NAP is a three piece, post-punk New York City band. With Pat Glass on drums, Nate Cepis on guitar and vocals, and Andy Cush on bass and lead vocals, they have a dynamic unlike anything else. The first time I saw NAP play was when they formed two years ago and their intensity pulled me in instantly. I remember how refreshing it felt to be hooked on a band so quickly.
On Friday, December 11th, I watched the trio perform at Palisades in Brooklyn and they delivered yet again. It was sweaty, loud, and absolutely intoxicating. Their stage presence was captivating; dead eyes, screaming vocals, and head banging fit seamlessly with their perfectly simple lyrics. At a NAP show everything comes together and makes you want to drink cheap beer and party. What more could you ask for from live music?
New York City is a sea of young musicians making their presence known and voices heard. NAP’s raw performance style and unconventional sound genuinely sets them apart from the rest.
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.
Johnny Cummings (JC) is a singer/songwriter and multi-instrumentalist based in Rochester. You may know him from bands like Jet Black Berries, My Plastic Sun and cover-monsters Something Else, here he takes on the task of being a solo artist with Radiate. It reflects the depth of his contributions to the aforementioned bands and stretches the definition of what pop or power pop can be. While waiting for the release of Radiate, it was necessary to quell my exuberance over it after having the material for a few months. It’ll be good to revisit and expound on it.
Cummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.
The opener, “Missing Pieces” (JC/Wiktorski/Polizzi) is an impressive starter, it’s uplifting with its big choral backing vocals in the choruses, positive message and brilliant read. It’s almost as if Cummings is checking off a “to-do” list of styles beginning here. If you aren’t swept away at the first chorus, it isn’t loud enough. “Chemical Love” (JC/Netsky) has a familiar melody faintly, “She’s Come Undone” maybe, regardless, he takes a big swing with the horns pushing along the sharp rhythm section. The samba feel relates right to the topic, lyrically he takes the direct approach and you can almost envision the movie scene, he’s visual that way. JC takes to the piano on “Imperfectly Perfect” (JC/Vainberg) and gives one of his strengths, a masterful love song that just reaches you in the chest. The slowly built background keys and voices crescendo to a whispered end, the rich quality of Delmonico’s cello combined with Cummings’ authentic vocalization make the song reflective of its title, without imperfection.
The ukulele makes its first appearance in “My Girl (Autumn Rose)” (JC), while it leaves a Hawaiian taste, the song is a straight-up beach-blanket rocker, in black and white. It has a rockabilly jump and a love crazed jive. His strength of conviction doesn’t wave and he surely isn’t afraid to express conviction.
“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.
“Best Of Days” (JC/Fink) is a power-pop crusher, it finds the most in every moment and lesson. From the first chorus on Michael Lasaponara has a gleaming stage with big guitars, keys and voice being paced by his big beat. He jumps all over it in the outro and by then it’s like a train. It’s reflective, it’s positive, it’s pragmatic and still joyous. Back to the piano for the intro of ‘Halo’ (JC/Fink), and JC is taking you to church. Elements are introduced gently, but that’s the hook, there’s a fateful hymn voiced triumphantly. It suddenly becomes evident that rebirth is a part of loss, the cello and slide exhibiting how each can trigger a feeling or depth thereof. The choir of vocals takes us home. It’s majestic and just as soon as it peaks, it softly and thoughtfully closes. “Beautiful Low” (JC/Fink) is JC’s absolute sweet spot, smart modern-rock with a twist in the brilliantly simple lyric. It’s anthemic, it’s a call to arms and a voice of experience. Cummings has a masters degree in pop and this one drives on the bottom end, the hook is endless and the melody will give you an ear worm for days. Promise. The closer, “Radiate” (JC/Fink) is ready-for-video treatment, it has all of the pieces, a soulful vocal, perfect structure, the rises and falls build with each change. It takes a victorious stance and assumes the last chapter is relatable on multiple levels, it is, or at least I read it that way. This is true as part of his storytelling throughout Radiate, the writing is thoughtful and relatable, the musicianship is top shelf and the production is brilliant.
Cummings’ masterful wordsmanship and musical dexterity combine to make a literal hit machine! His songs are voiced with such clarity that his deftly oblique lyrics are immediately relatable to all, impossible for many writers, seemingly second nature to him, astonishing to a careful ear. I’ve experienced very few songwriters with the depth of talent he exhibits, anywhere, anytime, anyone. Besides, who the hell else is going to get you to dance with a ukulele in his hands?
Milking Diamonds is an indie/alternative duo formed in 2007 by husband and wife team: Katherine Scholl, vox/keys, and Sam French Jr., vox/guitar. Their new EP, Migratorius follows up their debut release, 2009’s SAMMY nominated Surface When It’s Clear. Migratorius was recorded at WAAV Studios in Syracuse and mastered by the magic hands and ears of Jocko (Jason Randall) at More Sound Recording Studio, also in Syracuse.
Their Bandcamp page reminded me of a genre-splitting name from the nineties, dream pop. I discounted it at the time because it was always coat-tailed with shoegazer, to me that wasn’t a match. Dream pop works well when you have a duo creating sounds like these. There’s a distinctly atmospheric feel that runs through all of it, counterpoint with guitars, keys, and voices, all leaning on the “echo” modulations and layers.
“Obvious” opens with a staccato guitar line that quickly takes the role of a beating heart in a “new love” song that won’t say the word. Katherine and Sam’s voices fit so well together, it’s almost as if she’s telling the story and he’s following her lead, just slightly behind. It’s wonderful. Katherine’s voice is ethereal and emotive while Sam’s is rich and strong like so many new romantics were. While the couple chooses a “wait and see” attitude against the majority, they’re allowing time to grow and seem quite happy in doing it their own way.
Sam takes the vocal lead on ‘The Sway” setting another clear path, it’s somewhat Bryan Ferry with splashes of New Order or Interpol. The airy space given to the vocals here is amplified by the sustaining guitar lines, each reaching out only slightly, just enough to accent until the build at the end. Very impressive. The keys do a lot of the heavy-lifting overall, providing beats, textures, and some bass, definitely adequate considering the vocal leanings and melodic richness of the songs.
“Scars” may be my favorite track, it’s focused and well mixed, the call/response vocals are almost like Kate Bush with The Edge riffing behind. The keys fill and lift the harmonies in a way that makes the listener question the number of musicians contributing to the whole. Katherine’s voice soars on the orchestral string sounds while Sam counterpoints the melody on the guitar and harmonizes through the swelling close.
The penultimate song, ‘Tracks,” embodies the statements — “Dream pop tends to focus on textures and moods rather than propulsive rock riffs” in the view of Simon Reynolds, dream pop, “celebrates rapturous and transcendent experiences, often using druggy and mystical imagery.” This is anthemic to Milking Diamonds throughout this EP and even their previous release. Especially here with the upbeat drum pattern and Sam’s guitar seamlessly switching moods for Katherine’s poppy reading.
With the flair of The Raveonettes and White Stripes, “Human Cannonball” is relentless in its beat and topic, railing against the norm while establishing their realities. It yearns and strives for more, from here it seems there could be a long way to go for them. You can feel the heart of the songs, while each has a level of familiarity, they also possess individuality while leaving room for listeners to relate.
The many strengths of Milking Diamonds are evident, their style is ear-candy to any lover of 80s and 90s post-punk romantics and more. While the drum programming provided in the keyboards works, it would be remarkable to hear these tracks pushed by a live rhythm section. You can see, hear and buy music from Milking Diamonds on their Facebook page, Twitter, CDBaby, and their aforementioned Bandcamp page. Give ‘em a spin and check ‘em live, my plan is to do the same.
On Sunday, August 2, Darien Lake Performing Arts Center was once again host to another great summer tour. The show was the co-headlining tour with the Deftones and Incubus. With a late start time, concert goers had plenty of time to enjoy the nice day and it’s safe to assume many of those people spent it inside the theme park.
Shortly after 5 p.m., the parking lot to the theme park was a sea of cars and the concert parking was already getting filled. The time for doors was delayed for a short period of time while the stage crew scrambled to get the production all set for the show. Once the doors opened, the opening band called The Bots took the stage. It’s not often that a “band” consists of just two members but that’s what The Bots are. The duo is formed by brothers Mikaiah Lei and Anaiah Lei who are from Los Angeles. These youngsters didn’t care if the seats were filled inside or not because they absolutely rocked it. Their “garage punk” style is one that will most likely take them on many more tours in the near future.
After a short stage tear-down the Deftones were next to take the stage. It was a mystery before the show who would close the night out because it could have easily been either the Deftones or Incubus. Opening their set with “Diamond Eyes,” off their 2010 release Diamond Eyes, the Deftones set the vibe for the rest of the show. There’s not many bands that have a distinct sound like the Deftones do. From the slow, chunky, low toned riffs of Stephen Carpenter to the melodic vocals and screams of Chino Moreno, it’s easy to identify the Deftones.
The band mixed up their set throughout the night playing songs off of seven different albums. It was a great mix of music jumping around from their oldest to their “newest” material. The reason for newest being in quotations is that the Deftones have a new album coming out in September. As of right now, there’s not album title but the rest of the album is completed. New material off this upcoming album was not played at all but that didn’t come as a surprise, as Chino made it clear recently that fans wouldn’t be hearing anything new on this tour. The crowd was certainly mixed with fans of both the Deftones and Incubus, but the Deftones were welcomed by everyone. From the girl in the front row screaming, “Chino, I love you”, to the back of the seats where a group held up a flag with the album White Pony, the Deftones got everyone’s support.
After a set that seemed to end too soon for Deftones fans, Incubus shortly came on afterwards. The band wasted no time at all and started the set off with hit after hit. Opening with “Wish You Were Here,” then going into “Anna Molly” and “Circles,” Incubus was running on all cylinders the entire night. The stage was backed with a giant curved LED screen with one on top of the stage as well. To go along with the screens, Incubus had an outstanding light show that set a great vibe for their set. Like the Deftones, Incubus also chose to vary up their setlist with songs throughout their music catalog. Fans got to hear songs from A Crow Left of the Murder…, Morning View, Trust Fall (Side A), Light Grenades, Make Yourself and others as well. The band sounded spot on and singer Brandon Boyd led the band through a solid 17 song setlist. The show was ended with a three song encore featuring “Dig,” “Drive” and “A Crow Left of the Murder” which featured a special Beatles closing.
The Deftones/Incubus tour runs until the end of August. Click here to check out the list of those dates. Note that the last show with the Deftones and Incubus together is on August 30th, at the Sleep Train Amphitheatre in Chula Vista, CA.
Deftones Setlist: Diamond Eyes, My Own Summer (Shove It), Lhabia, Beware, Bloody Cape, Sextape, You’ve Seen the Butcher, Rocket Skates, Tempest, Swerve City, Knife Prty, Digital Bath, Change (In the House of Flies), Be Quiet and Drive (Far Away), Headup, Birthmark, Engine No. 9
Incubus Setlist: Wish You Were Here, Anna Molly, Circles, Absolution Calling, Are You In?, Vitamin, Trust Fall, In the Company of Wolves, Nice to Know You, Here in My Room, Sick Sad Little World, Pardon Me, Make Out Party, Megalomaniac, Dig, Drive, A Crow Left of the Murder
Fox Fest 2015 held a few special things in store this year, the first being their SAMMY (Syracuse Area Music Awards) Award for People’s Choice: Best Festival for 2014 and the next being a live marriage proposal on stage (she said, yes) This is only the beginning of what the day-long annual event had to share.
Fox Fest merch booth by Sandra Jackson/Sublunar Studios for NYS Music and Fox Fest 2015
The event is organized and held at the home of George Ryan and Kelly Nichols, next door to their primary cohorts, his sister Kelly Ryan and brother-in-law Mike Spaiches in southern Onondaga County. It’s a beautiful piece of nature, surrounded by corn fields, it has a valley view to the east and plenty of room for a backyard party.
This isn’t your average backyard party though, not by any stretch of the imagination. Wizzard Sound Corp. rolls in a full pro-stage, roof, p.a. and light show, well large enough for just about any outdoor show or festival. Their crew comes in on Thursday and with the help of several volunteers, build the stage and roof structure, Friday brings the p.a. and lights, all ready for show-day on Saturday. They not only do the job, they are ahead of the game and are ready for any curveball they have thrown at them. They sure got at least one, but we’ll get to that later.
Plenty of vendors serving food and drinks, festival merch., tattoos, massages and much more. The weather was “Chamber of Commerce” perfect, sunny, breezy and not too warm. Mix this up with 1800 or so fans whose t-shirt donations pay for the show and the annual donations the festival gives out. This year’s recipients were the CNY SPCA and ‘Cuse Pit Crew, two of the most worthy organizations Fox Fest has chosen so far. Last, but not least, the bands, the life of the party and the annual balancing act for the producers. Fox Fest has always been focused on local bands, a blend of rock and “country” for the most part, selected by the organizers after seeing them live, yes, that’s how they do it. They actually go see the bands, several times each. No submissions, just invitations to bands noted as current and worthy in the local scene.
Opening the show was Seeking Monte from Rochester, notably the only “out-of-towners” to play Fox Fest (FF) and their guitarist, Lee Heberger has done it twice. In both instances Lee brought in a tight, original rock and roll band, this time fronted by dynamic vocalist Sara Passamonte and joined by Mike Guarino (guitar), Bob Besley (drums), with Stacy Krebbeks (bass). Unfortunately, someone has to open, but Seeking Monte is all about opportunity and they gave a solid performance, receiving lots of love from the growing audience on hand. Then comes the “country” section of the show with four in a row that heated the audience up as the ambient temperature rose. I’ll qualify using quotes for “country”, at my level of experience what is labeled as “country” today, isn’t. Nu Country? Perhaps. Country Rock? Closer to the what it is actually, or pop with a twang. Either way, the best word for it is popular and the crowd goes nuts for it. Beginning with Dirtroad Ruckus (DR) the crowd filled in up to the barricades, singing along and dancing all afternoon. DR’s front man Eric DeTota paused at the start of their set to play the National Anthem, which is a traditional part of their performances, then George Ryan cut loose a huge American flag that was carried over the audience. DR quickly had the audience in their hands, instrumentally solid with plenty of stage presence to boot, an excellent set. DeTota on acoustic/vocals, Tom Fava (bass), Ken Duquette (guitar), Jack Chappell (bass) and Scott Sheridan (guitar) showed their licks to the pleasure of the attendees and left the stage toasty for the next band.
The Chris Taylor Band (Custom Taylor Band) came up next, he’s know as one of the first performers to follow this track with success in Central New York, his polish and stage personality, backed by his long-term band, Brett Nelson (acoustic/vocals), Rob Spagnoletti (drums/vocals), Joey Beccheria (guitar), Amy Doan (fiddle/vocals), and Jake Capozzolo (bass) moved through their set hitting on all cylinders. If Chris doesn’t get you up and dancing, there’s always the TJ Sacco Band (TJSB) to follow him. These two may well be the hardest working men in the country biz locally. Each has a very healthy fan-base and when you combine them with DR’s and Country Swagg’s, it’s gonna be a party. Each of these bands are well-known and regularly get prime opening spots for tours visiting the area. The one thing about having four country bands is a couple of songs may get a few airings. but the crowd didn’t seem to mind one bit. TJSB is strong, really strong, TJ leading the way on acoustic/vocals, with lefty Chad Mac ripping up the leads, Bill Shank (drums), Marcus Larabee (bass) and newcomer (first show actually) Chrissy Alexander (vocals), much like CTB, this is a well rehearsed and polished outfit. They provided one of the musical surprises of the day covering ‘Plush’ by Stone Temple Pilots, well!
Finishing this segment of the show was Country Swagg (CS), fronted by Mike Johnson (vocals/acoustic), with Tim Horst (guitar), Gabe Infantino (bass) and Rob Trout (drums). CS gets a bit rockier per say. They’re heavier and more aggressive in a Blackberry Smoke kinda way. They’re hometown boys, so their crew was out full-force, cheering them on through a very enthusiastic set. Their fans even bought them a sponsorship so their band name would appear on the event t-shirts, pretty cool stuff. Another staple of FF is not allowing the music to stop, so between each band, an acoustic performer takes the stage to fill during change-over. First timer Tommy Connors kept things moving during the first two breaks, Mike Schickling the next three, then JP Shaggy the final two. Each brought their own flavor and vibe, more than enough to hold the crowd’s attention, nicely done by all, especially Schickling who was in on the surprise marriage proposal. Russ Lee was steadfast in his emcee role, not hesitating to give way to Mr. John Halko to introduce “his” band, Redline. John has been battling health issues and it was fantastic to see him onstage despite the absence of his trademark cigar. Redline is straight 70s/80s/90s party rock with Earl (The Pearl) Hamilton doing his best Tommy Lee (drums/vocals), Joe McSweeney (guitar/vocals), Mike Marzullo (bass/vocals) and Tony Campione (guitar/vocals). Hamilton and McSweeney are FF veterans having played with their former band Emerald City twice before. They rock, hard, have the chops and balls to cover Foreigner, Motorhead and Alice In Chains in their non-stop set. They were a bit “stripped-down” from their usual big production and special effects, but none were needed as the crowd ate up their performance.
The Barndogs Plus (TBP) came next with their Allman Brothers tribute show, something they’ve performed several times at big local festivals, this time with an extra twist. The “Plus” portion of The Barndogs pulls in several local luminaries to fill the A-Bros parts, Tim Robinson (acoustic/vocals), Jerry (JT) Tarolli (guitar), Chad Mac (guitar) and Susan Royal (drums). Here is where the biggest joy of the evening came in. Prior to FF, Susan had announced that due to illness she wouldn’t be able to participate, it was heart-breaking as the second drummer is key to the A-Bros and most importantly, it’s her, her soul, her spirit, her skills. Now just about the last thing a stage manager wants to hear the night before the show is that a big change is being requested, in this case, a message from Susan asking if there was any way she could play. She was feeling better and didn’t want to miss it as there’s no telling when or if they’d do this show again. A few phone calls, texts and Facebook messages later it was on, many thanks to Jon Arrigo and his guys, Sean (Doughnuts) Sterling, Dylan Spencer and Mike (The Terrorist) Fadel (so sorry for calling you Brian all day!) for making it happen. The Barndogs core group, Andy Comstock (bass/vocals), John Kapusniak (keys), Pete Szymanski (drums/vocals) and Mark Westers (guitar/vocals) have been together for years building a regional following through great rock and roll music, whether it be a Doors tribute, performances with Vinyl Albums: Live or their club shows, these Dogs can run. In this expanded version, they were downright magical, striding through the A-Bros catalog as if it were their own. Andy’s commanding voice and stature lead them through the big hits, ‘In Memory of Elizabeth Reed’, ‘Soulshine’, ‘Whipping Post’ and ‘Jessica’ to name a few. They brought the crowd to a fever-pitch in anticipation of the headliners.
SAMMY Award winning Scars N Stripes (SnS) are one of Syracuse’s heaviest rock bands, hands down, led by Bill Ali (vocals) prowling the stage and risers, Todd Stiles (guitar/vocals), Kevin Brennan (guitar), Joel Exline (bass/vocals) and Mike Waite (drums), they are indeed the premier modern rock band in our area. Each position overflows with skills, they balance and counter each other fluidly, steaming from song to song. The talent level oozes and Todd has become one of my favorite local six-string slingers. Their covers of Tool’s ‘Sober’ and Queensryche’s ‘Jet City Woman” were highlights, but the whole set was crushing and they left the crowd wanting more. Always the way to go if you can. I highly recommend seeing all of these FF artists out whenever you can, they bring it big time. Check them out online through social media and their websites, you won’t be sorry.
Congrats to everyone involved with Fox Fest 2015. The whole event ran on time with only a few bumps in the road, the weather held out and the crowd was remarkable. Thanks to all of the people who donated their time to make it all happen and to our own Onondaga County Sheriffs who kept the grounds safe for everyone. When all is said and done, Fox Fest has evolved into one of the area’s best summer events and is clearly, “the biggest backyard party” of the summer.
After the very first verse of the very first song, there is no doubt that Grace Potter is the real deal. I have seen some female fronted bands where the incredibly pretty woman is scantily clad, she barely sings, she strums the same open note on her guitar over and over again and struts around the stage much to the delight of the men in the audience.
Take that pathetic image and reverse it completely and you have Grace Potter. Potter is beautiful in a tasteful, sultry way, when she opens up her lungs, it’s similar to a pipe organ filling a church with flawlessly designed acoustics, she absolutely rocks her Gibson Flying V guitar and she dances in her heels or barefoot in a delightful free spirited way that evokes the crowd to join her. Did I mention she has the best rock n roll howl in the business?
I enjoyed every minute of the two hour set that Potter and her current back-up band performed Sunday night at the Constellation Brands-Marvin Sands Performing Arts Center (CMAC). Potter took the stage to a roar of applause despite a rather light crowd. The amazing thing about Potter is the amount of time she spends singing with no break. She ripped right through a sixteen song set list with little reprieve. When she wasn’t singing her heart out, she was wailing on her guitar, hammering away on the piano, shaking her tambourine or shaking her booty. She was working hard up on the stage but managed to make it look effortless.
Potter and company played a variety of genres of music from what sounded like modern country, a bit of blues, love ballads and good old rock and roll. I am convinced that with Potter’s range and vocal ability that she can pull off just about anything. She showcased her vocals in “Timekeeper,” “Stars” and “Delirious” a cut off of her upcoming release Midnight. My favorite song of the evening was “Loneliest Soul” off The Lion The Beast The Beat. With its unusual riffs and almost whiney beats combined with Potters melancholy, symphonic voice, it created almost a spiritual effect. It gave me goosebumps.
Other highlights of the evening included fast paced “Medicine” “Hot Summer Night” and a moving version of “Nothing But the Water.” Grace Potter is known for throwing in a hodge podge of cover songs in her live performances. She has run the gamut from Rod Stewart’s “Da Ya Think I’m Sexy,” to Johnny Cash’s “God’s Gonna Cut You Down.” The crowd at CMAC was graced with Potter’s version of The Rolling Stone’s “Gimme Shelter” that was sure to make Mick Jagger proud. Potter ended the evening with fan favorite “Paris (Ooh La La).”
I don’t often make recommendations when it comes to music, but if you have not listened to Grace Potter, please take a moment to go check out some of her live stuff. There’s plenty on YouTube. I was blown away by everything about her. Also, don’t forget she has her new solo album titled Midnight being released at midnight on August 14, 2015.
Huetensil has just released his debut album, Black & White, available on a digital-only format. Huetensil is the alter-ego of tri-cities based Hugh Wygmans, who is also the front man of prog-monsters, Question of Honour. Wygmans is a singer/songwriter/guitarist hoping to expand his listening area beyond the 100 plus radio stations in eight countries he’s been played on in his different stage personas. Very impressive as an artist that handles all ends of his recordings; performing, mixing, editing, producing and mastering this album at Shadow Planet Studios. Wygmans wrote and arranged everything performed by Huetensil (vocals, guitars, bass, programming drums/bass) here besides the co-arrangement of “Let’s Pretend” with David Wygmans and Ken Pitchford. Additional performers credited are Michael Wu: bass guitar on “Nothin’”, David Wygmans: side stick on “Maybe It’s Time” and additional background vocals on “Wake Me Up” by Brent Ochai, Carrie Ochai and Marty Wygmans.
It’s notable that Wygmans really has his character and career presentation together better than most I’ve encountered. A well presented one-sheet, lyric sheets, access to hi-resolution pictures and artwork through his website plus a web address for Huetensil. Having had the opportunity to review the last release from his prog band, I was eager to hear this solo outing as his alter-ego, Huetensil, he’s self-described as a “power-pop musician with a hard edge and an indie singer/songwriter ethic”. It takes a great deal of self-confidence to take a Bowiesque leap like this, the following are my thoughts on its success.
“Want Too Much” is the opener and it’s evident quickly that Huetensil has some vocal gymnastics in store. His range is clear and the layered vocals at the end illustrate the potential of his power-pop proclivity. His emotive delivery is clear, rising above his multi-tiered guitar tracks, accenting the changes, especially verse to chorus. “Last Night” hits the target dead-center, a rave-up rocker illuminating the difference between introspection and introversion, then extraversion. There’s something my ears keep listening for that isn’t there, well, more on that as we go.
“Tonight (The Carbon Wars)” gives Huetensil the chance to riff a bit harder, ripping a nice solo as his topical dexterity expands into another broad field. There’s a sense of Billy Corgan in his raspy delivery overall, but it bites a bit harder into the matter here. Like many great rock songs, the meaning is oblique despite the title, but the chorus speaks of societal ambiguity and it stings! “Executioner’s Song” switches gears a bit, a give and take from slow verse to driving chorus, relenting to an inner truth while forging ahead versus the draw to stay. There’s a growing tense connection between the compositions, it’s evident Huetensil’s thoughts blend, reflect and color each other in tones. Like “Fear & Longing”, a level of desperation from the antagonist while the protagonist searches for something deeper as if nothing is available. The ebb and flow from sweet verse to dramatic chorus is distinct and creates a narrative of sorts between the characters distinguished as melody and hook. There’s something familiar in the verse, but it’s elusive, and that’s very cool. One thing is certain, Huetensil’s dexterity, whether vocally or lyrically is masterful, he switches easily to falsetto, not losing strength or bite. Maybe it’s a Geddy Lee level of influence happening, either way, it’s undeniable.
“Nothin’” jumps a little funky with the wah pedal rhythm, Michael Wu’s bass driving the bottom and the horn blasts. It seems to be a metaphor shaped from an artist’s joy and frustration versus the same in any relationship that truly means something. Yet again, the listener is allowed to read himself into the story line. “Mr. Curry’s Troubles (The Ballad of Edward Snowden) has a XTC/Andy Partridge feel, the vocal read and the acoustic pushing the rhythm. The subject is topical, intriguing and pertinent, something I wish we’d here more of from younger artists. It’s refreshing in it’s candor, like “Tonight (The Carbon Wars)”. Continuing with the acoustic theme, “Simple” has a sweet refrain that enjoys the support of the bass line. Another facet of Huetensil’s gem, a softer side indeed. The “baaa” harmonies at the end are particularly outstanding!
“Maybe It’s Time” is a political anthem that speaks for the masses. The vocal production is borderline brilliant, the harmony tones and overlaps are pristine while proclaiming, “(Time for a change) Maybe it’s time for a radical change. (Alteration) Something more than a slight alteration. (Tear down the stage) Maybe it’s time to tear down the stage. Replace all the broken pieces. End this conflagration.” It’s has the sweetness and tart of a Rundgren composition, Huetensil’s production and mixing values reach a high here and set a deadly ear-worm! David Wyman’s “side stick” technique lends a metronome feel with a sense of a march, very nice twist. “Wake Me Up” is a desperate call from a comatose man, a remarkable perspective voiced into a dreamy chorus filled with the guest vocalists. In a straight-up power-pop format the rhythm guitar, bass and vocals blend so well. When’s the last time you heard hoosegow rhymed with Moscow and no ciao?
“Let’s Pretend” spits defiant dissonance against a wall of reality, a Black Sabbath-like rhythm guitar mixed with Huetensil’s conflicted anguish. The closer appropriately wraps the political side into a rage filled scream against the government. It smacks of what so many feel while witnessing the war machine at work. I’m hoping it’s a retroactive look at things because it speaks of GWB to me, but that’s my read.
You should take a listen for yourself. Huetensil is energetic, enthusiastic and the level of work put in this work is notable. This kind of production doesn’t happen overnight, shouldn’t be taken lightly and deserves recognition. If I had one wish for Huetensil it would be live drums. While the programming is excellent and the timing is right on, it misses on the feel. Many things can run under the surface, but this isn’t one of them. Well done and well-played Huetensil, well-played!
Key Tracks: Let’s Pretend, Maybe It’s Time, and Nothin
Welcome to Round 4 or better known as the “Elite Eight” of NYS Music’s March Madness 2016! This tournament-style competition includes the remaining 8 bands and artists who call New York their home.
This year’s 4 brackets are based on genres of music – Funk/Jam/Reggae, Metal/Rock, Bluegrass/Folk/Americana and Indie/EDM. Each bracket has 16 New York bands in their respective region, battling it out to reach the Final Four and claim this year’s title. Bands were chosen based upon their origins in New York and popularity in their respective genres.
Since we are including all the genres together and you may not be familiar with all the bands, please take some time to check them out. The winner of each matchup will move on to the “Final Four” and go head to head with a band from another genres. In the Folk/Bluegrass/Americana/Country category there are 8) Eastbound Jesus vs. 10) Blind Owl Band. In the EDM/Indie/Other genre are 5) Manhattan Project vs. 3) Jimkata. In the Jam/Funk/Reggae genre check out 1) moe. vs. 6) Conehead Buddha. Wrapping things up in the Metal/Rock/Punk division are 12) Jesus Christ & the Hallucinogenic Allstars vs. 10) Wild Adriatic.
Round 4 voting begins Friday, March 27 at Noon and ends on Sunday March 29th at midnight. Round 5 (The Final Four) will begin on March 30, with additional rounds announced on the NYS Music Facebook page.
The Sweet Sixteen is complete! Pop on over to the Round of 8 to vote for your favorites!
Welcome to Round 3 or better known as the “Sweet Sixteen” of NYS Music’s March Madness! This tournament-style competition includes the remaining 16 bands and artists who call Upstate New York their home.
This year’s 4 regions are based on genres of music – Funk/Jam/Reggae, Metal/Rock, Bluegrass/Folk/Americana and Indie/EDM. Each region has 16 Upstate New York bands in their respective region, battling it out to reach the Final Four and claim this year’s title. Bands were chosen based upon their origins in Upstate and popularity in their respective genres.
Round 3 voting began March 24 at Noon and ends at midnight on Thursday March 26th at midnight. Round four (Elite 8) will begin on March 27, with additional rounds announced on the NYS Music Facebook page.
Cummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.
“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.
Their 
After a short stage tear-down the Deftones were next to take the stage. It was a mystery before the show who would close the night out because it could have easily been either the Deftones or Incubus. Opening their set with “Diamond Eyes,” off their 2010 release Diamond Eyes, the Deftones set the vibe for the rest of the show. There’s not many bands that have a distinct sound like the Deftones do. From the slow, chunky, low toned riffs of Stephen Carpenter to the melodic vocals and screams of Chino Moreno, it’s easy to identify the Deftones.
After a set that seemed to end too soon for Deftones fans, Incubus shortly came on afterwards. The band wasted no time at all and started the set off with hit after hit. Opening with “Wish You Were Here,” then going into “Anna Molly” and “Circles,” Incubus was running on all cylinders the entire night. The stage was backed with a giant curved LED screen with one on top of the stage as well. To go along with the screens, Incubus had an outstanding light show that set a great vibe for their set. Like the Deftones, Incubus also chose to vary up their setlist with songs throughout their music catalog. Fans got to hear songs from A Crow Left of the Murder…, Morning View, Trust Fall (Side A), Light Grenades, Make Yourself and others as well. The band sounded spot on and singer Brandon Boyd led the band through a solid 17 song setlist. The show was ended with a three song encore featuring “Dig,” “Drive” and “A Crow Left of the Murder” which featured a special Beatles closing.
The Deftones/Incubus tour runs until the end of August. 
