This past Wednesday, the instrumental wizards in Consider the Source dropped a bomb as they released a stream of the first installation off their new EP World War Trio, titled “Put Another Rock in That Bag”. The release is a six-part, 25-minute impeccable composition that showcases that band’s talent in new and interesting ways. The overall vision and thought-out structure shines in the smooth transitions and its careful ebb and flow of energy. At the risk of sounding cliché, this is a prog-opera with hints of jam, metal, Middle Eastern, and a fusion of other genres into an emotional and dramatic epic. If this band wasn’t unique enough, this album puts them in a category all their own and pushes some serious musical boundaries.
These three gentlemen have stepped outside of the songwriting box and are delving into composer-level status with their vision. The juxtaposition of beauty and fierce aggression propels at the same time it slows down for the view. This tease, and I use that loosely as it is still 25 minutes in length, will lead to a huge anticipation for parts two and three of this album series.
The ONLY way to listen to this album is from start to finish as it tells a tonal story through vivid language, rife with patient punctuation. If you liked this band before, you’re going to love this direction as they’ve found their calling and have created something truly beautiful. If you’re going to cheat your ears out of this masterpiece though, at least take the time to listen to “Put Another Rock in That Bag IV,” which is simply powerful and moving. No band in the jam scene has ever had the balls to step outside the circle like this album does and this song is the climax.
As the album comes to a close, the band circles back to the opening theme. How else would you close something of this magnitude? By tying it all back to the origin and closing the circle, the band leaves you wanting to start the journey again. Absolutely beautiful.
The album can be streamed in its entirety right here and I would strongly recommend taking a listen. Additionally, I got the chance to sit down with the group at Night Lights Music Festival back in September and we talked about the upcoming release, their influences, and a few other things. Check out the video below from our friends at Buffalo.fm.
The band is set to play the new album in its entirety tonight in Albany at their album release party. Tomorrow night they’ll be making their way across the state to play a show in Buffalo at Waiting Room. If you still need tickets, you can grab some for Albany here and Buffalo here.
Dopapod axe-man Rob Compa motions towards the left side of Rochester’s Water Street Music Hall’s floor -“Right there! As a kid, I stood right there and watched Umphrey’s McGee play.”
Rob’s hometown enthusiasm (Rob is from East Rochester) would carry through a blistering two set/multiple encore night that even Light/Sound man extraordinaire Luke Stratton proclaimed on Twitter as “Best show of the tour so far!” – and that dude sees every show. 2014 has been a rocket ship year for Dopapod – filled with top festival spots and packed shows – and their performance on a warm Fall night in ROC-city showed abundant proof why.
Before the aforementioned Dopa-storm occurred, two other excellent performances would foreplay the crowd nicely. Stereo Nest – a one man looping experience project by multi-instrumentalist Collin Jones (also of Ocupanther and Haewa) – played an energetic set of organic jamtronica fusion as the floor filled up and got the people moving. Think Keller Williams gone EDM. Only a few shows deep into existence, Stereo Nest is proving to be a force to track.
After a fast 15 minute changeover NYC’s Consider the Source came out and immediately laid into an extended middle eastern infused spooky-as-hell jam that perfectly complemented October’s arrival. Everyone stared, transfixed by the bands mind numbing instrumentation. Silence made an odd and welcome entrance throughout the crowd if only for a few fleeting minutes: People – in the rarest of occasions at a modern musical show – actually shut up and listened to the band. CTS is mental music at its absolute peak which can bring the listeners to the frayed edges of sanity. Much like an unexpected hostel tryst with a sexy debonair stranger – they might not always be exactly sure what’s going on, but they know they like it and they want it to keep going. Highlights of the set included a mash-up of “Miserlou” (popularly known as “that Pulp Fiction Song”) and the Beach boys “God Only Knows” along with a blazing outro jam replete with Star Wars teases. An apropos ending for three gentleman who have obviously attained Jedi powers.
Set-break ensued while people happily refilled their beers and rested their limbs for the last time that night. Water Street had gone a long time without the fizzy stuff due to an ownership change and it was great to throw back some brews yet again at one of Rochester’s most historic of venues. Dopapod came out with the 2009 song “Roid Rage” – a song that starts off jazzy and unassuming before barreling into the fusion/prog/rock hodgepodge typical of ‘Pods genre-wildcard style. Dopapod is one of those crossover bands that should give those fans that are music lovers but have a natural disdain for bands labeled as “jam” a reason to consider. This band is no Phish, no Dead – this band is a culmination of influences across the spectrum. Imagine if all your favorite bands played at once and you get a sense of what ‘pod is all about. As the set continued the band visited several tracks off their upcoming release Never Odd or Even – “Psycho Nature” “Hey Zeus” and perhaps one of the most epic songs ever – “FABA”. “FABA” – an instrumental which no one seems to want to reveal what the acronym stands for – typically exceeds the ten minute mark and is a dictionary level study in the science of musical contrast. Filled with more goose bump inducing air guitar raging peaks then the Alps, this song grabs the mind heart and soul and does not let go. As if that wasn’t enough, the set ended with an exclamation mark – an absolutely mm/ rendition of Black Sabbath’s “War Pigs” with all three members of Consider the Source joining the fun on stage.
At this point – being 12:30 AM on a weekday – sadly this reporter had to head to bed. The band continued with a full second set filled with some of the most revered songs according to the bands fan club – Dopafam – with enthusiastic reports on excellent versions of “Nuggy Jawson” “Onionhead” and “French Bowling” as well as a rare “Carolina” second encore that ended after 2 AM. When the ‘pod hits the area again, that next day is getting taken off.
Dopapod Set List
Set 1:Roid Rage, Trapper Keeper, Psycho Nature, Hey Zeus!, FABA, Grow, Vol. 3 #86, War Pigs* Set 2: Nuggy Jawson, Priorities->Off the Cuff->Priorities, Onionhead, French Bowling Encore: Nerds, Carolina
* Black Sabbath, w/With Gabe, John, and Jeff from CTS[FinalTilesGallery id=’26’]
Consider the Source has been hard at work, creating a massive three-part album that is sure to be as exploratory as the Sci-Fi/Middle Eastern Fusion band has been in their tenure together. The album, a three-disc sonic journey entitled World War Trio, will be the groups first release in four years and was successfully funded by a strong Indiegogo campaign. The trio is strategically planning on staggering the release though with disc one being released on Halloween this year and discs two and three arriving in the Fall of 2015. The first track, “Put Another Rock in That Bag (Single Edit)” is out now.
The first release will coincide with a stop in Albany, NY at the Parish Public House where they will play it in its entirety before heading to Buffalo the following night. The EP will contain a six-movement, 25-minute prog-rock epic, titled “Put Another Rock in that Bag”. For longtime fans, the EP will be a different flavor from a band that has been known to touch on various genres. This release focuses on their progressive rock side, featuring a section written by Jan Zehrfeldt of Panzerballet, while still intertwining that virtuosic fusion fans have come to love.
Today, the band released the single, “Put Another Rock in that Bag, pt. 1”, which displays a preview of the six-part beast that is looming in just two short weeks. After listening myself, I can say that Consider the Source has taken a CONSIDERable step forward in terms of composition, talent, and overall cohesiveness. Visit their site here to download the single right now for free! And if you just can’t wait for your browser to open another site, click the YouTube video below to watch now featuring cover art from the new album.
If you want to catch Consider the Source on tour this Fall, check out their tour dates below:
10/31 – Albany, NY – The Parish Public House 11/1 – Buffalo, NY – The Waiting Room
11/4 – Lansing, MI – The Loft
11/5 – Kalamazoo, MI – Shakespeare’s Lower Level
11/6 – Covington, KY – The Madison Theater
11/7 – Chicago, IL – Tonic Room
11/8 – Indianapolis, IN – The Mouse Trap
11/9 – Columbus, OH – Scarlet and Grey
11/12 – Harrisburg, PA – The Abbey
11/13 – Baltimore, MD – The 8 x 10 11/14 – Brooklyn, NY – The Knitting Factory
11/15 – Northhampton, MA – Pearl Street Nightclub
11/20 – Portland, ME – Big Easy
11/21 – Boston, MA – The Church
11/22 – Providence, RI – The Spot
11/28 – Greensboro, NC – The Blind Tiger
11/29 – Knoxville, TN – The Concourse
12/2 – Boone, NC – The Local
12/3 – Greenville, SC – Gottrocks
12/4 – Greenville. NC – Peasant’s Pub
12/5 – Asheville, NC – New Mountain Theater
12/6 – Savannah, GA – The Barrel House South
12/7 – Charleston, SC – The Pour House
12/10 – Boca Raton, FL – Funky Biscuit
12/11 – Jacksonville, FL – 1904 Music Hall
12/12 – Longwood, FL – Hourglass Brewery
12/13 – Tallahassee, FL – Side Bar Theater
12/14 – Dunedin, FL – Dunedin Brewery
12/17 – Atlanta, GA – Terminal West
12/18 – Raleigh, NC – Southland Ballroom
12/20 – Philadelphia, PA – Ardmore Music Hall 12/31 – Kerhonkson, NY – Rock N Roll Resort “The Ball Drop”
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.
The 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.
Saturday
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.
Sunday
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.
On this unseasonably warm Saturday night Sept. 27, people flooded into Putnam Den to see and hear some of the best live music around with Consider The Source and Dopapod. The vibe was chill, most people waiting for the bands to come on were talking about the music. This was a good sign of what was in store. There was a wide array of ages 18 and up (in some cases way up) but regardless of what age, everyone was there to get down and have fun.
Consider the Source, a power trio out of New York City opened to a packed room, which became more and more engulfed as the seconds went on. Starting with a slow melodic piece that was reminiscent of Pink Floyd; a treat to many in attendance and a good sign of what the evening had in store. The lead Guitarist, Gabrielle Marin, played a double neck guitar possessing many different effects; one emulating a horn which was out of this world. Fans were looking around to see where the horn layer was, which there wasn’t, it was just on the guitar, this was brilliant as well as impressive. The drums played by John Olsen, laid down a sweet groove to jam over, which usually the drum and bass do together. Which they did do to a point but the bass player, John Ferrara, had many solos of his own. Showing that this band was, well, a band. There is no real way to describe the sound of Consider The Source but ‘Thrash Jam’ could fit. They did just that, holding the audience’s attention while getting them ready for Dopapod.
Dopapod opened with “Indian Girls”, a very danceable groove layered by heavy beats provided by two percussionists and the bass. This one kept the energy that CTS left going, and even raising the bar. It was on and the party was just about to get into full swing. Dopapod took their groove to another level with “Brooklyn Bridge”, and by adding in vocals, this made their jams actual songs to sing along too, and many people did. Smiles were abounding as people sang along and a small sense of family was felt throughout the crowd. This showed they were not a one trick pony who could come out and lay down heavy beats and just move on to the next heavy track, which so many bands tend to.
The compositions of Dopapod were very complex. All four members of the band, including Adrian Tramontano from Kung Fu as a guest percussionist, were very intricate parts of these songs and everyone stayed tightly together, not losing a beat for a second. It may have seemed as if they were all over the place, but with a careful ear you could tell they were 100% on the same page. This was sheer brilliance. This led into a dark trance like groove keeping their overall sound, their feel, which isn’t very easy to do when shifting so drastically. With Dopapod’s heavy build ups, there was only one place for them to go: the peak. When they reached this peak it was second to very few. The lights went up, the crowd roared, and the payoff was well worth the wait. Eli Winderman’s keys and Rob Compa’s guitar took fans to another world, the world which is known as Dopapod.
Some time has passed and the words are just starting to come to those who collectively took part in what can only described as a lucid nirvana; a tangible bliss experienced by all senses.
Entering its fourth year, Night Lights Music Festival had a buzz, but it wasn’t until after that anyone realized how special this year was. Back in early spring, the announcement of such acts as Turkuaz, The Mike Dillon Band, Consider the Source, and the all-mighty Snarky Puppy generated an unheard of type of hype in Buffalo: one that looked past our short summer months. The music appreciators of the community carried the excitement right onto the grounds as the first day began.
The high musical expectations bonded the group that gathered as tents were pitched and friends were quickly made. Everyone on the grounds were extremely friendly, bringing Buffalo’s moniker of the “The City of Good Neighbors” out to the woods of The Heron in Sherman, NY. The fest could not have been laid out any better. Camping was close, two totally different stage experiences and plenty of room to stretch out and enjoy the fall weather and scenery in New York state. The foliage alone at this time of year provided a view during the day that matched the light spectacle at night. The ground’s fruitful accommodations didn’t stop there either. Bands were happily able to park, unload, and reload their gear right next to the stage and the food was as delicious as it was affordable. There were two places that you could grab a bite to eat and it was hard to pass the offers up. For $15 you could get a cheeseburger, a generous slice of pizza, a grilled cheese sandwich, a bottle of water, a bowl of amazing chili, and still have a little money to tip the staff for their hospitality. The people of Night Lights ate like royalty for the two days spent in the woods.
Everything from top to bottom met or exceeded expectations, leaving only the bands to hold up their end of the bargain, and standing right there waiting was the full lineup, eager to accept the challenge.
Day one started off with Cleveland’s Broccoli Samurai, bringing their flavor of jamtronica to an area that is familiar with the band and showed up in support. As the four-piece danced through melodies, the crowd gathered and began letting go. Drummer Chris Walker’s drum and bass style of playing paired well with the band’s more atmospheric sound. If this was any indication of how the festival would go, it was already traveling in the right direction. As the day wore on, more people began to arrive after getting out of work and rushing to join in the fun. Being later in the season, daylight was quickly fading and the first glimpse of this year’s lights were being eagerly awaited. Between nine and midnight, a great back-to-back combination of Jimkata and Lazlo Hollyfeld took hold of the collective spirit for the first time. It shouldn’t have caught anyone off guard as both bands have local ties with Jimkata spawning from Ithaca and Lazlo calling Buffalo home. In the case of Lazlo, this is even more special as Night Lights was started by these guys, and through their vision, it’s grown quickly in four short years to the best festival in Western New York. Lazlo’s set was packed with energy, and if you’ve caught this act, you’d know that this wasn’t anything different from when they rip up the stage at Nietzsche’s. With the band featuring Matt Felski on vibraphone, their sound is unique and incredibly exploratory at times. The music appreciators showed their love for the band for not only their music, but what they have built this festival into.
The highlight of the night though came during Dopapod‘s already jam-heavy set. As the band proceeded to wow the audience, Buffalo’s own Mike Gantzer came out for a sit-in with the band. The Western New York love was in the air as known-Rochesterian Rob Compa played opposite on ax from Gantzer. The two traded licks before syncing up for a momentum-building tear across fretboards, propelling the Friday night party onward to the Saturday morning. It’s not even fair to say that Mike holds his own up there anymore as he’s now joined the club and making Aqueous fans across Buffalo prouder with each moment under the lights. As the party wound down, campers were sharing their own version of what they heard, completely unaware that Saturday would only raise the bar.
Saturday started with rather ominous weather, but that could not surpass the energy for the second day of music. Afternoon sets by Rochester’s Ocupanther and Buffalo’s Funktional Flow showed off what the area is capable of in terms of young talent. Both bands have been cutting their teeth in the local scene and beginning to stretch out into other markets. Even with different styles, both bands had a solid draw and brought their best to the stage.
The brass sounds of the 12/8 Path Band carried the party both physically and emotionally into the woods as the lights began to take effect and illuminate the path to the Café Stage, which was buried in the woods. The Mike Dillon Band was up next and it would be their dynamic set that started the domino effect. For the next seven straight hours, the festival would peak, hitting a stretch and a high rarely seen in these parts. The music would transcend the woods that surrounded the grounds, igniting a powerful music experience. Mike Dillon himself stepped up onto the Café Stage with his wild hair and larger-than-life personality. As he took his helm behind the xylophone, Mike announced that his bassist was probably soaring overhead as his flight was delayed. If it was any indicator of the amount of talent though that was present at this fest, the show went on with John Ferrara from Consider the Source sitting in and providing a new perspective on the low-end for Mike to dabble with. It wouldn’t be the only sit in of the day either with Mike Dillon returning the favor later in the night.
As the show began, there were few knowing what to expect. Mike Dillon’s prowess was quickly realized though as there are few that have, both, the energy and imagination that Mr. Dillon embodies. His melodic choice in the instrument helps take the crowd musically to another world, while the rhythmic aspect of it allows him to channel the passion that is coursing through his veins. The band channeled the Consider the Source-style experimental heaviness with John putting out a vibe that the drummer hopped on and accentuated. As you’d expect with a last-minute substitution, there were some things just called on the fly, but what you wouldn’t expect was how well the band pulled it off. The execution must have energized Mike to step out into the unknown as he called out to his two stagemates saying, “Here’s one you two have never played before. It’s in the key of C.”
There was hardly a stutter in their phrasing.
Mike’s actual bassist eventually arrived and finished out the set, thanking John for his help in the process. Mike’s work with the sticks was fascinating to watch from both an artist and crowd perspective. He sent people spinning with enthusiasm while the stars made their entrance and the night set in. As the rawness of the set came to a close, the residual sound permeated the deciduous surroundings, filling in with sound what the lights could not.
The night wouldn’t let up.
As Mike Dillon finished his set, there was a funk army setting up camp under the Main Stage tent, preparing to unleash on the unsuspecting crowd. From the distance, you could hear the rolling bass line of Taylor Shell and the heavy stomp of Buffalo-native Michelangelo Carubba behind his kit. As the crowd drew closer, the sound filled out with a varied vocal attack, a loaded brass section, and guitars that cut through the crisp, autumn air. There was simply no slowing the roll of this unit as their forward progression was almost uncontrollable. The band’s strongest asset in Carubba stomped out a heavy beat, keeping this arsenal of weapons on track and coming right at you.
Over the course of this year alone, Turkuaz has covered bands like the The Talking Heads, and most recently, Sly and the Family Stone at this year’s Catskill Chill. Giving the Night Lights crowd a taste, the band pulled out a well-timed cover of the Talking Heads “Slippery People”, shedding light on a clear influence to their sound. Another highlight from their set was the song “Electric Habitat”. The tightly executed song pushed the crowd as the melodic line was woven through the rhythm of the song. Guitarist Craig Brodhead really dug in on this one and clawed his way up the tonal food chain to stand out amongst his peers. If music is technically using the same set of notes that are available to every other musician that’s come before them, then where did these guys find all of this energy? The momentum they set in motion from the very first note is like no other band out there today.
The unique blend of sound is not even a result of their instruments alone as the crowd was treated to an acapella segment during their set. The entire band layered vocal tones while bassist Taylor Shell gave a scruffy “Yeah, yeah, yeah” lyrical contribution. The overall assault from the Brooklyn-based group was felt by the crowd who were sent reeling from their set. On the way back to the Café Stage, there were plenty of “did you know they were that good” type comments between the path travelers. With some of that militant funk mentality rubbing off on the crowd, the collection of people pushed forward into the night preparing to endure even more at the hands of Consider the Source.
The Middle Eastern ‘sourcery’ commenced immediately as their sound was encompassed by that culture among many others. The overall drive behind their set though was pushed with a heavy dose of metal, which was clearly an influence on their approach. Gabe, Jeff, and John are the only three who make up the band, but you wouldn’t be able to guess that with your eyes closed. Their sonic assault is a clear indicator of what World War Trio will sound like, and a great follow-up to the barrage of funk from Turkuaz.
Gabriel Marin is the guitarist in the group by instrument, but equipped with a MIDI pickup, he is able to pull out just about any tone he chooses on a given night. As the crowd approached the stage, a heavy dose of xylophone had people wondering if Mike Dillon was making an appearance with the band, only to find out that it was coming from Gabe. His aggressive approach was balanced by his smoothness as his hand glided around the fretboard, providing much color and flavor to their songs. Pulling from his inner Tom Morello, Gabe culled noises and wrangled them into a driving melody that was full of rage. The whole group embodied this angstful spirit that came out through both their music and stage presence as they thrashed around and felt the music deeply. The encircling crowd felt it too, as many closed their eyes and got lost in the progressive jams. The deep synchronicity the band fell into carved out a deep and wide aural path that the crowd willingly followed them down. While their set wound down to the end, the energy certainly wasn’t. The woods danced with colors and people followed suit as they made their way back to the main stage where the pinnacle of the night was about to take place. The peaking energy was felt through the trees and up from the ground with every step.
As the excitement came to a head, the crowd gathered under the big tent at the Main Stage for an experience few had heard or seen before. The members of Snarky Puppy took to the packed stage, fitting in like a puzzle piece with how many instruments were laid out. It has to be noted as well that this was not the exact same band that played the night before, and even that band wasn’t the same as the night before that. Snarky Puppy’s rotating cast provides an interesting twist to jamming and the cohesive sound that is developed from it. Not only do members rotate in and out throughout the tour, but each and every musician is a multi-instrumentalist with the ability to pick up something different on any given night. It doesn’t matter who anyone holds atop their musical pedestal, there is no band better than these guys right now. The band is a true musicians band and it showed with every Night Lights act collecting backstage, trying to catch a glimpse of these guys. Saying that on it’s own though would be selling the band short, suggesting that they’re unable to relate to the common and casual music listener. That couldn’t be further from the truth. The band is capable of taking an odd time signature and creating a groove and feel that’s deep enough to get a crowd dancing. Each and every person latched on to every swell and lingered on every ebb and flow.
As the band progressed through their set, it was a true spectacle to see how easily they translated their music. Buffalo is a music-loving community and showed its true appreciation for the band over and over again throughout the band’s set. At one point during the show, bassist/conductor Michael League took the time to clap out a beat, asking the crowd to join in with its relative ease. Once everyone caught on, he remarked, “there, now you can all count in 7,” simplifying something complex down to the non-musically inclined.
Taking nothing away from the whole, the percussion work within the group was driven, yet subtle; calculated, yet raw. Louis Cato specifically on the drums, who happened to play bass the night before because he simply can, put on a clinic. With their music education outreach, maybe he was just confused on where he was because he was there to teach that night. As I sat surrounded by some of the best drummers backstage, their eyes couldn’t get any bigger than mine as they watched this man completely decimate the kit without losing one person in the crowd. Even with all of this power, the band could still finesse a note and added a gentle touch to the color, painting just enough at times for the brush to touch.
Coming back for an encore, the band searched out Mike Dillon to join them. His unusual approach fit in well and a musical battle ensued to close out the set. Dillon’s words the next day on social media summed up his experience saying, “They [Snarky Puppy] are one of the few Denton bands that came out of the school of music that have continued a trajectory. Every time I see them, they get better.” While it’s hard to understand how a band that did what they did at Night Lights can continue to get better, the hundreds of fans who were there will surely check back next time to see if that holds true. It was a treat to have one of the best in the world out in Sherman, NY for one night, pushing that high point higher than it has ever been. These guys are more than just a band; It’s a musical prophecy coming to fruition and everyone there bore witness to the truth.
With an almost insurmountable hill to climb following Snarky, Buffalo’s beloved sons in Aqueous didn’t try to fight the current. Instead, they did what they’ve been come to be known for and settled in to their healing role after everyone’s mind was just collectively blown. In this area, it’s typically been at the hands of these guys, but being always up for the challenge is built-in being from Buffalo. As the set got going, it was clear that their new drummer Ryan Nogle provided a spark to the band as it had been a while since they played this inspired and driven. What was assumed to be a reliever role, was soon flipped, as the band continued the pace that Mike Dillon and Turkuaz started and Consider the Source and Snarky Puppy pushed forth. Nogle and the rest of the guys were channeling all of the greats that came before them on this given night and their bright choruses and slow rolling groove kept bodies in motion well into the night. It’s hard to place a finger on it, but Mike Gantzer is one of the most engaging and compelling guitarists out there today. With his efforts, the band built swelling jams, reaching an ominous high point before letting it all fall down. Their ability to change gears and send you soaring is a gift that they share with some of the bigger acts of the night. The crowd might’ve been still reeling from what proceeded, but they were willing to let Aqueous take them higher.
Despite the urge to keep the trajectory, eventually all good things must come to an end. In the case of Night Lights Fall Music Festival 2014, all great things came to an end as well. There was unfortunately no exception to the rule, regardless of the crowd’s willingness to keep dancing. The threshold and boundary to which music can be pushed was just tested this year and it opened up a lot of people’s minds to how high they can personally set that bar. For those in attendance, it will be tough for a while to hear something that can even hold a light to Night Lights. We all drank from the fountain of musical youth and rejuvenation was aplenty.
All video is courtesy of our friends at Buffalo.fm
Not quite ready to admit 2014’s music festival season is over yet? It does not have to be. The first annual Resonance Music & Arts Festival takes place from October 2-4 at the Frontier Ranch in Pataskala, Ohio. Located 20 miles east of Columbus, the festival features two nights of Ohio natives Papadosio as well as Greensky Bluesgrass and Nahko and Medicine for the People as headlining bands.
The music starts Thursday afternoon at 4 p.m., and plays continuously for more than 12 hours per day on Friday and Saturday. Resonance boasts an eclectic lineup—from the multi-layered electronic beats of ESKMO to Twiddle‘s uplifting jams and The Mantras‘ heavy shredding to deep funk from The Main Squeeze, most branches of rock are covered.
The Empire state will be well-represented each day. Tauk and Aqueous play Thursday, Aqueous jams again Friday afternoon, and Consider the Source closes the music early Sunday morning after a long set from Dopapod Saturday night. Tauk has been touring furiously in support of their 2014 album, Collisions, while Consider the Source plans to release the first part of their new album, World War Trio, on Halloween. Dopapod has a new album, Never Odd Or Even, scheduled to come out on 11/11/14.
If the music is not enough, there will be visual arts, fire dancing, yoga, and The Amazing Giants will be hard to miss, donning colorful outfits and performing acrobatics on stilts. Each ticket also includes car camping, so you will never be too far from extra blankets or a quick heat source at this early autumn festival.
View the complete schedule and purchase tickets here.
No family tree has as many strange branches as the ChillFam, and, from Sept. 5-7, approximately 5,000 fanatics gathered at the world’s foremost musical family reunion–the fifth annual Catskill Chill. Old friendships were rekindled and new ones born at Camp Minglewood in Hancock, NY. Among many other acts, Lettuce, Turkuaz, and Karl Denson’s Tiny Universe pumped out the funk, Kung Fu, Particle, and Papadosio rocked hard, and Dopapod, Electron, and Yonder Mountain String Band played their unique styles. From staff and vendors to artists and admirers, everyone at The Chill was camped on cloud nine. With round-the-clock live music on five official stages, pristine early September weather, and characters aplenty, The Catskill Chill was once again the perfect way to wind down festival season.
Friday
Anticipation and excitement blew in the pleasant Friday afternoon breeze as tents sprang up from the tennis courts down to the lake. My friend Chris and I headed to our “island”—a grassy triangle between sidewalk paths, large enough for our tents and chairs. Last year, we were known as the parking lot pirates; donning old-school Pittsburgh Pirates caps in homage to Ryan Stasik, our volunteering duty was to direct festival goers where to park. This year, we graduated to press pirates, hooked up by PR director Destiny Beck at the eleventh hour to promote the music we feverishly crave.
After setting up camp on the island, MUN’s early evening set in Club Chill was the first batch of music for me. While Nahko and Medicine for the People played the Main Stage, MUN jammed in the only fully enclosed stage. Led by guitarists Alfred Rylands and Wiley Griffin, they put on a heavy set of improg. The Brooklyn-based quartet will tour the Northeast this fall, providing the desirable kind of MUNdays with their “astrofunktronica.”
After The Eric Krasno Band lit up the B Stage with Alecia Chakour, Karl Denson’s Tiny Universe played the first primetime Main Stage set. With a solid mix of covers and originals, the funk-masters ignited a massive dance party in the hangar-like pavilion. Denson showed off his versatility with back-to-back covers of The Marshall Tucker Band’s “Can’t You See”, and The White Stripes’ “Seven Nation Army”, on the flute before switching back to the sax for The Beastie Boys’ “Suco De Tangerina”. Dressed to the nines, Karl Denson’s Tiny Universe wrapped up with “Shake It Out” and the mass before them obliged excitedly.
Uplifting piano notes from Marco Benevento began floating down from the B Stage as Karl Denson and company were still raging. Benevento’s was one of my most anticipated sets of the weekend, and he delivered. Banging his head and keys emphatically, melodic runs rained from Benevento’s piano in the steamy three-walled shed. Once in a while, he would take a break from jamming to clap along, beaming. “DJ” Drew Dreiwitz, also of Ween, cranked out a huge bass solo while Benevento sat back, sipped from his Solo cup, and soaked it in. The trio, rounded out by Andy Borger on the drums, covered “Benny & The Jets” and had the whole venue singing in raptures. Benevento will be touring this fall in support of his new album Swift, which releases on September 16th, and his show is not one to miss; he is as energetic and talented onstage as he is gregarious offstage.
From 11:15 p.m. to 1:15 a.m., Lettuce blew everyone away back at the Main Stage. Guitarist Eric Krasno, feeling at home at The Chill, shredded like a madman. The fired-up Kras sparked the rest of the band: Neal Evans crushed on the keys while the funk was rooted in the horns section. The venue was packed with fans swaying in hammocks, chilling in the bleachers, or grooving on the dance floor, which spilled out onto the hill in the rear. Lettuce played hits off each of their studio albums, including “The Dump”, “Sam Huff’s Flying Raging Machine”, and “Madison Square”. Adam Deitch was a rock on the drums and turned it up from “Outta Here” into a slamming solo. Jesus Coomes rattled bones with the bass and Alecia Chakour’s vocals were exalting. By the time they ended with “Blast Off”, the ChillFam was already in a state of bliss.
With Lettuce still keeping it fresh on the Main Stage, Pigeons Playing Ping Pong began flocking in Club Chill. The quartet features two guitarists with very different demeanors. Greg Ormont’s Sideshow Bob-like hair, infectious smile, energetic personality, and emphatic upbeat vocals make him hard to miss. While Ormont danced around grinning and singing, Jeremy Schon stood relatively in place, shaking his blonde mane, fingers deftly sliding around his six-string. Schon ripped through PPPP’s lively funkalogue, showing off big-league guitar skills. Barefoot bassist Ben Carrey scooted around the stage playing tight bass lines and drummer Dan Schwartz made his presence well-known. Twiddle’s Mihali Savoulidis joined for “Poseidon”, a number off Pigeons’ new album, Psychology, and the Baltimoreans hatched new dirty birds by concluding with a red-hot cover of “Suck My Kiss”.
The music would go on past 5 a.m. with Alan Evans’ Playonbrother jamming in Club Chill, but DJ Shpongle’s 2:30 a.m. set was my last bit of music on Friday. Shpongle, aka Simon Posford, had no trouble adding to his loyal following. He has mastered the art of playing to the mood. Those not melted into the hillside danced vigorously to the ambient DJ set. His beats are all-inclusive and joy ballooned in the pavilion as DJ Shpongle closed the Main Stage in style.
Saturday
Vermont quartet Twiddle was the first to play the Main Stage at 1:45 p.m. on Saturday. They opened with a rendition of “When It Rains It Poors” featuring beautiful vocals and warm harmonies. With each member dressed as a different Teenage Mutant Ninja Turtle, Twiddle segued into “Somewhere Over The Rainbow”. The master of turning knobs, Dopapod’s Eli Winderman, joined a few songs later and they almost got “Stooooped” off the stage when Kung Fu’s Todd Stoops sat in on the keys. Twiddle is finding their stride with well-composed songs, a positive message, and rapidly growing following.
Last year, as Chris and I directed cars in the hot, dirty parking lot, new-found enemies mocked us from their all-access/VIP pedestals: the teachers. When I heard a “Hey, pirate!” call while grabbing lunch between Twiddle and Cabinet, I knew instantly who it must be and my hand reached instinctively for a non-existent sword. As anticipated, it was one of the teachers.
Instead of spending our energies plotting each others’ demise, however, we formed the teacher-pirate alliance against wooks at this year’s Catskill Chill. On good terms, we wandered around pretending to duel and enjoying each other’s company at killer sets of music. From 4:30-6:25, ChillFam favorite Dopapod jumbled up an enthusiastic Main Stage crowd with jams like “Black and White”, “Freight Train”, and “Vol. 3 #86″. While they oozed out mostly originals, Adrian Tramontano joined on the hand drums for a Herbie Hancock cover before we headed to see a band people were talking about all weekend.
Long Islanders TAUK poured out chunky progressive rock in Club Chill after having slammed Lockn’ Festival the afternoon before. The quartet, whose members have been friends for longer than many Chillfam members have been alive, proved that they are not up-and-coming: they are here. They looked at ease on stage delivering heavy instrumental jams. They played “Mokuba”, “Friction”, and, personal favorite, “Collateral”, off new album Collisions. Bassist Charlie Dolan anchors the group while Matt Jalbert’s tight guitar riffs and well-placed solos add a healthy dose of inflection. Alric “A.C” Carter manipulates his keyboard dexterously while the “new guy” Isaac Teel does not miss a beat on drums. As Dolan pointed out, the group has the flexibility of continuing down the instrumental route or adding vocals one day, and their firepower gives them plenty of time to decide.
Despite the warmth of Club Chill and the delicious eeriness of TAUK, I moved over to the Acoustic Junction to catch the most talented trio in show business, Consider the Source. A loyal following wiggled in the rain as the Sourcerors rewarded with a cover of The Beatles “Blackbird”. They followed up with “Wayfaring Stranger” during which drummer Jeff Mann stepped up to the mandolin; he was so smooth that I barely noticed he was playing an atypical instrument. As the rain fell and the sun went down,the music was just getting turned up.
Yonder Mountain String Band played the headlining set on Saturday evening as the rain let up. Allie Kral sat in on the fiddle and, having caught her final set with former band Cornmeal at Summer Camp in 2013, I was eager to see her add to the Colorado bluegrass quartet. Their version of “Only A Northern Song” was awe-inspiring and they plucked out a unique rendition of The Talking Heads’ “Girlfriend Is Better”. Having also headlined in 2012, Yonder Mountain String Band may be an outlier to the funk-rock heavy lineup, but they bring a great following to the party and put on a captivating show. The strings-only group closed out their set by playing “40 Miles From Denver” and “Southern Flavor” to a delirious crowd.
After the first half of Cabinet’s Dead set in Club Chill, I learned that, after disbanding in 2011 (following 12 years of bumping), Canadian-based techno trio The New Deal is back. Consisting of keys player Jamie Shields, bassist Dan Kurtz, and drummer Joel Stouffer, they played a late night technotronica set to a packed Main Stage. Reunited, the band is scheduled to play a handful of shows across the country this fall as well as Dominican Holidaze.
I hopped over to the B Stage for The Nth Power after some more wook-watching. I need to be tested, but I may have been impregnated by their music. The quintet with one outlier (Nikki, Nigel, Nick, Nate, and… Weedie) played baby-making music to a dazzled crowd. Most of the songs they played will be featured on their 2015 debut full-length album, Abundance, but they threw in a euphoric cover of Marvin Gaye’s “I Want You”. Featuring powerful vocals and deep bass lines, the Nth Power creates a rich flavor of funk and produces a mesmerizing show.
Papadosio’s late night Main Stage set on Saturday proved that a music festival is like a box of chocolates. Anticipating an ambient, trancey end to the night, Papadosio put on a slamming set of rock. Festival goers like myself, who expected to be gently lulled toward sleep, were rocked back to life starting with a 20-minute “Find Your Cloud”. Eli Winderman joined for a tasty “Unparalyzer” as the Brouse brothers, who handle the band’s keys and synths, gave Dopapod’s keyboardist the reins. Anthony Thogmartin’s songwriting ability was evident as always and ‘Dosio is rounded out by bassist Rob McConnell and drummer Mike Healy. The Ohio natives jammed deftly until 4 a.m. while Pink Floyd/Talking Heads/Phish fusion Pink Talking Fish wound down the night in Club Chill.
Sunday
Every day at a music festival should start with a set from Turkuaz. After helping one of my best friends (whom I met at last year’s Catskill Chill) move out, Dopapod showed their innovation is not limited to the stage by serving up pancakes with a side of jam. Then, Turkuaz supplied the fuel needed for the rest of the weekend at the Main Stage. One cannot not dance while watching the Brooklyn-based funkernaut. Michelangelo Carubba looked and sounded fly as usual while leading the 9-pack on drums. Celebrating her birthday by gracing loyal fans with rich vocals, Sammi Garrett was on point all day and guitarist Dave Brandwein laid down the hammer on his axe. Bubbles and sunshine filled the early afternoon air while Turkuaz put the “fun” into funk with the title track off their recent album Future 86. As the horns rang out, knowing looks spread through the crowd: “These guys are getting it!”The band is on fire right now and their merch sports my new go-to alibi: “Turkuaz made me do it!”
After packing my gear up and reluctantly moving off the island, the rest of the day was dedicated to music. Particle carried on the bash that Turkuaz started as drummer Darren Pujalet led a one-way race to funkville. Turuaz’s horns section came out to brighten the set for a jam, then The Hornitz and original bassist Eric Gould joined and shook up the house. Guitarist Ben Combe is a force on stage, and Particle’s progressive synthy style is catalyzed by Steve Molitz on the keys, who also spit a rendition of Slick Rick’s “Children’s Story”. Particle played plenty of new songs and left many people slack-jawed with one of the harder sets all weekend.
I followed Particle’s bassist Clay Parnell up to the B Stage, where he also played with American Babies. They played a more traditional rock set highlighting Tom Hamilton’s songwriting and singing abilities. Electron’s Aron Magner sat in for a cover of The Dead’s “New Speedway Boogie” and the crowd loved Dylan’s “Tangled Up In Blue”.
Back at the Main Stage, Kung Fu impressed with hard funk. Tim Palmieri challenged Eric Krasno for “master shredder” title of the weekend and Todd Stoops played some glorious piano solos. Robert Somerville got real saxy and Chris DeAngelis was crisp on the bass. These ninjas’ chemistry glows like a beacon on the stage. Drummer Adrian Tramontano’s kit, like Tramontano himself, is compact, but the Zack Galifianakis look-alike is an inspiration for us vertically challenged denizens everywhere. As onlookers gawked, he crushed one of the best drum solos of the weekend, moving with remarkable speed. The horns and ladies of Turkuaz reappeared to form Kungkuaz and play Stevie Wonder’s “Haven’t Done Nothing”, a highlight of the entire weekend. The Connecticut quintet, who will tour the East Coast in October and November, never fail to deliver.
Before I could see Consider the Source‘s plugged-in set, I heard them and thought, “That can’t be them; that’s at least 6 or 7 people.” It was, however, CTS. There is videographic proof that I am not being hyperbolic describing the Sourcerors as a crew filmed the set. Drummer Jeff Mann must have eaten his Wheaties; he played with a maniacal reckless abandon. Guitarist Gabriel Marin, whose fingers glide like butter on glass across his fretless guitar, played an upbeat trumpet solo on his custom double-necked instrument. “Tihai For The Straight Guy” was a classic example of Beach Boys meet Middle Eastern pop-rock and, during “Keep Your Pimp Hand Strong”, bassist John Ferrara ripped the dirtiest bass solo of the weekend. With the first part of their new album World War Trio releasing this Halloween, expect heavy ripples from Consider the Source this fall.
The final evening at Camp Minglewood was chilly, but Electron cranked the heat at the Main Stage. Comprised of The Disco Biscuits’ Marc Brownstein and Aron Magner on bass and keys respectively, Lotus’s Mike Greenfield on the drums, and American Babies’ guitarist Tommy Hamilton, they broke through with the most expansive jams of the weekend. Not only was their music out of this world, their light show was spectacular. Despite being Sunday night, the dance floor was as packed and busy as any point during the weekend. Electron played richly textured space jams with intricately laid layers and explored the psychedelic. Magner pounded emotionally on the piano and gave equal attention to the synths, and Greenfield put the pedal to the metal a bit more than he would with Lotus. With glow sticks flying, rage sticks raging, and bodies bumping, Electron put an exclamation point on a great weekend of music.
My ship had sailed at Catskill Chill by the time the plug was pulled on Electron. Having bonded with old friends, acquired a host of new friends, danced to hours of incredible music, and explored every corner of Camp Minglewood, I was ready to put another successful Chill in the books. The marathon was over and the memories were made; now, I attempt to wait patiently as anticipation is already bubbling for Catskill Chill 6.
Check out a video of Yonder Mountain String Band from the festival:
Anyone who lives in the Upstate region knows that summer is not something to be wished away. The short season of nice weather is always packed full of barbecues, weddings, family get-togethers, and weekends enjoying the outdoors. That being said, if there was one reason to look past the shorts and tank tops this year to hoodies and jeans, it would be Night Lights Music Festival. The festival is held in Sherman, NY (directions here) and has continued to get better with each proceeding year. The team who puts it together always does a great job, but this year they have set the bar quite high for western New York festivals with an incredible lineup that had most ready to smell the pumpkin spice back in the spring when the bands were announced.
DrummerMichelangelo Carubba of Turkuaz is actually a Buffalo native who grew up in the area and still has family who lives there. I was able to catch up with the man who keeps each member of the funk army marching to the same beat. Below, we talk about his hometown roots in Buffalo, his band, and Dave Brandwein’s trip to SkyNet, among other things.
You’ve lived on both ends of New York State now and have experienced many cities on tour. What are your top three favorite places and why?
This country is so vast and varied. I’ve toured 49 of 50 states (still waiting on that call to go to Alaska). New Orleans has always been one of my favorites. There’s something in the DNA of that town. It vibes harder than most cities. The food, the music, the people, everything. It’s great. Denver has been really good to us. The fact that you can buy herb with a credit card is pretty mind-blowing. But my favorite place is New York City. There’s nothing like it on earth. There’s everything for everyone and it’s always ready to go. It can be peaceful if you want, or it can rage harder than anywhere else. You can live at an ever-changing pace and it’s always right there with you. And I’m a native New York, East Coaster, and you just can’t get better Italian food than in New York.
How did you end up in NYC with Turkuaz after growing up in Buffalo?
I moved to Boston in 2006 when I was 21, after touring for 3 years in various bands. I moved there to attend Berklee College of Music. There, I met a lot of the people I still make music with today. When everyone was graduating, almost my entire crew was making the move to NY, en masse, so it was the logical next step. If you’re going to make a run for it with a band, New York is the place to do it.
Who are some of your biggest influences and why?
Muhammad Ali. He was the first hip hop poet. He could knock a man out like no one’s business. And he knew it. Queens of the Stone Age, musically, have been fueling me for the last ten months. I saw them at Barclay’s Center in Brooklyn, and I’ve never been rocked so hard. Great songwriting, and an aesthetic that’s dripping with sex and pain. I love them. Snarky Puppy has been inspiring me as well. I won’t try to articulate why. Go and listen.
Tell your fans something they might not know about you or the band.
We’re insane.How did Jaguar start and what’s the current state of that band? Will you guys eventually record an album and tour?
Alan Evans’ PlayonBrother and Turkuaz were on the road together for six weeks. I had known Danny Mayer and Beau Sasser for a long time. Beau had always been a mentor when we lived together in Boston. I think the band was actually born out of a few rounds of whiskey shots. Musicians are always looking for outlets, or ways to say what you want to say. We all thought it would be great to play together. Jaguar hits are all improvised at this point. We all have pretty open ears, and we’re all close friends, and that translates into the music. Everyone is very busy at the moment with main projects, but Jaguar is looking to hit again in the fall in the Northeast. I’m sure an album and touring will happen at some point.
How did Turkuaz grow to include so many musicians? Was that by design?
Unintentionally, yes. The bands sound was created by Dave Brandwein and Taylor Shell, our guitarist and bassist. They were making demos together in the Berklee days, and someone passed a demo off to Berklee’s record label, Heavy Rotation Records. The label asked Dave and Taylor to perform at the record release show at the Berklee Performance Center for 1,000 people. The demos were so musically dense, that to recreate the sound live, they needed to call eight or nine people. And it always stayed like that. It works.
The band has springboarded pretty quickly in terms of popularity. What do you think that is attributed to?
A relentless touring schedule over the last two and a half years has had a lot to do with our growth. We’re very lucky. People are coming out to shows and having a blast. We are too. When you’re in front of that many people, day in and day out, all over the US, you hope that something sticks in people’s minds. Our music and vibe seem to be sticking. We also just have fun. I think people read that. I think they realize that we’re up there giving our all every night because we want others to be happy.
How is Dave Brandwein’s hand? Has he made a full recovery from the injury?
We sent Dave off to SkyNet and he now has a fully bionic set up from the elbow down. It’s indestructible and it’s always set to rock.
What influences do you bring to the table outside of funk?
This is a hard question to answer. It would be a waste to say, “well I like rock and jazz and blues, etc.” The influences I bring, to make the music that I’m playing come alive, are things like my love for boxing, stand-up comedy, faith, sex, cinema, and animals. The playing is gonna be there, I can play these tunes with a blindfold on and one arm tied up. What makes it happen, what really gets me and the band and the crowd off, is when we bring real life into the music. How ever I’m feeling, I’m putting that into the music. Life is my influence.
What are some of your favorite things about the city of Buffalo?
The people. They’re kind, empathetic, and real. The food. I mean, come on. I just love what Buffalo means to me. I have such a connection to the city. I was born and raised there. My father owns Carubba Collision, and anyone that’s a Bills, Sabres, Bandits, or Bisons fan recognizes that name. “The Carubba Collision of the Game” has been a great part of Buffalo sports for the last 35 years. When I think of Buffalo, I think of the times spent at the Aud, at First Niagara Center, or at the baseball field, (whatever it’s called now). Buffalo will always hold a very special place in my heart.
Alan Evans is another big drummer from Buffalo and it seems, on social media, that he has become a friend. What experiences has he shared with you as an up and coming drummer?
Al has become a close friend. Al is a great musician. Not just a drummer, but a guitarist, bassist, singer, and producer. We share a similar sense of humor, and a similar understanding of things. Al is a true Buffalonian, and I think I am too. I feel like we subconsciously relate to each other along that plane. He’s taught me about humility, hard work, and ambition. Al’s kind, generous, loyal, and most of all, real. There’s a lot of people on his level that are fake. Al is not fake. Al is the shit.
Who are some of the bands you still haven’t played with, but would like to?
Well, Snarky Puppy for sure. I’m going to kick that off the bucket list on September 13th, at Night Lights Music Festival. That’s going to be incredible. I get to play a show, walk off stage, and watch one of my favorite bands in the world play right after. You can’t ask for much more than that.
What is up next for Turkuaz?
Finishing up festival season now, with the exception of a few late in the year (Bear Creek Festival in November in FL). For September, we’re locking ourselves away for the month and recording our next album. We have a few shows during the month that we’re thrilled about. On the 19th we’re direct support for Bootsy Collins in Baltimore. That is a dream come true. He wrote the book on a lot of what we’re trying to do, so to get to share it with him and a huge audience, is amazing. Aside from that, we’re touring. We’re always touring. It never ends. And we love it.
Are you a Bills and Sabres fan? What do you think about the state of both teams?
I love all Buffalo sports, like I said earlier, but the Sabres are the closest to my heart. Growing up, a lot of the old Buffalo Sabres were around my house and at family parties. John Tucker and Paul Cyr (throwback) used to come and cut their Christmas trees down on my families land. John Tucker gave me my first Labatt Blue when I was five years old. Rob Ray taught me how to swear when I was seven. I remember watching Dominic Hasek play horrible golf, yell in his native tongue, and throw golf clubs. The Sabres organization will always be very close to me. As for the state of the team, I think the entire city, and everything and everyone involved, is on the rise. Companies are investing in Buffalo. Neighborhoods are being revitalized. Restaurants, shops, homes. Everything is coming back. I think the Sabres and the Bills are headed in the same direction. I think by 2020, Buffalo is going to have a new identity. It’s not going to be “that places where it snows”. Its going to be a Championship city where people go for music, food, and living life. I love Buffalo.
If the lineup somehow doesn’t convince you, there’s also this little side element that not a lot of people realize, even with it being in the festival name: THE LIGHTS! Night Lights Music Festival is one part music festival and one part light display. This isn’t just stage lighting though as the Night Lights HQ sets up an enormous and truly stunning display throughout the woods. I can leave this description brief as words simply don’t do it justice. Check out the pictures from Arthur Kogutowski below and we hope to see you dancing under the lights next weekend.
If you’re now looking for tickets to Night Lights Music Festival, you can grab them here. They’re $75 presale and include camping and parking.
New York-based Consider the Source has announced the first installment of their new studio project, World War Trio. On October 31st, they will release the first disc, an EP entitled “Put Another Rock In That Bag”. The Halloween treat features Jeff Mann playing drums in the studio with CTS for the first time alongside incredibly unique stunt-guitarist Gabriel Marin and virtuosic bassist John Ferrara. The Middle Eastern/Sci-Fi fusion trio will release the rest of World War Trio as a full, double-album in the Spring of 2015.
Fans have grown accustomed to face-melting, heavy improvisational shows from the improg group, but “Another Rock” will demonstrate some of their other tricks. “We felt this piece needed its own release,” says bassist John Ferrara. “It is our longest and most in-depth composition to date. It is going to have six distinct movements, about 25 minutes in length.” The epic piece showcases the band’s compositional prowess and features one movement composed by Jan Zehrfeld, guitarist of Munich-based Panzerballet. The EP will also include a Making of World War Trio documentary.
“Another Rock”, marks the band’s first studio release since 2010’s That’s What’s Up. The band has been playing since Marin and Ferrara met in 2004 and has two other studio releases: 2007’s Esperanto and 2009’s Are You Watching Closely? Since finding Mann on Craigslist in 2012, the group has released two live albums, but this is their first studio venture as the current Consider the Source. Yesterday, exactly two years after playing his first show with the band, Mann wrote: “It feels like we’re just getting started. I am so grateful to be able to play with the best musicians in the world for the best fans in the world.”
Upstate New York will be treated to the first live version of “Put Another Rock In That Bag”, as the Sourcerors will play the EP in its entirety at the Parish Public House in Albany on Halloween night. The band recently played The Hollow in Albany and has plenty of Upstate dates planned this fall. They will be playing the Catskill Chill and Night Light festivals in Hancock and Sherman, NY, respectively. Canton, NY, gets two free sets on September 11th, and Dopapod will join them for shows at Saratoga Springs’ Putnam Den on September 27th and Rochester’s Water Street Music Hall on October 2nd.
This past Wednesday, the instrumental wizards in Consider the Source dropped a bomb as they released a stream of the first installation off their new EP World War Trio, titled “Put Another Rock in That Bag”. The release is a six-part, 25-minute impeccable composition that showcases that band’s talent in new and interesting ways. The overall vision and thought-out structure shines in the smooth transitions and its careful ebb and flow of energy. At the risk of sounding cliché, this is a prog-opera with hints of jam, metal, Middle Eastern, and a fusion of other genres into an emotional and dramatic epic. If this band wasn’t unique enough, this album puts them in a category all their own and pushes some serious musical boundaries.
The 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.
Saturday
Sunday
Some of whom you will see include such acts as 
