Posts Tagged ‘New York City’

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“I didn’t care for the sound he got on tape or the performance much either,” said Tom Verlaine, dismissing Brian Eno’s attempt to record the quintessential New York loft act’s first LP. Five tracks were recorded at Good Vibrations studio before Verlaine pulled the plug on a putative Island album and his schoolmate, bassist and musical co-conspirator Richard Hell. “Double Exposure” shows why; Verlaine, second guitarist Richard Lloyd and drummer Billy Ficca are moving towards the chiselled arches of 1977’s Marquee Moon, while Hell plunks agriculturally behind them. Told before the session that none of his songs (“Blank Generation” included) would be recorded, Hell knew the end was nigh when Verlaine told him to stop jumping around on stage. (“He didn’t want people to be distracted,” Hell later recalled.)

In late 1973 the trio formed, calling themselves Television and soon recruiting Richard Lloyd as a second guitarist. They persuaded CBGB’s owner Hilly Kristal to give the band a regular gig at his club which had just opened on the Bowery in New York. Television was the first rock group to perform at the club, which was to become, along with Max’s Kansas City, the center of the burgeoning punk scene. The members of Television reportedly constructed the first stage at CBGB’s, where they quickly established a significant cult following.

“Double Exposure’s” never-to-be-released title track and a live version of the 13th Floor Elevators’ “Fire Engine” show the jazzbo-garage vision that Television abandoned along with Hell; early versions of “Venus” and “Prove It” signpost their future as Quicksilver Messenger Service but with better hair.

This is two demo recording sessions from Television years 1974 & 1975. The bands highly acclaimed debut album ‘Marquee Moon’ was released in 1977 (Elektra Records) and was very successful in Europe however failed to enter the Billboard 200 in the USA. Both sessions were included on the bootleg ‘Double Exposure’ which surfaced in Italy (No Label No. DE-92-SC), and was first released in 1992. The original bootleg included three live tracks from CBGB’s in 1975, that are missing from this version.

The Television 1974 demos were recorded at Good Vibrations Studios in NYC with Richard Hell on bass, and produced by Brian Eno and Richard Williams of Island Records.
The August 1975 demos were recorded with Fred Smith on bass and were part of the session for Terry Ork of Ork Records which produced Television’s first single “Little Johnny Jewel” (Ork, 1975, included on expanded re-issue of Marquee Moon).

It is fascinating listening to the early versions of these songs that eventually appeared on ‘Marquee Moon’. Each session and versions are distinctly different the second having a ‘harder edge’ to them and closer to the final released editions.

Recorded March 1975, New York

Throughout The Fleshtones’ forty-plus years of playing a brand of gritty, exuberant, often caffeinated roots music they affectionately dub “super rock,” the scrappy New York City quartet has experienced more ups and downs, and churned through more record labels, than any of their peers. Not surprisingly, there are none left.

That leaves the mighty Fleshtones as the last men standing from New York City’s CBGB based punk explosion of the late 70s. Even though the band wasn’t specifically alligned to that genre like The Ramones, their music never strayed far from punk’s aggressive, DIY roots. Now on album number 22, The Fleshtones have not only found a stable home at the Yep Roc label (since 2003) but have stayed the course musically. No one is expecting the Peter Zaremba/Keith Streng led outfit to reinvent their dependable musical wheel at this late stage but Face of the Screaming Werewolf is another solid offering from the ageing, faithful rockers doing what they have always done best crank out tight, tough garage rawk infused with sly, even wacky, humour.

Whether pushing psychedelic buttons with the spiralling, swampy, sneering Cramps influenced “Violet Crumble, Cherry Pie” or paying tribute to Jeopardy’s “Alex Trebek” on a slice of cool Farfisa inflected Brit Invasion pop or spinning out a Rolling Stones obscurity with “Child of the Moon” (the disc’s sole cover), The Fleshtones sound typically energized and invigorated playing music they love with no concerns of generating new fans to their existing cult.

Zaremba isn’t a great vocalist, but he’s a magnetic front person. He gets by on sheer chutzpah talk/singing the strutting “Manpower Debut” while adding ragged harmonica to the frantic rockabilly of “The Show is Over” and the slower, bluesy closing instrumental “Somerset Morning.” The stomping “Spilling Blood (At the Rock & Roll Show)” would have fit in on the band’s 1982 debut album and the twangy title track is another crunchy horror show gem with maracas and a stinging stun guitar solo from Streng.

Only one of the eleven tunes breaks the three minute mark which makes this animated half hour traipse into Fleshtones-land a little on the short side. But even if there’s nothing here quite as entertainingly flippant as “Rick Wakeman’s Cape” from the band’s previous 2016 set, it’s another impressive notch on their ever enlarging album belt they can display with pride.

Lert’s hope The Fleshtones make it to a 50th anniversary?

And another band from the Capital Region of New York coming in hot to this list. Coupons is a band made up of some of the best songwriters of the area. This album wasn’t supposed to exist as everyone was doing their own thing, but the universe brought the group back together to make this happen. They also had a preview show for some of these songs the weekend before lockdown and it was magical and one of the best memories of the year. Dan LaFave and Collin Reynolds are the main songwriters of the group, but Dan Maddalone’s songwriting contributions on this record are fantastic. “90’s Kids” kicks us off with a pseudo Kinks tune with those beautiful weird 60’s organ noises that hit right before the chorus. “Moz Disco” rips with soaring guitars, a disco drum beat, and strong vocals by Collin.

“I Wanted” would have fit right in with the punk of the early 2000’s with its gruff vocals and driving guitar chords. “Synesthesia” shows the band can get loose and jam a little, letting some funky guitar solos fly all over the place. “Hard Candy” continues the weirdness, going in and out of this spacey whirlwind and a more folky vibe. “Ansel” is easily one of the saddest songs of the year, dealing with the death of a friend. “The Beginning” and “Tongues” are both upbeat rockers musically ready to make you bop around the house. The record ends on a cathartic “Cars (Part 2)” loosely connecting their two albums, this and Number One Hit Album from 2016, together. This band truly could play any room in the country and wow you, but you know pandemic.


Coupons is:
Dan LaFave,
Collin Reynolds,
Shannon Straney,
Dylan DePice,
Dan Maddalone,

Recorded at Soundcheck Republic, The Chateau, and Headroom Studios June-October 2019

Released September 4th, 2020

Other Music was an influential and uncompromising New York City record store that was vital to the city’s early 2000s indie music scene. But when the store is forced to close its doors due to rent increases, the homogenization of urban culture, and the shift from CDs to downloadable and streaming music, a cultural landmark is lost. Through vibrant storytelling, the documentary captures the record store’s vital role in the musical and cultural life of the city, and highlights the artists whose careers it helped launch including Vampire Weekend, Animal Collective, Interpol, Yeah Yeah Yeahs, William Basinski, Neutral Milk Hotel, Sharon Van Etten, Yo La Tengo and TV On The Radio.

Produced and Directed by Puloma Basu and Rob Hatch-Miller


Featuring: Tunde Adebimpe (TV On the Radio), William Basinski (composer), Panda Bear, Avey Tare & Geologist (Animal Collective), Matt Berninger (The National), Stuart Braithwaite (Mogwai), James Chance (The Contortions), Brian Chase (Yeah Yeah Yeahs), Benicio Del Toro (actor), Janeane Garofalo (comedian), Martin Gore (Depeche Mode), Daniel Kessler (Interpol), Ezra Koenig (Vampire Weekend), Mac McCaughan (Superchunk), Stephin Merritt (Magnetic Fields), Keigo Oyamada (Cornelius), JD Samson (Le Tigre), Jason Schwartzman (actor), Regina Spektor (singer/sonwriter), Dean Wareham (Galaxie 500/Luna) and more…

“Celebrates and immortalizes the culture of the record store.” -Jen Aswad, Variety

“a loving tribute…Other Music isn’t just a requiem or eulogy; the crate-digging spirit is infectious, and it’s impossible to watch the film without jotting down records and artists to track down and queue up”- Jason Bailey, The New York Times

Compared to the manic and raw original from the Pixies, Beacon takes its time to build upon the lyrics on their rendition of “Wave of Mutilation.” It’s a stripped-back approach that focuses on soothing piano balladry, eliciting feelings of placidness and occasional dips into the eerie territory. The original increases pulses and provides a constant stream of aggression, so Beacon going in the complete opposite direction was an interesting take, but one that inexplicably works in their favour. The vocals are charged yet subdued, wrapping itself around listeners with a tight grip, but one would be hard-pressed to want it to release. Both provide emotive experiences that can satisfy varying moods, and it’s because of this that Beacon should be lauded, taking something old and turning it into a wholly new creation. A wholly new experience, one that will sure to leave listeners in awe.

Band Members:
Thomas Mullarney III, Jacob Gossett

Gravity Pairs out now on Ghostly International on November 2nd, 2018:

New York City’s layers of continuous noise – vibrating, reverberating, buzzing & blazing – have set the backdrop to a rising four-piece that NME already calls “one of New York’s most exciting new bands.” Just like the city, The Muckers are equal parts vital and timeless, resolute and vibrant. Frontman Emir Mohseni moved to New York all the way from his native Iran to pursue a career in music. The move, profiled across acclaimed publications, from Rolling Stone to Billboard, only marked the beginning of the band’s story. Upon landing in this new environment, Mohseni met the three guys that would become his closest friends, and build with him the enlivening sound and enrapturing live show that The Muckers have garnered early praises for: Anthony Azarmgin at the bass, Chris Cawley on rhythm guitar, and John Zimmerman behind the drums.

“Endeavor” is a fitting title for the band’s debut. Their journey is nothing short of an odyssey: first, as an immigrant taking refuge in New York City to have the right to perform rock music, then as a band caught in the global pandemic who’s had to let go of their greatest strength: thriving on any stage – from performing with Pond in a 800-cap room to making the crowds dance and sweat in the divey bars of Brooklyn. 

“My days are numbered / I’m running out of time / I’ve been waiting for too long / Don’t wanna lose it again” Mohseni sings on “Suspended” in an almost prophetic moment. He has battled for years for the right to perform his music live, and just as his dream felt in reach, all the venues of the world shut down at once. But in the face of adversity, The Muckers have never let up their ambition. Listen and you’ll hear why – their music is a thrill worth fighting for. 

The Muckers -Recorded Live – Paste Studio NYC – New York, NY The record is out February 26th, 2021.

1. Suspended for a Long Time 1:11 2. Memories 7:53 3. This Town Will Drag Us Down 16:18 4. It’s Better Without You 23:11

The album is out early next year,

We decided to cover a song from Frank Zappa’s first album “Freak Out” released back in 1966. It’s called “Trouble Every Day” and we found it very relevant to these times which is strange and sad that after all these years we’re still on the first page! We are condemning these horrible nonsense actions against the Black Community and condemning police brutality! We need to learn more and these actions against black people need to stop right now and we need to stop it. 


All proceeds goes to NAACP Legal Defense Fund. We all need to listen more and learn more and if you see something that we’re doing wrong call us out and we will do better. Let’s keep fighting for Justice and Peace!

Originally released June 6th, 2020
Lyrics – Frank Zappa

Greenway Records 2020

Earlier this month, the members of the dearly beloved and dearly departed band Krill announced they were reforming, with an additional guitarist, as Knot. Their self-titled debut is going to be out at the end of August, and they’ve already shared a promising first glimpse called “Foam,”

Today, they’re back with another one. Knot’s latest is called “The World.” Here’s what Jonah Furman had to say about it:  “The World” is supposed to be about the experience of wanting to change the world — or maybe the experience of insisting on wanting to change the world. I guess in some basic way it’s just about anti-escapism — what it means to accept the world, your life, the political situation, as real, as something one cannot retreat from, and as something one should try to not want to retreat from, but to push through, look in the face, and demand some kind of transformation. In my head there was the phrase “another world is possible,” which is heard in movements and protests, and seems to be consciously or unconsciously associated with the idea that we can build something parallel or separate from the corrupted and horrific institutions and instantiations of actually-existing society. I want on some level to reject that; not that change can’t happen, but I want to insist that it happens through, not around, the sick and failed parts of human political experience.

The Band:
Jonah Furman: Vocals, Guitar
Joe Demanuelle-Hall: Guitar
Aaron Ratoff: Bass, Guitar (4, 9)
Ian Becker: Drums

Knot from the upcoming LP, “Knot” out August 28th, 2020 on Exploding in Sound Records.

There’s something special about an artist whose music reaches the full potential of a particular genre while also transcending it altogether. That can be said about Nirvana with grunge, Miles Davis with jazz, My Bloody Valentine with shoegaze and so on. One could also add Nation of Language to that list, with respect to new wave music.

The Brooklyn-based band, led by vocalist and songwriter Ian Devaney and featuring his wife Aidan Devaney on keys and Michael Sui-Poi on bass, unleashed their debut album Introduction, Presence last month, and it’s crowned them as the most exciting new synth-pop act in years. The band has been releasing invigorating, ’80s-indebted singles for about five years now—tracks like “I’ve Thought About Chicago” and “Reality” are undoubtedly direct descendents of Pet Shop Boys, A Flock of Seagulls and Orchestral Manoeuvres in the Dark, but there’s also a subtle glow that recalls 21st century anthemic indie rock à la Arcade Fire, The National and The Killers. While their decade-spanning influences can certainly be scavenged, their songs always sound bigger than them—Devaney’s songwriting feels essential and eternal.

It might not be the best time to release a highly-anticipated, highly-danceable album, but “Introduction, Presence” resonates in kitchens and cars just as well as it would in the animated bars of New York City. Ian Devaney is currently sitting by the bedroom window in his Brooklyn apartment, which overlooks an alley full of weeds that have grown far larger than normal. “It’s kind of sad actually,” Devaney says. “Over the last couple weeks, I’ve watched them grow from little tiny weeds into big bushes. It’s my little bit of nature.”

Like most of us, he’s feeling strange about the present circumstances, but his album release date was something to look forward to, and it also happened to be his 30th birthday. During quarantine, he’s been pinging between instruments, recording equipment, video games and books, which are all set up near him so he can simply “follow [his] spirit.”

It’s no secret that 1980s nostalgia has been prevalent in indie rock for years now. From Future Islands and Interpol to The 1975 and TOPS, countless bands from the last two decades have found success filtering their music through distinctly ’80s lenses. Still to this day, you can hardly swing a dead cat without hitting an indie band with one or more of these elements: interstellar synths, bass-driven songs, rich production and melodramatic vocals. To join these ranks is both a blessing and a curse. On one hand, there’s a huge demand for music that sounds like it came from the era of big hair and goths, but on the other hand, it’s hard to stand out in such a saturated market—and even harder to make lasting, impactful songs that transcend its revivalist label. New York City band Nation of Language approach this weighty task with more grace and far better song writing chops than the vast majority of bands who attempt retro pastiches or something close to them. For starters, lead singer and songwriter Ian Devaney (formerly of Static Jacks) has a low-pitched, aching voice that just screams classic new wave, but more crucially, he has an ear for awe-inspiring melodies and synth lines that go above and beyond mere cinematic uplift. Nearly every one of his songs prompts a mental highlight reel of one’s own life, but without the stylish, candy-coated nostalgia that’s fetishized nowadays—it’s the profound kind that allows you to view yourself at your lowest and highest moments and see the beauty in having a finite amount of time to live.

Nation of Language formed in 2014, around the same time Devaney’s previous band, The Static Jacks, dissolved. The Static Jacks toured internationally and released two albums of garage rock-tinted indie-pop, and although Devaney hadn’t yet found his feet, you can hear his knack for song writing and budding interest in 1980s pop (see “Mercy Hallelujah” and “Katie Said”). With Nation of Language, Devaney didn’t start from scratch with hopes of becoming the next big buzz band—the group simply came from a place of musical experimentation.

“I didn’t think of it as ‘I’m starting a new band,’” Devaney says. “It was just an exploration of trying to write a different style song than I had been writing for years. Even after we had played a couple of shows, it wasn’t a very serious thing until Aidan joined the band. She’s a very ambitious person and wants to go out and play, and that made me believe in myself and the music more.”

While Devaney says making the music was quite a deliberate process, their debut album itself just sort of happened.

“‘Indignities’ has been out for a while, but when we recorded it, I didn’t so much think, ‘We’re piecing together an album,’” Devaney explains. “It was just like, ‘We’ve got enough money that we can go do this, so let’s get in there and make a song.’ I had a certain amount of unreleased material that felt like it lived so well with these things that we had released earlier that I was like, ‘Let’s just call this a bundle of our early works.’”

Introduction, Presence is satisfyingly 10-tracks-long, and it’s essentially a greatest hits album—excluding only the stirring early single “I’ve Thought About Chicago,” which was curiously left off the tracklist. Despite its compilation feel, it has mindful sequencing. The first half is exhilarating—almost like they wanted listeners to be fully impressed right from the jump. You can’t hear “Tournament” and “Rush & Fever” without imagining a crowd hanging on its every beat with their bodies intuitively swaying and eyes blissfully shut. Then comes the peak of this record’s poignant nostalgia, “September Again” and “On Division St,” followed by the rhythmic post-punk glory of “Indignities.” The latter half of the album is a bit more spacious and varies more in tempo and style, but it doesn’t conclude without one more life-affirming dancefloor filler, “The Wall & I.” It’s all packaged so thoughtfully, and it leaves you wanting more.

Devaney said he’s always striving to write something as good as LCD Soundsystem’s “All My Friends,” and you can hear nods to Brooklyn’s dance-punk gods and that wide-eyed NYC pulse rushing through nearly every song. However, he pushes back against the idea that Nation of Language are a distinctly New York City band. Yet, it’s still hard not to imagine Introduction, Presence as a soundtrack to the lives of New Yorkers who feel both uplifted and quashed by the mythology of the city.

“I think those are big brushes that I used to make the record—that hopeful melancholia thing,” Devaney says. “I think New York probably amplified that, but I think that’s maybe part of the reason I was drawn to live here in the first place—the hopeless, never-ending struggle aspect.”

Nation of Language sound refreshingly out of step with the gentrified Brooklyn scene’s trendy bedroom pop and tired art-punk acts, but they never felt a part of that world to begin with.

“We’re down south of Crown Heights and Lefferts Gardens, and so there’s this feeling of being in Brooklyn and a part of the action, but also very much separate from it,” Devaney says. “I think that’s probably good for me because if I lived right in the middle of everything, I might not leave myself the time to actually work on the music and just spend all my money hanging out with people. Just being in Brooklyn is a very important thing to me—just something about the fact that when you look around, it feels like people are pursuing something and striving for something. It’s inspirational and makes me want to get back to it.”

Devaney likes the primitive quality of early new wave, when artists were only just scratching the surface of the possibilities of synthesizer-based music. It wasn’t overly technical, but it still transmitted emotions in a way that was quite profound. When Devaney shifted from writing indie-pop tunes to new wave ones, he liked the idea of not fully knowing what he was doing, but he’s not worried about losing that charming novice quality that so many bands struggle to maintain beyond their first few records.

“There are so many different options out there for different ways of creating music using a synthesizer, that I think between that and the fact that I’m not very good at guitar or bass means that there will be that sort of beginners’ touch for quite a long time,” he says.

Jesse Malin had a shit year in 2018. His father, former guitarist, and producer all died. So his new album Sunset Kids, his first in four years, could have been a major bummer. Instead, it’s a celebration of survival that finds the New York City hardcore troubadour reflecting on life’s precious and fleeting moments.

“Shining Down” is inspired by Tom Petty’s final performance at the Hollywood Bowl in 2017, which Malin witnessed firsthand. “I act like nothing hurts/The bar becomes a church/A limousine or hearse and you don’t look back,” he sings over jangly Heartbreakers guitars and a euphoric chorus. In “Strangers and Thieves,” he teams up with Green Day’s Billie Joe Armstrong to memorialize their punk glory days, delivering a blast of power pop that floats along on a curlicue guitar lick. And in “Shane,” Malin salutes the longevity of the hard-drinking Pogues singer Shane MacGowan, blending his nasally whine with that of Americana chanteuse Lucinda Williams.

It’s the presence of Williams, who co-produced the LP with her husband Tom Overby, that ties Sunset Kids together. A master lyricist, she helps Malin refine and focus his own words, especially on the introspective “Room 13” and on their duet “Dead On,” a slashing blues-rocker that evokes Williams’ own kiss-off “Changed the Locks.” The seemingly odd-couple pair — he’s from Queens, she was raised in Arkansas — slap their way through the verses. “You talk like an angel/You spit on the floor,” Williams growls, before Malin answers, “but you look just like the girl next door.”

There’s some repetition on the album, three of the 14 tracks, including “Revelations,” have appeared in various forms on past solo projects, but only fans who’ve followed Malin’s career closely will notice.

“Meet Me at the End of the World Again,” released as a one-off single in 2017, benefits from the redo. Elevated by Catherine Popper’s funky Lower East Side bass groove, it’s a soundtrack to the apocalypse, a command to reconnect before it’s too late, and makes you believe that the P.M.A. (positive mental attitude) that Malin has been preaching for decades just might be enough to save us.

Growing up in Queens, Jesse Malin was all of 10 when he made his first public appearance with a band, performing Kiss’ “Rock and Roll All Nite” at his public school—“I spit ketchup for blood,” he remembers with a laugh. He was a member of the Kiss Army in his teens but eventually graduated to punk, forming a band called Heart Attack—all of whose members were under 16—only to be told that punk had already peaked. “We went to an audition night at CBGB and they told us that we missed it all. Bad Brains had broken up, The Ramones were going power-pop, Blondie [was going] disco. They said, ‘Try something new like rockabilly or New Romantics.’ I said, ‘I’m not dressing up like a pirate.’”

He soon discovered that the genre wasn’t dead. It had simply sped up, grown more outspoken and morphed into hardcore, with bands like the Dead Kennedys, Black Flag and the Circle Jerks taking the music to the next level. Heart Attack stayed together for four years, after which Malin founded the band Hope, which carried on until 1989.

But it wasn’t until he joined D Generation that Malin truly became a force to be reckoned with. The band not only opened shows for Kiss but also those other Queens natives, The Ramones (Joey Ramone became a close friend). They released three full length albums, an EP and numerous singles during their initial eight-year run. It was while making their self-titled debut in 1994 that Malin first connected with Bianco, who produced and engineered it. (The second album, No Lunch, was produced by The Cars’ Ric Ocasek, and the third, Through the Darkness, was produced by David Bowie collaborator Tony Visconti.)

“We wanted to make D Generation into a band that we felt we missed; we felt music had become really safe and funky, with people dressed up like they were farmers from Seattle with no style. We wanted to be in a band that was like a gang,” Malin says. The band was respected but never did cut through commercially. “The people that liked us loved us, but we became more of a cult thing and an artist thing. We had a few bad breaks, but also internally it was so intense. It could be like a five-headed love affair or a five-headed war.”

Malin eventually started growing creatively restless. And punk was also moving in a direction he wasn’t entirely comfortable with. “People thought punk was about swastikas and fascism until the Dead Kennedys said, ‘Nazi punks fuck off.’ Sometimes people misunderstand things,” he says.

After the demise of D Generation, Malin cut an album with a band called Bellvue, To Be Somebody, before making the difficult decision to go the solo troubadour route. “It was kind of nervewracking to call it Jesse Malin,” he says. “I was used to hiding behind four other people and writing for four or five other people. But I think there’s a real connection between punk-rock and folk, from Woody Guthrie to The Clash to Bob Dylan to Crass or the Dead Kennedys. It’s about a message and a couple of chords and an attitude. A lot of my friends that heard me do louder stuff would be kind of surprised when I first did more acoustic-based music. I had people going, ‘What the hell?’ But my real friends knew that I had liked Jim Croce and Elton John since I was eight, and Neil Young and Bruce Springsteen since I was 15. I like songs, whatever they are—the craft.”

His highly regarded solo debut, 2002’s The Fine Art of Self Destruction, was produced by D Generation fan Ryan Adams, whom he’d met in 1996. “It was a very personal first record,” Malin says. He followed it with The Heat (2004) and thenGlitter in the Gutter, which featured a guest vocal by none other than Bruce Springsteen, who took note of Malin’s debut.

“I got into Bruce Springsteen late,” he says. “In the ‘80s, I got into Nebraska, and I was like, ‘This guy’s a millionaire and he’s speaking the truth. It’s real and it’s dark and it’s about people on the street, and it’s believable and it’s haunting and it’s so good. And it’s just him alone.’” Springsteen invited Malin to do some holiday shows with him and agreed to lend backing vocals to Malin’s track “Broken Radio.

From there, Malin’s next move was an all-covers set, On Your Sleeve, featuring favourite tunes by classic rockers like Lou Reed, The Clash, The Rolling Stones, Elton John and Paul Simon, and a live album, Mercury Retrograde. His next full studio album, Love It to Life, arrived in 2010; that same year, he and the members of Green Day killed time with a short-lived band they called Rodeo Queens, releasing one song, “Depression Times.” His five-year break between solo albums was alleviated when a reunited D Generation released their first new album in 17 years. That band also embarked on a well-received tour with stops in London and the U.S., among them a couple of shows opening for Guns N’ Roses. One observer of the tour was Lucinda Williams, who had never seen D Generation during their heyday.

“It was a whole different side of Jesse,” Williams says, “and he was amazing. He had his shirt off, like Iggy Pop, and his microphone cord was long enough that he was able to go all the way to the bar from the stage and drink a shot of tequila and still make it back to the stage. He was great.”

Now 51, Jesse Malin still lives in Manhattan’s East Village. “I tried living in Los Angeles but, if you walk in LA, they think you’re a male prostitute,” he says. These days, he can often be found, wearing his trademark suspenders and newsboy cap, at one of the bars or clubs he owns a stake in. “We try to keep a little bit of old New York, New York going somehow,” he says about the establishments, which include popular destinations like Bowery Electric, Lola, Niagara and Cabin Down Below. “Going back to Queens and Brooklyn and places that I tried desperately to get out of, it’s strange to me that there’s now art galleries and gluten-free donuts. But I like that stuff, too. I just love making music and talking about music, then having a few drinks and talking even more.”

As Sunset Kids (titled after a children’s shop in LA—he liked the name, which nodded to his recent losses and nocturnal nature) began making its way out to fans, Malin was looking beyond his own neighbourhood, though. “We’re going to do a lot of touring behind this record,” he says. “It’s a privilege to play live after you’ve worked on a record; it’s an exorcism for me to get up there each night over some dirty microphone and spit out whatever it is. So I’ll be doing a bunch of touring around the world—Europe and Japan and the States—and then another record. I want to do something pretty quiet next time and really keep it intimate. And then I want to do a very physical record— something that can be played live. I want to make something that I can move my body to and that’s just completely fun and rhythmic but still aggressive. That’s what I’m thinking now. In between, as Warren Zevon said, I just want to enjoy every sandwich.”