Don’t have plans yet for New Year’s Eve? Music fans across New York State have got plenty of choices this Thursday. NYS Music helps you get there with the short list of NYE activities.
Giant Panda Guerilla Dub Squad at the Historic German House with special guests Danielle Ponder & Tomorrow People and Funknut. Three Heads Brewing Tasting Party start at 7pm with an acoustic jam featuring members of GPGDS and Extended Family. Late night the party continues with Subsoil and Level 7 Hip Hop DJ Set. $20 in advance/$30 day of show.
Buffalo groove rock band Aqueous is once again on the search for a new drummer.
Drummer Tom Vayo has left the band to work on local projects. He officially joined the band this past August. The band will begin its nationwide search for a new drummer immediately.
Former Aqueous drummers Nick Sonricker and Ryan Nogle will cover all scheduled and future shows until a new drummer is selected. The two have remained part of the tight-knit Aqueous family and will assist in drumming duties. Aqueous’ New Year’s Eve show at the King’s Rook Club in Erie, Pennsylvania, and New Year’s Day show with Twiddle at Burlington’s Higher Ground will feature Sonricker.
Aqueous is launching a nationwide search for their new drummer. In a statement released by the band, they are choosing to publicize their search in the hopes of finding the right fit.
Full statement from Aqueous:
In an unfortunate turn of events, Aqueous’ new drummer Tom Vayo has decided to step down from the position for personal reasons. In the meantime, we’re pleased to announce that previous AQ drummers Nick Sonricker and Ryan Nogle will come back into the fold temporarily to fill in while we search for a permanent member.
It’s no secret that we’ve had some movement in the drummer department, and it’s getting harder to NOT think of it like the joke from Spinal Tap; but here’s the deal- The band has been through an awful lot in the past couple of years, and this is a truly stressful process to not only find what we hope to be the right player, but also the person that can truly fit in and join our brotherhood of friendship too.
That being said, we’ve decided to go fully public with the search and lay down some parameters to help ensure that no one’s time is wasted and to help us get closer to finding that person- Although being in a touring rock band is truly fucking awesome, it also comes with A TON of hard work and much sacrifice in almost every facet of life; this fact is not something we wish to sugar coat; We are here to work, to put on the highest quality shows possible, and to take this thing as far as we can. Integrity and work ethic are cornerstones in the AQ world, and friendship is everything to us. On the other side of the token, it has been the most gratifying, exciting, and certainly fun journey of my life, and it’s taken us to places we definitely didn’t think were possible when we started ten years ago. So here’s some outlines we’re putting in place, and with that said, DO YOU KNOW OUR NEW DRUMMER? Is it you? Is it a friend? We KNOW somebody has to want this seat, and it’s currently up for grabs!
Here’s what we’ll need from you, to be submitted to aqueousband@gmail.com-
-Playing/Touring experience (This is a full time position, are you available and ready for the road?)
-High Quality video of you playing drums, ideally creating a cover of an AQ song if possible!
-Thorough list of your BIGGEST musical influences and why, and songs you would love to cover in an ideal world
-A brief description of your approach to playing/style and why you think you’d fit in with AQ
-Current line of work/location/availability (Is moving to or near Buffalo a possibility for you?)
At the end of the day, while having “chops” is really important, the real thing we look for is feel, groove, and musical intuition; we improvise/jam a TON, so creativity and style are huge in this band, and we like drummers that play dynamically, but hit with purpose and authority; It’s all about seeing what we can create as a unit and listening as deeply as possible. And ROCKING of course!
So, with all of that, DO YOU KNOW OUR NEW DRUMMER?? Help us get the word out by sharing this post! Much love from all of us over here at camp AQ, and thank you ALL for an amazing year, this is just the beginning!
Buffalo funk/rock/reggae fusion outfit Funktional Flow are giving fans a sneak peek at their upcoming album Time Will Tell. The band released an official studio video for the album’s first single, “Back Door.”
The band’s third studio effort, which will feature 12 tracks, is slated for release in March 2016. The official date and venue location for the band’s CD release party will be announced at the band’s New Year’s Eve show at Buffalo Iron Works.
Time Will Tell was recorded over three weeks at Sonic Farm Studios in Colden with producers Dan Brace and Scott Nadolinski. Although it’s Funktional Flow’s third studio release, it’s the first with Funktional Flow’s new lineup. In April 2015, the band took on a new life with the addition of Joey Lewis (guitar) and Matt Lester (keys).
Bassist Ben Whelan told NYS Music that the lineup change has been a positive step for the band’s growth. “The type of music we play really calls for the lineup we have now, and it has helped us grow exponentially,” said Whelan. “With the addition of Joey and Matt, we truly feel as though we gained brothers, not just band mates. It really has been a great time growing with them and having them add their flavor to the mix. It doesn’t always go that way with new additions, so we are really blessed in that aspect!”
Guitarist and lead vocalist Jeffrey Kuebler told NYS Music that the history of “Back Door” began prior to the song’s life with Funktional Flow. “Back Door started as essentially a riff that I had come up with in 2008 when Joey and I were in a band called Lake View Effect,” he said. “With me and Joey each contributing to the composition, it all came together and we played it a couple of times with LVE. After years of being on the shelf that was one song we decided to add to the Flow repertoire when Joey joined the band!”
The band chose “Back Door” as its first single due to the overwhelming response the song has gotten from fans at their live shows. The band is currently working on a spring tour to support Time Will Tell that they hope to announce after the New Year. Funktional Flow is slated to open for Twiddle at the Town Ballroom in Buffalo on Feb. 25.
As Star Wars: The Force Awakens hits theaters this weekend, NYS Music wanted to take a look back at how the epic space opera has found its way into music. Here’s a look at some of the most famous, talked about, and overlooked moments where our favorite musicians have found a way to use the Force.
moe. Wars – 10/31/2015 – Philadelphia, Pa
moe. fans are still talking about Halloween. The band went all out for the festivities dressed in head-to-toe costumes of their Star War personas. But they went above and beyond for the event, not only playing music from the films, but changing existing moe. songs to lyrics inspired by them as well.
Jedi Trey – 6/9/12 -Portsmouth, Virginia
While many Phish fans will argue that Trey Anastasio is a musical Jedi of epic proportions , Jedi Trey proves it – light saber and all – in this “Maze” clip from 2012.
Zappa Plays Zappa – Star Wars Theme
Zappa Plays Zappa is known for playing all manner of covers, but every once in a while, they like to open with the Star Wars theme. Fans at the 2015 Catskill Chill were pumped when they kicked their set off in a similar fashion to this video from Amsterdam this past October.
Weird Al
We’d simply be remiss if we didn’t mention the king of pop parody. Weird Al is a huge Star Wars fans. The films have inspired numerous tunes including “The Saga Begins,” “Yoda,” and “I Think I’m a Clone Now.” This past July at the Capitol Theatre in Port Chester, Weird Al closed out his show with a Star Wars encore that would have even made Darth Vader dance.
Primate Fiasco – Star Wars Mash-Up
Pop-up street band Primate Fiasco likes to surprise fans at festivals with impromptu sets. Their dixieland style of music not only infuses DJ-style house music with folk roots, but also the best in pop culture references. At the 2011 Gathering of the Vibes, the band posted up outside the ferris wheel and created a memorable mash-up of Star Wars favorites.
Bill Murray – “Nick the Lounge Singer”
Saturday Night Live has a history of showcasing some of the best in music and pop culture. The show also has a long history of great musical comedy. This audio clip from 1978 captures the Bill Murray as “Nick the Lounge Singer” paying tribute to the Star Wars phenomenon.
Twiddle – Star Wars Theme/Endor Set
At the 2014 Frendly Gathering, Twiddle perched themselves atop tree stands some 15 feet in the air in a set that has since been coined the Endor Set due to it resemblances to the planet Endor’s high-hut housing. The set closed out the festival and included a switch in mid set from Dopopod. Twiddle is notorious for sneaking in a Star Wars theme from time to time as well. They even dressed as Star Wars characters for their 2014 Halloween show. Here’s a look at the boys with a Star Wars homage mid “Tiberius” in November 2014 at the Met in Rhode Island.
Moosebutter – “John Williams is the Man”
Moosebutter is an award-winning comedy a cappella group that hit internet superstar status when their tribute to the Star Wars theme composer John Williams went viral. The video even spawned several video knocks offs, but nobody does it quite like Moosebutter.
Otaku Gang – Life After Death Star (Notorious B.I.G/John Williams Remixes)
The Notorious B.I.G’s Life After Death is deemed by many to be one of the greatest rap albums of all times. Enter Star Wars fan and rapper Richie Branson. He teamed up with producer Solar Slim and the duo (dubbed Otaku Gang) recently released this epic mash-up of Biggie’s raps crossbred with John Williams Star Wars: A New Hope movie score. You can check out the whole album on SoundCloud.
Meco – Star Wars and Other Galactic Funk
Back in 1977, American record producer and musician Meco released a Star Wars-inspired disco record. The space disco version of the Star Wars theme and the album were both certified platinum in the U.S. and included a No. 1 hit on the Billboard Hot 100.
Buffalo and Rochester won’t be short of something amazing to see this holiday season as Borg Party invades both cities just days before the Christmas Holiday. The super group spearheaded by Dopapod’s Rob Compa (guitar) also features Mike Gantzer (Aqueous– guitar), Mikey Carruba (Turkuaz – drums), James Searl (Giant Panda Guerilla Dub Squad – bass) and Willy O’Riley (The Niche – keys). Borg Party will take over Buffalo Iron Works in Buffalo on Dec. 22 before moving to Flour City Station in Rochester on Dec. 23.
The music looks to take on a festive atmosphere with a mix of covers and improvisational rifting. Compa, who grew up in Rochester, told NYS Music that he wanted to create a project that was less about creating something new and more about playing music that is enjoyable. “I was planning on coming home for the week of Christmas to visit my parents, so I figured I would call up some people who’s playing I really love who are from western New York and put together a couple shows just to have some fun and blow off some steam. That is really pretty much the whole point. Every one of the guys doing this with me is one of my favorites on their respective instruments, so I really wanted a chance to play with all of them.”
It’s not the first time that Compa has played with several of the musicians in various incarnations. This summer Dopapod and Aqueous highlighted the Buffalove Music Festival as Aquapod. At Catskill Chill, Dopapod and Turkauz joined forces for the Dopakuaz featuring the music of Studio 54. Gantzer has also made appearances on stage with both Dopapod and Turkauz at various shows in Buffalo.
https://www.youtube.com/watch?v=yr-90SLkSl8
But for Compa, it’s also another opportunity to play with a musician that was an enormous influence on him as a teenager. “I used to go see Willy O’Riley play with his band the Niche when that venue [Flour City Station] was called Milestones,” he noted. “I was young and hungry to play, and was a huge fan of that band. They were incredibly cool to me and would let me sit in with them from time to time at that club. Willy in particular is a huge influence over who I became as a musician, and this will be our first time playing together in that room in almost ten years. I’m really excited to play with him again.”
Borg Party is currently only planned as a two night engagement. Tickets for both shows at Buffalo Iron Works and Flour City Station are currently still available.
American pop-punk superstars Paramore announced through their Facebook page that bassist Jeremy Davis is leaving the band.
The departure leaves singer Hayley Williams as the only remaining original member. The band said they will continue on, despite Davis’ departure.
“We’ve written and re-written this countless times and there’s just not a good way to put it… Jeremy is no longer going to be in the band with us. To be honest, this has been really painful. After taking time to consider how to move forward, we ultimately found that we really do believe Paramore can and should continue on. And so we will.”
This isn’t the first time Jeremy Davis has departed from the band. In late 2004, Davis cited personal reasons when he announced he was quitting the band. Six months later, Paramore asked Davis to return for a stint on the Van’s Warped Tour. In 2010, brothers and founding members Zac and Josh Farro left the band, citing on Josh’s blogger page that they no longer wanted to be a part of a “manufactured product of a major-label.” Those statements later brought to light that the Paramore concept was merely a vehicle for Williams, who was the only member of the band actually signed to Atlantic Records.
Paramore will be looking to replace Davis quickly. Their next live appearance will take place on their four-day music cruise Parahoy, including music from New Found Glory, Chvrches and Lights.
Paramore released its last album, Paramore, in 2014. The single “Ain’t in Fun” became the band’s highest charting U.S. single to date. The song also won Best Rock Song at the 57th Annual Grammy Awards.
The 20-year-old mystery of the identity of a young man known only as “Grateful Doe” has finally been solved. The Virginia Medical Examiner’s office and a representative for the National Missing and Unidentified Persons System (NamUS) confirmed that DNA testing identified the young man who was killed in a car accident in Virginia in 1995 as Jason Patrick Callahan. The two-decade-old case was brought to life again after interest in the story was reignited on social media.
(Left) Photo Reconstruction of “Grateful Doe’ from The National Center for Missing and Exploited Children and (right) photo of Jason Callahan
In June 1995, Callahan went missing after leaving his home in Myrtle Beach, South Carolina, to follow the Grateful Dead. His mother attempted to report him missing, but due to her son’s nomadic intentions, she had trouble filing a missing person’s report with the appropriate jurisdiction.
Callahan was killed along with the vehicle’s driver, Michael Hager, after the car crashed into a pair of trees on U.S. Route 58 West on June 26, 1996. No identification for Callahan was found in the wreckage. Hager’s family were not able to identify the passenger of the vehicle. Two ticket stubs for the Grateful Dead’s two Washington, D.C., shows on June 24 and 25, 1995, were found with his body, leading police to identify Callahan simply as “Grateful Doe.”
The Virginia Department of Health says Callahan died due to acute head trauma suffered in the accident. Images of Callahan could not be released due to the graphic nature of his injuries. This past January, a former roommate of a young man named “Jason” stumbled upon a image of Grateful Doe that had been digitally reconstructed by The National Center for Missing and Exploited Children.
Lesha Johanneck, one of the Grateful Doe page administrators, confirmed to NYS Music that the former roommate contacted their page to share the photos of his friend Jason. The Grateful Doe page is overseen by volunteers who take a personal interest in missing person cases.
The former roommate couldn’t provide Jason’s last name, but did have several photos and details that tied Jason to Myrtle Beach. Johanneck shared the information with the authorities and then began posting the roommate’s photo of Jason in various groups, including ones that were Grateful Dead related.
News outlets in Myrtle Beach began to report the story. After a member of Jason’s family saw the report on a local news station, Jason’s mother posted directly onto the Grateful Doe Facebook page, noting she believed the “Jason” in the photo was her missing son.
Callahan’s mother filed an official missing person report on Jan. 13. After the official report, various agencies began working together to confirm that Grateful Doe was Jason Callahan.
Johanneck told NYS Music that the Grateful Dead community played a large part in helping the leads go viral. “I think they felt close to Grateful Doe since growing up hearing about the case,” she noted. “So many of them remembered and kept the story close to their heart.”
She also noted that it’s important to report missing loved ones or friends as soon as possible, especially after concerts or festivals. “So many of these unidentified persons don’t have a report and that’s why they go unidentified.”
UPDATE: THE NEWS WE HAVE BEEN WAITING FOR!!!! The dna results are back that our Greatful doe is infact Jason Callahan…
Becoming a highly successful jam band is not an easy task. Very few smart, thought-provoking, improvisational rooted groups have found themselves on the path to becoming a top-tier act in the music industry. In a musical world where bands like Phish and the Grateful Dead prove that you can stay true to your artistry and build a fan base, while acts like the Dave Matthews Band and Blues Traveler showcase a more commercial success side, Twiddle seems to be a band that is on everyone’s radar. And their third studio album and second fan-funded record PLUMP Chapter One, a double-disc set, is scheduled for dual releases.
Launched in January of 2015, Twiddle’s dedicated fan base pledged the $20,000 PLUMP Kickstarter goal in less than 24 hours. And even after the goal was reached, backers continued to elect into the campaign’s rewards raising more than $40,000 by the project’s end.
PLUMP–Chapter One is a slightly departed yet highly fulfilling venture for the Vermont-based quartet. The band’s two previous studio albums were mainly composed of clever, intermingled lyrical hooks displaced among lengthy jams and instrumental tracks. The band has stepped away from that style to offer a more developed and produced sound. Only one song on the record clocks in at longer than six minutes. But what the album lacks in extended jam, it succeeds in showcasing Twiddle’s prowess as well-rounded songwriters.
This first installment is overly ripe with earworms and radio friendly pop hooks, none of which should be a surprise to Twiddle fans, as the album contains not one previously unheard tune. If you want to understand why so many new listeners have latched onto the band over recent years, PLUMP–Chapter One exemplifies that attachment at its roots.
Twiddle (L to R) Brook Jordan, Mihali Savoulidis, Ryan Dempsey, Zdenek Gubb
With this selection of songs, Twiddle highlights their socially conscious yet personally hopeful resonance that their followers love. Lyrically, the album is easy to swallow; it’s the tones of personal and social self-discovery that is neither preachy or melancholic. Even in more intense tracks like “Polluted Beauty” and “Indigo Tigger,” deeper, prophetic messages hide among sweet grooves and grunge-inspired edge.
The record’s opening track “Complacent Race” sets the stage for the album’s lyrical flow that reads like a beautifully written manifesto. The song, which has only been played live during a solo performance from lead guitarist and vocalist Mihali Savoulidis, is probably the most ominous of PLUMP–Chapter One’s 11 tracks. Even the initial burst of horns heralds in Savoulidis’ slight contempt, “Drowning in hypocrisy/Doubting our democracy/Still fighting for equality/So you can live the way you please.”
At the album’s most lyrically stern moments, it’s Twiddle’s brand of musical fusion that drives the sheer optimism behind the music. The four-piece outfit masterfully weaves up-tempo reggae fluidity with deep funk-driven bass lines and quirky keys to create the perfect backdrop for their variety of lyrical directness. PLUMP–Chapter One is overflowing with tales of hope, frustration, humanitarian desire and self-awareness. Savoulidis has no problem revealing his life’s truths in songs like “Lost in the Cold,” “Amydst the Myst” or even the well-veiled love song “Five.”
“Lost in the Cold,” a meaningful and personal exorcism, takes on a new life through PLUMP. Lyrically, it’s the courage that comes at the end of hitting rock bottom; Savoulidis perfectly captures what it’s like to be tortured by life’s complexities and the fear of moving beyond them. For fans of the song’s live version, the added horns and sleek production of the track may feel like a slight overreach. But the PLUMP version of “LITC” is a shining example of how Twiddle’s music has the ability to take on a bigger, more complex sound. And it’s more than likely a glimpse into the direction that the band sees its music heading.
“Syncopated Healing,” the band’s upbeat, music-loving anthem, serves as a solicitous reminder that the heart of Twiddle’s music and fanbase is a desire to heal through music. Lyrics like “Relax and dream one day at a time/Let the beauty of the music start to heal your life,” is an example of the mantra-like cadence to which Twiddle excels. Housed right in the middle of the album, the track is a feel-good song that showcases the perfect blend of sing-along lyrics and danceable music. It also holds one of the few illustrations into the band’s jam capability, with a minor but beautifully finished guitar solo from Savoulidis.
Highlighting the album is “Every Soul,” which features Todd Stoops (RAQ, Oktopus). The funky yet seamless track is truly a showpiece for bassist Zdenek Gubb who drives a steady and unstoppable bass line throughout the song that stops only for a musical showdown between Gubb, Stoops and keyboardist Ryan Dempsey. While Stoops lays down his signature sound of wonk and wobble throughout the song, Dempsey counters with classical key work that sounds both studied and whimsical. Behind the kit, drummer Brook Jordan creates a supernatural disco-style rhythm that serves as the foundation for the highly intoxicating and powerful song. It’s a sound that Twiddle explores often in the live improvisational formula, but doesn’t reveal often in the studio form—a sign that the band has plenty of diversity in its arsenal and room to grow musically.
Saxophonist Kenny Brooks (Alphabet Soup, RatDog) makes a guest appearance on “Be There.” The song is an ideal vehicle for Brooks’ warm and charming sound, and the heartfelt track is reminiscent of the vibe created in early Dave Matthews/LeeRoi Moore collaborations. However, the beauty of “Be There” gets slightly lost in its placement, as the tender moment is sandwiched between two of the album’s heavier hitting tracks.
PLUMP–Chapter One reveals much growth for the band. Dempsey places well-manicured piano rifts and keys throughout the album that create a silky, romantic appeal to some of the record’s quieter moments. Without the jam vehicle, Dempsey is forced to use his classical training to make a statement. And Savoulidis makes much better use of his distinctive vocal tone. Unlike the band’s two-disc set Live, recorded from the famed Vermont club Nectar’s, this latest compilation isn’t scattered with unforgiving vocal runs or muffled lyrics. Perhaps it’s merely the growth provided by studio tracking versus the ability to experiment through live performance, or the realization that if you have something worth saying, you probably want to make sure it can be heard. Regardless, Savoulidis hits notes with laser-point precision and delivers lyrics with crystal-clear distinction.
One of the biggest misses for the album is the vocal exploration between Savoulidis and Jordan. Although Jordan has his own vocal vehicle on the folkish “Dusk til Dawn,” there are only minor moments of harmony between the band’s two main vocalists. Jordan’s smooth and milky tone has the opportunity to complement Savoulidis’ smoky and raspier vocal quality. However, even on tracks where harmonies are present like “White Light” and “Polluted Beauty,” the pairing isn’t emphasized enough to truly hear it.
While a track list has yet to be announced for Plump–Chapter Two, it can be expected that the album will drop sometime in spring 2016. And this is leaving online fan groups abuzz with the possibilities. Will Chapter 2 showcase Twiddle’s more instrumental and improvisational side? Will their previously unrecorded jam-worthy songs like “Gatsby the Great” or “Zazu’s Flight” find their way on the second disc? Will they showcase a more playful side through songs like “Cabbage Face,” “Mamunes the Faun” or “Brown Chicken Brown Cow”?
What Plump–Chapter One proves, at least on the surface, is that Twiddle doesn’t want to remain a second-tier festival group. The record’s polished finish is intended to attract listeners that may stumble upon the album, while the songs demonstrate that Twiddle has an ear to create hits that resonate with the community it represents. But as Twiddle continues to find success and its fanbase grows, can the group continue to create music that intrigues new listeners without compromising the band’s musical integrity and its supportive community? Plump seems to be poised to place Twiddle directly in the path to find out.
PLUMP–Chapter One officially drops on iTunes, CD Baby and Spotify Streaming on Dec. 11.
Key Tracks: “Every Soul,” “Lost in the Cold,” “Syncopated Healing”
Buffalo music fans are rejoicing today after news that the popular, free Thursday Central Wharf concert series will be back Canalside next summer. The decision comes after concerns were raised by nearby residents and a controversial vote by the Buffalo Common Council.
The concert series will continue, at least for next summer at the Central Wharf where the series has been held since 2012. Bizjournals.com has reported that Global Spectrum, which manages the Canalside property for the Erie County Harbor Development Council and books the concerts, is already working on landing national acts for the 2016 summer season.
Earlier this fall, residents of the nearby Marine Drive Apartments complained about the noise from the shows and problems related to the large crowds of concertgoers. The Buffalo Common Council agreed with the Marine Drive residents and pushed for the concerts to be moved. The vote caused outrage and appeared to be a hasty decision made based on a small amount of complaints.
Moving the concert series to the city’s Outer Harbor property was suggested, but the move was highly contested by area businesses, mostly bars and restaurants. They argued a moved to the new location would hurt the growth of their businesses as well as the continued development of the Central Wharf property.
The concert series began in 1987 and was held in Buffalo’s Layfette Square. Organizers moved the event in summer 2012 to accommodate the series’ growing success. Past artists have included a variety of acts of musical genres. This past summer featured free music from Umphrey’s McGee, the Mighty Mighty Bosstones, EnVogue, Everclear, Yonder Mountain String Band and the Buffalo Philharmonic Orchestra. This past summer, more than 150,000 people attended one of the free harbor Thursday shows.
Pink Floyd’s Dark Side of the Moon is arguably one of the most technical and well-produced studio albums of all time. Recorded at the famed Abbey Road Studios in London, the sessions involved some of the most advanced recording techniques of the time including multi-track recording and tape loops, all of which are now customary by today’s studio standards. Among its legend is the haunting and eerie synchronous connection with the MGM classic The Wizard of Oz. So when Buffalo based groove rock quartet Aqueous announced it would be Dark Side of the Moon hosting a night dedicated to the cinematic classic during the second night of their homecoming Halloween run, many fans wondered exactly how these two magical worlds would collide.
To the delight of their fans, Aqueous laid out a seamless and perfectly executed second set on Halloween night– Dark Side of the Moon in its entirety, while dressed as the cast of the Wizard of Oz.
It’s was the band’s first foray into a multi-day Halloween run and they tackled two separate themes; Back to the Future on Friday night and The Wizard of Oz for Saturday’s Halloween festivities. The weekend was a hit among the band’s hometown fans, selling out both nights at Buffalo Iron Works. The overall feel of the weekend was just what you would expect -whimsical, magical and strange – and well worth the $20- two day price of admission.
Funktional Flow kicked off both nights with stellar sets. Their brand of funk/rock/reggae fusion feels organic at its best moments. There is almost an underlying Americana folk vibe to their smoothest reggae inspired vibes. Original tunes like “Moonlight Tide” and “Leaving Town” showcased the band’s new direction since the addition of Joey Lewis (guitar) and Matt Lester (keys) this past April. To say that the version of Funktional Flow fans saw this weekend is a vast improvement on its former self in almost an understatement. The line-up addition have the band going in a positive direction musically.
“The type of music we play really calls for the line-up we have now and it has helped us grow exponentially,” noted bassist Ben Whelan. “With the addition of Joey and Matt we truly feel as though we gained brothers not just band mates. It really has been a great time growing with them and having them add their flavor to the mix. It doesn’t always go that way with new additions so we are really blessed in that aspect!”
Their new confidence spilled over into some fun covers including Phish’s “Lizards” and Stevie Wonder’s “Sir Duke”. Funktional Flow closed out their weekend with a stunning rendition of Aqueous’ “Warren in the Window”. Aqueous would later return the favor with a powerful version of “Mulligan’s”, a Funktional Flow fan favorite.
Funktional Flow is slated to release a new full length album this winter. The band looks to tour in support of the new music with a multi-city tour that will take their sound out of Western New York and more towards the Northeast states.
Friday Night’s Aqueous set proved to be the more upbeat of their sets. In true Back to the Future form, they opened the festivities with film’s theme song “The Power of Love” and closed the night with an Aqueo-fied version of the film’s other Huey Lewis and the News tune “Back in Time”. The set was packed full of high energy moments including “”Don’t Do it”, “Strange Times” and “Underlyer” as well as a version of “Aldehyde” complete with a horn section featuring Justin Lackie on saxophone and Pat Allison on Trumpet. In addition, Aqueous pulled out a rare live version of Dr. Brox from the bands 2012 release “Willy is 40”. The evening continued to be full of surprises, as the band teased both the Chordettes classic “Mr. Sandman” as well as Metallica’s “Enter Sandman” before crashing into a fast paced and edgy version of “Origami”. Of course, the band played tribute to the film’s classic school dance musical moment with their own versions of both the Penguin’s “Earth Angel” as well as the Chuck Berry classic “Johnny B. Goode”.
Saturday night, Aqueous brought the best qualities from the Wizard of Oz to the evening. Both the music and the atmosphere were strange and dark with brilliant pops of technicolor whimsy throughout the night. The first set opened with a mash-up style version of the MGM Wizard of Oz intro and Somewhere Over the Rainbow before melding into a more mellow but groovy version of “Kitty Chaser (Explosions in the Sky)’. Aqueous filled the night’s first set with a powerful collection of original material including “Eon Don” “King for a Day” and a non-stop “Complex Pt.1” into “Wandering” into “Complex Pt. 2”. Matt Harris (saxophone) joined the band on stage to a jazzed out version of the Oz classic “If I Only had a Brain.”
As set two loomed, the room was buzzing with rumors that the band might play Dark Side of the Moon. So when the sounds of the albums iconic opening track “Speak to Me” ushered in the second set, the crowd seem to watch in disbelief. Harris returned to the stage for saxophone duty while Funktional Flow’s Joey Lewis came on board for various guitar work. During “Great Gig in the Sky” the crowd was brought to their knees by vocalist Sarah Jane, who’s haunting and perfectly emoted vocals were the highlight of the set. Adding to the ambiance was the incredible lighting from Craig Freudenthal that only elevated the overall experience.
Aqueous returned with a brief encore that included a stunning version of the Elton John classic “Goodbye, Yellow Brick Road” before ending the weekend with “All In”.
Beyond the sheer technical skill and flawless timing, Aqueous executed pure confidence while accomplishing a feat that many musicians simply couldn’t execute. The talent and precision it takes to perform Dark Side in its entirety in real time didn’t go unnoticed or unappreciated by anyone in the attendance. And the stunning part of it was that Aqueous simply made it look easy.
If this weekend’s shows are any indication, the results are proving that Aqueous is poised to be the band to see on next summer’s festival circuit. The addition of Tom Vayo behind the drums has given Aqueous a more polish and precise sound. It appears and sounds like the band has taken the last few months to fit his style neatly into their musical mix.
“Tom has to be one of the most creative, languid, and definitely dynamic drummers I’ve come across- we’ve spent the last few weeks on the road getting to know each other on a deeper level musically (and personal level really), and I don’t think any of us could be more excited about what he’s bringing to the AQ sound,” noted Aqueous guitarist Mike Gantzer.
Gantzer also went on to acknowledge the changes. “The improvising has been getting deeper and deeper, and every night feels like a new adventure. It’s been awesome and I’m excited to see where it’ll go, if it’s that on point in such a short amount of time! Tom’s also an awesome, fun, silly dude and having him around has pushed the fun level over the top too, which is just as important.”
And for Aqueous, the fun part seems to go without saying. This weekend proved that while they take themselves seriously as musicians, they don’t take themselves too seriously. And that’s what Aqueous fans seem to know, the band isn’t just there to make music, they are also there to be part of the fun.
Fans looking to relive the weekend or simply wanting to hear it for the first time are in luck. Dan Brace of Sonic Farms Studios was on hand this weekend to track both Friday and Saturday night.
After returning home from a three week Southeastern run to play Halloween at home, Aqueous jumps back on the road hitting Michigan on November 4th. Their remaining fall dates have them making their way out west to Colorado before heading to the Northeast where they will kick off the new year on January 1st, opening for one night of Twiddle’s three day new year’s run in Burlington, Vermont.
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