Location: Kingston NY

Rasha Jay is a NJ based singer and songwriter who fuses her love for alternative, rock and soul. Rasha is also an active licensed therapist and believes strongly in the power of music, and it’s therapeutic power.

https://www.rashajay.com

Magana is the solo project of multi-instrumentalist Jeni Magaña. While spending endless days in her home in 2020, she transferred her office into a small recording studio and spun this album out of all her meditations and various synth experiments. Dark and mystical landscapes ebb and flow around brutally vulnerable lyrics and vintage vocal stylings, strung together with small instrumental interludes that turn the listening experience into more a fever dream. When Magana is not crafting ambient spooky rock, she can be found on the road as a touring musician with artists such as Mitski, Lady Lamb, Laura Cortese, and more.

jenimagana.com

NAJI SOUL is a singer and songwriter (World/Afro-Pop) based in New Jersey. He has directed numerous music videos and has been a guest on television and radio several times. Naji Soul released his first album entitled “Whispers From Morocco”, where his song “Kolo Nga Yan” has been remixed over 2000 times around the world. The natural talent of NAJI SOUL encourages him to excel in various musical worlds, notably by givings more concerts with his band and give his audience an exotic musical experience.

https://najisoul.com/

Labretta Suede and The Motel 6 are a bunch of crazed rock ‘n’ rollers with a reckless set and a show of music and outfits you could just LICK! With a 50’s rock ‘n’ roll influence, a twang and some dirge, Labretta Suede and The Motel 6 are an ass whippin’, high kickin’, low down rockin’ an-a-reelin’, high-class outfit.

https://www.labrettasuede.com

In 2019, GREENHOUSELAKE had a new band name, a fresh batch of bright, emo-y indie rock anthems, a solid lineup – singer/guitarist Elijah Bloome, guitarist Caleb Couri, bassist Nico Caro and drummer Joe Leonardo – and an enthusiastic following in the small Hudson Valley college town of New Paltz. In March of 2020, they released an EP, ALLCAPS/NOSPACES. There was, of course, no release show.

At a time when most people were struggling with isolation, Bloome was living in an overcrowded punk house and needed some space. That summer, in the height of the pandemic, he left New Paltz for Philly.

Smooch, GREENHOUSELAKE’s new record, came from Bloome’s trips back to New Paltz. The college town is a recurring theme in indie rock: it’s an artistic incubator, a small pond, an ecosystem, a launch pad. It had been those things for Bloome, who graduated from SUNY New Paltz in 2019. Going back to visit, “I felt uncomfortable in the town, felt uncomfortable taking up space” he says. “We were stuck in this phase where we were talking about how good it used to be.” The community, he thought, was stuck. “Another year went by and i was like, ‘Ok everyone fucking get over it, lets move on with our lives and do some interesting stuff.’” But a friend pointed out that maybe Bloome was the one who needed to get over it. As he deadpans in the bittersweet “BBB,” there were things he “tried to bury without a proper funeral.”

When they were barely teenagers Couri taught Bloome how to play guitar. By highschool they had a real band, and then carried their musical partnership to college. Leonardo joined in 2016, and Caro hopped aboard around the end of school. Bloome and Couri scrapped everything else they’d ever written, and GREENHOUSELAKE was born.

Keyboardist Bianca Checa, who lives in Brooklyn, joined in 2023. Everyone but Bloome still lives in the Hudson Valley. “I can only describe it as a long distance relationship – which it is – where you have to make every visit count,” he says with a wink. He’d take the bus up for a couple days, and the band would spend the whole time workshopping the new songs. In the last few months they started playing the songs for an audience. “I like to let a song grow up, mature, and people need to be in the room responding to it for a song to get better, I think.”

Bloome has always loved the stream-of-conscious lyricism of the Pixies and Pavement, but Velvet Underground fandom, he says, is at the center of Smooch. On “College Town” Bloome talk-sings over a driving, undulant jam. It’s a detailed tour of a physical place as well as his own highly specific emotional geography. The track, he says, was an attempt to rip off “Sister Ray” or “The Gift,” but “College Town” also brings to mind the funny, wistful sweetness of, say, Minutemen’s “History Lesson Part 2.” Even at his most frustrated Bloome’s lyrics are rooted in curiosity and kindness.

The songs on Smooch, which are overall more sophisticated, and hit harder than the sunny ALLCAPS/NOSPACES, were taken from a batch of around 50 that Bloome wrote during his first year in Philly. Reworking lyrics became a kind of therapy, as Bloome began to recognize the intense pressure he’d put on himself to justify leaving town, and his fear of being unwelcome in his old community.

‘It’s kind of like, ‘Ok, this is the reflection, here it is for all to see, I’m ready for the next thing,’” he says. “I’m trying to walk the fine line between nostalgia and reflection and not get too sappy with any of it.

“To heal from it is the goal.”

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

Formed in 2019, Brooklyn’s My Son The Doctor is cultivating a rabid buzz in New York City. The slacker-punk 4-piece has established themselves as a must-see band with their electric live shows and “Spiky, danceable indie rock that pulls influence from everyone from Gang of Four to The Strokes” (Brooklyn Vegan). 2023 saw the project selling out headline shows and sharing stages with acts like Bodega, Thick, and Native Sun. Named “Top 10 Hardest Working Band” by Oh My Rockness, My Son The Doctor is galavanting into the new year with unrelenting pace. Their debut album is slated for 2024 – recorded and mixed at Mitch Easter’s Fidelitorium by Jeremy Snyder (Pure Adult, Idles, Fontaines DC, Gilla Band).

NYC-based Jane Getter is a “triple-threat” (Geoff Wilbur)— guitarist, singer, and award-winning composer. Getter’s recent 2024 release, Division World, coalesces a lifetime of musical exploration into intricate arrangements, powerful playing, and killer solos. Getter has been shredding boundaries since picking up a guitar at age eight. She won the #8 slot in Prog Magazine’s end of year 2021 readers poll for best guitarist. On her first tour, with legendary jazz/blues organist Brother Jack McDuff, Getter’s musical language expanded to embrace the groove- oriented music that she saw thrilling audiences. Getter has also toured and played with Lenny White, Ursala Dudziak, Jaimoe (of the Allman Brothers), Michal Urbaniak, Kenny Garrett, The Roots the jam, Mike Clark (Headhunters), and the Saturday Night Live Band. Following solo albums Jane (LipsIck Records, 1999), See Jane Run and Three (Alternity Records, 2005, 2012), the new songs Getter was composing had a fuller, richer sound. This prompted the formaIon of Jane Getter PremoniIon. JGP has carved out a niche at the intersection of rock, jazz metal, and singer-songwriter with masterful playing of Getter’s “complex, sophisticated, and dynamic” compositions (All About Jazz) with releases On (Snapper’s MadFish Music 2015), ON Tour (Big Fun Productions, 2017). Anomalia, (Esoteric Antenna/Cherry Red , 2021) and Division World

(Esoteric Antenna/Cherry Red , 2024) On tour, JGP has dazzled audiences nationally and internatonally at ProgStock festival (US), Outreach Music Festival (Austria), San Francisco Jazz Festival, bFlat Bar (India), Warsaw’s Guitar City (Poland), Borderline (UK), North Sea Jazz Club (Netherlands) Iridium (NYC) and more. JGP has also opened for Allan Holdsworth and has opened for Brand X. Getter’s inventive approach to improvisation using scale design is available as a course on TrueFire. Her extensive teaching credits include clinics and master classes for national and international institutions. She is a recipient of ASCAP’s “Music for Theatre or Dance” award and is a New York State Council of The Arts commissioned composer.
Contact:
Andre’ Cholmondeley
andre@guitartour.net

THE NEW STUDIO ALBUM FROM THE AWARD-WINNING GUITARIST, VOCALIST AND COMPOSER JANE GETTER AND HER BAND.
FEATURING ADAM HOLZMAN (STEVEN WILSON BAND, MILES DAVIS), ALEX SKOLNICK (TESTAMENT), PAUL FRAZIER AND GENE LAKE…
Led by guitarist, composer and singer Jane Getter, the album follows on from her acclaimed ‘Anomalia’ album and features Jane’s all-star band including keyboardist Adam Holzman, guitarist Alex Skolnick, bassist and singer Paul Frazier and drummer Gene Lake. Randy McStine (McStine & Minnemann, Porcupine Tree) also guests on vocals.
Jane’s band has carved out a niche at the intersection of rock, jazz, singer-songwriter, and metal styles with her masterful playing and complex and dynamic compositions and has dazzled audiences internationally. Packed with inspired songwriting and blazing instrumentals, ‘Division World’ is the strongest album yet from Jane Getter Premonition.
Jane says: “This album is a bit more song oriented than my previous work. The songs were written during the pandemic and the lyrics in a lot of the songs are reflections of the divisiveness and divisions happening in the world today. My regular band is featured – keyboardist Adam Holzman, guitarist Alex Skolnick, bassist and singer Paul Frazier and drummer Gene Lake. Randy McStine also guests on vocals. I feel Division World may be JGP’s strongest album yet!”
“Jane Getter’s new album Division World is something quite notable in the multiplicity of genres & sub genres focused on progressive rock fusion guitar, modern jazz rock -contextual songs which do not shy away from a world of trouble as it’s context for her outstanding, fiery, & nuanced guitar playing – sung in her courageous, melodic, distinctive voice” – Vernon Reid. https://janegetter.com/
TRACK LISTING
1 DIVISION WORLD
2 DISSIPATE
3 THE SPARK
4 COMPASS
5 END THE BLAME
6 LAYERS
7 DEVOLUTION
8 ANOTHER WAY
9 MIXED UP
10 REWIND REGAIN
11 WAITING FOR THE LIGHT

www.janegetter.com

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.