NYS Music 20​12

Tag: EDM

  • Hearing Aide: Dopapod “Redivider”

    Hearing Aide: Dopapod “Redivider”

    Dopapod, the palindrome-inclined quartet from Boston who have risen to quickly become a sought after late-night festival act (their StrangeCreek set in the cabin was a packed funk sauna) and continue to show that their studio work is tandem to their live shows. After Drawn Onward was released in 2011, the next chapter of Dopapod was received with great enthusiasm as they fanned out on tours across the country, unleashing one of the best kept secrets of the Northeast onto the country. Redivider is a powerful follow up that showcases the growth and musical maturity of Dopapod, in addition to a mesh of funk, electronic, jam and progrock genres to appeal to all, especially those who enjoy great music and love to dance their asses off.

    Dopapod RedividerFor starters, there are three short interlude tracks, “Get to the Disc”, “Ooze Weapon” and “Fry the Gorillas” that keep a wonderful flow to the album, something quite welcome that allows for seamless transition between the tracks. Starting off with “Braindead”, the combo of spooky synthesizers and slick guitar licks make for a track reminiscent of Oysterhead. On “Bubble Brain”, Eli Winderman takes the synthesizer through peaks and valleys and even has a hip hop Dr. Dre feel. While there is a progressive nature to the song, building upon each section towards a fantastic ending, I am most curious to see how this structured instrumental will develop live. Crowds will get worked into a frenzy over “Trapper Keeper”; staying organized in grade school was never this rockin’. Rob Compa’s guitar work would make The New Mastersounds proud, Neal ‘Fro’ Evans’ drums drive the song at 75mph, with the mixing in a little electronic twist perfect polish to this funky number. The next two tracks, both instrumentals, “My Elephant vs. Your Elephant” and “Blast”  are intense and soaring, the latter heavy with Rob’s guitar and Chuck Jones’ bass.

    Picture a Nintendo game, the music starting off catchy at first, and then delving into some deep and dirty soul in the first half of the tune. Then, the video-game journey brings you key-led towards an abyss… Once “Vol. 3 #86” lands into a third movement, you have the highlight of the album and an incredible song for dancing. When it comes to late night appearances at festivals, this one will be requested for certain.

    “STADA” has a spooky intro and classic Dopapod sound, while “Give it a Name” is deceptively slow to start, then drops in Soundgarden-heavy spurts amid goofy schizophrenic musical fun. “Weird Charlie” uses playful bass and accordion keys, and things get WEIRD!  An excellent cap to the album, wrapping up great production and great writing by Dopapod.

    If you’ve listened to Dopapod before, you’ll want this album. If you’ve seen them at festival, you’ll be well served buying this album. If you have never listened to Dopapod, what are you waiting for? Come join the party!

    Key Tracks – Bubble Brain, Trapper Keeper, Vol. 3 #86, Give it a Name, Weird Charlie

    Pick up the album at Dopapod.com on December 21st

  • Light and Sound: An Interview with Phil Salvaggio and Greg Ellis of Pretty Lights

    Light and Sound: An Interview with Phil Salvaggio and Greg Ellis of Pretty Lights

    Yesterday, Sue Rice recapped the Pretty Lights show at the Times Union Center. Today features an interview with Pretty Lights Lightining Director Greg Ellis and Production Manager/Audio Engineer Phil Salvaggio. After the show was over, Chris McMullen sat down with the Oneonta natives to get a look at the behind the scenes of producing a Pretty Lights show.

    Phil Salvaggio Greg EllisChris McMullen: When did the lighting rig really reach its peak?

    Greg Ellis: Well the funny thing is we debuted the pillar style video rig last year at Bonnaroo but we used the festival light rig and it was very sub-par. After that was when it all kind of came together. We followed that with a string of festivals and then during our fall tour was the first time it was a complete package. Its been a couple years in the making. We’ve been taking care to make sure the equipment does what we want it to do. The visuals are particularly a challange because I can improvise with lights but Video is so delicate.

    Chris: Who does the visuals?

    Greg: Its a company called Radio Edit AV out of Chicago. Led by this kid that we know Dave Najarian.

    Chris: Have you had a memorable show on this tour?

    Greg: The last two nights have been my favorite shows I’ve ever done. We grew up in Oneonta and our whole crew was here tonight. And last night my friends from Connecticut, from when I lived there attended., so its been one huge family reunion the last two days. THere was a moment last night when Something just kind of happened. From then on out its been full steam ahead.

    Chris: How did you get involved with PL?

    Greg: When I moved to Connecticut, he moved to Colorado and bounced around and started to find his groove. He started working with PL and convinced me to come out there.

    Phil: I had to work with all these dudes, and all had this gear and they all sucked…and I was like, I know this kid…give him the right tools and he’ll slay these kids. And thats what happened. haha

    (As Chris and Phil were talking, they were interrupted by alcohol and women, a few follow up questions ensued)

    Chris: What is your favorite NY venue?

    Phil: Now, I’m partial to the Times Union Center, it’s a large scale big arena. I saw my first Phish show there in 1998. I was pretty stoked to get in there and do a show.  As far as places to see a show, Radio City Music Hall is pretty awesome.
    Chris: Any pre show rituals?
    Phil: I usually take a nap between sound check and showtime, its the most time I have off during the day.
    Chris: What are you listening to lately?
    Phil: Muse: 2nd Law, totally sick, new modern record, bands just don’t do this kind of stuff anymore, this band can actually play live, they are sick, they are the real deal. There music is very rock opera-ish. Brings me back to my youth. Its like Queen meets Radiohead meets a Broadway show or something. You should watch their making of 2nd Law. You’ll understand what I’m saying.
    Chris: Craziest tour moment?
    Phil: The Crazy tour moments are less and less these days as we have advanced into such large venues. These days its way more low key backstage. Just playing the Boston Garden was pretty crazy to me. I saw Phish 20th anniversary there, so that was crazy. That or this past summer doing the Gorge, then Sunset Festival in Tampa, then Summercamp, with the help of charter jets. Literally opposite parts of the country.   EDC Vegas… 100,000 people.. I am returning to this, Full Flex Express Tour, It was the 2012 version of Festival Express. Use your imagination…
    Chris: Favorite tour moment?
    Phil: Favorite Tour moment for this tour… Kickin it with my friends backstage at the Times Union Center in Albany. Everyone seemed to have a blast, and it was great to bring my old band mates and friends into that element, in a venue where we had seen so many epic shows.
    Chris: Any word on a Pretty Lights festival?
    Phil: This is something we have been talking about forever. We do so many festivals where we are limited from a production standpoint. Our touring rig is bigger than most festivals we play, and its OUR thing. We did EDC Vegas and Electric Zoo, both were great and had HUGE productions. But we’d rather walk into doing our OWN thing with artists we want to play with.   We did just did a co-bill festival with Skrillex in Nashville, the weekend before Halloween, it was called “With Your Friends.” We used our rig, it was Awesome, we can show what we are really about when its our stuff.  I would love to do what Phish did, or rather something similar, with artists we like or are on the label etc…. Create a really cool brand, something that people can remember. So, in terms of any word on a festival, NO, but its been in our minds for a minute.
    Chris: How did you meet Derek?
    Phil: I was living in Fort Collins CO. Playing in bands and booking a club. I started doing Audio for a company down there. I was in some bands that were just struggling. He was in a band, I was in a band, we had mutual friends. I did his first real show in Fort Collins, I brought in lights and extra subs for his show. About 4 months later he needed a sound guy, for his first ever multi date run in the south. I hopped on a plane and the rest is history.
    Chris: When did you realize that Pretty Lights had gotten big?
    Phil: Well, I remember our first tour bus, then our second. Then we had a semi, now we have 2 busses, and 3 semi trucks. And we headline all the big crunchy festivals… Wakarusa, Summercamp, All Good… etc..  I think it was All Good last year (2011) there were 30,000 people there rocking the fuck out. And we were playing after bands I used to go see all the time… moe… Primus… And we put on a pretty mind blowing production.
    Chris: Advice for up and coming acts(djs bands producers)?

    Phil: Follow your dreams and don’t be a rockstar until you are ready, no one has time for that jazz.

    Chris: Any thoughts on Pretty Lights live? (ALA shpongle, Bonobo etc)?

    Phil: The new record was recorded with a live band. Basically there were a bunch of players, locked in a studio for about 2 weeks in New York. We had various different instrumentation per session. I was super stoked to play with some of my favorite musicians, Adam Deitch, Eric Krasno Nigel Hall….   The sessions went from me and Derek making noises on guitars and basses, to full on 12 piece band locking into grooves.  The sessions were all “live,” and recorded to 2 inch tape. Then all the tapes were dubbed to vinyl plates. Then Derek took the records, and chopped them up in his usual style. He basically created a library or samples that were his own. The grooves and breaks that we locked into were absolutely amazing, and the engineer, Joel Hamilton of Studio G in Brooklyn,  is a genius. They have so many old pre amps, compressors and processors from the 60s and 70s. Which is what Derek wanted for his record, to really have the sound of that age. He ended up going back and doing it again in New York and New Orleans with singers and more musicians.  It was really an awesome process, we literally took the tapes, hopped in a cab, and dropped them off at Salt Mastering. I got to see the whole process go down. It was pretty amazing. The record should be out sometime early this year.

    As for a live band, There have been talks of this as well. However I think there would have to be some serious time off and a lot of planning and rehearsing for something like this. Derek is a perfectionist…. It is not something that would happen over night.  I am pretty sure it is a dream of his.  He drew a picture of himself when he was a kid, standing at Red Rocks with his bass guitar. I think this dream is still alive in him. I could see it happening. But are there plans now… im not really sure to be honest. But again, we’ve been talking about it for years.

  • Pretty Lights is more than just Pretty Lights

    Despite the cold November Third wind outside, Pretty Lights fired up the Times Union Center on the inside. Albany’s biggest venue hosted producer Derek Vincent Smith, better known as Pretty Lights, and his electronic dance beats. Doors opened at 7 with the show kicking off at 8 but I arrived around 9 in hopes of beating what was sure to be a crazed mob of teens trying to get it. The TUC had a beer garden set up for the one night event, much to the disappointment of the older crowd but a wise decision considering the mass of underage concert goers. There were large black curtains blocking the view of the show from the beer garden area, making the beer garden all the more obnoxious.

    The stage was filled with multiple towered structures aching to be lit, while a clock on a big screen counted down the time until Pretty Lights’ performance. The floor was open to the first 3500 people inside, most of whom were covered in neon, glow sticks, face paint, furry boots and many other costumes. There was a good amount of people in the seats but all the action was on the chaotic dance floor. Pre-show was the ever popular panic of concert goers rushing, trying to find your friends and a good spot to watch the show. Most of my friends and I were content with hanging back in our own dance space, and always the best place to people watch too.

    With the countdown over, the audience erupted and Smith took his place atop the stage. To watch the jam packed crowd bounce in almost perfect union to the beat of every song was astonishing. The shows at the local Washington Armory I was accustomed to had nothing on the force of Pretty Lights and the fans. The music started and the energy never stopped, the frenzy of dancers helpless against the electronic beats and  flashing light show. It took everything I had NOT to blink for fear that I would miss the hundreds of lazers shooting across the arena and futuristic images being blasted across the huge screens outstretched across the stage.

    The music that blasted from Smith’s speakers was welcomed and embraced by the thrill seeking crowd. Ranging from a wide array of hip hop, a little soul and a great deal of electronic mixed with some house and dubstep, Pretty Lights knows what works and can easily control the crowd. One of the most memorable moments of the night was when Smith performed “Finally Moving” which features the ever popular Etta James, “Something’s Got a Hold on Me” amping up the crowd to all sing along and groove to the beats. This was a great set up for the next big song of the night, a remix of Jay Z’s “Empire State of Mind”, a recent New York anthem and a refreshing hot remix.

    Pretty Lights is more than just a really intense light show, it has an unrelenting carousal of beats and melodies that keep your mind, body and soul in party mode all night. Pretty Lights offers free music, as well as wallpaper and icons on his website and after touring the U.S. he will ring in the New Year with a two-night stand in New York City.

  • Biodiesel with DigiMUN at Red Square, October 20th

    While JGB was rocking the Den and Australian Pink Floyd played the Palace, Red Square hosted three electronic-based acts: Biodiesel, Digimun and Albany’s own Digital Dharma. I had no expectations going into the show, other than the knowledge that both Johnny Rabb and Clay Parnell of Biodiesel are both monumentally talented individuals. Clay Parnell has been an important and well known electronic bassist on the scene for years working with bands such as Brothers Past, The Join and Philabuster. Then there is Johnny Rabb, pioneer of the free-hand technique and a drumming legend. These two joined up to walk the line of Band & DJ and create an electronic super-duo that explores the new genre of “Livetronica.”

    I was lucky enough to catch the very end of the opening act DigiMUN, which is a mash up of Digital Dharma and Mun from NYC, playing what they describe as “astrofunktronica”. DigiMUN was created after an accident involving bassist Steve Mink  and keys/synth player Eli Ramos, which left both injured and Eli in critical condition. Eli insisted that band push forward after the accident, and DigiMUN was born.

    DigiMUN is 100% improvised on the spot. Much of their influence is derived from bands including The Disco Biscuits, STS9 and The New Deal. You can tell that there is a connection between the band members, even after working together for such a short period of time. It was certainly a pleasure to be able to catch an up and coming collaboration group.

    When Biodiesel hit the stage, drum and bass began emanating outside to the parking lot. The one thing I love more than seeing a show at Red Square is seeing a show where the back room is filled to capacity with a dancing crowd. You don’t expect much when going to see a two-man band but I found myself pleasantly surprised. The hard beats and bass lines had everybody in the crowd moving. One thing that stood out to me in particular were the samples they used to break apart the heavy beats. It was a perfect mix of man and machine and created a totally different atmosphere than I had expected. You could certainly tell that both Rabb and Carnell were pouring everything they had into their work and keeping the crowd hyped.

    Biodiesel ended around 1am, relatively early but came back on for a hard hitting encore that left the entire crowd wanting more. Although I have seen Biodiesel a handful of times, it was refreshing to see such a high-powered show with a crowd to match.

  • Jeff Bujak at Red Square with Mentally Ill and DJ Leila, October 19th

    Red Square is one of my favorite smaller venues to see live music. The drinks are always strong, the bartenders are always friendly and the music is always amazing. This night was no different. Jon Santolla, aka Mentally Ill, started the night off for Jeff Bujak strong with hard, dirty drum and bass with clean cuts. The bar began to fill up as the night progressed. The back room slowly began to fill up with 20 something’s getting down to Santolla’s beats. If you’re not up by the time Santolla’s set it over, check your pulse.

    The moment Jeff Bujak came on, the vibe in the bar changed completely. The electricity he exudes while he slams on his keys changes the atmosphere the moment he takes stage. He often plays entire sets with his eyes closed, pouring every inch of energy into his love for his music. I have not gotten the chance to actually enjoy a full Bujak set since The Come Up Festival in June so it was nice to be able to get down to his pulsing beats. The thing I enjoy most about Jeff Bujak, besides his amazing light show, is that he does not fall into one specific genre of music. He combines the efforts of rock, electronic, club, funk, and hip hop into a medley of drum loops and keyboard grooves. Bujak’s personality exudes through all of the shows I’ve seen him play, and although this may have been my tenth or eleventh time seeing him live, his act still manages to impress me.

    During Bujak’s setbreak, DJ Leila took the stage bringing more hard hitting beats that vibrated the dance floor. Mentally Ill and DJ Leila are two of my favorite DJs to see live because of their consistent energy. Their shows have a similar personality to Orchard Lounge, with both Leila and Jon trading off on the tables. While one is spinning, the other is close by waiting intently for their cue to step up to the tables. It is refreshing to see a DJ who does not just push play on a Mac computer and genuinely loves the art form of spinning for a crowd- no matter how big.

    As Bujak returned for round two, the crowd was in store for another high energy performance. I watched from the leather couch as silhouettes recognized each other against a back drop of blinding lights. The best thing about Red Square is how personal every set feels, whether you are toe to toe with the stage or sitting comfortably in one of the couches against the back walls. Of course, I finally migrated to the front to replenish my drink and Bujak busts into an electric rendition of “Intergalactic” by the Beastie Boys. I left my drink before it was even made to go to the back and watch the crowd pulse to the music.

    By the end of the set my friends and I were all tired and a little tipsy, as we often are after a night at the Red Square, so we said our goodbyes and made our ways to the closest pizza place before going home. Once again, I am not surprised to say that I was very impressed with Jeff, Jon and Leila’s ability to put on an amazing show.

  • Interview/Review: Ott and the All Seeing I go LIVE in Syracuse

    Interview/Review: Ott and the All Seeing I go LIVE in Syracuse

    There has been a recent trend of electronic DJs and producers recreating their music on stage with a live band. Thankfully, Ott, a UK based Master Engineer/Producer/DJ, is one of them. Ott & the All Seeing I are the result as he is joined by Naked Nick (Vocals, Guitar, Synths, and Percussion), Chris Barker (Bass), and Matt White (Drums).  I was privileged to catch two of their sets recently, in particular one on Sunday, October 7th at The Westcott Theater in Syracuse, NY.

    OTTUnimpressed by the “rave” music found in London clubs, Ott discovered a commonality with artists who shared his love of organic dub and pristine electronics such as The Orb and Dub Syndicate. These artists were not afraid to concoct music with one part heavy bass rhythms, one part spacey soundscape and one part gorgeous melody; shaken not stirred. Ott spent time honing his engineer skills working with such artists as The Orb, Sinead O’Connor, Brian Eno, Steve Hillage, and more recently Simon Posford of Hallucinogen/Shpongle fame. His first release on Simon Posford’s Twisted Records was Hallucinogen-In Dub (2002), where he remixed classic Hallucinogen songs. Since then he has released three of his own, Blumenkraft (2002), Skylon (2008) and Mir (2011)

    Having seen Ott a half dozen times or so in the last few years, I have felt a connection to his music ever stirring within me. His music can have an intoxicating effect on me and OH what a beautiful buzz! It is like his music breaks and enters my soul and commands my body to move in ways previously unimaginable. Heading to the Syracuse show I was eager to be a part of the energy he shares with his audience.

    Playing to a smaller crowd, the Westcott was less than half full of guests but Ott & the All Seeing I were not to be daunted. Playing through giant speaker stacks that easily withstood Ott’s powerful sound, the band got down to work. Having as much space as I needed, I danced away the set, oblivious to any perceived problems in my life. The show highlights for me included “Splitting An Atom”, “Owl Stretching Time” and of course always a crowd favorite, “The Queen of all Everything”. The live performance gives Ott’s music a raw and powerful energy, full of life.

    Traveling with me to this show was Kelly, a precious gems and mineral merchant of Kali’ka Crystals and Creations. Kelly had “gridded” Ott’s stages with crystals at two previous shows, a process in where she places crystals in an array that is meant to help harness energies. Her grid this night included Smoky Quartz for meditation, Amethyst and Selenite for intuition and divinity, Lepidolite for stability and communication, Lemurians (and Pink Lemurians) for love and spiritual awareness,  and Herkimer Diamonds for attunement and connection. Post show the band joked about how she should jump on the tour bus with them as they enjoyed her crystal work and company so much.

    Any chance I am afforded to see Ott & the All Seeing I again will be taken with utmost seriousness. It is truly a spiritually enlightening experience.

    I had the privilege of asking Ott & the All Seeing I a few questions as they broke down post show:

    Chris McMullen: Do you have a favorite venue in upstate NY?

    Ott: Oh thats hard. It depends who turns up,…it depends who’s there.

    Chris: How much time had Ott & the All Seeing I gotten to practice live?

    Ott: Not much actually, we were fairly unprepared when we got here.

    Naked Nick: It’s just life’s logistics. We did everything we could and we were all practicing individually. Some of us are in the east of England and some of us the west, so the amount of times we can actually come together in one place is quite limited.

    Ott: The first time we were able to come together and all play in the same space was our first gig in Baltimore.

    Nick: We never all played in the same room together!

    Chris: Oh wow, I was at the NYC show at Club 39 and thought you guys sounded pretty good.

    Ott: Yeah our sound guy had to totally rewire everything there. Our crew really pulled it out of the bag. I quite enjoyed it in the end.

    Chris: It was a tight space.

    Ott: I love the hot sweaty basements….that doesn’t sound quite right, does it?

    Nick: I think there is going to come a time when I can use that piece of information against you. Not sure yet when it will be.

    Chris: Have you found yourselves engaging in any pre or post show rituals?

    Ott: I can see patterns forming. Kelly and her crystal garden are the closest thing to a ritual we have. But she’s abandoning us! She has driven miles to see us. We will miss you Kelly.

    Nick: It’s really nice to see some familiar faces coming to more than one gig, it’s meant a lot.

    Chris: Are there any musicians you’ve been listening to lately?

    Ott: I generally don’t listen to anything made after 1982 really, actually no, to be honest, 1978 at the moment.

    Nick: Bird Of Prey, Sun Monks

    Ott: Nick’s your man. If you want to hear somebody reel of loads of really contemporary artists that no one’s ever heard of. He’s your man. I actually don’t like music very much. I try and avoid it.

  • Hearing Aide: Jeff Bujak “Something Different”

    Hearing Aide: Jeff Bujak “Something Different”

    Jeff Bujak on his latest release Something Different, showcases this electronic pianists creativity with a nice array of rhythms and skillful piano playing throughout. I was drawn in by the initial two studio tracks which served as the perfect warm up to the remainder of the albums extended, live studio tracks.

    Jeff Bujak Something Different

    The table is set with “Raygun” and “Riky,” clean studio efforts layered in samples that are plentiful and well positioned. The transition into the 8 live tracks is seamless as the album works nicely through some shorter live remix tracks, into the more extended live material beginning with the catchy “Nu-Muneh”. I particularly enjoyed the live tandem of “Mutator” and “Sea Monster”, filled with heavy beats and catchy grooves offered generously in each track. Really nice upbeat piano playing make this portion of the release in particular my favorite.

    There are no holes to be heard, but rather a straight forward high energy effort from Jeff Bujak here with track after track that is sure to please.

    Key Tracks: Mutator and Sea Monse=ter

  • 51Basscamp set for liftoff on August 25th

    51Basscamp set for liftoff on August 25th

    On August 25th, 51Basscamp returns to Maple Ski Ridge in Rotterdam NY for 18 hours of Electronic Dance Music created by bands, DJs and national headlining and regional performers among other unique acts in a multi-stage event.  Running from Noon on August 25th and ending around sunrise on August 26th, 51Basscamp is a late summer music festival that combines great music with an ideal setting in Schoharie County.

    51BasscampActs at 51Basscamp this year include recent additions Nigel Richards, Psyncus Circus of the Senses, Beacon in the Dark, Michael Anthony, Jay Balance, Milkdud, and Just The Sauce  They join a lineup that includes Donald Glaude, Orchard Lounge, Comic Strips, Horizon Wireless, Jeff Bujak, Blue Boy Productions, Don Stone, Dream Job, Static Groove, Evac Protocol, Kloud9, Mikey Parkay, LazerBass, Vudoo Runner, Sweat Pants Money, Digital Dharma, Tier 1 and Primitive. In addition to the amazing music and performers, 51Basscamp features local lighting designer Dutch Masterson Designs on visuals as well as a one of kind Laser installation for the main stage of the event. Beacon in the Dark will be providing a UV art installation with exotic fetish body painting and dancers along with roaming entertainment. In addition, artists will be creating one of a kind art pieces on each of the stages during peak set times.

    will be giving away TWO tickets to 51Basscamp. All you have to do is one or both of the following:

    Like 51Basscamp on Facebook between August 1st and August 20th. OR Comment below about what band you MOST want to see at 51Basscamp, and why. Two lucky winners will get passes to 51Basscamp, courtesy of .  Winners will be selected on August 21st. Tickets are available for only $40 online, you can pick them up through Fanfueled.

    Visit www.51bass.net and contact 51bassinfo@gmail.com for submissions of any kind.

    Update 8/21: Congrats to our two winners, Vicky Nelson and Dylan Brown!

  • Jeff Bujak at Red Square

    Last Friday night, Jeff Bujak made a return to Albany’s Red Square, which hosted a number of other DJs that night including Sweatpants Money, Evac Protocol and Leila, providing plenty of variety for the crowd seeking their BassFix.

    Jeff started the night out with a strong, fast tempo that went throughout both sets, living up to his label of electronic dance music. In Red Square’s small venue space, the floors were actually vibrating from Bujaks nonstop beats and key slamming fingers. It was music that you could literally feel, that physically moved you and forced you to use every part of your body. The air was electric; with such flow and control over his equipment, especially the piano, Bujak is a sight to see.

    Despite the night being heavy on the electronic music, it was far from overwhelming, perfect for newcomers to the scene. With an array of mixes ranging from pop, 80s, rap and jam band, there was something to find in each song for everyone. Playing into the slogan on his website, “Finally, Something different” was exactly what the audience got and then some.

    After every few songs, Jeff Bujak took the time to thank his fans, when really we should be thanking him. Jeff Bujak is touring around the East Coast and will make stops at Catskill Chill Music Festival (Sept 7-9, Hancock, NY) as well as 51BassCamp (August 25th, Maple Ski Ridge). For a complete list of his upcoming shows as well as a vast amount of free official recordings, go to www.jeffbujak.com

  • 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.