NYS Music 20​16

Author: Ally Dean

  • Hearing Aide: Root Shock ‘Root Shock’

    It’s been a long time coming for Syracuse roots soul reggae group Root Shock to finally lay down some tracks in the studio to produce the record fans have been lustfully longing for. Their self titled debut is an authentic embodiment of the magnetizing performances that have continued to draw in larger crowds wherever they go. The Root Shock fam is: Jessica Brown (vocals/percussion), Bill Eppel (bass), Nick Kaczmar (keyboards/electronics) Dan Valvassori (guitar), Phil Grajko (guitar/vocals), Fafa Fain (drums/vocals) and Jason Randall (percussion/theremin).

    root shock march madnessRoot Shock has also attracted a diverse fan base because their identity cannot be pigeonholed into the reggae genre. Their varied blend of soul and funk guided by the potency of Jessica Brown’s weighty vocals sets them apart from the droves of white boy reggae groups offering little variation from one another.

    Feeding off the hype from a radio spotlight on 105.9 The Rebel with Dave Frisina, and artist profiles in two separate Syracuse publications in the same week, Root Shock gained plenty of momentum going into their December 17 album release party at Funk ‘n Waffles Downtown. Now, with the album officially out, the band is standing tall and branching out to share the fruits of countless long hours spent in the studio. Curious about the new album, I posed a few questions to shed some light on the inner workings of the thirteen-song compilation.

    Ally Dean: Jason “Jocko” Randall who produced your record at More Sound Recording Studio in Syracuse is now performing percussion with Root Shock during live performances. Is he a long-term fixture? When Root Shock branches out into more extensive touring will Jocko be part of your entourage or is he more of an added spice for local ‘Cuse shows?

    Phil Grajko: Jocko has not only been a huge asset to the band as a producer/sound engineer, he’s also become a close friend and collaborator, both on and off the stage. Having him come on board as a percussionist felt totally natural and easy. His involvement with the band is totally voluntary, and while he’s definitely busy running a successful recording studio, he’s expressed that he loves playing with us and will continue to make himself available as often as possible. He’s already signed on to play several out-of-town gigs with us, so we certainly welcome his presence and count him as a member.

    AD: To follow that up, is it ever weird having your record producer performing with you? Obviously the members of Root Shock have been playing together for several years and know how they want the band to sound but Jocko also has an incredible ear for how he thinks music should sound. Is it ever a contentious issue?

    PG: I think an important point to make is that the band has managed to stay in a pretty steady state of evolution. We’ve had lineup changes from the beginning, and an addition or subtraction of a member is always going to affect the overall feel. Root Shock functions very democratically, so when someone voices an opinion, it’s always heard and respected, often implemented. Having Jocko on board has forced a lot of us to sharpen our attentiveness to some of the finer details of the production/songwriting process. It’s been great having his input, but ultimately decisions are made collectively. There have certainly been some differences of opinion, but the mutual respect we all share for one another has cultivated a really easy environment for those differences to be reconciled.

    AD: The opening of both “Freedom” and “Babylon Tree” contain this echoey chorus that is stylistically reminiscent of classic Jamaican reggae group The Congos. Is it an intentional nod to them?

    PG: “Freedom” and “Babylon Tree” are what I’d call the ‘heavy roots’ tunes on the record. Several of the members (including Jocko) have a deep appreciation for some of the ‘dubbier’, delay/reverb laden roots reggae sounds that came out of Jamaica in the 70’s, and The Congos rank high on our list of the greats from that era. So yes, you could say we’ve drawn some influence from that world.

    AD: Jess, your vocals throughout this album contain the same gut wrenching force you deliver in live performances but in a slightly more controlled manner. Was it difficult for you to translate what you do on stage with what makes sense for a recorded project?

    Jessica Brown: Honestly it was a little challenging. As a mostly live performer who feeds off of the crowds energy and emotions, I had to really channel my own emotions into the songs. Which I do live as well, but this time with my voice under a microscope. It’s a very different experience being in the studio than being on stage in front of a crowd of people. I usually don’t think too much about what I do for a live performance, which is part of the beauty of the experience. There’s a lot of improvisation. For the album, I definitely thought more about note choices and what words and feelings I wanted to emphasize. I really enjoyed the process, even though it was a little scary. But I’m excited to get back into the studio since I feel more confident and experienced this time around!

    AD: Making a record can be an exciting and inspirational endeavor but also a laborious undertaking that tests the limits and patience of band members. Now that the album is finished, do you feel stronger as a band moving forward?

    PG: It was all of those things! We feel truly blessed to have had the opportunity to create this album. We all love each other as people. We believe in each other as musicians and songwriters. We had faith in Jocko and More Sound Studio to create a truly memorable product that was also honest and representative of our real-life sound. In the months leading up to recording, we often referred to our rehearsals as ‘boot camp’ sessions. We trained hard and saw a lot of progress during this period. The whole process before, during and after making the album turned us into better individual musicians and a better band overall. There’s no doubt that we’re a stronger unit. There’s a confidence and a steadiness that wasn’t nearly as pronounced as it is now. And it’s making its way into our newer material in a big way, so we’re excited!

    Review:

    The songs are peppered with Brown’s reflections on her life experiences playing on religious motifs, standing up for what’s right, love, loss, honoring both the natural world and the gift of life itself. While some songs seek to provoke the listener to heighten their mental awareness, others serve as curative tools for self healing through deeply personal, intimate lyrics. The words are delivered through an interfusion of springy beats and heavier instrumental grooves delivering musical diversity that outcompetes a majority of existing reggae.

    The album opens boldly with an onslaught of playful hand percussion, a stomping bass line and a delightfully whimsical whirl of organ in “Come Alive.” This song is a call urging listeners to free their minds from captivity and to open their eyes to the reality around them. It’s a danceable memorandum relevant to the turbulent political and social chaos that pervades human existence. Brown’s impressive vocal range is on full display, particularly towards the end. She hits the notes with crisp clarity as she’s nearly screaming the words “come alive” like there’s a demon holding a knife to her throat.

    “Sunlight” lightens the mood with a breezy, feelgood melody imploring the listener to look within and create the life they want for themselves with the help of a little honest soul searching. The lyrics offer an uplifting four-minute therapy session as Brown cheerfully chirps:

    “If you’re soul doesn’t feel right inside,
    break down those walls that you’re hiding behind
    Happiness comes with the sunlight of a brand new day”

    The brisk opening bass line, uninterrupted tick of tambourine and pulsating organ on “Freedom” forms an underlying urgency before entrancing choral repetition of the word “freedom” opens the sound by creating an expansive distance. This elusive quality complements lyrics speaking to the compelling drive to discover that sense of purpose which can often evade us. “Babylon Tree” is the only song with Grajko on lead vocals and offers that dubbier old school reggae tone. Again the lyrics draw attention to a need for social consciousness:

    “Can’t you see your system is a vampire
    Insatiable wildfire that’s poisoning the air we breathe?
    Here we stand on the brink of evolution
    Yet your minds are on your power grabs of greed
    Don’t need your cursed cash to find some soil and plant some seeds
    But I’ll die on my feet before I live upon my knees”

    “Sage” detours from the overall uptempo rhythm felt through most of the album in exchange for a more delicate, sensual blues tone. It takes its sweet time building tension with a hauntingly melancholy solo from Grajko which sets the stage for Brown to build off it with more of her jaw dropping vocal strength. “Boss Battle” follows as a quick and dirty jam, the only song with no vocals. It’s rather repetitive, not terribly exciting, but makes for a good transition song during live performances.

    Having lost her mother to cancer at age 20, Brown pays tribute to a lost but not forgotten role model in tender love ballad “Sweet Reunion.” Anyone who has dealt with passing loved ones can easily relate to this affectionate homage. The tone is triumphant even in the face of tragic loss, a coming-to terms-reckoning that leaves the listener feeling at peace.

    “Cup” is a lighthearted celebration of love with a buoyant feel, followed poignantly by “Games,” a heavier song, representative of someone who has been dragged through the dirt by a relationship gone wrong. Accompanied by Syracuse trombonist Melissa Gardiner, the horn addition adds great depth to this tune.

    The album culminates with an elevating, uptempo song called “Love Spirit,” with lyrics giving thanks for the strength born from a life of independence. Right at the end of the album, we also get a one-verse taste of Fain’s smooth and soothing, low octave vocals. We leave this thirteen-song journey having danced and cried to a range of relatable experiences. Though many will tempt to emulate Brown as they shamelessly sing along, Root Shock is not responsible for any vocal chords damaged in the process. Root Shock’s self titled debut album will be available wherever music is sold, and will be released on streaming sites within the next few weeks.

    Key Tracks: Come Alive, Freedom, Sage

  • Best of NYS Music 2016: Biggest Musical Loss and Best Live Cover or Tribute Performance

    As we give thanks for the awe inspiring musical talent living among us, we must also honor those who have left incredible music legacies behind. 2016 was particularly rough, having lost several pioneers and visionaries whose music has influenced not only other musicians, but has affected so many of us far outside the realm of making music. Their songs are the songs we queue in epic DJ mixes at dance parties, belt the lyrics alone in our rooms when we’re feeling melodramatic, and reflect on their lyrical wisdom in challenging times.

    1). David Bowie

    January 8, 1947 – January 10, 2016

    2). Prince

    June 7, 1958 – April 21, 2016

    3). Leonard Cohen

    September 21, 1934 – November 7, 2016

    Staff and readers unanimously agreed David Bowie, Prince and Leonard Cohen were our three most cherished losses in the music community this year. All three were producing up until their heartbreaking deaths with Bowie’s Blackstar (2016), Prince’s HITnRUN Phase One and HITnRUN Phase Two (2015) and Cohen’s You Want it Darker (2016).

    Other notable losses in 2016 include Leon Russel, Sharon Jones of Sharon Jones and the Dap Kings, Maurice White of Earth, Wind & Fire, John Berry of Beastie Boys and Merle Haggard.

    Best Live Cover or Tribute Performance

    It seems fitting to follow up Biggest Musical Losses with Best Live Cover or Tribute Performance as a way of honoring the work of past musical greats. In this year’s poll, we received so many noteworthy performances. Our staff voted on Dopakuaz’s Yacht Rock, Lotus’ Space Disco set at the Town Ballroom, Mirk’s Michael Jackson medley, Phish’s Ziggy Stardust tribute, Start Making Sense, James Brown Dance Party, Salt City Waltz and Twiddle’s cover of ALO’s “BBQ”

    Readers chose Aqueous covering “Band on the Run,” JRAD’s performance at Lockn’, Phish’s Suffragette City cover, Pink Talking Fish’s Nov. 17 show in Denver, Twenty One Pilots covering “Cancer” and White Denim’s Prince Medley. Recap Monday’s staff and reader picks for Albums of the Year, and stay tuned as the series continues throughout the week.

    https://youtu.be/hF_0E31d7dQ?t=29m54s

  • Best of NYS Music 2016: Staff and Reader Picks for Albums of the Year

    In NYS Music tradition, as we count down the final days of 2016, we reminisce about the hours we’ve spent obsessing over music. Whether planning wild road trips to chase bands whose music feeds our souls, frequenting our favorite venues and exploring new ones, head banging to heavy jams and accidentally spilling drinks, dancing with strangers and making new friends, music is a common thread that unites us. Now it’s time to reflect on the soundtrack of 2016 and recognize the music that carried us through another revolution around the sun.

    We polled the staff and asked our readers for their input in ten categories: Best Albums by NYS Artists, Best Albums Overall, Best Shows by Region, Best Venues in NYS, Biggest Musical Loss, Best Live Cover or Tribute Performances, Best NYS Festivals, Best Out-of-State Festivals, Best Music Town, and Bands on the Rise. Throughout the week we will present two categories a day highlighting the top picks. We’ll kick things off with Best Albums by NYS Artists and Best Album, Overall. Here we go!

    Best Albums by NYS Artists

    Receiving the most votes, Aqueous’ EP Best in Show was voted in as the top album of 2016. The Buffalo rock quartet released the record in October and it stands as “a four song reflection not only of the band’s time without a permanent drummer, but also a glimpse into the band’s future as drummer Rob Houk melts into the Aqueous groove with fluid rhythm that feels as if he’s always been here.”

    NYS Music writer Kat Horton’s review offers this commentary:

    “The four songs are highlighted by tiny nuggets of rightness; lyrically, musically and in its production Best in Show turns a pointed spotlight on how much Aqueous has grown in the two years since their last studio release. But more importantly, Best in Show is Aqueous’ resolve from the challenges they have faced and proves their tenacity to move forward while solidifying their line-up.”

    This year our readers were in agreement with which NY artist released the best album, nominating Aqueous as their top choice. Queens-based hip-hop group A Tribe Called Quest’s We Got it from Here… Thank You 4 Your Service and Brooklyn’s psychedelic funk band Chromatropic and their recent release, Abundance were also favored.

    A handful of NYS albums deserving honorable mention in the staff vote include: Funktional Flow’s Time Will Tell, TAUK’s Sir Nebula, A Tribe Called Quest’s We Got it from Here… Thank You 4 Your Service, Seymour’s Seymour, and Vaporeyes’ Golden Baron.

    Best Albums Overall

    Though Phish’s live albums are what usually garner attention, this year their release of Big Boat left an impression on fans and the “13th studio recording is the most genre bending album they have released.”

    NYS Music’s Neil Benjamin Jr. offered this review, commenting:

    “Ever think Phish would start off a studio album with a sort of Brit-pop-punk sounding song? Me either, but that’s exactly what the band did by kicking off Big Boat with the Jon Fishman song “Friends,” which is the perfect lead-in to an album by a band that has built its fanbase by throwing it curveballs.”

    A Tribe Called Quest’s album We Got it from Here… Thank You 4 Your Service also received recognition in this year’s poll. Smart lyrics and slick beats produced by this socially conscious group offers a dialogue that resonates with many listeners and “once again, the group has created something one of a kind a revolutionary, that listeners can only hope will inspire other artists to follow in Tribe’s footsteps.”

    In a review of the album, NYS Music’s Dave Ostroff remarks,

    “The production value of this album is immaculate. It feels like listening to a remastered, never released album, because Tribe led the public to believe their fifth album was their last breaking up in 1998. And even without all of the original members, their sound is still effortless and always moving.”

    Bon Iver’s 22, A Million melts his hauntingly sweet voice into a pool of shockingly experimental effects that stings the ears with intrigue. “While experimenting with the auto-tune and synthetics, Bon Iver explores the world beyond the conventional three-minute song while staying true to himself.”

    NYS Music writer Sammy Steiner reviewed the album, offering:

    “The controversial album that is 22, A Million was successful in reinventing Bon Iver to the extent that he is compared to the works of Kayne West and Frank Ocean. With this album, Bon Iver reaffirms his ability to remain of interest to our scattered millennial generation and the contemporary world.”

    According to our readers, Aqueous also took the top slot for Best Album, while Metallica’s Hardwired… To Self Destruct and Radiohead’s A Moon Shaped Pool were also popular choices.

    Other notable contenders that have earned honorable mention for Best Albums chosen by our staff include: Jimkata’s In Motion, Childish Gambino’s Awaken, My Love!, Kiefer Sutherland’s Down in a Hole, TAUK’s Sir Nebula, Twiddle’s Plump: Chapter One, and Lotus’ Eat the Light.

    Of course we wish we could highlight even more albums and celebrate all of the amazing music released this year, but stay tuned throughout the week for the remaining Best of NYS Music results to be released!

    https://www.youtube.com/watch?v=_hZCsgcKa-g

  • The Lake Brothers Retrofit Rochester with Old School Rock n Roll

    The Flower City music scene has continued to blossom over the past few years, displaying its symphonic diversity as a focal point of Rochester’s cultural identity. New venues have taken root as the city continually evolves and locals are finding more ways to fall in love with this mid-sized but mighty Finger Lakes of NY destination. In the midst of this inspiring evolution, modern nostalgia weaves its own thread into this rich cultural tapestry in the form of The Lake Brothers heralding retro rock ‘n’ roll tinted with a punk rock kick.

    the-lake-brothers-rochester-20162

    Trevor (26), Austin (24) and Brendan Lake (19) grew up on a 30 acre farm in Hilton, NY where they forged a strong sense of camaraderie cultivated from a lack of proximity to other kids in the neighborhood. Their father, a jazz drummer, always kept drums in the house, though never pressured his sons into music. Nevertheless, playing music became a main hobby for the Lake brothers, and after years of marching band, jazz band and concert band throughout school, they’re taking their skills to the hipster bars and grungy basements of Rochester and making waves.

    the-lake-brothers-rochester-20164

    Between the three brothers, there are three bands in which they each lend their skill in varying combinations. The Televisionaries (TV’s), a largely instrumental surf/rockabilly trio features Trevor (guitar/vocals) and Austin (drums). Punk rock ‘n’ roll group, The Temptators, features Austin (guitar/vocals) and Brendan (bass/vocals) along with three other band mates. Finally, the ten-piece explosive, high energy rock ‘n’ roll drive in Aweful Kanawful & His Rubber Husband’s Band is manned with Austin (vocals) and Trevor (guitar). And yes, Austin plays in all three bands. I met up with them at Trevor’s apartment to learn more about their collective contributions to the Rochester music scene, how they got started and where they’re headed.

    Ally Dean: I was in Rochester a couple weekends ago and saw Aweful Kanawful & His Rubber Husband’s Band at Skylark on Friday, then saw The Temptators at a basement show on Windsor Street Saturday. I thought it was really interesting that you’re all brothers, are all musically talented and collaborate together on your different projects.

    Austin Lake: We probably could have ended up as mechanics together. Playing music just came after all your other extracurricular things in school. After building ramps and scaring the shit out of each other. We had a fake wrestling ring for a while. That could have tooken up. So music is just kinda the only thing that’s working right now. Later in life you could see the three bandits ready to go fight crime in the ring. It could happen.

    AD: Do the three of you practice together or jam?

    Brendan Lake: Probably been a year since we’ve done that.

    AL: The world would probably end if we did that.

    AD: Why?

    AL: We just don’t know what would happen.

    Trevor Lake: The stars could align. We could make some serious music.

    AD: Do you guys get along pretty well? Do you think it would be a good collaboration?

    BL: Oh yeah. I think it would be too easy.

    TL: We are all song writers. In each band we’re each the main songwriter except for The Temptators where Austin and Brendan each write some, in the TV’s I write all the songs and in Aweful Kanawful Austin writes all the songs. We’re each the head chef in the kitchen, so to have three head chefs in one kitchen, I dunno what would happen.

    AL: Too many cooks! Although I don’t think any of us are too strict in our ideas that it wouldn’t work.

    TL: We would need more time. We’d have to quit every other band.

    AL: We could take a year, write a record. (half jokingly) Maybe that’s what we’ll do now.

    TL: There’s a lot of music already. Brendan also plays drums in a group called Gun Trouble.

    BL: I don’t write any of that music though.

    TL: We each have our own solo projects. Austin has two tapes he’s recorded which turned into Aweful Kanawful & His Rubber Husband’s Band.

    BL: I’ve been trying to put out a solo tape for three years and I’m finally at a point where I’ve got an album I’m happy with so I’ll probably put it out this winter. Just stuff I recorded in my room at my house.

    TL: And I did a solo tape as well that was recently released.

    AD: I have to ask: How did you come up with the name Aweful Kanawful & His Rubber Husband’s Band?

    AL: Dude I don’t know, that’s a good one. I like that name. I think about changing it a lot too.

    AD: Why?

    AL: Because he’s not my character, he’s an actual character. There’s tons of Aweful Kanawfuls out there. And the Rubber Husband’s part, you know what a rubber husband is right?

    AD: Should I?

    AL: Yeah! It’s probably not what you think it is.

    AD: The first thing I picture is a blow up sex doll.

    AL/TL: (pensive) Okay…

    TL: It’s actually the most innocent thing you could imagine.

    AL: They’re the little things that help you open jars. We’ve used em. They come in handy for anyone.

    AD: You could write jingles for them!

    AL: We might ruin the product forever!

    AD: What are each of your musical influences? Name the first thing that comes to mind.

    BL: Beach Boys.

    AL: Queen.

    TL: 1950’s rock ‘n’ roll, Sun Records, Elvis, Golden Age of rock ‘n’ roll, Phil Spector.

    BL: I remember Modest Mouse being the first band I really loved in middle school.

    AL: Four Tops, Motown. Motown should be number one, really. That was definitely the first thing I got into. And Buddy Holly, early rock ‘n’ roll, the goofballs of the 50’s. Pretty much everything. It’s hard to weed out anything. Tons of pop punk. That was definitely what got me into rock ‘n’ roll.

    AD: So what do you guys do when you’re not playing music?

    TL: Thinking about it. Obsessing over it.

    BL: I wait tables at a vegan restaurant, The Red Fern, on Park Ave. Been working there three years and started waiting tables seven months ago. I like it, it’s easy and it’s a nice area.

    AL: (proudly states) I just quit my job. I screen printed shirts with a good friend of mine for five years at Galaxy Graphics and now I’m goin’ to probably wash dishes somewhere at an undetermined place. Or rock ‘n’ roll for the rest of my life. Who knows!

    TL: And I am a full time barber. It was my mom’s recommendation, but thinking back, my friends would come over and I’d give em hair cuts.

    AL: Bowl cuts.

    TL: A lot of bowl cuts. There’s an early picture of me, probably 12 years old cutting Brendan’s hair in the backyard and I saw that and thought it all makes sense. My mom one day said “Hey you’re not going to college, why don’t you go to hair school and be a barber. So I gave it a try and it worked out. Now I do that and make a living and I can buy a car somehow, which blows my mind.

    AD: Is it the red one parked out front?

    TL: Yeah it’s a ’65 Thunderbird. It’s ready to go away pretty soon. As soon as the snow hits. I can’t drive it in the winter time. The salt will destroy it.

    AD: So what do you do without it? Do you have another car?

    TL: Nope I bought the car at the beginning of the summer and up until then I didn’t have a car for about two years so I just walk.

    BL: I was sixteen when I bought my motorcycle. It sounds bad ass but I dunno what I was thinking.

    AL: I mean, you dropped out of school at sixteen years old, bought a motorcycle, moved to the city. And our parents were flipping out like “What have we done!”

    BL: It wouldn’t have happened that way unless I was the third child. Trevor was definitely the guinea pig for our parents.

    TL: I moved out pretty early.

    BL: By the time it was me they were like “Just do what you’re gonna do,” so I had way more leniency than they did.

    AD: Are your parents supportive of your musical endeavors?

    TL: Totally. They love it.

    BL: They come to shows every now and then.

    AD: Do they dance?

    BL: No. They seem like they genuinely like it though. Hopefully it gives them something.

    AL: Yeah we’re gonna make em a ton of money someday. I’d like to have my mom see us on TV someday. Actually, Aweful Kanawful did have its first show ever on the news. We played Good Day Rochester. It might be gone now. It should be gone. It wasn’t very good but it was sweet. It was a lot of fun. Getting ten people up that early was a miracle.

    AD: So what should we expect in the near future from your respective bands?

    BL: Music that’s gonna blow your mind.

    TL: Temptators just came out with a new 45. TV’s have half of a record out on CD and the other half will be recorded in a month and we’ll put it together and give it an official release.

    AD: Nice. Any upcoming shows?

    BL: The Temptators and Gun Trouble are playing in Brooklyn on December 11th so that should be really fun. As far as shows in Rochester I don’t think there’s anything planned yet.

    AL: Two Kanawful tapes with about twenty songs are coming soon. Probably January.

    BL: We’ve all got big plans, that’s for sure.

    AD: So where do you guys see yourselves in five years?

    BL: Hopefully living somewhere other than Rochester

    AD: Where would be ideal for you?

    BL: Since I was a little kid I always dreamed of moving to California and I think Austin has too.

    AL: It’s not that we want to make a lot of money and bang a lot of chicks, we just want the opportunity to.

    AD: Sometimes just having the option can put your mind at ease.

    TL: That’s the spice of life, having the option. I have never really wanted to move. I like staying here for now. In the future hopefully we’ll be playing on the road more often.

    AL: I think our music will probably do better overseas if it gets out there.

    TL: They say older style rock ‘n’ roll does really well in Mexico and Spain. Everyone has always worshiped American rock ‘n’ roll.

    AL: And now America doesn’t give a shit about rock ‘n’ roll.

    BL: I think if your music is genuine enough then it will mean something to everybody.

    AL: It would be nice to entertain the current generation but provide something that will last a while. It’s gone sort of back in time now where artists release a single and get it out there as fast as possible. It sort of exonerates the whole idea of putting out a record that will stand through time and not just be good right now. It’s hard because who doesn’t want to put stuff out now and be in on the action.

    TL: Everyone can record music themselves now on their computer or cell phone. Puts everyone on the same level.

    AD: It is a gift and a curse because it’s a very saturated market but it’s also easier for people to get their stuff out there so it’s a matter of being on top of it and reaching your audience. So how do you all branch out to widen your audience?

    AL: I’m horrible at it.

    TL: We’re trying to get better at it. For a while we didn’t do any social media because we were against it. But after a while you realize if you want to keep up with the Jones’ and book shows in NYC you have to have a social media presence. If people can’t find anything about you online they’re not gonna book you. So you have to play the game.

    AD: Any final comments?

    BL: As far as us being brothers goes, we’re always gonna stick together. We’ll always be making music and we’ll always be friends. We have a really strong connection. We were never bored as kids and when we’re together now it’s never boring. Gotta stick with your pack.

    AD: One last but very important question: What’s your spirit animal?

    AL: Keith Richards.

    BL: A turtle.

    TL: Mine is a lizard. It was given to me.

    AL: Someone told me mine was Christopher Robin from Winnie the Pooh. He’s the leader of all the animals.

    BL: It’s pronounced Christopher Walken. (does impression) “Don’t get on my back about crumbs.”

    AL: My spirit animal is a bag of crumbs.

  • Rebuilding the Syracuse Art Scene: An Interview with Justin Pellingra

    I can distinctly recall the brisk November night last year when a painter friend invited me to swing by a collaborative art space that had just popped up in downtown Syracuse. Intrigued to observe what happens when the eccentrics of the city converge under one roof, I curiously made my way to this space at 451 S. Warren Street dubbed The Vault.  The room was still pretty raw: white walls dappled with spray paint and a few unfinished canvases propped up, poised to absorb the strokes of an inspired hand. A free-standing toddler-sized basketball hoop begged for attention on one side of the room while other playful participants took advantage of the open floor to propel themselves around in a wheelchair or practice tricks on a skateboard. One of these spirited wheelchair riders was none other than The Vault proprietor, Justin Pellingra.

    Justin PellingraThe venue wasn’t officially open yet, but Pellingra had already opened the doors to let curious minds wander around his newly acquired property. As I observed this young entrepreneur roll around in what could be best described as an adult indoor playground, I wondered what would become of this venue that at the time seemed to have little direction, but infinite potential.

    It has been a year since The Vault opened it’s doors and in that short span of time, Pellingra has run the gamut of artistic expression, fully utilizing this amorphous space by keeping the weekly schedule packed with live music, art showcases, gaming tournaments where people play bingo for money, film screenings, fashion shows and a flurry of educational and entrepreneurial opportunities to help local artists network and provide a platform for them to display their diverse talents to the community.

    Justin PellingraPellingra has tirelessly cultivated his multimedia venture to elevate the arts in Syracuse and revive the culture he knows is waiting to make a comeback. The arts in Syracuse have gained intense momentum over the past few months thanks largely to Pellingra’s efforts. In the face of this success, code enforcement has forced Pellingra to relocate, but he is determined to uphold his mission to illuminate the artistic vibrancy of this talented city. I recently caught up with him at The Vault to discuss the past, present and future outlook for The Vault:

    Ally Dean: What is your role at The Vault?

    Justin Pellingra: Overall I want to shape the city. I see my role as being a social architect. I see Syracuse as this place that’s partially developed right now. It’s like a blank canvas in many ways and it’s just a matter of who’s going to step up and do it. I noticed there weren’t the proper venues for all this talent in the city. So I opened up my own place to have that platform and I’m letting everybody in. If you’re cool and you’re serious about what you’re doing or you have a passion, I’m gonna give you this platform. I film and do photography for everybody so they have a press kit to put out. I didn’t study film or photography in school so for me this was my education.

    Now I have all these students coming and that I’m training to do live audio, recorded audio, interviews, how to be behind the camera and how to direct other people and learning how to get funding and all the resources we need for production. One of the other elements is to build the film industry here in Syracuse. That’s another blank canvas that’s a major industry for economic development which this city needs. But I think this city lacks visionaries. A lot of the people that are in charge in this city are doing it the same way it’s been done.

    Justin PellingraAD: What are the issues with code that are threatening to close you down?

    JP: The issue is this back door. There’s a sidewalk that leads to the street and it’s about 20 feet. It’s owned by the neighbor. The neighbor is actually a cool guy. He has no problem with this door being an emergency exit. But what he doesn’t want to do is have it free for me to walk back there and go on his property. He wants to maintain his private property. The only way the codes will accept that this is a door is if the neighbor signs an easement which is an all eternity bridge that connects the two properties. He’d have to give up rights to his own property and it’s asking too much.

    So even though we have 2,400 square feet in here, our occupancy is now being determined by only the two front doors, so it’s getting dropped from 260 to 49 people. If that happens it just doesn’t make it possible to continue doing what we’re doing. I can’t do business here and so it’s gonna return to the abandoned block it was. There’s been development since I’ve been over here which is cool, but in general there’s a lot of undeveloped property sitting around with nothing happening to them and you have someone like myself investing in these properties and they’d rather have it continue to be empty.

    AD: This must be frustrating to handle…

    JP: It sucks because I only have two dollars in my pocket and we were at the peak. We have two big music festivals coming up. Our calendar is booked. We’re in the highest demand we’ve ever been in. It’s at peak capacity with events everyday. It was a booming business. It seemed like something people needed. It was always amazing. I loved it, it was beautiful, it was wonderful. It was cool that I could provide a space where people could just be free for a while. They would escape their day and express themselves.

    AD: It has been such a great space for artists to network. Where else would they get a chance to meet each other. Especially when you’re offering a space for so many different mediums. You’re bridging that gap between different arts.

    JP: Right. And I made a point not to make it about making money on my end. I give other people the opportunity to make money first. I’d make it so that there was no risk. You don’t have to invest anything but your time and I’m gonna give you platforms and put you in front of people and allow you to try to sell your work. So many artists got their first commissions here.

    AD: So you’ve started looking at new locations for the Vault?

    JP: Yeah I’ve looked at some promising locations. They want a lot of money for some of these spots so we’ll see what happens. But I think Syracuse is ready for us to expand and move somewhere bigger.

    AD: Could you start a crowdfunding campaign to help fund it?

    JP: I have a very hard time asking for things, especially money, but I probably will.

    AD: I’m sure you could get a bunch of local artists in on it. Have them offer a CD, a small piece of art or stickers.

    JP: That’s a great idea because its always been a community space. I’ve stuck to certain principles through this whole process and one of them is “Can this be a business were everybody wins?” It doesn’t have to be at the expense of someone else. So much has always felt like compromise in business to me. The other thing I strive to do is to see what would happen if I literally just always gave to anyone that seemed like they needed anything or asked anything of me. I wanted to prove a lot of notions wrong.

    Notions like “If you want something you have to go out and take it” or “Nobody gives a fuck so I don’t give a fuck” There’s so much of our culture that’s like that. I just want that to stop. Just be cool for a little bit, make a few friends, look out for them and watch over time how they look out for you. And you do that with 300 people and you just give to them all the time, now you have these little doses and they add up. I feel like I’ve been so prosperous and it’s not a financial thing. Everyday people call me looking for me, often just to say thank you or do something nice. If I look out for everybody else I’m of the belief that a lot of people are going to be looking out for me.

    At first it might look like I’m just giving away everything I have and it seems kind of crazy but I’m not afraid to do this. This is how I’m gonna operate. And people have been incredibly generous in return. I don’t think this business, if you want to call it a business, could have operated without that. I think it’s special and different from any other music venue in town. I wanted to set an example of how it could be done.

    AD: Do you see this as a long-term investment or do you just want to get it to a stage where it’s self-sustaining?

    JP: Right now I’m invested in Syracuse. I’ve built too much to walk away from it. I know people have been inspired by what’s going on here and are going to be doing similar things. I feel like the demand is so high and supply is so low and I love doing it so I have to keep doing it.

    AD: How are you managing all of the shows you already had booked?

    JP: We’re going through a transition but it hasn’t slowed us down, all we did was change up how we’re doing it. The forty shows we have booked right now, we’re taking to a different location in the city, and calling it the “Live from The Vault Tour.” We’re highlighting those locations because it’s never been just about The Vault anyway. It’s been about the city and building up the culture. Places like this can’t survive without strong culture where people understand the value of it. So to build the culture we’ve been bringing our shows to other venues, adding a little bit of our flavor.

    AD: Was “The Vault Tour” initiated because of getting shut down or was it already a concept you were interested in?

    JP: We’re pretty good at working quickly and working with what we have. Literally the first day we got the notice it was a stop work order because of the door. We got that and had half an hour to promote a show at a new location. Originally we cancelled it, but then a half hour before it was supposed to start we hit social media hard and the show was huge.

  • Hearing Aide: The New Daze ‘Give Them Laughter’

    Summer is a time for embarking on adventure and expanding horizons. Syracuse psycho-funk group The New Daze have been increasing their ear drum influence by regularly touring throughout New York, wrapping up a July residency at Funk ‘N Waffles downtown, and just releasing their third studio album, Give Them Laughter. Recorded in Ontario, NY at The Green Room, this is the first studio project for Steve Graf (drums) and Erik Hoffman (keyboard), with senior members Max Flansburg (guitar/vocals) and Jamie Knittel (bass) rounding out the quartet.

    new daze give them laughterThe New Daze are known for their articulate, psychedelic, disco-driven jams featuring consistently solid instrumentation and wacky effects interspersed with metaphoric yet relatable lyrics. The musicians aren’t afraid to get silly, sometimes crafting elaborate back stories to provide a whimsically rich context for their music. Take, for instance, Uncle Stremnf, the zebra mascot who often appears on stage in stuffed animal form and serves as a central part of their new album artwork.

    Give Them Laughter embodies the highly danceable and imaginative foundation of The New Daze but also traverses all corners of the musical map, exploring the realm of reggae while retaining a trademark funkiness with the first track, “Pumpkins.” Flansburg’s warm vocals add richness to the tune before it breaks away with a zippy instrumental jam. The first half of “Disasterpiece” bears striking familiarity to a peppy Disney number featuring Knittel on vocals before it too picks up speed, expanding into a noble duet of guitar and keys before Knittel repeatedly decrees, “Life is meant to celebrate, even when it’s a disaster.” It’s almost impossible to not crack a smile as the song concludes with this devil-may-care notion. Flansburg resumes command on vocals for “Send It,” eliciting a more sophisticated, scratchy soulfulness which conveys a youthful crossbreed of Randy Newman and Stevie Ray Vaughn.

    “Face Paint” inhabits the album as a one-and-a-half minute tornado of circus-like effects swirling with spurts of heavy drumming, guitar and organ. It serves as an enticing interlude before “Mr. Bonzai,” the longest track on the album at almost fourteen minutes long. This extended track offers a sonic patchwork stitching together techno, jazz and rock elements, at times evoking the muted melancholy of Pink Floyd. The album concludes with “Sunroof Cop,” culminating in the most intense jam on the album, giving listeners one final chance to freak out before the last thirty seconds of book end to the album with a slew of cartoon-like voices reinforcing the nonsensical nature of The New Daze.

    Key Tracks: Send It, Mr. Bonzai, Sunroof Cop

  • Hearing Aide: Waydown Wailers “Empty Promises”

    The whiskey drinkin’ outlaws of Waydown Wailers from Northern New York have been roaming across the state supporting the release of their sophomore recording, Empty Promises. Brothers Dave (lead guitar/vocals) and Christian Parker (guitar) along with Michael Scriminger (drums/percussion) and Connor Pelkey (bass/backing vocals) outfit the four-man roots rock band, which coalesced in 2012.

    Waydown Wailers Empty PromisesReleased February 2016 through Woodstock Records, Empty Promises embodies a multitude of familiar human experiences nestled in straightforward blues-rock riffs and uncomplicated lyrics. The cautionary “Don’t Let Life Pass You By” opens the 10-track album, spurring listeners to derive meaning through a slew of thrill-seeking adventures. Dave contends, “You can spend your money, ya won’t ever get it back, to get that feeling that you lack.” Though jumping from an airplane or being shot from a cannon may only appeal to some, anyone can relate to the notion of attributing meaning through memorable experiences.

    The title track “Empty Promises” engages a harder rock sound with more percussive guitar. Waydown Wailers‘ genre-bending outlaw jam style is embodied by the varying stylistic elements of this song. Low octave backing vocals reiterate lyrics in a “Monster Mash” fashion, while the chorus in unison with guitar impart a likeness to Survivor’s “Eye of the Tiger.” “Jealousy” concludes with an uptempo organ-driven siege perfectly tailored for a wild west cowboy chase. Strong classic rock vibes on “No Time to Waste” emulate a satisfying Allman Brothers-esque guitar mix, while “St. Vraine” gets a little softer in Eagles fashion, depicting the unrelenting power of a river in Colorado.

    These rock outlaws are keeping fairly busy throughout the summer playing shows across the Empire State, with the next upcoming gig on Thursday, June 16 at the Westcott Theater opening for Devon Allman Band. Interested in the album? Purchase it here.

    Key Tracks: Empty Promises, No Time to Waste, St. Vraine

  • PhanArt Coloring Book Draws Phans Toward Charitable Cause

    Need something to do with your hands while your favorite live Phish show blasts in the background? Sure, you’d rather be seeing them in person, grasping a fistful of glow sticks to launch into an animated crowd at just the right moment, but in lieu of that, why not throw some colored pencils on the table and get creative with the PhanArt coloring book.
    PhanArt Coloring Book
     
    The book is a collaboration between PhanArt founder and NYS Music co-owner Pete Mason and Artistic Director of HeadCount, Jamie Huntsman. The contents feature eight artistic submissions hand-crafted by a crew of devoted fans, with cover art designed by Huntsman. All proceeds go to the Mockingbird Foundation, a non-profit organization founded by Phish fans. Their mission is to raise funds for music education, so future generations can continue to create inspiring sounds. Mason and Huntsman took a moment to answer some questions regarding the process of bringing this coloring book to life:
     
    NYS Music: Are there any other underlying Phish themes tying the coloring pages together besides being inspired by the music of Phish?
     
    Pete Mason: The theme of this first volume is animals. There are many animals mentioned throughout the Phish catalog (Sloth, Horse, Mockingbird, Spastic dead-eyed hound), and it became the basis for the inspired pages created by the artists.
     
    Jamie Huntsman: We wanted a really loose theme for each volume of the coloring book. This one is Phish animals—the next [volume], not sure. We might do characters in songs (Wilson, Tela, etc.) or maybe closer to Halloween we could do a scary/evil Phish theme (They Attack! or Big Black Furry Creature from Mars).
     
    NYS: What were each of your roles in creating this coloring book?
     
    PM: Jamie came to me with the idea last fall, and once we sorted out the logistics, I reached out to artists I had worked with in the past who I felt would contribute a page to the book.
     
    NYS: How many volumes do you expect to produce?
     
    JH: I think as long as there’s interest both on the side of the artists willing to donate their art to this book and phans willing to purchase, we’ll produce.
     
    NYS: How often do you plan to release new volumes?
     
    JH: At least twice a year. This is a volunteer project, so whatever we have time for and interest in. And the more Phish tours, the more we will produce.
     
    NYS: Were you pulling from a small pool of submissions or purposefully kept the first volume short and sweet?
     
    PM: We kept the first volume at this length based on initial responses from artists, and gaining eight pages, plus the cover (designed by Jamie), it was a good start to get the ball rolling on this new piece of PhanArt.
     
    NYS: Did artists have to follow any particular guidelines for their submissions?
     
    PM: Simply to design something that was unique and featured an animal from Phish lore. We kept a list going of what was spoken for so we didn’t get repeats of the same animal.
     
    JH: We also didn’t want to include any infringing work, so, artists needed to keep their work within PhanArt guidelines—no logos or copyrighted names/images.
     
    NYS: Have the two of you collaborated in the past?
     
    PM: YES! Jamie is featured in the book PhanArt: The Art of the Fans of Phish, with her posters spanning from the late ’90s through 2004.
     
    JH: HA! Has it been that long? Oh my. Yeah, Pete has really established himself as an authority in the Phish community, so, when I had this idea it was natural for me to go to him for execution.
     
    The coloring book can be purchased for $5 here. It is offered as an instant download, so it’ll be ready for your eager artistic scribbling way before the end of that extended “Tweezer” jam.

  • Snarky Puppy and Sophistafunk Drop Jaws at the Landmark Theatre

    A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.

    Jim Houle Photography - Michael League - Snarky Puppy - Landmark Syracuse - NYSMusic Watermark-1

    The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.

    Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.

    Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.

    Jim Houle Photography - Sophistafunk - Landmark Syracuse - NYSMusic Watermark-3

    Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.

    The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.

    Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.

  • New York Minute: Charley Orlando Shares Vision for the Syracuse Music Scene

    OrlandoOn any given afternoon in Syracuse, it is highly probable Charley Orlando will be spotted leaping nimbly to the stage to adjust sound equipment, prepping for the evening show. The sprightly Funk ‘N’ Waffles talent buyer keeps busy between selecting acts for the downtown Syracuse and university locations. He has become the gatekeeper for a flourishing downtown venue that stands as a go-to destination for music lovers thirsting for a dose of live music.

    Aside from his technical dexterity, Orlando is also skilled in the art of compromise, acting as chief liaison between musicians and venues. With decades of experience performing in his own bands and booking acts for other venues, Orlando can empathize with the needs and desires of both parties to cultivate exciting show lineups. Behind every jaw dropping drum solo, contemplative guitar riff and danceworthy jam is a man devoted to elevating the Syracuse music scene.

    On a Wednesday afternoon, Orlando took a quick break from his frenzied activity to kick back and discuss his key role at Funk ‘N’ Waffles. Manifesting a calm and collected presence, Orlando’s demeanor in conversation curiously juxtaposed the preceding flourish of activity. He instead channeled energy into exuberant responses, offering a sincerity through dialogue layered with gracious and friendly expression:

    Ally Dean: You are the talent buyer for Funk ‘N’ Waffles. What has been your mission since the onset of your role with this venue?

    Charley Orlando: To create a mid sized music venue for touring and local acts. To concentrate on a music community and grow it to a healthy point where musicians and venues all work together to prop up the music scene in CNY. Also the venue is designed to do all kinds of events besides music so we love doing community oriented events.

    AD: What are your future goals for the venue?

    CO: To keep growing the scene and the venue. To bring in bigger and bigger acts to a small intimate venue. To just be the best this place can be.

    AD: Funk is a pretty sought after venue in Syracuse so you have plenty of acts soliciting a spot on the stage (I remember you quoted a staggering number of emails since December…) Are there bands on your radar that you have reached out to hoping to bring to the venue in the near future?

    CO: We do get an enormous amount of inquiries (22,000+ emails since December of 2014). Really every band is on my radar. I am always looking for the next unique band. There is a lot of “same” going on out there so when I come across something that turns my head I go right for it. There are a number of great bands I have reached out to that will blow the walls off Funk … but I keep them close to my chest until it’s solid. Takes a bit to really dial in a top notch show.

    AD: Are there aspects of Funk you would like to see changed, either with the physical venue or with the process for getting bands there?

    CO: Funk is ever-evolving and that’s why I love it here. Sam Levey and Adam Gold and I work really well together and are always a step ahead of where we need to be. Kind of a dream team for me. The ideas are always flying and stuff gets done fast when we decide to move forward. Really we all want the same thing: the best venue in CNY.

    AD: Pearly Baker’s Best and RUHA are your two current musical endeavors; what are your intentions with those projects?

    CO: To have fun playing music. Pearly is a Grateful Dead Tribute Band so it’s pretty easy to get the right gigs and the band is sooooooo good! Everyone really knows The Dead and have seen them play (w/ Jerry Garcia) many times so we have close ties to the music. RUHA is a very unique original project that mixes acoustic guitar, organ, piano and ableton live triggers to fill it out. Great for festivals! Plus I love playing solo and do that quite a bit.

    AD: Aaaand to keep things fun … are you feelin’ the Bern?

    CO: Maximum Bern! Very into the message! It speaks to me … LOVE! Huh what a concept! April 15 Fuel the Bern’ is at the Palace Theater in Syracuse and April 16 Berning Man is at Anthology in Rochester. Two very important events for people that want change to come about!

    https://www.youtube.com/watch?v=Fiel8ObUkHM