Pesh & June Jump-Off @ The Player's Club

Heading to this tonight. Wish me luck. Gonna make it rain with my boy June, who recently did an interview with me for FormatMag.com.

Check it out here.

FormatmMag.com: Interview with Hip-Hop Artist June

You may not yet have heard of him but hip-hop artist June has been makin’ moves for some time now. This South Bronx based sensation has been spittin’ rhymes since he was a wee thing (think kindergarten wunderkind on the mic) and has stuck with this passion ever since. A sought-after songwriter, as a teenager he ghostwrote lyrics for bigger names in the game, then transitioned into singer extraordinaire, vocal expression never far from his heart. When he met music producers the Soundmen, June’s sound really took off and it’s been hits and no misses ever since. June’s latest single with Remo the Hitmaker, the catchy, Auto-Tune heavy “Watch My Moves” recently leaked to local radio stations in New York and soon found its way onto the Internet; look for it on iTunes soon. With his giant smile, infectious laugh and winning attitude, it’s difficult not to fall for this complete package comprising personality, talent and drive. Beyond his solo success, June has collaborated with several well-known’s, among them multi-platinum producer Ron Browz and platinum DJ Webstar. Read on to learn more about this educated, opinionated and entertaining up-and-comer.

For complete Q&A please click here.

InterviewMagazine.com: Interview with Moby now live online...

So they changed my intro. Again .(As with my Machinedrum piece from last week.)

Whatevs. Read on. . .

Moby Discusses His ISSUEs

By Nell Alk

Photos by Thomas Cantley

The month of April marks the six-year anniversary for ISSUE Project Room, the performance space that opened in the East Village in April 2003, and has moved twice, most recently finding itself in Gowanus, Brooklyn. The address is changing yet again, this time to Downtown Brooklyn, but renovations and funding needs slow this transition significantly. Founder and creative director Suzanne Fiol, Moby, and I sat down to talk about past performances at ISSUE that failed and why toxicity is great for real estate. Moby's also supporting a forthcoming record release, Wait For Me, due out at the end of June, and he showed a disturbing, beautiful music video for recent single "Shot in the Back of the Head," directed by David Lynch. Afterwards, guests including Steve Buscemi gathered in an oversized, candlelit garage where Moby performed his first ever live solo ambient/electronic set. He played and swayed, eyes shut, against a montage of projected images—from a bizarre animated ballet to houses that whiz by as if driving a suburban street and looking out the window to trippy, psychedelic color patterns.

NELL ALK: So this is your first ever ambient or electronic show. That's surprising.

MOBY: Yes. I've been making electronic music for twenty some odd years but, because I grew up playing in punk rock bands, when I started touring, I thought in order to be a viable touring musician I had to do it with a band. I would DJ or tour with a full rock band. When Suzanne [Fiol, founder of ISSUE Project Room] asked me to be involved in this, I realized I'd never done a solo electronic show, which is strange, being an electronic musician.

NA: What's specific to ISSUE that brought it out in you?

MOBY: Maybe it's a form of overcompensation, but whenever I've toured, I've always needed a huge performance component. One of the things I love about ISSUE is that it's so focused on the music. You come here and you sit and you listen. There are visuals sometimes, but it's not like a traditional performance where there are people running around onstage. The show I'm doing tonight is something I've never done before; I'm just presenting the music, not singing and not talking and not stage-diving and not climbing scaffolding.

NA: So tonight is solely audio?

MOBY: There's projections. It's amazing.

NA: So no body-surfing. Would you mind talking a bit about your forthcoming album?

MOBY: It's a lot quieter and more mournful and more melodic than some of the records I've made in the past. The last record I made was a really fun dance record and this record is more like Sunday morning, 9 AM, laying in bed when it's raining outside. It's called Wait For Me and it's very pretty. With this record, when I was making it, I wasn't concerning myself with any of the commercial ramifications; I just wanted to make a really pretty record that I liked. And, if other people like it, great. And, if they don't, that's okay.

NA: Do you have any guest artist appearances?

MOBY: I do, but no famous people. Can't do any work with a rock star; you have to go through their lawyers and their agents and their managers and you have to book them hotel rooms. When you work with your friends, you just call them up and they come over and you record and then you go out to see a movie.

NA: How often do you sing on the record?

MOBY: On this record, there are sixteen songs, and I only sing on one of them. I don't think of myself as a singer; I usually end up singing when I can't find anyone better to sing, or when I'm too lazy to find someone better. I like singing, but it's certainly not my strong point.

NA: So, Suzanne, how did ISSUE get started?

SUZANNE FIOL: It was something that felt really necessary. A lot of music spaces and art and performance spaces were closing. It was in the East Village, which is a neighborhood of artists and no art spaces, so everybody was really happy to see it. Then, like most art spaces, we got kicked out. We moved to Brooklyn. We got a great silo that we did work in for two years. Then, we got kicked out of there and now we're here.

NA: You're celebrating six years this month.

SF: Six years [it was, on] April 11. It's crazy.

NA: And how long have you been involved, Moby?

MOBY: I'd known about ISSUE since its inception. I started coming to events. Now I'm on the advisory board, and the focus right now, in addition to putting on performances, is raising enough money to renovate the new space. There's this beautiful space in downtown Brooklyn and, in order for it to be a home for ISSUE for twenty years, we need to raise enough money to renovate it.

SF: One of my main reasons for having a space is that artists get paid properly; they get paid what they should be getting paid. That's important stuff.

NA: Isn't Gowanus a terribly toxic place?

MOBY: I love the Gowanus area, but if you google "Gowanus" and "toxic," about 500,000 things will pop up. I believe this is one of the most polluted areas in the United States, which, I guess, to some extent, contributes to its charm. It's been an industrial area for such a long time. And, in a weird way, the fact that it's so toxic is actually preventing gentrification. People have wanted to develop stuff here and they just can't.

SF: It's like Williamsburg. That's built on a toxic waste dump too.

MOBY: One of the wonderful things about the new space is that it's so easy for everyone to get to. A lot of my friends who grew up in Manhattan have a strange phobia about Brooklyn. It's big and scary and they get lost. Even a provincial, phobic Manhattanite won't have a problem going to the new space.

NA: When are you moving?

SF: As soon as the space is ready.

NA: What does experimental culture mean for you?

MOBY: By it's very definition it can mean myriad different things. For me, primarily it's artistic expression that's not bound by commercial constraints. The artist or the musician or the writer is given free reign to express themselves however they so choose without worrying about the market viability of what they're doing. Sometimes I love the marriage of art and commerce; I love Donald Summer; I like the Rolling Stones.

NA: What are some of your favorite ISSUE performances over the years?

SF: We had a wonderful performance last week. It was Steve Buscemi and Tim Robbins and Richard Hell and Sean Lennon. We've done like 1,500 performances. We've had maybe 15 not-so-great ones. I would never say who they are. They were not great because they were artists who were willing to come here; it's called "Project Room" for a reason. It's important to have a space where you can try something new and, if you don't succeed, you don't succeed. I have issues with artists who are afraid of failing.

MOBY: Whenever I've had success, I never learn from it. Success usually breeds a degree of hubris. When you fail, that's when you learn. Musicians who come here and it hasn't worked, I'm sure they've gotten a lot out of it.

NA: That's a very New York mentality. Can you expand on your earlier comment about gentrification, or lack thereof?

MOBY: One of the downsides of gentrification is that, as rents have gone up, in general, it's made people a lot less inclined towards experimentation. New York is such a competitive place; it tears people apart. People come here and, if they can't make it in the first month, they get torn apart and they have to go back to where they came from. I don't think that's terribly healthy. It can be invigorating at times, but there has to be a balance between competition and support. When the balance skews so far toward competition, the city becomes packs of hyenas running around tearing each other apart.

New York Daily News: Rudo y Cursi Movie Premiere & After Party

Last night was actually really neat. After running late as per usual, I met Sean right outside of the AMC theater at 66 3rd Avenue (the NW corner of 11th) where he was waiting and we hustled to coordinate with press check-in. Reporters lined up along the red carpet, behind grates. I stood between Us Weekly and New York Times, essentially. Not bad company to be in. Sean hung back, but was with me, shooting photos and making general observations. I was prepping to talk to Diego and Gael. I also spoke to Carlos, who was super cooperative. Diego, too, he was great. A little greasy and possibly intoxicated, but adorable and charismatic nonetheless. Gael bypassed printed press people for the most part; oh well. He looked great too, cleancut and sober. Hipster hot.

The film soon commenced. In the end, Rudo y Cursi turned out to be so-so. The characters were really convincing, their acting was on point, but overall the script was pretty predictable; formulaic. This was Carlos' first go as director, and for that I five him props. Not like I could have done any better, right? Not terrible, not notable. Too bad because I love Diego and Gael. Whatevs.

Sean and I then made our way to Bar Artisanal in Tribeca for the after party. Thankfully, my contact at the Daily News had the foresight to put my name on the list. (Too often wires get crossed or people just get crazed and something or someone messes up regarding list spots, so this was a refreshing, hassle-free entry.) We mingled with fellow party-goers and watched on as the stars spoke to reporters with over-sized recording equipment; I never got the chance to talk to them again, as they soon sat down with the rest of the film crew and by then there was no way I would interrupt their evening. So, Sean and I just sipped on complimentary cocktails and ate the delicious passed hors d'oeuvres. We departed prematurely, he because he had yet another Tribeca Film Festival movie to see and I because I'd still not completed the infamous Moby piece for interviewmagazine.com. Oh, and I had to transcribe the red carpet recordings and the post-showing Q&A. Whew. It's been a weekend. Yawn.

New York Daily News: Rudo y Cursi Movie Premiere & After Party

So, yet another semi-last minute movie premiere coverage opportunity has arisen. It seems I am off to interview Gael Garcia Bernal and Diego Luna on the red carpet tonight for their roles in Rudo y Cursi (screenwriter and director Carlos Cuaron). After party at Bar Artisanal a must according to the editor at New York Daily News. Will I ever catch some shut eye? I still need to write the intro for the interviewmagazine.com ISSUE Project Room Moby piece. Gonna be a long night. At least I have my filmmaker friend Sean Glass along for the ride. He'll know what needs to be asked and answered, being the movie buff. I'm more immersed in the music scene, so this is a little nerve-wracking! Wish me luck!

New York Daily News: Was SUPPOSED to Interview Kobe Bryant. . .

So, a PR friend texted me and said something along the lines of: "Interested in covering Tribeca Grand tonight for Daily News?" I was surprised Daily News would need someone at the Saturday parties at the Tribeca Grand, but, hey, I could always use the additional outlet exposure, so why not? So I call her friend at DN and it turns out wires were crossed and what she needed from me was coverage of the Tribeca Film Festival. Namely, she needed me to attend the premiere of Doin' Work, Spike Lee's new joint about Kobe Bryant. My mission? To interview Kobe. Easy enough. Sure, it was last minute, but I've rallied before, why not one more time? I'll tell you why not. 

I was ready to work the red carpet and watch this basketball documentary downtown, all they way on Chambers Street, when my filmmaker friend Sean Glass tells me there's no way in hell Kobe will be in New York tonight. It's Game 4 of the Playoffs. Come on. He's in Utah. I communicated this to the girl and after some back-and-forth she confirmed that indeed he's playing in Utah tonight. At least I did my homework.

Then, I was supposed to go to this OTHER red carpet affair, Handsome Harry, starring Steve Buscemi (met last night) and Aidan Quinn. Okay, that's cool. I'll do some research and come up with some questions. Then, I do a little digging and various sources imply it isn't tonight. WTF? Finally, my contact confirms it is indeed tonight but by now I've already psyched myself out of it, so-to-speak, and am still in need of a shower after my six mile Central Park run earlier today, so am so obviously not able to make it to West Chelsea by 8:30 PM. Thus, I killed the movie premiere plan. 

That's my story. Maybe it's lame. Go ahead and say so. (Nell, don't you know no one reads this shit? Besides, you've only told, like, 6 people you're beginning to blog.) I'm going to take care of some shiz here at home tonight. Sorry, Dan Mims. This entire evening has been a clusterfuck and, although I would like nothing more than to come out to The Yolk in BK and support the shit out of your new live venue space, I need some me time. Yes, I said it, me time. 

Until later. . .

InterviewMagazine.com interview with Moby @ ISSUE Project Room

I don't know where to begin or even really what to say, but. . .

Last night I trekked out to Brooklyn for this phenomenal opportunity; I was invited to interview Moby at ISSUE Project Room. Thanks to my good friend Ed, who hooked it up. Contrary to what people may think, Moby was nothing if not gracious and lovely. We talked about everything from New York City and the arts scene here to his electronic/ambient music to his forthcoming album (due to drop June 30) to veganism to how he recently sprained his ankle. 

During the month of April, IPR is celebrating its six year anniversary as an avant garde art space. So this was bound up with that and I also had the chance to speak with IPR founder and artist Suzanne Fiol. She was absolutely sweet in all ways. She even called me, "the cutest thing." I blushed. 

In addition to the three-way interview with them, my friend Thomas Cantley came along to photograph. I pitched the entire thing to interviewmagazine.com and they went for it. And why wouldn't they? I think we hit a home run with this one. Even got a few words in with Steve Buscemi, who is also intimately involved with this project. 

Beyond this, the evening consisted of a VIP private listening party with the video screening of this dark but beautiful music video directed by David Lynch, set to the song "Shot in the Back of the Head." Amazing. On top of this, and this is the real winner of the night, all attendees were invited to attend Moby's first ever ambient/electronic set downstairs from the studio space in this oversized, pillared candle-lit "garage."

Pardon my effusiveness, but this was by far the most incredible experience I've had the privilege of being a part of in all my memory. Grizzly Bear performing with a 40+ piece orchestra at BAM a couple months back was right up there, but this showcase of Moby's new

 material as he swayed and did his thing, set against this psychedelic video projection, was a fully immersive installation; sensory overload in the best sense possible. 

There was so much more to it than this, but I feel like you can only appreciate this post so much without having been there to witness yourself. 

Watch for the write-up on Interview's website next week. 

Thanks for reading!

PaperMag.com Semi Precious Weapons & Shiny Toy Guns Blog Post

“It’s like Sesame Street!” is perhaps the last thing you expect to hear come out of Justin Tranter’s mouth. Lead singer of Semi Precious Weapons, Tranter is more of a Triple X kind of guy. Mind you, his hilariously incongruous statement, accompanied by a casual shrug, followed his insistent but adorable demand that everyone at Webster Hall had better scream at the top of their lungs, “That’s kunt!” Really?Is it like Sesame Street? Did I miss an episode? Was I preoccupied with Captain Kangaroo, or Mr. Rogersmaybe? Jesus. For the record, Tranter has told us in the past that Kunt (spelled with a K) translates to a cross between “…awesome and daring…”

The high-heeled-boots-sporting, platinum blond bombshell belted it out and left little to the imagination last night as he let loose beneath the colorful flashing lights of the newly renovated Webster Hall. Tranter literally bent over backwards, crawled on his hands and knees, showed off his high kicks (high kicks that rival those of even the most flexible Rockette) and slowed down only once, to lock lips with an underage strumpet humping the stage. Needless to say, their set shaped up to be another routine SPW performance (note: this is a compliment, not a criticism) and a typical day in the life of New York’s very own J.T. (If you think he doesn’t do high kicks on his own at home…)

Tranter made explicit the fact that no show should be taken too seriously; at one point he even put guitarist Stevy Pyne in a chokehold, pummeling him to the ground and wrestling with him for a good minute or two, all the while Pyne continued to strum as Tranter sang. All in good fun. Lovingly attacking Pyne has supposedly become ritual for Tranter, the badass band equivalent to the playground bully/pipsqueak scenario.

The Midwestern-born beauty (he’s originally from a suburb of Chicago) proves perpetually appealing. What might otherwise be considered crass comes across as charming when exiting Tranter’s lips. “Do you like my shoes? Do you like my face? Shut up.”

As for songs, SPW performed eight tracks, including two new numbers. SPW showcased both “Put A Diamond In It and Bite Down,” which Tranter tells me is “the greatest song of all time,” (fans seemed to agree) and “Blond.” The latter features a line that goes: “The whole world has gone blond since they turned my mic on.” Drummer Dan Crean, wearing a torn up tee hit his heart out, his stunning upper body glistening in the concert hall glow. Let’s just say the live venue suits him. Cole Whittle, the schizo bassist, went wild as usual, instrument held high above head and intermittently break-dancing. This was my first experience where Pyne performed rather than former member Aaron Lee Tasjan (admittedly, it’s been too long since I’ve seen SPW) and, I must confess, I was taken aback by his execution. Impressive as anything, Pyne was seriously on point. But what’s with the wig?

As for Shiny Toy Guns, they put on a stellar show as well. The floor shook as they sang, vibrating beneath our feet. The pulsating current of energy contributed to the overall aura (that and the fog machine), bringing the evening full circle. The young woman standing in front of me showed her love by forming a heart shape with her baby-blue-polished fingers. My date reacted differently to their sound: “They can't figure out if they want to be The Killers or Muse, but they should be trying to be Siouxsie Sioux and the Banshees and just let the girl sing.” He said this with a lighthearted laugh, but clearly I was significantly more smitten. I was just pumped they played “Don’t Cry Out,” off their debut album We Are Pilots from 2005.

Photos by Roger Kisby

Going to this tonight to interview & enjoy Moby

ISSUE Project Room & Moby invite you to attend
A PRIVATE LISTENING PARTY, VIDEO SCREENING, AND RARE CONCERT PERFORMANCE
Special Fundraising Event for ISSUE Project Room

Friday, April 24, 2009
6:30 pm VIP Private Listening Party with Artistic Advisory Board member Moby + David Lynch Video Screening + Admission to Moby’s Ambient/Electronic Set at 8:00 pm 
21+ over w/ ID

Help support ISSUE Project Room’s continued growth as New York’s foremost venue for avant-garde performance and art. Come celebrate ISSUE’s recent selection as occupant for the glorious McKim Mead and White theater space at 110 Livingston Street. Join us at 6:30 pm for an intimate pre-performance cocktail party with award-winning recording artist, Moby. Hear advance tracks from his forthcoming album, meet and talk with the artist, and enjoy a sneak-preview of his new music video directed by David Lynch. Enjoy Moby’s first ever ambient/electronic set at 8:00 pm.

Benefit tickets for VIP listening party + concert are $100.00 ($80.00 tax-deductible) and include:

Admission to 6:30 pm VIP listening party and 8:00 pm live concert

Sneak preview of Moby’s new music video directed by David Lynch

Advance preview of Moby’s forthcoming album

Open Svedka cocktail bar

Delicious hors d’hoeuvres from S’Nice vegetarian eatery

ISSUE gift bags