NYS Music 20​16

Author: Joe New

  • Hearing Aide: Kiefer Sutherland ‘Down in a Hole’

    We all know Kiefer Sutherland from his starring roles in major motion pictures and tenured television career and on August 12, he joined the singer-songwriter realm with the release of his debut album, Down in a Hole.  Owning an independent record label with his friend and fellow musician, Jude Cole, has allowed Kiefer to work at close range with up and coming L.A. musicians for years.  Combine that with his life-long passion for music and good old fashioned Western country culture, and you’ve got a formula that takes us straight to the proverbial promised land.

    kiefer sutherland down in a hole“Can’t Stay Away” sees the album begin with a classic upbeat country theme that any lost boy can relate to; being hung up on another lover.  The female harmonization is immediately utilized, bringing a refreshing angle to a few of the 3 to 5 minute tracks that make up Hole.  Lugubrious slide guitar can be heard on “Not Enough Whiskey,” taking us away from the hustle and bustle of our usual bright lights, big city drag. “Going Home” provides a defiant edge for any young guns listening.

    “Shirley Jean” continues the ambulating pace of the album, perhaps referring to a past break up.  The production value is relatively high, and lyrically the songs manage to avoid some of the cliches that pigeonhole most popular country music today.  The title track leaves me personally with a true desire to cowboy up.  The coming weeks will tell whether or not Kiefer will be as big a hit in the studio as he is on the silver screen, but one thing is certain; he has staked a unique claim in the midst of desert saints, walking straight passed the phone booth and into the wild of country music.

    Key Tracks: Not Enough Whiskey, All She Wrote, Down in a Hole

    http://www.youtube.com/watch?v=BrHcMwKCtNw

  • The Disco Biscuits Tear Up New Amphitheater at Coney Island Boardwalk

    After putting the run on hold last year, The Disco Biscuits revamped City Bisco this summer and relocated to the biggest and brightest city of them all, New York City.  On April 18 and 19 the band performed at Irving Plaza in downtown Manhattan, playing back to back heaters that included fan favorites “Therapy,” “Confrontation,” and “Kitchen Mitts.”  Friday the 19th also saw the band debuting a new original, “The Champions.”  Switching locations but losing no momentum, the Disco Biscuits moved the party to the new Ford Amphitheater on the Coney Island Boardwalk for the final night of the run, Saturday August 20.

    disco biscuits coney islandIt was an interesting scene, seeing Disco Biscuits heads mingle among the usual weekend patrons of Coney Island.  Roller coasters whipping past, the wafting smell of the salt water battling for dominance with the odor of the famous boardwalk hot dog, and good ol’ White Castle Express.  It reminds you of a time past, but the New York City energy is still unmistakably crackling up and down the worn boards just as much as in the asphalt a few boroughs away.  The Ford Amphitheater opened its doors at 6PM, revealing state of the art facilities and high quality monitors flanking the stage.

    The Hungry March Band provided a nice introduction for the Biscuits, with members of the headlining act slowly joining as the March proceeded into a familiar melody.  Both acts broke into “Spectacle,” and as the Biscuits began to take over the groove the Hungry Marchers exited stage left.  Jon “The Barber” Gutwillig seemed to have some intonation issues during the opener, stopping abruptly to re-tune during the noodley 11/8 time section.  He wasted no time getting his mojo right back in line however, as his solo during “¿Donde?” melted more than a few faces.  The song was extremely put together considering the last time they played it live was September of 2010.  Keyboardist Aron Magner provided a surreal acoustic piano introduction for a stunningly tight “The Very Moon,” which gave way to an absolutely raging “Tempest.”  The segment transitioned into a flawless inverted “Digital Buddha,” continuing seamlessly into the funk section of “The Very Moon.”  Seguing into the end of “And the Ladies Were the Rest of the Night” would complete the unfinished version from the previous evening, as well as bring the set to a dramatic close.

    The Biscuits chose the Beastie Boys classic “No Sleep Till Brooklyn” as a perfectly apt opener for the second set, giving a nod to the Hip Hop titans as well as the location of the evening’s show.  Having only played it out one other time in October of 2009, bassist Marc Brownstein seemed positively giddy to play an anthem from one of his childhood influences.  “Run Like Hell” provided back to back covers for the last set of City Bisco.  Without a single standalone song the entire set, the boys seemed to get into the pocket and stay there for a few songs after “Run Like Hell,” playing off of each other effortlessly but effectively.  “Cyclone” seemed an obvious choice considering the name of the local minor league baseball team who’s stadium was about a quarter mile down the board walk and was a complete shredder.

    Allen Aucoin’s drum rolls were so pristine that it actually hurt a little.  An inverted version of “Crickets” got everyone on their feet, but an inverted “Aquatic Ape” sort of quelled the vibrations building from the previous jams.  Some thought it was a strange choice considering the previous and forthcoming compositions: the end of “Bernstein and Chasnoff” seemed to lack following such a down tempo diddly.  Coming back out for the encore with “Highwire” was sort of a slap in the face for some fans after a weekend of song choices that left us on our toes; “Highwire” being the epitome of the opposite concept.

    After yet another weekend of unexpected bust outs and crazy set list arrangements, Bisconauts both tenured and amateur have a lot to look forward to.  The Biscuits have proved that they’re back on the right track, 2016 seeming their comeback year.  They’ll be headlining this upcoming Saturday, August 27 at Imagine Festival in Atlanta, as well as two nights in September at the Great North festival in Maine.  This should give curious jam fans plenty of time to relax with the Disco Biscuits.  And remember…they nasty, but they good.

  • Camp Bisco’s Color War XI Inspires Massive Expansion

    “Color War XI: The Aquatic Ape,” went over quite swimmingly during Camp Bisco‘s triumphant return to Montage Mountain this past month. Sporting a cornucopia of new water themed events, Color War gained an interest from passers-by unmatched in previous years.  Unlike most organized sporting events, participants were allowed to walk on and off the field more or less at will; providing for a wonderfully laid back environment that everyone enjoyed.  The Pink Hydra Squad took home the gold, with Purple Reign and the Green Mutant Ninja Turtles in a stalemate for second, and last but certainly not least came New World Orange.  An absolute favorite of the roster was Wook Fishing next to the lazy river.

    Hey little baby just let it slide…right under the pole!

    Events began at noon, with the Montage Highwire Marathon, You & I Arm Wrestling, Shave the Hot Air Balloon, and a rather high stakes game of Spacebird Volleyball.  It’s pure synchronicity that all of those Disco Biscuits song titles fit so cleverly, I’ll tell ya that.

    aquatic apeScheduled to begin at 1pm on that lovely Friday was the Aceetobee Spelling Bee, some good old fashioned Disco Biscuits trivia, as well as Little Shimmy in a Limbo Line.

    Wrapping the day up at 2 o’clock was my favorite event, Barfly Best Drink, followed by the Bernstein & Bacon-Off bacon frying competition.  The Confrontation Tug-o-War was a necessary act, and the I Want to be Barber look-alike contest was certainly a welcome edition to the Color War repertoire.

    aquatic ape
    Teamwork makes the dream work.

    In fact, Color War caused such a big wave this year that even Lorin (more popularly known by his stage alias “Bassnectar”) took notice.  Promising his own version of Color War during his new festival, “Bass Center”, which took place the weekend after Camp Bisco.  When asked if he thought his Color War was better than Bisco’s, Lorin declined to comment.

    aquatic ape
    Hopefully that ball doesn’t deflate on a whim!

    This got original Color War guru Amanda Rivera thinking; what if there was a Color War at every major festival?  What if good, wholesome, physical fun wasn’t the only goal of Color War, but working as a team toward a broader common goal?  These are some of the subjects we discussed in a telephone conversation earlier this week, and she seems to think it possible.  “If everyone were to make a small donation as requirement for entry, whether towards a team specific charity or one of their choice, it would add an entirely new aspect to Color War.  The amount of money donated may even determine the weekend’s winner in the future.”  Amanda said during the conversation.  One thing’s for sure, the aquatic ape is out of the barrel, and Color War may just be coming to a lot near you!

  • Camp Bisco Settles in at Sophomore Effort on Montage

    Camp Bisco is a household name at this point.  Just its mention can inspire mixed emotions; from love to disdain.  After a long stint at Indian Lookout Point in Mariaville, NY, Bisconauts found a steep new home for Camp Bisco last year at the Montage Mountain Performing Arts Center in the “Electric City”, Scranton, PA.  Returning July 14, 15, and 16 for the second round, Montage seemed to have a much better inclination towards the larger crowd that Bisco inevitably draws year after year.

    Thurday, July 14 was pleasantly welcoming upon arrival compared to the tediousness of last year.  The security lines moved much more quickly both on and off site, and the shuttle system ran smoothly.  Once inside, campers had a plethora of events to choose from.  Beginning promptly at 10AM, a yoga class at the Above the Waves stage kicked off the weekend’s bevy of Wellness programs.  A Festival Fuel seminar followed at noon, a talk that gave information as to which food would best combine portability, nutrition, and ease of preparation; extremely useful for any frequent festival goer.  It seemed that Bisco was aiming to make its patrons not only headier, but healthier, this time around.

    Speaking of heady, Philadelphia based DJ Josh Wink set the bar high for all of the electronic acts that would follow with his 5PM set.  With his career blossoming in the club scene of the late 80’s, Wink has been an internationally touring act for decades.  Playing in front of a smaller crowd than he had in years was no deterrent for this old pro, and Wink had the crowd moving in a matter of measures.  Dopapod hit the Above the Waves stage at 6:30PM, coming hot off their summer tour with an air of confidence.  Opening with “Vol. 3 #86” and thundering right along into “Black and White”, the boys were in prime form as usual.  “French Bowling” lead to a highly unexpected and face melting “Black Sabbath” tease.  Fan favorite “Trapper Keeper” wrapped things up.

    Lotus was on deck for the Electric City main stage at 8:30PM.  Being the eve of the release of their new album, Eat the Light, the trance-fusion giants were in sync.  They debuted a new track titled “Sleep When We Are Dead” off of the forthcoming album, and closed the set with “Bush Pilot”.  Beginning right on time at 10:30PM, the fathers of Camp Bisco, the Disco Biscuits took the stage.  “Triumph” launched the evening into orbit, followed by “Papercut”, which hadn’t been played in over five years.  A whimsical cover of “Safety Dance” got everyone to look at their hands, and took us back into the end of “Papercut”.  Without a single ending the entire set, the Biscuits jammed right into an Great Abyss, wherein they let the projection light show loose under the seemingly sailcloth pavilion, revealing a truly stunning addition to this year’s production value.  “42” took us into the ending of “Nughuffer”, the jam between exploding off the stage like liquid hot shrapnel.  Eager was the mood of the crowd, almost impatient to see the Biscuits’ next sets.

    camp bisco montageBisco veterans Orchard Lounge kick started the Friday festivities on July 15 with some filthy deep house beats.  Being their 9th appearance at the festival, the trio floored the crowd with a qualified style.  Thundercat continued to electrify the main stage at 4PM with a sophisticated brand of jazz-fusion that only bassist Stephen Bruner can deliver.  Lettuce ensued, though seemed lacking in the wake of such intense technical musicianship as the Thundercat brought.  7PM rang in the Disco Biscuits first set of the evening.  Humidity wasn’t the only reason for a high moisture level, as guitarist Jon “The Barber” Gutwillig slid into the opening bars of “Jamilia” with a sensuality that made the ladies blush.  “Park Ave.” completed the segment, as Bisco classic “Caterpillars” brought us into an inverted arrangement of “Mulberry’s Dream”.  The band seemed to struggle through “Feeling Twisted”, as bassist Marc Brownstein took off his five string and clumsily muddled around on his less mastered instrument, the mini-synth.  The conclusion of “Caterpillar” rounded out the set.

    Odesza provided a wonderful set break.  The production duo incorporated analogue instruments into their electronic soundscape, with a stage presence that matched their enticing visualized display.  The Disco Biscuits returned fashionably late around 10:45PM, getting straight down to business with a crackling “Strobelights and Martinis”.  The segment continued with a skin tight “Spraypaint”, into a galloping and mysterious “Lunar Pursuit”, which was supplanted by a “Helicopters” that took it in for a landing.  Keyboardist Aron Magner gently guided us into the terrifying tale of “Spaga”.  After the smoke cleared from a completion of the previous night’s “Nughuffer”, “Spraypaint” took the evening to a cheerfully teary eyed end.

    camp bisco montageSaturday July 16 was chalk full o’ fan favorites, starting with Tom Hamilton’s American Babies at 1PM.  Ott grooved next, bidding a warm farewell and asking everyone to stick around for the Biscuits’ day set to follow.  Rolling out another classic cover, the Biscuits pulled the pin with “Pygmy Twylyte”.  Next was an inverted version of “Humuhumunukunukuapua’a” which they recently played during the Bisco Inferno run in Denver, CO.  Decidedly matching the sunny mood, the Grateful Dead’s “Viola Lee Blues” continued the cover trend.  The segment continued with a stunning “Shelby Rose”, leaving many first timers with an apprehensive grin.  “Little Betty Boop” concluded the first in the trilogy of Biscuits sets.  The crowd seemed excited for Jewish rap superstar Lil Dicky, AKA Leftward Slopping Penis, but expectations were crushed for the first 15 minutes of the 6PM set, as there was an alarmingly obnoxious “hype” man screaming into a microphone and making air horn noises from behind a turntable.  Lil Dick came out at a seemingly random moment and performed none of his well known comedic songs, instead going back and forth with an unknown rapper in perverse and simpleminded rhyme.

    Back to business.  The opening tune of the Disco Biscuits 7:30PM set matched the state of the crowd, as we were all “Sweating Bullets” in the heat.  Drummer and percussionist Allen Aucoin’s technical precision was blatantly evident during the transition into “Minions”, which gave way to an eerily heavy “Pimp Blue Rikkis”.  There was a unique smell and smoke in the GA pit, that of the oddly familiar multidimensional moth ball variety, as a wicked crispy “Aceetobee” jammed into their debut cover of Men at Work’s “Down Under, back out to “AC2B” and into another debut, the Grandmaster Flash’s “White Lines”, concluding with an absolutely smoldering “Aceetobee” outro.  Zeds Dead reminded us what trap was after that.  STS9 began at 10:30PM, sounding a bit mailed in.  Many wandered over to the Above the Waves stage where Marshmello was turning brains into gooey mush with his hypnotic yet subtle drops.  The weekend came to its pinnacle at 12:30AM that final night, with the Disco Biscuits closing shop.  “King of the World” is always a ripper out of the gate, heading straight into “Little Shimmy in a Conga Line”.  “Cyclone” was ironically interrupted by incumbent weather, and after a 40 minute break for safety’s sake, they broke back into that jam almost seamlessly.  Going straight for the throat with the peak of “Basis for a Day”, next the Biscuits cooled it down a little with “Tricycle”.  Inverting even further by going back to the intro of “Basis”, the end of “Little Shimmy” made sure those who were paying attention were kept on their toes.  Another “Basis for a Day” jam, this time in a more traditional order, pulled the musical cruise that was Camp Bisco XIV back into port.  The “Story of the World” encore had a few flubs, but over all left fans with their hands to the band as everyone got ready for the classic crowd picture that wraps up all prominent Disco Biscuits weekends.

    Another year, another Bisco for the books.  Most agreed that Montage Mountain seemed much more suitable this year than last, with some logistical and personal experience now under their belts.  Camp Bisco began with the notion that Jam and Electronic fans alike could enjoy not only acts on the same bill, but spending a weekend together in a music scene melting pot.  Bisco 2016 exemplified the idea perfectly.

  • Camp Bisco XIV Promises to Impress

    Hello Campers!  Camp Bisco XIV will return to Montage Mountain for round two on July 14, 15, and 16.  With a wonderfully diverse lineup, fans of trance-fusion and straight up trap alike will be raging it down to the bottom as one.  Nary a bill has been seen since the days of Mariaville; as far as headlining acts go, Big Grizmatic and Lotus warm things up for us on Thursday.  Odesza and Griz keep the party going in style on Friday night.  STS9, RL Grime, and Zeds Dead round out what promises to be a Saturday night to be remembered.  Oh, and of course the omnipresent, all-powerful Disco Biscuits to keep everyone feeling twisted.

    camp bisco XIVAlthough, most of the other acts on the program could easily be considered headliners themselves; Dopapod, Phuturprimitive, Lettuce, Orchard Lounge, Thundercat, Lil Dicky aka Firm Handshake, the list goes on.  In addition to the kickinest lineup of the summer, Color Wars will return for its new and improved 11th installment, which will feature full reign of the state of the art water park at Montage.  Hosted and judged by Wes Hall and the lovely Amanda Rivera, the brand new events will incorporate every amenity that the Mountain has to offer to an eager Color Warrior.

    The message in the writing’s on the wall; Bisco is back and better than ever.  If you haven’t snagged your ticket yet there’s still weekend as well as single day passes available at www.campbisco.com/festival-passes/, with the final price increase happening on the 14th.  Bisco alumni and first year festival goers alike have one spectacular weekend ahead. Sorry if you don’t.

  • Camp Bisco’s Color War XI: the Aquatic Ape to Include Vast New Improvements

    Camp Bisco Color War XI: The Aquatic Ape, will return for its 11th season this year on Friday, July 15 at Montage Mountain. Now in its second year at the venue,  patrons of the festival and Color War faithful will be much more well equipped to deal with the inclined terrain that the venue offers in spades.

    Offering a plethora of new events that utilize the Mountain’s stage-side water park, including the Above the Wave Pool Race and High Speed River Racer, means that Bisconauts can stay cool while the competition heats up.  Even the onsite zip line will be taken advantage of in the finale of the Montage Highwire Marathon.  In addition to the already well loved Disco Biscuits themed games that Camp Bisco Color War has to offer, these new events will assist in truly making Color War great again.

    The Montage Highwire Marathon will have participants dreaming to touch the sky after a foot race to the top

    Color War began in 2005 at the fourth Camp Bisco, and has been growing in momentum and notoriety ever since. Die hard Biscuits fan and founder Yancy Davis catalyzed its advent by combining two of his favorite passions; the Disco Biscuits and friendly organized sports.  Most of the events in the first couple of years are very familiar, such as tug-o-war, a three legged race, and the ever perilous egg toss.  More and more Biscuits references snuck their way into the fabric of Color Wars throughout the passing seasons, including Mr. Don’s Mustache, telling your own Nughuffer story, and the Bernstein and Bacon-off best-bacon-frier competition.  That trend continues in the water park this year, giving this 11th installation the honor of being named after a true Biscuits classic, Aquatic Ape.

    Sister Judy might get a little wet this year; Montage Mountain’s water park will receive a full take over from Color War troops

    Four teams to choose from means more options in the already astounding list that Color War XI: The Aquatic Ape has to offer.  Three time back-to-back champions Purple Reign are looking to remain the reigning kings of Color War.  New World Orange are also three time conquerors, though it has been years since these underdogs claimed the throne.  Returning from earlier years will be the Greenage Mutant Ninja Turtles, as well as the ferocious Pink Hydra Squad.

    Camp Bisco attendees will have a lot to think about this year when stepping foot on the Color War field, especially if they plan to participate in another new event called I Want to Be Barber; a costume contest wherein contestants attempt to mimic Disco Biscuits’ guitarist Jon “The Barber” Gutwillig’s legendary stage outfits.  Often imitated but never duplicated, such a challenge has never been met on the Camp Bisco lot.

    Splitting our minds by day and our girlfriends’ thighs by night, Jon “The Barber” Gutwillig is a force to be reckoned with both musically and fashionably

    Anyone who wishes to participate in Color War XI need only go to campbiscocolorwar.com and complete the quick registration form, or simply show up at 12PM on Friday, July 15 at the water park.  Conveniently located next to the Above the Waves stage, Color Warriors won’t need to miss any of their favorite bands or DJs during the festivities.  Word has been getting around that some celebrity members of said bands may even help in judging some of the competitions.  Only one thing is certain for the outcome of Color War XI: The Aquatic Ape: Camp Bisco and Color War will be a little wetter forever.

  • Dopapod Brings Spring Tour to a Close with Three Nights in Cambridge

    Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.

    dopapod cambridgeAqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.

    Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.

    4-28-2016
    Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
    Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
    Encore: Weird Charlie pt. 2 [7]

    [1] (Contained Vol. 3 tease)
    [2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
    [3] w/ Mike and Dave from Aqueous (Eagles cover)
    [4] unfinished (Contained Turnin’ Knobs tease)
    [5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
    [6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
    [7] contained FATALITY Mortal Combat sample

    Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.

    “Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.

    4-29-2016
    Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
    Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk

    [1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
    [2] (Contained Flipped tease)
    [3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
    [4] Bluegrass

    Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.

    “Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.

    Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
    Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
    Encore: Made A Design, 8 Years Ended [6], Bluetooth

    [1] contained Black and White jam (Contained Give It A Name tease)
    [2] (Contained Bahbi tease)
    [3] (Contained FABA tease)
    [4] Extended Jam; Tim and Eric samples
    [5] Extended Jam; crew introductions
    [6] (Contained Picture in Picture tease)

    It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.

  • Hearing Aide: Jerry Joseph ‘By the Time Your Rocket Gets to Mars’

    Jerry Joseph is an American indie rock icon. Playing guitar professionally from an early age, he’s never been uncomfortable expressing exactly how he feels through his music and lyrics. It comes as no surprise then, that his newest offering, By the Time Your Rocket Gets to Mars, sees a meaningful development much in the same direction as his last self-titled LP,  released in 2013.

    By the Time Your Rocket Gets to Mars

    Ten new tracks, including one previously released single “Fog of War,” culminate in an album that appeases long time listeners while sporting a flavor that cultivates new fans.

    Joseph’s minimalist sound manages to cut through today’s overly complex musical landscape. His alternative influences are clear on this album especially, sounding a bit like Elvis Costello meets Leonard Cohen. The lyrics throughout are really more like poetry or prose, touching on subjects such as the environment, friendship, and mortality. The album’s title comes from a sobering conversation that Joseph had with his son, who reminded him that even if humans do manage to land on Mars, Joseph and his generation very well may not be around to see it. The title track, “Mars”, has a somber overtone that represents the general message of the album quite well.

    This isn’t to say there aren’t some upbeat head-bobbers in there as well. “Light of Stone” and “Brother#1” both have a delightfully bluesy tinge to them. The song arrangement certainly makes By the Time Your Rocket Gets to Mars an interesting listen from front to back, providing inspiring peaks and (more often) lugubrious valleys throughout.

    With tour dates set in June with his band the Jackmormons, Jerry Joseph continues his legacy of true rock and roll grit. By the Time Your Rocket Gets to Mars is an absolute must-own for fans of the man and the genre.

    Key tracks: Mars, Brother#1, Fog of War

  • The Disco Biscuits Sell Out Debut Run at the Capitol Theatre

    The Capitol Theatre in Port Chester is a venue that has earned itself a unique spot in the heart of American jam band culture. Being a regular stop for legends such as the Grateful Dead and Frank Zappa in the past, today the Cap continues its tradition of booking the cream of the progressive rock crop. The Disco Biscuits fit that role exquisitely, and it showed this weekend during their back to back maximum capacity shows on March 25th and 26th. With the New Deal opening on both nights, the bill would provide a trance-fusion treat that no fan of the band or the venue could deny.

    There was an anticipatory energy crackling through the Capitol as the New Deal started the evening smoothly. The unique blend of catchy and accessible electronic rock served as an excellent warm up as the crowd settled in; swelling to a size that would worry the fire marshal as the opening act concluded. Giving a salute to one of the many gods to grace the same stage, the Disco Biscuits kicked it off in style with Frank Zappa’s “Pygmy Twylyte.” Zappa can lubricate anyone’s mood, and the song clearly got it going perfectly as the crowd brimmed with positive energy. “Spraypaint” always being a pleaser, the set promised to be an uplifting one as bassist Marc Brownstein had everyone feeling mellow for the transition into “Rainbow Song”. Maintaining the upbeat theme immaculately, “Spectacle” was followed promptly by a thundering “Helicopters” introduction that had everyone singing along. The set concluded with keyboardist Aron Magner’s crushing organ outro for the set-closing end of “Spraypaint”.

    Guitarist Jon Gutwillig greeted us warmly to start the second set, with his fingers even hotter for the incendiary riffs of “Mindless Dribble”. A few people mentioned that the “Crystal Ball” that followed seemed to have a less lively jump than usual, and the set seemed to have changed course from the first. The Biscuits opted for their more contemporary sound when continuing with “Highwire”. Never before heard cover “She’s a Bad Mama Jama”, originally by funk forerunner Carl Carlton, continued to bring the show to a less engaging air. Intertwining back into “Dribble”, drummer Allen Acoin provided a thundering drum solo before the band broke into a haunting “Orch Theme”. The conclusion of “Highwire” would conclude the second set, with encore frequent “Frog Legs” leaving everyone with high hopes for the following evening.

    This wouldn’t just be one more Saturday night in Port Chester, however. Sold out yet again but feeling cooler and more breathable on the floor, the boys started the first set with a “Shem-Rah Boo” fake out which dubiously changed key into “Bernstein and Chasnoff”. The Disco Biscuits were clearly locked and loaded for the evening yet again, breaking out “Bombs” like they had something to prove. The inverted “Shelby Rose” filled us all with delight, and served as a perfect segue vessel into the true gem of the entire weekend, “And the Ladies Were the Rest of the Night”. Bringing it back to “Bernstein” before dismissing us to set break, where glowing faces abound chatted about the wholly satisfying experience we had all shared moments ago.

    They set the bar almost impossibly high with the first set that night of the 26th, and it seemed they would continue to exceed expectations with the beginning of “Hope” swooning us comfortably into the final set of the run. An inverted “Above the Waves” washed over the crowd as the band nailed the immensely technical composition. “Mr. Don” followed suit, leaving the impression that the closing set would be chalk full of Biscuits classics. This was not so, unfortunately, as they surprised us by playing LCD Soundsystem cover “Home.” The choice seemed lazy and out of place that late in the run; the consensus seemed to be that we all would’ve much rather heard a song written by the band themselves this close to the conclusion of their maiden voyage at the Capitol. Ending the fourth and final set of the run, the boys brought the “Helicopters” that was started during the first set of the previous evening in for a landing. The Disco Biscuits waved triumphantly as they returned for the encore “Caves of the East” adding a hip hop twist with a sample from A Tribe Called Quest’s “Check the Rhime” in salute to the late MC of the group, Phife Dawg, who passed earlier this week. Ending lightly with the last measures of “Mr. Don”, Brownstein ended the weekend by hinting that we should expect to see them again soon on the very same stage.

    All things considered, the Biscuits’ inaugural weekend at the legendary Capitol Theatre left the crowd flying high. Returning to our homes and hotels, with sleep came dreams of what may be just around the corner for the new alliance between the band and the theatre.
    03/25/2016 • Capitol Theater • Port Chester, NY

    Set 1: Pygmy Twylyte> Spraypaint> Rainbow Song, Spectacle, Helicopters1> Spraypaint

    Set 2: Mindless Dribble> Crystal Ball, Highwire> She’s A Bad Mama Jama2> Mindless Dribble> Orch Theme> Highwire

    Encore: Frog Legs

    1. Unfinished
    2. First time played

    03/26/2016 • Capitol Theater • Port Chester, NY

    Set 1: Jam1> Bernstein And Chasnoff> Bombs> Shelby Rose2> And The Ladies Were The Rest Of The Night2> Bernstein And Chasnoff

    Set 2: Hope3> Above The Waves2> Mr. Don> Home> Helicopters

    Encore: Caves of the East4> Mr. Don

    1. With ‘Shem-Rah Boo’ teases
    2. Inverted version
    3. Unfinished
    4. With “Check the Rhime” (A Tribe Called Quest) sample