Since 2008, Deadmau5, aka Joel Zimmerman, has made quite the mark on the music scene as well as the public eye. Known for his giant mouse head, progressive electronic dance music and frequent tendency to openly speak his mind – Zimmerman’s rise to the top has been impressive and entertaining, to say the least. Setting himself far apart from your average “DJ” Mau5 considers himself more of an entertainer, often throwing together amazing and mind-blowing mixes and tracks on stage with cutting edge, advanced computer technology.
Zimmerman believes that the term “DJ” is played out and no longer truly encompasses what some of these individuals do on stage. He has headlined major events world-wide such as Itunes Music Festival, Lollapalooza, Budweiser’s Made in America, Virgin Mobile Free Fest and many more. In Summer 2012, Deadmau5 became the first Electronic “DJ” to be given the honor of front page of the Rolling Stone.
Deadmau5 has announced that this winter, just in time for the holiday season, he will be releasing a double album set with all of his older material from his first two albums, as well as new remixes and songs and other artists on Zimmerman’s “Mau5Trap.”
Deadmau5 will be playing his next major festival at the Hard Day of the Dead Festival in Southern California on November 1. Fans can live stream the show and get up close and personal with him on live.deadmau5.com. Look for the release “5 Years of Mau5” November 25 with more details being announced at a further date.
For years there has been a significant presence of drug use at live music concerts and festivals. Rules and regulations may be placed in attempts to crack down on the buying and selling of illegal substances, but like it or not the drugs do not stop flowing. Up until the past few years there was really no safe way to know what you were purchasing. The main idea behind the “Bunk Police” is that people are going to take drugs no matter how many rules, laws or restrictions the general public are given. If there is going to be drug use, why not make sure it’s safe?
Recognizing the extreme lack of awareness with recreational drug use, Bunk Police founder Adam Auctor took a near death experience to realize that life is short and should be handled with the utmost care. Up until very recently Auctor has remained completely anonymous, not out of fear for repercussions through law enforcement, but instead the backlash from drug dealers for taking customers and money out of their pockets. In some ways Auctor is a true revolutionary amongst the music scene for creating a way to reduce the overdoses and deaths and increase the knowledge when consuming potentially harmful chemicals. No matter how seasoned or knowledgeable one may think they are in the world of illicit substance, it only takes one bad batch to put you over the edge. The Bunk Police is setting out to eliminate that constant “what if”. In some ways The Bunk Police has completely revolutionized music festivals world-wide.
The documentary “What’s In My Baggie?” gives a first hand look from the perspective of patrons, law enforcement and members of the Bunk Police. Numerous times throughout the documentary you are shown many individuals who purchased what they thought to be Molly or MDMA, and after testing their substance with their Bunk Police test kit found they had Bath Salts or an unrecognizable drug. Recently national news has picked up on the unsafe conditions of music festivals nation wide. From Electric Zoo to Bonnaroo, there are overdoses and deaths and there is no shortage of finger-pointing. Festivals that have been around for years are slowly slipping into the shadows after they make national headlines for having patrons over dose and die on what was thought to be MDMA. People are now beginning to question if music festivals are even safe to begin with. Many believe that by handing out drug testing kits you are potentially influencing individuals to take drugs, where in reality by taking away the drug testing kits the room for fatality and injury due to substance use is immeasurable. One way or another people need to know what they are putting into their bodies. At any given point an individual could find any drug they wanted any where they wanted almost instantaneously. This is why the work that The Bunk Police has done with its readily available test kits is astronomically huge for the safety of patrons at music festivals.
From start to finish the documentary is nothing short of phenomenal. It does a great job of getting a broad spectrum of different perspectives as well as showing the ins and outs of drug trade throughout festivals. It is refreshing to finally see these issues that are plaguing the music scene be brought to light to hopefully raise questions and awareness to the drug culture that is ever-growing.
That time of year is slowly but steadily approaching where the leaves begin to change, the air becomes crisp and Summer festival season becomes just a memory. And so begins the countdown for the Catskill Chill. Each year Catskill Chill Festival brings a phenomenal lineup and a perfect end to the Summer festival season. Nestled quaintly in the quiet town of Hancock, New York, Camp Minglewood creates the perfect backdrop for a weekend in the great Northeast. Catskill Chill 2014 contains the intimate feel of a smaller hometown festival while bringing huge names and large crowds for a weekend to remember. Past acts have included The Meter Men with Page McConnell of Phish, Lotus, Dopapod, Papadosio, Lettuce, Yonder Mountain String Band, Soulive, JGB, Umphrey’s McGee and many, many more. In true Chill fashion, the line up covers a broad spectrum of some of the best acts, big and small. It is no wonder that Catskill Chill has quickly become a staple to every veteran festival goers Summer tour season. Buy your tickets now!
Alongside a weekend of phenomenal music, The Chill offers a variety of different activities that creates an environment that is much more than just a festival ground. Festival attendees are offered daily yoga classes, open mics, a wide array of vendors to browse through and a full farmer’s market where one can purchase fresh produce. While camping is offered, there are also cabins on premise that are rented out for a small group of people and offer running water, beds and a roof over your head for a long weekend of music and good vibes. Each day at the Chill offers a different experience and a variety of different musical acts to expand even the most musically diverse pallet. Below are the day-to-day schedules along with some must see performances that make up this truly spectacular festival.
Friday:
The Primate Fiasco (6:30pm-7:45pm): The versatility and energy behind the Primate Fiasco is one to be reckoned with. The band is compiled of a broad spectrum of instruments (i.e. sousaphone, banjo, brass, woodwinds, drums), and they’ve been known to burst into a full blown dance party in the middle of the street when they feel necessary. The band clearly has a great time on stage together and you can’t help but move your feet while these guys do what they do best.
Marco Benevento (10pm-11:25 pm): Amazing music, amazing guy and a ton of whiskey. Benevento is known to keep a bottle of Maker’s Mark as well as a giant tiger head on stage with him for when things get really wild. Aside from the fact that he is a brilliant musician, he also contains quite the stage presence. This performance will without a doubt be fun and entertaining, but also be packed with musical talent.
Twiddle (Dead Set) (10:30pm-12:15am): Over the past couple years Twiddle has gained exponential recognition within the music scene for their talents. There is certainly a reason their music draws such large crowds, and the fact that they’re doing an entire Grateful Dead set? You definitely do not want to miss this!
Lettuce (11:15pm-1:15am)- Hands down one of the funkiest bands to see live. Each member in the band brings a fantastic amount of talent to make up this power house of funk.
Shpongle (Simon Posford DJ set) (2:30-4:00 am)- While the Simon Posford DJ set isn’t the full Shpongle experience, if you’re into DMT fueled, spacey, electronic dance parties you certainly want to catch this performance. Posford is not just a musical genius but also a performer. He knows how to entertain a crowd and he does it well.
Saturday:
Tauk (6:30pm-8:30pm): Tauk gained rapid popularity with their entirely instrumental 2013 album, Homonculous. It says a lot about a musician when you can experience an array of emotions through an album without words. This foursome from NYC is packed with so much energy and talent they definitely make the “do not miss” list.
Consider the Source (7pm-8pm): Consider the Source brings a taste of Middle-Eastern fusion to the jamband scene. The trio’s stage presence blends multiple genres and sounds to create something unlike anything you’ve ever heard. If that doesn’t do it for you, go for the fretless double necked guitar that Gabriel Marin plays with great ease. If you’ve never seen Consider the Source life, make sure to get down to their acoustic set on Saturday evening.
Yonder Mountain String Band (8pm-10pm): Yonder Mountain String Band brings a perfect blend of jam and bluegrass while bringing a musical diversity to a genre that has set them apart from many artists in the live music community. While Yonder brings more of a low key vibe to start off your evening, there is certainly not a lack of pickin’ and mind blowing jams.
Cosby Sweater (8:30pm-10pm): Cosby Sweater is a live electronic trio bringing live mash-ups and high energy dance remixes. While these days there seems to be an abundance of “EDM” acts at every festival coast to coast, Cosby Sweater sets themselves apart with their kitchy name, unabashed musical talent and obvious ability to set the crowd into a full blown dance frenzy.
The New Deal (11:15pm-1:15am): The announcement of The New Deal’s reunion flipped the music world upside down. The trio includes original bassist Dan Kurtz, original keyboardist Jamie Shields and new to the band, Joel Stouffer on the drums. The New Deal always puts on a fantastic performance and is the perfect set to start your evening off right. The amount of excitement that has surrounded their Summer tour is incredible, so make sure you check these guys out before they retire, again.
Sunday:
Turkuaz (12:30pm-1:55pm): A diverse arrangement of music, instruments and excessive funk. Turkuaz has quickly become one of the funkiest bands on the East Coast. Visually their performances are stunning and the amount of energy pouring out from the stage makes it damn near impossible to not get caught up in all that is Turkuaz.
Particle (3:15pm-4:40pm): Particle is known for its progressive rock-jam roots and has acquired a wildly enthusiastic following referred to as “Particle People.” A perfect blend of electronic and organic, Particle is a phenomenal act to add to the already outstanding line up of the Chill.
The Manhattan Project (5:30pm-6:30pm): The Manhattan Project has quickly acquired one of the fastest growing followings of any electronic duo in the Northeast. The duo has made their mark on the music scene with their high energy performances, fantastic covers and live remixes that will keep any crowd moving from beginning to end. If you have yet to see these guys do their thing, don’t miss them at the Chill.
Kung Fu (6pm-7:25pm): Kung Fu is easily summed up by a ball of energetic, funk explosion. Every member of the band plays with so much enthusiasm it is evident that these guys have a ton of fun doing what they do. Often taking the stage fully clad in their Kung Fu attire, the band in its entirety loves what they do, and what they do is done well.
Electron (9pm-11pm): Electron is the original Disco Biscuits side project made up of Marc Brownstein, Aron Magner, Tommy Hamilton of Brothers Past and Mike Greenfield of Lotus. This is one insane mash up of some of the biggest names on the scene and their performance will be nothing short of excellent.
The beautifully scenic back drop of Upstate New York, art, music, and vendors means it must be time for another year of Bella Terra. Since 2009 Bella Terra has made its mark on the Upstate festival scene bringing a collaboration of multi-genre artists that span from Hip Hop, EDM, drum and bass, jam, bluegrass and much more. Since its start, Bella Terra has made its reputation known as a small town, tight knit festival with the capacity for major acts and artists.
The festival will be held this weekend, August 21-24 on Gardner’s Farm in Stephentown, New York. Get your tickets for Bella Terra Music Festival now! Here is a look at the MUST SEE acts this weekend at Bella Terra.
Thursday
Break Science (8:15-10): A Brooklyn based electronic duo who, since their first arrival on the scene has took the EDM scene on full force making themselves known as one of the best. Borahm Lee spinning and Adam Deitch (Lettuce) on the drums have quickly been acknowledged as one of the must see acts for any music festival.
Indobox (10-11:30): Indobox is an energy packed electronic-dance-rock collaboration of Joey Zarick on guitar, bass and vocals, Mike Carter on guitar and vocals, Steve Learson on keyboards and synth bass, and Jules Jenssen on drums. These guys always bring a solid set of dancing and energy.
Friday
Conspirator(8:30-11): A side project of Aron Magner and Marc Brownstein of the Disco Biscuits, Conspirator has attracted attention since their start on the music scene as an electronic-music power house. While their sound differs greatly from their roots in the Biscuits, Conspirator has done a phenomenal job of setting themselves apart and creating a new sound.
Abakus (11-12:15): Russ Davies is a British electronic musician who goes by the alias Abakus as well as Cinnamon Chasers (He will be playing under the alias Cinnamon Chasers on Friday night, 7:30-8:30). Russ Davies separates the two aliases with very separate styles and sounds so it will definitely be interesting to see both acts and see the versatility of this artist. Saturday
Digital Dharma (4:30-5:30): Digital Dharma is an Upstate New York native band focusing primarily on improvisational electronic music. Deriving influences from the likes of the Disco Biscuits, The New Deal and Lotus, you will see the similarities in instrumental technique as well as the exponential talent from each member of the band.
DJ Leila (5:15-6): Leila has taken on the drum and bass scene as perhaps one of the most well known female DJs in the Capital District. Don’t get it twisted: the fact that she is female doesn’t set her apart from the male dominated DJ world, it is her raw and unbridled talent and love for the dirty bass and beats that makes her one of the best. Make sure you check her out at the Red Bull Truck.
Dr. Fameus(5:30-7:30): Dr. Fameus is Allen Aucoin, drummer of the Disco Biscuits, with a side project as an outlet to delve further into the melding of drums and electronic music. Obviously it is very drum-centered and it may throw you off to see that the only person on stage is sitting behind a drum set, nonetheless it is not an act you want to miss.
Sunday
Jimkata(4:30-5:30): A staple of the Northeast jam-scene since as early as 2006, Jimkata has made their mark in the world of music. With a devoted following and a unique sound this is one Sunday act you certainly do not want to miss.
Mentally Ill (5:45-6:30): Mentally Ill takes the stage with vengeance and his sets are certainly not for the weak of heart. Leading the Albany drum and bass scene for years Mentally Ill (along with his counterpart Leila) have single-handedly introduced the Upstate music scene to a world of heavy bass and shattering beats. Make sure you get down to his Sunday set for some day-time dNb.
The potential for the Hudson Project was endless. With MCP presents backing major festivals like Camp Bisco and Counterpoint, and with a lineup blending such a wide variety of fantastic acts everyone had very high expectations for the inaugural year of this fest.
The first qualm that many of the patrons had, had been the fact that there would be no car camping and an added expense for leaving your car in a parking lot for the weekend, to be shuttled to the festival venue. Many festival goers were left dragging all of their camping gear miles across the grounds to camp sites scattered every which way. A wooden bridge connecting two muddy stretches of trail with steep, rickety stairs were the main access to the festival grounds leaving many people struggling to carry all of their gear up and down. By the last day of the festival the small swamp under these stairs had flooded to the point that everyone attempting to evacuate the premises had to wade through the mud with all of their belongings.
Aside from the lengthy journey to actually set up camp sites, there were many check points fully staffed with local police and police dogs. While the need for increased security to cease drug trafficking throughout festivals is certainly necessary, the last thing someone wants after walking miles with all of their belongings is for local police to tear through your bags and coolers, making you feel like a criminal. Within each checkpoint the festival staff looked through purses, wallets, pockets, hats and threw out open cigarette packs, which not only was unnecessary but also created excessively long waits to enter the actual music venue. Although the need for safety at a festival should always be top priority, the festival promoters took this to new levels.
Throughout the festival, police patrolled the camp grounds shining their flashlights into attendees tents. Security guards patrolled the main roads on horses, and each checkpoint was a gauntlet for individuals before getting into the venue to see music. On top of all of this it seemed like basic amenities like cell phone charging stations, showers and shuttles, all cost an excessive amount of money. If the patrons are not allowed back into their cars throughout the weekend then cellphone charging stations should be free. The water fill up stations, however, were extremely convenient (and free, surprisingly), but during the heat of the day the lines were so long it would leave many people feeling overwhelmingly dehydrated and exhausted. One of the rules on the festival’s website was that Camel Back water packs would not be allowed to be filled until inside of the venue, also leading to very long lines throughout the weekend.
However many qualms one may have with the Hudson Project, one thing is for certain; the music was golden. Sound Tribe Sector 9 played a phenomenal hour and a half set with their new bassist Alana, showing that even with out their former front man David Murphy, they were still more than capable of throwing down an energy packed set. The Flaming Lips played the main stage directly after Sound Tribe with a crowd that seemed to go on for miles. Their stage set up was perhaps the most intricate out of any act of the weekend, with giant psychedelic mushrooms and rainbows that made the stage into a spectacle, paired with the amazing Flaming Lips set. At one point the band had to stop playing due to an individual in the crowd having a seizure which the band attributed to their wild stage presence and décor (very possible).
Friday night was by far the best lineup for music at Hudson Project with many of the major head liners one directly after the other. This, unfortunately, made it difficult to catch all of the bigger acts. It would have been far more ideal to spread out the headliners day-to-day instead of having large acts back to back Friday and Sunday. Saturday was a full day of fantastic music including ZZ Ward who played an outrageously soulful and energy-packed set that was perfect for a beautiful sunny day in the c. Twiddle also performed a fantastic daytime set in the circus tent but with that many people in a closed tent it was abrasively hot and difficult to enjoy the entire set. Bonobo played a beautiful and ambient set while the sun went down and the evening settled on the Hudson Project. After Bonobo, Big Gigantic took the main stage with full force. This was interrupted by a torrential downpour that sent many campers running to take shelter, and other attendees dancing in the pouring rain. Almost all of the late night sets were extremely sub par. Moby’s set was filled with heavy drops and face melting bass with seemed to keep the crowd happy from start to finish. Four Tet played the exact opposite set on the other side of the grounds with zero bass drops and more of an experimental sound which gave patrons options between their late night experience.
The social media backlash began after the Sunday acts were cancelled due to extreme weather conditions were outrageous. Patrons from near and far shared their horror stories from each day at the festival leading up to one of the worst closing days since Woodstock ’99. Patrons began demanding a refund for a third of their ticket for missing an entire day of music and major acts such as BassNectar, Paper Diamond and Tipper. Those who were not lucky enough to get off the festival grounds before the storm hit were left scrambling to collect their things and seek shelter. By the time the patrons of the festival got to their vehicles the ground had begun to dissipate leaving hundreds of people stranded without food or water. The major social media backlash led to the festival putting out a statement that all attendees would be refunded for the last day of the festival. This was still a fuzzy area for many patrons who had purchased their tickets off friends or internet trading groups.
The weather certainly was the muddy tip of the iceberg for a long weekend at the first year festival. While the music still made it well worth your while, many of the circumstances throughout the weekend made it a less than desirable festival to consider attending again. This could be attributed to many different reasons, many of which are far beyond the festival promoter’s control, nonetheless it left many people very unimpressed by this festival. Nonetheless, with the broad spectrum of musical guests the Hudson Project brought to Upstate, NY, this festival has a potential to make a comeback in 2015.
Editor’s note: requests for comment from MCP Presents were not returned
The experience that “is” Summer Phish is not easily comprehended by those who have not yet partaken. It is unlike any other show or concert, with a fan base that travels from all over the country, and sometimes world, to come together for a brilliant evening of lights, music and a crowd experience opposed by no other band. Walking through the parking lots surrounding the shows one will see so many unique individuals from all walks of life spanning ages young and old. For some, it may be their first experience, and for others it is just another notch in their belt touring with one of the greatest bands in the world. The three-day Phish run at Saratoga Performing Arts Center (SPAC) was capped off with another amazing performance by the four-piece rock phenomenon on July 5th.
Photo by Jim Gilbert
The band took stage later than the prior nights leaving the crowd restless with anticipation. The moment the band members strutted onto the stage, the crowd erupted into a roar of celebration. They opened with a short but sweet “Crowd Control” setting the mood for a fantastic evening of music. From there they went from the dark “My Friend, My Friend,” into “Scent of a Mule” which erupted a full on hoe-down on the lawn while members of the crowd linked arms to the kitchy-spacey-bluegrass. From there they busted out two back to back songs from their 2004 album Undermind with a short “Undermind” and “A Song I Heard the Ocean Sing.” The set veered back into their wacky light-hearted typical “Phish-ness” with “I Didn’t Know,” fully equipped with a Fishman vacuum solo and “Foam > Wombat”, which kept the crowd cheering for more. The first few notes of “Divided Sky” reverberated through the crowd sending the lawn into a full-blown glow stick war, lighting the sky with a multi-colored war zone. From “Divided Sky” they ventured into the tear-jerker “Wading in the Velvet Sea” which took the crowd down a couple notches before the explosive set ending “David Bowie” that left the crowd excited and whirling with song predictions for set 2.
Like in Phish fashion, they came back for second set with a vengeance opening with a high energy “Carini.” Once you’ve heard thousands of people screaming in unison, “Carini had a lumpy head!” you will start to realize that Phish is not just your average concert experience. The “Carini” went from dark, evil jams, twisting with intensity into light, bouncy jams truly encapsulating all that is “Carini.” From “Carini” they segued into a personal favorite and absolutely beautiful and delicate song “Waves.” From “Waves” they went into “WingSuit”, which was perfectly executed for the set which had been intangible from beginning to end. A fantastic and energetic “Piper” kept the theme going straight into the crowd pleasing “Fluffhead.” After “Fluffhead” they took the set to a surprising place with a short and sweet “Heavy Things.”
From there they went into “Slave to the Traffic Light” with enough intensity to make you think the set was over, but sure enough those first sweet notes of “You Enjoy Myself” were ringing through SPAC as the crowd went wild and the glow sticks soared. At the past few three-night SPAC runs they had saved this treasure as their encore, but instead they utilized it for the set closer to end all set closers. They pulled out the trampolines for some super YEMmy, bouncy jams and Trey proved he still had the moves as he danced with full vigor through Mike’s solo. The band finished with the crowd still cheering for more, as only they could after a spectacle as amazing as “You Enjoy Myself” and the band took stage one last time for Summer 2014 with an encore of “Suzy Greenberg.”
From beginning to end Phish proved that they still had the energy and capability to take the crowd on a journey through their music, and not simply take stage and hammer out a bunch of crowd-pleasing songs. All three nights seemed to be slowly building the energy for one hell of a third night at the Saratoga Performing Arts Center.
Set 1: Crowd Control > My Friend, My Friend, Scent of a Mule#, Undermind, A Song I Heard the Ocean Sing, I Didn’t Know*, Foam%, Wombat, Divided Sky, Wading in the Velvet Sea, David Bowie
Set 2: Carini > Waves, Wingsuit > Piper > Fluffhead, Heavy Things > Slave to the Traffic Light, You Enjoy Myself
The Hollow at 79 North Pearl street in Albany has quickly become one of the most recognized venues for excellent live music, with a great history of hosting up-and-coming bands and nationally touring acts alike. The venue is quaintly nestled just doors down from Albany’s historic Lodge’s clothing store and The Palace Theatre, placed directly in the middle of Albany’s night life.
The venue was originally an urban retail store and a shoe repair shop. After renting out the Yorkstone Pub and turning it into the Bayou Cafe, the owners continued to expand further until the stage was built and the bar looked the way the owner’s had planned. Throughout the 2000’s, the venue quickly became known for cover bands that would bring in throngs of people every weekend, with a line out the door. Eventually, cover bands no longer brought the same crowd every weekend and the scene in downtown Albany began to quickly change. The owners saw an opportunity to change the venue for the better of the community and offer live shows that music enthusiasts would want to see. The long time owners sold the venue to close friends of their family and took over the booking for all acts at what would then on be referred to as “The Hollow.” The name is a nod to the area surrounding the venue which has long been referred to as Sheridan Hollow. After the change in management and name, the venue began hosting bigger and better acts. A variety of acts have played the stage at The Hollow including Break Science, Deer Tick, Brothers Past, The Heavy Pets, Jennifer Hartswick, Normal Instruments, Tauk, Lucid, Mister F, Wild Adriatic, Start Making Sense and The Black Mountain Symphony.
The venue itself is a great spot to catch music locally. The large bar set a few feet from the stage makes it easy not to miss the musical acts while quenching your thirst. All of the Hollow’s bartenders and waitstaff are friendly and personable making it a relaxed environment during happy hour, lunch, dinner or during a live show. The front patio is the perfect place during the warmer months to sit outside with friends even during times where there are no performances. The menu offered at The Hollow gives a wide array of options for whatever your appetite may be, also offering their different pairings of wine and beer for each meal. The bar itself is divided into sections, one section holds the stage and wrap around bar which can get pretty packed during a sold out show, there is a section with some tables and a pool table for those concert goers that want to see the music but not necessarily be within a large crowd of people, as this section can also get pretty packed during a sold out show. The third section is generally only used for dining guests and is rarely full of people during a live show, while a second bar in which you do not have to pay cover for the show to grab a few drinks with friends.
The venue is big enough to hold larger named bands, but also enclosed enough to make each show intimate between the artists and the crowd. If you live in the Albany area and you are looking for a great venue, some great drinks or even a great meal, make sure to check out The Hollow Bar and Grill.
It was one of the first beautiful nights of the year for The Formula 5 album release party at Red Square on April 18th. Suitable Groove started the night off as the crowd thickened and the energy levels increased. Although it was still early in the night when Suitable Groove took stage, there were a significant people gathered to get down to their funky beats.
Shortly after Suitable Groove, The Hornitz took stage with enough energy to put Russel Simmons to shame. The Hornitz mix a wide array of funk, beat boxing, bass trombone, tenor saxophone, keys, and a list of different samplings to make up their unique sound. At one point during the performance they busted out a full rendition of Cypress Hill’s, “Insane in the Brain” with a flooring amount of funk. In case the crowd wasn’t already highly impressed, the duo then broke into a beat-boxing session while singing at the same time. All of you 90’s kids might remember the comparison to the great Rahzel who really brought this technique to the forefront. Overall, an absolutely phenomenal performance by this Boston based duo. If you have yet to see the Hornitz live, I suggest you check your local listings.
As soon as Formula 5 took to the stage, the harrowing funk of Joe Davis’ guitar riffs echoed through the streets of Albany. The band opened with “The Clear” off of their new album, Edging on Catastrophe, which was an impressive and energy packed song to open their debut off their new album. For a portion of the show, special guest Tucker Callander stepped in for a few songs live on the violin. Callander sat in for “The Clear,” “Catch Me > Timmy’s Slumber > Epiphany > Timmy’s Slumber” and “Nu-Gen.” This part of the show showed their extreme versatility within each segue while adding a new and different flair to each song with the accompaniment of the violin. New bassist James Woods sat in for a set closing “Hot Box > Good Times Bad Times”.
Often times for album debut parties it is hard to tell which direction the band is trying to take with it’s new endeavor, but it is evident that Formula 5’s direction is up. The entire album front to back is like a more polished version of who the band has always been and what they have always been about. Staying true to their roots with Joe Davis’ Phish-esque guitar riffs, while rounding out their funky Bill-bass lines with Mike McDonald on the keys and Greg on the drums. Edging on Catastrophe is a wonderful representation of the band’s versatility as artists, bringing in influences of bluegrass, electronic, folk, rock and of course, funk.
This was also their farewell show to their longtime bassist Bill Shattuk, so of course there had to be an epic bust out of “Sledgehammer.” This is clearly one of Formula 5’s favorite covers, which is evident through the extreme amount of energy and enthusiasm they show on stage. Another highlight of the show was “Pedro”, for which the guys from The Hornitz jumped on stage with the guys to share in the jam. They then segued into the Phish/Trey Anastasio Band classic, “Sand.” The show was an all out party from start to finish and the collaboration of all of these talented artists made for a perfect concoction of pure funkafied excellence. From front to back the album shows the exponential growth each individual has accomplished as a musician and also the immense amount of capability the band has as a whole.
For years, Deadheads throughout the Capital District make the trip every Wednesday night to hear some good old Grateful Dead covers at Valentine’s on New Scotland Avenue in Albany, New York (and as of last week, at The Low Beat on Central Avenue). Any one who has attended a Deadbeats show can probably attest to the dedication and talent each member in the band brings to the table to keep the Grateful Dead alive in Albany. You may also likely know Denise Parent, drummer of The Deadbeats as well as many side projects throughout the Upstate music scene. had the opportunity to ask Denise some questions regarding her past within the music scene and her rise as one of the most well-known female drummers in Albany.
Jenni Rose Wilson: Tell us a little about yourself and how you got started in the music scene.
Denise Parent: I guess I think about how I got started playing music. My mother has been singing since I was in the womb, so I think it really rubbed off on me. She used to be involved in local musical troupes and I used to go watch her shows and regular rehearsals. My mother is a fantastic singer; therefore I had a great musical mentor. I started singing as a young girl and performed at my first talent show at 9 years old. I went on singing in talent shows and the choirs for years.
One day in high school I was sitting in class tapping on the desk with my pencil erasers, and my teacher yelled out, “Join a band!” (Thanks Ms. Molloy). It was like a light bulb went off! I went home and told my parents I wanted to play the drums. That Christmas my brother got me a snare drum and cymbal and I smacked that for about a year before asking my parents for a drum set. For my 17th birthday I got a little Pearl kit. I taught myself how to play by watching MTV, back when they actually played music videos. I joined my first band after playing in my room a couple of months. By 19 I had joined my third band and we played some gigs in the bars in and around Levittown, Long Island. I did take a few drum lessons over those years and learned how to read drum music and play a few necessary rudiments.
I had also been playing around with the guitar as a kid since my older sister played in the folk choir. I had fiddled around with it for years and before you know it I was playing some solo and duo guitar gigs at my brother’s café in Sayville. I kept all the gigs going until I moved up to New Paltz to finish college in 1993. It was there I met the Deadbeats. I started to play with them full-time in 1993 and we were going on the road and playing up and down the East Coast for a few years. We played in all size venues, from great little dive bars to colleges, festivals and music halls. Since then I have been playing gigs regularly. In late 1997, I left the Deadbeats and soon after joined Big Sister, an all female band from Woodstock, NY. Six months after I joined we got signed to Capricorn Records and then recorded a rockin’ CD called So Hi How Are You. We had a few years of playing great gigs like the Rock and Roll Hall of Fame, and we were even in Rolling Stone Magazine! That was a really great experience for me and I did have a lot of fun! Unfortunately, Capricorn went bankrupt and we lost our good gigs and our monetary support.
I was a lead singer in most of the bands I was in prior to this, and being a backup singer in Big Sister always left me wanting to sing leads again. It was around this time that the Deadbeats called me and asked me if I wanted to come back and play in the band. When I had been given the opportunity to sing lead again it felt really wonderful. I came back to the Deadbeats on NYE 2000-2001 and have been in the band ever since.
JRW: You have your hand in a number of different musical projects, can you tell us a little bit about each project?
DP: Currently I play in three bands, The Deadbeats, Hemingway’s Cat and Wild Piper. The Deadbeats is a staple in the Albany area, playing a ton of Grateful Dead and classic rock. Since I sing lead, we do Janis Joplin, Aretha Franklin, and other assorted female-singer songs. I love to sing Bob Dylan and Bob Marley, so we do a handful of their songs. Of course I also love singing anything by Jerry Garcia, since I have a true soft spot for singing soulful Gospel and traditional songs. The Deadbeats also have a good amount of original music, of which I sing some of the songs I have written. We have never played the same set twice, and we don’t use a setlist. Mike, Alex, Brian and I have developed a band that has an awesome following, and we do have a special relationship with the crowd every time we play.
Hemingway’s Cat is an all-original band from Woodstock. The music is very eclectic, with songs that sound like jazz, blues, reggae and an almost Middle Eastern feel. I joined that band about three years ago. I was mostly drawn to them because the music has a lot of great rhythms with high energy. When I first met the band they already had recorded a CD, and then we recorded a five song CD called Next to You. When we play we really raise the roof! I also really enjoy playing all of our own music for people who dance and smile while we do it! Wild Piper is an exciting new band, made up of some of the current and former Deadbeats, in addition to members of Raisinhead and Ominous Seapods. It’s a great mix of strong lead vocals, screaming lead guitar, the warm Hammond organ, the funky rhythm guitar all on top of a bass and drums powerhouse duo! Even though this band is in its early stages, the talent and song choices have already wowed audiences. It’s has that “new relationship energy” and we all have an appreciation for each other’s talent. I look forward to where we will go together.
JRW: What is it like being a female in a male dominated craft such as musical production?
DP: I admit over the years I have had a few funny experiences while playing in a band. I have met a bunch of men who have been open minded and wonderful. Of course there are those who tell me I’m pretty good for a girl. I know those guys are trying to be nice, so I see the compliment they are striving for. One night in the mid-90s, I was setting up for a Deadbeats gig in Monticello alongside Mike Johnson, the guitarist. Some guy came over and started talking to Mike, asking him what time the band would be starting and what type of music we played. They talked a little bit while Mike set up his amp and pedals. Then the guy turned to me as I was setting up the drums and asked when the drummer would be getting there. I thought it was a bit funny because I was actually setting up the drum kit when he asked me. I admit it wasn’t the first time I had been asked a question like that. This time I decided to have a little fun with it. Mike and I told him that the drummer was my boyfriend and would be getting there soon. I continued setting up my kit and did a little bit of a soundcheck. He came back over to the stage and said that I sounded pretty good. I laughed a bit with Mike and told the guy I was going to have to start with the band because my boyfriend would be late. I also told him that he taught me a lot, so I could probably be OK for a few songs. After playing a bit I felt guilty for pulling his leg and I came clean. He was very surprised at first, but then he was my biggest fan. Of course there are those other times that aren’t as funny, but I like to focus on the positive.
JRW: What instruments do you play and at what age were you introduced to them?
DP: I sing lead vocals and play drums at the same time. People always tell me they think it’s hard, but I guess I have been doing it for so long I really don’t even notice. Lucky me, I do feel blessed for being given such a great gift. I started playing drums when I was 16. I always tapped on everything as a kid. I used to take all the pots and pans in the house and put them all over my bed and then I would play them like a drum set with my chopsticks or pens, whatever I had handy. I had a lot of fun doing this until one time I was jamming out hard and broke the ball point off the pen. The ink went flying all over the pot and pans and my bed and the carpet and my mom was pissed! I can still remember her face! Fortunately we laugh about that now! Soon after it was clear that I had rhythm I got my first drum set. My parents would let me play anytime 10am-10pm. I would crank up my stereo and the fun would begin. My mom used to clean the house and dance around while I played. My dad would always compliment my improvements. I remember my mom being surprised that I liked reggae and gospel music. My parents were (and still are) very proud of me and were very supportive to my playing drums. When I was 17 I had a party at my sister’s house and asked my friends from school to play. I remember them playing the Beastie Boys and I just got so incredibly charged I knew I had to join a band!
I have been playing the guitar since I was a young girl. My sister gave me her classical acoustic guitar and I would play over all the songs on the radio. I didn’t really know many chords in the beginning, so I would play leads and sing a bit while I plucked around. I started to learn more chords and rhythms when I was around 15. I wrote my first song, on the guitar, “I Hate Goodbyes”, at 17. There is something so nice about being able to pick up my acoustic guitar and sing a song. Even to this day I love to do it. No setup required. No amplification necessary. I have played a few acoustic guitar gigs over my years Upstate, but these days I play the drums at my gigs.
JRW: What are your biggest musical and non-musical influences?
DP: My mother taught me how to sing. My father taught me how to work hard and be responsible for myself. My high school teacher told me to join a band. My religious upbringing has taught me to love people. Both my parents have taught me to thank God and to love and respect others. I tend to wear my heart on my sleeve, probably because I like to connect to other hearts around me. When I think about all my influences they are widespread. My first concert was Rush at Nassau Coliseum, and that blew my mind. Neil Peart was one of the most intricate drummers I had ever seen. I always loved watching Mick Fleetwood play, and felt like I could really understand his playing. I did notice that we both made some pretty funny faces when we got into it. I love both of the drummers in the Grateful Dead. Mickey Hart has taught me to lead with the toms and to stray from the form and see where it takes me. Billy Kreutzmann showed me how I can add beautiful color to the most basic beats, while holding a whole band together. I have always loved to sing Indigo Girls, Bonnie Raitt and Joni Mitchell songs. Over the years I have followed them and their music and really appreciate the effort they take in crafting a song, and how they sing it. I often get goosebumps when I listen to any one of their songs.
My last few years living on Long Island, my friend Dino Perrucci took me to see this great band called The Volunteers (who later became the Zen Tricksters). They really taught me the music of the Grateful Dead. I did used to go see a lot of Dead shows, but I got an intense 101 from seeing the Tricksters four nights a week for a few years. To this day I credit Jeff Mattson (who now plays with Dark Star Orchestra) and Dino for much of my musical influences. Jeff even gave me guitar lessons back in the day. Just last weekend I went to see him and Rob Barraco play in the DSO and remember how much I learned from both of them. I give them and the Zen Tricksters a lot of credit for helping me learn so much of what I still do today.
JRW: How do you handle mistakes during performances?
DP: If you had asked me that question 15 years ago I would have answered very differently. I remember a time when I would get very upset with myself and have a hard time remaining present to ease and grace after I had made a mistake. I would spend so much time focusing on the mistake that I would be kicking myself during the next few sections of the song. I would not be present to the beauty of anything, and really missed out on so much good. I got hung up on mistakes others would make too. I think I lost sight of all the good and got stuck in insignificance. After doing some helpful introspection and years of different sorts of self-help work, I’ve come to get a huge lesson that has impacted me in every aspect of my life. Nothing is wrong. Its all how I deal with it that really matters. Of course I am not perfect at anything, so accepting that I make mistakes has become easier and easier. And having compassion for me or anyone else that may make a mistake around me comes with that as well. Falling off the beaten path has led me to some incredible moments on and offstage. Of course I love it when I hit the notes well and play the drums spot on, but I welcome whatever I am presented with now, while looking to see what I can learn from it. It really is all good.
JRW: What are the biggest obstacles for a band and what is the hardest part about working in the music industry?
DP: I would love to be able to support myself by writing, recording and playing music. I think most artists I know struggle with being able to play music and travel to reach wider audiences, because it costs money. Therefore they need to have a side job to help them pay rent and eat, and whatever’s left may go towards a little tour. In most cases artists need to find a way to promote their music, and even though the Internet is very helpful for that, we still have to travel to different places to play for them.
JRW: How do you balance music with your life’s other obligations?
DP: Well fortunately my day job at Family Services does accommodate me playing music on a regular basis. I do appreciate having that job, because I recognize all the good that FS does. It also helps that I have a great crew of people that I work with. I also really love just being at home with Anne and all the animals! It does my soul a world of good.
JRW: What advice would you give to other artists who have less experience than you?
DP: I’m not sure I know all the right advice to give. I will say that keeping the joy alive is great for the soul in any regard. Remember the joy that making music brings you, and do it for that reason. I think it is incredible to connect with my band mates and make something special happen. It’s even more wonderful when others can appreciate it as well. Oh yeah, and learn how to harmonize. It works in life as well as in music!
The groundbreaking festival Electric Forest, held within the magical confines of the Sherwood Forest will return to the legendary Double JJ Ranch in Rothbury, Michigan on June 26-29, 2014. This year, Electric Forest will welcome back The String Cheese Incident for three performances including a collaboration with Lauryn Hill which has been referred to as “The Lauryn Hill Experience”.
Electric Forest has done an amazing job bringing together diverse artists into a beautiful venue for a wide array of fans throughout the musical community.
The Current 2014 Artist Lineup in Alphabetical Order: 12th Planet, Alex Metric Aloe Blacc, Anders Osborne, Andy C, Anna Lunoe, Art Department, Bob Moses, Bombino, Booka Shade Live, Bro Safari, Cash Cash, Cashmere Cat, Catz n Dogz, Cherub, Chrome Sparks, Conspirator, Cut Copy, Dantiez Saunderson, Dead Confederate, Destructo, Dirtyphonics, Dusky, Emancipator Ensemble, EOTO, Flying Lotus, Fury + MC Dino, Golf Clap, GTA, I Am Legion, Isaac Tichauer, J. Phlip, Jimmy Edgar, Jonas Rathsman, Justin Martin, K Theory, Kevin Sauderson, Kygo, Lee Burridge, Lindsay Lowend, Luminox, Matt & Kim, MK, Moon Boots, Moon Taxi, Ms. Lauryn Hill, Nahko and Medicine For The People, Natasha Kmeto, Papadosio, Paper Diamond, Pegboard Nerds, Penguin Prison, Perseus, Poolside, Protohype, RAC, Rayland Baxter, Rising Appalachia, Roadkill Ghost Choir, Rosin Coven, Seven Lions, Sister Sparrow & The Dirty Birds, Soul Clap, Soul Visions (members of Rising Appalachia & The Human Experience), St. Lucia, Stephen “Ragga” Marley feat. Ghetto Youths Crew, Steve Angello, STS9, Syd Arthur, T. Hardy Morris, The Glitch Mob, The Revivalists, The String Cheese Incident, Thomas Jack, Topher Jones, Trippy Turtle, Until The Ribbon Breaks, Wilkinson, Xavier Rudd, Zedd, Zeds Dead, & Zoogma.
The venue was originally an urban retail store and a shoe repair shop. After renting out the Yorkstone Pub and turning it into the Bayou Cafe, the owners continued to expand further until the stage was built and the bar looked the way the owner’s had planned. Throughout the 2000’s, the venue quickly became known for cover bands that would bring in throngs of people every weekend, with a line out the door. Eventually, cover bands no longer brought the same crowd every weekend and the scene in downtown Albany began to quickly change. The owners saw an opportunity to change the venue for the better of the community and offer live shows that music enthusiasts would want to see. The long time owners sold the venue to close friends of their family and took over the booking for all acts at what would then on be referred to as “The Hollow.” The name is a nod to the area surrounding the venue which has long been referred to as 
The venue itself is a great spot to catch music locally. The large bar set a few feet from the stage makes it easy not to miss the musical acts while quenching your thirst. All of the Hollow’s bartenders and waitstaff are friendly and personable making it a relaxed environment during happy hour, lunch, dinner or during a live show. The front patio is the perfect place during the warmer months to sit outside with friends even during times where there are no performances. The menu offered at The Hollow gives a wide array of options for whatever your appetite may be, also offering their different pairings of wine and beer for each meal. The bar itself is divided into sections, one section holds the stage and wrap around bar which can get pretty packed during a sold out show, there is a section with some tables and a pool table for those concert goers that want to see the music but not necessarily be within a large crowd of people, as this section can also get pretty packed during a sold out show. The third section is generally only used for dining guests and is rarely full of people during a live show, while a second bar in which you do not have to pay cover for the show to grab a few drinks with friends.
Jenni Rose Wilson: Tell us a little about yourself and how you got started in the music scene.
JRW: You have your hand in a number of different musical projects, can you tell us a little bit about each project?
JRW: What instruments do you play and at what age were you introduced to them?
