Category: Music

The three members of The Wavos, originally Jersey boys, have joined the ranks of NJ expats with Joe living in Myrtle Beach SC and Gordon and Tone at opposite ends of Manhattan NYC. Theirs is a modern rock band with influences ranging from the insanely creative ‘80s new wave and punk to the driving alternative rock of the ‘90s and ‘00s, with liberal doses of electro-pop and techno dance energy. Since 2009 they’ve been building enthusiastic audiences for their “new wave-o” dance parties, up and down the east coast, and at the same time honing their skills at writing and producing original alt-rock pop tunes and sneaking them into their shows.

A bit of history: the core of The Wavos came together on a supermarket dock where Joe and Tone unloaded trucks in West New York NJ by day, playing NY/NJ clubs by night. The core solidified when Joe met Gordon at Berklee School of Music in Boston and brought him back to Jersey. Their first gig was a year-long residency at a locally-popular rock club on the island of St. Croix, where they were provided with housing but very little money and no vehicle. It was a carefree time of walking around barefoot and living on parrotfish (yuck!), hanging out with a mishmash of American kids and locals and being inundated with great reggae music that started bleeding into their style. Following this was a four-year whirlwind romp through the New York metro area, playing original punk and new wave rock as The Privates. Based in NYC’s lower east side, they were the house band at Great Gildersleeves, headlined regularly at CBGB, opened up for the Bush Tetras, Eric Johnson and Joe Perry and were featured in national publications Billboard and Variety and local papers like the Village Voice.

The band went on hiatus a couple of times, morphed into different styles and gathered a following as hard-hitting power trio The Bitter Boys while sharing the stage with national acts They Might Be Giants, Raging Slab, Masters of Reality and Johnny Thunders. Joe moved south to Myrtle Beach, where he wrote, recorded and released solo CDs, then relocated to Asheville and Charlotte NC, then back to Myrtle Beach. Gordon took time out to deal with the loss of his long-term partner and close friends to AIDS, while Tone played drums in the Broadway revival of Godspell. Gordon and Tone got together and drove several projects nurtured by NYC’s LGBTQ+ Outmusic scene, including original electropop duo Rubberlegs, goth quartet *V*I*R*G*O*, and all-‘80s cover band RUB. And then, The Wavos…

Ask any of the band members and they’ll tell you that as exciting as some of their other projects have been, this group of three guys is the best combination they’ve ever hoped for. Like the yin-yang-yong in their logo, the band is a balance of opposing forces. Joe is the “analog” guy, a self-taught, then schooled and seasoned vocalist, guitarist and bassist with a bewildering variety of songwriting influences. Joe is a huge fan of the garage style, and the evolution of the blues in players like Stevie Ray Vaughan. His big sister got him hooked early on with classic stuff like Hendrix, Dylan and Blues Project. Gordon is the “digital” guy, a trained vocalist and classical pianist who went rogue with rock and electro and now plays only his self-programmed synthesizer. He was riveted when he first heard the sounds of Kraftwerk, Telex, Depeche Mode and Thomas Dolby, and knew he had to ditch all the other keyboards. Tone is the “primal” guy who beats on the skins like nobody else and gives audiences an endless supply of visual drama and energy to keep them on the dance floor. At an early age his older brother showed him the video of “A Hard Day’s Night”, and he knew he had to play the drums. Says Tone, “it looked easier than guitar or keyboard, you just had to bang on things.” Back together as The Wavos, they’re great friends who share the same goals and have figured out how to truly communicate with each other, onstage and off. If the secret to a band’s longevity and success lies in the chemistry of its members, then The Wavos have got it nailed.

When the band first formed in 2008, it was a bit of a challenge to deal with the geographic spread between them. But Tone and Gordon had already been playing in the mid-Atlantic, having made some fantastic band friends in Pennsylvania and Virginia, and were excited to extend their reach into the Carolinas. After a marathon long weekend at the beach, putting together a starting repertoire of fifty ‘80s covers and original songs, they were faced with the dilemma of how to learn new songs and rehearse regularly. A few internet searches turned up a brand-new piece of webware called “eJamming”, and The Wavos became early adopters. It wasn’t perfect and still isn’t, but various workarounds (and a recent switch to JamKazam) have enabled them to learn and practice songs together over the internet, and even to play them at a gig successfully, in the same room together for the first time. That, coupled with some crucial endorsements by musician friends from the annual Spaghettifest, eventually enabled them to attract and grow a devoted fan base in northern Virginia—a very convenient place for the three of them to meet, midway on the road that connects them, to put on their shows.

Before the Virginia scene took root, they were still feeling their way into the New York area and the Carolinas, with amusing experiences. A show in a downtown Manhattan basement club was abruptly terminated when raw sewage started pouring out of the walls. They performed for inmates at the “haunted” Greystone Park state psychiatric hospital, wondering about their song choices while playing “She Drives Me Crazy” with a guy staring Gordon down and muttering “Jihad!” They played a few shows at a neo-hippy art-scene hookah bar in Wilmington NC, and endured having all of their equipment opened up and patted down at the 42nd Annual 4th of July Smoke-In on D.C.’s National Mall. And of course there was the two-hour late-night dance party in a giant abandoned gymnasium in the woods at Spaghettifest, when their fans couldn’t stop jumping up on stage to be with them.

Technology has been a key part of the experience, enabling them to miniaturize their live setup and come up with novel ways to light themselves and their stage with projected animations that make them look like they’re wearing moving face paint. They produced, recorded and mixed each of their three CDs on a mobile system lovingly named “Wavoslap”, at the beach and in the city, and they use a MacBook to sequence the drum kits and stage visuals while they play live. Advanced synthesizer hardware has enabled The Wavos to remain a trio, with Gordon usually covering the bass parts as well as the live electronics. And although they are known for their four-hours-of-fun ‘80s dance parties, they are not your typical tribute band. They’ve managed to carve out their own niche by incorporating original songs and a look that plays into the new wave ethos without resorting to ‘80s costumes, instead featuring all-white clothing with white kilts that turns them into video screens. And they avoid the cheesy pop of that decade, preferring the hard-driving, infectiously danceable classic new wave tunes.

Myrtle Beach’s Sun News KICKS! compares The Wavos to The Killers, Franz Ferdinand, Interpol and Bloc Party and says about their debut CD, Wave Crazed EP, “it’s really great to see a band like The Wavos continuing the New Wave tradition by combining both the classic and modern forms and crafting them into their own form of alternative power pop.” The Fredericksburg Free Lance-Star says the CD “features seven delectably jagged tunes that are just as dance-inducing and original as the artists they [often] cover.” About Second Wave EP1, the Free Lance-Star says “The record is loaded with synthesizers and deep harmonies … will inspire you to lace up your high-top kicks with the neon laces and hit the dance floor.” DishMiss NYC calls The Wavos’ music “infectious and upbeat electro-driven pop and punk … you’ll just want to dance!”

About their 2014 EP Cinco de Wavo, Out in Jersey’s Bill Realman Stella says “[in Dance Party] they’re blending the melodic simplicity and playfulness of The B-52s, the obscure Jersey band Blotto (best known for their summertime hit ‘I Wanna Be A Lifeguard’), and a turnaround that evokes Wild Cherry’s one-hit wonder ‘Play That Funky Music (White Boy)’ and its turnaround ‘Lay down the boogie and play that funky music till you die’. The rest of the set draws on a multitude of influences from their era, from the Reggae-cum-Talking Heads styled ‘Tourist’ to the slow Dance-Rock ballad ‘If Just For A Moment’ to ‘Building A New Dream”s Cars/Devo hybrid, to the best of all possible mindless happy endings, ‘It’s Your Birthday’.”

Mike Mineo of Obscure Sound says ‘The Wavos recently released their fourth EP, Five on the Floor! — its five tracks exemplary of the band’s eclectic, melodic sound, ranging from funk homage “Love Beach” and electro-dance rocker “Come Alive” to the twangy delight of “Buffalo Girls.” Quick-swiping guitars and brassy blares complement a funky vocal lead to conjure excitement throughout “Love Beach.” The vocal twist around 01:33 exudes charisma, strutting wide range and a nice responsive backing vocal presence, giving way to a brass-friendly section that reminds me fondly of Funkadelic. The vocal repetition in the final minute crafts a hypnotic, replay-friendly feeling. “Buffalo Girls” plays with a fun, infectious quality throughout. Playful synth-y fragments join alongside the hooky “Buffalo girls,” vocal refrain, intriguing in the first minute. The twangy guitar addition at the 40-second mark adds an enjoyable aesthetic edge, as does the added vocal harmonizing upon the next hook/refrain. There’s a bit of a McCartney-esque vibe around the bridge at the two-minute mark. The spacey synth-heavy segment a few moments thereafter also captivates. I’m enjoying the charismatic, upbeat flair of this throughout. “Come Alive” is another highlight. The nostalgic synth bustling in the beginning leads into suavely melodic vocals, expanding with charisma past the one-minute mark. The “make me come alive,” vocal hook plays with hooky allure, the bustling synth and suave vocal convergence exuding a consuming sophisti-pop aesthetic. The nonchalant vocal turn around 02:30 builds a pleasant bridge, culminating fully to the “make me come alive,” hooky reprise, leading into a satisfying conclusion.’

Since 2021, with the pandemic easing up, the band is back on the road and has been releasing new original music. They’re super-excited about their new single, Here We Go!, and its Spanish version ¡Aquí Vamo!, released on 9/21/23. Stay tooned for more!

thewavos.com

We were born at the “Gran Fraternidad Universal” music and arts school in Nicaragua, directed by jazz musician Vinicio Petronio Argueta Noguera, better known as “Petrosky.” He instilled in us a love for classical music, flamenco, and jazz. Emilio Pereira started his journey in 2009, and Aaron Morales joined in 2012.

Later, our musical knowledge was further enriched by renowned figures like Jorge Pardo, a Spanish jazz and flamenco musician who collaborated with the great Paco de Lucia; Josemi Carmona, son of the legendary Pepe Habichuela and Amparo Bengala, who also has worked with artists like Paco de Lucia, Manuel Carrasco, and Alejandro Sanz.

For our classical flamenco guitar technique, we received valuable instruction from maestro, composer, and pedagogue Oscar Herrero, Ricardo Marlow, and international guitarist David Minguillón from Berkeley College of Music.

A huge shout-out to Maestro Julio Vásquez, the Nicaraguan National School of Music’s own guitar maestro and composer, for igniting our passion for progressive flamenco! We wouldn’t be the same performers without the singer-songwritter Juan Solorzano’s magic touch in refining our stage presence, and Tony Ferrari’s diverse blues, rock, and jazz expertise has truly broadened our musical horizons.

And speaking of broadening horizons, Aaron Morales has been on a global opera odyssey since 2014, honing his voice under the tutelage of Baritone Master Mario Rocha. He’s even sung his way into masterclasses with the prestigious opera singing Masters of the Lyrical Theater in Havana, Cuba, learned from the legendary Italian Doctor in Opera, Claudio Ottino, and soaked up wisdom from the American maestro, Robert B. Dundas.

Our performances have taken us to various successful events, including television appearances, international radio broadcasts, the International Poetry Festival in Nicaragua, National Theater festivals and their competitions, the International Teletón Fundraising, special events hosted by the Ambassadors in Nicaragua, the Nicaraguan Presidency, International Guitar Festivals in Nicaragua, the Cultural and Arts Performing Center of Spain in Nicaragua, and many more.

Currently, we have participated in numerous prestigious American productions like Sofar Sounds, Breaking Sound, Circle Live, and others.

https://linktr.ee/duoandalucia

Natie is a creole musician/singer-songwriter from Reunion island, based in New York City.After a world tour in Beyoncé & Jay-Z’s band in 2018, Natie launched her solo career with the release of her music video “Identity” & her debut EP “In the Key Of Fall”.Through her music, Natie aims to share the experience of being creole (mixed race) and uprooted, with authenticity and grounding, in the hope to foster more openness and belonging. With these values in mind, the artist is curating the first edition of Kréol Fest, a 3-day celebration of creole culture from around the world taking place in NYC. And her new multilingual/soothing EP “Home: a place within aux parfums d’ailleurs” is coming out in Spring 2024.Recent performances include Global Fest with the Ragini Ensemble, Summerstage with Ganavya, and a solo performance for 100 Years 100 Women at Lincoln Center. She will be performing in her home island this June for the festival Sakifo.

Miles Taylour and the Upstate is a classic 1960s Jazz and Funk Organ Trio with a Country spin. They play classic blues and funk from the 1960’s mixed with the stirring folk and country sounds of Miles Taylour’s own music. Miles’ soulful vocals and guitar, mixed with the swinging sounds of Sean Gallagher’s organ and Aidan Samp’s Rhythms create an unforgettable live experience.

Aqua Cherry is a reggae band based out of Long Island, NY. The band has shared the stage with Steel Pulse, Rebelution, Slightly Stoopid, The Original Wailers, Junior Marvin, and The Legendary Wailers, Sublime with Rome, SOJA, Ballyhoo, Artikal Sound System, Sensi Trails, Common Kings, BadFish, Zac Deputy, The Scofflaws, Perro Bravo, Murphy’s Law, The Toasters, Oogee Wawa, Everlast, The Spin Doctors, Pat DiNizio of The Smithereens, and Wonder Mike from The Sugar Hill Gang. They have also played at festivals such as the Great Southbay Music Festival, Backwoods Music Festival, Beaver Island Music Festival, Higher Education Music Festival, and The Montauk Music Festival, to name a few. Aqua Cherry has four studio albums, “The Sum of Love EP”, “Auto-Kiss Proof”, “So Pretty” EP, and “Drowning in the Shallow End,” as well as numerous singles.

https://aquacherryband.com

https://www.youtube.com/@AquaCherryband

Rosmerayah Garcia is a multifaceted young woman who has an obsession with self expression. A singer, rapper ,poet , actress ,director and activist. She’s heavily influenced by her Afro-Dominican Taino roots. Rosmerayah was born and raised in Brooklyn, New York where she started writing her poetry in the midst of the chaos. She allows her surroundings to shape her work. After moving to the Hudson Valley, Rosmerayah started performing her original work at school events ,cafes and open mics. She eventually joined bands like IllHarmonic and Funk Junkies as a singer for the chance to be constantly collaborating , performing and creating with different artists . Rosmerayah uses her talents to tell the stories that need to be told and bring people together. One project at a time.

Born in Salem, Massachusetts, to undocumented parents from Costa Rica, Rams taught himself how to play the guitar and piano while teaching at a primary school in the Dominican Republic. He started playing in bands in Boston and had a short but formative stint in East Nashville, where he was inspired by the DIY music scene. Now based in Brooklyn, Rams is writing and recording music more consistently, DJ’s under the moniker, Radio Ramsés and engaging with migrants in NYC through local mutual aid work. His songs are contemplations on modern society through the lens of an artist caught between two cultural identities. Writing songs invoking both Latin and country songwriters from the 70s like Rigo Tovar, Chico Che y La Crisis, Johnny Cash, and Lee Hazlewood. Push Me Away, his debut single, produced by Max Shrager, is a statement on working-class struggle and police violence.

ramsmontero.com

More than a decade since their formation, seasoned by years of experience playing alongside Sharon Jones, Antibalas, The Roots, Arcade Fire, and Dirty Projectors to name a few, EMEFE still holds the title as one of the most exciting live bands to come out of NYC, continually wowing audiences with their mighty horn section and deeply infectious blend of funk, Afrobeat and pop music.

www.emefemusic.com

The Mya Byrne Band are three queer trans women from Brooklyn with influences ranging from Arlo Guthrie, Brittany Howard, and Leadbelly to Minutemen, Dead Milkmen, Uncle Tupelo, and the Who. Mya’s 2023 debut on Kill Rock Stars, “Rhinestone Tomboy”, definitively queered Americana music in a way that took her by surprise, with features in Rolling Stone, No Depression, and more. Featuring Swan Real (of 99% Invisible) on drums and standout newcomer Jamilah Sandoto on bass, the three channel their influences in true power trio tradition, calling down the moon, making asses shake, making you somehow laugh and cry simultaneously. It’s a vibe.

Myabyrne.com

In the labyrinth of New York’s sonic tapestry, where concrete meets culture, emerges NAIMA, a captivating musical force raised between the bustling borough of Brooklyn and the culturally rich suburb of New Rochelle. Her artistic journey is a seamless blend of analog roots and digital dreams, shaped by the diverse influences of her life.

Growing up in an environment where music was a constant companion, NAIMA was introduced to a kaleidoscope of sounds that became the foundation of her musical psyche. From the early days of her youth, her mother exposed her to a wide range of artists and educated her about the lineage of Black music. Ella Fitzgerald, Tina Turner, Stevie Wonder, John Coltrane, Lenny Kravitz, A Tribe Called Quest, and Dionne Farris, are just some of the many artists that were in heavy rotation at home. Additionally, the infectious sounds of 70s & 80s Funk, Disco, and Pop were a major cornerstone to NAIMA’s musical upbringing. With the likes of Chaka Khan, Earth Wind and Fire, Sister Sledge, Janet Jackson, and The Brothers Johnson, being some of the major contributors to the soundtrack of NAIMA’s childhood.
Meanwhile, her Panamanian father, a DJ and producer, further broadened her musical horizons with the global sounds of artists such as Ruben Bladés, Djavan, Fela Kuti Santana, and The Police.

NAIMA further pursued her musical education at Berklee College of Music, where she delved into the intricacies of her craft. However it did not take long before the magnetic pull of New York City called her back home. Returning to her mother’s home borough, Queens, NAIMA found her artistic sanctuary. She immersed herself in a thriving community of like-minded artists. The legendary DIY underground stages of C’mon Everybody, H0L0, Trans-Pecos, and Palisades became her creative playground-allowing her to further hone her craft as a performer, producer, songwriter, and singer. This period marked the genesis of her distinctive voice, culminating in her upcoming debut EP, “CITY LIGHTS.”

Describing her music as “Dream R&B” NAIMA builds a sonic landscape rooted in the traditions of the genre synthesized with a diverse range of influences. The result is a cinematic and lush soundscape that mirrors the analog and digital dichotomy of her upbringing.

NAIMA’s rise in the music scene is marked by notable collaborations with artists like Nick Hakim, Isaiah Barr of Onyx Collective, and Starchild and the New Romantic. Notable acts she has opened up for include Bilal, Madison Mcferrin, Gabriel Garzon-Montano, and Mister Twin Sister, further cementing her status as an artist to watch. With the release of two self-produced singles NAIMA has already garnered the attention of press publications, such as the Fader and V magazine.

V magazine recognizes NAIMA’s star quality; describing her as a blend of natural talent and cultivated skill, she challenges the age-old debate of whether an artist is born or made. The Fader acknowledges NAIMA as an exciting newcomer with parallels to Solange and FKA Twigs while clearly creating her own identity. Also stating that NAIMA pushes musical boundaries while honoring her roots in funk, disco, and hip-hop.

Anchored in the warmth of her musical inheritance, NAIMA views Black music as a majestic tree with roots that run deep and have boundless influence. Through her music, she aspires to contribute to that tree, in her own way.

NAIMA invites her listeners into a dreamy world where nostalgia meets innovation, and tradition harmonizes with the contemporary. Where the echoes of the past resonate in the beats of the future. As she steps into the spotlight, her story is one of cultural richness, personal discovery, and a commitment to contribute to the ever expanding legacy of Black music. And while NAIMA continues to carve her niche in the music scene, she stands not only as a testament to her roots but as a beacon for the evolving landscape of R&B. Her music, like the city lights that inspired her, illuminates the path forward, inviting listeners to embark on a soul-stirring journey through the streets of her sonic universe.