Spring of last year the Nyack Village Trustees voted in favor of putting together a multifunctional skate park at Nyack’s Memorial Park. To help build the park, The Misfits one of punk’s biggest bands will play at the Nyack Center on May 31.
The band will put on an all ages and family friendly show at 2 p.m.; which will cost $10 and Mario the Magician and Mustache Cash Stash will be performing at the show. Later that night at 7:30 p.m., The Misfits will perform a full show; tickets will cost $30 and Regret the Hour, Heart of the Matter and Tournament will also perform. All money from the show will be donated to the skate park project.
The Misfits were formed in Lodi, New Jersey in 1977 by Glenn Danzig. The band’s name was taken from the 1961 Marilyn Monroe film of the same name.
The Misfits created a monstrous impact in the punk scene by creating their own genre, horror punk. They kept the classic hardcore punk but added their own horror movie theme to shows.
In 1984 the band broke up and it was not until 11 years later that The Misfits reunited sans Danzig. Original member Jerry Only has since taken over the role as frontman and bassist.
The night of the show, tickets will cost $35 dollars at the door. Fans can also buy a VIP ticket for the event which costs $45. It includes admission to the show and a limited addition Misfits t-shirt. All packages will be available online if they are not sold out.
The project is in the design phase and the Village of Nyack has said that Action Sports Design (ASD) will come up with a design. The design will appeal to skaters and appropriate for anyone in Memorial Park. The skating area will also include sitting area for people who would just like to spectate the skating parking. Nyack Needs A Skatepark Committee are also accepting donations.
Earlier in 2014, The Crystal Method released their self-titled fifth album, a mix between the classic electronica dance tracks and the currently popular electronic pieces with vocal accompaniment. Abiding by the shifts in mainstream music, where lyrically catchy electronic dance music tracks are prevailing amongst the general population, six of Crystal Method’s new eleven tracks feature various singers.
The remaining five tracks keep with Crystal Method’s experimental, club music feel, including old-school synthesizer-based tuned. However, Crystal Method continues to evolve, incorporating increasingly popular trends in the electronic genre, as evident by the influence of bass in their songs and the prevalence of cohesive rhythms. Collaborating with heavy hitting singers, such as Dia Frampton and LeAnn Rimes, pushes The Crystal Method to draw attention to soulful tones from inorganic machines, mixing pop and catchy vocals with classic electronic and dubstep dance tunes. The mesh of the two creates a well done divide between relatable singer-songwriter feel and machine-made, attention-grabbing dance music that fans expect from the electronic duo.
The bands experimentation on the electronic scene is heavily seen in “Grace” featuring country-pop singer LeAnn Rimes. The track appeals to the mainstream as seen in their expanding dive into lyrically shaped, vocal-laced tracks. However, The Crystal Method maintains their signature style by including moving rhythms and seamless, smooth transitions in their composition.
The biggest single off the album , “Over It”, features Dia Frampton, most famously known as the runner up contestant on the hit show The Voice. The song works around Frampton’s vocals, respecting her individual, light, airy voice without using numerous voice modulation techniques as seen on other vocal tracks. The piece, however, is hardly a vocal accompaniment. The electronic music is the clear focus, including hard synths and interlaced rhythmic creations that mesh well with Framptom’s rising and falling pitches.
This new album is a strong effort by The Crystal Method to stay incorporated into an ever-changing, evolving field like electronic music. In a field that has no set foundations except to push the foundations, The Crystal Method’s self-titled album meshes both classical electronic techniques, calling back to a retro feel, while including newer, trendy and experimental vibes such as vocals and strong bass and drum use.
During the Sunset Music Festival, The Crystal Method will be teaming up with the festival through the grassroots organization for dance music, Electronic Music Alliance (EMA), largest non- profit of its kind co-founder by the band’s Ken Jordan. During the festival, EMA will encourage sustainability, health, and community within the dance music culture with their on site space called Planet SMF. Planet SMF will provide festival-goers with educational resources, a chill-out zone, and chances to win points for festival clean up and other volunteering advantages.
The Crystal Method’s fifth album can be found HERE
Key Tracks: Storm the Castle (feat. Le Castle Vania), Over it (feat. Dia Frampton), Dosimeter (feat. Nick Thayer)
On April 26th, SUNY Fredonia Professor Elmer Ploetz, myself and another volunteer made our way towards the back entrance of the Town Ballroom in downtown Buffalo on April 26th. It was to play host to the second annual Continental Reunion Show and I had volunteered to help Prof. Ploetz record and interview people. At this year’s reunion, 11 bands were set to perform. I thought it would be like any other rock show. I was dead wrong.
The Continental, located on 212 Franklin Street, was Buffalo’s largest goth and punk scene in the late ’80s before ultimately closing down in 2005. Last year’s reunion had nearly 1,000 people showing up for the event.
The clock on the wall struck seven and the doors opened with a wave of people in leather, fishnets, heavy make up, corsets. Soon after, the slight smell of cannabis filled the arena. I stayed behind my set up tripod on the upper level of the venue while I waited for the bands to take stage.
Bob James’ band started out the night with his first single “Lorraine.” The crowd bobbed their heads to the music as they came in with drink in hand to prepare for the rest of the evening. Each band was set to play for approximately 20 minutes. Even between the short amounts of time, the atmosphere was great and the fans cheered and rooted as bands brought up old memories.
The band that caught my attention was The Kevin K Band. With my camera, I zoomed in on the singer who wore purple glasses with a bright vest. The band rocked out one song after another and I found myself singing along to the chorus of each song, cheering loudly as they finished. With their loud and hard guitars and fast beats, they were the definition of an old school punk band.
I was told the bands that everyone was looking forward to were Tension and The Enemies. That night was the first time that Tension played in 25 years and I heard non-stop talk about them performing. The Enemies caused an equal amount of buzz between fans, as they were to perform with two of the original members.
Between sets, I got the opportunity to take a break behind the camera and venture out into the bar area to interview people. For an older, edgier crowd, people had smiles on their faces and were hugging one another in remembrance of The Continental.
I heard stories about The Continental being a safe haven and a place where misfits went and felt like they belonged. A person from our crew sparked a conversation with a man, who as he spoke, painted an image of young, goth girls looking in the mirror, fixing their make up. The interview turned quite a loop when be mentioned that he was blind, something I failed to initially observe. In an instant, he pulled on a leash he had in his hand and a woman immediately came to his side. She had a collar around her neck and my eyes could not stop looking at her golden eye make up. She introduced herself as his “Seeing-eye Bitch.” I was thrown off guard at the sight of the two of them but that gave me a realization that The Continental was all about the strange and the unusual.
And, I was part of it.
Tension and The Enemies took the stage toward the end of the night, and that was the most I heard the crowd cheer. Some people starred in awe since it was years since they saw the bands play. My professor was even rocking out to the music along with the people who waited for the reunion to happen. I, along with two other girls from our crew, went to the front of the stage to watch the two bands perform. From our vantage point, I saw older faces light up and young rock ‘n’ roll hearts unleashed again. We then just let everything loose, threw up the classic horns with our hands and screamed after each song. We didn’t know the words, but the excitement and the feeling of the drums rocking our bodies made us want to be part of the crowd. After their sets, we took our sweaty selves up near the tripods and cameras. We all babbled about how awesome the bands were and almost forgot that two more bands were set to perform.
We watched as the stage was prepared for the next act. A black banner with red, bloody letters read, “SKINBOUND.” We knew the next band was not going to be some classic punk band. The lights dimmed and a red light surrounded the stage. Everyone looked confused when over the speakers they heard the sound of eerie church music and suddenly, the band came out with rough guitars and pounding drums. The singer came out with harsh growls and screams.
At first, I was taken back by the band. I was like, ‘Who would have a heavy metal band at a punk show?’ But, in a heartbeat, the three of us made our way to the stage again and we followed suit with the crowd, heads banging to the beat of the guitars. We yelled and once more threw up the horns. I gasped a few times as I watched the keyboard player do backflips while he stood on stage. “We are going to play Coldplay’s, ‘Viva La Vida’ because we like to piss them off,” the singer announced, and the band proceeded into a metal version, complete with deep growls. It made a lasting impression as I knew I would never listen to the original song without the image of a band dressed in black, a keyboard player doing backflips, and a tattooed covered singer doing intense vocals. As much as the band was intimidating on stage, I met them after the show and observed young guys with humbled hearts as they were asked to take pictures and sign autographs.
Progressively fewer people made their way towards the stage as the last band started to play, which was not until after midnight. Industry of Life Divine took the stage with pink and black balloons filling the stage. We made our way back to the camera and video area and watched as the stage filled with half-naked women in leather, carrying whips. The scene distracted from the music, the music that came through the band sounded like a poppy version of Marilyn Manson, with a psychedelic rock. On the corner of the stage was a girl who twirled around a light up, rainbow hula-hoop and I mentally gave her props for being able to twirl it around her neck, legs and hips. But, that was the only real entertainment on the stage.
All our equipment was packed and our crew got out of the venue before the total chaos of traffic could happen. My ears rang, my throat was dry and the back of my neck sore. I came in there not knowing what to expect and I came out with a real acceptance of what The Continental was: it was a home for the people who were told they did not belong anywhere else. It was a place for the misfits to show their true colors. It was a true punk rock family.
Zero Times Zero is an experimental music force working under individual anonymity to create a free-form, artistic, and entirely unique visual and auditory experience through their music and videos. Although a whole horde of producers, artists and musicians are working under a cloak of darkness on the project, one familiar face dares to make himself known.
Thomas Dekker, already known for his work as an actor, has starred in the 2008’ TV series, Terminator: The Sarah Connor Chronicles as John Connor; The Secret Circle; and is set to later star in the movie Fear Clinic in October with Corey Taylor (Stone Sour/Slipknot). Despite earning his reputation as an actor, Dekker is currently looking to separate his acting career from his music career. Already Dekker has earned musical credits, co-writing the movie soundtrack to the 2013 release, Plush, directed by Catherine Hardwicke.
One quick look at his current project, Zero Times Zero, tells us that he is definitely going in the right direction with it.
On April 28th, Zero Times Zero released the first single, “Liar” with a lyric video. The song is very dark with some hard synths. But Dekker’s vocals compliment a sound that would otherwise be a definite industrial edge akin to Nine Inch Nails, but with a dance beat. Dekker was kind enough to answer a few questions for me about his music and how Zero Times Zero made their start in the music world.
Thomas Dekker: Well now, that is quite a question to start out with. I completely understand why you’d ask it but I also hope you understand why I can’t answer it. Not by providing all names involved at least. The idea behind Zero Times Zero was to create a nameless, faceless force in modern Pop Culture. Quite an impossible thing to do in this day and age I suppose. As a solo artist under my own name, I felt that the public knowledge of my other career was a detriment to the music. And simultaneously, what I wanted to explore in music was a detriment to what was expected of me in said other career. We are not a “band” in the normal sense of the word. We’re trying to recreate the Andy Warhol factory in many ways here. To be creators of not just music but video, performance and photographic art with one concise and focused outlook between us. So this includes actors, film makers, musicians, dancers, etc. However, I will say, the music department is spearh
eaded by myself.
CK: When did Zero Times Zero begin?
TD: I had been discussing with many friends and collaborators, all of whom perform on this new record including Reza Safinia, Ian Krupp, Kristofer Holst, Etc. what a liberating experience it would be to try and champion the unknown. Or to put it in a less hippie dippy sense: to have the ability to experiment and feel out ideas amidst the freedom of anonymity. We were all coming from different backgrounds and artistic interests but found that we shared a common outlook on greed, hope, Armageddon, religion, sexual revolution, anger, pain, madness, science and methodology. And all could be reflected in simple pop song lyrics but then dissected into deeper meaning within the construct of the project. The name of the group was chosen and theproject launched in 2012 I believe. We’ve made two albums, “= 0” and the current one “Love and Razorblades”.
CK: What genre would you describe Zero Times Zero?
TD: Obviously being a large group full of diverse ideas and inspiration, the music in particular tends to jump from genre to genre a bit. But ultimately we would say “Industrial”. Hard core synths and beats matched with orchestral influence. Dramatic, bold, tough. We want to share opinions and not share them quietly. As the leader of the music, I’ve always been happiest working on the technical side of production and electronic intricacy. It’s a process that becomes deeply personal. Probably much more than people would expect from non traditional singer/songwriters.
CK: Is Zero Times Zero signed to a record company?
TD: We are in negotiations with “Cutting Edge”.
CK: What are some of the musical influences for Zero Times Zero?
TD: Musically, we would all agree: Nine Inch Nails, Gary Numan, Bjork, Depeche Mode, Pet Shop Boys, Glitch Mob, David Bowie, Rob Zombie, BT, Goldfrapp, Marilyn Manson. And those are just the modern influences, let alone all the classical that comes into play. But we are equally inspired by photographs and films. Gregory Crewdson’s photography book “Twilight” is a massive inspiration when it comes to the stories we want to tell, both with music and performance art. The early films of Ingmar Bergman helped govern our decisions with the new record too. I’ve always found a strange correlation between the muted desperation of those kind of works and the deafening scream of metal, electronica and experimental rock.
CK: The single Liar was just released, should we expect a new single or a music video for it?
TD: “Liar” is the opening track of the record. We felt it really set the tone so we wanted it to be the appetizer. However, an official music video is not planned for that track yet. YET. The first official music video will be for the eighth track on the album entitled “Superstitions” which I will direct. It’s the story of a club kid running from a ghost who’s dredging up the kid’s self-imposed abuse and memories. Sadly, the ghost is the kid’s dying future self. Think “Party Monster” meets “A Christmas Carol”.
CK: Any plans on taking the music to the road?
TD: We would love to tour! I think we’ve all been a bit overwhelmed by the size of the project we have taken on. Meaning, this is not the kind of music or performance you can put on properly with a few band mates in a small bar. We have video projections, choreographers, programmers, engineers, costumes, interactive experiments. We need the proper funding and interest to really give audiences the hell of a show we have always intended. However, we are so confident in this new album and feel it’s something so special. We believe all of the above will be made possible sooner rather than later.
CK: When will the new album be expected to come out?
TD: We are planning the release date of the full album within the next two to three months. But we will be releasing videos, art installations and leaked tracks in the interim to get those who want us to want us!
Zero Times Zero album EQUALS ZERO can be purchased HERE
Fiction for Bandits‘ latest release, Gunslinger, Part 1: The Chase, opens up with a smooth track called “Lovely Girl At The Window.” I was thinking, “Okay, this band is a nice, relaxed, indie band. I dig it.” But I was blown away as soon as the second song played. “The Gunslinger” is a fast song that opens up with a strong and swift guitar solo. Lead singer Nicholas Perry, out of Albany, belts out his vocals that are reminiscent of Blink 182’s Tom DeLonge. The song itself definitely has some Blink 182 and Misfits influences, which is present throughout the album.
Another song that caught me off guard was “Life For Your Crop.” The song starts out slow with an acoustic guitar, but I since learned to wait for the build up. Quickly, bassist Nick Wilson who is the in the band, comes in with a steady beat. Guitarist Mike Mazzeo follows with a catchy solo, and the band comes together with this rather edgy and dark song. Scott Ramundo, on drums, arises with a fast and punchy beat. “Do you believe in an afterlife? I think this is it,” Perry whispers as the song picks up. Deep growls could be heard in the chorus that sent chills down my spine.
Gunslinger, Part 1: The Chase is an album that can definitely be played all day and would sound best booming out of car speakers. It brings a mixture of indie, punk and metal together in one album. It’s the perfect blend for any music lover if they just want to mellow out or jam out.
Gunslinger, Part 1: The Chase, and their 2012 album, Words and Arrows are both available on ITunes. Which can be found Here
Key Tracks: The Gunslinger, Life for Your Crop, Forget to Breathe
Bad Company and Lynyrd Skynyrd will be back on a co-headlining tour this summer after their hugely successful 2013 tour.
The tour makes its way though the area when they each perform at the Darien Lake Performing Arts Center in Darien, NY on July 13th.
“We’re looking forward to being out on tour with our friends, Bad Company,” said Johnny Van Zant (current lead singer of Lynyrd Skynyrd), “Last year was great! If you want to see good rock ‘n’ roll, come check this out.”
Paul Rodgers (lead singer of Bad Company) said, “Last year’s tour with our friends in Skynyrd was a fantastic time for all. We’re looking forward to spending ten dates with them and our fans again this summer.”
The tour kicks off in Bangor, ME on July 10th and will end on July 25th in Clarkston, MI. Tickets are on sale now.
Bad Company was titled a ‘super-group’ due to the band’s original line up. Free’s Paul Rodgers (Vocals/Multi-Instrumentalis), Mott The Hoople’s Mich Ralphs (Guitar), Free’s Simon Kirke (percussion) and King Crimison’s Boz Burrell (bassist), who passed away in 2006. Over the years, the band released six albums that sold millions of copies and having number one hits like “Can’t Get Enough,” “Bad Company,” “Feel Like Makin’ Love,” and many other songs that were written by main songwriters Paul Rodgers and Mick Ralphs. Guitarist Howard Leese and bassist, Todd Ronning will join the original members on their summer tour.
Lynyrd Skynyrd who is led by Gary Rossington (guitar), Johnny Van Zant (vocals), Ricky Medlocke (guitar) and with drummer Michael Cartellone have been keeping their legacy strong and memorable which started over 35 years ago in Jacksonville, Florida. Lynyrd Skynyrd have recorded over 60 albums with sales reaching over 30 million worldwide and even their song “Sweet Home Alabama” becoming a classic rock American anthem. The band remains a classic, rock ‘n’ roll cultural icon.
Metal Heads in Saratoga Springs will be delighted to hear about METAL NIGHT, Wednesday, March 19th at Putnam Den.
Mobile Deathcamp, and their vicious guitars, will be headlining the show with local bands Satan Place, Dark Matter, and Jesus Christ and the Hallucinogenic All Stars.
Ohio’s own Mobile Deathcamp has been blowing audiences away since 2008. Todd Evans, known as “Beefcake The Mighty “, formed the band after a six-year stint with metal’s biggest shock bands, GWAR. Bassist Boe Skadeland and drummer Chad Smith teamed up with Evans to form this musical terror packet.
Deathcamp’s music has been described by critics as “not overly flashy” and devoid of “self-indulgent, ego-stroking pretense” and a sound that will “blow your mind” with aggressive growls and a rhythm section that induces action from the crowd.
Satan Place describes their own music as heavy ‘groove’ metal. They have an even measurement of old school metal combined with newer elements currently arising in the metal genre. As for their inspiration to play, Satan Place took to their Facebook to say, “We play because we all enjoy creating music and just simply melting faces.”
Jesus Christ and the Hallucinogenic All Stars are directly from Saratoga Springs. The band, described as heavy and psychedelic, gained local notoriety in 2011 when they organized a flash mob on Caroline Street as they performed from the back of a truck.
Doors open at 8 pm with performers starting at 9 pm. Tickets at the door for attendees 18 and older. Prices start at $7 for 21 and over and $12 for underage. Putnam Den is located at 63A Putnam Street.
Ahoy there! Pirate metal band Alestorm returns to the studio for a much-awaited fourth album to be titled Sunset on the Golden Age.
“This is gonna blow all your expectations as to what an Alestorm album is all about,” said Christopher Bowes (vocals & keytar) through a Freeman Promotions press release.
Currently, there is no date for release but once it is out it will serve as the follow-up to the band’s 2011 Napalm Records release of Back Through Time.
Back Through Time was an 11-track album that any fan of this “True Scottish Pirate Metal” band would raise up a pint and sing along to rum influenced anthems. The album itself did not receive as much media coverage as it deserved. However fans of the band claim it is their favorite album. The song that caught the most attention from fans is “The Sunk’n Norwegian.”
One more drink at the Sunk’n Norwegian. One more drink before we have to die
The mighty chorus belts out battle cries and last drinks before sailors face their deaths.
Alestorm did not leave their fans marooned after the release of Back Through Time. In January 2013, the band sailed back to Australia and released their first concert DVD, Live At The End of the World. The DVD contains the full band playing a 16-song set list, including hits ‘Keelhauled’, ‘Shipwrecked’ and ‘Death Throes of the Terrorsquid’.
The band was formed in early 2004 but performed under the name Blackheart. Originally, Blackheart was a two-man band that consisted of Gavin Harper and Christopher Bowes. Shortly after being signed to Napalm Records in 2007, they changed their name to Alestorm, as the band agreed that the original name, Blackheart, did not fit their musical style.
In 2008, they released their first album, Captain Morgan’s Revenge. That same year, Gavin Harper (guitarist and founding member) left the band and was replaced with Dani Evans. Gareth Murdock later joined as the bassist. The band’s original drummer, Ian Wilson left the band in 2010 and was replaced with Peter Alcorn. Back Through Time was Alcon’s first record playing for Alestorm. In 2011, Elliot Vernon joined as the band’s keyboard player.
Alestorm is now starting a new journey and they are now recording their fourth album in Lasse Lammert’s LSD-Studio in Lübeck, Germany.
“Over the past couple of years we’ve been writing non-stop, and we’ve come up with a ton of badass material,” Bowes stated through a Freeman Promotions press release. “Some of this stuff is catchiest pirate party anthems you’ve ever heard, with choruses that’ll make you want to raise a pint of rum up high and sing your guts out. And for the fans of the epic stuff, we’ve got some songs that hit the 10-minute mark, with lyrical themes about historical events and crazy mythological madness. It’s gonna rule!”
Fans should expect more updates in the next couple of months. Alestorm plan to release Sunset of The Golden Age in the early summer.
A local band from Buffalo, New York that goes by the name of Dollar Diplomacy is making quite a name for themselves.
Dollar Diplomacy is Brad Martynowicz (lead vocals), Tyler Wright (lead guitar, rhythm guitar), John Harrington (percussions) and their newest member, Zenon Maciejewski (bass and back up vocals).
Dollar Diplomacy self-describes itself as a heavy-blues rock band with vocalist Martynowicz adding that they are “very jamming”. Their biggest influence is the immortal powerhouse band, Led Zeppelin.
The band’s first time performing was in 2011 when theyopened up for Davy Zee And The Renegades in Ellicottville, New York for Oktoberfest. The band had a different identity at the time, playing under the name Cut Short with a different bassist. The post-concert rush ended however and a few months later, Cut Short broke up. Wright and Harrington tried forming a new band and had multiple different members but nothing was working until they asked Martynowicz to help form a band. They had a solid line up for a year with all the remaining original members of Cut Short until the band changed the name to Dollar Diplomacy. Maciejewski later joined the band after their original bassist left the band a few months later.
The band’s unique name actually came from a history lecture when Harrington was sitting in class and his professor mentioned President William Taft’s “Dollar Diplomacy” and the name stuck ever since.
When asked how the band works for song writing and composing, the band described that they start with a rough draft of an idea and keep revising the idea over and over until they are kind of content with the end product, figuring out ways to make new songs work for them rather than them working for the new songs. Collectively, the entire band collaborates on a new works, however, the band is in consensus that Wright and Harrington are the main songwriters. As a band they compose and write lyrics together but they all agreed Wright and Harrington are the main songwriters.
Wright explained how at their last practice they wrote a song that they were definitely eager to perform. Wright said that he had a riff that he has been excited to play, at practice he said he just started the new riff and rest of the band joined in and, spontaneously, they formed a new song. Martynowicz added that he recorded the song on his phone and he started writing corresponding lyrics for it. Afterwards, they performed it as a band to see what works and what doesn’t.
The band finds it boring to play the same old songs over and over again and they often eventually reach a point where change is needed. At this point, they re-enter the song writing process.
The band was set to record an album last December. They have yet to be signed to a record label but they have been putting songs on their Facebook page and have been going to local Hot Topic’s and giving out demo CDs. There is currently no set release date on the album but their album will be available both on CDs and on ITunes.
Dollar Diplomacy performed with, Reloaded at Niagara Falls Hard Rock Café on January 10th.
The remaining five tracks keep with Crystal Method’s experimental, club music feel, including old-school synthesizer-based tuned. However, Crystal Method continues to evolve, incorporating increasingly popular trends in the electronic genre, as evident by the influence of bass in their songs and the prevalence of cohesive rhythms. Collaborating with heavy hitting singers, such as Dia Frampton and LeAnn Rimes, pushes The Crystal Method to draw attention to soulful tones from inorganic machines, mixing pop and catchy vocals with classic electronic and dubstep dance tunes. The mesh of the two creates a well done divide between relatable singer-songwriter feel and machine-made, attention-grabbing dance music that fans expect from the electronic duo.
Bob James’ 
I was told the bands that everyone was looking forward to were Tension and The Enemies. That night was the first time that Tension played in 25 years and I heard non-stop talk about them performing. The Enemies caused an equal amount of buzz between fans, as they were to perform with two of the original members.
