Shocking Development: Culture Shock goes virtual

Culture Shock 2020 was one of many music festivals affected by the coronavirus pandemic, but it didn’t stop local creator and founder of Culture Shock, Chachi Carvalho.

The past two years, the Pawtucket-based Culture Shock music fest filled the streets with diverse creativity and artistry, music and celebration. This year, Carvalho expects to give fans the same feeling, but the fest will be virtual. Performances will be live recorded sessions with acts such as Flawless Real Talk, Nova One, Joe Bruce, Temperamento, Brooxana, Jabubu, Kelce, Shokanti and Storm Ford. Culture Shock also will include interviews with the artists. Culture Shock has a wide selection of artists and genres every year, and this year it is expected to include an eclectic mix of sounds from Latin hip-hop to rap to ’60s vintage rock to singer-songwriter to silky soul and R&B.

“I couldn’t allow this global pandemic to stop me from providing an invaluable resource to folks at this time, and that is an opportunity to feel some level of connectedness,” said Carvalho. “I feel like Culture Shock is an opportunity for artists to have a platform to perform when they haven’t had an opportunity to hit a stage throughout this whole time.”

Roz Raskin of Nova One said this Culture Shock performance was the first time they had loaded their equipment into a performance space to play for anyone in such a long time. They mentioned everyone was super kind, helpful and communicative, and followed COVID guidelines, which made them feel very taken care of.

“In this intense moment we are all living in, it’s still so important to feel the connection to the communities you were present in before COVID,” said Raskin. Carvalho alludes to his ambition, and said he wanted to challenge himself and the team to pull together a high level production with the hopes that it will generate some attention and funds to level up for next year (whether it’s virtual again or in person). For this year, Carvalho teamed up with HAUS, a Rhode Island-based content creating studio, and Massachusetts-based recording company, Railroad Park, to create a mashup of various and divergent artists as a film experience. Other sponsors and local supporters include Citizens Bank, Beatbox Studio and the Pawtucket Arts Fest.

“I can’t help but think that this festival and this message is exactly what we need right now,” said Kyle Therrien, President of Railroad Park Recording Co.

HAUS Content Creator Austin Delin said Carvalho approached them with the idea of a virtual Culture Shock 2020, aware of the challenges of live-streaming multicam performances over an internet connection as well as the precautions needed given the pandemic. Delin said they were able to film each artist’s performance individually, air out the space and sanitize the equipment between each session. The sessions were then edited and compiled into a film that will be released on December 21.

“Not only was this an opportunity for us to strive for a level of quality that is seldom seen in virtual events or livestreams, but it was a way for us to give back to our local community here in Rhode Island,” said Delin. “There’s too much talent here for us to be overlooked, and that’s what we’re hoping to change.”

Culture Shock is going onto its third year, and now that the festival has turned virtual for the pandemic, it provides a different opportunity to gain more followers for upcoming years. Carvalho said past events were lively and exciting, but had a smaller turnout than gatherings like PVDFest. He said Culture Shock going virtual opens up infinite possibilities given the number of people that can see it.

“I believe this event being virtual is just a perfect way to end 2020. So many talented artists from different backgrounds coming together is the type of message the world needs right now,” said Latin hip-hop artist Temperamento.

“I felt free and able to just get lost in my music. I don’t normally feel that because of nerves, but for this performance, it felt freeing,” said R&B soul singer Brooxana. “The name ‘Culture Shock’ says it all. It’s going to continue to wake the inspirations and passions of all kinds of artists as it did for me through this experience.”

Culture Shock will be streaming at 7pm on Monday, December 21. For details, go to cultureshock401.com/ or follow @cultureshock401 on Instagram and YouTube channel, Culture Shock 401, where you can see the film trailer. To make a donation, visit their gofundme page.

Christmas in Quarantine: Crock of Gold – a few rounds with Shane MacGowan

This Julien Temple directed, Johnny Depp produced documentary shines a spotlight on Pogues singer, Shane MacGowan. Crock of Gold starts with MacGowan talking about growing up in Ireland living in a crowded house, without electricity or indoor plumbing, where he worked in the field with his uncle, and how his aunt would bribe him at the age of 5 with whiskey to read the Bible. The one part of Crock of Gold that irritated me was the overuse of stock film by Temple (one of his trademarks from his other films about Joe Strummer and the Sex Pistols) to re-enact MacGowan’s childhood. This is interspersed with MacGowan, his wife Victoria Mary Clarke, and Johnny Depp having drinks in a pub while MacGowan shares things like his belief that “God chose me to save Irish music.” When Clarke asked him why, MacGowan replied with a cackling “because God is Irish.” MacGowan’s family moved to London where MacGowan got kicked out of schools, began experimenting with drugs, and joined a gang after enduring an initiation where he got beaten with a stick while having a trashcan over his head. During his teens in the late ’70s, explodes in London and bands like the Sex Pistols inspired MacGowan to start a band of his own, which eventually comes to be called The Nips. After punk rock fizzled out of fashion, MacGowan started a band with Spider Stacy called Pogue Mahone to breathe new life into traditional Irish music fueled by the energy of punk rock. The band name only gets shortened to The Pogues once a TV show the band was to be on discovers that the Gaelic translation of Pogue Mahone is Kiss My Arse. There is great early footage of The Pogues, covers the creation of the iconic Christmas classic “Fairytale of New York,” and ends with MacGowan getting a medal from the President of Ireland for contributions to Irish culture in a star studded 60th birthday concert. Crock of Gold features interviews with MacGowan’s sister, parents, politician/Northern Ireland peace broker Gerry Adams, Nick Cave and Bono, among others. The movie is out in theaters (if that is ever a thing here again) and streaming platforms – check crockofgoldfilm.com for screening options.

Low Cut Connie — Private Lives

If Private Lives is not the best rock of 2020, it is definitely in the top 5. The double album is a hot pie stuffed with American music. The ballad of “Look What They Did” covers the fall of Atlantic City after being raided by billionaire developers. Swagger-filled romps run wild from indie guitar squalor of “Tea Time” to the New Orleans boogie “Nobody Else Will Believe You.” “Help Me” has singer/keyboardist Adam Weiner singing about “hanging like a scarecrow” before the gospel chorus kicks in like a choir. “If I Die” belts out the blues. “Stay as Long as You Like “ is even like an ’80s pop ballad. Private Lives stylistically plays like a jukebox, shuffling between genres with Weiner’s lyrics pushing a comforting message of hope through the joys and sadness. In addition to this absolute beast of an album, Low Cut Connie does weekly streams every Thursday and Saturday for their close-lnit community of fans that Weiner has dubbed “Tough Cookies” – check out their social media pages for info. Private Lives is the soundtrack for the turbulence of 2020.

The Replacements – Pleased To Meet Me (Sire/Rhino Records)

This deluxe reissue of this 1987 classic includes three discs and one album of previously unreleased songs, demos and alternate mixes. Among the highlights are the Mats last recordings with original guitarist Bob Stinson on the Blackberry Way demos before they went to Memphis to make Pleased To Meet Me with legendary producer Jim Dickinson as a three piece. In a break with tradition, the vinyl offering is a completely different version of the album with some non-album songs sprinkled in, and a mix that has a raw demo quality. Pleased to Meet Me showcases singer’s Paul Westerberg’s lyric creation process as he’ll sing different lyrics before settling on the final version. Pleased To Meet Me also provides a snapshot of the infancy of bassist Tommy Stinson’s development as a songwriter. In a very Replacements-esque fashion, the boxset appears to have no involvement of the band members and was largely compiled by Mats biographer Bob Mehr. Pleased To Meet Me is a treasure trove for any Mats lover on your Holiday shopping list.

Tom Petty – Wildflowers & All The Rest (Warner Records)

Long rumoured to be the works, the deluxe version contains unreleased tracks that were originally intended to be part of Wildflowers as a double album. There is some filler (I’m not sure it was really necessary to buy the 9 vinyl version) but rarities like “Leave Virginia Alone,” the scorching psychedelic romp of “Driving Down to Georgia,” and “Girl on LSD” are pure gold. There is a double album of home demos and a double album of early versions of Wildflowers. The highlight for me is the double live album of tracks, both on and written for Wildflowers. Available in digital and in various CD and vinyl packages, Wildflowers & All The Rest will no doubt light up the world of any Tom Petty fan on your shopping list.

Rolling Stones – Goats Head Soup (Polydor Records)

After a string of four considered to be their best, Goats Head Soup is largely overlooked in the Stone’s vast catalogue. I’ve always loved it from the spooky opening riff of “Dancing With Mr. D.” to the longing optimism of “Winter.” The deluxe reissue contains three unreleased tracks with my favorite being the driving “Criss Cross,” which seems to be the most untouched from the original sessions. Another of the unreleased tracks “Scarlet” I don’t like as much because you can tell Mick Jagger re-did the vocals. There are a few different mixes and instrumentals, the standout being an instrumental version of “Heartbreaker.” The deluxe version contains a long circulating bootleg called Brussels Affair, which is a solid snapshot of the Stones live from this era. Goats Head Soup and the recent reissue of Keith Richards and The X-Pensive Winos Live at the Hollywood Palladium are to go to gifts for any Stones fan on your shopping list.

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The Weary World Trudges Through: Support local with these holiday albums that don’t suck

Many of us are cancelling Thanksgiving plans and looking ahead to an equally weird Christmas, and with the holiday season comes the inevitable buying spree. It was recently reported that Jeff Bezos saw his wealth rise by an estimated $48 billion from March to June alone. In the spirit of rejecting this gross inequity, I urge you to support local businesses.

Any of the albums featured in this column would make excellent gifts for the music lovers in your life. Even more enticing, December 4 is the last “ Friday,” in which the revenue share is waived so that every cent goes to the artist. Whether it’s music related or not, consider kicking in a few shekels to your local creators or give a donation if you can swing it.

A few campaigns to consider:

The Narrows Center Fundraiser (also worth checking out is their series of livestreams) Rhode Island Artist Relief Fund Save The Parlour GoFundMe Newport Festivals Musician Relief Fund AS220 Dan Blakeslee and the Calabash Club — Christmasland Jubilee

Local songwriter and crooner Dan Blakeslee has built an impressive resume by pounding the pavement throughout New England and putting out a string of acclaimed albums. He’s well known for his ghoulish alter ego Doctor Gasp, but this time takes a turn round the ol’ Christmas tree with his first holiday record, Christmasland Jubilee.

It’s astounding to think that so many Christmas albums are released year after year given that the canon and themes don’t really don’t change much. Instead of a straight rehashing, Blakeslee manages to bring his own folksy flair to the catalog.

Blakeslee brings a brooding, rolling tumbleweeds vibe to “We Three Kings” and puts his own spin on the melody. He tries out boogie woogie on “The Reindeer Boogie,” and “Santa Claus Is Coming To Town” is set atop a gorgeous NOLA-style ragtime, replete with clarinet and muted trumpet.

Blakeslee describes the album as “a 10-year dream album come to life.” I have the pleasure of knowing Dan in real life, and there is no denying that the guy really loves Christmas music. The musical ornamentation (no pun intended) creates a captivating soundscape throughout the record, with deft backing vocals, accordion, piano and percussion. There’s a lot going on at times, but it’s managed with minimal turbulence. A high point is “Silver Bells,” featuring a beautiful combo of Hammond organ, mandolin and vibraphone.

The Calabash Club is pianist/accordionist Mike Effenberger, bassist Nick Phaneuf and drummer Jim Rudolf, but there’s a pretty extensive cast of characters who do a great job.

In addition to the classics, Christmasland Jubilee has a solid crop of originals. “Glowin’, Blowin’, Jumpin’, Swayin’, Wishin’, Swingin’, Dancin’, Rockin’, Fishin’, Laughin’ Christmas Tree” brings a jazz flavor and proves that the holidays are no time for brevity.

“The Somerville Lights” is a straight-ahead folk tune about the light displays in Blakeslee’s former city, and a bonus song, “Let’s Start Again,” has a more off-the-cuff feel and really shows off his songwriting chops.

Maybe the fact that Dan and others can keep coming out with engaging takes on the same material is a comment on the supreme adaptability of music itself. Sure, it’s all been done, but now it’s been done by Dan Blakeslee.

Purchase Christmasland Jubilee on at Bandcamp.

Holiday Albums That Don’t Suck

My relationship with holiday music mainly involves grumbling when the dentist’s office starts playing it in early November, but after Dan’s album I decided to see what else is out there. Here are a few of my most cherished holiday records, most of which I pulled from other online “best of” collections yesterday.

Sharon Jones & The Dap Kings — It’s a Holiday Soul Party

The late Sharon Jones put out this soulful selection fearing the glorious horn section of the The Dap Kings in 2009. The slow burn of “Silent Night” and “Please Come Home For Christmas” really let Jones’s vocals shine, and upbeat fare like “8 Days (Of Hannukah)” and “Funky Little Drummer” boy will bring down the house at your Zoom holiday party.

Jethro Tull — The Jethro Tull Christmas Album

What says Christmas more than some woodland woodwinds or super show-offy arrangements of the classics? In what was to be their last studio album, Tull puts their own proggy spin on the holidays with tunes like “Birthday Card at Christmas” and “Jack Frost and the Hooded Crow,” as well as rerecordings of fan favorites like “Weathercock” and the instrumental “Bourée”

Aimee Mann — One More Drifter in the Snow

Christmas doesn’t have to be all good times and cheer; Aimee Mann depresses along with the best of them with “Whatever Happened to Christmas” and “Christmastime,” about things falling apart around the holiday. “Calling on Mary” is a brilliant song no matter the time of year.

David Sedaris — Holidays on Ice

While not technically music, I always enjoy hearing the audiobook being played on NPR and getting a look at Sedaris’ time as a department store elf.

Willie Nelson — Pretty Paper

By ‘79, Nelson had released 24 albums and was just beginning his well-publicized troubles with the IRS. The title track is a rerecording of Nelson’s song, which was a hit for Roy Orbison. The bright spot for me, though, is the nifty organ and keyboards on tunes like “Rudolph” and “Here Comes Santa Claus” by Booker T. Jones, who also produced the record.

The Vandals — Oi to the World!

The Vandals specialize in juvenile themes mixed with lightning fast skate punk, evidenced here with tunes like “A Gun For Christmas” and “Christmastime for My Penis.” Interestingly, the 1996 album received renewed interest after No Doubt covered the title track a few years later.

Jelly Side Down — Had to Be There

The golden era of pop-punk may have come and gone, but Johnston newcomers Jelly Side Down do a good job capturing the spirit. And with stellar recent releases from bands like The Callouts and U.G.L.Y, maybe there’s something in the water.

There’s definitely some examples of Jelly Side Down nailing the format, with general themes of unease and the angst of the young along with some effective hooks and crunchy guitars. “$18,000 and a Chance at the Title” has the shredding and lead harmonies of Sum 41, and “Midnight” packs a killer hook.

“I Hope You See This” has some heavy breakdowns and dark edges that remind me of Evanescence. “Specter” features an impenetrable fortress of beefy guitars, and they also cover “Valerie,” made famous by Amy Winehouse, which they manage to rev up a bit.

Buy Had to be There on Bandcamp.

Do You Hear What I Hear?: Holiday concerts from your couch

Okee dokee folks… I would like to send a big THANK YOU out to the folks who voted for Joe Biden and Kamala Harris. If you were one of the folks who voted for the mango moron, PLEASE begin the cult deprogramming process immediately. Hopefully this nation’s nightmare will soon be over. In the meantime, please start taking the COVID-19 pandemic very seriously or we will just be stuck in a Groundhog Day loop. People are getting sick and dying, and many of those who have corona and live through it end up with long-term health issues. Besides, if we don’t keep it in check, live music and venues may never come back. Read on…

Singing for Shelter, the 13th annual Christmas concert that features Newport area musicians raising money for local homeless havens Lucy’s Hearth and The McKinney Shelter, will be held online over a period of two weeks, from December 5 through 22. In order to hold some form of a fundraiser, the organizers decided to present a series of shows featuring the musicians playing live from their living rooms on . Viewers will be urged to visit the shelters’ websites and donate directly. Over the years, Singing for Shelter has raised more than $85,000 for these shelters. All shows are from 7-7:30 and for the schedule, telethon to ChristmasInNewport.org or SingingForShelter-Newport on Facebook.

The Zeiterion Performing Arts Center in New Bedford will be streaming Canada’s most endeared and revered fiddle power couple, Natalie MacMaster and Donnell Leahy’s Celtic Family Christmas At Home on December 5. Partnering with Homeplay.live, the concerts will continue MacMaster and Leahy’s annual tradition for their fans across North America while encouraging audiences to support their local theaters that are struggling with the quarantine. The show will be left up to watch any time from posted the show day until December 27. Also through the Z, Brian O’Donovan’s Virtual Christmas Celtic Sojourn will premiere on Thursday, December 17, at 7:30pm. O’Donovan will host, introduce the artists, chat with them about their lives, read favorite poetry and recount stories from his own West Cork Christmas. Proceeds from this performance benefit both the performers and The Zeiterion. If that isn’t enough holiday “tune-age” for you, then you can listen to the mother lode on December 19 when the Holiday Pops presents a virtual family concert. This show will be pre-recorded at the Zeiterion and presented via YouTube. All ticketed patrons will receive an email on the day of the concert containing a private link for access, and a digital program book will be available to view before the concert airs. For more, tune in to Zeiterion.org Common Fence Music keeps the streaming going with a couple of new internet installments in December. On Sunday, December 6 at 7pm, The MoNo Guitar Duo, consisting of Italian guitarist Giuseppe Molino and Polish guitarist Anna Krystyna Nowicka, will perform. The two met in 2010 at Santa Cecilia Conservatory in Rome and the MoNo Guitar Duo was born. These talented musicians perform what is known as “4 hands guitar” where two people play the same guitar at once! On December 13 at 7pm, Samoa Wilson, vocalist and song-stylist, will play a cyberspace concert with her current duo partner, slide guitarist Ernie Vega. Collectively they are known as the Four O’Clock Flowers. Their repertoire of gospel, blues and jazz songs are sung from a woman’s perspective of struggle, transformation and triumph. These events are free, but tips are encouraged and go to the artists. For more, go with the flow to CommonFenceMusic.org

The Narrows Center for the Arts in Fall River will continues with its Friday night live stream shows until in-person shows are deemed safe once again. They have a stellar line-up that will make your Friday nights fun! Coming up are the Duke Robillard Band, Sarah Borges and The Broken Singles, Gary Hoey’s Ho Ho Hoey’s Rockin Holiday Tour, Ward Hayden & The Outliers, Christine Ohlman and Rebel Montez and Roomful of Blues. For schedule information, taper toward NarrowsCenter.org

Unfortunately the RI Music Community lost David Haller to COVID on November 27. He was a mandolin player and member of the jug band The KC Moaners. David was always helping out at festivals as well. He was a forever member of the stage crew at Rhythm and Roots Festival and helped me many times at the Providence (Rhode Island) Folk Festival. He was a good soul and will be missed. Hopefully we can overcome this pandemic before it takes any more good folk. That’s it for now, thanks for reading. JohnFuzek.com

Never Coming Home: Local pop-punk band talks about the meaning behind their music

I first met frontman Anthony at – of all places – an All Time Low show a couple years back. The thing about Never Coming Home is they don’t view their band as a hobby.

The equation is simple – all four boys have that quintessential boy-band aesthetic (but edgier, of course) that makes teen girls take notice. Plus they’re all incredibly talented, having already written countless songs just waiting for the right time to get produced. Vocalist and rhythm guitarist Anthony Hefler keeps the energy up, lending bright melodies to their songs. Bassist Derek Lane-Bell is primarily a drummer, but started playing bass because that’s what their band needed. Lead guitarist Aidan Sullivan is incredibly skilled with a good improvisational ear and musical sensitivity. And last but absolutely not least is Merritt Cathers, drummer extraordinaire with so much energy that watching him behind a drum kit makes mere mortals feel like they need to up their cardio workouts.

Their breakout tune was “Runaway,” and although it was their first dip into the waters of showbiz and the mix was a little rough, they’ve come so far since then. After releasing “Halloween” mixed by Blake Roses (of previous Oh Weatherly fame) and “You Crushed Me and I’m Not Ready to Laugh About It” a.k.a. “YMCA” mixed by Zack Fiske (who seems to work with all the best New England bands), it’s abundantly clear that their music is going to take off. Their songs are filled with wall-to-wall catchy beats, iconic chord progressions, and shockingly mature additions (string-section in “Halloween,” I’m looking at you).

Angelina Singer (Motif): How did each of you find music in the first place? Did you always have a passion for it?

Anthony Hefler: I kinda got into music because of a lack of things to do. I didn’t really have any “interests” and my dad was always into music, but I always pushed it off. One day he showed me bands like Twenty One Pilots and some other random ones, and then I just picked it up one day and never went back. I asked a bunch of friends in gym [class] the next day to write down bands to listen to, and of course they wrote like Fall Out Boy and all that and that’s where I started.

Derek Lane-Bell: I found music through Weird Al parodies in 4th grade. Through him, I found Nirvana and fell in love with rock, and eventually sprouted out to love punk, , the Beatles and indie. Especially emo.

Merritt Cathers: I got into music when I was about 13 or 14, and I expressed an interest in playing the drums. From there it took off, discovering bands like Twenty One Pilots and blink-182, and later diving headfirst into more pop punk bands like Neck Deep and WSTR.

Aidan Sullivan: I blame the movie “School of Rock,” that’s kind of what sparked my interest. It wasn’t long before I found bands like blink-182 and All Time Low – that’s when I dove into the scene.

Motif: What is the central theme behind your music, and what do you hope to accomplish with your lyrics and ideas?

AH: When I write lyrics, I usually write from my perspective as a way to release my emotions into something when I have nowhere else to put these emotions and problems. Lately I’ve been also trying to write from other perspectives as well in a more story-driven format. Sometimes I’ll write about an experience I’ve never had, but the feeling behind it is genuine in the fact that I’m feeling that way but don’t know how to elaborate [on] it. So sometimes I’ll elaborate those feelings into stories, or just write it straight up. Sometimes it’s just a jumble of words that don’t mean much, but it means something to me at least, and maybe it’ll mean something to someone else. Hopefully it does.

DLB: I write to give people something to relate to. We all go through the same shit in different ways, and when you hear something that you relate to, it sticks with you and makes you feel something. That’s why I listen to music, cheesy as it sounds.

MC: I use music as an outlet for things such as my stress and anger. I hope to use this band as a creative outlet to help others find the comfort I do within music.

AS: Music is my outlet — I find that writing helps me process difficult emotions. I just hope to one day have music that affects others the way music has affected me.

Motif: Elaborate on the story behind YMCA (if you feel comfortable).

DLB: The verses and chorus in that song are mostly just wordplay and contradictions, which is my favorite way of writing, with a few specific lines thrown in that relate directly to me. The bridge was something that Anthony, Aidan and I wrote together, which was basically the only part of the song that actually happened. I went through a rough relationship and the bridge is just a straight-up retelling of it. I didn’t intend the song to be about that, and it certainly wasn’t the intent I had while writing the song, but that stuff just comes out. The title is entirely ironic. It was just making fun of long song titles and I thought it was funny. It was a joke I thought the other guys would laugh at before I actually titled the song, but it just stuck.

Motif: How has being in a band impacted your life so far? Not many people can brag about the level of success you’ve already had at such a young age.

AH: I’m not gonna lie — it has impacted it a ton, but at the same time not at all. I’ve made a ton of friends and connections through the band but at the same time, day-to-day life is still absolutely the same. Go to school, do the same things I would do if I wasn’t in the band. It just gives me something to think about and work at instead of doing nothing.

DLB: It’s neat. Having a creative outlet in a world where most things are disappointing is great.

MC: I think that playing as a group, especially on stage, is an amazing experience. Hearing other people sing along to songs we spent time working on in Anthony’s garage is still so crazy to me.

AS: Creating music is one of the best feelings in the world. I feel that just being in a band has helped me grow as a musician.

Motif: You have a fairly large backlog of music that is yet to be released. What was the writing process like for your songs, and about how long did it take to put everything together?

AH: We write all the time and lately we’ve been trying to think outside the box with new songs because once you have an unreleased list of like 30-40 songs, you gotta start to change it up. We normally write lyrics and basics on our own and then bring the composition to practice and put it all together. Sometimes we work in pairs, Derek and I are really good at working together on songs and a good bit of our latest songs have come from that. Our song “Coffins” came from me showing Derek a random riff, whipping up random lyrics in 10 minutes, and then playing it part by part and just looking at each other for changes, none of it was planned at all! We just kinda made it up as we went along, and then it all came together.

DLB: Usually we write alone and bring a mostly finished song for the rest of the band to work on. The songs just came together over time. We write fairly often so our back catalogue is just all the stuff we’ve written that we’re proud of. It’s becoming a problem actually.

MC: We honestly let things come together naturally. We write by ourselves and sometimes together but not really as a group, instead we bring our unfinished songs to the group and we work together on improving where we can and adding our own unique suggestions.

AS: I pretty much just write when I’m sad or whatever other emotion I might be feeling. We all do a lot of writing on our own, but once a song is brought to the band, I feel like there’s this sort of unique creativity that’s brought to the table, we start asking “how can we make this stand out?” or “what is this missing?”

Motif: Looking back at where you’ve started and how far you’ve already come, what is something you would tell your past selves to do differently?

AH: Don’t be so negative about things, and stop apologizing for being excited about things. Also think things through before you do them, don’t just jump into things because why not.

DLB: Leave School of Rock about three years before I did. Also maybe learn to play bass before joining a band.

MC: I think we should’ve been more optimistic and laid back a bit instead of jumping headfirst into things. However I’m glad that we do our own thing and aren’t worried about expressing ourselves.

AS: For the love of god, don’t let “Runaway” happen.

Motif: Share the most cringe-y awkward moment that happened to you on or offstage at a gig.

MC: Back in January, we played at the AS220 and I butchered our drum break when we played Halloween live. It haunts me to this day.

Motif: How have you liked the studio recording process for your first EP so far? Up until now, you’ve released some really dope singles, but never a full release.

DLB: Recording in the studio was a mess. The A/C was broken, equipment broken, it’d be easier to talk about what didn’t go wrong. We’re just excited we finally got the damn thing recorded.

AH: It was an incredibly fun experience, but the whole time we joked about it being cursed! Every day something went wrong! Derek went over most of what went wrong in his answer but actually the last day in the studio it was just me and Zack (producer) finishing up vocals for “South Station” and my voice started giving out. So there was this vocal spray in the booth so he ran it out to me and I took it. Now I normally have this like vocal honey spray thing or whatever it’s called that you can use as much as you want but this was different. I took one hit then my throat was numb…. and I was LOVING it. It started to wear off in like 2 minutes so I went to hit it again when I read the back and it said only take once so I was okay. But here’s the kicker, in tiny writing on the back it said DO NOT SWALLOW. It’s a cherry flavored product OF COURSE I SWALLOWED IT! So we’re frantically running around calling everyone and thinking I’m gonna have to go to the ER because we looked it up and it causes internal bleeding in the lining of the stomach. We spend 30 minutes flipping out when we get on call with a pharmacist. And his answer to what we should do was literally just, “Oh you’ll be fine, I swallow that stuff every day.” So now I’m just worried for the guy at the pharmacy! But overall it was a great experience to do a record, I wanna shout out our man Zack Fiske real quick. If you’re a band or musical artist of any kind in the Rhode Island/Massachusetts area GO TO ZACK!

MC: Recording in the studio was a series of unfortunate events. On top of what was already going wrong, I broke one of my cymbals after finishing tracking two songs and couldn’t find one anywhere in the area. After driving 30 minutes to buy a cymbal, I realized I forgot my wallet back at the studio.

Stream music by Never Coming Home! : open.spotify.com/artist/2uXNi9A0csWxuxvpOUcHnr?si=4lM_u0GESCWVs4TSMNW_kg; YouTube: .com/channel/UCk8Z_1qG1CsalLMsxETduJA; Instagram/ @nchbandri

A Thanksgiving Playlist: This Thanksgiving may be different than usual, but that doesn’t mean it won’t rock

Looking forward to the holidays this year is complicated, to say the least. It’s probably safe to say that everyone is at least a little frustrated, jaded and fatigued from the state of the world right now. But I’ve put together something that might help. Below, you’ll find an eclectic playlist packed to the brim with , folk-pop, and ballads by some of the best bands and artists Rhode Island has to offer.

This playlist consists of bands and artists that I’ve recently featured or likely will feature very soon. I’ve done my best to pick songs that might nicely complement a turkey dinner, but there are some good, energetic rock songs in here too. So crank up the oven, turn on the stove, and dial the music up loud. Soon, you’ll forget why this completely crazy year was bumming you out in the first place.

Songs you’ve heard by bands you need to know about: “Valerie” is covered first by pop-punk alt-rock band Jelly Side Down, and you’ll love how they’ve injected more energy into this originally more relaxed tune. After that, your ears will be treated to “Livin’ la Vida Loca” covered by alt-pop band Hello Atlantic. It sounds similar to the original, but angsty-er somehow. The vocals are full of longing, much more dramatic than the original. And finally, I’ve included on this list “It’s Gonna Be Me” also covered by Hello Atlantic. This one is much more techno-rock, with chugging guitars bouncing off the electrified effects. It’s a tall order to cover a generational classic, but they pulled it off so well!

Bright and cheery folk tunes to keep your spirits up:

Basically anything by local singer-songwriter Lauren King should do the trick, as well as some of the music from Cavalier, Mountainess and grizzlies. These ones speak to the soul, sparking that nostalgic vibe that always seems to come on full force during the holiday season. Ideal for mealtime and thinking about what you’re grateful for this year – see especially “Keep Marching On” or “Attention.” Maybe you’ll even get a new perspective on this difficult season and find a new passion or two.

A little alternative rock to keep you out of a turkey coma:

While you got that full belly and you’re trying to stay awake long enough to partake in dessert, tune in to the more energetic songs that are full of intrigue and intricate instrumentalism. My personal favorite of these might be “Ashes” by Mandi Crimmins, or maybe “In the Open” by Familiar Spaces. All of the songs in this category will get your blood pumping and distract you from any bad vibes. At the end of the day, you’ll feel refreshed and ready to sleep off all that food you’re undoubtedly going to consume.

Yes, this year will be at least a little different – but that doesn’t have to be a bad thing – no, not at all. Rather, we can use this time to count our blessings, reconnect with loved ones (safely!) and look forward to future (normal) holidays.

Access this playlist on Spotify HERE: https://open.spotify.com/playlist/7q2FZPxSNC56f1rfFXMguL?si=Og243Y9VT6ebKf0b1RXMCA

Cavalier: Rhode Island rock stars talk about what brought them together Cavalier is made up of vocalist/guitarist Austin DiMatteo, vocalist/guitarist Jesus Pirela, bassist Brandon Lian and drummer Nick Lian. Together, they are a really slick alternative rock band giving Nickelback and The Weepies a run for their money. They’ve actively released new music since 2018, and have deep influences in both classic rock and pop punk, which means that fans of those genres and anything in between will undoubtedly dive head first into their music.

Their breakout tune “Ocean Front Property” is sonically all over the place in the best way (I’m fairly certain it switches genres at least three times). As for the rest of their first EP Dear Youth released in 2018, the band plays with slightly heavier mixes, which are blended nicely with melodic and relaxed moments.

Their newest EP, While I Was Sleeping, features a much softer approach, tip-toeing much closer to the folk pop genre. It subtly maintains just enough angst in the subtext to keep it staunchly present in the alternative genre, though. I was so impressed with the versatility of this band, paired with the eloquent mix of the studio tracks, intricate harmonies, guitar licks and the strong emotion that comes through it all.

The band recently talked with me about their musical philosophies and lifestyles as musical collaborators. Beware, some of these answers are amusingly tongue-in-cheek. Clearly the guys in Cavalier have a sense of humor alongside their undeniable artistry.

Angelina Singer (Motif): How did you get into music, and how long did it take to form the band? Did you know right off the bat this was something you wanted to pursue?

Cavalier: Brandon, Nick and Austin went to high school together and Jesus was a mutual friend. As a band, Cavalier started Halloween night 2017 and didn’t take long to get going. Everyone knew from the start it would be special.

Nick Lian: Getting interested in music was a group of events coming together at different times in my life. I was first exposed to live music when my parents took Brandon and I to see KISS live. I remember the atmosphere being so captivating, my first true experience at a rock show with all the wild antics that sort of crowd brings. Was also the first time I saw my mom smoke a cigarette (which I still think is pretty badass). Another moment that comes to mind was seeing Austin play “For Whom the Bell Tolls” by Metallica at a talent show when we were going to middle school together. At the time we weren’t close friends, but I remember being amazed by his performance and it was an inspiring moment for me, as I had just started learning how to play drums. I also recall when the video game Rock Band came out and I was initially all about playing the guitar, but nobody liked playing the drums so I would fill in where needed. I ended up falling in love with percussion and was exposed to a lot of personally transformative songs from the game’s soundtrack. Seeing Brandon play live with his first metal band at local venues in Providence also blew my socks off. All of these, as well as other key events, really sucked me into the vacuum of space that is music.

AS: Share a bit about Dear Youth and the thematic elements that became the driving force of the EP.

Cavalier: Dear Youth isn’t about much other than us finding ourselves as a band. For a few of us, it was our first experience writing music.

AS: What is your songwriting process like (who writes the lyrics, instrumentals, and what usually comes first)?

Cavalier: Usually, Austin comes through with a few licks and some lyrics and we’ll piece it together bit- by-bit, [then] throw some glitter on top at the end.

AS: What are some of the biggest life lessons you’ve learned from being in a band?

Cavalier: Three beers before touching your instrument; if you’re straight edge, three kombuchas.

AS: What’s the craziest thing that’s happened to you (on or off stage) as a result of being in a band?

Cavalier: Meeting new people along the way is cooler than anything we’ve done, to be honest. No dressers out of hotel windows in Cavalier… yet.

AS: Who are your biggest musical influences? Do you think they affect your sound as a band, or do you try to be completely unique?

Cavalier: As a band, all the greats really — Led Zeppelin, Oasis, Metallica. There are so many that shape us as individuals and as a band [that] we’d need a “60 Minutes” segment to address the full scope of the question. But we don’t reinvent the wheel with our music, just do it better.

AS: Where do you see yourself in 10 years?

Cavalier: 5-star hotel suite, Glasgow.

Stream all of Cavalier’s music on Spotify: open.spotify.com/artist/3EnYEtISQ6v2Rlqsz4JlvL?si=q5ilHTPbTZmNA6n549HfXA; YouTube: youtube.com/channel/UCC5qcEi3F9IkDF48ossuigw; Bandcamp: cavalierri.bandcamp.com/album/while- i-was-sleeping; Instagram: instagram.com/cavalier_ri; Twitter: twitter.com/cavalier_ri Latest from Electro-Pop Artist John Phelps Was Written in Lockdown: This collection of songs is as raw as it gets

My first impression of John Phelps’ self-titled EP John was the lead single “Streetlights,” which features a super catchy beat and a danceable chorus hook. An artsy and aesthetic video that Phelps directed accompanies the single. During a brief chat with him, he revealed that with this project, he took some liberties with the mix and mastering of the record, reflected through a greater focus on honest energy and a good vibe, even if the production was slightly rougher than usual industry standards. His second focus was on viewing sonic texture as a creative medium.

With influences running the gamut from Marvin Gaye to The Red Hot Chili Peppers and Rage Against the Machine, John is an incredibly honest and inventive look at what it means to be human in an age when we are increasingly challenged to be anything but.

“[John] was all written, produced, recorded, mixed and mastered by me at my home studio during lockdown. The sessions were sporadic and free. I tried to abandon a lot of rules and conventional methods I learned as a recording artist / engineer and just go for what felt right,” Phelps said.

1. American Spirits

Opening the EP is a sound effect crossed between the “Stranger Things” intro and Iggy Azalea’s “Fancy.” The beat drops with ambient, echoing chords that float above the lyrics and the song becomes a bit of a dreamscape. It feels like an empty urban street with neon lights flashing in the silence. “I could never understand it, but maybe that’s the whole point” is a relatable sentiment. Honorable mention also goes to the clear bass riffs crawling underneath the mix; I love the depth this brings to the song. “It ain’t so bad if we live in the moment / love the way you look tonight / you’re the baddest and you know it” is a poetic and clever line. Toward the end of the song, I loved the jazzy funk-inspired clean guitar licks – they acted as a mirror of the bass lines.

2. Just Like That

Another cool sound effect opens this song; it’s hard to describe, but it reminds me of finger snapping. Rhythmically, this song places most of its emphasis on the lyrics, which is interesting. “You’re beautiful girl / and you can’t hide that behind a mask” is subtly romantic and clever given the current situation (and I’m convinced it would be perfect printed on merch).

Like poetry throughout history, this one could be an interesting snapshot of time – and that’s exactly what John set out to do. But it’s ambiguous enough to also be timeless – the mask could be literal or figurative. Soaring guitar notes resonate in the instrumental interlude, proof that improvised solos rarely have to be complicated to be sonically effective.

3. Centipede

This one brings a lot more auto tune and dub step into the mix. The message of the song was slightly trickier for me to pick out, but my best guess is that it’s saying to enjoy life and not take things too seriously, especially in the midst of struggle. There is a bit more colorful language here, which I found slightly jarring without context, but it’s consistent with the overall idea of being real and raw without limitation.

I also noticed a sort of vocal trill that could be simulated by an electrified keyboard, but it adds something really surprising to the song. It ends with most of the layers dropping out, then into a jazzy bass section and then just the guitar lick breathing the last notes.

4. Ready Willing

A heavy dub step enters the soundscape here as echoing vocals take the lead. “No use fighting a feeling / lean in on it” is great advice for anyone dealing with uncertainty in a relationship. In this powerful depiction of navigating dating drama, twinkling piano chords climb up and down the major scale — there’s almost a bit of word painting placed near the lyrics “dress you down.” Overall, it’s a clever and inventive component.

5. You Could Run Away If You Want To

Slow, dramatic piano chords open this piece, and then collide with spoken word. I also love the shout- out to Phelp’s influence Marvin Gaye and his song “What’s Going On.” The addition of bongos is surprising, but enjoyable.

“Your eyes so wide they consume me / colors in the sky like mood rings” is a really pithy line that’s so descriptive. “Sometimes I know where I fit in / sometimes I’m just not sure” is an example of the relatable contradictions in this song. More bass holds down the bottom of the mix while anxiety is painted as quick bursts of keyboard notes played in succession. It’s a powerful mix of sounds and ideas that contradict each other.

6. The Frame

“You just pushed me out of the frame / and I’m having trouble staying mad” are relatable lyrics to a lot of people. “Get choked up on the shards of my broken heart” is well, heart-breaking and made me want to give the artist a hug. I think everyone understands that feeling in one way or another. Techno beats keep this more melancholy tune branded consistently with the rest of the EP. I loved the guitar solo in this – once again, simple enough, but starkly effective in the context of the sonic backdrop.

7. Streetlights “Streetlights guide me like memories I wanna hold onto / the rain comes down as it all crashes around you” – another great line. If the music thing didn’t work out as well as it did, I’m convinced the artist could’ve been a very successful poet. Because clean piano chords are at the center of this piece, this song feels much more R&B than the rest of the EP. I enjoyed learning about the different stylistic influences that made this EP, then hearing the subgenres within it.

Watch the very aesthetic video directed by John for “Streetlights” here: youtube.com/watch?v=NdZezXoUqBU

8. Rumors

Resonant arpeggiated guitar chords begin this song, and suddenly there’s no dub step or auto tune — it reminds me a bit of Nickelback or Shinedown. The lyrics are more melodic and sung instead of rapped, which I found to be a really refreshing change from the rest of the established EP. The chorus featured layered gang-vocals, which builds nicely on the theme of rumors. “You fell out of love like a moving car / drop-dead gorgeous just like a movie star / I’m in the background / I could never play the part” is a line that gave me chills. It’s thematically beautiful and deep. I think this song might be my favorite on the EP – Phelps has a beautiful voice, and although he might feel most at home with the electronic effects, this ballad is incredible. I hope he embraces this side of his music more in the future.

John Phelps’ new self-titled EP John is out now (fanlink.to/jpep)! YouTube: youtube.com/user/Lunchbagg401; Twitter: twitter.com/itsjohnphelps; Instagram: instagram.com/itsjohnphelps

Is This Jazz?: A black and white conversation with Jhony Keys There are few keyboard players and pianists in Rhode Island who have the stylistic breadth and musical depth of local musician Jhony Keys. He’s played in a wide range of ensembles from reggae and funk bands to jazz trios and leading gospel choirs, and Jhony approaches every gig with a steadfast dedication to the music that has made him a go-to player throughout New England. Not only is he an excellent performer, but Jhony organizes and runs the Tuesday jazz jam at 10 Rocks in Pawtucket, which has consistently been one of the best jams the state has ever seen.

A little while ago, in the beginning weeks of the pandemic, I had the chance to ask Jhony a few questions, and get a taste of what makes him the great musician he is.

Ben Shaw (Motif): When did you start playing?

Jhony Keys: I started playing keyboards/piano at 9, then bass at around 15.

BS: How did you first get into jazz?

JK: As a kid, I remember hearing Ray Charles on the radio and I knew I wanted to capture that sound, and then later I delved into all the other giants.

BS: When did you decide to pursue music as a career and how did you start?

JK: I’ve always played with churches and different groups, but I really started to take music seriously as a career around 2008, I think. BS: How has a career in music lived up to your expectations?

JK: It’s really tough. You have to wear a lot of hats. But for me, it’s definitely all worth it.

BS: How has it differed? Where do you usually play around town?

JK: One day I’m playing funk, the other I’m playing jazz and then reggae and of course gospel. When I’m not traveling or playing a private event, you can catch me at a local spot like Ten Rocks restaurant on Tuesday’s.

BS: Is there one thing you think aspiring musicians should think about or do when they consider a career in music?

JK: There’s a lot to consider, such as: Do I really wanna do this? Because you have to sacrifice a lot of personal time and resources to make it a career.

BS: What concepts (melodic, harmonic, etc) are you currently working on?

JK: Lately I’ve been working on learning Indian melodies, it’s so beautiful! I’m a big fan of different cultures.

BS: Beyond music, what other activities do you enjoy?

JK: I love music, but I also enjoy skydiving, basketball, billiards, soccer and working out. Lately though, I’ve been really acquainted with sleep.

Keep up to date with Jhony Keys by finding him on Facebook and Instagram. If you want to hear a longer, more in-depth conversation with Jhony, check out his episode of the podcast “Where The Living Room Used To Be,” hosted by James Toomey, available on Apple Podcasts or at livingroomutb.com.

Folk-Pop Songstress Lauren King Meets Her Younger Self with New Single “The Wolf is Back”: The concept video for this sprightly tune emphasizes becoming your best self even through hard lessons. Photo credit: Kat Dove Photos

As the first single following the 2016 release of her debut album Don’t Look Her in the Eye (which I heartily recommend), “The Wolf is Back” is a worthy introduction into this new era of Lauren King music. If you’re anything like me, you’ve been waiting with bated breath for her next single – but the wait is over! A wolf howl and a bluesy slide guitar open up this new song full of wisdom and new perspectives from the other side of coming-of-age. Like a warm summer breeze, the title track of her upcoming sophomore album takes the listener on the narrative journey of girlhood and getting your heart broken in myriad ways.

“Music has always been my way of communicating with others, connecting ideas, and helping those in need.”

– Lauren King

In a gorgeous royal blue trench coat in the woods, current-day Lauren meets her younger self. A montage of two versions of herself bonding over shared experiences and dreams greets the viewer, with gorgeous vocal harmonies and clever lyrics populating the soundscape. A prominent bass line tracks well against the poppy rhythm and the pensive lyrics. Reminiscent of early Fleetwood Mac and Jewel, Lauren’s music mimics the classics while still bringing her own signature style to the genre.

“Mother I think I broke my own heart” and “is there any kind of medicine for this / for all the heartache and the mistakes / is it too late to come back to myself yet?” are gorgeous examples of Lauren’s songwriting skills. This feeling of inadequacy and insecurity are unfortunate things that seem to crop up at any age. Paired with the uncomfortable feeling of dissociating from your past self, this song beautifully illustrates these struggles in a fresh-faced format.

My favorite line of this song is probably “give me some kind of sign / that I’m doing all right” because it’s so incredibly relatable to anyone just trying to find their way in life. Lauren’s blatant honesty and bravery to address the struggles experienced by countless people of all ages is powerful, and this concept video brings these feelings to the forefront in an aesthetically pleasing way. There is a twist at the very end when the parents of her younger self run into the forest to find their daughter, and instead find grown-up Lauren in her place. It remains unclear whether it was present-day Lauren the whole time reflecting on her life, or if it was the younger Lauren who returned to her family — just with a more mature perspective. Regardless, the development of her character is a beautiful story straight out of a Bridge to Terabithia-inspired fairytale.

I especially appreciated the surprising connection between wolves and growing up. The first time I heard the title of this song before listening to it, I was half expecting some kind of high-octane girl- power anthem à la Taylor Swift’s “Bad Blood.” And it’s still an anthem, but definitely not the vibe I was expecting – and that’s for the best. Sometimes you just gotta howl at the moon – but Lauren does this more figuratively through this beautiful and poignant song. It’s gentle in its severity, but incredibly powerful in its undeniable humanity.

“Tell me this pain is a blessing / and there’s pain in the lesson” is something that needs to be tattooed or at least plastered on merch for the new album. Lyrics like this take universal issues and cover them with the healing balm of understanding – definitely something we could all use these days. Mixing the gritty with the elegant, and the reality with the glittering forest dreamscape, this song ends the way it began – with a wolf’s howl. The circularity of the song mimics the repetitions of life lessons — the way the same struggles always have a funny way of coming back around before they’re vanquished for good.

If you’re looking for new music that makes your heart sing even while it’s broken, look no further than Lauren King – she is an undeniable superstar just waiting for the world to bask in her sunshine.

Lauren King’s full album The Wolf is Back will be out soon, but in the meantime, follow her social medias for updates!

Instagram/Facebook @laurenkingmusic

Website: laurenkingmusic.com

YouTube: youtube.com/channel/UCxhmiH1LzFx5MIK-2x8FNrg

Spotify: open.spotify.com/artist/1Kco3EyFLSGuhE0eijFdZ3?si=jrQ_tdzER5i9T_ic_rv8IA