darkness that Tove Lo brings to the mix. Added to the fact that the girl has songwriting chops writing hits for the likes of Icona Pop and Amelia Lily. Lady Wood is an overall darker affair than her previous release and a lot more concise. The beats are colder but that suits the bummed-out songs, even if you can still easily sing along to them.

 KEY TRACK: “True Disaster”

 26) AGAINST ME! – Shape Shift With Me

 Laura Jane Grace (formerly known as Tom Gabel) coming out as transgender in 2012 gave Against Me a much needed publicity bump along with, at least somewhat, making the world a bit more tolerant place. What we didn’t know was, perhaps not surprisingly, her marriage was falling apart during this time period due to the recent transitioning. As such, Shape Shift with Me isn’t a traditional break-up record but explores love in broader terms. What is it we all look for and what is it we all need? The band’s snarling punk approach now coupled with a higher level of pop-punk hooks provides a relentless attack and proves this band is still a force to be reckoned with.

 KEY TRACK: “Crash”

 25) SANTIGOLD – 99 Cents

 The usual M.O. after the “difficult follow-up” is to bounce bank with a brighter, more nimble and user-friendly record. Santigold started her career out as an A&R rep for a major label so she has first-hand experience of what artists should deliver in order to maximize return. As such, 99 Cents sounds exactly as its cover art implies. Bright, snappy, sharp and a blend of many genres. This is pop music by any means but its executed extremely well and with a nodding wink that lets the listener know the artist is well aware that it might seem like pandering, but this is pop music constructed by a master.

 KEY TRACK: “Banshee”

 24) JAGWAR MA – Every Now and Then

 Jagwar Ma are one of those groups that gets classified as “electronic” strictly because they don’t normally use traditional rock instrumentation. To be fair, is there is a fair amount of loops and electronic beats but the way they blend both psychedelic melodies and deep house makes for an intoxicating listen. Guitars chime in now and again to add a light human touch but this record is an absolute dance-fueled blast from start to finish.

 KEY TRACK: “Give Me A Reason”

 23) DEFTONES – Gore

 Now all in their 40’s, these nu metal survivors are elder statesmen which usually means diminishing returns for the listener. However, Deftones have aged rather gracefully from their skate metal origins to fully embracing their love of melodic atmospheres, ambient sounds all pushing back other boundaries the metal genre usually does not forgive bands for going past. It’s rare to see a band getting better and better as the years pass which makes Gore even more of a treat.

 KEY TRACK: “Hearts/Wires”

 22) TEGAN AND SARA – Love You To Death

 Playing it safe after a big blockbuster is a common move, particularly for a veteran act like Tegan and Sara who spent years and years building their audience with their polite and charming indie folk. After going full on electro-pop on 2013’s Heartthrob they stuck to the same formula this year and, while it didn’t exactly allow for lightening to strike twice, it still allowed for plenty of replay value with its shiny hooks.

 KEY TRACK: “U-Turn”

 21) KINGS OF LEON – Walls

 I never imagined I’d ever be including any Kings of Leon album ever on my year-ends lists. Don’t get me wrong, I don’t have much against the band. I found their early releases and “Southern Strokes” press-boasting was completely off base as they basically just sounded like any bar band you’d find down south. They started to wear me down by injecting more U2 arena pomposity in their music throughout the years (even if their big hit “Use Somebody” was EXTREMELY hokey). Since then, they’ve settled comfortably on being a hooky mainstream rock band without excessive posturing and/or forced Southern rock throwbacks. Walls is their most consistent set of songs to date and I’m glad the band made it through their rough patch struggling with success.

 KEY TRACK: “Reverend”

 20) TAKING BACK SUNDAY – Tidal Wave

 Like Kings Of Leon this is a debut for Taking Back Sunday on my list and, again, like Kings of Leon it is their 7th full length release. After going through a number of ups and downs in the 00’s with a rotating cast of band members, Taking Back Sunday sound fully comfortable moving into middle age while playing tribute to the acts that inspired them. Lead single and title track sounds like a straight up Ramones-tribute amongst 12 other tracks that find the band coming full circle. It may not please the MySpace-core users of the previous decade but this is a great example of an emo band aging gracefully and not letting their sound become dated.

 KEY TRACK: “Tidal Wave”

 19) FITZ & THE TANTRUMS – Fitz And The Tantrums

 After the breakthrough success of their second record, Fitz & The Tantrums tighten up and aim to please even more on their third full release. Their self-titled album is almost like a how-to guide for how you get a late afternoon festival audience up and jumping after hours of dull jangly guitar rock. There’s no omnipresent theme here, other than wanting to make the listener dance, the hopes of love and also the disappointments. Throughout the whole endeavor, the band keeps the beats sharp and the hooks sticky which ensures listener fatigue is not an option.

 KEY TRACK: “Fadeback”

 18) PANIC! AT THE DISCO – Death Of A Bachelor

 Of the mid-00’s emo boom there are very few survivors. Panic! At The Disco (now down to just one member, Brendan Urie) can count themselves among the few. Urie has taken time to slowly reinvent the project to be a post-emo Jock Jam delivery service. Previous records didn’t have much in the way of one consistent theme but Death Of A Bachelor isn’t subtle in that all the tracks throwback to the “glory “days of Urie’s bachelorhood. There’s plenty of camp and sometimes unnecessary pomp but Urie makes it all work through his likeable personality, sharp assisted hooks from various songwriting teams along with a modern production scene that keeps him sounding contemporary. The record is a total blast and who would have thought, in 2006, that the group would be headlining Madison Square Garden a decade later.

 KEY TRACK: “LA Devotee”

 17) GREEN DAY  - Revolution Radio

 Don’t listen to anyone telling you this is a “return to from”. Green Day already attempted to do that with the ill-fated trilogy which was immensely enjoyable to some (including me!) but to most, was a bit too much and in all fairness, some of those tracks should have been delegated to a rarities compilation. Using this as a lesson, Green Day comes full circle and finally embraces simply being Green Day without anything to prove. There’s a few melodic pop-punk bangers but also a heavy amount of acoustic balladry and leftover rock-opera theatrics from the 00’s. The band still sounds as confident as ever and it’s nice to see them finally accept their status as elder statesmen while still crafting quality records.

 KEY TRACK: “Still Breathing”

 16) JAMES BLAKE – The Colour In Anything

 James Blake is essentially what Justin Vernon (a.k.a Bon Iver) is working towards (more on that in a little). The Colour In Anything is Blake’s third record and his most sonically ambitious by far. Previously, he was delegated to the less-douchey part of “dub-step”. Here he devotes all resources available to his craft, constructing a full-on adventure in sonic wilderness. There’s no vocal effect or digital nuance he won’t touch during this sprawling 76-minute adventure. All digital glitches aside, his songwriting hasn’t missed a beat since he first was heard from back in 2010 and, at this point, The Colour In Anything stands at his crowning achievement.  

 KEY TRACK: “Modern Soul”

 15) GARBAGE – Strange Little Birds  

 Unlike many of the 90’s holdovers, Garbage has little interest in relevancy. That’s not to say they haven’t built upon their sound but they no longer have an interest in sounding youthful which makes sense as all band members are now post-50. Strange Little Birds functions as an adult break-up record. There’s a lingering melancholy unlike the usual break-up records because singer Shirley Manson has been around the block a few times and knows, as she reflects in several songs, that sometimes she’s to blame for her transgressions. The band’s dark modern pop still sounds thrilling as they update their sound here and there with a few new tricks but with Manson still leading the way, the band never stumbles.

 KEY TRACK: “Even Though Our Love Is Doomed”

 14) BILLY TALENT – Afraid Of Heights

 While Billy Talent continues to play arenas in their native land of Canada, as soon as they cross the U.S. border they’re reduced to a club band. That’s a shame because these punchy Buzzcocks-style rockers continue to put out great records with snarly melodies, vicious guitar attacks and plenty of pit-ready rhythms. Of course, the band members are easing into middle age so there’s a lot of reflecting and more sensitivity here than previously but that doesn’t take away from the band’s passion. I’m tempted to dock them points for the silly anti-EDM “Louder Than The DJ” but part of growing old is finally succumbing to the fact that you no longer fully understand youth culture. Also, the song still rips so no hard feelings. Here’s to aging as gracefully as Billy Talent.

 KEY TRACK: “Leave Them All Behind”

 13) BUTCH WALKER – Stay Gold

 Butch has noted this is his last full length release so Stay Gold functions as a welcome send-off. Throughout the record, Walker finds himself looking back on his several past lives and reinventions. His love of guitar pop via Tom Petty style never completely disappears but, since this guy has been on pop radio via songwriting in one form or another for nearly two decades, the songs never fail to disappoint. Bonus points for the heartbreaking ballad at the end which is able to be perfectly nostalgic while also, begrudgingly, accepting the future at the same time.

 KEY TRACK: “Record Store”

 12) SIA – This Is Acting

 Hard to believe that so many of these songs were presented to various pop tarts and turned down. Most alarmingly, how did Rihanna turn down “Cheap Thrills”? Their loss is our gain as Sia has a different type of personality and seasoned passion which only comes with years of experience and false-starts. Fully embracing the sounds of today, she crafts her own world (with help) to deliver a stunning set of pop gems. Next time around, something tells me Rihanna will be more open-minded.

 KEY TRACK: “Cheap Thrills”

 11) ST. LUCIA – Matter

 There’s always a lot written in the press about acts being an “80’s or “90’s throwback these days. The real reason for this is those two decades were the last ones where distinct sounds could be tied to them. St. Lucia, the project of Brooklyn via South Africa Jean-Philip Grobler made no secret of their love of 80’s campy synth-pop with their 2013 full length debut. Matter takes that same template and kicks it into overdrive, fully allowing Grobler to embrace his love of huge hooks, cheesy synth lines and 80’s dance beats. They might still function as a “rock” band but this lovely record will delight anyone who has missed when synths ruled the world in the 1980’s.

 KEY TRACK: “Help Me Run Away”

  10) WEEZER – Weezer (White Album)

 In terms of redemption stories, Weezer might not be at the top of the list but they’re coming close. Once they re-engaged with popular culture in the early-mid 00’s they spent the rest of the decade tragically undoing all the good will they built up with old and new fans alike. 2014’s Everything Will Be All Right In The End put them back on track and allowed them to deliver the “White Album” (actually their 4th self-titled) which is a record they’ve been destined to make since their debut in 1994. A classic California beach guitar-pop record with modern flourishes, Rivers Cuomo dreams up his version of Southern California complete with soaring hooks, Beach Boys harmonies and crunching guitars. This isn’t a nostalgia trip by any means as producer Jake Sinclair, a Weezer fan growing up, steers the group to still sound modern and sleek without losing the nerdy and awkward charm that made us all fall in love with Weezer in the first place. Similar to Green Day’s record this year, Weezer finally sounds comfortable simply being Weezer.  

 KEY TRACK: “L.A. Girls”

 09) MIIKE SNOW – iii

 Swedes and note-perfect pop music go together extremely well. Miike Snow, the band (not a guy), took some time off after their synth-pop had fully penetrated the U.S. in 2012. Since then, they’ve come back with 10 more bangers stripping their music of pretension and focusing on the important stuff: beats, hooks, melodies and charisma. Some reviews focus on “style over substance” but style is one of the most, if not the most, important characteristic in pop music. It doesn’t always matter what is being sung about so long as there is swagger and personality which Miike Snow offers in spades.

 KEY TRACK: “Genghis Khan”

 08) THE STRUTS – Everybody Wants’

 As I’ve mentioned several times, I’m glad the Brits won’t fully give up on glam-infused rock and roll. The Struts pick up where previous British burnouts The Darkness and Jet left off. Their US full length updates their previous UK debut with a welcome 5 new tracks as well as all the keepers from their first release. If you’re cynical, this is the typical “save rock and roll” album a lot of people turn to when feeling bummed about the genre but there really are plenty of treats here for even the most jaded listeners. Big riffs married with big hooks and big crescendos will never stop being exciting to me.

 KEY TRACK: “Kiss This”

 07) PHANTOGRAM – Three

 Phantogram has been building up to this moment for a while. What started as a lo-fi electronic atmospheric pop project has now turned full-blown arena atmospheric pop. The duo has always been dark but there’s an even darker lingering theme throughout Three as the band had a number of people close to them pass away in the past year, most notably lead singer Sarah Barthel’s younger sister which is reflected in the devastating “Destroyer”. They turn pain into some wicked pleasures, all culminating in the excellent “You Don’t Get Me High Anymore” which will rattle around in your head for days.

 KEY TRACK: “You Don’t Get Me High Anymore”

 06) KALEO – A/B

 If you didn’t do any research, you’d likely think Kaleo was another gang of Southern boys re-purposing the blues for modern times. I had that same impression until I learned they were actually from Iceland, a place far removed from American blues rock. For cynics, it’s easy to scoff at these foreigners doing their best impression of southern rock but Kaleo pull it off with great success. There’s everything on here from straight-up Black Keys rockers to Bon Iver tributes all while maintain the band’s own identity. For rock and roll purists, Kaleo was as good as it gets in 2016.  

 KEY TRACK: “All The Pretty Girls”  

 05) RADIOHEAD – A Moon Shaped Pool

 Many were afraid to admit it, but with 2011’s The King Of Limbs Radiohead had painted themselves a little too much into a corner. Bouncing back with A Moon Shaped Pool, they learned to embrace the beautiful non-glitch elements of their sound including instruments played by actual humans while Thom Yorke’s melodies take on prettier pastures. Don’t be fooled, there’s still plenty of “end of the world” type executions here but, being Radiohead, they make it all sound so effortlessly easy and beautiful. Bonus points for finally giving us a recorded version of “True Love Waits”!

 KEY TRACK: “Burn The Witch”

 04) JIMMY EAT WORLD – Integrity Blues

 While the mainstream fell off a long time ago, Jimmy Eat World has been remarkably consistent in their career post breakthrough in 2001-02. I’m realizing there’s a reoccurring theme in this list of addressing getting older (NO idea why that might be, of course) and Integrity Blues continues that trend. While they’ll forever be pegged an “emo” band in the eyes of most, Jimmy Eat World toss off earnest sincerity with such ease its’ second nature to them at this point. After putting out a “grown up break-up record” in 2013, they’ve come full circle with the incredibly well-rounded Integrity Blues. There may not be as much bite in their sound these days but that’s due to continued maturity and also a wider range of influences. They still wear their hearts no their sleeves and Jim Adkins, now in his 40’s, can still easily soundtrack any high school.

 KEY TRACK: “Sure And Certain”

 03) BON IVER – 22, A million

 Justin Vernon is still portrayed as the sad bastard strumming solemn acoustic songs in the woods by the media. Any listen to this record, as well as his previous Grammy-winning self-titled release in 2011, should dispel that notion. 22, A Million is a strange, jarring but still extremely fulfilling listen that finds Vernon adopting a kitchen sink type approach to his music-making. There are still sad moments, yes, but they are spliced up between random glitches, beats and strange vocoder effects. It’s almost as if Vernon is still trying to shake off his success with a healthy dose of sonic confrontation. Underneath it all, the songs are still extremely pleasant and deliver in way listeners want Bon Iver too, even if you can’t fully figure out the odd song naming convention.  

 KEY TRACK: “7:15 (Creeks)”

 02) LUKAS GRAHAM – Lukas Graham

 Turning pain into pop songwriting is nothing new. Lead singer/songwriter Lukas Forchhammer grew up a child actor but also lost his father at a young age. He turns his autobiography into a charming theatrical musical-like record bringing you up to speed from his early childhood (“7 Years”) to even imagining his death being a huge party (“Funeral”). Even with the grim subject matter, Forchhammer never totally sounds bummed out, always keeping hope alive in his darkest moments. Perhaps the most honest and charming pop record of the year, I’m excited for what this band has to offer next.

 KEY TRACK: “What Happened To Perfect”

 01) THE 1975 – I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It

 If this list were titled “the 40 most obnoxious album titles of 2016” this record will still be number one. The 1975 has a lot that can get on people’s nerves, most notably the pretentious presentation and unnecessary pomp that American audiences aren’t used to from acts that present themselves as “rock” bands. The 1975 may feature the usual combo of vocals, guitar, bass, drums and keyboards but they are a straight up pop band, through and throughout. Note pop band and not singer. It’s amazing that the band member, who were all born in the late 80’s and early 90’s, have such a fascination with all thing 80’s. If this were a collection of songs, it’d still be great, but their ability to balance the anthemic pop bangers with moody introspective instrumentals and sparse acoustic tracks makes them a fully competent album band. Judging by the band’s success of selling out Madison Square Garden this spring without a true HIT hit single (they’ve done well on the modern rock charts), they might be well on their way to becoming a stadium act in a few years. Plus, try getting “The Sound” out of your head once you’ve heard it.

 KEY TRACK: “The Sound”

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