NYS Music 20​14

Author: Brett Jones

  • Primus set to Bring a Twisted good time to Rochester Main Street Armory

    Today, Primus will turn Rochester Main Street Armory into a twisted-nostalgia-psychedelic-fun-house in support of their new record, Primus and the Chocolate Factory with the Fungi Ensemble. The band released the album October 21 and Rochester marks the ninth stop on their countrywide tour, which has been well received. Essentially, the album is exactly what you would expect from Primus

    : heavy, psych-funk with a playful dark side—except this time they are covering songs from Willy Wonka, which adds an extra dose of strangeness. Bassist Les Claypool is the mastermind behind the freak show, and he, along with band members Larry LaLonde (Ler) and Tim Alexander (Herb) will be dressed up as characters from the film to go along with the elaborate stage design. The music alone is a trip, but paired with lighting and theatrics, this evening is sure to be a spectacle. As an added treat, fans can win Primus tickets for life by finding one of six golden vinyl records (as opposed to the regular chocolate-brown color).

    Rochester Main Street ArmoryDoors are at 6:30PM but show time is slated for 8PM; this is Sunday show, and it is the Armory, so expect an early evening. Tickets are $39.95-$45.00, and available at the box office, Ticketfly.com, House of Guitars and Aaron’s Alley.

  • Electron ends Fall Tour at Syracuse’s Westcott Theater

    I still maintain Syracuse is a weird city, but they got one hell of a show at the Westcott on Saturday October 18. For fans of live-tronic music, this was the show to catch. The bill featured three bands (all instrumental) leading up to Electron, making for an impressive five hours of music. The night opened with Ocupanther, who got fans moving with their intricate but danceable compositions, featuring smooth rhythm sections and weaving guitar/synth parts on top. Ocupanther is always a treat because they are unique—not just progressive scales, not just untz beats—but truly original sounds put together in an organic, funky way. Up next was Horizon Wireless, who laid down smooth beats that were subtle but sexy and often trance inducing. Horizon has a warm sound that just makes you feel good, relying more on the groove than huge peaks or changes. This was almost a direct contrast with Solaris, who took the stage next and threw down heavy beats that really brought the energy back up a notch as the room began to fill in. Ithaca’s Solaris is a one-two punch, first they get you in the zone with beats that are predominantly electronic and then they mix in moments of sheer rock and roll dirtiness. By the end of the set everyone was moving and ready to go.

    Photo by: Andy Hill at Catskill Chill 2014 - Electron
    Photo by: Andy Hill at Catskill Chill 2014 – Electron

    Electron, to put it bluntly, is essentially a Disco Biscuits cover band that plays Biscuits’ songs better than the Biscuits. This is not at all a bad thing, or meant to discredit the original incarnation(s) of Bisco—they are the ones who did it first after all, and they have a chemistry that cannot be replicated—but rather to highlight the similarities and areas of improvement. This crossover is no secret; the night’s set list featured mainly Bisco songs, all of which were tight and on-point. Throughout the tour Electron also covered a different band each night, including The Beatles, The Grateful Dead and Pink Floyd. Friday’s two-set show added Radiohead to that list, with solid covers of “Karma Police” and “National Anthem,” before ending the night with Pink Floyd’s Brain Damage into Eclipse for an encore.

    The set opened with the classic, “Floodlights” and moved into another time-tested favorite, “M.E.M.P.H.I.S.” which had fans new and old singing along. Brownie held it down on the bass [as he does] showing a revitalized energy I had not seen since years previous. There is no doubt that Brownie drives the band, both with his relentless bobble-head and groove-heavy lines with sneaky bombs – his excitement was contagious. Lotus drummer, Mike Greenfield, was also a true joy to watch and blends perfectly with Brownie and the Electron formula. The argument of Sammy Vs. Allen actually kind of finds resolution in the middle with Mike Greenfield; he has the intensity and (almost) technical precision of Allen, with the feel and taste of Sammy. Personally, I never took a side on the drummer comparisons because I liked both for different reasons. That said, Greenfield is the ipso facto peace-maker that would ultimately satisfy both sides of the debate. On the keys, Magner seemed a little more subdued than his role with Bisco, but still served as the essential binding factor. All of Magner’s parts were, though not extravagant, especially important. He really only let it rip a couple of times, mainly towards the end of the second set with “Shelby Rose” but quite frankly, I think I prefer it that way. The real standout of the night for me, however, was Tom Hamilton on guitar. I had heard Hamilton play in recordings of Brothers Past, American Babies and with Marco, but had never seen him live. Simply put, he won me over. I came into the show not knowing much about Hamilton and left a Hamilton fan. Each guitar line was clean and tasteful, but when he decided to rip it, his chops really shone through. Even in songs where his parts were simpler, Hamilton has a calm sort of confidence that is super entertaining to watch and appears to inspire the band to consistently play to the top of their ability. All in all, this show was spot-on musically; a real treat for Biscuits fans, and the band’s chemistry was a pleasure to watch.

    Syracuse’s show marked the end of Electron’s mini-tour, but Brownstein and Magner will be back with Conspirator, another side project which is more heavily improvisation and jam based, on November 20.

    Set 1: Floodlights, MEMPHIS, Kamaole, Humu ending, Grass is Green end, Plan B, Karma Police*, Plan B
    Set 2: National Anthem*, Little Lai, Humuhumu, Kamaole ending, Shelby Rose, the City, Shelby Rose
    Encore: Brain Damage, Eclipse

  • Led Zeppelin Releases Alt. Version Of Stairway to Heaven

    Thirty-three years later, Led Zeppelin has released an alternate version to their now uber-classic, “Stairway To Heaven”. This rendition, also recorded at Sunset Sound in Los Angeles, offers a warmer, gentler version of the tune, with slightly less twang in favor of more subdued details. The tone seems to be more dream-like, with minor details added throughout and dialed in mid-range fuzz accompanying the definitive guitar licks. An overarching statement of “Stairway To Heaven” could be that this version ‘rounded the pointy edges’; some of the bite is gone from the original version, but the trade-off is more meditative and psychedelic.

    The new track precedes October 28 deluxe reissue of Led Zeppelin IV and House of The Holy, which were remastered by Jimmy Page and will include an additional record of new music. Both albums will be available in CD, digital and vinyl formats. The band also re-released Led Zepplin through Led Zeppelin III in June, so they appear to be making their way through the entire catalogue.

    Led Zeppelin IV Deluxe Reissue Tracklist:

    Disc One:
    01. Black Dog
    02. Rock And Roll
    03. The Battle of Evermore
    04. Stairway To Heaven
    05. Misty Mountain Hop
    06. Four Sticks
    07. Going To California
    08. When The Levee Breaks

    Disc Two:
    01. Black Dog – Basic Track With Guitar Overdubs
    02. Rock And Roll – Alternate Mix
    03. The Battle Of Evermore – Mandolin/Guitar Mix From Headley Grange
    04. Stairway To Heaven – Sunset Sound Mix
    05. Misty Mountain Hop – Alternate Mix
    06. Four Sticks – Alternate Mix
    07. Going To California – Mandolin/Guitar Mix
    08. When The Levee Breaks – Alternate UK Mix


    Houses of the Holy     Deluxe Reissue Tracklist:

    Disc One:
    01. The Song Remains The Same
    02. The Rain Song
    03. Over The Hills And Far Away
    04. The Crunge
    05. Dancing Days
    06. D’yer Mak’er
    07. No Quarter
    08. The Ocean

    Disc Two:
    01. The Song Remains The Same – Guitar Overdub Reference Mix
    02. The Rain Song – Mix Minus Piano
    03. Over The Hills And Far Away – Guitar Mix Backing Track
    04. The Crunge – Rough Mix – Keys Up
    05. Dancing Days – Rough Mix With Vocal
    06. No Quarter – Rough Mix With JPJ Keyboard Overdubs – No Vocal
    07. The Ocean – Working Mix

  • Bassnectar Turns Rochester To Rubble: A Reflection

    What are the kids listening to? Apparently dub step — lots and lots of dub step. Or, on a broader level, “EDM”, a term hijacked by festival sponsors and marketing execs who barely explain what the three letters stand for. But I digress. The point is: electronic music is big and getting bigger—a truth made apparent at Friday’s show in Rochester at Main Street Armory, featuring Kill Paris and Son of Kick before headliner Bassnectar. This all ages show began around 7:30PM and was over by 11, at which point partygoers spilled out onto the streets and back to reality. I looked forward to reviewing this show for a number of reasons but was left feeling underwhelmed—at no fault of the music. As a matter of fact the music was on-point throughout the show, but the night itself was a weird one. Here is my experience.

    Having seen Bassnectar about seven years ago at BB King’s Underground in NYC (a small club in Times Square), I was excited to see him on a much larger scale. In addition to growing his fan base through numerous festivals and shows, the passage of time also included the release of four successful albums—two of which made Billboard charts. All of this is evidence that Bassnectar is doing something right, and being a veteran of the genre, deserves all the respect and success he has garnered. In fact, this is one of the main reasons I love Lorin Ashton, AKA Bassnectar: he is a self-proclaimed bass head, a huge music nerd and an extremely articulate individual. The blending of influences that make up Bassnectar are so far-reaching – from hip hop to break beat and two-step – that there is no question of Ashton’s musical awareness or ability. His latest album, Noise VS Beauty (for which his current tour is supporting), is a perfect example of this, with perhaps some of Ashton’s most complex orchestrations yet. There is no shortage of thick, wet bass – laid on heavy and in your face – but this is subtly balanced with moments of almost serene beauty. This equilibrium is masterful; an abrasive rock-and-roll “fuck you” as it moves into tranquil ambiance. This is not the case with every track, of course, but the point is, Ashton is not a one trick pony. There is a lot going on if you take the time to listen to the music. But after Friday’s show, I wondered how many people were there for this reason as opposed to the spectacle and party.

    Because a spectacle and party it was. The light show was absolutely jaw dropping, the bass drops were enough to rumble your stomach out of your mouth, and the energy was bouncing into the red. As far as an experience goes, this was one for the books. There was little doubt left in my mind as to how (or why) the show sold out – and I was genuinely happy to see the way Bassnectar had grown as an artist and was now translating his music to a much larger audience. Back at BB Kings he performed to maybe 200 people at 3AM, and my friends and I walked in for free (sorry, Lorin) while the bouncer chatted up a girl. Now, he was performing to 5,000+ fans (hardly his largest crowd) for a 40-dollar ticket. What joy he must have, I thought, to be able to provide such an audio and visual marvel to thousands of adoring fans. What joy to be at the forefront of a musical revolution and grow into a wild success. What a success story for such a smart, talented and hard-working entertainer.

    Then I began to look around at the cost, and that’s when things got weird. I hardly consider myself a prude to the parties, people and drugs that can be found along with a live music experience. I have been in my fair share of shows, and parking lots and have seen… stuff. But this was different. Perhaps the biggest difference was the level of decadence, or maybe the lack of substance to the scene, or maybe the blatant shadiness. Or maybe I’m just getting old. Regardless the reason, I was hit head-on with a new generation of concertgoers and the result was concerning. For blocks surrounding the venue, kids stumbled with dinner-plate pupils, grinding their jaws, or sitting moaning with their heads between their knees. A stretcher hauled a kid out to the ambulance out front. One of the more sober ones, smoking a cigarette, said to me “that must be the sixth one I’ve seen tonight.” On each corner within a five-block radius, portable streetlights shone down onto cop cars below. Neon-adorned fans crowded the streets and moved in herds with eerie uniformity. It was hard to think about the music at all.

    My point here is not to discredit any electronic musician, any electronic music fan (I am one myself) or even the safe use of recreational drugs. My point is to draw attention to a scene that may have gotten ahead of itself and be spiraling towards a dangerous place. As “EDM” and music festivals continue to grow, there is a great amount of responsibility necessarily burdened to performers and promoters, but more importantly to the fans themselves. To avoid complete self-destruction, and consequently the loss of so many great new musical outlets, and more importantly the loss of human lives, we must return to two very simple adages. One, a message an old Deadhead and 100+ show Phish fan once told me: “You’re never doing it wrong if you’re listening to the music.” The music is, after all, why we are all here and what brings us together at shows. Let’s remember that and support the artists we love in a way that allows them to keep creating, while keeping the show experience pleasant for fellow concertgoers. And two, which is perhaps the most important in all aspects of life: take care of each other. You have to be alive to enjoy music, and it’s better to enjoy it with friends who are alive, too. By promoting the good things about the music, scenes and people we love (and protecting from the bad) we can necessarily guarantee longevity and growth that will continue to provide the music and moments we so desire. And that’s what it’s really all about, isn’t it?

  • Bassnectar Returns To Rochester with Son of Kick and Kill Paris for ‘Noise VS Beauty Tour’

    Attention Upstate Bassheads: this is the show. Legendary DJ Lorin Ashton AKA Bassnectar will again take over Rochester this Friday, October 3, as part of his “NVSB 2014 Tour” performing alongside notable acts Son of Kick, hailing from London and Kill Paris of Los Angeles. Known for his ultra dense sound, aggressive drops and super-technical beats, Bassnectar puts on a show like no other, with tastefully psychedelic projection visuals and a host of lights. Bassnectar’s most recent album, Noise VS Beauty, was released late June and features some of Ashton’s most intelligent compositions yet, staying  true to its name by carefully marrying filth with elegance.

    https://www.youtube.com/watch?v=7sd1sa5NWLg

    Supporting act, Son of Kick, has achieved respect in the dubstep world in his own right, mainly in Europe so far, with a balanced, somewhat hip-hop influenced sound. Kill Paris will also throw down a funk-driven set, sure to feature big bass and atmospheric textures. All three acts bring different styles to the table with two distinct binding factors: dancing, and BASS.

    Doors are at 6PM and Son of Kick should open the show around 7PM. Due to Main Street Armory’s curfew, the evening will likely be wrapped up by midnight. And remember: this will be a hot one with lots of energy, moving bodies and flashing lights; be sure to eat a solid meal and hydrate properly throughout the show.

    Tickets are available HERE.

    Main Street Armory
    900 East Main Street
    Rochester, New York 14605

  • Hearing Aide: Ocupanther’s Third Album, ‘Data Stretching’

    ocupanther-data-stretchingTo mark the first day of autumn, Ocupanther released their third album, Data Stretching, showing a conscious evolution from last year’s release, Progressor, while continuing to hammer down a focused sound. Overall the record might fit into generalized categories like “dance”, “progressive” or “fusion”. But really, the excellence of Data Stretching comes in the details – the careful blending of seemingly unrelated influences, and a perfect balance of organic vs electronic – resulting in a danceable, intelligent record from start to finish.

    Data Stretching‘s opening track, “Obtuse Snoot”, is perhaps the perfect calling for the album; patently danceable, featuring disco-staccato guitars drifting to washed out wah-funk, hold steady bass and tight-pocket drumming. The changes are inconspicuous but occur frequently, offering good variation without stopping the groove. This notion carries into albums second track, “III E III”, which is more subdued but equally as locomotive. The bass is swampy and warm, with guitar parts piercing through the darkness. For an album with such a big, full sound (arguably the fullest Ocupanther sound to date), Data Stretching does an exceptional job varying between minimalist components. This sentiment is exemplified on “III E III” as well as later on the album with “Yerkrewrun”, a meditative, calming song balanced equally with blues guitars licks. “Treat Me Like A Telescope” is another great example of such a balance, with strong electronic undertones and masterful weaving guitar lines that scream classic rock-n-roll.

    All descriptors and classifications aside, what really defines an albums success is listenability and feel – two categories where Data Stretching scores an “A”. This record would be just as good alone in your car as it would at a house party. The variations in mood throughout the record are enough to keep the listener engaged without forcing feel-good vibes or lingering too long in the dark. This balance, along with the balance of genres and styles, appears to be the recipe for success. Fans of the New Deal to LCD Soundsystem to Maserati and everything in between will surely lock into this album, as will anyone who has traveled long highways for music. Ocupanther cut their teeth on the road, after all, and much of the album serves a perfect soundtrack for a roadtrip to and from a show with a carful of friends.

    Ocupanther will be supporting Data Stretching in the Upstate area over the next two months, playing alongside notable acts such as Giant Panda Guerilla Dub Squad, The New Mastersounds, and super-group Electron. A complete list of tour dates and additional information can be found at: Ocupanther.com or on Facebook.

    Key Tracks: III E III, Treat Me Like A Telescope, The Great Oxygenation

  • Hearing Aide: moe.’s ‘No Guts, No Glory!’

    MOEPretend for a second that you are in the band moe.: you’ve been playing together for twenty-five years, performed alongside rock-and-roll legends, hosted major festivals for fifteen years, acquired a cult-like following, and now you are staring down the barrel of recording your twelfth studio album.  Now what?  How do you create something new while acknowledging the path that brought you to this point in the first place?  More importantly, how do you find the fire to keep going at all?  These questions seem to be underlying motifs throughout, No Guts, No Glory!, a balls-to-the-wall, 11-track record, clocking in at just under an hour.  No Guts, No Glory! is a unique blend of musical styles that stay true to the “moe. sound”, while acknowledging their journey as a band, and paying homage to their scene, contemporaries and influences.

    The album opener, “Annihilation Blues” is a quintessential, up-tempo moe. song, with a sharp rock hook that busts into a sustained bluesy-guitar chorus.  This tune, along with the last track,“Billy Goat”, which features catchy licks and quick, sealed bass lines are arguably the most ‘classic’ in terms of fun, sing-along type songs that are undeniable jam platforms.  It is easy to imagine swaying to either song in the Upstate New York summer sun while polishing off a Saranac.  The album really comes alive though on less-traditional tracks, where moe. explores different sounds and focuses more on succinct, meaningful song writing.   “Same Old Story” for example, has a sort of washed out, surf-rock feel with rant-like lyrics, while “White Lightning Turpentine” showcases a tasty slide guitar and meditative xylophone patterns while maintaining a country-twang feel that feels like a rainy night.  The nods to musical influences are also huge on this album: “Little Miss Cup Half Empty” starts off with a Beatles-type melody before transitioning into a 90’s ska/reggae up-stroke and percussion lines; “Calyphornya” has a grunge feel that challenges the idea of stardom and Hollywood and is very reminiscent of the Red Hot Chili Peppers’ “Californication”.  “Silver Sun” is perhaps the most notable homage, with undeniable Pink Floyd influences (think specifically “On The Run”), including steady low-end drums, distorted dream-like vocals and a slow, tasty guitar solo with a thickened tone.

    With all that said, my favorite tracks are where moe. turns introspective and self-referencing.  “Do or Die”, for example, tackles the idea of keeping on as a band, while finding new inspiration and the drive to keep fans interested.  This song also touches the idea of pseudo-stardom and always striving for the next level of success, with lines like: “Keep on workin’ / I know someday the time will come / I’ll make it someday.”  The standout song of the album for me, however, is “The Pines and The Apple Trees” which is a beautiful, thoughtful, coming of age song that is bittersweet and nostalgic.  This track is exceptional because it not only addresses the passage of time and changes for moe. as a band (“Wouldn’t trade those memories for diamonds or gold … Can’t guess where you’re headed next / overwhelmed and underdressed“), but for their fan base as well.  The biggest moe.rons are now twenty-five years older than their first moe. show and the times have changed.  Passed are the days of the “Happy Hour Hero” with “a pint of ale and a shot of jack / a pack of Camel Lights”; these days, as Rob sings in “The Pines”, it’s more like “can of beer, can of prier, and a fistful of pills”.   Still, if No Guts, No Glory! is any indication, moe. doesn’t plan on slowing down or going anywhere anytime soon.  With an arsenal of fresh songs and new ideas, paired with that classic feel-good moe. sound, fans are sure to enjoy continuing to age (gracefully) with the band until their next chapter.

    Key Tracks: White Lightning Turpentine, The Pines and The Apple Trees, and Billy Goat

  • Well Worn Boot & Mr. Boneless at Buffalo’s Central Park Grill

    Despite their stylistic differences, Buffalo-based bands Well Worn Boot and Mr. Boneless are both independently known for their high-energy rock-and-roll shows.  If you put the two on a bill together in their hometown, you’re lucky if the building is intact afterwards.  Luckily, Central Park Grill survived the night on Friday, February 7th, when both Well Worn Boot and Mr. Boneless took the stage to a packed room for good-natured mayhem and truly original music.  In addition to sharing Buffalo as their home turf, Boneless and Boot both started out in nearby Fredonia, New York, making the line-up a reunion of sorts.  Before either band took stage the downstairs bar began to fill in, with new and old friends catching up over (numerous) drinks, waiting for the night of music to begin.

    Mr. Boneless @ Central Park Grill - Photo: Pat Depuy
    Mr. Boneless @ Central Park Grill – Photo: Patrick DePuy

    Mr. Boneless opened up the show at about 10:30 PM, with a quintessential up-tempo set that featured gritty vocals over steady rock licks played with a modern twinge. The retro/modern dichotomy is sort of a recurring theme for the band, both in terms of musicality and stage presence.  Musically, Boneless has a very apparent blues influence, but their tempos often lend themselves more to straight rock or punk, with transitions that you would find in 90’s alternative.   I often hear a influences of Modest Mouse, Maps & Atlases and some “X” factor that varies between songs.   A major highlight of this band is their dynamics, alongside guitar tones that range nicely between a clean vintage sound and over-driven fuzz.  Boneless definitely favors song structure over jamming, however, they are not afraid to let a guitar solo rip or pound out a deep riff for a few extra bars.  By the end of the set Central Park Grill was hot – both figuratively and literally – and ready to go.

    Well Worn Boot @ Central Park Grill - Photo: Pat Deput
    Well Worn Boot @ Central Park Grill – Photo: Patrick DePuy

    Well Worn Boot took the stage to a full room around midnight, opening with crashes of noise that gave stragglers at the bar one last heads-up before appropriately launching off with  “Certified Party Girl”.  According to flutist/vocalist/front man, The Plainsman, this was the only calculated move of the night, acknowledging proudly, “After that we were basically just picking out of a hat.”  Known for their stage theatrics, Friday night was no different, with all characters engaging in wandering stories, audience participation and off-the-cuff antics.  This appetite for providing undeniable entertainment, regardless of form (or intentional lack there of) is what makes Boot so endearing; they provide the same high-level of energy and passion whether they are playing a college town dive-bar or opening for GWAR at Buffalo’s Town Ballroom.  This, paired with the fact that no two shows are the same makes for a concert experience like no other- – a responsibility that Plainsman does not take lightly.  “Playing in Buffalo is no joke”, he explained, “You ever met a Bills fan?  These people can take a hit, man.  You have to notify them that they just lost, and they probably still won’t believe.  That’s dedication.  We have fans who have been to around fifty of our shows…We’re like Phish, but with less jamming.”

    Well Worn Boot @ Central Park Grill - Photo: Pat DePuy
    Well Worn Boot @ Central Park Grill – Photo: Patrick DePuy

    Favorites of the night included classics such as straight-up-rocking “Ballad of Billy Klubb” (imagine 13th Floor Elevators and Jethro Tull teamed up, with Tom Waits lyrics sung in Spin Doctors fashion);  “Drunk on The Highway”, a steady psych-rock inspired tale featuring alien abductions and sex with space chicks, and fan-favorite rarity, “Chautauqua County” which is ultimately a punk rock ode to the region that pushed audience members to their peak unruliness.  The set also included a number of new songs from Boot’s upcoming comic/EP Boot in Space, which is set to release on April 19th.  And if that’s not enough, Boot is in the process of taking submissions for their “Wild Wild Fest” which will take pace at the end of August in Silver Creek.   That said, Boot is first and foremost concerned with providing a quality live performance and throwing a solid party for fans old and new.  As The Plainsman summarized Friday night, “We were just happy to have so many friends in attendance.  Every show is huge for us.  I’ve been acting like I’m the biggest dude in America for like four years now.”

    —

    Mr. Boneless: misterboneless.bandcamp.com
    Well Worn Boot: www.wellwornboot.com
    Patrick DePuy, Photos: www.patrickdepuy.com
    Bumrush Booking: www.bumrushbooking.com

  • Well Worn Boot Now Accepting Submissions for ‘Wild Wild Fest’

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    Rowdy, unique and uncontainable are just three [insufficient] words to describe a Well Worn Boot show – and this year’s Wild Wild Fest is sure to be no different.  A music and camping festival held at Willow Creek Winery in Silver Creek, NY, this one-of-a-kind festival focuses on Americana, pop culture, sideshow and Rock-and-Roll.

    Well Worn Boot is  now accepting submissions from “ENDLESS genres”.  Most importantly Wild Wild Fest is about diversity, good music and olympic partying.

    Aside from many great regional acts, this years headliners include Weirdo Folkie Baby Gramps, Video Game Metal-Heads, and Armcannon.

    The event is August 29-30, 2014 and submissions end March 1st. More information is available at www.wellwornboot.com and submissions may be sent to wildwildfestival@gmail.com.

  • Farewell, Dub Land Underground

    Rochester lost a gem with this one. Despite its imperfections, Dub Land Underground was home for a variety of local bands, a destination for niche national acts and a launching pad for some of our regions finest musicians. Those memories are now all a thing of the past, as Dub Land closed their doors for good Friday, January 10th after seven years in operation. But rather than fade away quietly, why not go out with a bang? That was precisely the MO for Dub Land’s Last Call, bringing together local favorites Haewa, Ocupanther, Neurocepter, Mosaic Foundation, Roots Collider and a slew of DJs for one last (BIG) party. With non-stop music for nearly eight hours straight, and people spilling out into the parking lot and streets, this ‘good-bye’ was one for the books.

    Dubland Closing 20131011 (17)

    Haewa kicked things off to an expectant, loyal crowd, complete with fresh dancing legs, hula-hoops and half naked bodies. If you haven’t seen these guys yet, you really have to. Their energy and balls-to-the-wall approach to improvisational peaks and valleys is straight up dirty psychedelia. I have heard Haewa called ‘punk-jam’ and while I certainly wouldn’t confine them to these two boxes (far from it), they do have the energy and musical chops to back up both. Their relentless fire and connection with the room was the perfect way to start out the evening and let everyone know they were in for a good night.

    By the time Ocupanther took the stage, the audience was already loose and the room was filling in quickly. Ocupanther, known for their dark textures and complex rhythms, did not fail to disappoint. Sort of like reading Pynchon, or watching a David Lynch film, you feel a certain way from start to finish—but you might miss subtle details if you’re not paying attention. Luckily they didn’t appear to have this problem, as the audience locked in and stuck with them for the shadowy musical ride through their compositions. As soon as Ocupanther finished up, Riley Beats spun my favorite DJ tracks of the night, with fat dance and disco-infused lines.

    Dubland Closing 20131011 (23)

    Neurocepter took the stage shortly after to a nearly packed (or so I thought…) room that now contained people wearing costumes, Barney the dinosaur masks, and of course those gloves with the light up fingers. Having never seen Neurocepter before, I really appreciated their taste for smooth, danceable grooves while maintaining machine-like precision. These guys were probably the most electronic-infused band of the night, but with a sound so pure and atmospheric, even the most die-hard traditionalists had no problem getting down.

    The chilled-out, feel good vibe captured by Neurocepter lent itself nicely to the next band, Mosaic Foundation, who brought their roots reggae tunes to a now jam-packed room. Of course, Mosaic Foundation sounded good and had the audience moving perfectly in time to their thick harmonies. Having seen these guys a few times now, and being someone who is easily bored by the repetitive reggae upstroke, I have to give it up to Mosaic Foundation’s consistency and connection with the audience; no matter what type of genre you prefer, it’s hard not to dance (or at least sway in time) when they take the stage.

    At this point in the night, the room downstairs at Dub Land was so full you could barely move. It became quite clear that where you were is where you would stay until Roots Collider finished. Luckily everyone had just enough room to breathe and groove, because as usual, Roots Collider came out flying and ready to end things on a high note. These folks mean business when they take the stage and completely reinvigorated the crowd’s energy. Their thumping rhythm section combined with organically produced dance lines successfully pulls off the ultimate goal ofcombining the old with the new; a ‘traditional’ rock band evolving one of the fastest growing genres of music in the last ten years, while acknowledging all the influences along the way. When Roots Collider left the stage, Dub Land Underground was a sweaty, smelly mess (more smelly than usual, which is tough to accomplish) with bittersweet smiling faces making their final walk up the narrow stairwell and out into the icy Rochester weather.

    Dubland Closing 20131011 (5)

    With the closing of such a unique and significant venue for local music, the obvious question becomes, “What now?” For a city so rich with local talent and diehard music fans, the void is tremendous. The Northeast certainly has a long lineage of music history, and Western New York has a certain amount of responsibility in maintaining that. Wherever and whenever the next venue pops up, one thing is clear: Dub Land will be deeply missed, but with any luck, will be an important and fondly remembered milestone of things to come from Rochester’s music scene.

    Please enjoy this photo montage video of some of the nights moments featuring the intro to Ghostless (I Want One) from Ocupanther’s Progressor album.