Kohane of Newark

Texts and Tunes
Ricky Orbach: Killer Jew Punk
by Seth Rogovoy

Kohane of Newark is the "nom de band" of rock singer-songwriter Ricky Orbach, the son of Holocaust survivors who recently released a haunting, musically eclectic collection of original songs called "New Midlife Crisis" (Joodayoh). Orbach's music has been described as "killer Jew-punk" and he's been compared to Serge Gainsbourg, Leonard Cohen, and David Byrne, among others (and I would add Lou Reed as a significant influence), but Orbach's songs are so character-driven and his voice and musical approach so distinctive (in the way that Tom Waits sounds like no one other than Tom Waits) that it's fair to call Orbach a true original.

And "New Midlife Crisis" reads like a memoir in song, touching down variously in songs about his childhood, his family, his adult relationships, which seemingly have included marriage and divorce, violent tragedy, and a yearning for spirituality and peace.

None of these, however, are fully divorced from the Jewish context that informs everything Orbach does. It permeates his lyrics: "Words can make the desert bloom"; "I've tried to get religion and religion seems to be getting back at me"; "I'm not that lazy but I can be a schmuck." His scenarios: a family crisis set against the eight days of Hanukkah; the names of his characters, as in the love song, "Shoshana"; a song called "Pizza," obviously a reference to the Jerusalem Sbarro bombing; and a bar mitzvah, which plays a role in Orbach's character sketch, "Follow."

Orbach's back story supposedly includes a yeshiva upbringing and a successful career as a gem dealer, which presumably has funded his nighttime career as an underground experimental rocker and a budding philanthropist as the power behind the nonprofit organization, "Joodayoh," an arts and education organization whose mission is to cultivate and present genuinely innovative - even alternative - art that promotes the trans-denominational, universal values of social justice, kindness, and charity.

Musically, "New Midlife Crisis" ranges from the classic punk-rock sound of "I Want to Change," to the downtown jazz of "Words," to the Lou Reed-like story-song "Festival," to the noirish cabaret-rock sound of "Follow," to the minimalist New York rock of "Clean." The grandson of a well-known, Newark-based cantor, Orbach has a deep, expressive voice, like a smoother Leonard Cohen. While Orbach plays a wealth of instruments himself - including guitars, bass, percussion, and banjo - he also engages the talents of some of New York's finest, including guitarists Marc Ribot and Richard Lloyd, and cellist Marika Hughes. Also on hand are an ensemble of Middle Eastern musicians on bouzouki, kanoon, vocals, and percussion, giving the effort an appropriate world-beat flavor at times, such as on the Paul Simon-like title track (think "Graceland").

Jewish or not, "New Midlife Crisis" would have marked the arrival - however late in midlife it is - of a significant new voice on the contemporary music scene.

The fact that it gains heft and impact through its rootedness in a life and legacy with ancient spiritual and historical roots just makes it all the more transcendent music for the ages, for all ages.

Seth Rogovoy is the editor-in-chief of Berkshire Living Magazine and the author of The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music. His book, BOB DYLAN: Prophet, Mystic, Poet, was recently published by Scribner. - The Berkshire Voice / Seth Rogovoy

Texts and Tunes
Ricky Orbach: Killer Jew Punk
by Seth Rogovoy

Kohane of Newark is the "nom de band" of rock singer-songwriter Ricky Orbach, the son of Holocaust survivors who recently released a haunting, musically eclectic collection of original songs called "New Midlife Crisis" (Joodayoh). Orbach's music has been described as "killer Jew-punk" and he's been compared to Serge Gainsbourg, Leonard Cohen, and David Byrne, among others (and I would add Lou Reed as a significant influence), but Orbach's songs are so character-driven and his voice and musical approach so distinctive (in the way that Tom Waits sounds like no one other than Tom Waits) that it's fair to call Orbach a true original.

And "New Midlife Crisis" reads like a memoir in song, touching down variously in songs about his childhood, his family, his adult relationships, which seemingly have included marriage and divorce, violent tragedy, and a yearning for spirituality and peace.

None of these, however, are fully divorced from the Jewish context that informs everything Orbach does. It permeates his lyrics: "Words can make the desert bloom"; "I've tried to get religion and religion seems to be getting back at me"; "I'm not that lazy but I can be a schmuck." His scenarios: a family crisis set against the eight days of Hanukkah; the names of his characters, as in the love song, "Shoshana"; a song called "Pizza," obviously a reference to the Jerusalem Sbarro bombing; and a bar mitzvah, which plays a role in Orbach's character sketch, "Follow."

Orbach's back story supposedly includes a yeshiva upbringing and a successful career as a gem dealer, which presumably has funded his nighttime career as an underground experimental rocker and a budding philanthropist as the power behind the nonprofit organization, "Joodayoh," an arts and education organization whose mission is to cultivate and present genuinely innovative - even alternative - art that promotes the trans-denominational, universal values of social justice, kindness, and charity.

Musically, "New Midlife Crisis" ranges from the classic punk-rock sound of "I Want to Change," to the downtown jazz of "Words," to the Lou Reed-like story-song "Festival," to the noirish cabaret-rock sound of "Follow," to the minimalist New York rock of "Clean." The grandson of a well-known, Newark-based cantor, Orbach has a deep, expressive voice, like a smoother Leonard Cohen. While Orbach plays a wealth of instruments himself - including guitars, bass, percussion, and banjo - he also engages the talents of some of New York's finest, including guitarists Marc Ribot and Richard Lloyd, and cellist Marika Hughes. Also on hand are an ensemble of Middle Eastern musicians on bouzouki, kanoon, vocals, and percussion, giving the effort an appropriate world-beat flavor at times, such as on the Paul Simon-like title track (think "Graceland").

Jewish or not, "New Midlife Crisis" would have marked the arrival - however late in midlife it is - of a significant new voice on the contemporary music scene.

The fact that it gains heft and impact through its rootedness in a life and legacy with ancient spiritual and historical roots just makes it all the more transcendent music for the ages, for all ages.

Seth Rogovoy is the editor-in-chief of Berkshire Living Magazine and the author of The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music. His book, BOB DYLAN: Prophet, Mystic, Poet, was recently published by Scribner. - The Berkshire Voice / Seth Rogovoy

The jacket cover of “New Midlife Crisis,” the debut CD by Kohane of Newark, scheduled for release in October, features an image of a larger-than-life bird’s eye view of a rumpled and stained velvet skullcap, doubtless donned at some Jewish function that took place around the time that Fonzie and Vinnie Barbarino dominated the boob tube.

Yet the pizza-pie-like CD beneath this ratty yarmulke features a dazzling smorgasbord of tunes, ranging from the forlorn and inane to the hilarious and horrifying. Kohane, led by its lead singer/songwriter, Ricky Orbach, and powered by an accomplished ensemble, has produced a collection that is at once rocking, soulful and eclectic. “New Midlife Crisis” is in fact a Jewishly exotic update of that classic 1970s specimen: the concept rock album.

As such, the disc is encased in an artfully appointed and inscribed jacket and sleeve. After all, what’s a Kohane without his priestly accoutrements? This lavish presentation underscores the ambition and intensely autobiographical nature of the work. Envisioning his art as a holistic sensory experience, Orbach seems to be insisting that as the music is listened to, the lyrics must be read and the accompanying visual images carefully inspected.

And what are these images? Beyond the aforementioned yarmulke and pizza-pie CD, one encounters a shimmering solar disc balanced precariously upon the baldhead of an enigmatic, Robocop-ish figure (Orbach, presumably) trapped in a glass chamber. The Egyptian sun god Ra comes to mind. Then there is an in-your-face basketball, complemented by an unusual round Purim megilla of Oriental provenance.

Yarmulke, pizza pie, sun disc, basketball, round megillah — all Orbach’s slice-of-life allusions to cosmic circularity encompassing the mysteries and absurdities of existence: Seasons come and ex-wives go, religion goes around, clean apartments become dirty and the Phoenix-like Jews emerge from the flames of catastrophe, only to face down some new enemy seeking their destruction.

And what’s with the basketball? Rumors of Orbach as a one-time yeshiva superstar hoopster allow us to place into perspective the ironically titled and brooding opening track, “Cheers” — which, the singer croons, “I haven’t heard… in years.”

The morose “Cheers” gives way to the charged riffs of “Festival,” a colorful suburban childhood tale of a precocious teenage older sister who disappears for the eight days of Hanukkah with a guy “my daddy called trouble.”

The meditative guitar strains of “I Don’t Mind” descend into the pitch darkness of “Pizza.” This disturbing effort to come to terms with a suicide bombing in Jerusalem evokes echoes of Tom Waits and also of Leonard Cohen, whose spirit also may be sensed in “Shoshana.”

“Clean” is a hilariously deadpan commentary on the minutiae of daily drudgery. Orbach triumphantly completes the cycle with the exultant and gorgeously arranged title track, “New Midlife Crisis.”

What this all adds up to is nothing less than a full-fledged, lovingly crafted alternative rock operetta, infused with spicy Oriental musical flavors as vibrant as traditional Bukharan robes. This cholent of angst and wisdom has been a half-century in the brewing, and is refracted through the eyes of a child of the Holocaust, first yeshiva boy-turned-hipster and finally a wizened but true artist.

“New Midlife Crisis” successfully blends Orbach’s two inner Easts: the Jewish suburban Northeast and the crazy-quilt Middle East. This son, brother, lover, husband and father is a lifelong straddler: American and Jew, 21st century but traditional and, like many baby boomers, New Jersey child and adult.

And yet it’s more than all that. The vivid dramas of ordinary life related by this raconteur are Orbach’s inspired scriptures. And just as the Torah and megillah chanted while the congregation reads along, so are we invited to absorb the words and pictures as we listen to Orbach wail and weave his dense, world-weary yet playful poem-stories through his intriguing melodies.

It’s a glum observation that such 1970s-era stars such as Lou Reed, Elton John, David Bowie and Pete Townsend achieved their creative peaks under the spell of drugs and alcohol and that when they eventually went dry, their creative juices followed suit.

Given such a history, it’s deeply gratifying to encounter a new artist such as Orbach, for whom the process of emergence took a bit longer to finally ripen. This is one new midlife crisis whose arrival is most welcome.

Uzi Silber is a writer and artist living on the Manhattan’s Lower East Side. He is at work on a graphic novel about the neighborhood. - The Forward / Uzi Silber

The jacket cover of “New Midlife Crisis,” the debut CD by Kohane of Newark, scheduled for release in October, features an image of a larger-than-life bird’s eye view of a rumpled and stained velvet skullcap, doubtless donned at some Jewish function that took place around the time that Fonzie and Vinnie Barbarino dominated the boob tube.

Yet the pizza-pie-like CD beneath this ratty yarmulke features a dazzling smorgasbord of tunes, ranging from the forlorn and inane to the hilarious and horrifying. Kohane, led by its lead singer/songwriter, Ricky Orbach, and powered by an accomplished ensemble, has produced a collection that is at once rocking, soulful and eclectic. “New Midlife Crisis” is in fact a Jewishly exotic update of that classic 1970s specimen: the concept rock album.

As such, the disc is encased in an artfully appointed and inscribed jacket and sleeve. After all, what’s a Kohane without his priestly accoutrements? This lavish presentation underscores the ambition and intensely autobiographical nature of the work. Envisioning his art as a holistic sensory experience, Orbach seems to be insisting that as the music is listened to, the lyrics must be read and the accompanying visual images carefully inspected.

And what are these images? Beyond the aforementioned yarmulke and pizza-pie CD, one encounters a shimmering solar disc balanced precariously upon the baldhead of an enigmatic, Robocop-ish figure (Orbach, presumably) trapped in a glass chamber. The Egyptian sun god Ra comes to mind. Then there is an in-your-face basketball, complemented by an unusual round Purim megilla of Oriental provenance.

Yarmulke, pizza pie, sun disc, basketball, round megillah — all Orbach’s slice-of-life allusions to cosmic circularity encompassing the mysteries and absurdities of existence: Seasons come and ex-wives go, religion goes around, clean apartments become dirty and the Phoenix-like Jews emerge from the flames of catastrophe, only to face down some new enemy seeking their destruction.

And what’s with the basketball? Rumors of Orbach as a one-time yeshiva superstar hoopster allow us to place into perspective the ironically titled and brooding opening track, “Cheers” — which, the singer croons, “I haven’t heard… in years.”

The morose “Cheers” gives way to the charged riffs of “Festival,” a colorful suburban childhood tale of a precocious teenage older sister who disappears for the eight days of Hanukkah with a guy “my daddy called trouble.”

The meditative guitar strains of “I Don’t Mind” descend into the pitch darkness of “Pizza.” This disturbing effort to come to terms with a suicide bombing in Jerusalem evokes echoes of Tom Waits and also of Leonard Cohen, whose spirit also may be sensed in “Shoshana.”

“Clean” is a hilariously deadpan commentary on the minutiae of daily drudgery. Orbach triumphantly completes the cycle with the exultant and gorgeously arranged title track, “New Midlife Crisis.”

What this all adds up to is nothing less than a full-fledged, lovingly crafted alternative rock operetta, infused with spicy Oriental musical flavors as vibrant as traditional Bukharan robes. This cholent of angst and wisdom has been a half-century in the brewing, and is refracted through the eyes of a child of the Holocaust, first yeshiva boy-turned-hipster and finally a wizened but true artist.

“New Midlife Crisis” successfully blends Orbach’s two inner Easts: the Jewish suburban Northeast and the crazy-quilt Middle East. This son, brother, lover, husband and father is a lifelong straddler: American and Jew, 21st century but traditional and, like many baby boomers, New Jersey child and adult.

And yet it’s more than all that. The vivid dramas of ordinary life related by this raconteur are Orbach’s inspired scriptures. And just as the Torah and megillah chanted while the congregation reads along, so are we invited to absorb the words and pictures as we listen to Orbach wail and weave his dense, world-weary yet playful poem-stories through his intriguing melodies.

It’s a glum observation that such 1970s-era stars such as Lou Reed, Elton John, David Bowie and Pete Townsend achieved their creative peaks under the spell of drugs and alcohol and that when they eventually went dry, their creative juices followed suit.

Given such a history, it’s deeply gratifying to encounter a new artist such as Orbach, for whom the process of emergence took a bit longer to finally ripen. This is one new midlife crisis whose arrival is most welcome.

Uzi Silber is a writer and artist living on the Manhattan’s Lower East Side. He is at work on a graphic novel about the neighborhood. - The Forward / Uzi Silber

Ricky Orbach is a singer, poet, music producer, and patron of the arts — but, really, it’s more accurate to just call him Kohane of Newark.

His first CD features some of the most highly-acclaimed experimental rock and jazz musicians in the New York scene — but, most prominently, it features Orbach’s lyrics. They are sometimes awkward and darkly meaningful, like “Pizza” (an ode to the victims of the Israel Sbarro’s bombing); sometimes funny and angry and nostalgic, and the angst and sexual awakening of “Festival” — which is quite possibly the most introverted Hanukkah song I’ve ever heard. Then there’s the “White Wedding”-inspired anti-love anthem “Shoshana” (“Shoshana’s had all her dreams shattered/by me”). Characterized with deep grooves, moody, dark jazz, and all-out rock, “Kohane” is weird and extroverted and unexpectedly both raucous and meditative.

Below, we talk to Orbach about his music, his idols, the tenuous status of his priesthood, and the status of New Jersey as the new Jerusalem. Listen to the album and buy it here. Come back later today for a chance to win a copy — but, for now, check out the Kohane himself.

Question: There’s a lot of potential midlife crises on the album: religious, emotional, relationship-al. What’s it like to have a midlife crisis — presuming, of course, that you’ve had one?

Answer: You happen to catch me on a good week. It's actually not a midlife crisis I'm undergoing, but a "new" midlife crisis (emphasis on “new” for renewal) like the record says and yes, it is in full swing!

Question: Why do you think there’s no sort of official midlife ritual in Judaism, like there is with being born or getting married or becoming an adult?

Answer: Rituals serve as bookends for all the stuff that goes on in between them. The unofficial midlife ritual for most human beings is the crisis itself. The significant events — birth, marriage, bar/bat mitzvah and death - are really the parents of crisis. You could argue that midlife begins when you're born because damn it, who knows if you'll make it through the night?

The title song celebrates this "candle flickering" signifying both life and death co-existing in the space between our breathing and not breathing as we make our way through our lives.

Question: What’s your relationship with Marc Ribot?

Answer: Since the early 1980s, I'd seen Marc play dozens of times around town and sometimes we'd talk shop after a show. We really met however when he came to a shul in my neighborhood for Shabbat in search of a potential shul for him and his daughter shortly after his divorce. After services, we had coffee and conversation. A few months later, Marc and his daughter joined my family for Kol Nidrei. I'd like to get together with him more often but because he's such a studio rat, Marc is usually booked solid.

Question: How did you two start working together?

Answer: Like I said, Ribot is a very busy guy. Initially, he turned me down but I was committed to his presence and I changed my schedule to work with his. I also begged him.

I hold close to my heart the first time Ribot "read" me. In the studio after we performed a take of "Festival" he pulled me aside during playback and said he knew what I was doing. "You're the Jewish Brian Wilson," Marc began. I think of this moment as a watershed; I had my first taker and these words were coming from the guy who shaped whatever Tom Waits did after Rain Dogs. Ribot went on to say that my "writing songs about the ordinary everyday American-Jewish experience" was "subversive stuff" Marc nailed my Velvets/Talking Head connection then and there and my cat was out of the bag.

Question: Did you play these songs live before recording them, or did it work the other way around?

Answer: I wish that I could have played these songs out first but I did'nt. Most of these songs were fresh out of my head and I never played them live before recording them. Essentially, the musicians were introduced to the music in the studio from a homemade demo I made a couple weeks before the session. Eight songs were written in a three-week spurt two months prior to the studio, and they shaped the New Midlife Crisis storyline. No rehearsal, no pre-production, no transcription and no real rules; I just figured as long as I have people like Ribot, Richard Lloyd and Avram Pengas in tow, I may as well go for the jugular and catch their first attempts - and mine - at shaping the songs. Our average was two takes and a couple tunes went to three. Otherwise, it was vitality uber alles. I don't think many other concept records are born this way, though I could be wrong.

Question: In your band name, “Kohane” has an ambiguous spelling: it could be kohen, like the high priest, or “Kahane,” like the Jewish terrorist and founder of the JDL. What made you pick it? If you’re a kohen, have your special skills ever gotten you anywhere? And, why Newark?

Answer: Like Philip Roth, Jerry Lewis, Allen Ginsberg a - My Jewish Learning / Matthue Roth

Ricky Orbach is a singer, poet, music producer, and patron of the arts — but, really, it’s more accurate to just call him Kohane of Newark.

His first CD features some of the most highly-acclaimed experimental rock and jazz musicians in the New York scene — but, most prominently, it features Orbach’s lyrics. They are sometimes awkward and darkly meaningful, like “Pizza” (an ode to the victims of the Israel Sbarro’s bombing); sometimes funny and angry and nostalgic, and the angst and sexual awakening of “Festival” — which is quite possibly the most introverted Hanukkah song I’ve ever heard. Then there’s the “White Wedding”-inspired anti-love anthem “Shoshana” (“Shoshana’s had all her dreams shattered/by me”). Characterized with deep grooves, moody, dark jazz, and all-out rock, “Kohane” is weird and extroverted and unexpectedly both raucous and meditative.

Below, we talk to Orbach about his music, his idols, the tenuous status of his priesthood, and the status of New Jersey as the new Jerusalem. Listen to the album and buy it here. Come back later today for a chance to win a copy — but, for now, check out the Kohane himself.

Question: There’s a lot of potential midlife crises on the album: religious, emotional, relationship-al. What’s it like to have a midlife crisis — presuming, of course, that you’ve had one?

Answer: You happen to catch me on a good week. It's actually not a midlife crisis I'm undergoing, but a "new" midlife crisis (emphasis on “new” for renewal) like the record says and yes, it is in full swing!

Question: Why do you think there’s no sort of official midlife ritual in Judaism, like there is with being born or getting married or becoming an adult?

Answer: Rituals serve as bookends for all the stuff that goes on in between them. The unofficial midlife ritual for most human beings is the crisis itself. The significant events — birth, marriage, bar/bat mitzvah and death - are really the parents of crisis. You could argue that midlife begins when you're born because damn it, who knows if you'll make it through the night?

The title song celebrates this "candle flickering" signifying both life and death co-existing in the space between our breathing and not breathing as we make our way through our lives.

Question: What’s your relationship with Marc Ribot?

Answer: Since the early 1980s, I'd seen Marc play dozens of times around town and sometimes we'd talk shop after a show. We really met however when he came to a shul in my neighborhood for Shabbat in search of a potential shul for him and his daughter shortly after his divorce. After services, we had coffee and conversation. A few months later, Marc and his daughter joined my family for Kol Nidrei. I'd like to get together with him more often but because he's such a studio rat, Marc is usually booked solid.

Question: How did you two start working together?

Answer: Like I said, Ribot is a very busy guy. Initially, he turned me down but I was committed to his presence and I changed my schedule to work with his. I also begged him.

I hold close to my heart the first time Ribot "read" me. In the studio after we performed a take of "Festival" he pulled me aside during playback and said he knew what I was doing. "You're the Jewish Brian Wilson," Marc began. I think of this moment as a watershed; I had my first taker and these words were coming from the guy who shaped whatever Tom Waits did after Rain Dogs. Ribot went on to say that my "writing songs about the ordinary everyday American-Jewish experience" was "subversive stuff" Marc nailed my Velvets/Talking Head connection then and there and my cat was out of the bag.

Question: Did you play these songs live before recording them, or did it work the other way around?

Answer: I wish that I could have played these songs out first but I did'nt. Most of these songs were fresh out of my head and I never played them live before recording them. Essentially, the musicians were introduced to the music in the studio from a homemade demo I made a couple weeks before the session. Eight songs were written in a three-week spurt two months prior to the studio, and they shaped the New Midlife Crisis storyline. No rehearsal, no pre-production, no transcription and no real rules; I just figured as long as I have people like Ribot, Richard Lloyd and Avram Pengas in tow, I may as well go for the jugular and catch their first attempts - and mine - at shaping the songs. Our average was two takes and a couple tunes went to three. Otherwise, it was vitality uber alles. I don't think many other concept records are born this way, though I could be wrong.

Question: In your band name, “Kohane” has an ambiguous spelling: it could be kohen, like the high priest, or “Kahane,” like the Jewish terrorist and founder of the JDL. What made you pick it? If you’re a kohen, have your special skills ever gotten you anywhere? And, why Newark?

Answer: Like Philip Roth, Jerry Lewis, Allen Ginsberg a - My Jewish Learning / Matthue Roth

“An American Serge Gainsbourg, Kohane of Newark's NEW MIDLIFE CRISIS probes the dark, sensitive heart of the Jewish experience. Equal parts Lou Reed/Alexander Portnoy/Jonathan Richman/Delmore Schwartz the result is late-night therapy drenched in beautiful music.“ - Steven Lee Beeber, Author The Heebie Jeebies at CBGB's: A Secret History of Jewish Punk

“An American Serge Gainsbourg, Kohane of Newark's NEW MIDLIFE CRISIS probes the dark, sensitive heart of the Jewish experience. Equal parts Lou Reed/Alexander Portnoy/Jonathan Richman/Delmore Schwartz the result is late-night therapy drenched in beautiful music.“ - Steven Lee Beeber, Author The Heebie Jeebies at CBGB's: A Secret History of Jewish Punk

(In a review entitled "Music of Awe," George Robinson, dean of Jewish music reviewers (like a Yiddishe Robert Christgau) has chosen Kohane of Newark's NEW MIDLIFE CRISIS to be amongst 6 other CD's that generate the "adrenaline rush that is compounded of equal parts dread, awe and love.")

Kohane of Newark:
“New Midlife Crisis” (Joodayoh)
This one has been lingering in a prominent place on the CD changer in our house. A smart, funny collection of original songs, played in a sort of folk-punk-cum-Middle Eastern style. Kohane, a former yeshiva bocher named Ricky Orbach, writes clever, bittersweet songs about growing out of one’s family and into a Jewish identity that has its pros and cons. A very entertaining debut set, available from iTunes or at www.myspace.com/kohaneofnewark.
Rating: **** 1/2.

- The Jewish Week / George Robinson

(In a review entitled "Music of Awe," George Robinson, dean of Jewish music reviewers (like a Yiddishe Robert Christgau) has chosen Kohane of Newark's NEW MIDLIFE CRISIS to be amongst 6 other CD's that generate the "adrenaline rush that is compounded of equal parts dread, awe and love.")

Kohane of Newark:
“New Midlife Crisis” (Joodayoh)
This one has been lingering in a prominent place on the CD changer in our house. A smart, funny collection of original songs, played in a sort of folk-punk-cum-Middle Eastern style. Kohane, a former yeshiva bocher named Ricky Orbach, writes clever, bittersweet songs about growing out of one’s family and into a Jewish identity that has its pros and cons. A very entertaining debut set, available from iTunes or at www.myspace.com/kohaneofnewark.
Rating: **** 1/2.

- The Jewish Week / George Robinson

Since tomorrow is Christmas and today is the middle of Hannukah, we got a few more Ripple goodies for you.

This first one blew me away. Check out this killer jew punk blast of a Hannuhak song that features none other than famous ex-Television guitarist and living legend, Richard Lloyd. This is quite positively the best Hannukah song I've ever heard! - The Ripple Effect

Since tomorrow is Christmas and today is the middle of Hannukah, we got a few more Ripple goodies for you.

This first one blew me away. Check out this killer jew punk blast of a Hannuhak song that features none other than famous ex-Television guitarist and living legend, Richard Lloyd. This is quite positively the best Hannukah song I've ever heard! - The Ripple Effect