Despite several non-heady forces: A red hot Syracuse basketball team playing, sub-zero wind chills, and a liquor license-less venue; Rochesterians turned out en masse for the electro-jam instrumentals of Philly based Lotus. Touring heavily behind their latest critically acclaimed release Monks, fans came from far and near to catch this rare Upstate performance of Lotus at Water Street Music Hall. Local DJ favorite Papi Chulo opened the night with his skillful genre hopping house infused DJ set that got everyone limbered up for the headliner.
Water Street, as many know, has been struggling to get their new liquor license for many months, and many shows have been canceled, rescheduled or moved. Despite the lack of delicious hops, this show was expertly staffed and it was a relief to see a packed show again in Rochester’s most history filled venue. Note to New York State: These unbelievably long, senseless bureaucratic delays for a simple license continue to cripple small businesses struggling to profit and stay open. Reboot this system and let’s get New York’s small entrepreneurs back on top!
By the time Lotus took the stage Water Street was elbow to hoop girl from front to back with a large contingency spilling upward into the balcony for some dancing room. Their sound, while definitely in the EDM genre, sticks mostly to old school influences with healthy doses of funk and hip-hoppy beats mixed within melodic keyboard battles and a dual-ax core. Beyond some occasional voice effects by guitarist Luke Miller, the songs are all instrumental, yet hold a distinct memorable vocal character to them that transcends many similar bands in the genre. No UntzUntzUntzDROP here, this is hypnotic organic dance music filled with timeless melodies. Unfortunately Lotus has no more shows scheduled in NY currently, but keep an eye on their tour page, as they’ll be back and you won’t want to miss it.
Ithacans and Man Man fans alike came to The Haunt on Wednesday, January 29th, for what was no less than a spectacular show of music new and old. Though it may have been -5 degrees out, that did not stop people, including many local college kids, from coming down for a night of dancing, fun, and maybe even a little crowd surfing.
Xenia Rubinos of Brooklyn, kicked off the night with her very own creation of electronic rock fusion that served as a perfect set up for Man Man’s unique sound. Rubinos and drummer Marco Buccelli are unlike anything many have ever heard before. Their music is filled with constantly varying time signatures, contrasting chords, and vocals that can only be described as soulfullypunk. The set consisted of many songs from their 2013 album Magic Trix, including “When You Come” and “Help.” With the house completely full, the band ended with two unreleased songs, “Black Stars” and “Motorcycle Song”, and finally a crowd favorite, “Hair Receding.” Xenia Rubinos is quickly making a name for herself as she continues her countrywide tour with Man Man.
With the crowd primed and ready to go, Man Man took the stage for an epic journey through sound. As Honus Honus made his way to the microphone, wearing a glittered cape with the rest of the band in skeleton consumes, you could feel the crowd’s excitement brewing. Starting with a 2006 tune, “Feather”, Man Man got right to work. The band played a broad selection of their songs, from nearly all of their six albums, which allowed one to see the transformations Man Man has made over the past 10 years. Featuring many songs from their most recent album, On Oni Pond, the wild cast of musicians performed on instruments ranging from hubcaps to the flugelhorn. Xenia Rubinos added supporting vocals, joining the band for “Zebra” and “Pink Wonton”, which also included a fan onstage for a brief moment before he dove into a sea of hands. Man Man’s performance was a one of a kind event that should be a must see for everyone. Their outstanding musicianship, unpredictability, and Honus Honus’ extravagant costumes made it a party that will not soon be forgot. “El Azteca,” a number best described as a fight song, gave the crowd one last opportunity to dance their hearts out as Man Man’s stellar return to Ithaca concluded.
There’s something exciting about looking at equipment on an otherwise empty stage, waiting to be used. As soon as audience members rounded the corner into the backroom at Bug Jar on Friday, January 17th, they were greeted with BabaYaga’s tasteful, bare-bones set up: a Marshall head atop two 12 inch speakers on the left, Orange amp and Gibson Les Paul to the right, drum kit front and center.
The sound BabaYaga gets out of this set up is my favorite part about the band: warm vintage tones, cranked to the max. Todd Dentico threw down huge bass energy with sturdy notes that popped every time. Dave Fein’s guitar licks were steady and tastefully distorted, and his solos were like climbing a ladder, occasionally breaking a rung just to mix things up. As for Adam Banachi’s vocals, the screaming wasn’t muddy or jarring, but instead blended nicely with instruments for a tight, powerful sound. Adam’s vocals and stage presence could be the perfect metaphor for BabaYaga: a grimace, not a front.
BML took the stage next, just before midnight, to a diverse audience of old timers, college kids from the bar, metal die-hards and even a few cops. Cutting right to the chase: as soon these three guys take the stage they transform into a well-oiled rock-and-roll machine. Tight, on point, and unassuming, BML lets their sound speak for itself. Transitions are subtle but happen quickly; in a matter of seconds BML can discretely move into a new phrase and have audiences getting down to a new lick or tempo, without knowing how they got there. Since Friday’s show was a release party for the band’s new album, That There Dog’s A Chicken, the set featured a bunch of new songs with a few classics sprinkled in for flavor. Coincidentally, two of my favorite tunes came after the following phrases: “We’re gonna play an old one…” and, “This song should be interesting…we haven’t played it in a while”. This preference by no means discredits BML’s new stuff—which is detailed, contrasting and well executed—but is instead a testament to their history. These guys have been around for just under ten years now, and they command respect on stage without relying on gimmicks or familiarity. From start to finish, BML challenges themselves and the audience through complex scales and transitions at a super-fast space, hitting and fleeing high points and drops in the blink of an eye.
Two things are for sure after Friday Night: Genesee Bock is back with a vengeance, and, in the hands of BabaYaga and BML, heavy rock-and-roll is alive and well in Rochester, New York.
Walt Disney did it. William Shakespeare did too. It’s taking the metal of another one’s work, and spinning it into your own gold. It’s the alchemy of the creative mind. It’s declaring the statement, “I can take your idea, and make it better.” Cry to the Blind, a five-piece heavy rock band out of Rochester, NY, declared such a statement last month after walking into Oblivion Studios to record an already established hit. One month and more than 90,000 YouTube views later, the band has itself, what a growing contingent of fans and followers think, is gold.
“The past month or so has been pretty weird,” said Jon Lamanna, the band’s lead singer. Back in December, the band loaded up a studio video of their recording of Miley Cyrus’ mega-hit, Wrecking Ball. The reception to their hard rock version has been nothing short of exceptional, first leading to play time on local radio stations, and precipitating to national attention on Nikki Sixx’s syndicated show, and now satellite radio. It wasn’t long before they obtained mechanical rights from the copyright owner to allow them to perform and sell their version of the song.
“The energy and the excitement level at our shows, and online, are at a level I’ve never seen before. People just seem like they really believe in us now.”
It’s really inspiring to see.”
Rochester’s Cry to the Blind is basking in the glow of newly found attention. (Photo Credit: CTTB/Facebook)
The band has released three CDs independently since 2009. They are a heavy, modern rock band, who market themselves as a “therapeutic release” for their fans. They like to promote a “positive spin on the negative energy that surrounds us every day,” as stated on their Facebook page.
Jon explained that the inspiration to record the song came from a simple turn of his car’s radio dial, as he started his commute to work one November morning.
“The first time I heard the song, I thought it would make a great rock song. We’ve never done a cover. [This was] just a random idea. I texted Jesse (Maty), our guitar player, and said, ‘hey, have you heard that Miley Cyrus song “Wrecking Ball? I think it would be awesome as a rock song.’ He was like, ‘yeah, why not? Let’s give it a shot.’ He wasn’t into it as much as I was. But, when I polled the other guys in the band, they were really excited about it. .. As soon as we started rehearsing it, it sounded phenomenal.”
They changed up the second verse to make it rhythmic and heavy, which was (the band’s drummer), Jay Talarico’s idea. Together with Ryan Mcfaul on guitars and Kory Maclauchlan on bass, Jon said, “I think that’s what makes the song stand out.”
Since Cyrus released the song last August, Wrecking Ball has topped the pop charts in 13 different countries, including the United States. There have been a number of different cover versions released, including that from Rumer Willis, the 25-year-old daughter of actors Demi Moore and Bruce Willis.
Today, up to 40 radio stations, including Sirius Octane, is playing their song, and the positive feedback just keeps building. Jon said that the band has yet to be signed by a label; however, he says people who they’ve spoken to in the past, are coming back to talk.
“[We’re] pretty confident that things are going to continue to snowball in a good direction for us.”
Cry to the Blind play next at The Montage Music Hall in Rochester, NY on Saturday, February 15.
Mister F with special guest Tweed had Red Square in Albany all warmed up during one of the coldest weeks of the year on Saturday January 25th. Tweed is a self proclaimed psychedelic blend of funk, rock and electronic – and they were just that. For an opening band there was such an immense amount of energy from the stage and within the crowd that it is certainly evident that these guys could have easily been the headliner. Their keyboard set up was extremely impressive, and Jon Tomczak eased the synth into each song organically, creating a layering of electronic among the drums, bass and guitar. Each member in the band contributed great skill and talent within every facet of each song. These boys are certainly an up and coming band to keep your eye on for the upcoming festival season, and a must see band within the jam community.
Hometown boys Mister F took the stage once again with a great energy that exuded into the crowd and had everyone moving. Each member of Mister F holds such an immense amount of talent that these boys can literally do no wrong. They showed great versatility as individuals and varied their setlist from funk to harder guitar riffs and a more rock and roll sound, to jammy and electronic pieces that truly showed their capabilities as a band. Matt Pickering and his brother Ben Pickering stay completely in sync within the rhythm on drum and bass, even when Matt takes lead vocals on many of their songs. Andrew Chamberlain tears apart intricate guitar solos as if the guitar is second nature to him and Scott Hannay blends everything together on the keys and synth. At one point during the night Hannay left the keys to pick up the guitar, only further showing the amount of talent and capability these guys have as musicians. Mister F has definitely put their work in as an up and coming band in the past few months and are now easily considered one of the best acts to see locally, or at music festivals this summer.
Setlist: Everything You Say, Vocoder> Answer the Dawg> Vocoder> Oasis> Hedgehod, Get Used To It, Busters Revenge> Eye Level> Busters Revenge, Deal Breaker, The Flu (by Lettuce), Treadmill, Jump The Shark, Oh My Dayum, Unisex Collider
As the morning of July 28, 1973 revealed itself, the ground beneath the Watkins Glen, New York State concert site was preparing to hold the weight of 600,000 musical travelers ready to rock and roll. The largest gathering for a rock festival was about to take place with a legendary bill of bands that would play extended and legendary sets. After the previous evenings ‘warm up’, the groups as well as the crowd were primed for an all day event. Pleasant but humid New York Summer festival weather settled hazily across the bronzed crown of hippies slightly threatening summer storms. The awe inspiring event about to take place would make history in not only musical but social ways, the smoky remnants of that afternoon still smoldering in the annals of rock history.
The Grateful Dead took the stage promptly at noon to an introduction by Bill Graham who exclaimed, ‘From Marin County to Watkins Glen, the Grateful Dead!’ Blasting into an excitable ‘Bertha’ the Dead ran through a typical, that is to say, well played and amazing set of first set classics. The set is brimming with a typical East coast high energy, building to then detonating on a psychedelic pinnacle with the set closing ‘Playing in the Band’. Slithering through the some of the more familiar themes of the era, by half way into the jam Lesh and Garcia are exchanging husky scrubs and bombs, while the rest of the band is tied into a kinetic and electric fast paced groove. While not reaching the extravagant peaks of the jam from the night before, this is a thick and gooey ‘Playin in the Band’ from an era with many stand outs.
Following a marathon ‘China/Rider of epic proportions comes ‘Eyes of the World’, the peak of the second set and of the Dead’s performance for me; the post verse jam contains a plethora of melodic statements from Garcia, with the song morphing into a swelling and pulsating improvised drift. From fifteen minutes on, Garcia plays like a man possessed and hits on several syncopated grooves that band responds to in kind touching on the delicate spaces explored during the previous day’s sound check, before falling back into the recognizable ‘Stronger That Dirt’ theme. Garcia then deliciously liquefies the band into Weir’s well timed and well placed ‘Sugar Magnolia’. Observed as an entire piece of work the Grateful Dead played an amazing two days of music at Watkins Glen, a testament to their constant journey to strive for the golden note.
The Band’s set started at 6:00 PM after the Dead’s extended four and a half display concluded and became an amazing cross section of their legendary career, peppered with unique instrumental interludes specific to the Watkins Glen performance. Opening and romping joyously through ‘Goin Back To Memphis’, the Band’s music captured the feel of the festival perfectly through its pastoral imagery and down home instrumentation.
This is rock and roll, country blues distilled to its very essence; it doesn’t get much better than this! During these early moments of the Band set, the low point of the festival weekend occurred as a skydiver unfortunately missed their intended mark and perished on the grounds. As an addendum, there was a supposed ‘official’ release of the Band’s set from Watkins released in 1995, but after inspection and discussion it was revealed that this collection was/is a fraud and contains only two actual tracks from the event. The only way to hear the performance as it was is to hunt down one of the circulating audience recordings that exist in decent quality.
This concert takes place in the middle of a year of rest and uncertainty for the Band. Looked at historically, the concert is a towering peak in the landscape of the Band’s performing career. The songs are tight, dynamic and rise and fall like a high speed run down a country gravel road. Garth Hudson is especially on his game laying down a plethora of breezy and inspirational keyboard flourishes that would culminate with his divergent solo spot “Too Wet Too Work’. Danko and Helm are locked in tight, and the vocals of Manuel, Danko, and Helm wrap around one another like a snaky gospel revival. After rocketing through a series of exciting high tempo tracks including ‘Loving You Is Sweeter That Ever’, and a drunken romp through ‘The Shape I’m In’, the group is eventually forced to leave the stage for twenty minutes because of threatening inclement weather. During the jam on ‘Endless Highway’ prior to their leaving, the crowd can be heard on the recording discussing and preparing for the incoming thunder storm. The ‘fly on the wall’ aspect of this field recording is especially entertaining.
Levon Helm’s remembrance of this moment in his autobiography is that the group left the stage as the weather descended, gulped some Glenfiddich whiskey and watched Hudson return to his keyboard for his orchestral spotlight, ‘Genetic Method’ in this case driving away the rain in the process of the extended solo. Titled ‘Too Wet To Work’ in the case of this performance, Garth traveled through numerous musical landscapes, teasing dynamically, improvising, until the weather dissipated and the Band returned to the stage, slamming into a celebratory ‘Chest Fever’, that in Helm’s words would be forever ‘burned into his memory’. The crowd claps in time with the musical waves, a highpoint of the afternoon. The remainder of the Band set burns through an aggressive and elastic instrumental and then momentous and extended versions of smoldering rock classics like ‘Holy Cow’ and ‘Saved’, as well as crowd pleasing renditions of ‘Cripple Creek’ and ‘Life Is A Carnival.’ Absolutely legendary, the monumental nature of the day as well as joy emanating from the stage translates well to the field recording I am enjoying.
By the time Allman Brothers Band hit the stage at 10:00 PM, the almost one hundred acre concert site had become a swamp, and the happily soaked crowd swelled with anticipation for the upcoming musical onslaught. Opening with the recent for the time ‘Wasted Words’, the band is cooking from the get go with Betts and Allman dueling through vocals and slide guitar over the syncopated groove. The band receives a second introduction after the opener because Bill Graham wanted to make sure every band had each individual member introduced to the crowd. The Allman’s then swagger through beautifully crafted versions of ‘Come and Go Blues’ (featured on official release ‘Wipe the Windows, Check the Oil, Dollar Gas’) ‘Blue Sky’, ‘Jessica’, ‘You Don’t Love Me’, among others. Recent additions Chuck Leavell and Lamar Williams fill in admirably on keys and bass respectively. Leavell and Betts especially have developed an intense chemistry, bouncing hearty melodic ideas off each other throughout the show, with their interplay on ‘Blue Sky’ being a highpoint worth of inspection.
The centerpiece of the Allman’s extended set is the mammoth performance of ‘Les Brers In A Minor’ which bookends a pulsating and dynamic drum duet by Jaimoe and Butch Trucks, the second of the performance following an aggressive ‘You Don’t Love Me’ duet. Each member gets a chance to express themselves as ‘Les Brers’ like its distant cousins ‘Jessica’, and ‘Liz Reed’ navigates a series of death defying twists and turns while solving a series of delicate melodic mysteries. Rock and Roll veteran Chuck Leavell’s extended dance with the black and whites is a pleasure to behold and spreads out a plush carpet in which the band uses to step into drums. This song represents a powerful and confident jam by the retooled group, asserting their ability to move forward while still respecting their past brothers Duane and Barry. Betts guitar lines range from syrupy amber licks to sharp stinging fly bys, the central pole in which the group revolves.
The Allman Brothers set concludes with ‘Whipping Post’, hoped for, expected, and played like a runaway freight train headed down a dark track. Peak after peak is reached the crowd is astonished, amazed and taken to a unique place by the music played. The weekend ends bombastically, well past midnight following the Allman’s set when members from all three groups return to the stage for Summer Jam. Sincerely sloppy, and at moments stunningly brilliant the music continues into the dawn. Rick Danko appears first to drunkenly croon into the mic momentarily and quite endearingly, soon to be joined by Garcia, then Manuel and eventually Betts, Lesh, Allman and others for some more lengthy jamming to conclude the massive weekend of music to the crowds delight.
The music drifting from the stage meanders for a bit before falling into the highlights, ‘Not Fade Away’, ‘Mountain Jam’, and’ Johnny B Goode’, a momentous and special way to conclude the Summer Jam. The ‘Not Fade Away’ is pleasant enough, but the twenty plus minute ‘Mountain Jam’ the follows elicits speeding clouds, percolating rivers, and joyous wilderness romping. Garcia is especially active, intertwining and responding to everyone on stage. Betts and Garcia together create richly constructed summits during their journey, pausing at scenic overlooks that dance with collaborative playing by all of the principals on stage. The musical movement comes as a defining musical statement for the weekend, an instrumental climax, a joining of ideas and people and a perfect example of the magic available through collaborative musical interplay and willing participants.
Watkins Glen, Summer Jam 1973 is not only notable for its collection of an amazing group of musicians, but for its eclectic collection of fans. The collaboration between the two of these principals combined for a historic and alchemic weekend combining music and experience. The encapsulated moment in time for this weekend will never be recreated, but fortunately forever enshrined on recordings and in the memories of the participants.
“Three bands, three sets, no repeats” is how they billed it and I couldn’t have said it better. On Saturday, January 18th, the Grateful Dans, Workingman’s Dead, and The Maniacs brought their tributes of the GratefulDead to the Tralf Music Hall in downtown Buffalo. Each band had their own unique take on the legendary band, with multiple generations of fans in attendance, ready to dance the night away.
Grateful Dans had a laid back approach and got the party started with the fan favorite “Wharf Rat”. Danny Lynn Wilson (lead vocals/guitar) was backed by a band that looked to be playing with one and other for quite a some time. Grateful Dans also incorporated a different approach with background vocalist Amy Svensson playing flute alongside select tunes. Danny Sturner (vocals/keys) played with a lot of enthusiasm starting off “Big Boss Man”, noting “This is one of Pig Pen’s.” You can checkout the Grateful Dans at their next event ‘Back to the Hotel’ on February 15th at the Broadway Hotel in North Tonawanda.
Workingman’s Dead recreated the closest sound to the original Dead. The crowd came alive and the energy in the room really showed it. Kevin Barry (lead vocals/guitar) had the uncanny ability to vocally sound so much like Bob Weir, leading some to think he may have been on stage with them. Mike Hogan (vocals/guitar) nailed down the late Jerry Garcia’s sound so well it was bone chilling. Rick Ruhmel (Keys) was a very strong player, and along side Mark Chamberlin (Bass) really filled out songs nicely. Devin McDonnell and Rob Oshei didn’t seem to miss a beat on drums and you could tell these six guys on stage were a very tight band. They opened with “Scarlet Begonias”, and once into their second song “Jack Straw”, they really lit the fire. The Workingman’s Dead were able to get the crowd really moving with their renditions of “Harder They Come”, “Birdsong” and “Gimme Some Lovin’”. The crowd looked to dance with the same energy and enthusiasm as if they were at an original Dead show. The Workingman’s Dead will be live again tonight, Thursday, January 30th at Nietzsche’s in Buffalo.
The Maniacs closed out the night of Grateful Dead music at the Tralf Music Hall with continuing energy. Hitting their stride with several fan favorites including “Playing In The Band” , “Uncle Johns Band” and “Shakedown Street”, Mark Hitchcock (Drums) was clearly the heart of the band and his energy with the band and the crowd was evident, coming out from behind the kit to the front of the stage. Bryan Staddon is an incredible guitar player and played well to the crowd, clearly enjoying what he was doing. Dennis Reed Jr. on the rhythm guitar was well rounded and along with Gavin Petrie and Tony Petrocelli completed a well playing Dead tribute band. The Maniacs bring their tribute to the Dead on February 7th at the Forum on Maple Rd, show at 9pm.
The Chronicles continued their winter residency at Red Square on Thursday, January 23rd and paid tribute to musical legends Earth Wind and Fire with special guest Michael Wooten.
The Cedric Burnside Project opened up the event with longtime friends Cedric Burnside on drums and guitarist Trenton Ayers, who together make a Mississippi funk party parade. It’s no mistake that Cedric was born into music as his grandfather is North Mississippi blues legend, R.L. Burnside and started touring with him when he was 13 years old. The duo brought Mardi Gras to Upstate NY with soulful singing, swampy guitar riffs and fast paced tempo, a foot stomping good time. One of the highlights was when the duo brought up members from the Chronicles to sit in on “White Lightening”, bringing the flair of jazz and pure rock and roll. Burnside and Ayers had permanent smiles on their faces and so did everyone in the crowd, here’s hoping they come back soon.
The Chronicles welcomed Michael Wooten on lead vocals and guitar to join in their tribute to the mighty Earth, Wind and Fire. The set exploded with a funky “Getaway” followed by the popular hit and crowd pleaser, “September.” Wooten added a strong, mature tone to the group with his voice, hitting those ever famous high and low notes. It was fantastic to hear the classic brass melody from, Jeff Nania on Saxophone and Bryan Brundige on Trombone played with soulful execution. “Shining Star” got the most cheers the moment, guitarist Justin Henricks and Wooten strummed those strings and everyone began to sing and get down.
After the Earth Wind and Fire set, the crowd seemed a bit restless and not ready to call it quits just as the night and music was getting started. “We are just about to rage now,” Henricks assured the fans as they boys started their set with a smooth “Mr.Magic” with light yet complex key solo from Paulie Philippone. Andrae Surgick showed great control as he effortlessly slammed on the cymbals and drums. Closing out the set was “Village Living” extra heavy on the bass bombs thanks to Daniel Lawson. A break in between songs during the show gave the Chronicles’ sound guy a chance to mention to the audience that at 5 am, pretty much right after this set, the band was flying out to California for the weekend to play a gig before the Grammys and recording an album. The Chronicles have a supportive fan base in the Upstate NY area and it’s thrilling to watch them stretch their sound to new places across the country.
Don’t miss The Chronicle’s last show of their residency this Thursday, January 30th at Red Square when they pay tribute to J Dilla, with The Big Mean Sound Machine opening the show at 9pm.
Setlist: Getaway, September, Jupiter, Fantasy, Let’s Groove, Can’t Let Go, Shining Star, Way of this World, Can’t Hide Love , Mr. Magic, Purple Diesel, Mr. Clean, Scrasbourg, No War, Village Livin
As music evolves and today’s artists adapt to an unlimited reserve of influence, the lines of traditional genre labeling become increasingly blurred. Hospitality’s sophomore album, Trouble, demonstrates this marriage of distinct sounds as well as any contemporary indie release in the past year.
The Brooklyn-based trio dropped their first album in 2012, displaying a style of educated twee pop. Frontwoman Amber Papini’s experience as a student at Yale contributes to the band’s quirky multi-genre sound; her sharp lyricism in the recently released, Trouble, full of imagery and scenic narratives, is a progression from the witty writing inherent in Hospitality’s self-titled debut.
Trouble’s preeminent feature, however, is the diversity found throughout its ten tracks. In the opening “Nightingale” alone, Papini and company transition from a Black Keys Thickfreakness-era guitar section to an ethereally reverbed-out interlude featuring a harp/bass combination before concluding with a massive synth-driven jam.
The album spans a variety of musical stylings, and in the process it covers a range of time periods. Trouble’s first single, “I Miss Your Bones” exemplifies the simplicity of early indie rock’s guitar/bass/drum lineup. The track is as bare as the bones that Papini’s character can’t wait to see again, yet its repeated tempo changes and its spirited instrumentation create a collective sound as full as “Nightingale”’s epic outro.
“Inauguration” follows “I Miss Your Bones,” jumping ahead a few decades to present day’s synth-focused rock music. Papini offers phrases that are interrupted by pulsing, dissonant keys. Although the range in her vocals remain essentially the same throughout the entirety of the album, the band makes up for it with their consistently diverse arrangements.
Amongst all of the varying musical complexities of the album, piano appearances remain one of Trouble’s most prevalent consistencies. The piano’s incorporation seems most obvious in the track “Sullivan,” a slow moving ballad where distant keystrokes accompany a set of spread out guitar chords. The most unpredictable piano part comes in the album’s eighth track, “Last Words.” A wavering synth line, reminiscent of a fundamentally toned-down dubstep phrase opens the track. It’s met with a piano progression and an angelic backing vocal to create a beautifully anthemic song.
The album closes with what feels like the only musical space it hasn’t already covered. An acoustic cut exhibiting the candor of Papini and her guitar concludes thirty-six minutes of collected influences.
Trouble is the work of experience and understanding; it’s the product of Hospitality’s two-year evolution since their debut.
Key Tracks: I Miss Your Bones, Inauguration, Last Words
Fans have been patiently waiting for the new Motet album since last September when they expressed their excitement for it at The Catskill Chill Music Festival.
The wait is over and it was well worth it. The nine-piece funk band hailing from Boulder, Colorado has released their 7th album, The Motet, combining different layers of funk with disco, jazz and electronica making for an entertaining listen to get any party started. An album by any other name would still be as freaking sweet. Dave Watts, drummer and founder of The Motet said in an interview with The Marquee, “We decided just to call it The Motet. It’s kind of like a new beginning – like our debut CD,” citing lineup stability as the determining factor in the the title. The album is just under an hour long, with 55 glorious minutes of Motet music that showcases their growth as individuals and as an unstoppable funk machine in the span of nine tracks.
“Like We Own It” has electrifying keys from Joey Porter that gets you pumped up and ready to groove hard on that dance floor like it’s the 1980s. “123” has a standout bass rhythm that brings the funk with the horn section of Gabe Mervine on Trumpet and Matt Pitts on Tenor Sax kicking it to high gear and lyrics about the beauty of partying in their home state of CO. “Rynodub” is an all instrumental song with reggae flair and an eerie intergalactic vibe throughout the song with constant brass buildups and echoing percussion from Motet founder and leader, Dave Watts. “Closed Mouth Don’t get Fed” an upbeat melody with a strong and simple message that if you keep your mouth, ears and mind closed, you will not grow. Music is nourishing. Feed yourself right with The Motet.
“Extraordinary High” has a light dash of disco with a swirling groove of the soulful Kim Dawson on vocals. “Rich In People” is a sing along anthem with the in sync harmonies of rebellion lead by Jans Ingber, bizarre key loops and rocking guitar riffs from Ryan Jalbert and Dan Schwindt. “The Fountain” has a dirty bass groove from Garrett Sayers that flows throughout the all instrumental track with the help of a solid rhythm with haunting electronic twists. The feel good jam of “Knock It Down” takes a turn into a dark funk jam with thrilling and fading echoes. The album ends with “Keep On Don’t Stoppin” a back and forth game of tag between every instrument, where each musician has outbursts that take it up a notch with great timing resulting in a groovy climactic combo along with the fun loving vocoder/talkbox.
Key Tracks: Like We Own It, Rynodub, Keep on Don’t Stoppin
The album is available for free stream on Soundcloud and you can download some of their live performances for free on their website. Stay up to date with The Motet on Facebook and Twitter. Don’t miss The Motet when they head to Brooklyn Bowl in NYC on April 4th.
