Veteran underground French producer Wax Tailor has been making versatile beats on a fluid spectrum ranging from trip-hop to boom-bap for 15 years now. He’s set to drop his fifth studio album, By Any Beats Necessary, this fall. The album features underground stalwarts Tricky, R.A. The Rugged Man, and Token. Here’s what Tailor had to say about it:
Without going too deep into politics, the album’s title reflects my determination to use all kinds of sounds and textures to get to something musical. The word “beat” also draws a line towards the Beat Gen- eration, Kerouac’s famous novel On The Road, and the quest for an better place. And so, in this time when each of us needs a little escape, I conceptualized this album as the soundtrack to a better elsewhere that I imagined to be the south western part of the USA.
The lead single is “Worldwide” featuring Ghostface Killah of the Wu-Tang Clan, and it comes with a matching set of animated visuals. It’s a funky, smooth joint interspersed with 8-bit video game blips and bleeps and cleverly syncopated boom-bap drums as Ghostface spits braggadocios bars about his global cachet. As for the video, crude drawings of Tailor and Ghost leap off the paper in a stop motion-like fashion as the rapper’s lyrics appear on screen in several inventive ways. The French producer has been criminally slept-on for quite some time, hopefully he’ll get some much-deserved attention for this newest full-length. Watch.
The 90’s were a great decade for pop culture. It was a simpler time, back when artists had to have talent and parties were more about having a good time and less about posting on Instagram and snapchat. We lived in the moment back then, engaging with our friends and not our phones. Saved By the 90’s brings back the fun of the decade with a totally rad dance party. The event is hosted by Webster Hall, one of New York’s most historic venues. Held in Webster Hall’s Marlin Room, the party gets started by DJ Suga Ray, spinning hit after hit from a list of the very best tracks from the 90’s. His set includes everything from The Backstreet Boys to Biggie Smalls. Once you’re drenched in sweat from dancing to your favorite tunes, get ready to sing along with the Bayside Tigers, a live cover band, with an amazing set list. We nearly lost our voices belting out hits by Green Day, The Spice Girls and Ace of Bass. In between sets we even got to sing along with some our favorite TV theme songs. French Prince of Bel-Air theme song had us shouting to the top of our lungs!
A party like this doesn’t happen every night, the show is only on Friday nights from 10pm until 3am. The dress code is casual and guests are encouraged to express themselves in true 90’s garb. Feel free to break out the baggy jeans and windbreakers but leave those red bottoms at home. This isn’t that type of gathering. The crowd at Webster Hall comes to party, be sure to put on something you can bust a move in. Partygoers must be 19 to enter but 21 to consume alcohol.
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Tickets may be purchased at the door or online at a discounted rate. Visit SavedbyThe90s.com for ticket info and party packages. For any special occasion, we recommend the VIP experience package. For a small per person fee, you get access to the VIP area, bottle service complete with top shelf booze and champagne as well as an assortment of mixers. The VIP area offers a great view of the stage and a selection of props for those all important party pics. Don’t waste time get the homies together and reminisce about the good ole days while making new memories at Webster Hall. You might even spot a few celebs. Over the last few years, Saved By The 90s has welcomed guest appearances by 90s icons such as Dustin Diamond (Screech), Aaron Carter, Coolio, Sophie B. Hawkins, Naughty By Nature, Chris Barron (Spin Doctors), Mark McGrath, Lisa Loeb, Dennis Haskins (Mr. Belding) and more.
Honne packed the house at Webster Hall on August 15th in New York City but it was newcomer JONES that left the crowd screaming for more. After performing her thirty minute acoustic set to a captivated audience, she told me, “I love it when the crowd gets involved. I love to try to draw people in. I’m so happy people were clapping along with me.” Each song had every person in the iconic venue clapping and snapping along with the 25-year-old sensation from London. Her confidence on stage resonated with an often hard and always honest army of New Yorkers.
Her debut album New Skin drops on October 7th and music fans all over the world are in for a delicious treat. The singer’s sound even caught the attention of Grammy award winner Sam Smith who called the her music, “Fucking beautiful and highly recommended.” Recalling the moment she heard Smith was a fan, JONES glowed, “It was a massive surprise. My friend told me to check my Instagram. I had a look and I just went crazy. I look up to him. He has a great voice and a great career. It’s so good to get support from people like him.”
Smith wasn’t the only person to throw his support behind the stylish mid-20s singer. JONES had an amazing support system over the years that helped shape her into the person that she is today. While growing up, her mother would play reggae, soul and pop records in the household. It was destiny that the singer would take elements from each style and infuse them into her own unique and memorable sound. When reflecting on her mom, JONES said with a smile, “We were very close growing up. She is a strong, independent woman and my ultimate role model.” JONES would practice her craft at open mics at a young age and recalled an instance that meant a lot to her. She told me, “I was really young when I was doing those. Sometimes it would be empty. Sometimes it would be busy. Once a friend of mine started crying when she saw me and that gave me goosebumps. It made me want to keep going although I was very nervous.” JONES fought through the nerves and would later go on to be featured on the Honne track, “No Place Like Home.” The song put JONES on the map and made her a force to be reckoned with.
JONES wrapped up her tour with Honne on Monday and is now focused on releasing her album in just a few short months. After having great experiences playing to big crowds in places like Denver and the UK’s Latitude festival, her new mission is to become a headliner in the United States and go to areas in the world she has not visited before. She made it clear that the acoustic performance she played at Webster Hall is different from what will be on the final cut of the album. She went on to explain, “It’s a different vibe. The live stuff is just so exciting. It kind of grabs you and before you know it it’s over. The studio is more therapeutic and performing in front of these people is more exhilarating. Total opposites but I love both.” When asked what fans should expect when New Skin comes out, she said with a warm smile, “It’s got a range of slower wistful songs and it’s got more upbeat optimistic music. It is really my coming of age diary turned into songs. It’s quite personal but I always end up baring everything in music. I think you have to be honest. It’s emotional.” One of the standout tracks from New Skin is “Waterloo.” When questioned what the song is about, JONES explained, “Waterloo is a station in London. It’s a reflection of a time in my life when I had to let someone to go. It wasn’t an easy decision but I knew it was the best thing to do. It was me being nostalgic for the past.”
Before taking the stage one last time for a surprise performance with Honne, JONES left with parting words that anyone could relate to. “Music is my free therapy that I use. Everyone gets down whether it’s a relationship, friendship or just some bump in the road. My writing helps me get it out. Music is very healing and that’s one of the reasons why I love it.”
Baroness’s latest album, Purple—the band’s first release since surviving a harrowing 2012 bus crash in England—shifts the Georgia crew’s stoner metal sound toward righteous psych-tinged hard rock with great success. Opening is epic and eerily uplifting Arkansas doom-metal crew Pallbearer.
Joey Ramone Birthday Bash
The Studio At Webster Hall
MANHATTAN, NY—Joey Ramone, the late vocalist of the groundbreaking punk band the Ramones, this year would have turned 65 years old on May 19. For the past 16 years, this day has been reserved for an annual Joey Ramone Birthday Bash at a local venue, drawing many of his contemporaries and recalling the glory days of the late 1970s punk rock movement. This year the event was held at The Studio At Webster Hall.
Ramone’s late mother, Charlotte Lesher, and brother, Mickey Leigh, organized the first Joey Ramone Birthday Bash one month after Ramone lost his seven-year battle with lymphoma in April 2001. Lesher and Leigh had promised Ramone that they would celebrate his 50th birthday. That first tribute was held at the Hammerstein Ballroom. The event has continued annually, drawing many of New York’s original punk rockers to celebrate and perform Ramones songs.
This year’s concert began with mini-concerts by David Peel & The Lower East Side, The Threads, The Queers, Tracy Thornton’s Pan For Punks, Blue Coupe and Barb Wire Dolls. Craig Leon, the producer of the first Ramones album, answered questions from the audience. That Ramones album celebrates its 40th anniversary, so various performers took the stage to re-create the album with a house band consisting of guitarists Cheetah Chrome of The Dead Boys and Walt Stack of The Bullys, bassist Mike Watt of The Minutemen and The Stooges and drummer Clem Burke of Blondie.
All proceeds from the concert went to lymphoma research in memory of Ramone. Further donations may be contributed to the Joey Ramone Foundation for Lymphoma Research at P.O. Box 1107, Cooper Station, New York, NY 10276.
This month, it will have been a year since the great underground rapper Sean Price sadly passed away at age 43. Last year there was a memorial show held for him days after passing, and this year there will be another one. It happens on Monday, August 8, the one-year anniversary of his death, at The Studio at Webster Hall in NYC. The lineup is stacked with great artists Sean associated with, including Boot Camp Clik, Skyzoo, Torae and Sadat X & Lord Jamar of Brand Nubian. There will also be DJ sets by Just Blaze, Pete Rock, Statik Selektah and PF Cuttin. Tickets are on sale now.
Earlier this year, a posthumous Sean P verse appeared on Koolade‘s “Say Nothing,” which also features Rah Digga and Tony Touch. Listen below:
One day in the spring of 2015, my friend told me to listen to the song “Luxury” by Jon Bellion. Even though I’ve never heard of this artist before, I listened and became so fascinated with his style that I immediately continued to listen to all of his albums, The Definition, The Separation, and Translations Through Speakers. I listened to them on repeat so much that I think I learned the words to every song in less than a week. He was my new obsession. Then just when I thought this random artist I’ve never heard of before was done amazing me with his music alone, I found his YouTube channel. On his channel, he posts behind the scenes videos of him working on each song and how they all came together.
Jon Bellion, a Long Island native, creates and produces every single one of his songs on a beatpad himself. It’s not just the fact that everything is 100 percent his own ideas that amazed me so much, although watching him in action is pretty rad, but watching how quickly and creatively his brain works and how he turns all of his ideas into real sounds right in front of your eyes is extremely satisfying to witness. Bellion’s true passion for his art is always evident in his actions when what he is working on clicks and it sounds exactly how he intended. I have never seen such genuine excitement and passion before, and his hard work really pays off with the songs that come out of it and the hype his fans have created.
Jon Bellion’s tour will have its concluding dates at Webster Hall in Manhattan on July 29 and 30. His new album, The Human Condition, is available now through Capitol Records. For more information, visit jonbellion.com.
When Superstorm Sandy barreled through the New York City area in October 2012, it devastated many of the tunnels used by the city’s subway system, effectively cutting off Manhattan from its surrounding boroughs for more than a week. Now, four years later, the damage caused by that storm will force the Metropolitan Transit Authority to shut down the L train between Manhattan and Brooklyn — and its crosstown section in Manhattan — for 18 months beginning in 2019, causing front page headlines across the city.
But most importantly for the music industry, the L connects several of North Brooklyn’s creative and arts-loving communities with key venues on both sides of the river: Highline Ballroom, Irving Plaza and Webster Hall all sit within five blocks of 14th street in Manhattan; Brooklyn Bowl, Music Hall of Williamsburg, the Knitting Factory and Rough Trade are all within a short walk from the L line in Brooklyn. And those are just a handful of the clubs, bars, halls and theaters that cater to live music lovers that could be affected by the coming closure — not to mention the musicians that live in the neighborhoods.
“I’ll be curious to see which side of the river gets affected more,” says Heath Miller, vice president of concerts at Webster Hall, located on 11th street in Manhattan. “People from Manhattan will be less likely to go to Brooklyn than ever before. And I think for people in Brooklyn, it’ll be a bigger impact on the weekends than the weekdays, when people are still coming to Manhattan for work.”
For Webster Hall, which is located near Union Square and thus several other subway lines, the effect may not be as severe as it will be for venues in Williamsburg, many of which thrive due to their proximity to the L — and which have few other options in terms of trains. But Peter Shapiro, founder of Dayglo Ventures and owner of Brooklyn Bowl, says that as long as the L continues to service Brooklyn, cutting off the quickest route to Manhattan isn’t the worst thing in the world.
A dark twist on one of New York’s original venues
SYDNEY MEGAN JOW 7 JULY 2016
Webster Hall is one of New York City’s most iconic venues. Shows have been going there for almost 120 years and Webster’s seen the likes of superstars Madonna and Tina Turner grace its stage. More recently, the ‘Girls & Boys’ parties introduced the city to true bass music culture and now, there is a new breed arriving on the dancefloor.
Introducing Webster Hall’s weekly ‘Gotham’ event series, a selective and intelligently conceptual show highlighting house and techno that kicks off on July 16.
‘Gotham’ is a serious shift from the venue’s usual fanbase as it plans to bring the best underground acts to its main room. A dark, steampunk aesthetic will set the series apart from its usual design, placing the DJ booth on the dancefloor and encouraging fans to join artists on stage where a full bar will be in operation.
The stylized series will also feature costumed actors and dancers to add to its ’1920′s apocalyptic noir’ image, bringing full theatrics complete with aerialists and balcony repellers.
‘Gotham’ will be jumping into the ring with Brooklyn’s already thriving house and techno community, calling for top-of- the-line curation and design.
The first installment of ‘Gotham’ on July 16 is titled ‘Chapter 1: The Realization’ and will be headlined by house artist Nora En Pure.
Guitarist Raymond “East Bay Ray” Pepperell was inspired by a ska punk show he enjoyed in 1978 in San Francisco, California. He decided to form a band and placed a classified advertisement for musicians in a local newspaper. Dead Kennedys was born, although the provocative moniker forced the band to perform occasionally as The DK’s, The Sharks, The Creamsicles and The Pink Twinkies. Always more controversial than financially successful, Dead Kennedys released four studio albums and one EP before disbanding in 1986. In 2001, Dead Kennedys reformed without vocalist Jello Biafra (Eric Reed Boucher), who has remained in acrimonious disputes with the remaining members. The band presently consists of East Bay Ray, original bassist Geoffrey “Klaus Flouride” Lyall, drummer Darren “D.H. Peligro” Henley and vocalist Ron “Skip McSkipster” Greer.
Headlining at The Marlin Room At Webster Hall, Dead Kennedys brought much of the fury and volatility of the band’s early concerts. While the performance was tightly constructed, savage anarchy seemed to rule the stage. Between songs, Greer rambled aimlessly, much like Biafra did decades ago, yet the social politics was not nearly as present as it was during the President Reagan years. The Dead Kennedys concert was still fun after all these years, but it came with a caveat, in that there were no new songs or ideas to mark the passage of 30 years time since the band last recorded. Concertgoers witnessed a very evident drought.