Soundcheck

Gamelan Yowana Sari is a Balinese art ensemble in residence at the Aaron Copland School of Music at CUNY Queens College made up of students, alumni, faculty, and community patrons – all guided by GYS founder Michael Lipsey and co-directors Fred Trumpy and Ruka Shironishi. This contemporary group of percussionist ringers (ahem) are “fostering the creation of new works for gamelan”, and are “deeply committed to the transmission of Balinese culture through traditional music” (Bandcamp). GYS recently traveled to Bali to record some of these new works - some for gamelan and electric guitars- for their self-titled debut album, (which is out now on Cantaloupe Music.) Recently, they traveled from Queens and elsewhere with their heavy metal arsenal of traditional metallophones and gongs;  7- and 8- string guitars; and a hi-hat turtle to play (and count in cycles of fives and sevens) in the Jerome L. Greene Performance Space. Bonus - there's also a tour of the instruments! (- Caryn Havlik)

1. Stones Are the Flowers (Kyle Miller) 2.  Guirlandes, mvt 1 (Theo Merigeau) 3. aERIFORm kiTE (Evan Ziporyn)

New York-based Sofia Rei is a Grammy-nominated vocalist, songwriter and producer from Buenos Aires, Argentina who was classically trained as a singer and fell in love with Brazilian music. Her new album, Antónima expands the concept of chamber music, looks to South American and Caribbean dance music (cumbia, candombe), and combines elements of Oya’s healing thunder and improvisation – all while flirting with jazz and experimental pop - as she and longtime collaborator and co-producer JC Maillard skillfully layer her voice and electronic sounds. Then there’s the all-star lineup of featured guest musicians on the album - many of them visionary Latin American women creators – who help Sofía Rei to celebrate future sounds. She and JC Maillard play in-studio. (- Caryn Havlik)

Set list: 1. El Mundo Es Redondo (Anonimous) 2. Si Una Cae 3. Marciana

Morgan Nagler writes new songs every day, whether she’s in a room with the likes of Phoebe Bridgers and HAIM, or by herself playing an acoustic guitar in her bedroom. When she’s collaborating with other artists, there’s a lot of thought put into what each song is supposed to be about. But in private, Nagler refers to her tried and true “puke method”, eager to see what emerges, unfiltered. 

Then perhaps it shouldn’t come as a surprise that her debut album, which was born after a series of side projects, carries an intimate, conversational tone. Despite the layered electric guitar textures and thoroughly arranged instrumentals, Nagler sings as though she’s right there, sitting next to you. In her co-write sessions with other artists, she “shows up and there’s nothing, but by the end of the day, you’ve got a song with a nice demo recorded. And then, you can just wipe your hands of it.” Such is the privilege of a songwriter stepping into another artist’s universe. In her own universe though, Nagler assesses all her heartbreaks and existential crises, summing it all up with an appropriate album title: I’ve Got Nothing to Lose, and I’m Losing It

In the making of her album, Nagler had “the time of her life”, having so many of her collaborators show up for her passion project. But for this edition of Soundcheck, she’s accompanied by nothing but her own guitar, putting her story in front and center. (- Sırma Munyar)

Setlist: 1. Cradle the Pain 2. Hurt 3. Heartbreak City

Alisa Weilerstein is more than just a virtuoso cellist; she is also a winner of the MacArthur Fellowship, the so-called “genius” award. There is a real genius in the way Alisa Weilerstein connects music in her solo concerts, combining core classical pieces and commissioning new works to expand the solo cello repertoire. Take, for example, her latest project called Fragments, which is a multimedia series that weaves 27 newly-commissioned pieces into all of the solo cello suites by J.S. Bach. She imagines anarc of listening, where one might hear Serbian-born, Quebec-based composer Ana Sokolović; American-born Joan Tower; cellist/composer Paul Wiancko; percussionist/composer Andy Akiho; American composer Jeffrey Mumford;J.S. Bach, and Argentinian Osvaldo Golijov all on the same bill and tied together. Alisa offers a sample of this exploration of sound and meaning, with a little bit of birdsong, in-studio.  

Set list: 1. Joan Tower - For Alisa, and  J.S. Bach - Cello Suite No. 1 in G major, Prelude, BWV 1007  

2. Osvaldo Golijov - The Last Moho Braccatus and J.S. Bach Cello Suite no. 5 in C minor, Courante, BWV 1011

Brooklyn-based folk-rock band The Lone Bellow have stuck through thick and thin for the past 15 years. Their creative output has been fairly consistent, only disrupted recently by a burglary on the road. Strangely, the thieves who broke into their tour van stole the hard drives containing the vocal takes for their latest record and left the precious instruments behind. Still, the financial burden was significant enough to delay the release of What a Time to Be Alive. After a successful crowdfunding campaign, the trio had their second shot at realizing their vision. 

Now back on the road after a short break to promote their new album across the US, The Lone Bellow is once again ready to welcome “the alchemy of everybody together in the room” on stage. But first, they share their rich vocal harmonies, backed with acoustic guitars and a mandolin, at our Manhattan studios for the latest installment of Soundcheck. (- Sırma Munyar)

Setlist: 1. I Did It for Love 2. You Were Leaving 3. No Getting Over You