Zig At The Gig podcast

Vivienne Aerts

Originally from the Netherlands, vocalist and songstress Vivienne Aerts is barely categorizable in genre or style. She plays in band formation, duo, and solo, supplemented with a synthesizer, loop station, and effects. Vivienne surprises, challenges, and tells stories. Her lyrics travel to the core of recognition, talk to the soul, and open a barrel of emotions. Heartbreaking, singing of happiness, sometimes humorous, she tells about the things that make life beautiful.

Typuhthâng

Vocalist, performer & composer Vivienne Aerts’ new album ‘Typuhthâng’ will be released in 2023. Together with 100 next-generation female musicians and in collaboration with Original Beans Chocolate, Typuhthâng’ aims to empower the female cacao farmers of Virunga State Park in Congo and replant the rainforest.

The initial pressing of 500 numbered exclusive copies comes with a bar of Femmes de Virunga Chocolate. The cover artwork is screen-printed on cacao pulp paper. The 36 pages interior booklet is printed on French paper and is designed and illustrated by Natalia Olbinski. In addition, you will get a sticker page with lips and beans.

Vivienne's Info

typuhth-ng

https://vivienneaerts.nl

VivienneAertsFanpage

vieffertje

 

 

Sunny Drake

Sunny is a writer and creator of theatre and TV.
His inventive and award-winning theatre works have been presented in over 60 cities worldwide and translated into 6 languages. His wide range of audiences has spanned international arts festival goers, queers in underground warehouses, and seniors in regional theatres.
Sunny is also a proud trans artist.

Climate Change and Other Small Talk 

This theatrical podcast is a worldwide tour for your ears - minus the carbon footprint and lost luggage. Audio dramas from 9 creative teams around the globe will entertain as well as explore our climate crisis. And maybe even what could get us out.

https://www.sunnydrake.com

Brenda Sauter Of The Feelies, & Wild Carnation

Delmore Recording Society is excited to announce the upcoming release of Wild Carnation’s
Tricycle as a Record Store Day 2023 exclusive on April 22. Tricycle is the long out-of-print
debut album from this New Jersey-based trio comprising Brenda Sauter (The Feelies) on vocals
and bass, guitarist Rich Barnes and Chris O'Donovan (Grey District) on drums and vocals. This
will be a limited 500 copy pressing on 12” Carnation White vinyl LP: Tricycle’s first release on
vinyl. It’ll come with a download code for the remastered album, demos, and a blistering live set
recorded in Hamburg, Germany January 27, 1997. The live recording features unreleased
originals and a selection of covers including Patti Smith ("Dancing Barefoot"), Ian Tyson ("Four
Strong Winds"), and The Grass Roots ("Wait A Million Years”). Tricycle will be released as a
download and via streaming platforms on April 28, including the original album, all the live
material, demos, etc.
Way back in the 1990s, a young Delmore stumbled into now-defunct NYC nightclub Wetlands
(during the sadly also now defunct, NYU Independent Music Festival), just as Wild Carnation
were about to begin their set. Having lived in NYC / Brooklyn / Hoboken the previous decade,
where countless mesmerizing gigs by The Feelies, Yung Wu, Trypes and Speed The Plough, all
with Brenda Sauter on bass, had been experienced, it was the chance to see her fronting her
new group that drew Delmore in.
A few songs into their set, it was apparent however that this trio was more than a Feelies
offshoot project, despite melodic similarities, and Brenda's cool vocals / presence. Wild
Carnation played raw, loud and fast (and occasionally out of control), with Rich Barnes’
distorted, jangly guitar lines perfectly colliding with Brenda's propelling bass notes, while Chris
O'Donovan kept it together, pounding the living hell out of his drums. It was a garagey, indie
rock mess, more reminiscent of Hib-Tone / Chronic Town era REM, and emergent New Zealand
bands like The Bats and The Clean, than The Feelies.
Delmore was smitten, and determined to sign them, despite the fact that the Delmore label did
not yet exist. In 1993, Wild Carnation's debut 7", "Dodger Blue" b/w "The Lights Are On (But No
One's Home)", taken from raw home demos recorded the previous year, became the second
Delmore release. A full-length album was then commissioned, and an evolving Wild Carnation
holed up at Mix-O-Lydian recording studios with engineer Don Sternecker (The Feelies, Speed
The Plough, Wake Ooloo) to record their debut full length, Tricycle, released in 1994. On
Tricycle, the pastoral quality of their most beautiful ballads was captured to perfection, while
retaining enough of the rawness of the live experience. Waves of critical acclaim followed, from
now defunct publications (CMJ Jackpot! Raygun, Trouser Press) followed, including this one by
Jack Rabid of The Big Takeover (Still going strong!), written for All Music Guide:
"While the hook line for this new local trio would have to be that bassist/leader Brenda Sauter
used to be a member of the later-'80s incarnation of the famous Feelies (and its notable
offshoot, The Trypes), even if you didn't worship at the altar of that group (and especially if you
did!), Wild Carnation is a revelation. While the persistent, pumping beat and hard-played jangle
guitars of most of the tracks here emanate from her previous band and from their forerunners,
the Velvets (especially), Television, and the Byrds - Sauter's beguiling voice is perfect for the
ultra-appealing pop hooks the group writes as well as the thoughtful lyrics she composes.
Trading the occasional Feelies drone for sugar-sweet melodies (yes!) and utilizing the pretty ring
of the guitars to maximum effect, songs such as Wings are the perfect pop confectionery, too
honeyed and delightful to miss capturing your bending heart and too consistently insistent and
edgy to be wimpy, kind of like Reckoning-era R.E.M. It's all so well captured with pristine
production, with balls to match the heart, too! And though the 12 tracks are largely cut from a
similar mode, all seem special just the same on their own. A truly shining, first-rate effort, along
with Lotion's and Nyack's early EPs and the last Flower LP, the best release to come out of a
New York group this decade, and exceptionally crafted at that! Do not miss."

 

 

Brenda's Info

http://www.wildcarnation.com/home.html

http://www.thefeeliesweb.com/

https://www.facebook.com/profile.php?id=100063570834484

 

Dan Montgomery

Singer-songwriter Dan Montgomery will be releasing his seventh album Cast-Iron Songs and
Torch Ballads April 7. It was recorded at The Shack in the Back studio in Memphis, TN with
Montgomery and Robert Mache producing. It’s being issued on 12” vinyl LP, digital download
and via streaming services by Fantastic Yes Records.
It’s not unusual for an artist to signal a “return to their roots” a few albums into a career. Usually
this brings out mandolins, banjos, and variations of the folk tradition. Cast-Iron Songs and
Torch Ballads is NOT that.
After six critically acclaimed Americana albums later, Montgomery reconnected with the raw
rock he played in his youth. “I came into possession of a Danelectro, plugged it into an amp and
new songs immediately came pouring out. And they were songs with riffs. It was wild to
experience my current singer/songwriter self, meeting up with that Classic Rock kid from the
past. But it felt totally natural. I knew right away that I had to book time and cut an album with
my band while the moment was hot. And I did.”
Dan’s roots may not be folksy and down home but they are no less real. Coming of age in South
Jersey in the early Seventies, he cut his teeth gigging at dances and parties when he was fourteen.
“I was the youngest in the band,” says Montgomery. “The first songs I played on stage were by
Grand Funk, Bad Company, and Bachman Turner Overdrive. It was wild. At one of our gigs a
guy showed up with a gun because our drummer was fooling around with someone’s wife. And
he was only a junior in high school!” The time and the place were ripe for Dan to begin his
musical education, performing what is now called Classic Rock. “It was just new rock back
then, pre-Freebird rock. I loved it.”
Ultimately, Dan began writing his own songs and quickly found this environment to be unsuited
for his compositions. “I became really serious about lyrics and that flew in the face of dancing
and fist fighting so I began playing solo on the local coffeehouse circuit. It was great. I learned a
lot about folk and country songwriting and eventually, my electric guitar began to gather more
and more dust.”

 

 

Dan's Info 

https://m.facebook.com/people/Dan-Montgomery/100058434918202/
https://danmontgomery.bandcamp.com/
https://twitter.com/DanMont18783799
https://www.youtube.com/channel/UC8NqgqEFDkEw6Pn-HZF9Xqw

Jimkata

Jimkata are a three-piece anthemic, synth-washed, electro-rock band based out of Ithaca and Los Angeles. With a triumph of swirling analog synths, infectious pop hooks and candid lyrics, Jimkata have built a distinct sound which has been resonating with listeners across the country. Friends since middle school, Evan Friedell, Aaron Gorsch and Packy Lunn infuse Jimkata, (named after the so-bad-it’s-good 1985 gym-fu caper Gymkata) with both an adventurous musical streak and relatable lyrical themes

MAY 4TH Winchester Lakewood OH TICKETS 

https://www.ticketweb.com/event/jimkata-c-level-abstract-sounds-the-winchester-tickets/13055915

 

Jimkata's Info

https://jimkata.com/?fbclid=IwAR2AB9ZcTXLMfWKiYbOslX_s8cltwPf-XSN9y8Qt90fRY4BiHkw9feoE7O4

jimkatamusic

 

Mark Stewart

This is a re-upload of my conversation with the late great Mark Stewart Rest In Power!

 

 

 

 

For those who don't know 

Mark Stewart is an artist, vocalist, producer and songwriter from Bristol. As a founding member of The Pop Group and as a soloist, Stewart has remained an anarchic and pioneering figure since the punk era, a constant source of discordance amongst the frontiers of post-punk, dub, industrial and electronic music. In a body of work driven by an explosive form of lyricism and inspired by radical politics, protest movements, theory, philosophy, technology, art and poetry, Stewart has fearlessly cultivated a revelatory collision of ideas, ideals and influences throughout an indisputably ground-breaking and seditious career. Empowered by the DIY incentives of punk Stewart initiated The Pop Group in 1977, subsequently producing some of the most original and combative music of both the post-punk and contemporary era. From 1977 until 1980 Stewart led the charge in a group that completely eschewed punk’s formalism for something far greater. Producing epiphanic, irrepressible anthems, including She’s Beyond Good & Evil and We Are All Prostitutes, both in 1979, as well as masterful, seminal albums including Y in 1979 and For How Much Longer Do We Tolerate Mass Murder? in 1980, The Pop Group ignited the revolutionary aesthetic potential of post-punk. The impact of this first incarnation left an immensely significant legacy ultimately leading to the group’s reformation in 2010. With 2015’s refined return Citizen Zombie and 2016’s audacious left-turn Honeymoon On Mars, the group emphatically renewed their relevance, proving as incendiary as ever. Stewart continues to operate as a crucial impetus in the bands ongoing mission. In 1980 Stewart embarked on his solo career inspired by the sounds he had heard during a visit to New York the same year. The virtuosic scratching and early hip hop propagated by Kiss FM’s Kool DJ Red Alert, coupled with the impact of a pile driver at a construction site Stewart happened to encounter there, was enough to encourage his visionary next step. In 1982 Stewart consolidated these encounters into coherent possibilities, forming a group called The Maffia and linking up with producer Adrian Sherwood and his cutting edge label On-U Sound. Alongside a rotating cast of session players, initially comprised of members of African Head Charge, Creation Rebel & Dub Syndicate, and later made up of Doug Wimbish, Keith LeBlanc and Skip McDonald (the erstwhile rhythm section of The Sugarhill Gang) Stewart & The Maffia fashioned an abrasive confection of dub reggae, early hip hop and industrial noise that was shattering, seismic and completely ahead of its time. Headed by an iconic version of William Blake’s eponymous ancient poem, Stewart & The Maffia unveiled the Jerusalem EP in 1982, swiftly followed by their cult 1983 LP Learning To Cope With Cowardice. Stewart later moved to Mute Records in 1985 for the ferocious proto-industrial militancy of As The Veneer of Democracy Starts to Fade and successive appearances on the label continued to break untold new ground, from 1987’s Mark Stewart to 1990’s Metatron and 1995’s Control Data. Stewart has continued to plot an utterly uncompromising and individual course into the 2000s, with a streak of solo material that has included Edit, The Politics of Envy, The Exorcism of Envy and Experiments. Preserving his vociferous energy and defiant stance whilst advancing, as always, into unfamiliar territories, this work bears all the traces of Stewart’s enduring severity and modernism, an exploratory power reinforced by a host of legendary collaborators and artistic descendants including the likes of Primal Scream, Keith Levene (Public Image Ltd / The Clash), Richard Hell, Kenneth Anger, Daddy G (Massive Attack), Lee ‘Scratch’ Perry, The Bug, Kahn (Kahn & Neek, Young Echo) and Factory Floor. Stewart continues to exert an inestimable impact on a disparate range of ensuing artists and scenes. His work has been acknowledged and celebrated as a vital inspiration by the likes of Nick Cave, Trent Reznor (Nine Inch Nails), James Murphy (LCD Soundsystem), Tricky, Massive Attack, St Vincent and countless others, while his eye for unorthodox extremity has instigated myriad new evolutions, blueprinting industrial, trip-hop, noise-hop, dance-punk and many other subsequent conceptions. Through a staunch, unrelenting desire to confront, deconstruct and make anew, Stewart has become of the most influential and forward-looking luminaries of post-punk, or indeed, any other form of music. An artist often imitated but never bettered. Mark's Info https://www.markstewartmusic.com/ https://www.facebook.com/markstewartm...

Charming Disaster Part 2

Brooklyn-based goth-folk duo Charming Disaster’s upcoming fifth album Super Natural History is a musical cabinet of curiosities featuring songs inspired by both the natural world and the metaphysical realm; the cover art itself is composed of curios and oddities collected on their travels or gifted to them by fans. The album was produced by band members Ellia Bisker and Jeff Morris, half the tracks recorded at Figure 8 in Brooklyn, NY, the rest at Tonal Park in Takoma Park, MD, with the last song being a home recording. Super Natural History will be released on CD, as a 12-inch colored vinyl LP and on all digital platforms on March 3, 2023. The duo’s latest release unites the worlds of magic and science with ten songs that explore subjects like witchcraft, monsters, and the underworld alongside bats, plants, poisons, and parasites. Super Natural History is an alchemical experiment of sorts—magic and science may seem like contradictory concepts, but for Charming The Disaster they are opposite sides of the same coin: alternate ways to see the world and consider its mysteries.

 

April 29th, 2023 Wiz Bang Cleveland OH Tickets https://checkout.square.site/buy/V2DMOUQROCY4QZUUDY3VFYUA

Charming Disaster's

Info preorder link: https://charmingdisaster.com/supernaturalhistory

Website: www.charmingdisaster.com

Facebook: www.facebook.com/charmingdisaster

Instagram: http://instagram.com/charmingdisasterband

YouTube: http://youtube.com/charmingdisasterband

Bandcamp: http://charmingdisaster.bandcamp.com

Spotify: https://open.spotify.com/artist/1RjkfhamohczSXjFy5WcZh

 

Steve ”Hamie” Hayman

 

 

MIIRRORS

Motion And Picture is a cinematic soundscape of honest lyrical introspection and reactive
abrasion, a personal timespan of disillusionment, resolve, and return of hope. Waves of cascading textures blur the sonic lines between synthesizers and guitars a la My Bloody Valentine and Slowdive as Shawn Rios's atypical rhythms anchor the songs while Brian McSweeney
ascends beyond Andre Miller, Patrick Riley, and Dmitri Rakhubas's expanding colors.
What began as a chance encounter on an airplane between McSweeney and Rios 22 years ago
grew into a decades-long friendship which ignited the inevitable musical partnership that formed
Chicago's MIIRRORS. They reverse-engineered the usual process of becoming a band by
prioritizing album creation over live performance while at their own pace, morphing the duo into
a cohesive quintet of seasoned multi-instrumentalists along the way­ veterans Rakhuba, Miller,
and Riley completed the lineup, and they evolved the collective sound quickly, momentarily
trading the stage for the tracking room.
While recording, the group began self-releasing singles just two months before the pandemic
took its toll on the music community, but not before the public took notice of their imagined
version of Jeff Buckley's rare 1997 four-track demo 

 

 

 

MIIRROR'S Info 

https://miirrors.bandcamp.com/

www.pravdamusic.com

https://miirrors.bandcamp.com/

https://www.facebook.com/miirrorsmusic/

https://www.instagram.com/miirrors_music/?hl=en

https://www.youtube.com/channel/UC1XT5uhpV0ujNCA-_66_2yw

https://open.spotify.com/artist/2SwDo6SQHqyEiiZv0M0K9K

 

 

Cellophane Jane

Cellophane Jane is a Glam Rock Power trio founded by Cleveland, Ohio native Lex Moda in 2017. What started as a week-long meditative project to record, mix, and master a collection of ten songs as a mini-LP roared into a full-throttle, non-stop rock n’ roll parade.

 

The Marauders Last Show

https://fb.me/e/L8oi5JOg

Cellophane Jane's Info

https://www.cellophanejane.com

Cellophane Jane & C-Level

https://open.spotify.com/track/16tCMNF2IAT1oJplctVykz?si=8d26f66878424a66