NYS Music 20​12

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  • 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!

  • Greg’s 10 with Hot Day At The Zoo

    New England is a hotbed for upcoming talent. It is always a pleasure visiting Massachusetts, Vermont, New Hampshire, and Maine because I know there will be some sort of live music event occurring. Large or small, the musical environment in these states is always impressive, impassioned, and energetic.

    Hot Day At The Zoo has made a name for themselves nationwide with their high energy genre blends, incorporating Folk, Blues, Jazz, Rock, and Americana into flowing, technical jams that draw the listener right in. The name of their most recent release, “Zoograss,” recorded live at The Waterhole in Saranac Lake, should give you an idea about what kind of energy and feel they are going for in their performances.

    Therefore, when given the opportunity to witness Hot Day At The Zoo at Westcott Theatre on March 30th, I wasn’t about to say “No!” Cool guys they are, I was able to sit down with Michael, JT, Jon, and Jed to get to know the guys a bit better, discuss their live shows, talk about their writing process and approach, and gauge their excitement about being one of the main acts on this year’s Fiddler’s Picnic happening in June.

    G- Hi guys and thank you for taking the time to speak with me for ! So, where do you all come from?

    Michael – I come from Lowell, Mass where the band is based out of, and a couple of these guys are all southern New Hampshire cats, but we consider ourselves based in Lowell Mass.

    Jon- Well, he does! (Laughter)

    G- So it’s a struggle on the New England states right now!

    JT- You know, it’s 3 against 1!

    G- Hahahaha! How long has HDATZ been a group? How did everyone meet and when did you first get started?

    Michael- I’ll take part A. We’ve been a group for 9 years. (To Jon) You can take part B.

    Jon – I used to do an open mic thing and I met Mike. I started picking with them and then they picked me up there. And so basically the local music scene, in the Lowell area, we just kinda found a place there.

    Michael- Jon was our dobro player for 3 years. He’s the dobro player on our first album.

    G- How did you guys come up with the name of the group?

    Michael- It was actually born the first day we ever played together at my dad’s house. Playing for hours on end, finally we took a break to go have a smoke and have some drinks. We went back into the room after playing and it fuckin’ reeked… It was just overwhelmingly putrid, and it was us. So somebody just said ‘It smells like a hot day at the zoo in here.’ And the funny thing is it was the middle of January… Freezing outside! So the name just stuck… we never let it go.

    G- You are known for your energetic performances and your ability to draw influences from many different styles of music. By incorporating Bluegrass, Folk, Jazz, Americana, Rock and Roll, and many styles into your music, you have a fantastic overall reach… There is something for everyone! Was your goal to be limitless, or did the sound come about organically?

    Jon – Organically.

    Michael- Yea definitely organically. For the first few years there was almost no practice… It was all stage time. Until JT showed up, and he made us practice. (Laughter throughout).

    G- Atta boy! Any particular bands that influence your style?

    Michael- Well, Jed is a huge Village people fan!

    At this point, Jed breaks out into an acoustic rendition of Y.M.C.A. Let it be known that HDATZ are very friendly, good time guys.

    G- This is going on the bootleg, right here! Anyways… Your most recent release is titled “Zoograss,” on your own record label, INTA Records. The album was recorded live in Saranac Lake, NY at The Waterhole… Can you discuss why did you decided to record a live record? Tell me a bit about the experience.

    Michael- I’d say the best thing about that experience is that we didn’t actually plan on it. It wasn’t like we went in and said ‘We’re going to record an album tonight.’ It just got recorded.

    3 or 4 months later, the next time we were playing up there again, the house engineer said ‘I got this old recording last time you were here’ and he gave it to us. It was just a stereo recording, but he said he did it all multi-tracked. When we listened to it on the van ride home, it was pretty powerful, so we asked him if he still had the multi-tracked mixable version, and he said yes. So we bought it off of

    him, and mixed it ourselves.

    Jon- The whole show was a surprise!

    G- Your website states that Jon (Cummings) and Michael (Dion) are the primary songwriters for HDATZ. Can you tell us a bit about what your writing process is like?

    Jon- I think Mike and I probably write the same way. We come up with a basic format for a song… Hook, words, and chords… and we bring it to the band. Then JT and Jed start getting their hands on it, and we mould it as a group from there. Mike and I draw the lines, and those guys color it in.

    G- FUCKIN’ TRACERS!

    Room busts out in laughter again!

    G- So, what does HDATZ have in the works for 2012? Are you currently working on any new recordings or trying to break into any new markets?

    Michael- (Laughing) New bass player, new banjo.

    Jon- We’ve been going down to Virginia and Washington D.C., so we are trying to hit down South, and then West. We are trying to do a 15-hour radius with the new markets we are trying to hit.

    Michael- Michigan, Ohio…

    G- Nice… Day trip! So, You are one of the main attractions at this year 1st ever Fiddler’s Picnic happening in June, and there are several incredible acts sharing the bill with you! What can you tell us about the difference between festival performances and your own club shows? Which do you prefer?

    Michael- I think, generally speaking, festivals are just too much fun! You’re put in front of a huge audience that you typically wouldn’t get a chance to play in front of. When you headline your own show, you have people coming out to see just you, for the most part. So there is a connection between opening sets and festival slots where you’re in front of a lot of people who’ve never heard you before. They’re all cool, though. I don’t really differentiate… We just do our show!

    G- Right on. I’m not sure if there is any consensus, but what is the most memorable show HDATZ has played to date? Can you tell us about the experience?

    Michael- (Laughing) That one show where Jed took his clothes off… It happens all the time!

    JT- “Zoograss” was great!

    Jon- For me, one show that stands out is opening for David “Dawg” Grisman (Grateful Dead collaborator) in Portsmouth, NH at the Music Hall. We were firing on all cylinders and had a great time! The sound was incredible and we were received very well. We actually got a standing ovation from a “Dawg Crowd” which, to me, is pretty cool! Afterwards, we hung out with David for a little bit. The whole experience was pretty amazing!

    G- Nice! Lastly, what advice could you give some of the young, up and coming bands in Upstate NY who are looking to become successful, professional musicians?

    Michael- Don’t do what we do!

    Room explodes in laughter.

    Michael- No, just stay true to yourself. Don’t bend to anyone else’s will. Art should be limitless and unhindered. Don’t let anyone fuck with your shit.

    JT- Quote him on that!

    G- Michael Dion. Hot Day At The Zoo. Gangsta Rapper!

    Michael- “Rolling down the street in my ‘64”

    G- That’s awesome guys! Thank you very much!

    Clearly, we all had good time! Check out a full review of the show in the upcoming Music Guide, and be on the lookout for these guys when they come to Fiddler’s Picnic… It’s going to be a wild one!

    http://hotdayatthezoo.com/

  • An Interview with Nerve featuring Jojo Mayer

    Far too often, opening acts on highly popular bills fall by the wayside. You know it’s true… Your favorite band is set to take the stage at 10pm and, instead of checking out the 8 o’clock performers, you go to the bar next door because they have $3 drink specials, no line at the bar, and a cute waitress. Though this interview will probably hit the stands after the 3/31/12 DJ Shadow show at Westcott Theater, those in the know, or simply in early enough, will undoubtedly be raving about opening act Nerve as well as Jojo Mayer.

    Founded by Swiss drumming legend Jojo Mayer in 1997, the group has included some of the most astonishing players in our generation’s history.  The 4-piece, consisting of Jojo, Takuya Nakamura on Keyboards, John Davis on Bass, and Sound Guy Daniel Schlett (original sound guy Roli Musimann is in Poland), perform “Reverse Engineered Electronic Music in REALTIME!”

    From a musical standpoint, and in my humble opinion, Nerve is the best instrumental interpretation of electronic music out there. I caught up with Jojo, John, and Takuya prior to their set to discuss musical inspiration, the state of electro-acoustic performance, and the Dubstep Phenomenon. Musicians, Drum and Bass Heads, Junglists, and non-fratboy Dubstep aficionados… Pay attention, and take notes.

    G- Good afternoon and thank you for taking the time to speak for ! You are opening for DJ Shadow tonight… How did this booking come about and how many shows are you playing on this run?

    John- Well, about a week ago I got an email from Samantha at William Morris (Endeavor) randomly, out of the blue, saying that they were seeking support for Shadow’s upcoming tour, and they thought that we’d be a great fit. It turns out someone in the office is a fan of the band, so it was just sort of a last minute flail.

    G- Fell into your lap?

    John- Yea totally!

    G- That’s awesome! It’s a great break and you deserve it! (I’ll state right now that I am a huge fan of Nerve.)…..Nerve has been active since 1997. How did the group come together? Was your formation a direct result of the “Prohibited Beatz” parties in NYC?

    Jojo- That’s 2 questions!

    G- That’s true… oops.

    John- We can’t work like this!

    (Laughter)

    Jojo- Well, the first question is Nerve came together… Nerve has had different band members, and there were different vocalists, different percussionists, different keyboard players. Eventually, it became some sort of filters… those weekly events… where I discovered people. I did not find the people in Nerve… They found us. Takuya came in very early. Jon came around early 2003.

    Prohibited Beatz was an ulterior motive for me because I had the vision of doing this type of music, but I couldn’t find the musicians in my circle. Not a lot of people that I was dealing with had heard of Drum and Bass in, like, 1997… Which is kind of ridiculous because it had already passed its peak! So, it was a very small and selective club of people and when I started Prohibited Beatz, it was to create a pool of people who had interest in this type of culture. Eventually, Prohibited Beatz became the birthplace of Nerve. We didn’t have a name until the NY Times came down to do an interview… I just made it up on the spot and said ‘It’s called Nerve’ (laughs) and it just stuck.

    G- Do you have any intention on bringing “Prohibited Beatz” back?

    Jojo- I feel the itch of bringing it back just because I like to play in my own city once a week, and I can go home and sleep in my own bed… That’s a lot of fun and it’s good for the music. However, it’s very difficult to find the right logistics… Club promoters, owners… That can share the vision with you about doing something that is not commercially oriented, but culturally oriented. I feel the itch to do it, but the odds are against it… If given the opportunity, I’d do it again.

    G- And I would go! In your opinion, what is the current state of Electro-Acoustic music? Have you seen growth and interest from the younger generation looking to further bridge the gap between the two styles?

    Tak- After we started, the last 10 years.

    John- Yea Roli in Europe and myself in Brooklyn, we both end up working with and producing records for a lot of young bands who are doing something similar to what we’re doing. And it’s interesting because a lot of them are coming up with… the concept of playing this stuff live has already been established… They don’t have to create it, it’s already a genre… Which is kind of weird. It’s a generation that has grown up with electronic music.

    Jojo- It’s also, somehow, like… You’re taking it back to the late 90’s when we started. Culturally, things just go in mysterious ways. People are reaching out and grabbing for something that seems to be legitimate, you know?

    G- How do you feel about the recent explosion of Dubstep music into the commercial marketplace? How has this influenced your writing and approach towards new material?

    John- Yea it’s cool. It’s like any music… Some of it’s great and some of it’s terrible. But it’s good. Of course it’s influenced us because we try and listen to whatever is coming out. It’d be kind of stupid to ignore a huge revolution… A new genre taking over. Like if people dismissed Drum and Bass and Jungle when it came out. In that way, it definitely influences us because we listen to it, we check it out, we take what we like from it, and we filter it through what we do.

    Jojo- In general, I welcome ANYONE that creates an opportunity for people to turn off into a different direction. Skrillex definitely did that. It’s not like he did anything that people haven’t been doing in the UK for the past 5 years, but he’s very good at what he does.

    Any person that changes the perception of the general audience… To make them more open… Is positive. It influences us because, you know, it empowers us to go for what we feel, and not what we should do so people will like us.

    G- Since you play a style of music most commonly performed using turntables and otherwise non-acoustic instruments, do you feel Nerve will ever be fully appreciated by the commercial music industry? Is that even your goal?

    Jojo- I don’t care. The commercial music industry is not what it used to be. The commercial music industry is Toys R Us. I don’t have a problem if I don’t have a part in that.

    If I needed to drive a gold plated Bentley, I’d make different decisions than sitting on this couch having this interview with you. I’d be busy doing something else. I’m here because I made a decision to do this, and I’m oriented towards things I think I have to do.

    G- Can you speak a bit about the evolution of Nerve’s recorded output and your approach to writing “Prohibited Beatz, EP1, EP2, and EP3?

    Tak- Everybody has their idea, or sometimes we do a show and improvise a lot, and we check out what we did. And the 3 of us work together sometimes. It’s always different, but sometimes it depends upon the person’s idea.

    It’s not easy, because we are all very strong (headed) sometimes.

    Jojo- What has to be said about the musical content… That usually occurs out of negotiation from jamming. It’s just something that happens and we capture them into something recordable.

    They way we record is we lock out one week, four times a year. In that one week, we just start on Monday and, no matter what we do, we have to be finished and mix ready the next Monday. It might be just one epic jam, or it might be five little pieces of 3 minutes. It turned out that, more or less, we usually came up with 3 songs, and most of those songs are those EP’s. It’s basically back to the way records were done in the 1950’s.

    G-  So, you are all successful independently… Can you tell me about some of the other things you are working on? Any other recordings, performances or anything else interesting in the wing for Nerve as a whole?

    Tak- I play dub reggae stuff. I play keyboards for Lee “Scratch” Perry and last year I started playing acoustic piano… Super quiet, totally opposite but very powerful. I also produce different people and own a club in NY called BPM. And I just released my album called “Mystery of the Cosmos.”

    G- And I have a feeling this is going to be an interesting one, so Jojo… Go ahead!

    Jojo- Well, I always have, like, a menu of work I have to do for other people. Some recordings when I’m in NY. I also interact within my industry as a product designer… I design product for companies like Sabian. I just designed a bass drum pedal for Sonor which is being released. And I have been doing quite a bit of educational work in drum culture. I did a drum dvd which is like a tutorial, and I am working on a sequel for that.

    I’ve been seeking out a lot of collaborations outside of the music industry. Anything that gives me the ability to work with creative people outside the music industry. I have a project with an architect which is very interesting. I might be doing something with a symphony orchestra… He’s writing music around my things, something that I’ve never done. When this tour is finished, I’m going to Europe to work with tap dancers.

    But really, the central focus right now is Nerve… It’s been my pet project for the past, almost 15 years. If you ask me a year from now, hopefully I will tell you that I don’t do anything else.

    Jon- I’ve been working on a bunch of records. I just tracked and mixed a record for this band called The London Souls, and mixed the new Lettuce record. Rootscollider, an Upstate band… I’ve done all their EP’s. Umm… Yea just lots of records.

    Jojo- John is also an engineer and he runs his own studio called Bunker Studios which is incredible… You have to check it out.

    G- Lastly, what advice can you give some of the young, up and coming bands out here in Syracuse, in NYS, and everywhere that listens to Nerve who want to make it in music, on the road, and as a professional musician?

    Tak- Quit your day job!

    Jon- Be nice to people when you can, and be stern when necessary. I’ve met so many talented assholes who haven’t gone anywhere because they can’t get along with people. There opinionated or stuck up, and there are some amazing players stuck playing $50 gigs in NYC because they’ve turned everyone off.  Being positive to be around is hugely important in the music industry.

    Jojo- Yea I think attitude is a big one. In the end, talent will buy you a lottery ticket, but if you want to win it… There’s some lucky motherfuckers out there, but usually it’s just hard work. And it is a “People Business”… You play for people and you work for people.

    One other thing is be persistant. Don’t be discouraged by failures because there might be an opportunity, or it might be a blessing in disguise. And it’s ok to be different and it’s important… Don’t position yourself too closely to people you idolize. At the end of the day, if you want to be #1, you have to be yourself.

    Tak- Keep going and don’t look back!

    http://www.jojomayer.com/

    http://www.facebook.com/NerveOfficial

    [youtube http://www.youtube.com/watch?v=zn63PrEkKT8?rel=0&w=560&h=315]

  • REVIEW: COMMON ENEMY “As the World Burns”

    REVIEW: COMMON ENEMY “As the World Burns”

    As the World Burns, the 5th full length offering from Reading, Pa’s ever vigilant Common Enemy shows no signs of slowing down and indeed finds the band even more the master of their excellent brand of thrashy punk rock than they were on Living the Dream. And that’s saying a lot. The 16 concise, angry, and dare I say slightly more serious songs located within this album are  a needed dose of thrash in a boring music world filled with ten million bands in their little sister’s pants that all seem to be playing the same eight minute long song. I honestly can’t find a more apt simile for this release than from the words of the band themselves in the album description: “pure post-apocalyptic chaos, and good times to be had with friends while sitting back and watching it all burn.”

    As pointless as it is to draw comparisons with other bands on a 5th album, I get the same rush from this album that I get listening to Rich Kids on LSD. Immediately from the opening track Thrown Away, vocalist Gary sets the tone with his strong, pissed off delivery that will be his trademark throughout the album. The fun, irreverent songs I’ve come to expect from Common Enemy are here in abundance with songs like All I Want For Christmas Is A Bag Of Weed, as well as several songs that even touch serious social issues such as March Them Off To War (This Is Business): “Blasted by the mainstream media, we sit and mindlessly swallow every bit of shit they feed us. They tell us what to wear, what to eat, how to live and whose life has value. And if we can’t make the change, we’ve opened the door for the exploitation of the lower class everywhere.”

    With the majority of the songs clocking in at under two minutes, more guitar harmonies than ever and drum beats tighter than an exceptionally ugly altar boy at a church filled with picky priests, Common Enemy has somehow found a way to refine their noise even further while breathing fresh air into a sound that was already in no danger of growing stale. 2012 is promising to be great in the arena of new punk albums, and As The World Burns is already an early contender for album of the year. With a genuine love for their craft that is both transparent and what punk rock is all about as well as a relentless touring schedule that will most likely have Common Enemy playing near you before very long, you would be making a huge mistake to sleep on this band or this album. You can pick up copies of it now exclusively from the band themselves or Overdose On Records.

    For more info on this album:
    http://www.overdoseonrecords.com/

    To buy As The World Burns:
    http://www.overdoseonrecords.com/store

    -Brian Lawrence

  • BIOHAZARD discusses touring, release of “Reborn in Defiance”

    BIOHAZARD discusses touring, release of “Reborn in Defiance”

    Admittedly, I was first exposed to Biohazard when Beavis and Butthead were rocking out to “Punishment” during one of their old school episodes. No problems, there… That show kicked ass (huh huh.) Since that day, I have always followed the band and checked out their albums. I picked up a limited copy of Urban Discipline and played it relentlessly. Shortly thereafter, I anxiously cracked open the neon orange case when State Of The World Address dropped, and just recently scored a bright orange vinyl promo copy of the album in Ithaca for $10. Score!

    So on February 8th, of course I’d have to check the group out when Amp Entertainment, Black Shoe Productions, and Station 58 brought the Boogity-Woogity Brooklyn Boys to town. Before their performance, I was able to sit down with guitar/vocalist Billy Graziadei to ask a few questions about their latest record, their lengthy career in the music industry, the departure of their longtime bassist and front man, Evan Seinfeld, and what’s in store for “Reborn in Defiance”

    Greg: What’s up, Billy? Thank you for taking the time to speak with Upstate Metal. There were some health issues while you were on tour in Europe… How is everybody doing?

    Billy: The name of the band is Biohazard, and there is always something crazy going on with us. We did 3 shows in the States before we went to Europe, and a couple of days before those 3 shows, we were in rehearsals. Danny’s wife, our drummer… The baby came late. He’s like “Dude, I don’t think the baby is gonna come before we leave… We’re gonna need to either cancel the tour or find somebody else to fill in for me. So we got Danny from Sworn Enemy… We rehearsed with him just in case. Kept him on reserve… Of course the baby didn’t come, so we took Danny with us. He was awesome… Phenomenal! So we get to Europe on tour with Suicidal (Tendencies), Terror, Walls of Jericho, and Lionheart. We get there and Scott is rushed to the hospital. Spends the whole day in the hospital, they run all these tests and they couldn’t find out what was wrong with him. He checked himself out at around 9:30 at night, we went onstage at 10, and he rocked the show, went back to the hospital, and stayed overnight. We picked him up the next morning and we finished the tour. Anybody else would have quit, but that dude’s a fuckin’ vegetarian hardcore dude, a hardworkin’ ass motherfucker, and he did it. Now, today’s the first date of the US run, and Bobby’s got Pneumonia. I just got a call yesterday and he could barely breathe, he could barely talk…

    Greg: He’s got Pneumonia right NOW?!

    Billy: Yea, so… He’s gonna make the show. Same thing… Hardcore motherfucker! Anybody else would’ve cancelled the tour, but we’re Biohazard, you know what I mean… Full of viruses but good, positive energy

    Greg: So, Danny just had a baby girl (Congrats, Danny!) What is it like being a family man on the road? You guys have been doing this so long that…

    Billy: You know what… Even without kids I’ve always been a family man. My family has always been important to me, as it has been for all of us. So, it’s always been tough… You feel like you say more ‘Goodbyes’ than you do ‘Hellos’. Obviously the ‘Goodbyes’ are more painful, but we do what we like to do in life, you know? We love being here, we love playin’, and the unfortunate side of it is being away from my family as it always has been.

    Greg: Well they obviously support you in all your pursuits because you’ve been doing it so long, and you’ve been doing it well.

    Billy: Thanks, brother!

    Greg: So this is the first day of your 10-date run… Is this run a warm up for more extensive touring in the near future? What do you have planned for the upcoming year?

    Billy–  It’s never a warm up. We’ve been on tour for a month now. We came back from Europe and had 2 days off and this is the first date of the next run. We’re doing this for 2 weeks, then we have 2 days off, and then we go straight to Australia for, like, another 3 weeks, and then we come back and go right back out again.

    Greg: Are you guys playing Soundwave?

    Billy: Yup.

    Greg: That’s fucking great!

    Billy: Yea it’s gonna be cool!

    Greg: So, Biohazard has recently released their latest record, “Reborn In Defiance”… Tell me a bit about it…? How was the writing process, and how long did it take to get it where you wanted it to be?

    Billy: The record came out in a weird way for us. We got back together in 2008. We toured around, and I didn’t think the band would last for 2 months. But here we are 4 years later. We ended up having a great time together, got along, nothing was broke. We just rolled with it. During sound checks, we’re jamming and working on new music and we weren’t really conscious of making a record. We were just vibin’ each other out… Different ideas musically and lyrically, and we started trying some things out live and it just became “Reborn In Defiance.”

    Greg: A lot of U.S. fans were pretty pumped to hear that the release was going to be made available as a free digital download here, but it got pulled, like, the day before it was set to drop… Can you tell us a bit about what happened there? Was that just music business bullshit?

    [momentary pause]

    [In unison] Yea.. Music Business Bullshit.

    Billy: I’ve been screaming for 20 years… Music is for me and you, not the fucking industry. The industry has always tried to keep Biohazard down and we come back swingin’ and survive. The record is gonna come out, and for everyone in America that has been behind us and had our backs for all these years, we’re going to release some extra stuff… Make it worth the wait… because we just had a bunch of bullshit to deal with.

    Greg:  Since we’re we are talking about 55 minutes of pure pummel here, how were the new songs received while you were in Europe? What was the response to the new songs?

    Billy: Awesome!

    Greg: Were kids going nuts?

    Billy: Yea.

    Greg: What was the best show of the tour?

    Billy: Berlin was great… Tilberg. Paris was phenomenal! A lot of those shows in Europe were sold out. London (Camden Underworld… Awesome spot!) sold out when we were headlining… It was our last show and it felt like CBGB’S!

    Greg: Have you made any videos for the tracks? Can we expect any on the new episodes of Beavis and Butthead or singles in rotation soon?

    Billy: (Laughs) I hope so! We’re STILL big fans of Beavis and Butthead. We already have something out and it’ll be released real soon, and we’re working on plans for the next video.

    Greg:So let me ask you… How are things between Biohazard and Evan? How are fans reacting to Scott taking over on vocals and bass after playing guitar?

    Billy: Scott was in the band for the last 2 records and toured around the world with us for the last 4-5 years.

    Of course, when Evan quit… We finished the record just the 4 of us (original members). He quit and it was a shock and a surprise for us, but that’s life. Life takes twists and turns and you gotta roll with it. And we did, you know? We decided ‘Fuck that… We’re not going quit, we’re going continue.’  I wish him well and have nothing bad to say about the dude… We share a lot of great memories and I hope he finds what he’s looking for and is happy. And the fans love Scott! He’s full of heart and soul, loves being there, loves doing what he does, and like I said… He checked himself out of the hospital for a show. That’s pretty fuckin’ hardcore! Anybody else would’ve quit… They would have cancelled the tour.”

    Greg: Biohazard doesn’t play that shit, folks… You heard it here first! So, Biohazard has been in the music game for a very long time. You’ve seen a lot come and go, bands ripping each other off, and executives stealing money left and right… How’s the game treating Biohazard right now, and what do you think is going on behind the scenes?

    Billy: The Biohazard family and fans, you know, I’d rather refer to them as friends. Without these people supporting us, we wouldn’t be here. There wouldn’t have been no reunion, and the reunion wouldn’t have been successful enough to make us fall in love with what we do again. Playing back together again, for me, reignited that fire inside my heart for Biohazard and what I do. So I love being here and I’m here because I want to be here, not because I have to be here.

    And as far as things are going, check us out on Facebook… You can get 3 new songs for free… Download ‘em! We have a song called “Come Alive,” a song called “Vengeance Is Mine” and a song called “Reborn,” and we’ll be playing those tonight!

    www.facebook.com/biohazarddfl

    Greg: Lastly, as a veteran band with amazing experience and lots of street knowledge, and lots of road dogging, what advice can you give some of the young, up and coming bands out here in Syracuse who want to make it in music, on the road, and as a professional musician?

    Billy: Do it for the love of it… That’s it. Everything else is secondary and not important. If something happens with it, you had a great time and enjoyed it. And if nothing happens, you still had a great time and enjoyed it.

    I want to thank Billy, Biohazard and crew, Amp Entertainment, Black Show Productions, and Station 58 for setting this up and putting on a great show in Syracuse. Stay tuned… Many more on the way!

    -Greg Allis

  • REVIEW: Autopsy “All Tomorrow’s Funerals”

    REVIEW: Autopsy “All Tomorrow’s Funerals”

    From 1987 through 1995, it would be difficult to find a more pronounced and influential Death Metal band than Autopsy. During this time, the group paved the way for the medium, influencing many groups who became prominent members of the Death Metal community.

    Though they took a very long break from performing (15 years from 1995-2010), Autopsy made a welcome and triumphant come back. Their latest record is true to form, and long time enthusiasts of the group will undoubtedly be pleased with “All Tomorrow’s Funerals.” The release offers 21 tracks of old world US Death Metal to satiate the palate of even the staunchest metal consumers.

    Though the vocal effects are a bit much, and the guitar solos aren’t what they could be, “All Tomorrow’s Funerals” continues to represent Death Metal’s finer qualities.  The music is a bit more loose and not as technically precise or challenging as some of the current Death Metal acts, but Autopsy’s charm is their ability to stay true to form and relevant when so many have come and gone.

    In my opinion, this album is best suited for true fans already familiar with Autopsy’s body of work, or those looking to expand their horizons and get back to the roots of their chosen genre from a present-day perspective.

    -Greg Allis

  • ABORTED discusses “Global Flatline”, influences

    ABORTED discusses “Global Flatline”, influences

    Aborted is a death metal band from Belgium. They’re a four-piece band with members from Belgium, France and the UK. Signed by Century Media Records, and recently released their album, Global Flatline, They are a powerful, heavy band with a passion for mosh pits, blood, guts and horror. I was fortunate enough to be able to speak with Sven De Caluwe, vocalist for the band, between tours.

    Chris: Filming music videos can be a pretty cool experience. What did you think of the experience of filming “The Origin of Disease” music video?
    Sven: It was pretty intense, we shot it right in-between playing festivals—meaning we played a festival in Germany the day before, drove out to Holland, took a plane to England, and then shot the video the next day for about 8-9 hours straight, and we had way too many takes which were all more intense than the previous one at a location that smelled worse than any anus known to man haha. The day after that, we flew back to Holland to drive back to Germany and play Summer Breeze at 3AM. Exhausting to say the least, but we are ultimately very satisfied with the results!!
    Chris: Does this song have a significant meaning to you?
    Sven: It is one of the more instense songs on the record, and it has a good dose of groove at the same time. The theme is “mankind is a disease”, which is exactly what this whole album is about.
    Chris: Your new album, Global Flatline, came out January 24th. Describe the experience of recording it.
    Sven: I think this must have been the smoothest recording session we ever had. The whole album was done in under 3 weeks from start to finish, including mix and mastering. Jacob Hansen did a killer job, and it was very relaxing working with him. He got the best out of everyone and the sound we were looking for.
    Chris: The cover of Global Flatline appears to be a zombie eating Jesus. What inspired this intense album cover?
    Sven: That’s merely the digital single cover. The actual album cover is a completely devastated urban landscape with hordes of zombies eating people and what not. The intense album imagery comes with the intense pile of shit that mankind signifies.
    Chris: How does this album differ from your previous ones?
    Sven: I would say it’s more extreme, brutal, energetic, varied and mature than the previous efforts.
    Chris: Extremefest promises to be a pretty brutal event. What do you hope to get out of playing it?
    Sven: A good time, many crushed skulls, and destructive mosh pits!
    Chris: What do you enjoy most about being on tour?
    Sven: Playing shows in front of responsive audiences, meeting new people, hanging out with the other bands on tour, visiting new places and seeing the differences between cultures.
    Chris: Are there any shows on your tour schedule that you’re especially looking forward to playing?
    Sven: We are going to Brazil for the first time in a few weeks and also playing Norway for the first time in our career this year, so we are pretty excited to see how people bash their skulls in in those places!
    Chris: Who are some of your biggest musical influences?
    Sven: This would vary from member to member, but in general for this band I would say Suffocation Carcass, Entombed, Dismember, and so on! Old school death metal.
    Chris: Personally, I enjoy Cannibal Corpse. What was it like sharing the stage with them?
    Sven: They are great guys and a killer band, they are simply a monument for death metal and it’s always a pleasure hanging out with them or performing with them. They are literally a testament of dedication to the extreme.
    Chris: Where do you see yourselves in one year?
    Sven: Touring, playing more shows and playing more death fuckin metal!

  • The Electric Company in Utica to close its doors

    The Electric Company in Utica to close its doors

    The following report was posted on the Electric Company Varick St Facebook page this afternoon.

    “In 2002 Anthony Donaldson, Matt Mercer and Laura Ruberto opened The Electric Company for one reason: to bring independent, live music to the area. The scene was exploding, but there were no local bars to attract the acts. We and our friends lived for live music and were traveling to Syracuse, Albany, New York – hundreds of miles – for shows.

    electric companyOpening The Electric Company seemed like a logical business decision; it was pretty clear there was a demand that needed to be filled. But the personal appeal was just as strong – the prospect that we and our friends could enjoy all our favorite bands and be exposed to great new music in the comfort of our own venue seemed like a dream come true.

    electric company

    It proved to be a rewarding move. We have showcased some of the best national acts as well as provided a venue for local musicians to gain exposure. We enjoyed the shows, our friends enjoyed the shows and we made a lot of new friends along the way. Ten years later, it is with a heavy heart we announce our decision to close The Electric Company.

    electric company

    The secret to success in this business depends largely on timing. The timing was right when we opened our doors in 2002, and we feel strongly that the timing is right in 2012 to close. A lot has changed in the live music scene. The economy has changed. Our audience has changed. And we have changed. Perhaps if the opportunity presents itself in the future and the timing is right again we will return, but for now this chapter is ending.

    But we don’t plan on going out quietly. In the coming weeks look for a wide variety of bands from our early days to recent favorites, including Mecca Bodega, Conehead Buddha, Rhubarb, Belikos, Floodwood, 3 Inch Fury, Woodenspoon and Sassafrass Jenkins to name a few. We will wind it all up with an all-day customer appreciation party on Saturday, May 12 to thank our EC family for the love and support over the years. We couldn’t have done this without you.”

  • 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

  • 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.