Boston-based death-funk trio lespecial released their first, full-length studio album titled Omnisquid on November 20. It invites listeners to follow on a sonic voyage of nautical proportions. lespecial is Luke Bemand (bass, vocals, synth) Rory Dolan (drums, percussion, sampler) and Jonathan Grusauskas (guitar, vocals, sampler, synth).
The album tells a story of extra-terrestrial beings commandeering the minds of giant squids which rise from the ocean to wreak havoc and destruction upon the populace. This storyline plays out through a heavy soundscape with, at times, playful, nautical inspired riffs and beats that make the listener feel like they’re in an underwater dancehall. lespecial has created a world with this album and it’s oceanic inspirations are evident.
The first track on the album, “Fruit Wolf Dance,” opens with a haunting, aquatic groove building into a driving onslaught of the trio’s instrumental talents. This driving force has moments of respite allowing for each instrument to shine yet remain cohesive. Halfway through, the track takes a turn showcasing their electronic sample proficiency with bubble-like pops and the live-trap drumming lespecial has become known for. The live-trap and sample sounds coalesce into the heavier tone found earlier in the song making for a seamless display of the genre bending this band is capable of. Bemand has stated previously that this album is a return to their musical roots, showcasing “a heavier vibe throughout.”
The second number, “Squid Rising,” introduces the listener to the story of the giant squids with noticeable seafaring compositions and Bemand’s thick basslines amidst the recordings of news reports of the squid’s destruction. Following up the tale’s intro is the title track, “Omnisquid,” a frenetic serenade of layered guitar riffs and polyrhythmic drumming. “Optimus Prime Slot” features some industrial-heavy drum programming by fellow Boston-based music-maker, Rob Uslan aka Supersillyus, and make for an excellent juxtapose to Grusauskas’ pinching guitar riffs and eerie vocals.
“Sugaboi” is a jamtronica laden track, again displaying the bands diverse and ample capability of playing different styles which they seem to be poking fun at with the overlay of a recording stating “see there’s some question about my identity/ let me put it to ya this way/ I’m not sure who I am.” Possibly answering that question is the following, “Leaps Evil,” where Dolan’s drumming keeps an excellent, relentless pace amongst Grusauskas’ soaring vocals and Bemand’s standout bass riffs. “Ships in the Night” feels like a reprieve from the repetitive build and crash that previous tracks include, giving way to the album’s first pre-release single, “New Fish.” Sliding bass and a wonky guitar vibe swell to a powerful, double-bass filled barrage fading out unrelenting. Like “Leaps Evil,” “Pressed for Time” conveys lespecial’s distinct command of differentiating time signatures and penchant for high-pitched vocal harmonies.
Closing out the journey is the track “Absolutely Stunning,” recounting a fisherman’s tale of what he may or may not have seen. There’s a very cinematic, “end-of-times” vibe to this track with the addition of a cello arrangement by Julian Lenz. The cello amplifies another build and release to the heaviness that lespecial has been touting the whole album. Whilst weaving a tale of cephalopods taken over by aliens, Omnisquid most definitely exemplifies a return to form of contrasting time signatures and dark, heavy grooves. If you’re in need of a cinematic auditory experience, lespecial’s first full length has it.
All songs on the album were written and performed by lespecial and all tracks recorded and mixed by Andrew Greacen at More Sound Recording Studio in Syracuse, NY except “Ships in the Night,” recorded and mixed at the Music Cellar in Millerton NY, and the Morrison Gallery in Kent, CT. All of the tracks were mastered by Jocko at More Sound Recording Studio in Syracuse, NY.
The “Holidaze” series of festivals has become an annual event that is coveted by both the artists and fans alike. Hosted by the Disco Biscuits and Umphrey’s McGee, Dominican Holidaze 2015 took place in the Dominican Republic at the Breathless Resort and Spa in Punta Cana. For those uninitiated, this is THE premier luxury festival, treating attendees to baller rooms with private jacuzzis, all inclusive food and drinks across multiple restaurants and bars, and an ocean front stage that rages from sunset to 3am for four nights proper. Supporting tDB and UM this year were STS9, Lettuce, Nightmares on Wax, Break Science, Papadosio, Gigamesh, and Lee Foss. In one’s “downtime,” there is still plenty to do: excursions, pool parties, late night dj’s, the sand, sun, and surf. Resort staff genuinely seemed happy to have us there, and as a result, the overall experience was definitely “MAGNIFICO.”
This was my second time attending Holidaze, the last being in 2012 when it was in Cancun and considered “Mayan.” Both were excellent experiences, but it is clear that as time goes on, the Cloud 9 team continues to refine the series. Check-in/out was a breeze, customer service was excellent, and you can tell they want you to get safely from and to your home base. It’s an easy recommendation to make that if the lineup falls within your musical tastes and you don’t hate luxury beach vacations, you have to go at least once. Should these humble words fail to convince, perhaps this photo gallery will do the trick. Enjoy!
Rising folk quartet Darlingside will head to the Northeast this winter, with several dates in New York state.
The indie four-piece is scheduled to play at Daryl’s House in Pawling Jan. 13, Club Helsinki in Hudson Jan. 14, Caffe Lena in Saratoga Springs Jan. 15 and two nights at Rockwood Music Hall’s Stage 2 in New York City on Jan. 16 and 17 before dates in the Midwestern states and West Coast.
The Massachusetts-based band — Don Mitchell (guitar, banjo), Auyon Mukharji (violin, mandolin), Harris Paseltiner (cello, guitar) and David Senft (bass) — met as students at Williams College and have been playing together for six years. Their textured, collective sound is being hailed as unique and genre-fresh by music critics and the like, with much praise being given to the group’s method of performing around a single microphone.
Paseltiner said in a release announcing the dates:
Each song and set of lyrics are created by all of us together, a sort of ‘group stream-of-consciousness.’ So we moved away from a single lead vocalist and started gravitating towards singing in unison, passing the melody around, or harmonizing in four parts through an entire song.”
These additional tour dates are in support of the group’s latest album Birds Say; the 13-track release dropped in September and it is the second album on Nashville company Thirty Tigers, which also manages clients like Jason Isbell and Sturgill Simpson. Darlingside’s extended string of dates come off the heels of a successful fall run, including sharing the bill with Grammy-nominated Patty Griffin. Tickets for all 2016 dates are on sale now through the band’s website. But if you can’t wait until the New Year, Darlingside is booked at Milkboy in Philadelphia this Wednesday.
Rumors have been circulating for years about former Journey frontman Steve Perry’s return to music, especially after several surprise guest appearances with veteran alt-rockers Eels last year. Steve Perry has finally broken his silence, with a call Friday to L.A. classic rock station KSWD. In the interview, Perry reveals that he has been in the studio since March and hopes to have a new album completed for early 2016.
The first public performance in 19 years from one of classic rock’s signature voices was captured in St. Paul, Minnesota and posted to YouTube by an Eels fan. To date, the video has received over 2 million views. Check it out here:
While talk of a Perry reunion with his former bandmates in Journey is premature, in light of last year’s appearances with Eels, current Journey vocalist Arnel Pineda raised eyebrows last year tweeting the following:
@TessSuarez he should come back.his voice us still thrre..missed that voice.
With Perry’s confirmation of new material, fans waiting since his last solo outing, 1994’s For the Love of Strange Medicine, now have something to look forward to for 2016. These fans may have the blossoming friendship between Perry and Eels frontman E (AKA: Mark Oliver Everett) to thank for the reclusive vocalist’s return.
Perry and E are not only occasional stage mates, they have developed a true friendship over the years after being introduced by a mutual friend. E tells the story in a Stereogum interview from May 2014.
Journey, meanwhile, recently announced a summer shed tour with The Doobie Brothers. Syracuse’s Lakeside Amphitheater, as well as Saratoga and Darien Lake, are New York dates for this package tour.
Otherwise drummer Corky Gainsford stated that he will part ways with the band in a video he posted on his Facebook page.
Gainsford cited creative differences and personality conflicts as some of the reasons for stepping down from the band after five years. Gainsford’s last show with Otherwise will be Dec. 26 in the band’s hometown of Las Vegas at the Hard Rock Hotel.
Guitarist Andrew Pugh will also depart and wrap up with the band on Dec. 26.
Some excerpts from Gainsford’s video has been transcribed below:
Whats up everyone? This is Corky Gainsford here. There’s no real easy way to say this so I’m just gonna come out and say it. After five years in Otherwise, it is time for me to move on to the next opportunity in my music career. I don’t know what that next adventure might be; I just know that this is no longer the right place for me anymore. Simply put, artistic differences and personality conflicts in the band have prevented us from being productive creatively, and for the betterment of everybody involved, it’s simply time for us to go our separate ways.
My time in Otherwise has been such a great, crazy whirlwind of an experience. I’ve had so many roles with the band — everything from drummer to songwriter, producer, engineer, tour manager, business manager, merch manager, fix the broken RV or find us a van to get to the next gig on time manager and I’m sure a few other things I’ve forgotten, but really it’s been a great and truly rewarding experience to live out a dream that I worked my entire life towards. So thank you to everyone who has supported us along the way.
I’m gonna continue making music. I will be always making music. It is something that is in my blood, in my bones, in my DNA, and I will never stop making music.
Gainsford also stated in the video that he plans to still show his other artistic side as he will continue to create art on drumheads and cymbals and any other canvas that presents itself. Gainsford went on to say the popularity of his artwork is a blessing and that it’s an outlet that he loves to show that creative side of him.
Gainsford closed out the video by thanking everyone who supported him throughout his career. Gainsford also wished Otherwise nothing but the best moving forward while they work on their third album.
Gainford’s and Pugh’s departure makes the Patrick brothers (Adrian and Ryan) the only two remaining original members left in the band. About a year ago, bassist Vassilios Metropoulos left the band and was replaced by Tony “The Beast” Carboney.
BAND ANNOUNCEMENT:”After 5 years with OTHERWISE, it’s time for me to pursue other opportunities in my music career.”Please see the video for all the details.Thank you, Corky G*
Every music fan has endured the online ticketing rush; when the clock strikes on-sale time, it’s a frustrating game of repeatedly hitting refresh, chancing each click until that next one successfully unfreezes the screen to show items in your cart. But in truth, most concertgoers stick it out to avoid being forced to pay for high-priced resale tickets, or missing out on the show entirely.
While the secondary market has improved with the creation of fan-based campaigns and startups on a mission to embrace the face value, professional ticket brokering is still finding a way to flood the resale market. And New Jersey’s blue-jean boss Bruce Springsteen is the latest artist to fall victim (again) in the never-ending battle against ticket scalping.
Tickets for Springsteen‘s 2016 tour will be released at 10 a.m. today through Ticketmaster and Live Nation, but the New York Timesreported Tuesday that hundreds of seats were already listed by resellers online with single-ticket prices beginning at $5,000.
Thankfully, these eyebrow-raising listings led New York Attorney General Eric Schneiderman to send the involved sites letters that questioned the act of false advertising under state general business law, since sellers could not yet have the tickets in possession.
The NYT also said that the sites in question — StubHub, TicketNetwork, Vivid Seats — either remained confident in their refund policy for invalid tickets or removed listings for concerts in New York until the public on-sale date. Schneiderman’s office called the removal of listings a victory for consumers and pledged to continue to work on the issue.
Springsteen and the E Street Band are set to tour the country, making stops for two nights in New York City (Jan. 24 and 27), Albany (Feb. 8), Buffalo (Feb. 25) and Rochester (Feb. 27). Springsteen is touring in support of the box-set release of “The Ties That Bind: The River Collection,” and this run is a nod to the Boss’ career-making 1980 “The River” tour.
Legendary Stevie Wonder performed to a packed house at Buffalo’s First Niagara Center. The “Songs In The Key of Life” show was a nearly four hour concert to the delight of the crowd.
Updated 3/22/2016: Fans can rush to their computers and grab their single-day tickets for the fourth annual Taste Of Country music festival, now that the festival has released their daily lineups. Friday night’s lineup will be headlined by Kid Rock, with Big & Rich, the Cadillac Three, Jana Kramer and Annie Bosko.
On Saturday, fans can see Kenny Chesney in the closing spot along with Frankie Ballard, Eric Pasley, the Swon Brothers, Old Dominion and William Michael Morgan.
Jake Owen will close out the fourth annual country festival. Joining him on Sunday will be Gary Allan, Chris Janson, Neal McCoy and Outshyne.
Fans attending the festival can head over to the Bud Light Stage and see some of country music’s future artists. Musicians will perform there throughout the weekend: Logan Brill, Amanda Watkins, Dylan Jakobsen, Adley Stump, Keith Walker, Elizabeth Lyons, Jake Worthington and McKenna Faith.
Original article:
For those fans who have been holding out and waiting to buy their tickets for the Taste Of Country Music Festival to announce more artist than the featured headliners, the wait is over. Organizers have announced the artists who will join Kenny Chesney and Jake Owen on a country-packed weekend at Hunter Mountain Ski Resort on June 10-12, 2016.
Just in time for the holidays, fans can now ask their loved ones for some new cowboy boots or a 10-gallon hat so you can line-dance in style with Gary Allen, Big & Rich, Neal McCoy, Frankie Ballard, Eric Paslay, Chris Janson, Old Dominion, The Swon Brothers, Jana Kramer, The Caddillac Three, Outshyne, William Michael Morgan and Annie Bosko.
Gary Allen has been on the country music scene since 1996. His debut album, Used Heart for Sale, is gold certified. Allen’s third studio album, Smoke Rings in the Dark, was his first in three consecutive albums to reach platinum certification.
Allen has released more than 25 singles that have reached Billboard’s Hot Country Songs chart. Eleven of those tracks reached the top 10, with four of those singles reaching No. 1 including “Man to Man” and “Tough Little Man” (2003), “Nothing On but the Radio” (2004), and “Every Storm (Runs Out of Rain)” (2013).
Big & Rich consists of the country music duo Big Kenny and former founder and member of the band Lonestar, John Rich.
Their smash hit “Save a Horse Ride a Cowboy” is certified platinum and has been featured in various TV spots including an episode of Boston Legal, while ESPN used the song in commercials for the 2004 World Series of Poker.
Big & Rich have released five studio albums, with their latest, “Gravity,” being released in 2014. The album was released under the duo’s personal record label. Big & Rich Records.
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”
Amidst a seemingly non-stop tour, Nashville 4-piece psych rockers All Them Witches make a stop at Rochester’s Bug Jar on Saturday night. The band is touring in support of Dying Surfer Meets His Maker, released somewhat appropriately the day before Halloween, and it’s scary good. Dig this video they released for “Dirt Preachers” that looks something from a far dark corner of the Adventure Time universe. Then come dig them live on Saturday night.
It’s a full bill of quality rock jams, with Rochester’s own King Buffalo getting the night started at 9pm, followed by New Madrid out of Athens, GA. As if that weren’t enough to sate your heavy riff fix, DJ Professor will be spinning more stoner rock before, after and in between sets.
It’s all going down this Saturday, December 12 at the Bug Jar. Tickets are available now at their site for $10, with prices increasing at the door to $12 for the over crowd and $14 for the younger set.