NYS Music 20​13

Category: Reviews

  • A 3-Day Binge with Alestorm, Trollfest and Gypsyhawk – Oh, My!

    I was originally scheduled to cover the Alestorm‘s New York City appearance on December 2, yet it ended up being a 3-day party saga that was surely nothing less than memorable!

    One of the last few stops of this year’s Alestorm tour was hitting the Great Apple. Gypsyhawk was in charge of starting out the night. They found some warmth among the New York City fans – far from the cold temperatures of Canada, where they had just come from.  They showcased California Rock n’ Roll at it’s finest (having persevered though the struggles of a broken down car) and delivered an energetic performance.

    As always, it was expected that Trollfest would have the crowd in constant motion with everything from mosh pits, walls of death, crowd surfing and, of course, lots and lots of dancing.  Since their last appearance in the city during the annual Paganfest, the local crowd has grown immensely. Their performance was quite the fun-fest. Not only did the silliness of the band make it so much more exiting, they interacted a lot with the fans; at some point they even played in the middle of the pit, as fans danced around them.

    And when you think it doesn’t get any better than Trollfest, Pirate Metal comes along. Alestorm brought the party full circle as they delivered one of the most exiting and energetic set. The crowd surfers rained towards the front, as everyone else was dancing and singing along to the drunken pirate lyrics. Again one cannot emphasize enough the fact that the band takes the time to bond with their following. They brought some girls on stage to dance with them, and just joked around in between songs.

    Alestorm

    I’ve seen so many shows throughout the year, and I have to say, not only was this the top one for me, but it was the cherry on top to end this memorable year of gigs.

    Follow Kassandra as she continues her 3-Day adventure.

    Day 2:

    Day 3:

  • Kollectiv and Groovestick: Funky and Lucky on Friday the 13th

    The last Friday the 13th of 2013 brought together lucky music lovers to The Hollow in Albany for two of Upstate New York’s homegrown talent. With the holidays around the corner, it’s understandable for fans and musicians to want to soak up each other’s cheerful energy with live music. The Kollectiv, a rap rock funk band, was having their first reunion show in months, kicking off their short tour in Albany. The Capital District’s own Groovestick was first to take the stage and were eager to test out their new stage setup.

    Drummer Franz Celestin and keyboard master Chris Carballeira now face each other with bassist Dan Gerken standing strong in the eye of the storm, taking inspiration from one of their favorite bands, The New Deal. Now with more eye contact and exposed body language, the musicians can read each other better and have strengthened their already impressive fluidity. Regardless of the layout, Groovestick still gave out goosebumps with their jazz and funky flow. Carballeira glides over the keys of the Hammond 33 organ, providing an intense blues and psychedelic sound, causing new appreciation for vintage instruments everywhere. Gerken plays slow and ripplely chords until causing a commotion with the tease of the infamous bass line from Phish’s “Stash” while Celestin fires away on the cymbals at every speed level.

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    Originally from Oneonta, musicians from The Kollectiv have been traveling different paths experimenting with various projects around the country but lucky for Upstate New York, they came home for the holidays. What makes The Kollectiv stand out above the other bands is their usage of turntables. They have a soulful and funky vibe from their instruments but with the combination of the turntables, it adds attitude and flavor. Their groove is undeniable especially with the steady bass of Chris Duffy and firm beats of Frantz Celestin, who is still a powerhouse after rocking with Groovestick beforehand. Lars Viola yells out, “We haven’t been in the same room together for months. It feels so good to be home” as long awaiting fans couldn’t agree more. Their sound is almost similar to a softer version of Eminem’s The Marshall Mathers LP 2 –  no offensive language, but creative word spitting with a fantastic blend of rap and rock music. Each song is so different in that one is a “no worries street smarts” and the next moment Taylor Frederick is shredding on guitar before the music slowly grooves into a reggae dance party. It’s a shame that The Kollectiv shows are rare but they are always worth the experience and we can only hope for more in the new year ahead.

  • Hearing Aide: The Moho Collective “Anicca”

    Ryan Barclay, Kurt Johnson and Justin Rister, well known through-out the Northeast as The Moho Collective have released another full-length album, Anicca, full of musical artistry and mystical arrangement. Anicca marks their second studio effort and from cover to mix features their usual hands-on approach to all facets of each release and live performance.

    Anicca is the belief that all things, including the self, are impermanent and constantly changing, the first of the three basic characteristics of existence. Not a surprising statement from three musicians whose collective personality reflects this belief beautifully through their live performances, which this album is. Recorded live with very few overdubs, raw and precise, fiery and brash, full of growth evidence that the band is evolving. Just the song titles alone should send you off to Google.

    “Lingua Franca”, the opener, is playful, then thunderous, opening with what seems to be a toy car horn, rhythmic and distant, diving into a swirling traffic jam. “Chikyu Hakken” takes a fast turn East, pulling on the Asian strings, literally, almost as if they’re deriving  a kinematic equation musically. There’s a syncopated quality that underlies the staccato guitar line with such a natural feel you’d think the guys were native to this, but it’s just the brilliance of The Moho, flexing subtly their band’s muscle and heart. Quickly changing direction, directed by Justin’s reggae/funk intro to Rainbow Young”, (Uticans will be familiar), you think you know right where they’re going, especially when Ryan and Kurt kick the groove in, but just like that, they’ll hit you right in the chest, sending you spinning off into a metal-tinged break, then right back to the funky groove. Proving even more the title fits, as even the groove isn’t permanent, it changes and morphs to fit the Delft-like explosions of The Moho’s collective energies.

    “Oil On Canvas, 13x 29” fits right into why I’ve loved this band from first listen. Kurt’s guitar voicing is so literal, it makes the idea of vocals seem redundant, while Ryan and Justin seem to be of one mind, or at least interchangeable. It’s such a natural feel, it’s the rising and falling dynamics, the swells and swales that fall out from under you, then catch you gently, steadying for the next lift-off. “Chalet” carries on the thought with Kurt getting a loop going to ignite a quick rise from a Frippertronic hallucination into a Hendrixian explosion and back again. The return of Ryan’s didgeridoo haunts “Bamal” and signals another directional change deftly accompanied by Justin’s bass segueing into “Sampa”, yet another ethnicity, another chance to stretch out, this time Kurt calling out his inner-Belew circa 1985, absolutely brilliant work. “Dar Klite” soars gently, wistfully, then forcefully until leveling into a jazzy jam, ala “Return To Forever”. It’s the dynamics man! The dynamics! Another segue into “Wenindee”, flat-out Moho pyrotechnics, the rhythm section pounds and pulses, Johnson’s guitar soars then signals the out and it’s over. I wait for another track, but it’s done, well, just click play again, it’s a fabulous ride. After you let “Wenindee” play out, of course.

    Key Tracks: Oil On Canvas, 13 x 29, Chalet, Bamal, Sampa, Wenindee

    The Moho Collective is Justin Riser (bass), Kurt Johnson (guitar), Ryan Barclay (drums). The sessions were recorded live between March 3rd and 5th, 2012 at The Peace Abbey in Sherborn, Massachusetts with the tracks edited and prepared by Matthew D. Guarnere and Calvin May , mixed at Blackdog Recording Studios in Rochester by M.D.G. and Kurt Johnson and mastered to analog tape at What’s Real Unlimited, also in Rochester by M.D.G.. Matthew is credited as producer as well, along with the band.

    The Moho Collective: on the web and Facebook. Buy the album on iTunes or cdbaby.

  • Brothers Past and Digital Dharma Throw it Down at The Hollow

    Brothers Past and Digital Dharma took stage for a packed house at the Hollow on December 21st. Digital Dharma were on first, starting the night on a great foot, opening with “Mission Control -> Moonstruck”. Eliot Kershner never ceases to amaze on the keys and synth as he brings complex layers that intertwine with each of the musician’s key facets of the band to create a new and fresh sound within electronic music. Each member in the band plays off one another in such a way that each members unique sound is heard even in the most intense jams. This was Digital Dharma’s guitarist Jesse Radosti’s last show, and while it was bittersweet it was certainly a high energy set for him to close the curtain to.

    Brothers Past took the stage, bringing their signature upbeat dance jams to The Hollow’s crowd. The bad is known for its dance tunes, surrounded by heavy jams and compiled by some of the most talented musicians on the scene. Unlike most jam and electronic bands, Brothers Past integrates vocals into almost all of their songs. Often times within jam bands, it is easy to lose the vocals amid the competing instruments and heavy jams, but Brothers Past has always done a phenomenal job keeping that scale at an even keel. Bands like BP have the capability of melding the organic and electronic aspects of both worlds and creating a new facet in the jam community. Brothers Past has followed in the footsteps of their Philly brethren the Disco Biscuits, and while their exposure is still on the up and up, it is clear that they are destined for great things within the music community. The band played two sets, both of which were packed with intensity and kept the crowd moving from start to finish.  Clay Parnell laid down venue shaking bass lines matched by Tom Hamilton’s guitar to create a crushing set of multifaceted musical talent. It was certainly a good night for music in Albany; hopefully Brothers Past will make Albany a regular stop on their touring circuit.

    You can catch Brother’s Past 12/26 at the Best Buy Theater alongside The Disco Biscuits, or their late night set at B.B. King’s the same night.

  • The Wooten Brothers Light Up The Egg

    The Wooten Brothers are not your average family.  They have been playing music together for their entire lives and it shows in the way they perform on stage.  Victor, Joseph, Roy “Futureman,” and Regi play with each other with such ease that it seems like they could do it in their sleep.  On Sunday, December 15, they brought their latest tour to The Egg and played beautifully for their entire two hour performance.

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    The evening started with Joseph coming out alone, joking with the audience about his birthday being that night and bringing the rest of his brothers out for a Sly Stone medley of songs.  Once the medley ended the brothers began doing a slew of originals that let each member show how talented they were.  Whether it was Joseph on the piano leading R&B ballads, Victor taking the lead on his bass for funkier numbers, or Regi displaying his guitar mastery on the heavier rock songs, each brother proved why they are up on that stage every night.  Roy “Futureman” kept the brothers on point with his steady playing all night on the drums.  He played a regular drum set all night, which is unusual for him as he has an electronic percussion unit for drumming with him more often than not, but he even played that differently as his bass drum was horizontal so he could play it with his hand instead of his foot.

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    The brothers told stories between their songs and joked with the audience.  During a James Brown medley, Joseph began to ask for hitting and quitting just like the godfather of soul used to.  His “hit is on 52” was very funny and appropriate as it was his 52nd birthday, and the crowd enjoyed every second of it.  The band even paid tribute to their fifth brother, Rudy, who died a few years ago, with the ballad “Make Me Like a Child.”  It was a touching moment that clearly showed how much these brothers care about one another. The Wooten Brothers are all virtuosos at their respective instruments and it is always a treat to see them play.  In the small confines of The Egg, it truly felt like a private performance for a few friends.  After the show was over, all of the brothers showed their appreciation to the audience by sticking around to sign things and talk with anyone who wanted to.  It was a great gesture by them and a perfect way to end the evening.

  • The Funky Meters and Lettuce at The Capitol Theatre

    Following three packed nights at Brooklyn Bowl, Lettuce capped off an exceptional run in New York Saturday, December 21st with a headlining performance at The Capitol Theatre in Port Chester. Long circled on the calendar by many in attendance, Saturday’s twin bill featured an opening set by The Funky Meters on founding member and keyboardist Art “Poppa Funk” Neville’s 76th birthday. Infectiously funky vibes filled the room early and often during The Funky Meters set, which featured a mix of classic Meters’ tracks and rock covers, including Jimi Hendrix’s “Voodoo Child.” The funk swiftly segued from New Orleans to New York as Lettuce hit the ground running with a relentless marathon set of the high energy old-school party funk they do best. Highlights included a number of tracks from Lettuce’s 2012 release, FLY, including a rousing rendition of “Madison Square,” and guest vocalist appearances by Alecia Chakour and Nigel Hall.

  • Ocupanther Three-Hour Set on DubLand Rochester

    When Ocupanther plays Rochester, even the most loyal fans can expect a few surprises and sharp new tunes.  December 6th was no exception as Ocupanther returned to Dubland Underground on a snowy Friday night that saw a room full of old friends and curious new faces. Ocupanther has a knack for capturing these types of diverse audiences, and the reason is two fold.

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    First, the music is captivatingly genre-bending, but still accessible on a broader level.  The bands opening song for the evening, “The Great Oxygenation”, is a perfect example of such.  With patiently buoyant synth grooves layered on top of warm, locomotive bass lines and heavily syncopated percussion, Ocupanther welcomes listeners like greeting an old friend. “TGO” then launched directly into “Yerkrewrun”, a new song in the lineup, which took the energy of the room to the next level while showcasing the groups ability to write some damn complex music, building patterns and changing time without losing their signature meditative peaks-and-valleys.

    The second major factor of Ocupanther’s appeal, a band priding themselves on composition over improvisation, are their studio efforts.  For a band that doesn’t play too frequently, they are workhorses when it comes to writing and preparing.  The night showcased seven songs that have yet to appear on an album, all of which showed new depths of musicianship and warm beats marrying dark rhythms.  Their two albums, Progressor (off which the group played four tracks on Friday) and Troncoso (three tracks) are of a sound quality and caliber rarely seen on an ‘independent’ level.  This craftsmanship and attention to detail is refreshing in a scene that is often dominated by quantity over quantity and one-off chance happenings.

    All that said, the Ocupanther live show is an experience in its own right, guaranteeing audiences will move from beginning to end. Some favorites of Friday evening included the new, pumping dance tune, “Obtuse Snoot”, late-set dueling guitar machine guns covered by a steady rhythm section on “Gunther Splitchicks”, and a welcome instrumental cover of “I Feel Love”.   Once again Ocupanther threw the type of party you can’t afford to miss on a Friday night (especially when the show is free) while proving their chops on a musical and professional level and continuing to look forward.  With a new album on the horizon, expect more big surprises and music that stirs the pot of what to expect from our local scene.

    See Ocupanther January 28th at Nietzsche’s in Buffalo at 9pm with Ajamaja and DejaFuze.

    Setlist: The Great Oxygenation>  Yerkrewrun> Misunderstanding Hugs, Treat Me Like A Telescope*, Stompgoat, Progressor, Mike Chases His Pony, I Feel Love#, Ghostless, Gunter Splitchiks, Pyromancer>Obtuse Snoot, Naga Jolokia, Fraktura, Troncoso

    Encore: Holy Jeffery

    * First Time Played
    # Donna Summer Cover

  • Jimkata, Squid Parade, and FiKus Rock the House at the Oneonta Theater

    On Friday, December 6th at the Oneonta Theater, the crowd was in for a treat with a spectacular showcase of exquisite young talent on display. Starting off the evening was Squid Parade, a hometown band who really seemed to have their act together. A tight band with sick bassist Pete Piscitelli, the band managed to pull off complicated rhythms with ease. Drummer, Emmett Rozelle, who could have easily been seen playing in an ‘80s hair band had enough raw energy to fuel the rest of the more serious band members. Their awesome cover of the night was “No Quarter”, which they played with extreme accuracy.

    Following was FiKus, featuring another killer bassist, Travis Paparoski, this time on the six-string bass. Their keyboardist Jon Schmarak seems to be heavily influenced by Marco Benevento, with the band playing as their third song of the set “Michael Phelps”, one of their more popular tunes that successfully channels Benevento’s style and demonstrates just how talented this young keyboardist is. The percussionist Pete Kozak doubled as lead singer/rapper, and he had a great voice, but the lyrics were at times drowned out by the other instruments. The band members looked like they were truly enjoying themselves on stage, which came through in the incredible energy of their tunes. Much of their song list had a “video game rock” kind of feeling.

    The headliner of the night was Jimkata, a relatively-close-to-hometown band, hailing from Ithaca. Jimkata always seems to draw a crowd of familiar faces to the Oneonta Theater. Complete with local area fire dancers who took their act indoors for this show, using cool light toys instead of flames (although sometimes distracting, taking attention away from the music itself), Jimkata put on a rockin’ show.

    Start with a base of disco and ‘90s pop-rock, mix in some electronic sounds and techno beats, and you end up with Jimkata’s signature style of “electro-funk”. A sine wave of sound seemed to permeate throughout the set, giving a real feeling of drive and continuity. The band was definitely not shy about letting the audience know they got bass, which came through in the crowd’s enthusiasm and consistent bopping along to the tunes. The band’s drummer Packy Lunn has a great command of rhythm, managing to keep the rest of the band together during their more rhythmically tricky songs. The last song of the set, “American Cars”, had a particularly electronic feel to it, featuring double keyboards by Aaron Gorsch and Dave Rossi. Responding to the audience’s insistence on one more song, Jimkata came back out with a duo of two more spacey numbers, “Die Digital > Roll With the Punches”, to send everyone on their way home on an upbeat note, excited to come back to check out Jimkata the next time they come to town.

  • Candlebox at Oswego County Event Center (finally, Part 2!)

    I wrote that back in late September, talking about an incredible show at the Syracuse area’s newest big outdoor venue, the Oswego County Event Center.  A few months late but hopefully a way to remind everyone as they look out the window into fields of snow that summer is coming and live shows will be seen — often, and right here in Upstate New York. Candlebox
    Candlebox Oswego
    When the Syn City Cowboys took the stage, the crowd was mixed on who are these kids from Kansas City, and the women drooling over the fit bodies and refreshing look the band presents.  Once they started, the focus was on good ol’ rock and roll.  SCC has been around for a little over three years and continue their relentless tour schedule to bring their music to the fans.  Frontman Ethan Cole says his favorite lead signer is Metallica’s James Hatfield, but while Cole may rock out like Mr. Hatfield, you will find his vocals to be a little more youthful, clean and more reminiscent of strong 80’s frontmen like Sammy Hagar or David Coverdale.  If these young men stay together, keep writing pure rock tunes and stay on the road perfecting and promoting their craft – they will become a household name.  In rock ‘n roll households at least.
    The long summer day was just beginning to become a long summer night as Open Air Stereo walked out onto the brand new enclosed stage in Pennellville, New York.  Forty years ago you’d hear a band for the first time on the local radio station.  Twenty years ago it was either  MTV or VH-1, and you heard them and saw them at the same time.  More recently, with bands like Open Air Stereo, a band’s first exposure is often on reality television, they don’t hear the music until later (to be fair, OAS did get some decent play time on “Laguna Beach” but who was really listening?).  Nine times out of ten when you finally hear the music it is a huge disappointment.  OAS is that 1 out of 10 that you say to yourself, “oh damn, these guys are good!”  One of the reasons they are so good was due to a Craigslist ad.  Yes, you can find more on Craigslist than old tires and an escort for a lonely Friday night.  Open Air Stereo found guitarist, Scott Pounds on Craigslist.  This would be another time that you could safely say, “oh damn, these guys are good.”
    Behind the Pennellville Fire Station just 10 minutes north of Syracuse on this summer evening was no exception.  A smooth rock groove and strong beat supporting tunes like “Stuck on You” got the crowd bouncing up and down, or what some call “dancing”.  The set went up and down with intensity and it was obviously that the band has been fine tuning its stage presence.  Backstage, they were working on their own equipment, even fixing a snare that broke after the last gig and a night full of traveling didn’t give a lot of time to fix it.  Life on the road is tough and hopefully OAS has what it takes to stick it out.  There is a large market of 16-25 year old girls and the guys that follow them around that needs this music.  In the process the band will continue to mature and bring in a large fan base and move past the “Laguna Beach” name and into their own.  Something hard work and many miles over desolate highways can deliver.
    Rumors were flying that Syracuse natives, Crows Cage, were going to start their set with a little surprise.  I was eagerly awaiting by the stage to see what these hard rockers had in store for the audience.  Already local favorites with more fan adorned t-shirts in the crowd than any other band, including headliner, Candlebox – they didn’t need to do something gimmicky to get the crowds attention.  So, what could it be?
    Aaron Bellow busts out an incredible guitar solo to start the show.  The guitar whined and whimpered with delight of the fans and to the delight of my ears, too.  Aaron’s big surprise was using a bow to light up the solo… it was like a slide guitarist found his way into a haunted house and had to play for all the ghouls and boys.  It was actually pretty awesome.  While it could have easily been cheesy, it wasn’t overly hyped nor did it last too long.  It was short, to the point and therefore a powerful statement that Crows Cage was ready to make shit happen and as the sun slowly went down behind them, the energy of the festival type crowd was about to hit the next level.
    Fresh off the release of their CD Forgotten Sins the band busted out tunes from the new album that turned up the tempo. “Grindstone” or “Derivation” really highlights the intense pace set by Crows Cage rhythm section: Clint Greer on drums and Tommy Rose on bass.  A slick guitar lead-in allowed Eddie ‘EJ’ Carrara’s vocals to have the strong impact that was intended.  After seeing Crows Cage open for national acts Devour the Day and Saliva earlier in the summer, there was something special about the line-up.  Seeing them a month or two later on stage in the OCEC showed more development and a tight adhesive bond within the band.  The chemistry allowed the music to flow over the crowd and melt some faces and blow some minds.  With any direct support band they have one important job, above all others: get the crowd ready for the headliner.  Two words, “Mission Accomplished.”
    Earlier in the week leading up to the show I was able to talk to Candlebox’s Kevin Martin about the bands “comeback”, the purity of rock, how things have progressed since their peak in the 1990s, new material focused on a new message, and a new sound.  Candlebox can still delight the audience with classic favorites like “Far Behind” and “You”.  But even those classics now have a refreshing twist live, either through an acoustic set up or even a slight ska/dub influence.  The show at the Oswego County Event Center was no exception.  The crowd was pumped up and the band maintained that energy mixing in the old and the new.  Guitar licks from the legendary Peter Klett dropped more than one jaw as original Candlebox drummer, Scott Mercado, set the pace.
    From the V.I.P. poster signing to the dominant stage presence and command of the crowd, Candlebox did not lose their touch with their fans.  An openly supportive marijuana rights agenda influenced a few fans to light up and partake after the sun went down behind the stage.  That scene alone, sunset while the band lights grew in intensity gave me chills.  The photos could never do it justice.  My recommendation is to plan at least one or two shows there in 2014 so music fans can truly appreciate the new venue.

  • One Weird Night for All that Remains

    All that remains — one weird day.

    All That Remains rolled into Clifton Park a few days ago. They rocked the house along with Soil and local openers Hollow is thy Heart, but the day left us with some questions and stories to tell. Here’s what went down:

    1. Lead vocalist, and official band a – hole, Phil Labonte called out the New York State Police on their apparent violation of the 4th Amendment of the Constitution. Actually, their tour bus was hit by a car. No one was hurt, but the responding officer asked for the names and ages of everyone on the bus. Labonte specifically said on Facebook, “The fuck has absolutely no right to ask for that information…welcome to NY where the Bill of Rights won’t protect you.”

    Just so Labonte knows, the 4th Amendment protects you from unwarranted search and seizure, not someone asking you for your name. I guess you could just say no if you really want to. He’s not going to shoot you.

    Even so, reports have just been confirmed that Labonte will be working on a Fuck the Police type mix tape alongside no-longer-relevant rapper 50 Cent.

    2. Hollow is thy Heart proved, once again, that they are one of the biggest forces in local metal right now. They played both fan favorites, “Death Comes Marching, and Without a Savior.” Although the snow led to a lot of cancellations, the ever-building crowd may have been one of Hollow is thy Heart’s milestones, as drummer Brandon Weaver said.

    As always, AJ Justiniano’s voice was nothing short of powerful, while the instrumentation was on dead point. The crowd began to move. Hollow is thy Heart is certainly big-time material. Give them some time and those guys will be on tour.

    3. Soil may be up and coming, but they certainly proved that they deserve to be on stage with All that Remains. They were not necessarily unique, but they came out with a bang and the crowd could move along. If nobody knows your music, at least have a catchy hook.

    4. Apparently, All That Remains has become a country band. When Labonte came out with those sweet, angelic pipes for one of their slower songs, everyone got their lighters in the air for “What if I was Nothing?” While this song could have easily been denounced as a horrible rip off of Taylor Swift, it actually sounded very different in a live setting. Who knows what the cause was, but Labonte has stepped his game up when it comes to clean vocals.

    The magic didn’t stop there. ATR played some of their old classics as well. From the perspective of someone who first heard the band when they came out with the Fall of Ideals, it was pretty enjoyable to hear some of these once again. In the same way, the performance ethic of the band as an entity has greatly improved.

    5. An anonymous source told us that Oli Hebert, the lead guitarist, smoked a bowl with a few members of other bands after the show. Since this is unconfirmed, we just wanted to make sure that the responding car crash officer doesn’t go after any of the other smokers. Don’t even think about asking for names, sir!

    All in all, there’s nothing like going to a sweaty metal show, being packed into a room like Upstate Concert Hall, and singing along with some of the first metal songs you ever heard — with or without the silly antics apparent before and after the show.