Category: Genres

  • Ex-Wife and Children of Scott Weiland Pen Open Letter Asking Not to ‘Glorify This Tragedy’

    Former Stone Temple Pilots and Velvet Revolver vocalist Scott Weiland was found dead on his tour bus in Bloomington, Minnesota the night of Dec. 3. Subsequent investigation revealed small amounts of cocaine in the room where he was found and elsewhere on the bus.

    Weiland’s second wife, Mary Forsberg Weiland, the mother of their two children, Noah and Lucy, wrote an open letter that was printed in Rolling Stone this week. In it, she pleads with readers not to glorify Weiland’s death.

    scott weiland

    In her letter, she describes Weiland’s absence in their children’s lives, blaming the drug use and celebrity lifestyle. Her final plea: “Skip the depressing T-shirt with 1967-2015 on it – use the money to take a kid to a ballgame or out for ice cream.”

    She writes:

    December 3rd, 2015 is not the day Scott Weiland died. It is the official day the public will use to mourn him, and it was the last day he could be propped up in front of a microphone for the financial benefit or enjoyment of others. The outpouring of condolences and prayers offered to our children, Noah and Lucy, has been overwhelming, appreciated and even comforting. But the truth is, like so many other kids, they lost their father years ago. What they truly lost on December 3rd was hope.

    We don’t want to downplay Scott’s amazing talent, presence or his ability to light up any stage with brilliant electricity. So many people have been gracious enough to praise his gift. The music is here to stay. But at some point, someone needs to step up and point out that yes, this will happen again – because as a society we almost encourage it. We read awful show reviews, watch videos of artists falling down, unable to recall their lyrics streaming on a teleprompter just a few feet away. And then we click “add to cart” because what actually belongs in a hospital is now considered art.

    Many of these artists have children. Children with tears in their eyes, experiencing panic because their cries go unheard. You might ask, “How were we to know? We read that he loved spending time with his children and that he’d been drug-free for years!” In reality, what you didn’t want to acknowledge was a paranoid man who couldn’t remember his own lyrics and who was only photographed with his children a handful of times in 15 years of fatherhood. I’ve always wanted to share more than anyone was comfortable with. When writing a book years ago, it pained me to sometimes gloss over so much grief and struggle, but I did what I thought was best for Noah and Lucy. I knew they would one day see and feel everything that I’d been trying to shield them from, and that they’d eventually be brave enough to say, “That mess was our father. We loved him, but a deep-rooted mix of love and disappointment made up the majority of our relationship with him.”

    Even after Scott and I split up, I spent countless hours trying to calm his paranoid fits, pushing him into the shower and filling him with coffee, just so that I could drop him into the audience at Noah’s talent show, or Lucy’s musical. Those short encounters were my attempts at giving the kids a feeling of normalcy with their dad. But anything longer would often turn into something scary and uncomfortable for them. Spending so many years immersed in Scott’s multiple illnesses led to my own depression; at one point, I was misdiagnosed as bipolar. I feared the same would happen to the children. There were times that Child Protective Services did not allow him to to be alone with them.

    When Scott did move on to another relationship, I hoped it would inspire him to grow. I had often encouraged him to date a “normal” girl, a woman who was also a mother, someone who had the energy that I no longer had to love him. Instead, when he remarried, the children were replaced. They were not invited to his wedding; child support checks often never arrived. Our once sweet Catholic boy refused to watch the kids participate in Christmas Eve plays because he was now an atheist. They have never set foot into his house, and they can’t remember the last time they saw him on a Father’s Day. I don’t share this with you to cast judgment, I do so because you most likely know at least one child in the same shoes. If you do, please acknowledge them and their experience. Offer to accompany them to the father-daughter dance, or teach them to throw a football. Even the bravest girl or boy will refrain from asking for something like that; they may be ashamed, or not want to inconvenience you. Just offer – or even insist if you have to.

    This is the final step in our long goodbye to Scott. Even though I felt we had no other choice, maybe we never should have let him go. Or maybe these last few years of separation were his parting gift to us – the only way he could think to soften what he knew would one day crush us deep into our souls. Over the last few years, I could hear his sadness and confusion when he’d call me late into the night, often crying about his inability to separate himself from negative people and bad choices. I won’t say he can rest now, or that he’s in a better place. He belongs with his children barbecuing in the backyard and waiting for a Notre Dame game to come on. We are angry and sad about this loss, but we are most devastated that he chose to give up.

    Noah and Lucy never sought perfection from their dad. They just kept hoping for a little effort. If you’re a parent not giving your best effort, all anyone asks is that you try just a little harder and don’t give up. Progress, not perfection, is what your children are praying for. Our hope for Scott has died, but there is still hope for others. Let’s choose to make this the first time we don’t glorify this tragedy with talk of rock and roll and the demons that, by the way, don’t have to come with it. Skip the depressing T-shirt with 1967-2015 on it – use the money to take a kid to a ballgame or out for ice cream.

  • Hearing Aide: Twiddle ‘PLUMP–Chapter One’

    twiddleplumpBecoming 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, PLUMPChapter One exemplifies that attachment at its roots.

    Twiddle ( L to R) Brook Jordan, Mihali Savoulidis, Ryan Dempsey, Zdenek Gubb
    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.”

    https://soundcloud.com/twiddlemusic/twiddle-lost-in-the-cold

    “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.

    PLUMPChapter One officially drops on iTunes, CD Baby and Spotify Streaming on Dec. 11.

    Key Tracks: “Every Soul,” “Lost in the Cold,” “Syncopated Healing”

  • See All Them Witches at the Bug Jar On Saturday

    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.

    All Them Witches Bug JarIt’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.

  • Whole Lotta Love for Elise Testone in Providence

    Elise Testone brought her All Star Tribute to Led Zeppelin to The Spot Underground in Providence, Rhode Island on Friday, Dec. 4. Rhode Island band Sgt. Baker and the Clones opened for her, and Breakfast for the Boys from New Paltz closed out the night.elise testone

    The Spot Underground, now in its third location in Providence, features two stages. Sgt. Baker and the Clones took the stage in the smaller room around 9:20 p.m. Their sound is ’90s grunge meets rockabilly and country. The band consists of three guitarists, two on acoustic; a bassist; and a drummer. The crowd was still filing in throughout their set. They opened with “Stick Fishin’,” which features quotes from The Beatles’ “Cry Baby Cry” outro. This was followed up by a cover of Robert Cray‘s “Phone Booth,” which brought some energy to the crowd as folks started dancing. A country influence could be heard in the slower “Flesh Puppets.” They also played a few more covers, including Mars Volta’s “The Widow” and Cold War Kids’ “We Used to Vacation.” The latter featured additional vocals from local singer/songwriter Nate Cozzolino. They closed out their set with a raunchy cover of “I Will Survive,” played in a similar vein to Cake’s version with some altered lyrics. The lead guitarist played a really nice solo before the band finished the song to end their set. The highlight of the set was “Pigs,” which featured some fun animal sounds from Baker to start. While a bit rough around the edges, the set was enjoyable for all the smiling faces in the room.

    Testone’s set was delayed a bit. To keep the fans happy, Cozzolino, who is also the venue’s cook, played a short set with Mike Baker, aka Sgt. Baker, on djembe. His set started with a cover of Sublime’s “Badfish.” He then played through a handful of originals to a small crowd eager to hear Elise Testone and her tribute to Led Zeppelin.

    Elise Testone and her all-star tribute to Led Zeppelin took the main stage around 11 p.m. The band consisted of Todd Stoops (RAQ) on keyboards and backup vocals, Michelangelo Carubba (Turkuaz) on drums, Danny Mayer (Alan Evans Trio) on guitar, and Jed Lingat (Timothy Bloom) on bass. Testone, of course, handled the lead vocals. They opened their set with “Black Dog.” It took a little bit for the crowd to really get into it, but when the opening notes to “When the Levee Breaks” were played everyone was pulled in. The set ran through 19 of Led Zeppelin’s more notable songs. “Trampled Under Foot” featured a short, but fun keyboard solo from Stoops. “No Quarter,” one of the highlights of the night, saw an unexpected piano solo, one of the few moments the band took some creative license with the music. This was followed by two of the other highlights of the night, “Kashmir” and “Nobody’s Fault by Mine,” which featured excellent keyboard and guitar solos. “Fool in the Rain,” while a bit rough, was one of the crowd favorites of the night. The entire venue was dancing along. “Heartbreaker” was played without the expected segue into “Living Loving Maid.” Carubba played a solid solo in “Moby Dick,” and his perfect keeping of the beat held the band together throughout the night.

    The set ended with “Since I’ve Been Loving You,” an odd choice given slower tempo. They came back out to encore with “Rock and Roll.” The one other highlight of the night was “Over the Hills and Far Away,” which featured some nice interplay between the guitar and keyboards during a short jam. The crowd was quite pleased with the two hour set. The band was tight and well-rehearsed. Testone’s vocals, while not completely appropriate as a Robert Plant replacement, handled the songs as though they were written for her. If any criticism is to be made, it’s that they simply covered the songs as Led Zeppelin would have played them. With a band of such talented musicians, it would be nice to see them use some creativity in the future, making the songs more their own and fitting them better to Testone’s voice.

    Breakfast for the Boys played a late night set in the smaller room. Their female-led soul closed out the night as the crowd slowly dwindled. Their sound can be compared to that of Lake Street Dive.

    All in all, it was a great night of music in Providence. The Spot’s new location isn’t the most ideal, though the larger room has great sound, which might be better than their previous locations. If you have the chance to see Elise Testone doing any type of show, don’t hesitate. Her voice is fabulous and quite adaptable to many different genres and styles of music.

    Elise Testone will be playing with her All-Star Band on Thursday, Dec. 17 at The Hollow Bar in Albany at 9 p.m. Brian LaPoint and the Joints are the supporting act. Tickets are currently available.

  • Leftover Salmon and Jeff Austin at the Boulder Theater, November 27-28

    While much of the country was figuring out how to dish up Thanksgiving leftover turkey, Leftover Salmon served up two steamy nights of tasty bluegrass licks at the Boulder Theater. The six-man band, celebrating 25 years of music, joined forces with the Jeff Austin Band for a two-night run that allowed Colorado music fans to quickly forget the remaining helpings of turkey sandwiches and soup. Both nights Leftover Salmon jammed two sets of their polytechnic Cajun bluegrass for three hours. The second set of night one included a full helping of their album the Aquatic Hitchhiker followed by energetic covers of Bob Dylan and Jimi Hendrix.

    leftover salmon jeff austin

    Jeff Austin’s group of melody makers started each night with lively improvisational sets that turned Black Friday shopping stampedes into golden foot-stomping jamborees. Early in night two, Jeff Austin joined Leftover for a breathless series of tunes rivaling any jams on the live music scene. The weekend celebration was a hootin’, hollerin’, holiday hoedown.

  • Hearing Aide: The Turnpike Troubadours Self-Titled Album

    The Turnpike Troubadours, hailing from middle America (Tahlequah, OK, to be exact), offer listeners genuine heartfelt lyrics over the backdrop of perfectly balanced old-timey, twangy instruments that are heavy on the fiddle and pedal steel guitar. This band epitomizes Americana music at its best, which at times is reminiscent of the Avett Brothers and Robert Earl Keen, and while this style might not be a favorited genre amongst music fans, the Turnpike Troubadours just might help the category gain a few converts.

    Comprised of lead singer/guitarist/songwriter Evan Felker, bassist R.C. Edwards, fiddler Kyle Nix, pedal steel and electric guitarist Ryan Engleman and drummer Gabe Pearson, the Turnpike Troubadours’ self-titled fourth album pulls listeners in right from the first track with the five-member outfit’s driving beats and Midwestern drawl. Each member of the band is individually talented, but when joined together to perform as a group, they create a sonic vibe that is uniquely all their own with country-rock and roots characteristics.

    Amy Lieberman - Turnpike Troubadours (2)

    The 12-track Turnpike Troubadours has an organic sound, with the band basically recording until they got it right. Listening to the album makes you feel like you’re at a barn dance in rural America, particularly on a couple of tunes, including “Easton and Main” and “7 Oaks,” during which one can practically picture a country line dance happening.

    Although the tunes may have an uplifting and catchy sound, if listened to carefully many of the lyrics are a bit dismal, particularly on “Fall Out of Love,” which will really hit a nerve with those who have experienced such a situation. Perhaps the most appealing element of the album is that the songs make the band members seem accessible and real, spinning tales that are universally applicable and played over melodies and rhythms that are easy to get into.

    Formed in 2005, the Turnpike Troubadours have gained quite the following over the years, commonly drawing thousands of people to shows in their home state and nearby Texas. Hopefully they will bring the party to New York State, because it would be hard to picture having a bad time at one of their shows, but for now, you’ll just have to settle for their latest album.

    Key Tracks: “7 Oaks,” “The Bird Hunter,” “Fall Out of Love”

  • Party Tube Presents “A Very Burghy Christmas”

    Party Tube from Plattsburgh has a new holiday tune for this season, a fun and cynical look at the doom and gloom that Christmas brings to some in the North Country of NY. “A Very Burghy Christmas” was written by Kevin Lewis (guitar, vocals) alongside Sean Godreau (bass, percussion) and Justin Schultz  (guitar, percussion, vocals).

    Party Tube formed in 2014 on the shore of Lake Champlain and have quickly become a North Country mainstay. The group plans on hitting the studio to work on their debut album in early 2016. Download the track here.

  • Disturbed Premieres Video for Simon and Garfunkel cover

    Disturbed has released the third music video off their sixth studio album, Immortalized. The leviathan that is Disturbed has released their cover of the Simon & Garfunkel classic “The Sound of Silence.” Disturbed premiered the new music video on Yahoo. It’s the second music video Disturbed has released in less than three weeks.

    Disturbed’s arrangement puts a more powerful take on the classic original.

    Directed by Matt Mahurin, the video starts with what looks like a landfill for musical instruments. Broken piano keys on fire lead into a close up of frontman David Draiman as he starts to sing the first verse. Draiman does an amazing job as he tests his own vocal capabilities and takes himself out of his own comfort zone to sing the classic track.

    Immortalized is the band’s fifth consecutive studio album to debut at No. 1 on the Billboard charts. Metallica is the only other band in the rock/metal genre who can claim that achievement. Immortalized has already saw two No. 1 singles released from the album: in “The Vengeful One” and “The Light.”

    Disturbed will hit the road and tour for the first time in more than four years in 2016. The band will play its first show in 2016 at the Prairie Capitol Convention Center in Springfield, Illinois on Jan. 14, and close the first half of the 2016 calendar at the 10th anniversary one of biggest rock festivals of the year at Rock on the Range in Columbus, Ohio on May 20. Disturbed will also headline other majors rock festivals including Fort Rock and Welcome to Rockville in Florida and Carolina Rebellion in Charlotte.

  • Recap: Space Carnival and Lucid at The Hollow, December 4

    As the year begins to draw to a close, local and regional acts may stick closer to home, bringing out friends and fans to end of the year celebrations and final shows before a break around the holidays. December in Upstate New York in particular leads to a great number of bands playing club shows for one last hurrah before starting anew in January.

    Starting out this evening was Space Carnival, a four piece band from Oneonta. With a flowing vibe through their set and command of the audience’s energy, they wove in and out of originals and covers with smooth transitions and improvisation with a balanced approach. Opening with a flowing and spacey “2001”, the segue into original “Filth” made it tough to discern where “2001” began and “Filth” began, as the songs crossed over musically with finesse. Bassist Chris Meier is a next generation Jesse Miller (Lotus) even though he admits to not having drawn any influence from him; the high pluck of his bass marked the start of a transition into four-on-the-floor dance propulsion at multiple occurrances throughout the set

    “Uh Oh I Slipped My Disco” found guitarist Jeremy Kraus and keyboardist Cameron Fitch syncing up for a deep groove that transitioned smoothly into “Shakedown Street”, a choice cover on the 50th anniversary of the first ever Grateful Dead show. “Moonboots” had a feel of Ominous Seapods mixed with a dash of Disco Biscuits as they shifted seamlessly into progressive sections. “Entre the Giants” features a Talking Heads vibe, which aided in the build towards the Heads’ “Stay Hungry”, where Meier set the tone with assurance, Kraus dropped an “Inspector Gadget” tease, with various eruptions out of each shift, using the bursts of energy towards a strong build. With an IndieGoGo campaign for their first studio album, Space Carnival is an exciting live show from start to finish.

    Setlist: 2001 -> Filth, Uh Oh I Slipped My Disco > Shakedown Street > Moonboots, Entre the Giants > Stay Hungry > Regal Krad

    Kings of the North Country, Lucid, gave The Hollow crowd two musical cornucopia sets that covered all the bases of blues, rock, jam, soul and funk. “Bangers and Hash” kicked the night off with speedy soul and dips of reggae, followed by “San Pedro,” with Lowell Wurster’s vocals driven in step by the beat from the wooden blocks. Meadow Eliz, who has performed with Lucid on a few occasions, and is quite an accomplished artist, joined the group for a pair of songs, “Despots” and “Gemini Eye,” adding quite impressive vocals to familiar tunes.

    “Po Man’s Blues” kicked off Set 2 and things kept rocking with “Blessed and Cursed” and the fan favorite “Whisky Dreams.” A cover of the Clash’s “Clampdown” took a few by surprise, while “Dirt”, off their latest album of the same name balanced out the Brit Rock. Among the many highlights in this set was the stand out performance of “Silhouettes,” featuring Jamie Armstrong on saxaphone, a full rocker with strong keys. Bassist Chris Shacklett took to the mic for the penultimate song of the evening, the always enjoyable “Debra,” with Chris hitting every high note seemingly effortlessly. There was little left to ask for on this incredible evening of music from New York bands both new and old.

    Set 1: 4 Bangers and Hash, San Pedro, Miles Deep, Psychedelic Circus, Lucky Dice, Mind Trippin, Despots*, Gemini Eye* > Ancient Incantations, Ground on up, Whoa Mamma, On My Knees

    Set 2: Po Man’s Blues, Blessed and Cursed, Whiskey Dreams, Black Smoke, Clampdown (Clash Cover), Dirt, Came and Went > Silhouettes, Boats, Backwoods, ***Debra (Beck Cover), Crazy Fucked up World***
    * with Meadow Eliz

  • Hearing Aide: Kimberly Schad “Mystic Kingdom”

    Kimberly Schad debuted her new self-produced, four-song EP, Mystic Kingdom, Friday evening at The Palace Theater, bookending her eighteen song set with the tracks from the new release. In this case I saw the concert before listening to the EP, it gave insight to the formal version and how Kimberly sees the music in a bigger picture.

    Kimberly Schad Mystic Kingdom
    Photo by Sandra Jackson for Sublunar Studios and NYS Music

    She is an artist who has complete control over her music and how it’s presented. In the studio she handles all facets of the project, from vocals, piano, keys, to programming, mixing and producing, besides one tasty guitar track on “Secret” from Kevin Farrell (Hard Promises, The Hurricanes). Live, the lush stage production and instrumental ensemble represent her complete vision.

    Her backing band consisted of her long-time partner Will Masiclat – keyboards, sampling and video, Travis Reed – piano, Andrew Greacen – guitar, Jim Lucas – drums and Gary Lucas – percussion. All of this tied together with her father, Tim Schad, mixing F.O.H. and her uncle, Steve Schad, as L.D.. The stage was set with flowing white drapes, an elevated, spinning riser at the center with an antique chaise lounge and access ramps on each side dressed in white. Dozens of moving light fixtures cast their colors in dramatic scenes accentuating the setting combined with a rich, full mix of ear candy for the highly receptive crowd that assembled. All of the songs performed were Kimberly’s compositions with the exception of four covers that will be noted along the way.

    Kimberly Schad Mystic Kingdom
    Photo by Sandra Jackson for Sublunar Studios and NYS Music

    The show and EP opener, “Secret” has a Spanish note and feel, brought to bear through the acoustic performed by Andrew Greacen and the drums/percussion/sampling. Her vocal reading gives many hints at what was to come from her in both the concert and the EP. She has a tremendous grasp on what she feels, believes and practices. “After Midnight” is deep and proggy, while flexing her R&B and trip-hop chops. The breadth of Kimberly’s lyrical content becomes evident even more here, as she often does, speaking from her soul, deeply.

    “Dirty/Money” features the piano of Travis Reed, a voice we’d hear from often through the show, a brilliant young talent who played as if he wrote the material. A deft touch with ease and a knack for the open spaces. Kimberly mixes in a taste of Drake’s “Star 67”, the code on your phone used to block your number when dialing someone. Stalker? Joker? You decide. The next song is one I’ve been told the background story for and it has twisted my listening a bit since. “Nothing But a Bitch” is a biting send-off to emotional attachment delivered with an appropriate bitch-slap. “Where R U Now?” was the first cover of the evening, the Skrillex/Diplo collab. featuring Justin Bieber is given a fittingly electro-pop read and hits right in her sweet spot.

    Following a costume change, Kimberly took to the piano, solo, where her art truly comes from. Hitting on yet another mark of professionalism, that being the whole picture, the aesthetic, were well looked after. “Afterglow Confessions” is a post-show expression of love and emotion toward her muse. These moments directly after baring your soul to an audience can be some of the most reflective to an artist. One of the highlights of a show filled with them, this one stands out clearly. Travis took the stage again for Stevie Wonder’s masterpiece, “All Is Fair In Love” with more than a hint of Jennifer Hudson’s take on it. Immaculately executed, Kimberly’s voice and Travis’ piano brought the crowd to a height of exuberance, it was simply brilliant. “Look Outside” and “Twice,” a Little Dragon cover, stayed in the piano/voice form, lending clarity to the vocals and space to the piano, both flourishing within it.

    “When I Think Of You,” “Might As Well Be Magic,” and “Solid Ground,” all being from Kimberly’s deep repertoire, grow and develop with time and perspective. They’re reflective of her maturing as an artist and a person, it’s remarkable to behold. “Two Weeks,” the final cover of the night, this time by FKA twigs, is emblematic of where she is now. Dream Pop, Trip-Hop, Prog R&B, Trap Nouveau, way too many different influences to pin-point, which is probably thee point.

    “Fly” and “See Your Face” lead us to the final two songs of the night expressing more themes from her life. She exhibits her behind the scenes skills in tracking, sampling and triggers that become pillars of her compositions. It shows in every note. “One More Time” marks Greacen’s chance to bring his electric guitar to the ensemble, he does it well, perhaps a bit under the mix, but layering textures is what it’s all about. I’d like to hear more of him. The closer, “Mystic Kingdom”, is a signature piece that is perfect in its placement and character. It sums up much of what the performance was about and what we have to look forward to from Ms. Schad.

    While Mystic Kingdom is Kimberly’s first officially released EP, it’s apparent that there is much more to be heard from her. She has plenty of material for two full length albums and her skills as a writer, performer, producer and engineer are growing in giant steps. Her consciousness toward the larger picture and vision are strengths many will never enjoy. At twenty-six, she has a very long way to go and all of the faculties to get her there. Congratulations on the magnificent work and we cannot wait to hear and see what comes next.

    The EP is available for purchase on iTunes and CDbaby and can be streamed on Spotify.

    Setlist: Secret, After Midnight, Dirty/ Money, Nothing But A Bitch, Where R U Now? (Skrillex/Diplo), Afterglow Confessions, All Is Fair In Love (Wonder), Look Outside, Twice (Little Dragon), When I Think Of You, Might As Well Be Magic, Solid Ground, Two Weeks (FKA twigs), Fly, See Your Face, One More Time, Mystic Kingdom

    You can see many videos of the songs performed in earlier concerts on Kimberly’s Youtube page, and keep up with her on her website, Facebook and Twitter.