NYS Music 20​14

Category: Genres

  • Hearing Aide: Mingo Fishtrap ‘On Time’

    on-timeAs with any new album that’s headed for another spin, it’s usually for one of two reasons: the band either had some potential on that first go-around, peaking your general curiosity, or the rarer option where you can’t help but race to start it over. Mingo Fishtrap definitely falls into the latter with their latest album On Time.

    For longtime fans, their talent might be old news, but there are many who have never heard the name, and that needs to change quickly! The band has been around almost 20 years now and they’ve been riding a wave lately that has lead to them finding new fans. As with any listener nowadays, there is simply a fire hose-stream of music with only so much you can drink. Occasionally, and unfortunately in my case, bands nowadays can elude the most exploratory of listeners. The album was released this past June, and even if you missed their appearance at Jazz Fest in Rochester, the band is headed back to The Egg in Albany on Oct. 4 and The Club at Water Street in Rochester on Oct. 5. If you’re anywhere in the region, you’re not going to want to miss these shows.

    The opener “End of the World” is a feel-good kick-off to the album, despite the tracks name. The dark and sexy side shown throughout the verses strikes the perfect contrast for the upbeat chorus that has an intoxicatingly good melody to it. If this is the entrance, Mingo provides a warm welcome and a full tour of their sound.

    For those seeking solid lyrics and a soul-soothing voice, Roger Blevins, Jr. delivers an all-encompassing approach that is as rich in history as it is deep in emotion. The complimentary instrumentation that strikes a balance between providing a solid backbone and touching various genres rounds out the rest of what you’ll hear; you’re going to dig this album. Mingo Fishtrap does a phenomenal job at mixing blues, jazz, soul, and funk into a beautiful array of color and sound. To be blunt, as long as you have some ears and a pulse, this is going to get your foot tapping and put a smile on your face.

    mingo_fishtrap_2014_promopic_medium

    Throughout the album, there are incredible displays of musicianship. The solo on “Things Ain’t What They Was” is the first time I’ve heard a hint of Derek Trucks influence performed flawlessly. That tip of the hat also rears its face on “Born Without a Heart”. The vocal depth and emotion in “Silver Lining” pulls at your soul and is immediately in tune to life’s natural rhythm. Everything simply feels right with these guys. The piano solo on “Silver Lining” is another must-hear on this album. In fact, if you’re going to give this band a small taste-test, fast forward to the 3:30 mark and just let it play. The solo closes the song on a stroll that turns into its own entity, complete with a raging attitude and swagger.

    Austin, Texas has always been a hotbed for music, raising acts like Willie Nelson and Ciara, to Stevie Ray Vaughan, Janis Joplin, and Nelly. Mingo embraces their eclectic heritage and shares in the talent that their hometown is known for. On Time is exceptional from start to finish and I would strongly recommend you put the fire hose down to take a drink from the deep waters of Mingo’s diverse and refreshing sound.

    Buy the album on iTunes or Amazon.

    Mingo Fishtrap is:

    Roger Blevins, Jr.- guitar and vocals
    Chip Vayenas- drums and backup vocals
    Dane Farnsworth- organ and keys
    Mikel Urdy- Percussion and backup vocals
    Roger Blevins, Sr.- bass
    Steve Butts- trumpet and flugelhorn
    Dan Bechdolt- tenor/alto sax and backup vocals
    Zol Waterhouse – Trombone

    Key Tracks: Too Far Gone, Fireproof, Silver Lining

  • What’s So Great about Great North: Music and Arts Festival? Everything

    Everything is great about Great North Music and Arts Festival. Featuring two sets by headliner Tipper, this year’s line up brought a barrage of up and coming producers and bands together along with seasoned vets in central Maine. More than doubling in size from last year, Great North grew close to 4,000 revelers to experience live painting by Alex & Allyson Grey, fire spinning, graffiti artists, silent disco, art installations, multiple stages and a diverse array of vendors kept the attendees busy and entertained throughout the weekend.

    great north festivalThe check in process was organized and it was immediately noticeable Great North had a bigger crowd than last year. Camping areas were full in comparison with the 2013 debut. Car camping was available to VIP and RV campers, otherwise off site parking required festival goers to hoof their gear in on foot or wait for a cart ride. Thankfully the parking lots were in close proximity so walking was manageable.

    Generally a youthful crowd, the vibe was a cheerful and pleasant one. Smiles for miles all around with lots of outgoing groups intermingling through the weekend. Having recently relaxed marijuana laws in Maine, some vendors reflected that with flowers, concentrates, edibles and tinctures available for purchase.

    Friday
    JGB performed two solid sets Friday afternoon to get everyone shaking their butts and soon after, Conspirator brought the heat. Which was a slight relief to the increasingly arctic weather. Friday night temperatures dipped to 38 degrees, and when coupled with high humidity to make cuddling a priority. Ill-Esha graced the Temporal Dome stage getting the crowd hyped and ready for Griz. Headlining the main stage Friday, Griz laid down a set that had the crowd bouncing around. His version of the wedding stalwart “shout” got everybody singing and gyrating in unison. He then dropped his hit “Smash the Funk” to end his set. Cosmic Karma Fire kept the fire burning hot and bright while performing during Conspirator and Griz’s set. Staying awake for Desert Dwellers early Saturday morning would have meant enduring a hypothermic chill.

    great north festivalSaturday
    Up and at them. Upon acquiring credentials, the day unfolded with lots of incredible music ahead. Nahko and Medicine for the People were outstanding. Nahko even sang a few solo numbers for his fans. Space Jesus’ late afternoon slot set the tone for the night to come, even dropping a new track not yet played on the East coast. Tipper kept the evening groove light and bubbly then staked out darker territory during his late night set with Jonathan Singer projecting psychedelic visuals including manipulating some of artist Chris Dyer’s work. The G-Nome Project, Israel’s answer to The New Deal, and legend DJ Qbert treated the crowd to some high energy dance beats between Tipper sets. Cosmic Karma Fire spun fire during Qbert, but pulled out all the stops for Tipper. Fire breathing, fire swords, rope dart, and fire juggling coupled with LED hoopers and LED juggling combined with Tippers stage projections made for an incredible spectacle. Pulling out all the stops the Late night Bluetech was a magical dub adventure. A fledgling Space Jesus vs Bluetech collab closed the dome stage and had Bluetech laying down the deep dub/drum and bass while Space Jesus painted sweet and spacey chords on top replete with horns and operatic singing.

    great north festivalSunday
    Sunday funday. Overcast skies kept the weather warm and humid after early morning showers made getting out from under the blankets a challenge for many. Maine natives Cyborg Trio brought the energy levels up during their day set and Wobblesauce expounded on it by coming hard and fast with beats and wobble. After some fantastic day sets by festival veterans Viral Sound and Consider The Source, Papadosio was ready to close down the main stage. Papadosio has truly stepped up their game. A polished set had visual projections added by Deciduous Pupils as an added bonus.

    With Orchard Lounge expected to close down the Fest at the dome stage, a surprise G-Nome appearance roused the crowd into one last frenzy. Their drummer even lit his sticks on fire. Orchard Lounge then set about laying down some deep house funk for everyone to unwind and groove to deep into the night, playing much later than their time slot.

    With plans to expand next year and two extra fields to fill, Great North Festival will certainly continue to grow. The long Maine sky is the limit.

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

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

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

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

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

    Tickets are available HERE.

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

  • An Exciteable Crowd got into Vintage Trouble at The Hollow Bar

    With an energetic 60s rock sound and a crowd that gave as good as they got, Vintage Trouble put an impressive performance September 28 at The Hollow Bar in Albany. Amid The Swing House Sessions Tour, in support of their latest album, Vintage Trouble drew upon influences that spanned genres that developed in the ’60s, including Little Richard, Albert King, The Rolling Stones and Smoky Robinson as they put forth a powerhouse 90 minute show.

    vintage troubleLead singer Ty Taylor channels Marvin Berry (think Back to the Future) and his cousin Chuck, engaging with the crowd, who quickly became the 5th member of the band. Taylor has the stage presence of a 1960s band leader, and alongside Nalle Colt (guitar), Rock Barrio Dill (bass) and Richard Danielson (drums), put forth a sound that could have been made by another five or more musicians on stage – the sound was that big. “Low down Dirty Dog” had a rockabilly blues vibe, while “Pelvis Pusher” appropriately channeled Little Richard.

    Mixing the show up with some acoustic songs, the break served to drive the crowd’s attention to a couple of ballads that reeked of pain and loss. The song titles alone in this middle part of the show – “Never Mine,”  “Another Man’s Words,” “You Save Me” and “Still Always” could have been a part of a relationship exit interview. “You Save Me” was most notable for a Peter Gunn-esque bass line from Dill.  “Run Like the River” had a (likely) Hollow Bar first – Taylor walked through the crowd, found his way up to the small balcony in front of the soundboard and sang to the crowd a most energetic call and response.

    “Nobody Told Me” the ballad of the night, hinted at Smoky Robinson influence while “Strike Your Light” began with a tribal surf rock before moving into swing rock, giving a nod to Chubby Checkers “Twist” in both energy and music, leading to a college professor crowd dancing with abandon. The encore of “Total Strangers” found the band walking off the stage, once again through the crowd, serenaded by “Na na na na na na” capping an evening with a welcome surprise on a Sunday night in Albany.

    Setlist: High Times, Blues Hand me Down, Nancy Lee, Low Down Dirty Dog, Pelvis Pusher, Never Mine*, Another Man’s Words*, You Save Me*, Still and Always*, Lo & Behold, Run Like the River, Nobody Told Me, Tear Drops, Strike Your Light
    Encore: Total Strangers
    *acoustic

    On Facebook | Twitter | Website

  • Tauk and The Jauntee Go Furthur in Providence

    Further 2 spot
    On Saturday, September 25, the bus stopped in Providence, RI at The Spot Underground. To celebrate, The Spot had a planned mini festival outside. Unfortunately, likely rain showers forced them to move artists and other vendors indoors and the acoustic performers they had planned were nowhere to be found. That didn’t stop the people from coming by for the main event, a triple bill of The Jauntee, and Tauk. The three bands each played a set on the main stage with Cosmal playing a short set in between as the bands switched up equipment.

    2014 marks the 50th anniversary of the famed cross-country trip made by Ken Kesey and his Merry Pranksters on the bus that shared its name with their destination – Further, or Furthur, depending on whom you ask. To commemorate the original trip Kesey’s son, Zane, took the bus on 50th Anniversary Tour with stops around the country.

    Albany, NY’s Formula 5 took the stage at 8:30 getting folks moving with a 12 minute “Perch Above the Earth.” This was followed up with a buttery segue into a cover of the Talking Heads’ “Uh Oh, Love Comes to Town,” picking up the pace a bit and getting everyone in the room dancing. Keeping with the flow, they took this into a great “Excalibur.” Only at this point, halfway through their hour-long set, did they take a break. “Coming Home,” the highlight of the set, included jams on The Blues Brothers and Phish. The set closed quite fittingly with a cover of The Grateful Dead’s “The Music Never Stopped.” The influence of these various bands is quite obvious in the way Formula 5 plays, but they are making their own mark on the scene. Seek them out now while they’re still playing small clubs.

    The Jauntee, hailing from Boston, took the stage next around 10:00. Their opening song, “Puppy in my Pocket,” starts a bit like the Velvet Underground’s “Rock and Roll,” but quickly changes up. There were many similarities to other bands throughout their set, including a song that sounded like it could have been pulled directly from Primus’ repertoire. In fact, their entire sound mimics that of Phish. It’s not surprising that they were once called the heir to Phish’s throne. They seem to have modeled their entire sound on that of Phish. Even the guitarist, Caton Sollenberger, looked a bit like Trey Anastasio from the ‘90s to the point where he even mimics the “Trey face” that Phish fans have grown to love. The band is quite talented and can definitely go places. However, they need to use Phish more as an influence and less as what they strive to become. They seemed to lack a sound of their own.

    jauntee 4 spot

    Finally, around 11:30, New York City’s TAUK took the stage as the crowd filled in. Their mix of the funk, progressive rock, and intricate melodies kept the room moving as they kept the groove going from start to finish. The band is reminiscent of Umphrey’s McGee in how tight they keep their composed sections intertwined with the improvisation. It’s almost as though the entire show was a long composition. They closed their set strong with “Collateral,” ending about 10 minutes after the 1:00am curfew with the house lights on. TAUK is a band worth checking out. It would not be surprising to see them playing larger venues within the next year.

    In the half hour breaks between the sets on the main stage, COSMAL played his one man band fusion of EDM, trance, and house music. Most of the crowd headed outside to take pictures of the Further bus or hung out at the bar during his sets. The music provided a good filler between the main events.

    Overall, it was a great night of music, bringing the ‘60s vibe of the Further bus and the new band of Merry Pranksters together with the some of today’s music that looks to the past for inspiration. The Spot continues to impress by attracting some of the best lineups of local and regional acts. It was all smiles as the crowd left the club.

    photos by Eric Rogers

  • Five Finger Death Punch and Volbeat Deliver a Solid Rock Outing at Times Union Center

    Rock music was alive and well at the Times Union Center on Saturday, Sept. 27. Two of the most popular heavy rock bands in the mainstream radio today, Volbeat and Five Finger Death Punch, brought the noise and the fun to a semi packed house of screaming fans. As the crowd waited patiently outside for doors to open, they were treated to choice rock and heavy metal covers by a group of young kids named Time Machine.

    Promptly at 6:05, Nothing More from Texas and New Orleans took the stage. The crowd was sparse due to this early start time, but the ones that were there were ready for a whole night of rock. The four piece came right out of the gate with a lot of energy, lead vocalist Johnny Hawkins belting out his songs shirtless and shoeless. The second song of the night was started with a mouth-picked guitar solo, and the gimmicks didn’t stop there. They brought out a massive installation that housed a bass guitar, and the guitarist, bassist and eventually Johnny as well all percussively played the instrument to a crescendo. The final song started with a prerecorded bass line and ended with a weak drum circle. These antics probably do wonders in smaller clubs, but were somewhat lost on the arena audience.

    Vinnie Paul of Hellyeah came out first, taking his throne upon his drum riser to monstrous applause. With the rest of the band in tow, Chad Gray, the vocalist (also of Mudvayne) whipped the crowd immediately into a frenzy, getting everyone to get on their feet for their title track off the new Hellyeah record, Blood for Blood. Chad really worked the crowd, using the whole stage and jumping up on the banks of PA’s to make his own catwalk to the audience. The new addition of Kyle Sanders on bass, formerly of Bloodsimple, was a great fit, and his bass work along with Vinnie Paul’s stellar drumming kept the whole set nailed to the floor. At one point, Chad told the audience that one thing he loves about New York is the mosh-pits, and we are all brothers and sisters, so if someone goes down, you help them up. This was an accidental foreshadowing of the end of the night.

    Just the dropping of Volbeat’s backdrop as the crew set up the stage gained a massive response from the crowd. Fans were evenly split throughout the venue, half wearing Volbeat shirts, and half wearing Five Finger Death Punch shirts. With a slightly different sound than the rest of the acts, Volbeat came out to a rolling banjo track laden with guitars. The style of rockabilly mixed with hard rock is what makes this band so interesting, and also what makes the crowds just want to move and dance along to the music. Singer Michael Poulsen traded his time between three different mics set up on stage, and the rest of the band interweaved with him, all having a good time up there. New guitarist Rob Caggiano, of Anthrax fame, seemed right at home with this four piece band from Denmark, and was in a very unique position, playing these songs live and also producing them on their newest album, Outlaw Gentlemen and Shady Ladies. Micheal explained to the crowd that he was influenced heavily by Johnny Cash and Elvis, and it showed with his vocal capabilities, and his style, sporting a slick back hairdo and a badge on his guitar strap. They had an impressive light show to couple with their infectious party anthem rock and roll, and no one was in their seats by the time they welcomed a special guest to the stage. Jerry Only, from the legendary Misfits, walked out in full Misfits regalia, and the band went into a great rendition of AngelFuck.

    By 9:30, the crowd was sufficiently amped up to welcome Five Finger Death Punch to the stage. A deafening bass drone ushered the band to the stage, and singer Moody growled at the audience while brandishing a bat. Jeremy Spencer, the drummer, was in full costume of a skeleton with LED lights throughout him and his drum set. The stage setup was simple, with light rigs behind brushed steel arches, but everything was used to it’s fullest, creating an immersive experience both visually and sonically. This five piece is much more aggressive than the previous bands on tour, with gigantic double guitar attacks and bottoming out low-end bass drops. The sound on the night was full of slight mishaps, with feedback being rampant through the other bands sets, and 5FDP having trouble keeping the ear-splitting double bass drum sounds from taking over the show. A very crowd friendly band, at one point they called out all the people in the audience who have served in the military, and then dedicated their cover of Bad Company to them all. They also brought on stage a bunch of children from the audience for a chance to spotlight the “next generation of metal”.

    Mid-set, the band decided to take a completely different turn, first with a drum solo that bordered on electronic dance music, and then into two acoustic guitar ballads, bringing the mood of the show down considerably. But, this didn’t quell the raucous energy they had already instilled in the crowd, and by the time they launched into their first encore song of the night, the floor erupted again into a writhing pit. Moody stopped the song abruptly, seeing one of the fans being really hurt in the pit. He called out the audience member who he saw do the deed, and told the crowd that he would personally kick his ass, and would not finish the show until he apologized to the injured man, stating that this is what makes heavy metal look bad. “Where are the days of Pantera,” Moody scolded the audience, “when people would take care of one another.”

    This one incident was not the face of the entire night though, by a long shot. Young and old were all in attendance having a great time, and the crowd seemed generally pleased with each performance. Other than this one bad moment, the show was met with consideration and a party-like atmosphere, truly showing what heavy music can do for people, as they use it for an escape or metal therapy to ‘get their aggression out’ through music.

  • Tedeschi Trucks Band Bound for Glory in Rochester

    Thursday Sept. 25 brought the Grammy Award winning Tedeschi Trucks Band to Upstate NY during a break in the middle of their New York City Beacon Theatre run. The group performed at the Auditorium Theatre, radiating their unique blend of roots, blues and soul-stirring musical heat. Their extended set touched on all aspects of their stage show and featured well-known studio cuts from the band’s catalog as well as a few surprising covers for their hardcore Rochester contingent. Eliciting memories of past rock legends and influences, the multifaceted Tedeschi Trucks Band mirrors roots revival masters Delaney and Bonnie and subscribes to their aesthetic which includes disseminating a unique brand of traditional, Americana and funky blues music.

    Tedeschi Trucks Rochester

    After a booming and raucous set by opening band, Playonbrother, the Tedeschi Trucks band followed with an inspired set despite militant security and a seated crowd. Eventually, as the show continued the energy could no longer be contained as the band stirred the assembled throng into musical hysteria through their funky and virtuosic performance. While the focus is often and rightfully so on Derek Trucks spiritual channeling of melody through his trusty Gibson SG, every musician in the eleven member coalition is given equal time to bask in the alluring glow of the spot light. Whether it is the double barrel drum duo firing off rim shots in a percussion battle, Kofi Burbridge blowing a breezy flute line, Mike Mattison singing a sweet soul lyric, the horn section punctuating a great jam, or Susan Tedeschi stinging with a series of clean tone blues licks, it’s all hands on deck with this group.

    The concert opened with the simmering groove of Traffic’s’ “Who Knows What Tomorrow May Bring” each member adding color to the fat bounce laid down like shag carpeting by bassist Tim Lefebvre. Similar to every song that is added to their increasingly large repertoire the Tedeschi Trucks band grabbed the song in a firm embrace made it their own.

    The concert continued flashing by like a series of Super 8 images, each moment building on and in most cases surpassing the last, instantly logged in the recesses of the attendees spun heads. “Made Up Mind” the title track from the bands 2013 LP whipped the crowd into a hand raising gospel review, with Trucks innate ability to reconfigure melodic ideas into dazzling guitar dissemination’s fully on display. Then, the following breakout of blues standard “Loan Me a Dime” instantly caused an assembled gasp from the audience, especially those familiar with what Duane Allman did with the song via Boz Skaggs. First Tedeschi and then her husband tastefully poured liquid string bends and sustains all over the shifty track, bringing the seated to their feet and concluding the song with a standing ovation.

    Tedeschi Trucks Rochester

    “Idle Wind” concluded the first segment of music fittingly in a rolling maelstrom of sound. After disposing of the groovy verse segment that features Susan vocalizing like granulated sugar, sweet with a yummy grit, the song slipped into a beautiful place. The horns and guitars started to intertwine and it is this illustrated relationship that soon developed into a teeth clenching jam that squeezed the handlebars for dear life tightly. Soon the excursion fell softly into an avalanche of drums neatly tying itself up with a “set closing” reprise.

    Breaking into different segments the band returns for an acoustic set of music. A seated Trucks five-fingered some woody acoustic slide on the traditional “Keep Your Lamps Trimmed and Burning” as well as name dropping the Allman’s with a stripped down “Done Somebody Wrong”. Susan Tedeschi’s reading of Bob Dylan’s “Don’t Think Twice It’s Alright” was special and featured Tedeschi wringing every drip of emotion from Dylan’s timeless melody. This brief respite from the electric proceedings is a testament to the diversity and multiple talents of the group.

    The second half of the performance began with crowd favorite, “Midnight in Harlem” ushered in on a Allman-esque space drift that coalesced into the songs blue rotating groove. The husband and wife duo sang together in glorious voice, each represented by their respective instruments. There is no looking back when the group seizes the moment and blazes their way first through Derek and the Domino’s classic “Keep On Growing” then the hard-hitting Bobby Bland blues, “I Pity the Fool” before closing with an extended and definitive “Bound For Glory”.

    The band’s own “Bound for Glory” contained jamming that bordered on the edge of fusion magic. A plethora of horn exclamations, sexy slide and honky keyboards lifted the song to dizzying and illicit heights. The central section of the song lost its structure, going so far out you wonder how they are going to land. The band so deftly balances the tight rope between accessible songs and twisted improvisational passages that their appeal is one of celebration and cross genre pollination. The group not only represents a sepia toned lonesome train whistle of the blues past, but a Technicolor supersonic rocket ship into the musical future. “Bound for Glory” encapsulates all of these elements and fittingly closes the show.

    A gentle and original version of James Taylor’s, “Fire and Rain” closed the evening and sent a hungry crowd home stuffed, unable to imbibe another musical bite. The greatest thing about this evening’s performance is the realization that the band will be back and they will continue to improve and grow their catalog of music. Tedeschi Trucks band delivers the goods on a nightly basis, it’s a shame there can not be more nights like this one.

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

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

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

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

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

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

  • Hearing Aide: Giant Panda Guerilla Dub Squad ‘Steady’

    Giant Panda Guerilla Dub Squad is set to drop their new album Steady today, September 30th. Steady is Giant Panda Guerilla Dub Squad’s first studio album since 2012, and their first collaboration with Easy Star Records. Steady was also co- produced with Craig Welsh of 10. Ft. Ganja Plant. According to bassist James Searl “this is without a doubt the best sounding record we’ve ever made,” and I would have to agree. Upon first listen it really stuck out that the sound is very clear and clean.

    GPGDS, based out of Rochester, have produced an album that recycles old reggae themes in a newer, more nuanced way. The themes that flow throughout the album fall in line with what traditional reggae music was born to address; love, change (both political and personal), peace and positivity. “Steady”, the title track of this album, is a slow and easy-going love ballad. “Steady” was co-produced by Danny Kalb (The Green, Ben Harper) is very melodic, along with most of the other songs on the album, with smooth lyrics that just make you want to sway.

    “Mr. Cop” is similar in that way but retains an island music feel to it. The song addresses issues with police, expounding on the relationship between law enforcement and society. With lyrics like “Mr. cop, Mr. cop don’t want you searching/we’ve been all day working/nobody that we hurtin’/Just a little herb we smokin’” the song illustrates a theme that is often touched upon in reggae music. From the tropical feel of the song to the lyrics, for a New York based reggae band GPGDS really exhibits an authentic Caribbean feel.

    Giant Panda has also dabbled in playing Americana music especially with their previous album Country which was released in 2012. This influence can be heard on songs like “.45,” “Not The Fool,” and “Home.” They add a bit of country twang to the traditional reggae sound that this record embodies.

    “.45” specifically breaks pace from those peaceful hymns they were espousing. With lyrics like “If you see me on the streets/and you want to get wise with me/ I’ll pull out my .45,” it’s like a reggae version of the slogan “don’t mess with Texas.” It’s very bluesy and has full force guitar rifts that are in your face…in a good way.

    Overall this is the kind of album that is good to listen to anywhere, like a soundtrack to a beach vacation. If you’re interested in checking it out, their title track “Steady” as well as “Mr. Cop” and “Take Your Place” are available to stream at LivePanda.com.

    Key Tracks: “Steady” “Mr. Cop” “.45”

    Check out Giant Panda this week across Upstate New York!

    Oct 2: Buffalo, NY – Tralf Music Hall
    Oct 3: Syracuse, NY – Westcott Theater
    Oct 4: Rochester, NY – Zeppa Auditorium

  • Nas Kicking off Illmatic Tour With Back to Back New York Shows

    Nas has been at the top of the rap world since he debuted 20 years ago and will be celebrating the anniversary with the Illmatic tour for his landmark first LP Illmatic. The Illmatic tour has a little extra punch to it due to the fact that not only will Nas be playing the album front to back, but he will also be showing his brand new documentary “Nas: Time is Illmatic.” The film follows the trajectory of the album from when it was being recorded all the way up to today. The influence that the album had on the rap genre is undeniable, and to be able to see it right before hearing the man play the legendary album is a once-in-a-lifetime event.

    http://www.youtube.com/watch?v=ESkmaXnw8ow

    Nas, including Illmatic, has released eight platinum and multi-platinum albums throughout his career and has played all over the world. Born in Brooklyn, NY, Nas eventually moved to Queens with his family at a young age and soon became interested in hip hop and the growing community surrounding it. Illmatic was a fan favorite from the moment it was released, earning high praise from the hip hop community. Not only did he rap about problems in everyday life, but he also rapped about the hope for a better one. These two shows are the only ones anywhere in New York.

    This film, which premiers at the Tribeca Film Festival on Oct. 1, means a lot to him. Nas has said, “I want to thank Robert De Niro, Jane Rosenthal, and the Tribeca Film family for all of the love & support they’ve given Time Is Illmatic. It is an honor to be in partnership with them, and I feel there is a cultural kinship bonded by the city of New York.” The film unfortunately won’t be shown on the tour’s opening night at Main Street Armory in Rochester on Oct. 2, but it will be shown the following evening, Oct. 3, at Albany’s Palace Theatre. Tickets are still available for both nights, $40 for Rochester and up to $70 for Albany, so don’t sleep on your chance to see these special shows from easily one of the best rappers out there today.