Friday, November 8, 2019

A Pair of Jersey Releases I've Been Listening To All Week from Joseph Black and Fascinations Grand Chorus


I wanted to call your attention to a pair of releases from artists I've supported around here for a few years.

Joseph Black, Wildest Dreams EP

Way, way back in the infancy of CoolDad Music, I came across New Brunswick lo-fi pop band Honeydrum. With hints of Ariel Pink and early-80s R.E.M., I felt like Honeydrum were destined for bigger things. That materialized in two albums for Captured Tracks under the new name Donovan Blanc.

Last year, Joseph Black of Honeydrum / Donovan Blanc released his debut, solo LP, Northern Exposure. That album further solidified Black as one of the most unsung, underrated heroes of retro-inspired pop. Last month, Black released Wildest Dreams, the first of three, three-song cassingles in a project set to span the end of 2019 into 2020.

Black recorded, mixed, and mastered Wildest Dreams in Highland Park, NJ. The three songs on the EP are breezy, dreamy pop that draw on some sounds of the 80s that are soothingly familiar to my Gen X ears. There isn't a weak moment on Wildest Dreams, and closer "Lonelier Than Heaven Knows" is a standout. It's a short, romantic track reminiscent of Psychedelic Furs and John Hughes films.

Wildest Dreams is available as a super-limited 25 cassette run. It's also downloadable over at Joseph Black's Bandcamp page and streamable everywhere.

Fascinations Grand Chorus, Presentations of Electrical Confectionery

Speaking of bands I've been supporting for a while who have a bit of a retro vibe, Fascinations Grand Chorus -- the Jersey City duo of Stephanie Cupo and Andrew Pierce -- released Presentations of Electrical Confectionery last week.

I've always loved Fascinations Grand Chorus's commitment to their aesthetic. Presentations of Electrical Confectionery is ten songs showcasing the band's love of the timeless pop of Brian Wilson, Jersey forebears like The Shirelles, early AM radio, even the punk of The Ramones or The Misfits. The band also throw in a few tinges of psychedelia which results in some of the best sounds they've produced to date.

I've been playing Presentations... on repeat all week, and it's honestly difficult to single anything out. All the songs work seamlessly together. From bopping opener "Can't Let Go" to the mellow, Carpenters-esque "Echoes" to the surfily-tinged three-and-a-half-minute pop epic that is "Would It Be," there is something infectiously engaging about every song here. The spaced-out intro to "Cry Over You" gives way to an earworm embellished with some more spacey keys. Closer "Back Again" is a soulful bop that takes the album out on a vibe as upbeat as what kicked things off.

For me, though, "Future World" is the standout track here. Combining guitars and horns with Cupo's vocals and keys, the song represents a single confection that has all of Fascinations Grand Chorus's disparate electrical and analog influences as ingredients.

Presentations of Electrical Confectionery is available now. You can order a special limited-run CD over at the Fascinations Grand Chorus Bandcamp page, and you can stream the album pretty much everywhere.

Thursday, November 7, 2019

What's Going On: 11/7, 11/8, 11/9 & 11/10, 2019

Superchunk bring acoustic "Foolish" to Brooklyn.

Charm City

Quick little road trip with CoolDaughter #1 down to Baltimore. Here are your shows.

Don't drink and drive.


The Asbury Hotel, Soundbooth (Asbury): Open Mic, 8pm

Asbury Lanes (Asbury): Baron Praxis / Judo Chop / Crust / Shot, 6pm

Asbury Park Brewery (Asbury): The World Is A Beautiful Place And I Am No Longer Afraid To Die / Harmony Woods / Teenage Halloween, 8pm

Brooklyn Steel (Brooklyn): The New Pornographers / Lady Lamb, 8pm

The Clubhouse (Toms River): Crystal Brook / Forest Puppies / WildVividBloom / Hollow Pledge, 7pm, $5

Count Basie (Red Bank): Marshall Tucker Band / The Outlaws, 7:30pm

FM Jersey City (Jersey City): Local Jokals Comedy Show, 8pm

murmrr (Brooklyn): Superchunk acoustic Foolish, 8pm

PIANOS (NYC): International Pop Overthrow Festival, 6:30pm

Red Tank Brewing (Red Bank): Fern's Birthday Open Mic, 7pm

Rose Gold (Brooklyn): Looms / The Cordial Sins / Colatura, 8pm, $10

The Saint (Asbury): Mister Tickle Hands / Ludvista / Kevin Grossman, 7:30pm, $8

Starland Ballroom (Sayreville): Granger Smith, 7pm

Wellmont (Montclair): Michael Franti & Spearhead, 7pm

Wonder Bar (Asbury): City Mouse / Erotic Novels / Tight Lipped / Exmaid, 7pm, FREE

FRIDAY (11/8)

The Asbury Hotel, Soundbooth (Asbury): Kristen Baum / Katherine Quintana / Anton J Nevolo, 9pm

Asbury Park Brewery (Asbury): The Obsessives / Jelani Sei / Tula Vera, 8pm

Asbury Park Yacht Club (Asbury): Predator Dub Assassins, 9:30pm

BoonTunes (Boonton): High Anxiety / Jersey Panic / Nick Colavito / Mike O'Neil, 8pm

Brighton Bar (Long Branch): State Function / Smooch / Society Hill / Sugar Trip, 8pm, $8

Bushwick Public House (Brooklyn): Steve. / Answering Machine / Hard Pass / Warren Britt, 8pm, $10

Century (Philly): Wax Wav / Breakfast For Turtles / The Extensions / My Altamont, 8pm

Chubby Pickle (Highlands): Yugen / Caveart / Nick Ryan & The Mess, 9pm

The Clubhouse (Toms River): Kon Sweetie / The Mischief Kids / Sunshine Spazz, 7pm

Count Basie (Red Bank): Frankie Valli and The Four Seasons, 7:30pm

FM Jersey City (Jersey City): Big Wake / Timi Kendrix / James Calleo, 8pm, $10

Flemington DIY (Flemington): Immigrant Justice Fundraiser ft. The Hums / Zebeeb / Moon Kissed / Killer Shrimp, 6pm

Gold Sounds (Brooklyn): Drug Bug / Joy Cleaner / Hotline / Good News For The Clovers, 7pm, $8

House of Independents (Asbury): Waiting On Mongo / Dogs In A Pile / Wax Caps, 7pm, $12-$15

Langosta Lounge (Asbury): Sandy Mack, 9:30pm

Meatlocker (Montclair): World Peace / Blame God / Bahyt Lahm / choker., 8pm

Millhill Basement (Trenton): Meganow / Graduation Speech / Nikki Nailbomb, 9pm, $6

PIANOS (NYC): International Pop Overthrow Festival, 6:30pm

Pino's (Highland Park): 40 Songs w Mr. Horvath, 7:30pm

Red Tank Brewing (Red Bank): BiPlane (Album Release) / Options / Aaron Acoustic, 8pm

Rent Party (Maplewood): The Campfire Flies / The Schramms / Tri-State, 8pm, $10

The Saint (Asbury): Jarod Clemons & The Late Nights / Tide Bends / Backhouse / Six Overs, 7:30pm, $10

St. Vitus (Brooklyn): Bambara / Russian Baths / Signal, 7pm, $12

Starland Ballroom (Sayreville): Cody Johnson, 7pm

Stone Pony (Asbury): Broken Past / Sister Salvation, 7pm, $12-$15

Transparent (Asbury): Ramblin' Deano / Renee Maskin, 7pm

Triumph Brewing (Red Bank): Andrew Robinson, 9:30pm

Wonder Bar (Asbury): Robert Gordon / Televisionaries, 7pm, $20-$25


The Asbury Hotel, Soundbooth (Asbury): Dave Vargo / Sahara Moon, 9pm

Asbury Lanes (Asbury): Emo Nite LA, 9pm

Asbury Park Brewery (Asbury): Future Teens / Oceanator / Skylar Pocket, 8pm

Asbury Park Yacht Club (Asbury): Bobby Mahoney & The 7th Son, 9:30pm

BoonTunes (Boonton): Television Skies / Three Cheers Too Late / Xander marX / The Imperfect, 6:30pm, $10

Brighton Bar (Long Branch): Charles Laurita / Kojak Moment / Vigilante Cowboys / Youth Moose, 8pm, $8

Chubby Pickle (Highlands): U Might Be Mine / Rust N Stardust / The Ripped Laces / Jessie Roberts, 6pm

Chubby Pickle (Highlands): The Red Room / <><>, / Fuzzy Coleman / Clutch Cabin, 9pm

The Clubhouse (Toms River): Coward / LMI / Coffin Void / Victimless Crime, 8pm, $5

Count Basie (Red Bank): Frankie Valli and The Four Seasons, 7:30pm

Crossroads (Garwood): Samiam / Shades Apart / TrĂ¼ / Died Out, 8pm

Langosta Lounge (Asbury): Purple Hazy Rain, 9:30pm

Madison Square Garden (NYC): Slayer / Primus / Ministry / Philip H. Anselmo, 6pm, $70-$140

Meatlocker (Montclair): Batting A Thousand / Hal Guitarist / Joe Billy / Joe Cider, 7:30pm

Millhill Basement (Trenton): Coach's Son / Take Today / Breaklite / My Altamont, 9pm, $8

Old Franklin Schoolhouse (Metuchen): Lowlight / Ramblin' Deano, 7pm

Pet Shop JC (Jersey City): Indie Binge ft. Over 30 Bands, 10:30am, FREE

PIANOS (NYC): International Pop Overthrow Festival, 2pm

Pino's (Highland Park): A Music Benefit for GLOW, 3pm

Roxy & Dukes Roadhouse (Dunellen): NJ Proghouse 20th Anniversary Fall Hootenanny, 10:30am

The Saint (Asbury): Evan Bartels, 2pm, $10

The Saint (Asbury): 13th Annual All Eras Melody Bar Reunion, 6:30pm, $10

Starland Ballroom (Sayreville): Mayday Parade / Grayscale, 7pm

State Park (Ask): Spowder / Glazer / Hysteria / Sin Scope, 8pm

Stone Pony (Asbury): Tramps Like Us, 7pm, $20-$25

Transparent (Asbury): The Blackfires, 3pm

Triumph Brewing (Red Bank): Quincy Mumford & The Reason Why, 9:30pm

Wonder Bar (Asbury): Vinny Pastore's Gangster Squad Veterans' Benefit, 7pm, $15-$20

SUNDAY (11/10)

The Asbury Hotel, Soundbooth (Asbury): Sandy Mack, 4pm

Asbury Park Brewery (Asbury): Sanction / Queensway / Vatican / Fuming Mouth / Shackled, 7pm

Brighton Bar (Long Branch): Vista / Hideaway / HOLDN / Kim Samuel / Sarah Nelson, 6pm, $10-$12

Count Basie (Red Bank): Frankie Valli and The Four Seasons, 7:30pm

CURE Insurance Arena (Trenton): A Day To Remember, 6:30pm

Langosta Lounge (Asbury): Frank Lombardi, 1pm

PIANOS (NYC): International Pop Overthrow Festival, 2pm

Roxy & Dukes Roadhouse (Dunellen): NJ Proghouse 20th Anniversary Fall Hootenanny, 11am

The Saint (Asbury): David Keenan, 6:30pm

Scarlet Pub (New Brunswick): Cousin Oven / Motherboard / Lance Greene / Lady Pills, 8pm, $5

Starland Ballroom (Sayreville): Hobo Johnson & The Lovemakers / Mom Jeans / The Philharmonik / Nate Curry, 7pm

Stone Pony (Asbury): Billy Strings, 7pm, $18-$23

Transparent (Asbury): Paul Whistler & Tom Ghent / Sharon Lasher / Tyler Veit, 4pm

Tuesday, November 5, 2019

Matt Chrystal Interviews Jason Hawk Harris

Jason Hawk Harris by Sean Rosenthal

Strange Juxtapositions 

By Matt Chrystal

Jason Hawk Harris is a classically trained musician who writes country songs and has a Norwegian Death Metal themed music video. That sentence alone should be enough to pique anyone's interest. The Houston native and Los Angeles transplant also has a way of turning tragedy into triumph. Harris processed the death of his mother, family strife, and the self-medication of his "beat-down heart" through his songwriting and published his "therapy journals" in the form of Love and the Dark, his debut album for Bloodshot Records.

I dare you to listen to "Phantom Limb" and not start feeling teary-eyed and then try not to crack a grin throughout his tale of a "creepy Jesus picture" in "I'm Afraid."

His album is an emotional journey for sure, but it's not a downer. With Love and the Dark, Harris has crafted  the perfect soundtrack for both a long drive or for blasting out of a jukebox at your favorite watering hole.

Harris comes to our area this week with shows in Philly, Brooklyn, and Hamden, CT.

I caught up with Mr. Hawk Harris just before he embarked on tour and as he was getting prepared for a string of Texas homecoming shows. Among other things, we talk about his new record, hitting the road, self-care, and how the metal community was not happy with him.

Uncool Uncle Matty: Many of the songs that make up Love and the Dark, especially "Phantom Limb" and "Grandfather," explore some very personal themes.  Did these songs just pour out of you or did you have to force yourself to let them out?

Jason Hawk Harris: Writing is a very natural process for me. Even as a kid, writing is how I processed stuff. It was not labored. It all came out pretty easy. I was basically just publishing my therapy journals. They really did just pour out. On the day after my mom died, I wrote "Phantom Limb" in about fifteen minutes. It just came out and was fully formed. Most of the songs came out easy; a few took a little bit longer. I feel like a song can either take me six months to a year to write, or it can just come out of me in ten minutes.

UUM: How does it feel to play these songs on tour? Is it a feeling of catharsis?Or has it felt like re-opening old wounds?

JHH: At this point, I have been playing these songs for over two years in various forms and have really gotten to know them. I feel like everything has been processed by now. I am comfortable singing these songs now. I wasn't always. It's almost a shame that everyone doesn't get to do this, but being able to work through your grief through song is a really great process. I am able to be on stage almost every night, and I get people coming up to me afterwards and they tell me about their own experiences with grief. Every now and then, it will hit me like a ton of bricks while I'm on stage; and I will really have to figure out how to work past it. I mean, if I start crying while I'm singing then I'm just toast for the rest of the set. I have to get tough up there quick because don't want to be up there with snot coming out everywhere.

UUM: Songwriting was your form of self-care as you made your way through many tough times. What kind of self-care do you engage in while you are on the road? You are a runner, correct?

JHH: I was running for a while, and I'm just starting to get back into it now. I was training for a half-marathon and got bronchitis the day before. I tried to run the morning before the marathon and see if I could make it, but I nearly coughed up a lung. If it was a cold, or even just the flu, I think I coulda made myself go through with it, but with bronchitis it just wasn't going to happen. And that bronchitis stayed with me for like two months and just took me out of running. I'm hoping to get back into running while I'm out on the road for this tour.

In addition to running, it's important to me to make sure that I am getting time alone. Even if it's just to go on a five minute walk and not have my nose in my phone and just be by myself to be able to think, that's important to me.

UUM: Bloodshot Records seems like the perfect home for you. How did you hook up with the label?

JHH: Sarah Shook and the Disarmers needed an opener for a few dates, and I just happened to be available, so I went to play shows with them in LA and San Francisco. I got to know them, and they took me on the road with them after that for about two weeks. So after that, the label that she's on, Bloodshot, became sort of familiar with me.

Then when I played at Folk Alliance, Bloodshot heard me do an acoustic set in a small room. I happened to knock it out of the park that night, and we started talking. Sarah Shook was very kind and gave me a ringing endorsement, and I think that pushed them over the edge. Seven months after Folk Alliance, I signed with them. And I agree, this is a perfect label for me. They really care about their artists and care about their artists' careers. I think they understand how hard it can be out on the road, and they have been very accommodating to me. I feel very lucky. I love Bloodshot, and I'm really happy here.

Sarah Shook and The Disarmers by John Gessner

UUM: Sarah Shook is one of our favorites here at CoolDadMusic Headquarters. Another one of our favorites are Vandoliers. You recently played some shows with those guys, any takeaways that you can share?

JHH: I did three shows opening for Vandoliers during the summer, and it was a blast. Those guys are really fun, and they are really good people. They were always willing to help out by pushing people to check us out. They also have some really awesome t-shirts. I think I have three right now, and they are kickass.  We both had albums come out this year, and our paths cross at Bloodshot showcases, so anytime I can get to see those guys is just really great.

UUM: It seems the trend is that punk rockers hear Springsteen's Nebraska  and then pick up an acoustic guitar and trade in their denim vest for a denim shirt. But in your case, you came from the world of classical music. So maybe you traded in your pocket square for a bolo-tie?  I'd be interested in hearing about that transition.

JHH: When I was a kid, I loved Queen. So I would read about Brian May and Freddie Mercury, and I learned that they were big into classical music. So I thought maybe if I get into classical music then I could sound like Queen too. At first, it was just a way for me to learn more about music, but as I got into it I found that it was something I really loved. I loved the process of writing in those traditional formats and using pencil and paper. I think it gave me a way to internalize music, to know how something was going to sound before I could hear it. That was my biggest takeaway form classical training. It helped me a lot. But the fact of the matter is I am from Texas, and country music was part of my childhood. I was two-stepping in the park when I was a kid. Country music is in my blood.
After I graduated from the conservatory where I was trained in classical music, it was just a matter of time before I came back to my roots.

The real catalyst is that I was on the waiting list for the master's program in composition at UCLA, and while I was just waiting around I happen to hear the Michael Daves & Chris Thile Duo's bluegrass record and I decided to pull myself off the waiting list at UCLA and I went out and bought a Martin and started playing bluegrass for the next five years. I love country music, and that is why I am playing it now.

There was an opportunity for me to mix both of those worlds and not be so compartmentalized in my writing. I wanted to figure out how to make those worlds work together.

Jason Hawk Harris by Sean Rosenthal

UUM: Speaking of getting back to your roots, how are you feeling about making your triumphant return to Texas for a round of homecoming shows?

JHH: I am very much looking forward to it. I feel like hometown shows are amazing but can also be somewhat stressful. I just know so many people there, and I want to see everybody. It's just shitty that it's not realistic to get to have time with everybody I want to see. I have not played in Texas under my own name yet, so it's going to be fun. I am looking forward to seeing my friends and family.

UUM:  You’re a Houston native and currently living in L.A., is there anything you look forward to when coming out east to Brooklyn? Do you have time to enjoy the city or is it just another stop?

JHH: I grew up in Houston, and it's so dry here [in LA]. So I like getting up to the Northeast in general, so I can feel some humidity. I love coming to New York, even if it's only for the typical 12 hours that I get to spend in any given city. New York is one of the craziest cities on the planet, and it's always so much fun. I don't get out there that much because it's so far from me, so I always look forward to the chance to spend some time out that way.

UUM: You jokingly referred to yourself as the "Ghost of Country's Future." That seems pretty evident on your video for "Cussing at the Light" which has a Norwegian black metal vibe to it. Can you talk about how that came about?

JHH: Stanley Sievers, the director, just came to me with that idea, and I felt like he pulled the idea right out of my head. I thought that maybe he had been reading my diary. I love when artists juxtapose things that should not be juxtaposed, and they figure out a way to make it work. I think Norwegian Black Death Metal corpse paint and honkytonk music fit that description of strange juxtapositions. It's even been making its round at some film festivals.

The funny thing about this video is that we got a lot of backlash from the metal community. The moment it went up, there were like three high profile metal websites that linked to it, and needless to say, some of the metal kids were pretty upset about it.

The video is a lot of fun and I was happy with how it came out.

UUM: Speaking of interesting concepts, can you share the story behind your song, "I'm Afraid?"

JHH: I had a friend who grew up Catholic, and his mom hung up a picture of Jesus above his bed. This wasn't one of the nice ones, it was like a scary one of him holding like a bloody heart in his hands or something crazy like that. No smile and creepy eyes. So my friend said that at night, he would hide under the covers when he had to go to sleep because he was so freaked out by this picture of Jesus.

It made a lot of sense to me, and I asked him if I could I steal that story and appropriate it for my own workings. He said yeah, go ahead and so I did. It ended up being a song that a lot of people related to.
I did not expect that. I was going to leave it off of this record because it had already come out on one of my old EPs but Bloodshot was like, "You have to put this song on there." So I put it on Love and the Dark, and I think it's a better record for it.

UUM:  Thoughts on Today? Hopes for Tomorrow?

JHH: I think that images, like literal photographs, have too much power and too much sway over our narrative. We are letting pictures tell stories that they do not have the capacity to tell. I think that's leading to some shitty stuff.

The book that's second to the bible for me is Amusing Ourselves to Death by Neil Postman. He talks about how in today's world if I said "Abraham Lincoln," most people will right away think of the penny or a top hat or a beard. But, if I said, "Abraham Lincoln," in the mid-1800s, the first thing that would have popped into their heads would be a word for word chunk of the Gettysburg Address. People back then were not as inundated with images.

I feel like we are getting our news from images. Every time I see a fake news article it is accompanied by some crazy image of a politician mid-sneeze or something that makes them look awful or mean. Sure, a picture can say a thousand words but nobody can ever seem to agree on what those thousand words are. That freaks me out for the future of how we get our news and how we find out the truth about the world.

So anyways, my hope is that we can get back to more of a text-based society. I guess I am hoping that people start reading more.

Love and the Dark is out now on Bloodshot Records.

Jason Hawk Harris in our area:

11/5/19 - City Winery, Philadelphia, PA
11/6/19 - Knitting Factory Brooklyn, Brooklyn, NY
11/7/19 - Space Ballroom, Hamden, CT

For more info, check out

Interview with David Bash, CEO and President of International Pop Overthrow

Power Pop to Nearly Every Corner of the Globe

By Henry Lipput

This year marks the 19th worldwide International Pop Overthrow (IPO) Festival. With concerts in every place from Los Angeles to Stockholm to Liverpool at the Cavern Club, IPO has brought power pop to nearly every corner of the globe.

As the current festival season draws to a close, the IPO will be in Manhattan at Pianos from November 7th through November 10th featuring 35 pop and rock acts from the New York area (there will be both afternoon and evening shows on Saturday November 9th and Sunday November 10th). A complete listing of the musicians and bands appearing at Pianos is on the IPO website.

I had the opportunity to interview David Bash, CEO and President of International Pop Overthrow, through email about the New York City shows and some more things relating to IPO and power pop in general.

Henry Lipput: Hello, David. Congratulation on the success of the International Pop Overthrow Festival.

David Bash: Thank you very much, Henry!

Henry: The International Pop Overthrow 2019 season is three cities away from finishing up and the shows have played everywhere from Stockholm to Liverpool. What has the response been from audiences? 

David: It varies from city to city. When we began the festival in '98 we had tremendous response, and that continued for the first few years. Then, when we took it on the road, the response was always great for the first year or two. Other than in Liverpool, at The Cavern Club, the response has diminished somewhat since then, but that's much more a reflection of the general response to live music than it is to IPO. I'll definitely say this: Those who do come to the festival virtually always have a great time!

Henry: The next stop on the International Pop Overthrow Festival is at Pianos in New York City on November 7th thorough November 10th with bands from the New York area. How were these bands selected?

David: More or less the same way we always select them. My wife Rina and I do a lot of searching on the various internet music pages, going through tons of bands to find the ones we like. Also, bands will apply to IPO, either through our web partners, Sonicbids, or via direct e-mail. It's a fairly exhaustive process, but in the end it's all worth it because the bands are excellent!

Henry: The CoolDad Music review of Volume 22, the latest International Pop Overthrow CD compilation, mentioned that many musicians seemed to be influenced by The Beatles, The Kinks, and Marshall Crenshaw. Do you feel that there are other musical touchstones that influence the current crop of power pop musicians?

David: Well, most cool 60s bands for sure, e.g., The Beach Boys, The Kinks and The Who, 70s bands like Big Star, ELO, etc..., and several indie-rock bands of the 90s and beyond.

Henry: The International Pop Overthrow Festival has been around since 1998. Over that period, what changes have you seen in the music industry and how musicians make their music available?

David: Do you have 10 hours? Seriously, the changes have been profound. First, of course, the advent and proliferation of the internet, allowing for vast communication and avenues for bands to get their music heard all around the world; the further developments of web technology, where bands now had the, ahem, bandwidth to put their music online; Pro Tools and other home recording software, which allowed artists who otherwise wouldn't have the resources to record their music at home; social media like Myspace, Facebook, Twitter, etc...; music platforms like Napster, and then Reverbnation, Bandcamp, Soundcloud, and of course wider-reaching ones like Spotify and Pandora.

It's become a whole different animal. As for the, again ahem, industry, it began imploding in the late 90s, mainly because they couldn't, or wouldn't, see the writing on the wall. Bands no longer perform because they're trying to get signed, they do it almost solely because they love it. I think that's a lot more genuine.

Henry: What’s next for International Pop Overthrow?

David: Hopefully to add more cities, especially international ones. Maybe we'll have a surprise or two in 2020...and to keep doing this as long as I can. I can't have an office job.

Thank you, David.

International Pop Overthrow NYC takes place November 7th thru November 10th at Pianos in New York.