NYS Music 20​12

Category: Show Reviews

  • Interview with Marc Brownstein of The Disco Biscuits and Conspirator

    Interview with Marc Brownstein of The Disco Biscuits and Conspirator

    Amid a circus of DJs, 20-somethings with computers and dubstep bands, the art of live electronica has been lost. The creation of electronic dance music by a band and not solely on a computer, is an art form few have mastered. Kraftwerk, Justice, Simon Posford, The  Chemical Brothers, Sound Tribe Sector 9 and the Disco Biscuits are in a class of their own. However, from the decreased touring schedule of the latter has grown a 2004 side project that has taken itself and audiences to new heights in the development of live electronic music. Conspirator, fresh off the release of their live album Unlocked: Live from the Georgia Theater, tour 60 or more shows a year from coast to coast, opening the door for the band to make a case as the best live electronic touring act in America today. Numerous festival appearances this summer will likely cement this journey that founding Biscuits’ Aron Magner and Marc Brownstein (who joins us for an interview) has taken with guitarist Chris Michetti and a rotating cast of drummers.

    marc brownstein interview

    While the show itself was outstanding and a cadre of intensely dancing fans came to check out Dirty Paris and Blockhead open up, the interview with Marc Brownstein shed light on Conspirator, electronic music, and the current state of The Disco Biscuits. Marc said at one point, ‘It’s great to be inAlbany’, even though we were in Clifton Park. This just goes to show how big the Albany music scene is, stretching to Troy and points north, meeting up with the high peaks sounds of Saratoga.

    Conspirator 4/26/12, Northern Lights, Clifton Park,NY

    Setlist: So Much More > Step Inside, Hands Up, Countash > Feed the Wolf >Brooklyn Bridge> Hard Acid > Commercial Amen > Caves > Orch Theme > Liquid Sawyer, Gypsy Lane, Neck Romancer E: Fascinate

    Interview with Marc Brownstein:

    Your new live album, Unlocked: Live from the Georgia Theater was released recently. What is it about the creation of live electronic music that leads to such a kinetic response from the crowd?

    Electronic music in general gets a kinetic response from the crowd. Doing it live just brings in that element of surprise, and that’s the thing that we’ve always been used to having in our world, so that’s one thing that I’m not ready to give up and moving into just playing electronic music with an element of surprise in there. You can create it DJing for sure without instruments; really great DJs are great because they construct their sets the way the great bands of all time have constructed their sets and they’ve made the show flow through, they’ll play half of one song then go into another song then maybe they’ll bring in a little piece of one song over another song, and its like they’re doing the same stuff at this point that the great jambands did back in the day, and still do.

    marc brownstein interview

    What is the origin of the band name Conspirator?

    It’s mostly about collaboration. The whole idea was just to collaborate with everyone out there that we know, Joe Russo to the guys from Umphrey’s to the different drummers we’ve used, Lotus, The New Deal, KJ SAWKA and Adam Dietch. It’s about Aron and I having the chance to bring in these different influences and elements over the tracks that we produce and interpret them differently with different musicians.

    There are quite a few songs that stretch from Conspirator’s debut album, The Key, have been played by The Disco Biscuits as well. Is there a difference between playing them with two different bands, even though two members are common between them?

    It depends on the song. For Portal (to an Empty Head), the difference is that we’re not singing but we’re playing without any tracks, but (Digital) Buddha we’re not singing but we’re playing a whole different version, a computerized version of it and made a track for it. We made a computerized backtrack of Buddha and broke it up, it can be triggered and its totally loose, we’re not stuck on it, we can use it and improvise with it and tweak it, but it makes them completely different from the Buddha that we play in the Biscuits. And then there’s the ones in the Biscuits that we do without any track like Commercial (Amen) or Liquid Handcuffs or Orch Theme but over in Conspirator we play them the way they were written. In the Biscuits we interpret these electronic songs into rock form but in Conspirator we’re playing them as electronic tracks and adding rock instruments to that but staying true to the fact that they’re electronic tracks.

    What are the origins of Orch Theme? How did the song develop into such a slow building aria?

    The song was named for the sound on the keyboard that it’s based around, so the actual sound of the theme of Orch Theme was called orch theme on the computer so he (Aron Magner) named the song after the sound, which happens sometimes. It’s not the first time its happened where a sound has dictated the name of the track; after all it is music.

    So Chris (DJ Omen) and Aron wrote the theme together, then we brought it into the Biscuits, dropped everything except that Orch Theme sound and then we turned it into what we do, which is stretch it the fuck out. Sometimes we even play it without ever playing the theme, we’ve actually put it on the setlist and just played through the whole entire thing and never got to the theme and just left it and went somewhere else. Then at the end of the show we’ll be like ‘we never played that’, and we just got so far out in the jam that we felt like the actual song didn’t even get played.

    (After the show, I asked Aron Magner for his take on the origins of Orch Theme and he gave some more details to the creation of the song)

    “Orch theme I wrote in 2005 and at that time Lord of the Rings was the best thing ever, as it still is right now. I was working in the studio with DJ Omen and I was wondering if we could make some thematic and cinematic music, I wanted it to sound like electronic, like the orcs are coming in. as I was browsing through patches, I was like ‘oh my god!’, ‘Orch theme’. The motif is trying to say orchestra theme because it has layers and layers, the bottom half of the keyboard has tympanis and the upper half has violas and in between has brass, there are 36 instruments laid out throughout the keyboard that double each other depending on their range so that’s the Orch Theme. So that’s how it came about.”

    Recently, electronic music pioneers Kraftwerk performed their albums at MOMA. Did their music hold and influence over your early interest in electronica and if not, who were the first bands that turned you onto electronic music?

    Well, Kraftwerk was a thing I found out about later when people used to say that we were the first band to play electronic music, when Kraftwerk was doing this decades before we came along. So they had no influence, it was like a collective unconsciousness of ‘dude, people have been doing this for a long time”, but for us it was mostly for us, Simon Posford, the person who was our earliest influence, via our friends from England who were friends with Posford and were playing us Hallucinogen and Shpongle back in the mid-late 90s. We had heard house music but it didn’t appeal to us as much as psychedelic music. Clearly, that was the bridge, between rock and electronic, that’s why Posford was the bridge, for all of this, for real. A lot of people attribute us as a bridge in America for bringing rock and electronica together, for pushing the styles together at Camp Bisco and by forging a rock and electronica festival, but the bridge came from similarities between the psychedelia of trance and the psychedelia of the jamband world; it sounded very different but the idea was the same, to try to tweak people out.

    Your drummers rotate, including Lane Shaw, Mike Greenfield, Darren Shearer, Adam Deitch and KJ SAWKA, currently playing this tour. How hard has it been to interlace through different drummers and keep the music consistent from one night/tour to the next? 

    It’s been much better since we’ve had KJ for the last six months. Having one drummer is what we want, it’s preferable, and the band is getting better and better. Last night was one of the best shows we’ve ever played, we know each other now, and we can communicate with each other. It’s great.

    Is Conspirator, initially conceived as a side project becoming the main touring act? Will we see Disco Biscuit tours again?

    Well, when the Biscuits aren’t playing this is certainly going to be the main act. But I’m assuming there’s going to be more Biscuits tours. That’s the assumption I’m running my life on. Of course there’s going to be more Biscuits tours. We wanted 2011 off and we didn’t get it, it just didn’t happen. We wanted to take the whole year off

    You mean including Camp Bisco as well?

    Yeah we were going to take the whole year off and then we talked Jon into doing Camp and we talked him into doing Inferno and then we talked him into doing Nokia and Identity and before you knew it we played 50 shows and said “Well that wasn’t a year off.” I played another 80 on top of it, I played 130 shows and so at the end of that I think we were just like “OK that didn’t work, the only way to do this is to legitimately try to not to talk anyone into playing any shows. For me, I have to be very disciplined, “OK, I’ll book myself to play with Conspirator and play these shows because I have a lot of energy and I put a lot of effort into trying to get The Disco Biscuits out on tour all the time for years and years and years, I’m always just driving it forward and pushing shows, booking shows, pushing festivals, so for me I just have to be disciplined and say “We’re taking time off, I have to accept that we’re taking time off.” I don’t know if I’ll ever take time off myself, personally. I just don’t see the point in taking time off. I get for other people they have to but for me personally, I just don’t…yeah, there’ll be more Biscuits shows.

    Update 4/30, 11pm: This article has been updated to correct the name of a co-writer of Orch Theme. It was Chris Edmonson, AKA DJ Omen. Apologies for the confusion

  • The Heavy Pets Syracuse 4/12/12 Show Review

    The Heavy Pets dropped by Westcott Street in Syracuse this past Thursday and damn, it was a good time! With plenty of space to move around, the crowd took in a solid batch of jams by the 5-piece from Florida, enjoying the sunshine they brought with them. Unbeknownst to me, the group has ties to Syracuse University, so it was a twisted sort of homecoming for at least one of the band members. Go Orange!

    Since their formation in 2007, T.H.P. has released a total of 8 albums (4 studio and 4 Live,) so they have plenty of output to select from when heading into their shows. The band chose lively starter “3am” to get the performance in motion, and we were off on a jammed out journey.

    It was clear from the get-go that these guys are a very good band with a sincere passion for their craft… We need more groups like them coming around. Offering lots of mellow grooves and great tone, The Heavy Pets got right down to business. Throwing down some solid breaks and getting people ready to move, the band seems right at home onstage… No hesitation by the players at all. They could be playing for themselves or ten thousand people, but they seem very comfortable with their crowd and each other. Bonus points…  Singer/Guitar player Jeff Lloyd kind of resembles Dave Mustaine from a distance, though his pleasant personality and bright smile undoubtedly make him the better choice to have a drink with.

    To mix it up a bit, they brought in some definite funk on track two, “Monster Box.” With no hesitation, the bass player laid it right down, making the groove happen. With the rest of the group dialed right in, the cohesiveness of the unit remained for the duration of their performance. Throughout their 10-song set, The Heavy Pets featured plenty of tasty solos over some straight soulful grooves, highly danceable jams, and frantic rhythms.

    To veer off topic a bit, it is very good to know that wherever jam inspired music occurs these days, there will always be a tight-bodied glow stick girl in Ugg boots going off. And I still need an answer as to when in the hell hula-hoops got so popular?

    The Heavy Pets are yet another group that remind me how much music there is out there to explore. Though I’m a bit late in hearing this band, it is more of a relief to finally experience these guys than it is a bummer to know I am just finding out now.

    Lee Terrace

    4-piece group Lee Terrace provided the direct support. A very young looking band, their songs were diverse and unique, offering a wide range of influence and rhythmic texture. Incorporating jam, rock, and touches of punk and ska, their writing seems to be a free-for-all. With some dedicated woodshed time, I feel they have lots of potential to entertain.

    The first thing at struck me was the Bass player… The kid is solid. As primary singer, his higher range was complemented by the occasional harmony by the keyboard player, who exchanged microphone duties throughout the set.  The guitarist was also a good player, though I felt he scribbled out a majority of his solos rather hastily. The biggest detractor from the set was the drummer. I felt his approach was excessively showy, and he constantly nursed same fill over and over again. Hanging back a touch would greatly benefit the group as a whole. Good “House Of The Rising Sun” cover, fellas!

    Haewa

    Starting us off tonight was the young jam trip known as Haewa. Recommended to me by several people, I really dug what these guys were throwing down. Definitely inspired by jam bands, they group incorporates a decent blend of rock, funk, reggae, jam into the mix. I think they could make some nice waves if they keep up the good work.

    All of their songs were heavy on the groove, and they offered a nice pulse throughout their brief set. While the vocals were lacking at times, the kid’s guitar chops were right on, and he wasn’t afraid to show them off. The bass player was also solid as a rock, and worked a heavy bottom end into the mix. The drummer was a tad flubby, but he kept the groove moving along nicely throughout their set. Their incorporation of nice guitar effects, tasteful solos, and infrequent sampler usage filled up the room well.

    The group seems to be in the experimental stage, and, in my humble, they need to move around a bit more while they perform. But overall, it was a good showing by the trio. Check them out if you see them on a bill.

    http://www.theheavypets.com/

  • Americana in Albany: The Avett Brothers and Eastbound Jesus

    Albany’s best kept secret, Eastbound Jesus, started a rainy and windy day playing a free show at Jillians of Albany for a packed house prior to The Avett Brothers taking the stage a few blocks north at The Palace Theater on Sunday April 22nd. The fans that came looking for free music and respite from the rain got both, with the local flavor of EBJ warming the crowd up for two hours with foot tappin’, dancefloor stompin’ and some of the most energetic music that a band can pour onto an audience. Playing Nine Pound Hammer and referring to it as a staple of all bluegrass bands brought a bit of the group’s roots out into the set and reminded some in the audience of the traditional music they continue. A few dancin’ music tunes drew the seated from the audience to the stage and delved into a classic version of Dylan’s Maggie’s Farm. The music and style of EBJ is a little more Greensky Bluegrass and Railroad Earth than more traditional acts, leading to a larger audience in due time. The night was capped off with The Ballad of Eastbound Jesus, a single among many contenders throughout the night. My first Eastbound Jesus reaffirmed all that I had heard, and this band has a great future coming to them.

    After dinner and an early show, we walked up to The Palace for The Avett Brothers show. Two first time bands in one night and already I was sold on one. My experience with the Avetts was limited to their albums which I found enjoyable but without hearing them live the jury was out for the time being. The Avetts wound up giving a stand out amazing performance that showed why they are part of the bluegrass renaissance in America. The audience was predominantly made up of post-college and thirty-something women with their boyfriends in tow when a gaggle of girls wasn’t with them. After a few songs I was taken by the energy of the group and the music – it was summer time poolside happy hour music, tailor made for a good time, like Will You Return, which was touching and upbeat and had a great line ‘Why can’t you see yourself as beautiful as I see you?’

    Event poster, edition of 100

    Scott Avett performs with the intensity of Yonder Mountain String Band’s Jeff Austin and mentioned that they played The Lark (Tavern) on their first tour ten years ago. January Wedding was a sweet soft song off their latest album I and Love and You then the band took a moment to allow Scott a solo, followed by this brother Seth on guitar. Seth spoke about William Kennedy (to loud cheers), as he had been reading Billy Phelan’s Greatest Game and said he had been ‘coming to Albany in my head for quite a while’ and that it was nice to be here. The full band came back to the stage for At the Beach and the crowd sang along with glee to this and many songs. The title track to their latest album I and Love and You was soft but a great start to the album upon another listen after the show. Kick Drum Heart serves to be the band’s signature song, eliciting audience response with clapping and intensity from the musicians. A multi-song encore was capped nicely by Talk on Indolence, another invigorating song with rapid fire lyrics and sing along lyrics.

    As bands like The Avett Brothers and Eastbound Jesus continue to play to broad audiences, folk and bluegrass-based bands will continue to break into mainstream music and bring the roots of American music to new life.

  • Sister Sparrow and the Dirty Birds at The Putnam Den

    Arleigh Kincheloe and her band of eight Dirty Birds returned to The Putnam Den on Friday the 13th after a successful Kickstarter campaign for a new tour bus, which was parked on display outside, new digs for a band that has grown immensely in the past three years. Having seen them for the first time in late 2010, they stole the show, opening for The Radiators and continued to spread their wings and tour coast to coast, garnering a following in the process. With steady stage presence by Arleigh and tighter grooves, the band played songs old and new, including tunes from their new album Pound of Dirt, notably ‘Too Much’ with harmonica from Jackson Kincheloe sounded more Popper than Musselwhite while having a kind similarity to the Stones’ Heartbreaker.

    [youtube http://www.youtube.com/watch?v=c7cCPMnvksY]

    Covers of Fat Bottom Girls and Cripple Creek were incredible (with a pseudo Saratoga reference of bets of win and show) but the highlight was Dirt, the album’s title song. Arleigh sang with the Southern (not-Scott) Joplin-esque funk with early Grace Potter vocals and the grittyness of Aguilera. The encore of Vices is always welcome, bringing with it a beat akin to Blondie’s The Tide is High. The night even attracted a full wedding party who got into the show before their (sigh) local DJ played till 4am.

    After the show, Arleigh commented the growth of the Sister Sparrow crowd upstate over the past couple years. “It seems like the crowd grows significantly each time we play upstate. It’s sweet they came to see us and are singing along in the back, it’s kinda wonderful. It feels like home, coming from Brooklyn, and we like New York.” Their summer is quite busy with trips to New Orleans Jazz Fest, Summercamp, Mountain Jam, Bonnaroo (twice), Teullride Jazz Fest and many more plus a western tour slotted fro July. In their new van, they can see the country in style and fan out across the country, blending funk and soul with amazing vocals.

  • The Return of Conehead Buddha

    Kicking off a weekend of celebration for Albany promoter Greg Bell who commemorates 20 years of bringing the best of live music to Albany, classic jamband and homegrown talent Conehead Buddha took to the stage of Valentine’s for the first time in six years. Featuring Ben Carle of Moon Boot Lover fame on bass, the eight piece band induced the packed upstairs crowd into a sweaty dancing herd, hands in the air in exultation to the music.

    Shannon Lynch, one of the founders of the jamband shared her thoughts on the reuniting after many years off: “The band has put a lot of time into really being prepared to come back and hit hard. I feel good about how the band sounds with our new drummer Tom Goss.” Listening to the show and having just seen Strangefolk perform for the first time (as the original quartet) since 2000, the benefit to practice is evident, and the time spent working on their music paid off throughout the night. Practice makes reunion tighter.

    Their ska/reggae sound wrapped in a jamband that plays for quality, not quantity, was augmented by the horn trio of Shannon Lynch, Terry Lynch and Shaun Bazylewicz, blaring their upbeat and energetic sound through the crowd while the bass/drum interplay at times gave some African vibe to exquisite funk, particularly on Hey Jody and Wear You Down. The second set included Vinnie, SWM, Wear You Down, My Way, Bobby Brooks, Must be You, Shades, Hey Jody, My Side of the Story, Sights->Psycho Killer->Sights with an encore of Johnny and his Fighting Boys with a Get Up Stand Up section. During Sights the band took off and eventually fell into a cover of Talking Heads’ Psycho Killer, setting the fuse of the crowd off in the process.

    Not surprisingly, the crowd was loud and dancing, akin to a Mighty Mighty Bosstones show, thriving, swaying and jumping with more energy as the night progressed. Dave Geoghegan from Dr. Jah and the Love Prophets, when asked what it was like to see Conehead Buddha, a group who, like many bands that came through Albany, opened up for you Dr. Jah in their early years noted “It’s cool because their music has really evolved. Some of their horn songs are so big, I feel like I’m at a stage show and the guys are really kicking it out now.”

    While this was a reunion night, it was also a celebration. Promoter Greg Bell marked 20 years of bringing the best live music to Albany and did so by reuniting one of the bands he helped bring to the big time, along with the likes of moe., Moonboot Lover, Ominous Seapods and numerous others. Greg pumped up crowd before the sets and again before the encore, keeping the crowd’s momentum electric until the last note was played. Shannon Lynch shared her thoughts: “Greg Bell has been very supportive of all the awesome bands whether they draw people or not. He knows who the good musicians are and has supported the scene; any (music) scene that exists in Albany right now is because of him. He’s been great to us and we’re very happy to be here for him.” Likewise, Dave Geoghegan looked back on the twenty years of the Albany music scene that Greg has presided over and remarked “There’s been a resurgence lately, with the Dirty Paris guys and Timbre Coup, it’s a kinda new scene and I think it’s really cool. We get to play with a bunch of them and the old school reggaes mixed with the new. I think it’s still a vibrant music scene.” As long as Greg Bell continues to promote show, Albany will continue to be the epicenter of live music in Upstate New York.

  • 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!

  • Review: Binghamtronica Music and Arts Festival

    Solaris steals the show at 3rd annual festival – March 24th, 2012 – The electronic dance music scene thrived at SUNY Binghamton for third straight year, with the growing experience of the Binghamtronica Music and Arts Festival. Developed by Greg Sarafan and featuring acts including Archnemesis, Boombox, Horizon Wireless and Binghamton’s own Solaris, eight hours of grinding beats and intertwined bodies were found throughout the student union. Sarafan felt that the event “went really well, everyone had a great time and the night went off without a incident,” which, after being at the event for five hours, can be easily encored.

    Growing from the last year, the art inside was more widespread, with live painters and dancers, as well as an impressive décor. There was a great stage backdrop with arrows akin to ‘Dance Dance Revolution’ which were illuminated at times from a apropos light show. The active crowd, shifting to every bass thump and Voyager-esque drum beat, amidst a thick fog of fog and smoke, was rarely satiated, as college kids are wan to be. A young crowd with a slight tilt towards a majority of college girls, was gathered inside and out and security avoidant of interfering with the good time all were having. The young ragers in the crowd were respectful of the music and for the most part, here to dance. Throughout the night, roughly 400 entered the doors to the main room, amidst a cloud of smoke that set an inclusive club feel for the entire night, getting thicker as the evening progressed.

    Among the bands were Solaris, Horizon Wireless, Boombox and Archnemesis, all phenomenal electronic bands of varying ilks and sub-genres. For me, the highlight of the night was Solaris, a trio from Binghamton who are on the rise in Upstate New York. Featuring Jared Raphel on keys, Vince Naro on bass and Daniel Scott Lyons on drums, less than 15 minutes into their set were applying thick buttery beats and igniting the crowd. The music was simply intense and could wake Lazarus. I could easily say they are like The Disco Biscuits, due to their intense, tight jamming and transitions, but that would be an understatement. For 90 minutes, Solaris ventured through Not Waiting Long,
    Garage Band jam -> Smalls, Polar and THEM, all instrumental and each moving the crowd into a faster and growing frenzy. The crowd was enthralled, to say the least, gritty like organic peanut butter, pre-mix style.

    [youtube http://www.youtube.com/watch?v=y5QDTlVGMtI]

    A benefit to the event being held on a college campus is the ability to enjoy the aura of college life, including a chance to play billiards or go bowling while listening to music. Going late into the night, all that was needed at this show was a reliable location for food and drink nearby but that withstanding, I found the trip southwest for Binghamtronica to be ideal and a diamond in the rough for their small but alive music scene.

    As the festival grows, so will the audience, Sarafan hopes to make the event more dynamic, keep it student-centric and planning soon for the fourth installment with bigger bands, longer sets and more vending opportunities. It will be good to see an event of this caliber continue to grow and bring great bands to the Southern Tier of New York State.

  • The Blind Boys of Alabama at The Mahaiwe, Great Barrington, Mass

    The Blind Boys of Alabama at The Mahaiwe, Great Barrington, Mass

    Few musical acts have cracked the 50 year mark for performances. Those that come to mind, Buddy Guy, B.B. King, Chuck Berry and The Rolling Stones stand alone above their contemporaries who have either passed or are slightly younger, including Eric Clapton, Paul McCartney, Pete Townshend and Roger Daltry. Consider those names and wonder who has been performing for more than 60 years, and you are likely to draw a blank. Step back 70 years into the past and this is where The Blind Boys of Alabama stand alone, having sung throughout the world to audiences of all sizes, branding a unique form of gospel music along the way and playing venues in Europe to the inaugural Bonnaroo in 2002. At The Mahaiwe, a beautiful and ornate pre-Depression-era theater just over the Massachusetts border in Great Barrington, The Blind Boys of Alabama filled the house with a rainbow of a crowd who clamored for their soul-uplifting sound, one that is impossible to bottle.

    I had only seen The Blind Boys once before live, at the Beacon Theater in New York City where they came out for the encore of a String Cheese Incident show. I didn’t get the connection or why they would bring them out (the two styles didn’t mesh in my mind) but hearing the memorable “Amazing Grace”, set to the tune of The Animals’ “House of the Rising Sun” was enough for me to enjoy the moment in eager anticipation of seeing them for a full show one day. Five years later, my wish was granted. Having won five Grammys, including a Lifetime Achievement Award, the band that was once five is now down to three, as age is creeping up on them in this, their seventh decade of performance.

    The Blind Boys, led out with assistance, hand on shoulder in front of them, are Ricky McKinnie, Jimmy Carter and Ben Moore, as seated left to right on the stage. Jimmy, the most vivacious of them all was active throughout the night, taking to his feet and the microphone to motivate the crowd to cheer them on as they prepared to play. He spoke in a paced, slow and southern style, taking his time in between numbers to speak to the crowd, transitioning with patience, slow, delayed patience. Joey Williams (Robert Randolph & The Family Band) sang on the higher noted vocals and played guitar, Ben Odom (bass and harmony vocals), Austin Moore carried the band on drums, save one song where Ricky took the sticks, while Peter Levin, a Paul Giamatti stunt double from Sideways manned the piano and organ. The band alone was akin to The Word, the North Mississippi Allstars and Robert Randolph side-project, but a much more old school style, version 1.0.

    Blind Boys of Alabama
    Blind Boys of Alabama

    Although the Blind Boys cannot see, they do move around the stage in their space, knowing how far they have to tread and always with a helpful hand to guide them back when they venture too far from their seats. Carter told stories, McKinnie and Moore sang along side him, taking the lead depending on the key of the tune, but remained the predominant musicians on the stage, far from a novelty but rather a storied group that has spanned more than half a century in their musical careers, turning concerts into revivals wherever they play.

    Among highlights of the 90 minutes set include the title track to the Ben Harper/Blind Boys album There Will Be a Light; “Amazing Grace”, set to the tune of “House of the Rising Sun”, a phenomenal version, as seen below; “Look Where he Brought me From” which featured Jimmy Carter taking an extended walk through the crowd, extending his hand to those reaching out to shake his, moving throughout the crowd with ease, surpassing any limits the crowd may expect an octogenarian sans sight. This continued in front of the stage before taking back up to his seat to walk off stage before a call back for the encore. They capped the night off with an encore of “I Saw the Light”, the first track off their latest album, Take the High Road, featuring Hank Williams Jr. on the track, as well as country artists Vince Gill, Willie Nelson and The Oak Ridge Boys adding to the genre-crossing album.

    Post-show, the Boys signed autographs in the lobby, shook hands and chatted eagerly with fans and patrons of The Mahaiwe. I spoke to Ricky and Ben and asked them if they remembered the String Cheese show at The Beacon and before I even mentioned the venue, they said “Oh yes, that was a fun show, played ‘Amazing Grace’ with dem boys.” The minds are sharp, the age is just a number and the music is nothing short of amazing. Next time they are in the area, get to seeing the Blind Boys of Alabama, the living legends of gospel music for the masses, not just a Sunday mass.

    [youtube http://www.youtube.com/watch?v=pR1tOVd4PCk]

    Setlist:
    Intro, Spirit in the Sky*, Way Down in the Hole, God Said It, Take the High Road, I Know a Place, On a Cloudy Day, There Will be a Light, Free at Last, Amazing Grace, Look Where He Brought Me From^, Band intros
    Encore: I Saw the Light

    *Norman Greenbaum
    ^ extended jam with Jimmy Carter walk through crowd

  • Binghamtronica III Electronic Music Arts Festival March 24th

    Binghamtronica III is a one day music and arts festival held on the Binghamton University campus. Binghamtronica is a completely not for profit event with all of the profits donated to HeadCount. This year’s line up includes: BoomBox, Archnemesis (special late night), Horizon Wireless, SOLARiS, Ink Line and ConArtist.

    This year’s festival will be held on Saturday, March 24. Tickets are available at our box office located on the Binghamton University campus but if you aren’t in the area, you can call the box office 12:30pm – 8pm for only a $1 extra fee. Tickets are only $20!

    Music will be played from 8 PM to 3 AM with a stage located in the Mandella Room. The lobby is a large open space which will hold a shakedown with vendors, student groups, art installations (which will be in both of the performance spaces as well) and interactive activities. In addition to art installations the art of Imaginationoverload will be displayed throughout the venue.

    Binghamtronica is a completely student and alumni run event. Various student groups will be working with Binghamtronica Productions Group to bring this festival to you.

    will be covering the festival on Saturday the 24th. Look for coverage and festival updates at .com and in Music Guide.

  • Galactic with The Soul Rebels at The Westcott Theater – 2/28/12

    Galactic with The Soul Rebels at The Westcott Theater – 2/28/12

    With 10 releases, a host of tours under their belt, and Stanton Moore hitting for them, you better believe Galactic are the real thing. The New Orleans Funk/Rock/Soul/Hip Hop extraordinaire have been getting crowds pumped up and bodies moving for close to 20 years! Their recent stop at Westcott Theatre was certainly no exception to the rule… These guys wail in concert!

    In between sips of The Westcott Theater’s fine ale, I scoped out the elaborate stage set up in anticipation of my first complete performance by the group. A full but comfortable crowd flooded the bar to stock up on drinks prior to show time… Ritual for any concert event. At 9:32 pm, the bass started thumping, the drums kicked in, and we were off!

    For those of you unaware… Let it be known that Galactic wastes no time getting to business. The sextet laid it down from the moment they hit the stage, and the crowd ate up every bit of it! Their set was chock full of rhythmic high and lows… Super thick, soulful, and heavy on the backbeat. The bass could be felt within the listener’s chest, and the richness of the melodies and pulse of the groove could make even the most obstinate of wallflowers bob their head along to the beat. This was 30 seconds into their first song.

    © Matthew Balch

    Then, to my gleeful amazement, they introduce Corey Glover to the stage on song 2! Though he was clearly listed as a guest performer, I had no idea they’d bring the legend onstage so quickly. Arguably one of the best front men ever, the Living Colour vocalist tore through the next 3 songs with the group, his distinctive high range vocals cutting through the music like a hot knife through soft butter. He would reappear often.

    © Matthew Balch

    The band kept it groovy throughout the entirety of their set. Each member was given ample time to showcase their well-honed style, yet always kept it in the context of the song. Robert Mercurio’s fat bass lines filled the venue with enough bottom end to keep Sir Mix-A-Lot drooling, Jeff Raines’ guitar and Richard Vogel’s keys adding the textural layers and catchy hooks, and Ben Ellman’s saxophone providing the sharpness to keep the groove edgy, completing the sound.

    © Matthew Balch

    But it is clearly drummer Stanton Moore’s show when Galactic performs. A well-known and highly respected guru behind the kit, Stanton proves, without a doubt, that white boys can groove. At center stage, his elaborate drum kit setup is the first thing you witness, with the exception of the large silver-glitter “G” directly behind it. And let’s face it, it’s a funk band… There ain’t no funk without a funky drummer. Stanton, living up to the name, undoubtedly has all the goods necessary to bring a smile to Clyde Stubblefield’s face.

    Opening act The Soul Rebels also made an appearance on stage with Galactic, adding to the already dense tone coming from the band. With a total of 13 players on stage, Syracuse caught a glimpse of New Orleans musical brotherhood at its finest. The group, who also call New Orleans home, were an excellent opening choice for this touring cycle. Playing a solid 45-minute set, the 8-piece (consisting of 2 trumpets, 2 trombones, 2 drummers, 1 saxophone, and 1 sousaphone) played a funky, soulful batch of jams that were thick with groove. There sound was full and lush, offering excellent texture, harmony, and some solid solos by the horns.

    The crowd was mellow for the octet, but got into it when prompted from the stage. The punctuated call/response from horn players-turned-MC’s livened the atmosphere, and there was even a touch of rhyme at times.

    Towards the end of their set, 8 members turned into 11 when Stanton, Ben, and Corey from Galactic joined the party on stage for “I’m So Confused,” a cut from the Rebels’ latest album. Finishing up with a funked out Eurythmics medley to end their time on stage was a nice touch.

    © Matthew Balch

    Highlight of the show… A 13-man jam of “Cult of Personality,” Living Colour’s biggest hit, all funked up! With every member of Galactic and The Soul Rebels present on stage (Corey singing, of course), it will definitely stand out as my most memorable moment of the show… Just nasty! Though the cover lacked the angst of the original, the mob on stage owned the track and pulled it off well!

    If you did not make it to the show, I can’t help but think you missed out. If you ever need to cut loose, let off some steam, and shake your butt for an evening, Galactic is the act to see. And props to the venue, too… Westcott Theater is a great spot to see them perform. I am sure they will be having them back to the venue at some point after a turnout like this, so keep an eye out and a night free when they do!

    www.galacticfunk.com

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