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Archive for the ‘Ukraine’ Category

DakhaBrakha (Berlind Theater, Princeton, NJ, March 7, 2026)

Posted in Berlind Theatre, DakhaBrakha, Princeton, NJ, Ukraine on March 7, 2026| Leave a Comment »

[ATTENDED: March 7, 2026] DakhaBrakha

Four years ago I saw DakhaBrakha and was blown away.  It was a very emotional time as Russia had just invaded Ukraine–support and anger were very high.  The music was beautiful and powerful and the messages of hope and resistance were very strong.  Their home base is in Kyiv and they have first hand experience with the tragedy.

It is simply unbelievable that four years later, the war is still going on.  And now with our new regime and Putin’s puppet in place, Ukraine is in even worse straights (although the EU does seem to be helping).

After seeing them, I wanted my wife to experience them as well.  I’m sad it took four years to see them again, but I’m glad they can still tour the U.S.  I asked the rest of my family if they wanted to experience this as well (and bravo to them all for saying yes with the very vague descriptions I gave).  My daughter couldn’t go because if a last minute commitment, but my wife and my son really enjoyed it.

The band is a quartet: Marko Halanevych.  He plays more than this but for tonight he did: vocals, goblet drum, harmonica, accordion guitar and certainly other things.

Then there was Olena Tsybulska, vocals and drums.  She had a small kit but a huge sound.  Next to her was Iryna Kovalenko who played everything.  She sang and played mostly keyboards, but also drums, djembe, flute, buhay, piano, ukulele, zgaleyka, and a tiny accordion.  And last but not least, Nina Garenetska sang and played cello.  The cello was the one major constant through the songs–she made bass lines, rhythms and even cool effects through pedals.

Each woman’s voice was amazing–powerful and resonant.  And when the women sang together, wow.  It was mesmerizing.  Marko sings lead on many songs.  He has a falsetto and also a deeper vocal style.  He played accordion for many of the songs.

They sing almost entirely in Ukrainian.  Marko speaks English between songs (and the women chimed in from time to time).  And there were two songs in English, the light-hearted “I’ve Boarded the Wrong Plane” [“Ye Siv Ne v Toy Litak”] and the kind of silly Baby. (more…)

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Jinjer (Starland Ballrom, Sayreville, NJ, September 20, 2024)

Posted in Hanabie, JInjer, Sayreville, NJ, Starland Ballroom, Ukraine on September 22, 2024| Leave a Comment »

[ATTENDED: September 20, 2024] Jinjer

I’ve seen Jinjer twice.  Last time, after the show I wrote:

Now that I’ve seen “Pisces,” I don’t think I need to see Jinjer again.  In fact, I’m probably not going to go to too many more metal shows.  I think I’ve seen everyone I wanted to.

Pisces was the song that introduced me to them and Tatiana Shmailyuk’s incredible voice.  She can sing beautiful soaring melodies and then on a dime turn into a scary growling monster.  It’s fascinating on record but it is mind blowing to see live.

So I wasn’t really sure I wanted to see them again, but I was inspired by the opening band Hanabie to go see them again.  And I’m so glad I did. This was the closest I’d been to them and it was great being that close to Eugene Abdukhanov on bass. The previous tow times, I was on guitarist Roman Ibramkhalilov’s side but I’d really admired the bass work on these songs.  So it was very cool to see just how complicated his bass rhythms were.

Ibramkhalilov has a great sound–shifting from quiet picking to heavy chords, but it was a little lost on my side of the stage (I noticed it more on some of the recordings I took).  Drummer Vladislav Ulasevich also adds wonderful fills and stops and starts to add drama to the songs.  He was even louder than the last time I think–I needed to put the earplugs in deeper toward the end. (more…)

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Hanabie [花冷え。] (Starland Ballrom, Sayreville, NJ, September 20, 2024) [JINJER]

Posted in 花冷え。, Hanabie, Japanese Music, JInjer, Sayreville, NJ, Starland Ballroom, Ukraine on September 21, 2024| Leave a Comment »

[ATTENDED: September 20, 2024] Hanabie

I have seen Jinjer twice.  I didn’t really think about this tour until I checked out the opening acts.  I hadn’t heard of Hanabie, but when I looked them up I was blown away and was really excited to see them live,

I actually assumed that they would go on first since they are so much newer of a band than Born of Osiris.  But I was delighted to find out that BOO was on first so we could relax and enjoy the fun.

Hanabie [花冷え。] is a Japanese band known for combining loud and heavy music with contrasting Harajuku aesthetics in a style self-described as “Harajuku-core.”  They have been around since 2015 (when they started as a Maximum The Hormone cover band).  They have clean vocals and unclean vocals and the most fascinating thing is that singer Yukina does both!  She sings in an incredibly high almost cartoonish voice and then shifts to a growl that would impress anyone.

Guitarist Matsuri also sings– and has a lovely voice.  She often sings super catchy chorus and bridge parts while Yukina adds to them.  Bassist Hettsu also sings and has a lovely clean vocal style.  The three of them together are a dynamic force.

Drummer Chika is the only new member (they’ve had several drummers over the years).  I couldn’t see her at all because she was positioned on the far side of the stage/  Which was quite a bummer.

But Yukina, Matsuri and Hettsu were certainly enjoyable enough to watch.  They ran back and forth between stations, completely engaging with the crowd.  The few times that Yukina came over by us, you could see her making faces at people in the crowd.

Their set was so much fun–full of energy and excitement.  I particularly liked that they had so many high sounds–in a genre that is usually devoted to low frequencies.  Between the high vocals and some of the electronics it really made for a dynamic show.  I’m not sure how they all are (mid 20s, I guess?) but they had so much energy, bouncing and jumping around the stage.

And their fashion sense was pretty great too.

They were a great opening act and I would absolutely see them again–I hope as a headliner.

2024
Metamorphose! §
Ware Amatou ⊗
Reiwa Matching-sedai ⊗
O•TA•KU Lovely Densetsu §
NEET GAME ♥
Kotoshi koso Gal~Shoka ver.~ ♥
GIRL’S TALK §
Tales of Villain ♥
TOUSOU ♥
Osaki ni Shitsurei Shimasu ♥

§ single (2024)
♥ Reborn Superstar (2023)
⊗ Girl’s Reform Manifest (2021)

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Born of Osiris (Starland Ballrom, Sayreville, NJ, September 20, 2024) [JINJER]

Posted in Born of Osiris, Hanabie, Japanese Music, JInjer, Sayreville, NJ, Starland Ballroom, Ukraine on September 20, 2024| Leave a Comment »

[ATTENDED: September 20, 2024] Born of Osiris

I’ve seen Jinjer twice and I didn’t really think I needed to see them again.  But they announced this show at Starland Ballroom and I was intrigued by one of the openers, Hanabie.  I hadn’t heard of Born of Osiris.

Turns out Born of Osiris is a metalcore band that’s been around for over fifteen years.  Interestingly, the band’s first two records were more or less created and played by the band’s mastermind and drummer, Cameron Losch.

Their set was very loud–so loud that it was hard to distinguish anything.  I wasn’t really all that interested in anything they played.   There were a few moments that included some electronics but mostly it was just bludgeoning and intense metal.

I found it kind of dull, actually.  It amused me that the singer kept trying to get people really psyched–I’m assuming that they have played headlining shows in the last fifteen years.  But every time they pointed the floodlights to the crowd, it kept showing an empty floor.  Part of the problem for them was that the website said they were going on at 7:30, but they went on at 7:10 and Starland is notoriously bad about slow entry.

There were some people who enjoyed it, but compared to the dynamic nature of the next two bands, they seemed really rather plodding.

This was the setlist from a show a few days later.  I assume it was the same.

 

2024
Open Arms to Damnation §
Bow Down §
Elevate ¥
Empires Erased §
Abstract Art §
Angel or Alien ♥
A Mind Short Circuiting ¥
In Desolation ¥
Machine ⊗

¥ single (2024)
♥ Angel or Alien (2021)
⊗ Tomorrow We Die Alive (2013)
§ The New Reign EP (2007)

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DakhaBrakha (Alexander Kasser Theater, Montclair, NJ, November 18, 2023) [DID NOT ATTEND]

Posted in Alexander Kasser Theater, DakhaBrakha, Montclair, NJ, Ukraine on November 18, 2023| Leave a Comment »

[DID NOT ATTEND: November 18, 2023] DakhaBrakha

I saw DakhaBrakha about a year and a half ago.  I had wanted to see them for a while, but the timing was right after Russia invaded Ukraine.  I can’t believe the war is still going on.

Their music is like nothing else I’ve heard and their visually are just as compellling.

I have wanted to see them again and this show in Montclair seemed perfect.  It just happened to be scheduled on a night when we already had plans.

I am genuinely surprised they haven’t played McCarter in Princeton. It seems like a perfect combination.  Maybe next year.

 

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Jinjer (Fillmore Philadelphia, Philadelphia, PA, November 23, 2022)

Posted in JInjer, P.O.D., Philadelphia, PA, Space of Variations, The Fillmore Philadelphia, Theatre of Living Arts, Ukraine, Vended on November 23, 2022| Leave a Comment »

[ATTENDED: November 23, 2022] Jinjer

I saw Jinjer almost exactly one year ago to the day.  It was also the night before Thanksgiving (that’s kind of weird, no?}

When they announced this show I bought a ticket immediately.  Last year, there was no war in Ukraine.  There was no crisis or concern.  This year, I wanted to support them and their country.  I didn’t even really pay attention to the rest of the bill.

P.O.D. (really?), Vended and from Ukraine, Space of Variations.

I didn’t want to see any of these other bands (well, maybe Space of Variations).  And I didn’t want to spend two and a half hours standing around listening to bands I didn’t really want to hear.

So I thought I might not go.  But I listened to some Jinjer and decided that I did want to see them after all.  Especially when I saw that they were playing “Pisces” on this tour (which they didn’t play for us last time). (more…)

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DakhaBrakha (SOPAC, South Orange, NJ, April 2, 2022)

Posted in DakhaBrakha, SOPAC, South Orange, NJ, Ukraine on April 3, 2022| 1 Comment »

[ATTENDED: April 2, 2022] DakhaBrakha

After the last few nights, I was in need of a break, but there was no way I was passing up a chance to see DakhaBrakha.

I heard about this Ukranian band from Tiny Desk Concerts, of course.  I fell in love with them immediately.  Their music was weird and wonderful with amazing harmonies and interesting instruments.  And their outfits were incredible.  Giant hats and beautiful dresses on the women–who totally kicked ass while they played, too.

I was thrilled when I saw they were coming to SOPAC–local, small and seated.  I snatched up tickets way back in November,

And then Russia invaded Ukraine.  And who even knew if they’d be alive, much less able to play in the States.  Evidently they left the country about a week before the show–so they had been there (their home base is in Kyiv) during the bombing.  It’s unreal.

So now, this show went from being a fun celebration of Ukraine to a pointed attempt to show support to a country that needed it.  Suddenly, the night was more significant.

Which, fortunately, didn’t change the music.  True, the visuals that the band showed were often far more somber and dark than they probably would have been otherwise, but you can’t change the music.  And it was wonderful. (more…)

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Jinjer (Theatre of Living Arts [TLA], Philadelphia, PA, November 24, 2021)

Posted in JInjer, Philadelphia, PA, Theatre of Living Arts, Ukraine on November 27, 2021| Leave a Comment »

[ATTENDED: November 24, 2021] Jinjer

I first heard JInjer when I saw a video for their song “Pisces.”  The song starts out slow and melodic with Tatiana Shmaylyuk singing in a quiet, lovely voice.  At the one minute mark, the songs shifts to a heavy off-kilter riff and Shmaylyuk unleashes a guttural growl that you absolutely assume is from someone off screen–but it’s not.  [Check out hilarious vocal coach reaction videos].

So I wanted to see Jinjer to experience Shmayluk’s voice in person.  But I was absolutely blown away by the rest of the band.

Jinjer is from Ukraine and I don’t know how often they come to the U.S., but there were some really die hard fans there.  The band’s lineup has changed quite a lot over the years, but since 2016, the lineup has reamined Roman Ibramkhalilov on guitar, Eugene Abdukhanov on bass and Vladislav Ulasevich on drums.

Their sound is quite heavy, but with lots of moments of quieter, pretty melodies.  Indeed, they play really complicated rhythms and time changes, with terrific riffs and bass lines.  The drummer also adds a lot of percussive sounds to the songs making them a band where it’s hard to know who to watch. (more…)

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David Sedaris–“Card Wired” (New Yorker, February 17, 1997)

Posted in David Sedaris, Essays, Eurovision, Folk Metal, Funny (ha ha), Go_A, Mad Max, New Yorker, Norway, Ґоу_Ей, The Independent, The Munsters, TIX, Ukraine, Valentine's Day on May 21, 2021| Leave a Comment »

SOUNDTRACK: Go_A “SHUM” (Ukraine, Eurovision Entry 2021).

Eurovision 2021 is upon us. It’s hard to follow Eurovision in the States, but you can see highlights and most official entries online.

I have been rather enjoying the folk metal genre, especially as practiced by Eastern European bands.  So I was pretty fascinated to hear about Go_A [Ґоу_Ей].

The name Go_A is meant to mean “return to the roots” and was made by combining the English word “Go” with the Greek letter “Alpha.”  There’s four members: Kateryna Pavlenko, Taras Shevchenko, Ihor Didenchuk and Ivan Hryhoriak

Lead singer Kateryna Pavlenko has a pretty fascinating backstory (if Wikipedia is to be trusted, and when is it not?).  [The entire quote is (sic)].

Due to unsatisfactory living conditions, she developed lung disease. As a teenager, she underwent several surgeries, including surgery to remove a lung tumor. After that she can’t sing in the traditional way. “The sound is not formed in my lungs or bronchi, because there is not much space there, but somewhere here (points to the back of the head). This is especially true of high notes, ”she said.

Her voice is quite striking–surprisingly powerful.  In the video, she looks as striking as her voice.  She’s dressed in an awesome leather jacket with a black dress.  She’s got some kind of metal(?) thing on her face–I can’t determine what it is., aside from cool-looking.

The song opens with a repeated unearthly sound–a kind of siren.  She starts singing in powerful Ukrainian as menacing chords emerge.  Then the song pumps along.

Once again the video is pretty spectacular as the band is driving in a kind of Munsters meets Mad Max truck.  The song is loud and fast with some big distorted guitars.

And before you know it, the song breaks and there’s a tin whistle solo and a jaw harp keeping pace (!).

In the middle of the song her voice sounds a bit less harsh as the music builds and fills in.  And then a throbbing bass bounces along to the tin whistle.  And after a beat the drop kicks in and the song is now twice as fast.

The video is pretty entertaining–the “story” is fun to watch, anyhow.  But as the song ends she hits a really high note–almost a screech.  In the video a hawk lands on her outstretched hand.

Nice touch.  Did they do that live during Eurovision?

UPDATE: No hawk live, and they came in fifth (with a really cool set).

[READ: May 10, 2021]  “Card Wired”

Back in the mid to late 1990s, David Sedaris wrote a few Shouts & Murmurs for the New Yorker.  It’s interesting to see a writer whom you know for a certain style of writing crafting jokes in a very different manner.  Shouts & Murmurs are rarely actually funny, and that’s true of most of these.

Obviously the topical nature of most of these means there’s a component of “wait, what was going on?”, but the set up usually explains everything pretty well.  Now we are more likely to say, “Aw, remember when that’s all we cared about?”

This piece is based on an article in The Independent that says greeting card companies are getting in on the “mass-therapy act” so if you buy enough of these cards you could hold an entire conversation with your loved one without opening your mouth. (more…)

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Jonathan Safran Foer–“The Very Rigid Search” (New Yorker, June 18 & 25 2001)

Posted in Adventure, Blindness, Boris, Death, Dogs, Excerpt, Funny (ha ha), Israel, Jealousy, Jonathan Safran Foer, Meta, Nazis, New Yorker, NPR/PRI/PBS, Racism, Religion, Travel, Ukraine, Vegetarian on November 7, 2020| Leave a Comment »

SOUNDTRACK: BORIS-“asia” (2015).

Back in 2015, Boris released three albums on the same day all under the “new noise literacy” banner: “urban dance” “warpath” and “asia” [according to their label numbers, this is the order they go in, but I’m posting them out of sequence].

All three records are experiments in abrasive noise.  Despite the adorable child on the covers, these records will scare children.

This album has three songs.

“Terracotta Warrior” Runs for 20:38.  It opens with quiet, slow rumbling–almost inaudible for the first 30 seconds or so.  Then the pulsing sounds start bubbling up under a hissing, mechanical sound.  Around seven minutes the rumble stays pretty steady, but the higher noises–hissing, clanging, horror movie sounds, start to grow more intense.  At 8 minutes, some discernible guitar chords ring out (heavily distorted, but clearly guitars).  It turns into a lengthy drone with squeaky feedback noises throughout.  At 17 and a half minutes the feedback gets louder and louder until it abruptly cuts off and after moment of silence distance guitars start ringing out again.  There’s even the first sign of drums (a gentle hi-hat).

“Ant Hill” is half as long, but similar is tone.  It is primarily pulsing electronics and high pitched squealing electronic manipulation.  There’s also some digital glitching sounds. After 8 minutes the song fades to a pause only to resume a few seconds later with some more digital glitching and manipulation.  With 30 seconds to go, a drum beat comes in and the distortion takes on a more melodic sound including what sounds like someone sawing in the distance.

“Talkative Lord vs Silent Master” is also ten minutes long and it is the most unpleasant of the three songs.  It is full on static and noise with what sounds like a monstrous voice growling in the distance.  By the end of the song it sounds like being in the middle of a howling winter storm.  And as it closes up there is some serious digital glitching.  Not for the sensitive of hearing.

The album is credited to: takeshi: guitar & bass / wata: guitar & echo / atsuo: drums & electronics.

[READ: January 19, 2017] “The Very Rigid Search”

Jonathan Safran Foer has become something of a more serious writer over the last few years, so I’m alway happy to read one of his earlier funnier works (himm, that sounds familiar).

This story is written from the point of view of a Ukrainian tour guide named Alexander Perchov.  He is writing this tale in English, although his English is slightly off (as the title hints at).  He speaks very good English, but his word choices often eschew idioms for literal translation (and much hilarity ensues).

Alex’s family own a Ukrainian branch of an international travel agency and it is his job to pick up and translator for an American traveller.

Alex refers to the traveler as the “hero” of the story.  And the hero’s name is Jonathan Safran Foer.

Jonathan Safran Foer is not having shit between his brains  He is an ingenious Jew.

JSF was travelling from New York to Lutsk. (more…)

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