NYS Music 20​12

Author: Aidan Lukomnik

  • The Australian Pink Floyd Show at The Palace Theater, October 20th

    Pink Floyd enthusiasts were treated to a fun night of music and visual displays Saturday night in Albany. The Australian Pink Floyd Show made a stop at the Palace Theater and put on a complete show filled with classic Pink Floyd songs that spanned their entire catalog. Along with a giant circular video monitor, laser light projections and backup singers, it made for a true theatrical experience. Writers Tim O’Shea and Pete Mason attended and each took something different from the show. 

    Review by Tim O’Shea

    The show opened with the dark and brooding “In the Flesh” and instantly captured the audience’s attention. The early portion of the show included several selections from some of the later Pink Floyd albums. “Sorrow” from the album A Momentary Lapse of Reason was also well received. The band then shifted gears and went into one of the group’s earlier numbers with a stirring rendition of “Set the Controls for the Heart of the Sun”. Another first set highlight was “Pigs” which was performed flawlessly. After this, spotlights and that familiar helicopter sound led into the set closer of “Another Brick in the Wall” which also featured a giant inflatable “teacher” on stage which corresponded to the video being shown on stage.

    The second set opened with the Syd Barrett tribute “Shine On You Crazy Diamond”. This was another song complemented beautifully by the video being shown which included some very early images of the band when Barrett was still included. The chiming of clocks that followed could only mean it was time for “Time”, followed by another song from the epic Dark Side of the Moon album with “Great Gig in the Sky”. This gave the three backup singers a chance to shine as each took their own approach to the classic vocal solo that ends the song. “Us and Them” was also played later in the set giving the audience a good sampling from this classic album.

    Review by Pete Mason

    What stood out about Australian Pink Floyd was the the fact that this was not a cover band, it was a true tribute band. The band not only had strong improvisational structure to songs with full jamming capabilities. But the key thing for me was that they featured a great deal of rarities and for once, a band playing Pink Floyd was not a greatest hits parade. Utilizing the full catalog, the band’s songs connected you with the four decades of Floyd, especially the songs that harken back to the emothional aftermath of World War Two that is intertwined throughout a number of their songs.

    Opening up with “In the Flesh” is setting the bar high for the night with the ‘thrust you back into your seat’  power of this tune from The Wall. “Set the Controls” was a huge highlight, with the sun projected in various lenses behind the band as the ominous and dark song got into motion; with Halloween around the corner, this is true Haunted House music. “Pigs”, appropriately, showed political leaders with snouts and pig ears super imposed on their visages on the screen as the full song was played well enough that you could picture Battersea Power Station behind the band. But instead, we got the incredibly creepy/acid-visual of a giant teacher inflated on stage left behind the backup singers, perfect to bring in “Another Brick in the Wall Part 2“

    The second set gave a nice tribute to the memory of Syd Barrett with a medley of photos and his musical compositions from the 1960s, followed by the apropos “Shine on you Crazy Diamond”. After a pair of tuned from Dark Side of the Moon, we were treated to two rarer songs, “What do you want from me” off 1994s’ The Division Bell and “The Fletcher Memorial Home” off 1983’s The Final Cut, each of which allowed the various singers in the band to showcase their chops and dipped back into the well of creepy for the visuals broadcast on the screen during “Fletcher”, a truly troubling tune, albiet one of Waters more introspective songs. With some more Dark Side songs, the highlight of the night was the off-setlist Interstellar Overdrive that featured a giant pink kangaroo that arose from nowhere, keeping the psychedelic aspect of Pink Floyd lasting beyond their years. Aussie Pink Floyd no doubt redefined tribute band for me this night, as well as gave a nice sampling of the four decades of Floyd.

    Australian Pink Floyd Show Setlist:

    Set 1: In the Flesh, Take it Back, Sorrow, Set the Controls for the Heart of the Sun, High Hopes, Pigs, Another Brick in the Wall Part 2

    Set 2: Syd Barrett Medley, Shine on You Crazy Diamond, Time->Great Gig in the Sky, What do you Want From Me, The Fletcher Memorial Home, Us and Them, Wish You Were Here, Interstellar Overdrive, Comfortably Numb

    E: Run like hell

    The Australian Pink Floyd Show and on Twitter 

  • Trey Anastasio: Traveler

    Trey Anastasio: Traveler

    I was surprised when I learned that the latest Trey Anastasio album Traveler, released October 16th via Rubber Jungle Records/ATO Records, marked his ninth solo album outside of Phish. The various arrangements of Trey Anastasio Band have yielded some amazing songs over the years with Trey able to pick and choose his playing partners, collaborators, instruments and musical styles. Traveler sees Trey taking the contemporary big band formation and mixing it with other modern day influences and musical stylings.

    Along with some heavy production work, especially on some of the vocals, the album takes on an almost indie-pop feel at times but also features familiar song structures and lyrical styles associated with any album that has Anastasio and Tom Marshall collaborations on it. As a result, the album bounces in different directions from track to track and never seems to really settle on an overall theme.

    “Corona” opens the album and serves as a fun opener of sorts with driving guitar work and vocals from Trey early on. The song then goes on to feature some interesting xylophone arrangements and harmonized vocals before ending abruptly.“Let Me Lie” provides a new interpretation of the song that’s also played in the live setting by both Phish and Trey Anastasio Band. This introspective song gets a pop makeover here and features a much faster and harder drum beat courtesy of Bryan Devendorf of The National. This band, a favorite of Trey’s, has their influence all over this album as it also has Matt Berringer lending a hand on vocals and was co-produced by Peter Katis who also helped produce some The National’s more acclaimed albums like Alligator and Boxer.

    “Land of Nod” is one of the tracks that steers the album in a relatively unknown and fun new direction. It features precise horn charts meshed with an almost drum and bass-like opening few minutes that sounds like nothing I have ever heard on a Trey or Phish release. The song features more of the aforementioned heavily produced vocals as well as harmonized theremins to give the ending a spacey feel. It is one of the true musical treats on this album.

    Traveler contains some more material that may be familiar to those who attend shows regularly. “Pigtail”, a song played by Phish once before in the fall of 2010 adds to the heavy pop influence on the album with more harmonized vocals and a signature Anastasio guitar solo. “Clint Eastwood” is a song heard regularly on TAB tour these days and this version doesn’t stray much as the swank vocals provided by Jennifer Hartswick and hip hop style production provide a more than respectable cover of this Gorillaz hit. Another song that’s a regular in the TAB rotation, “Valentine”, also appears later on in the album. This track is really well produced and mixes the full horn sound with the driving rhythms behind this song beautifully. While all of these songs make for easy listens, I found it curious that Trey decided to devote three tracks of his solo album to songs like these instead of other original material.

    One of the more interesting tracks on the album is “Scabbard” which brings the Frank Zappa influence to the surface with its elaborate musical orchestration and synth sounds that surround another vocal section full of pop flavor. Intricate acoustic guitar work and more blissful string accompaniment at the end make this one of the more complete tracks on the album. The ending has an almost Radiohead-feel to it before gently fading out.

    The album’s title track doesn’t really have to much offer and other parts of this album seem to meander with no known direction at times. Overall, the album seems to be the result of Trey taking his renowned style of rock and improv and blending it with elements of pop and indie rock. There are a few choice cuts and certainly moments of brilliance, but don’t expect Anasatasio’s Traveler to go down as his signature album by any means.

  • Funk at The Palace: A Review of Live Phish 12/6/97

    Funk at The Palace: A Review of Live Phish 12/6/97

    On September 25, Phish introduced a new member to its Live Phish Archive collection with one of their more memorable shows from one of the most impressive eras of their history. Their 1997 Fall Tour (a.k.a Phish Destroys America) is one of their most engaging and influential tours and also serves as an ideal picking ground for any live release. Their performance at The Palace of Auburn Hills on 12/6/97 is a show that’s already been established amongst devoted fans as one of the best ever. Now, the soundboard mix gets the Fred Kevorkian re-mastering technique applied and allows everyone to hear and understand what the hype behind this show is all about.

    Phish 12/6/97The album opens with the sounds of a raucous Palace crowd, a common occurrence on this tour that many regard as one of the best and certainly funkiest in the band’s history to this point. Trey utters a short count off and the show opens with “Golgi Apparatus”, a Phish tune almost as old as the band itself. This number, which served as a show opener for numerous shows in the 80’s, would surprisingly never be serve as a show opener again until Burgettstown in 2009. The band rolls through the opening verses with ease while slowly creating a high energy environment that comes across beautifully in this recording from start to finish. By the end of this standard yet powerful version, an already lively crowd has now been shifted into high gear.

    Accordingly, Trey Anastasio immediately begins the opening guitar chords to “Run Like An Antelope” to complete a memorable 1-2 opening punch to the show. The band again displays an ultra-sharp precision while rolling through the opening sections with ease before giving way to a digital delay loop type jam initiated by Trey at the 3:14 mark. Keyboardist Page McConnell then adds a layer of ambience on top of this and instantly the band is off and running on an incredible jam. Featuring the thick funk and steady grooves this era of Phish is so well known for, this Antelope becomes an animal of a whole different sort with Trey’s ‘wah’ peddle and Mike’s steady bass line prominently involved. The jam slowly devolves from the typical Antelope progression to a full on funk jam for several minutes before Trey begins to steer it back around 7:00 minutes into the track. Before long, the typical raging Antelope ending sequence is back in place as the song continues to slowly build in energy and anticipation. The “release” at 13:44 is met with a loud roar of appreciation befit of a version of this quality. Page adds a couple of simple licks on the clavichord before the band rolls through the ending section of this Antelope that clocks in at a very enjoyable 16:29 of music. With no warning, Phish delivers a monster opening two numbers that could just as easily appear towards the end of a show instead given their reputation and the high energy they induced.

    Recognizing the need for a breather of sorts, “Train Song” appears next in the opening set. Mike Gordon takes the lead on vocals and the short almost acoustic song gives the crowd (and the listener) a chance to relax a little before giving way to the true highlight of the first set. This “Bathtub Gin -> Foam” sequence is a must listen for any fan or anyone who wants to know what this band is all about. Gin begins with Page pounding on his piano like he’s mad at it and goes through the standard opening procedure. At the 4:44 mark, the band, led by Trey and Page intertwining melodic riffs, slowly begins to build the jam. The next eight minutes is a steady climb in tempo and energy done masterfully by everyone, especially the synchronized rhythm section led by Mike Gordon and Jon Fishman. As the song approaches 11:00 minutes, Trey again steers the jam back towards something resembling a typical Bathtub Gin ending.

    However, instead of just ending the song. Trey begins chording ferociously, Page joins in on the clavinet and the aforementioned rhythm section begins the opening patterns of “Foam” while McConnell and Anastasio continue to play wildly. Gordon then delivers the iconic bass line intro and as the seamless segues concludes the crowd lets out yet another very audible roar of approval. The band nails the composed parts of another one of their classic songs before giving way to a truly beautiful McConnell piano solo, a staple of any good “Foam”. The baton is then passed to Trey who also delivers a stirring solo that continuously builds in both volume and tone. The rest of the band soon joins in as the jam builds to a stirring peak before breaking down into the vocal outro. This 23:00 minute overall sequence gives the casual listener a great audio example of the essence of Phish: a seamless musical segue, tight knit orchestration, offbeat lyrics, rousing piano and guitar solos and four individuals effortlessly working as one musical unit.

    Perhaps sensing another appropriate spot for a breather of sorts, Trey begins the opening chords to “Sample in a Jar” and a standard version clocking in at 5:03 follows. Trey’s guitar solo is executed flawlessly and complimented perfectly by the drum play of Jon Fishman. The song achieves its goal of slowing things down a little while keeping the collective energy high in The Palace.

    https://www.youtube.com/watch?v=p9OmP4fGhvQ

    Following this, the opening drum beat of “Fee” begins and Phish is off and running with yet another one of the classic songs in their canon. Trey, sans megaphone, delivers the lyrical part of the song with ease and Page delivers beautiful piano fills throughout. As the song concludes and the typical outro jam eases to a stop, the high hat cymbal sound signaling the beginning of “Maze” is initiated by Fishman. Phish then takes the audience on a fifteen minute journey of pure psychedelic rock goodness. Starting with more digital delay loop play from Trey in the opening, this rendition is truly memorable and harkens back to another classic Phish 1-2 song pairing. “Fee -> Maze” was a common sight on set lists from shows in the early 90’s and this version sees the band on top of its musical game. Electrifying organ and guitar solos take the already high energy to another level and the ending is performed with a true precision seen right from the start of this set. “Cavern” then puts the finishing touches on an incredible first set.

    A few small vocal flubs from Trey in this song are the only things keeping this from being a truly perfect first set. Phish delivered an opening act that saw them run through some of their more legendary songs and jam vehicles at the time. This set just kept in line with the growing expectations for every show played in this legendary span of Phish history. Trey promised the crowd a return in 15 minutes with ‘a whole lot more’ and the second half of this promise was kept ten times over in the form of a second set for the ages.

    Sensing the opportunity to immediately elevate this show to an epic status, Phish opens up the second set with the jam monster of “Tweezer” which sends an already ravenous crowd into a frenzy. From the outset, this appears to be anything but a straightforward “Tweezer”. After the opening chords from Trey, the intro spaces out for a minute or two as the band playfully toys around with the beginning. After a short, fun and almost plinko-esqe sequence, the song begins its standard opening at 2:06 and never looks back. The signature pounding of Gordon’s bass has an extremely crisp sound on this track as well as throughout this impeccable recording.

    At the 6:36 mark, the jam starts up and Trey immediately introduces the funk theme that was so prevalent in 1997. Page then replies with more play on the clavinet and a slow and steady groove is established over the next several minutes. Around 10:30 into the track, Trey once again layers the digtal loop on top of an already stellar groove that soon has a much spacier sound to it. This proceeds in the customary fashion until 13:54, when Trey shifts the guitar into a totally different type of tone usually designated for soloing. What follows is an incredible few minutes of musicianship highlighted by said guitar play and the corresponding drum work from Jon Fishman who shows both a phenomenal ear and mastery of tempo throughout this show. Soon, a shuffle-type beat is established behind massive piano and guitar fills with everything held together by the sound bass playing of Mike Gordon. The jam slowly and surely builds in intensity as each band member plays perfectly of off one another. As this monster jam approaches the 18:28 mark, it slows down slightly with the band seemingly catching their breath this time before a final stretch run.

    Trey soon establishes his signature reverb sound as Page chimes in with ferocious piano play. Now over twenty minutes long, the jam continues in this fashion as Trey and Page continue to trade rock riffs between one another. The beat slows down slightly as the band seems to be seeking a new direction in which to take this jam. Trey and Fishman oblige and soon establish some interplay which instantly morphs into the Jimi Hendrix classic, “Izabella”. Phish then proceeds to tear through this cover song which was debuted earlier this year and the energy pulsating throughout The Palace is nearly tangible at this point. As the song approaches 4:20, “Izabella” subsides and another incredible funk jam develops replete with at least one band member shouting out yells of approval. Highlighted by phenomenal precision and more clavinet solos from Page, the jam that follows just adds to an already exceptional open to the second set.

    Eventually, it breaks down into a drum and bass only jam with Fishman playing something similar to the “Foam” drum beat at one point. This gives the rhythm section a much deserved chance to take the musical reigns and be front and center for a little. Trey then joins in with some more funk licks before steering the group into the opening of “Twist”. The beginning vocal section of this song plays much slower than the modern day variety as this song was still in its infancy stages at this point; its debut was not even 6 months prior. However, the song’s musical gears soon get lubricated a little and a fun rock jam with the customary loud “woo!’s” thrown in by the band ensues.

    Instead of a jam, the band slowly brings the song to a halt with some blissful interplay between Page and Trey. The latter takes this opportunity to begin the opening chords to “Piper” and the band executes another flawless segue into another one of their dominant jam vehicles. “Piper” is another song featured on the album Farmhouse which was also pretty new to the Phish repertoire in 1997. For those who prefer the slowly drawn out openings, this version is a must hear. The band takes its time with the intro before Page slowly builds up intensity and the rest of the band then follows suit. Vocals don’t appear until well after three minutes in and the song then continues to grow in tempo and energy. Another few audible roars of approval from someone in the band shows just how much fun they’re having and what kind of show this is. “Piper” continues to grow in fury as ‘machine-gun’ Trey makes another appearance at the 7:07 mark as the set continues to cement itself in Phish lore.

    This marks only the halfway point of the track as Trey continues to lead the band through a raging display of psychedelic rock for another seven minutes. The crisp drum work and steady bass groove really holds this jam together as “Piper” makes it known early on in its existence that it is a force to be reckoned with. The tempo slows down a little bit before picking up once again and the song gets the true rock ending it deserves and also serves as a most impressive bookend to this four song sequence that epitomizes the overall excellence of this show.

    With all four songs almost seamlessly flowing into one another, there was no chance for any slow down or ‘breather’ song. Phish decides to deliver one before ending the set in the form of the lighthearted crowd favorite “Sleeping Monkey”. More impeccable guitar play from Trey soon gives way to the familiar opening sounds of “Tweezer Reprise”, giving everyone in The Palace one last display of pure arena rock before ending the set. A “Rocky Top” encore serves as another chance for Page to display his piano mastery and serves as the footnote to one of the more seminal shows in this band’s history.

    This show displays all of the elements that endear Phish to its dedicated audience: well executed originals, fun covers, exquisite improvisation and deep, pulsating funk. The powers that be picked a live show to release that was already well established as one the epic performances in this band’s rich history. Whether it’s a truly dedicated fan or just the casual listener, this show offers a little something for everyone and is truly a must hear.

    Pick up the album at livephish.com

    Setlist via Phish.net

    Phish – The Palace at Auburn Hills, Auburn, MI, 12/6/97

    Soundcheck: Dog Log, AC/DC Bag, Ginseng Sullivan, Black-Eyed Katy

    SET 1: Golgi Apparatus, Run Like an Antelope, Train Song > Bathtub Gin -> Foam, Sample in a Jar, Fee > Maze, Cavern

    SET 2: Tweezer -> Izabella -> Twist -> Piper, Sleeping Monkey > Tweezer Reprise

    ENCORE: Rocky Top

  • moe.down 13: Home Again

    moe.down 13: Home Again

    The 13th edition of moe.’s annual summer party moe down saw the festival return to a very familiar place, Snow Ridge Resort in rural Turin, NY. The first 10 installments of this Upstate New York party were held here and everything seemed to be in their right place, with familiar faces once again inhabiting the familiar Lewis County ski mountain for a long weekend. The only difference this year other than the return home was the festival was held three weeks earlier than its customary Labor Day weekend slot. Festival organizers cited an effort to attract more college-aged kids by holding the event on a weekend other than one more typically associated with ‘back to school’ for college student. It remains to be seen if this tactic was as effective as hoped as the overall attendance and crowd seemed little lighter than in years past. Never the less, moe.down once again treated everyone who was present to a weekend of good times with friends along with the customary musical highlights.

    Grace Potter and the Nocturnals really seemed to ignite the fire that was moe.down 13. Their Friday early evening set could have easily served as a short late night set elsewhere as it was full of energy, stirring covers and powerful rock. The Burlington, VT based group entertained everyone with new songs from their latest album The Lion The Beast The Beat as well as a musical nod to Led Zeppelin and a well executed Neil Young cover; “Cortez the Killer” closed their set as a light rain began to saturate the grounds. All of this, combined with a “Happy Birthday” sing-a-long dedicated to a fan up front, made for a fun set overall and kicked off the festival in fine fashion.

    Another familiar name served up music on the second stage Friday night as Kyle Hollingsworth took his band out to the East Coast for some festival love. The String Cheese Incident keyboardist led his group through songs that incorporated elements of funk, jazz, improv and the like, with String Cheese songs “The Way That it Goes” and “Rosie” and Paul Simon’s “Kodachrome”. Talented for sure, this seems to be a group just getting their feet wet that could very well be on the regular music festival docket for years to come. Their sets, both with and without the rain, served as a great break between acts on the nearby main stage.

    As the rain began to lessen ever so slightly, it was time for moe.’s first set of the weekend. It opened with a rousing version of “Plane Crash” with Al Schnier flaunting a double neck guitar. This segued nicely into the popular musical combination of “Not Coming Down -> Wormwood->Okayalright” as the band showed it was clearly on its collective game early.

    Sit-ins with other bands and musicians are almost expected at moe.down as the hosts never seem to have a problem sharing the stage with their friends. Based on this, it was no surprise Grace Potter was invited on stage to join moe. during the first set; it was just a matter of what song they chose to do together. They chose to have Potter channel her inner Jagger and delivered a great version of “Gimme Shelter”. The rest of the first set was highlighted by a phenomenal “Puebla -> Timmy Tucker” segue that featured the bass playing and vocal prowess of Rob Derhak that moe.rons everywhere have grown to love. While some slight lyric flubs arose, the overall playing and demeanor of the band was on point. Although it was still early, there was already a prevailing sense of ‘there’s no place like home’ brewing throughout moe.down.

    [youtube http://www.youtube.com/watch?v=iS1BlZlr_5o&w=560&h=315]

    The second set of moe.’s Friday night performance opened with a rocking version of “Tailspin”, a song that had been shelved by the band for a little while. This was met with a great reception and the segue into “Head” only increased the energy. Kyle Hollingsworth filled the second set cover slot as he joined the band for their classic “Happy Hour Hero”. Perhaps the musical highlight of the night was the seamless “McBain->Skrunk->Brent Black” that closed out the second set as icing on the cake. Afterwards, soaked revelers either returned back to camp and sought rest or continued the party with The Everyone Orchestra which kept the music going until 2 a.m. The addition of late night musical acts was another slight new twist to the festival and one that made perfect sense.

    Saturday saw the temperatures increase a little with some drier ground on the hill for dancers. SOJA opened up things in the afternoon with a fun set on the main stage. The Arlington, VA band’s brand of reggae and folk music with soulful lyrics served as a great way to start the day. The band seemed truly honored to be playing at moe.down and undoubtedly made a few new fans with their performance.
    Other notable main stage acts on Saturday were The Wood Brothers and Galactic. There was a little difficulty setting up the stage at first for The Wood Brothers set, but this was the one of the few slight music delays all weekend. Otherwise, organizers did a fantastic job of keeping the music on schedule with no sets overlapping one another – a tradition of moe.down.

    Another tradition of sorts moe.down offers is a Kids Tent with its family friendly atmosphere. The band has always been cognizant of the growing family around themselves, their friends and festival attendees and they continue to do their best to make sure the festival is fun for all ages. This year, the band delivered a stealth performance of sorts in the Kids Tent for kids and their parents lucky enough to be present. A slower, bouncier version of “Crab Eyes” could be heard and, afterwards, band members hung around to talk and socialize which was nice to see. The next day, the kids returned the favor and kept another moe.down tradtion alive with a parade on stage during “Bring It Back Home”. Each child was wielding a photo of a different band member’s face with sizes ranging from mask size to extremely oversized (think of the ‘big’ heads popularized in college basketball these days.) All of this created a truly surreal, yet fun, scene that served as a testament to the family vibe that was alive and well.

    Saturday night brought perhaps the best moe.ments of the weekend with two memorable sets. The first set opened with another “Crab Eyes”, this one being in the more traditional style. There were no breathers early as this segued into “Down Boy” and then “Lazarus”. The second set was a tale of two sets, so to speak. Early highlights included an intricate “Zed Nought Zee->Don’t Fuck With Flo->Zed Nought Zee” that saw the band at its improvisational best. Crowd energy was riding high when the hosts decided to invite their friends from Galactic to the stage. They chose to cover “Up On Cripple Creek”, an odd choice considering some of the more funky and uptempo tunes in moe’s catalog. This seemed to halt some of the momentum that had been building all night. A partial band switch brought Galactic to the stage with Vinny Amico and Jim Loughlin still on percussion for a rousing cover of Led Zeppelin’s “How Many More Times”. moe. returned and dug deep and then some with a killer one-two punch of “George” and “Recreational Chemistry” to close out the night. These psychedelic staples were so intense and full of musical peaks the band was met with little argument from fans when no encore was played.

    Bright Light Social Hour filled the Saturday late night slot and even featured a sit in from moe. guitarist Chuck Garvey. Every festival seems to have a band that comes out of nowhere and steals the show a little, and this group may fit that role here. Their catchy rhythms and unique rock sound were well received by the late night crowd and surely won them some new fans as well.

    [youtube http://www.youtube.com/watch?v=7vUpN6A9Xqc]

    Sunday had a more relaxed feel to it for sure as some people began to slowly pack up cars and take down camp sites. With no Labor Day Monday off this year, this was not a surprising development. Albany’s own Timbre Coup held court on the second stage throughout the afternoon and delivered their infectious and unique music spanning multiple genres and styles for which they have become known. They added to the cover total for the weekend with a fun take on Cake’s “Never There”. Elements of prog rock were heard throughout both of their sets which set the table nicely for a more prominent band later in the day that features something similar.

    [youtube http://www.youtube.com/watch?v=qA-SI3uJ5rU]

    The relationship between moe. and Umphrey’s McGee goes back many years at this point and is fairly well known. Ever since the original Bonnaroo in 2002, when moe. invited a young guitarist named Brendan Bayliss to sit in on “Rebubula”, the two bands have been almost joined at the hip. Umphrey’s has been a part of multiple moe.down’s and the two bands also co-host another annual summer festival, SummerCamp in Chilicothe, IL.

    Umphrey’s treated the Sunday late afternoon crowd to a set full of intricate musicianship and telepathic improvisation. “Booth Love”, a hit off of their latest album Death by Stereo was well played and preceded a tight run through of one of their older songs, “Jajunk”. The Midwesterners then brought out guitar virtuoso Stanley Jordan to join them on a version of “40’s Theme” that left mouths agape. Seeing Jordan trade guitar licks with Bayliss and Jake Cinninger was a true treat for both the eyes and ears.

    [youtube http://www.youtube.com/watch?v=plnBDlQtfro]

    moe. wrapped a bow around the weekend and the return to Turin with an elongated second set and double encore of sorts. Yet another well woven segue opened the final set as “Bullet -> Deep This Time” kicked things off. As expected, the hosts were later joined by their friends in Umphrey’s for, you guessed it, a cover song. They chose to do the Pink Floyd classic “Time” and as this wound down, members of moe. slowly started to leave the stage. Umphrey’s then once again had the stage to themselves and treated fans to a dub take on “Breathe” completing the Pink Floyd cover block.

    [youtube http://www.youtube.com/watch?v=-23I2BnuChM]

    Afterwards, moe. returned to the stage and there was one order of business left to take care of: the mayoral election. Although no candidate debates were scheduled this year, that didn’t stop people for running for the ‘unofficial’ mayor of the festival for 2012. In a heated race, Rex (a regular candidate who has been seeking the office for years now) lost a nail biter to GoldBond aka “the stuff people rub on their balls” as so deftly put by Derhak. With another moe.down tradition in the bag, there was time for just one more – a Sunday night “Rebubula”. The band busted out their classic hit that has all too often served as the final musical chapter of the weekend.

    This year, the band had a little trick up their sleeve. The final chords of “Rebubula” gave way to the customary fireworks set off from atop the giant hill that serves as the iconic landmark of the festival. Instead of shutting it down after the fireworks ended, the hosts decided to “play until they tell us to stop” and treated everyone to a final musical pairing of “Billy Goat -> Meat” that capped a weekend full of memorable sights and sounds.

    While the band never mentioned anything directly, it was clear after three days back in Turin , NY that was moe.down was back home where it belonged. Familiar faces were seen, traditions were upheld and it was almost as if the festival had never changed locations at all. Let’s hope moe.down is here to stay for good and that the traditions and great music continue.

  • Gathering of the Vibes 2012: A Little Something for Everyone

    Gathering of the Vibes 2012: A Little Something for Everyone

    One of the great rites of passage the Northeast music scene has to offer every summer is a not so little festival called Gathering of the Vibes. Spawned from a small Deadhead party thrown at SUNY-Purchase in 1996, it’s now grown into a much larger annual celebration of The Grateful Dead and music in general.  Thousands of fans set up camp within Seaside Park in Bridgeport, CT and are treated to a long 2012 weekend of musical acts that featured some contemporary bands and new names but also a lot of classic and familiar ones.

    Thursday’s music got started bright and early on the Green Vibes Stage at noon with sets by MIZ and Lucid which served as a more than acceptable soundtrack for people arriving and setting up camps nearby.  The Green Vibes Stage served as the main secondary stage for the festival and it was also utilized for the late night festivities.  This was the most scenic of the stages as well located just feet away from the majestic waters of Long Island Sound with plenty of trees up close that provided shade during the day.

    One of the first familiar faces of the weekend belonged to George Porter, Jr. & his Runnin’ Pardners who graced the Green Vibes stage later that afternoon.  The legendary New Orleans bassist and his band bobbed and weaved through an expectedly funky and uptempo set which seemed to really kick off the festival.  It also featured some of the first slightly “Dead” themed music of the weekend as the ‘Aiko Aiko’ -> ‘Hey Pocky Way’ that was played is something that could be plucked right out of a late 80s setlist.  They also threw in their take on ‘Lovelight’ as well as the Alan Toussaint classic, ‘Sneakin’ Sally Through the Alley’.

    While this was going on, Zach Deputy Band got things cooking on the Main Stage.  His unique brand of soulful rock infused with looping technology and introspective lyrics served as an opening act of sorts for one of the more high profile bands of the weekend, Yonder Mountain String Band.  This self-dubbed high energy acoustic bluegrass band has been a festival staple for years now.  This set marked the second to last gig of their current tour and one of their last chances to “get their ya-ya’s out” per mandolinist Jeff Austin.  The latter part of their set featured YMSB classic hits like ‘Complicated’ and ‘On the Run’ as the sun began to set on the first night of Vibes.

    The Grateful Dead aspect of the festival ramped up into full gear with Thursday night’s main act, Dark Star Orchestra.  This group has been touring the country since 1997 delivering both spot on replicas of actual Dead shows and creative original sets filled with Dead tunes.  They picked a gem of a show to cover this evening by playing 7/18/89 Alpine Valley in its entirety.  This classic late 80s show opened with ‘Touch of Grey’ and was followed by a poignantly played ‘Jack Straw’.  A quintessential cover The Grateful Dead did during this era, Bob Dylan’s ‘Stuck Inside of Mobile with the Memphis Blues Again’, was also very well executed with Rob Eaton nailing the extensive lyrics.  The second set opened with the classic ‘Sugar Magnolia’ -> ‘Scarlet Begonia’ pairing and took off from there. ‘Eyes of the World’ lead into the ‘Drums and Space’ portion of the show and later on the covers kept on coming with the band’s takes on Traffic’s ‘Dear Mr. Fantasy’ and The Beatles’ ‘Hey Jude’.  Fittingly, the encore of this show was yet another cover and another Dylan one at that with ‘The Mighty Quinn (Quinn the Eskimo)’ closing it out.

    For anyone still on their feet and able to move, the late night portion of Thursday’s music was filled by The Royal Family Ball featuring Soulive and Lettuce.  These are another two acts that have become a regular sight on festival lineups due to their unique blend of soul, funk and rhythm and blues.  Both groups feature the talents of Eric Krasno on guitar and Neal Evans on keys so that doesn’t hurt either.

    Soulive kicked things off in proper fashion with two of their classics, ‘Hat Trick” and “Upright’.  Both songs were accompanied by a three piece horn section dubbed The Shady Horns.  The covers just kept on coming as the band’s unique take on ‘Eleanor Rigby’ followed and this segued nicely into ‘Third Stone From the Sun’.  Soulive released an entire album of Beatles covers appropriately titled “RubberSoulive” and is a must hear for any fan of the Fab Four, Soulive or both.

    The Shady Horns later re-emerged towards the end of Soulive’s performance, Adam Deitch took over on drums and just like that Lettuce was grown on stage.  The multi-piece funk/soul/RnB outfit kept things grooving all the way into early Friday morning thus capping off a truly full day 1 of music and fun.

    A light but very steady rain greeted festival goers on Day 2.  This soaked the grounds pretty thoroughly and made for a more than adequate test in keeping a dry campsite.  Small puddles and thick, viscous mud formed on the main field which tested everyone’s footwork a little.  Shortly after noon, Reid Genauer made his first appearance of the weekend with Assembly of Dust.

    This soon gave way to the next Grateful Dead themed act of the weekend, 7 Walkers, which features Bill Kreutzmann on drums, Papa Mali on guitar and the aforementioned George Porter, Jr. on bass, naturally.  These guys have done a wonderful job of taking a handful of Dead classics and infusing them with a rich, soulful New Orleans sound.  Their version of “Sugaree” has become a signature song of sorts for the group and this rendition was supplemented with guitar work by Scott Murawski of MaxCreek who sat in.  He also joined in on versions of ‘Bird Song’ and ‘Wharf Rat’ that were both well received.  All of this mixed with the typically fun and infectious ‘New Orleans Crawl’ led by Papa Mali made for a great early set of music regardless of the elements.

    While the sun never really appeared on Friday, the rain eventually subsided a little and more festival goers emerged from their respective covers and made their way over to the main stage.  There were certainly plenty of good reasons to do so as one of the weekend’s more prestigious collaborations was taking place on the Main Stage.  Bruce Hornsby, Bob Weir and none other than Branford Marsalis combined musical forces and put on a treat for all to hear.

    The set started out with just the three men on stage trading licks and playing off one another like they’ve done so many times before.  Before long, some light noodling by Weir and some distinctive piano work by Hornsby gave way to a full fledged version of ‘Dark Star’ that seem to catch everyone by surprise a little.  Later on, a rhythm section filled in behind the music legends and the set kicked into high gear.  They treated everyone to a rollicking ‘Me and My Uncle’ – > ‘Mexicali Blues’ that everyone dancing and singing along.  The set concluded with a monstrous ‘Playing in the Band’ that left nothing but smiles on both the audience and musician’s faces.

    The main act Friday night saw the third living member of The Grateful Dead take the stage, Phil Lesh.  Phil and his ‘Friends’ (which included his sons Brian and Grahame) treated everyone to a fun show that spanned two sets and featured several gems from the Dead catalog of songs.  Not to be outdone by 7 Walkers, Phil led the band through their own version of ‘Bird Song’ in the first set.  Therein lies one of the unavoidable ‘problems’ of a Dead-based music festival: the repeating of songs.  While it may be an issue for fans who aren’t as into The Grateful Dead as others may be, true fans were able to hear some of their favorite songs interpreted by different bands all throughout the weekend.

    The second set opened with a monstrous ‘St. Stephen’ and later on ‘Scarlet Begonias’ made another appearance.  This time, the band stretched it out a little and segued nicely into ‘Fire on the Mountain’.  Phil & Friends delivered Dead classics all night long and ‘Shakedown Street’ served as the encore and the final song of the day on the Main Stage.

    The Friday late-night slot switched up gears, musically speaking, to say the least.  Classic Dead tunes and rock covers gave way to uptempo electronica as done by Conspirator and Gigantic Underground Conspiracy.  Another ‘interlocking band member’ pairing, the two acts made sure everyone in attendance was still moving and moving hard as Friday night became Saturday morning.

    Conspirator started out as a Disco Biscuits side project for members Marc Brownstein and Aron Magner and has now emerged as its own beast altogether.  They’ve increased their touring significantly lately and have been making their mark on the festival circuit this year. Christ Michetti, formerly of Raq, has taken over on guitar for the group and gives the band a technical precision that meshes perfectly with the pulsing beats and electronic grooves that are generated.  Conspirator looked great and sounded better as the band members were clearly locked in to one another and having a great time doing so.

    As their set went on, more instruments were brought on stage, drum parts were exchanged and soon the evolution into Gigantic Underground Conspiracy was complete.  This outfit consists of the aforementioned members of Conspirator along with Dominic Lalli and Jeremy Salken of Big Gigantic and Ben Baruch of Underground Orchestra.  Saxophone and percussion were now thrown into an already infectiously uptempo mix.  This kept the party going strong as revelers could either enjoy this or take a walk down the beach for some good old fashioned Silent Disco until the sun began to rise.  Although this walk was quite lengthy from the main festival grounds, Silent Disco is a veritable good time at any festival and a great work around to any local noise ordinances.  It involves personal headphones which can pick up two DJs spinning nearby and offers the listener the chance to pick which one they’d rather listen to.  It’s a dance party with everyone wearing headphones, while having a great time.

    For those scoring at home, so far the 2012 edition of Gathering of the Vibes has featured one of the most heralded touring bluegrass acts in the country, a New Orleans bass legend, three living members of The Grateful Dead and their respective projects, two other Grammy award winning legends and jaw dropping live electronica done by some of the best in the business…..and the weekend is only half way done.

    Saturday brought better weather and much more typical summer festival conditions: hot and humid.  Many people took advantage of the beach and the nearby water for some temporary relief.  The water was also filled with docked boats in the area with people lounging, swimming and taking in the festival atmosphere.

    Ryan Montbleau Band kicked things off early on the Main Stage with an energetic set which served as good wake up call for many.  However, there were a lot of people very content to lie down in the few spots of available shade.  The band contributed to the great covers played all weekend with their take on the Steve Miller Band hit ‘Jet Airliner’.

    Their set gave way to perhaps one of the coolest cover bands out there right now, Zappa plays Zappa.  This group has been touring pretty consistently for the last few years and the book on them has been very clearly written.  Dweezil Zappa, offspring of Frank, and a bunch of insanely talented musicians and singers do spot on covers of Zappa tunes.  The songs are always well performed and serve as a fitting tribute to one of the more unique musical minds to ever live.  As an added bonus, lead vocalist and trumpet player Ben Thomas even sounds like Frank when he sings, be it intentional or not.

    As the temperature began to get a little hotter, so did this set.  ‘Dirty Love’ was well done and soon after that ‘Apostrophe’ was performed to perfection with relentless guitar work by Dweezil.  He also displayed his well honed chops in a fun set closing ‘Muffin Man’.  For any Zappa fan, this group is a must see.

    Later that afternoon, the last of the living members of The Grateful Dead graced the Main Stage as Mickey Hart Band treated everyone to a set replete with Dead classics and innovative original tunes.  ‘Not Fade Away’ filled the opener slot, a far cry from its usual set ending or encore positions in Dead shows of yore.  MHB also threw in a fun ‘Franklin’s Tower’ that had many singing along.

    For those in need of another dose of high octane electronica with a dash of progressive rock thrown in, Dopapod delivered the same over on the Green Vibes Stage.  This quartet prides itself on not restricting itself to one musical genre or style as elements of funk, rock, trance and dubstep weaved in and out throughout their set.  They also joined in the cover parade that lasted all weekend with a truly unique version of the 90s hit, ‘Peaches’.

    Later that night, there was a reunion of sorts on the Main Stage as the original lineup of Strangefolk turned back the clock and rocked Gathering of the Vibes once more.  This was a band that was a staple on the bills of early Gatherings along with other up and coming regional jam bands like Percy Hill and moe.  Reid Genauer made his second appearance of the weekend and looked like he was having a great time as he led the group through the classic songs ‘Valhalla’ and ‘Lines and Circles’ to open.  As night began to fall, the four old friends ripped through favorite after favorite from their catalog of songs creating disbelief that they hadn’t played together like this since 2000 prior to this year.  They also remembered to pay proper homage to the founding spirit of this festival with a set closing ‘Touch of Grey’.

    The mood then shifted back to hard rock as one of the main headliners, Primus, turned the Main Stage into their own musical playground.  Les Claypool delivered his usual antics, banter and explosive bass play and Larry LaLonde attached his guitar like he was angry at it.  Their set included several songs off of their latest album, Green Naugahyde, including ‘Tragedy’s a’ Comin’ but they made to sure play old favorites like ‘Jerry Was a Race Car Driver’ and ‘My Name is Mud’ before all was said and done.  High intensity rock and roll combined with surreal video and animation on a large screen behind the band made for a memorable set to say the least.

    Saturday night offered some very danceable music as Sound Tribe Sector 9 took over after Primus and threw down as only they can, creating an almost a rave-like scene.  The late night acts included The Machine, one of the premier Pink Floyd tribute bands in the country and Papadosio, who kept revelers dancing through the night and into the morning.

    As dawn broke on the last day of Vibes, people could be seen slowly taking down campsites and packing cars.  Some left the grounds altogether assuredly content with an amazing three days of music.  The Sunday lineup did have a much more relaxed feel to it that fit the day nicely.

    Always a blast in whatever time slot he plays, Keller Williams served as the wakeup call on the Main Stage this day.  He held nothing back as his set was highlighted by ferocious acoustic guitar play, thick, juicy bass lines and his renowned looping technology.  He also featured the most ‘outside the box’ Dead cover with a rendition of ‘Can’t Come Down’, a song so old that it was conceived when The Grateful Dead was still going by their original moniker, The Warlocks.  This was a true treat and a must hear for any Deadhead….or Warlockhead.  ‘Best Feeling’ was a song a lot more people were familiar with and closed out Keller’s set in grand fashion.

    As Keller wrapped up, The McLovins held court on the Green Vibes stage and greeted new arrivals with a solid take of ‘Playin’ in the Band’.  The new incarnation of the band later played the song that originally shot them to notoriety, Phish’s ‘You Enjoy Myself’.  While it’s certainly a different look and feel, the future is still very bright for this band as they appear to be slowly forming their own sound and identity while taking on harder and more complex compositions.

    The afternoon wore and on more and more campsites dwindled in size and packed cars leaving the grounds became a more common sight.  Max Creek delivered an enjoyable set on the Main Stage as Scott Murawski once again displayed his guitar prowess and a band that’s been together for four decades weaved through old classics.  Afterwards, legendary band Steel Pulse performed delivering a healthy dose of reggae and dub to the Sunday festivities.

    To close out the weekend, The Avett Brothers played a long set with a five song encore that tied a bow on a memorable weekend.  Their heartfelt lyrics and own blend of country, folk, rock and ragtime sent everyone home happy.  No covers were needed in this final set of the weekend as their hits like ‘Shame’ and ‘Kick Drum Heart’ satiated loyal fans and new listeners alike.

    With no more music to be had, most campsites were fully cleaned and abandoned as car after car began to exit the premises.  Gathering of the Vibes promised a full weekend filled with both musical legends and up and coming acts and it delivered in spades.  A festival that began as a party for lovers of The Grateful Dead came to full fruition as all living members of the band played and played well.  Whether it was Dead covers, bluegrass songs, New Orleans soul or infectious dubstep, the festival offered all things for all walks of people and tastes. Seaside Park appears to be the perfect host for such a gathering and will hopefully continue to be just that for years to come as yet another chapter of the Vibes story has now been written.

     

  • StrangeCreek Campout Festival review

    StrangeCreek Campout Festival review

    One of the great rites of passage into summer that the Northeast offers every year takes place in a small campground tucked in the woods of northern Massachusetts. I’m talking about StrangeCreek Music and Arts Campout Festival of course, and Camp KeeWanee. This quaint campground in Greenfield, MA is typically used for children’s summer camps, but before that gets underway, the summer kicks off with a fantastic festival that features some of the finest bands that this region of the country has to offer as well as some true up and coming acts.

    StrangeCreek Campout FestivalWe arrived at the campgrounds late Thursday night after driving though a pretty light but constant rain storm. An early arrival like this is paramount for this festival. One of the more unique aspects of StrangeCreek is that pretty much all of the general camping area is in a wooded area right next to a small river. There are plenty of spots there to set up camp sites, and large ones at that, but they go quickly and the later you arrive, the further back into the woods you have to trek in order to set up a base camp. Early birds are really rewarded in this aspect as they get first dibs on the woods, so to speak.

    After a quick hello and chat with festival promoter and Wormtown owner Mark Blanchette upon arrival, we were on our way to try to set up camp as best we could in the dark, wet surroundings. Mark and his Wormtown crew do an incredible of producing and hosting StrangeCreek every year. They seem to have it down to a science with the festival now in its 10th year of existence. There were plenty of people around for help if it was needed, readily available supplies like ice and security maintained a steady but low key presence all weekend.

    Despite the elements, setting up camp in the woods was devoid of hassle. Having two experienced festival goers made things a little easier. Some much needed sleep parlayed into Friday morning and the first day of music. As more festival goers arrived with gear in tow, Timbre Coup played a relaxed but energetic set on the main stage. This group from Albany, NY always seems to deliver interesting, progressive music and definitely fit in the aforementioned ‘up and comer’ category. Their mix of rock and funk grooves, along with a bubble making machine in the audience, made for a fun set and nice start to the weekend.

    The Alchemystics once again brought their mix of reggae, funk and soul to StrangeCreek and ushered in the evening session. This band is no stranger to this festival and by the end of their set, they had everyone moving and spirits were high. This gave way to the night’s headliners, Donna the Buffalo. This eclectic yet funky group has now been delivering infectious tunes for more than 20 years. Formed in Ithaca, NY, DtB offers a little bit of everything as a band. They have elements of rock, blues, country and zydeco in their music and the band has always maintained a socially conscious image. While some band members have come and gone, the core of the group remains in Jeb Puryear and Tara Nevins. Donna’s set featured classics such as “If You Only Could See” , “No Place Like the Right Time” and “Family Picture”. Along with some newer tunes thrown in, their set threw the night into high gear and almost assuredly garnered them some new fans.

    Another true rising star on the scene, Dopapod, threw it down in one of the late night cabins. Their set kept the party going and was high energy to say the least. With every performance, this group seems to get both collectively better and more off the wall. Their brand of rock meets acid jazz meets electronica is a welcome addition to any weekend. They have a full summer slate of shows this year and are sure to be a fixture in the late night festival slot. Do yourself a favor and make some time for this band this summer; you’ll have plenty of opportunities.

    As night turned to day, the Wormtown Cabin was filled with the familiar sounds of The Grateful Dead via the cover band Shake Down. Their set kept the cabin nice and hot and was ended with a truly mesmerizing version of “Morning Dew.” With the sun almost fully risen, it was time to call day 1 a success and try to rest up for day 2.

    Saturday saw both the temperature and amount of live music increase. The afternoon kicked into gear with a set from the new look McLovins. Guitar virtuoso Jeff Howard is out and two new guitarists, Atticus Kelly and Justin Berger, have entered the fold. Their set was light and enjoyable and included a take on “Shakedown Street”, keeping the Dead vibe alive and well. With two new members in the band, the musical execution may not have been as crisp as past shows, but clearly the foundation for a new and fuller sound has been laid. With more practice and regular gigs, this band should remain a must see on the festival circuit. It’s just a shame they no longer have a band member who slightly resembles the actual McLovin character.

    The afternoon action on the main stage continued with Marco Benevento and a set full of musical mastery and whim. Playing with Dave Dreiwitz on bass and Andy Borger on drums, Benevento went through many song found on his solo albums. A true highlight was the new tune “Fireworks” which established a bright and sunny mood on a gorgeous sunny mood. A notorious consumer of Marker’s Mark, Marco even ducked off stage between songs and provided a fan with some from his personal stash. When he wasn’t playing bartender for the crowd, Benevento flashed the musical prowess and wackiness that have made him a household name as it pertains to the jamband scene.

    Toubab Krewe, an act growing in national popularity, took the stage soon after and delivered a set full of its typical ethnic grooves and rhythms. They wowed the audience with their mastery of various instruments and styles. Afterwards, on the other main stage, a StrangeCreek staple, New Riders of the Purple Sage, kept the music going. This is another band that has performed at StrangeCreeks of yore and they kept the Dead vibe going that was prevalent all weekend with an absolutely stirring rendition of “Peggy-O”.

    Finally, it was time for Saturday’s headliner and co-name sake of the festival, Max Creek. You can tell right away when a band consists of members that have been playing together for years and make musical mastery seem almost effortless. Max Creek fits this description and they delivered another set that was high in intensity and fun. They delivered a fun mix of originals and covers, the latter of which was highlighted by an explosive version of “Eminence Front” that closed the action on the main stage for the day. Other fun covers from this set included “The Night They Drove Old Dixie Down” and “Helter Skelter”.

    The late night action was highlighted by a performance from Giant Panda Guerilla Dub Squad. Their brand of high-octane reggae and funk is a welcome addition to any late night grouping. This band has sure come a long way from playing in the woods (and not being on the bill) at one the early Camp Biscos. A performance by Viral Sound kept everyone moving and shaking in the Kee Wanee cabin until the wee hours of the morning.

    As Sunday arrived, some festival goers began to pack up and break down their campsites in an effort to stay ahead of the game. With Monday being Memorial Day, this is not an essential action by any means, but usually a smart one. We decided that leaving Sunday night wasn’t a bad idea, as a weekend full of sun and music was beginning to take its toll. However, there was business to attend to first.

    The Tells, a StrangeFolk side project of sorts, played their typical Sunday set at the Vernville stage. They succeeded in keeping the spirit of The Grateful Dead alive with a sweet and soft cover of ‘Ripple’ after playing a few Strangefolk songs that had been on the shelf for over a year. Another fun aspect of StrangeCreek is the presence of small side stages placed in openings in the woods. All weekend long, lesser known bands filled the woods with music. Some not-so-lesser known bands also saw action on this stage as Tom Hamilton and his American Babies performed Sunday night and Dangermuffin the night before.

    A hot and humid afternoon soon gave way to the night and two of the bigger acts on Sunday. Ryan Montbleau Band, another festival regular, got the crowd warmed up with a fun, hip set that showcased his song writing (and performing) talent. He’s developed a fervent following that seems to get a little bigger and louder each time out.

    With everyone in good spirits, it was then time for the other co-name sake of the festival, Strangefolk, to take the stage. Earlier this year, the band had a very successful “reunion” tour with Reid Genauer back on vocals. However, this was the newer formation of Strangefolk, but that doesn’t mean they didn’t rock as hard. Hits like “Sweet New England” and “Entitled” were played to perfection and filled the night air with a beautiful and familiar sound. A cover of Crosby, Stills & Nash’s “Carry On” served as both the encore and the bookend (for us) of the weekend. Alchemystics delivered another set in one of the late night cabins and they were followed by Jimkata, a band that is no stranger to the festival late night schedule.

    If you’re looking for a fun, close and well-run festival to kick start your summer, you need look no further than Greenfield, MA and StrangeCreek. It’s a truly special weekend that sees many attendees returning faithfully each year. This sense of togetherness and community is prevalent from the moment you park your car. So ditch the beach and the barbecue one year and get to StrangeCreek. You’ll certainly be glad you did.

  • Rock n’ Roll Resort 2 : A Psybient Review

    What do you get when you take a classic full service hotel nestled in the Catskill Mountains of New York and fill it with three days worth of electronic music and psychedelic madness?  What you have is Rock n’ Roll Resort 2: A Psybient Soiree, a true three day festival that features music from start to finish. Heads of all shapes and sizes filled Kutsher’s Resort in scenic Monticello, NY during the last weekend of March 2012 and had a great time doing so.

    Promoted and produced seamlessly by Wicked Cool Productions, this event not only featured incredible live music, it provided a relaxed and comfortable setting in which to appreciate all types of visual art. Alex Grey paintings served as backdrops for some acts and other stages implemented amazing visual graphics in the background.  Thanks to this and other features the timeless hotel had to offer, the sights were almost as amazing as the sounds.

    The hotel itself is something out of a time warp from the 1940s. The floors are lined with carpeting that hasn’t been seen in decades.  Entire hallways (doors included) are made of glass and classic style lounge chairs fill every corner.  The bedrooms themselves featured moldings on the walls and a style that was truly ahead of its time… when Eisenhower was president.  Yet somehow, all this did was add to the charm of the hotel that surrounds a gorgeous, small lake seemingly ripped out of a Rockwell painting.  The old school resort setting was a throwback that seemed to evoke the spirit of a range of different movies.  From ‘Dirty Dancing’ to ‘Fear and Loathing in Las Vegas’, the hotel was different things to different people. Rick Lowenberg of Brothers Past remarked the hotel had a feel of “something post-apocalyptic with 1200 zombies running around like something out of 28 Days Later.”

    Each night of the festival featured a different theme to dictate costumes or appearances.  Some chose to follow this, but it definitely seemed like the minority of attendees and was not mandatory by any means. Friday night’s theme was “Video Game Characters”.  Predictably, many Super Mario Brothers and mushroom-based costumes made appearances.  The day’s slate of music kicked off with Horizon Wireless playing in the Soiree Lounge, located just next to the main lobby. A true benefit of a festival of this nature was not having to move far to hear great music.

    After the Nadis Warriors opened up the Launch Pad, one of the two main music rooms that had the look and feel of a Vegas lounge, it was Jeff Bujak’s turn to keep the music going.  The first of his three sets of the weekend was billed as ‘Silent Bujak’ and it featured about 100 headphones for people to use and control the volume as they saw fit. This is a type of performance that is becoming more and more popular in the festival setting, especially for late night sets when sound ordinances may come into play.  Bujak had a great time playing for everyone and seemed to enjoy the small festival setting this weekend presented and the close-knit feel that was present. “As an artist I love that and I’m able to play my best set”, Bujak commented, “and I’m able to give a little more and do a little more.”

    Friday night’s headliner was the one and only Simon Posford whose Hallucinogen and Shpongle sets took the night to a whole new level.  A master of psychedelic trance music, Posford kept dancers in the Stardust room bobbing and weaving all night long.  This was the other large lounge-type room main acts used for the weekend.  It not only featured an accessible dance floor, but sitting booths and stadium seating in the back as well.  Space was never an issue all weekend – a must for the avid dancer.  There was plenty of room to be had and people could sit, stand or even lay down if they chose.

    While Posford was working his magic that night, so too were Alex and Allyson Grey. This husband and wife duo collaborated on paintings done to the side of the stage that just jumped right off the canvas.  They also performed during Ott’s set the following night.  So if amazing psytrance beats and infectious grooves weren’t sufficient enough, all you had to do was look around for other artistic masterpieces being formed.

    Music continued all through the night as Lespecial performed the first of their two late night sets of the weekend.  This trio did a fantastic job of keeping the late night energy flowing while laying down some pretty unique grooves.  They were followed by Psylab, a real solid act that seems to be an electronica festival staple, before Digital Storm welcomed the Saturday morning sunrise.

    After a short night’s sleep and some much needed coffee, Saturday kicked into high gear with Dirty Paris’ afternoon set. This Albany based group meshes intense jam rock with a type of acid jazz that’s rich and full of texture.  It was surprising to see this group in an early setting like this but they were well received all the same.

    Saturday brought with it “The Masquerade” theme. Those who didn’t take advantage of the afternoon’s mask painting or jewelry workshops went back to the Stardust lounge where Viral Sound threw down.  This four-piece band kept the energy high and the room dancing and was truly one of the surprise highlights of the weekend.

    After a quick detour to check out the Cosmic Dust Bunnies, a great band name whose music is no joke, it was finally time for Brothers Past. It was a true joy to see this band again and they seem to be better than ever.  Soulful vocal harmonies combined with a tight electronic sound created in front of video screens showing incredible imagery made for two of the better sets all weekend. The band, which also played at the previous Rock n’ Roll Resort in November, seemed to enjoy the surroundings just as much as everyone else.  When asked if they would return next year if invited, guitarist Tom Hamilton said they would but, “only if they have it here again.”

    Soon after, it was time for Conspirator to take the stage.  This Disco Biscuits side project brings almost as much energy and high-voltage as the real deal.  They too were supplemented by intense visuals being projected on screens throughout the room that truly added to the experience. Bassist Marc Brownstein and keyboardist Aron Magner are well known entities in the scene, but the true heat emanated from the drum kit and KJ Sawka who seemed to toy with the beats and tempo changes.  He displayed a ferocious aggression on the drums that was also technically sound and just fun to watch. Conspirator’s set also saw random teases of the Yes classic, “Owner of a Lonely Heart” thrown in for good measure.

    Ott was responsible for Saturday night’s big psytrance DJ set and he delivered as always.  Afterwards, it was the first of two sets during the weekend for another up and coming band, Dopapod. This quartet thrives on creating a style of music that’s fun to listen to while not limiting itself to one genre or style. They kept things up-tempo for the most part and had a fun time doing so.  Towards the end of their set, keyboardist Eli Winderman remarked, “This place makes me want to eat some matza ball soup” and everyone knew exactly what he was talking about.

    Sunday’s theme was “Pajama Party”, giving everyone an excuse to walk around in pajamas or sleep wear if they chose.  Many took advantage of this, but there also seemed to be fewer people around this day.  This was likely due to people either leaving early to get back for Monday (a non-holiday) or just being flat out exhausted from an intense 48 hours of non-stop music.  Between less people being present and many festival-goers walking around in pajamas, Sunday really did have a more relaxed vibe to it.

    Dopapod was able to leave their stage set up from the previous night and delivered another raging set in the afternoon. They kept the fun going later that day too, as their scheduled meet and greet somehow turned into a group sing-a-long of the R. Kelly classic “I Believe I Can Fly”.  This band had a lot of fun all weekend and seems poised to become a major factor in the jam/electronica music scene.

    Sunday was highlighted by another stellar Brothers Past set followed by a Conspirator set that seemed to tie a bow around a weekend of truly phenomenal music.  Conspirator’s set featured more impressive drumming from Sawka and intricate guitar licks laid down by guitarist Chris Michetti.  A highlight was a truly riveting version of ‘Orchestra Theme’ that had elements of funk, dubstep and everything in between.  Afterwards, a beaming Shannon Plaquet of Wicked Cool Productions took to the mic to thank them and everyone else that attended this weekend.  He also reminded folks that even after this, the festival was not over yet.

    BangBang performed a set that kept people moving even at 1 a.m. on a Monday morning.  The last song featured a sit-in with Eli from Dopapod as well, further putting this band’s stamp on the weekend. Afterwards, Lespecial delivered another engaging late night set and the music literally went all night well into Monday.  As stated, this is a true three-day festival that delivered on its promise of non-stop music and fun.

    Between the retro-scenery, incredible live music and relaxed communal atmosphere, Rock n’ Roll Resort 2 was a special weekend indeed.  It’s highly recommended for anyone who enjoys this type of music to grab a bunch of friends, fill a hotel room and take part in this unique experience.  The groundwork has been laid and this festival could very well reach another level after a successful weekend like this.  Don’t miss out!