NYS Music 20​16

Author: Thomas McKenna

  • Lespectacle 6.0 Returning to Brooklyn

    On Saturday, November 5, lespecial will roll into The Paper Box in Brooklyn for the 6th annual “Lespectacle 6.0. ” The sixth installment of the annual throwdown will include performances by Supersillyus Lifeband, Ross Jenssen, Tsimba, and The Beatbox House in addition to lespecial’s two-sets of “death-funk” festivities.

    The Connecticut based trio is sure to rage with their circus of talent for a late night in Brooklyn as the event is slated from 9pm until 4am. Keep an eye out for band member sit-ins during each performance as this lineup of artists cannot be contained! Tickets for “Lespectacle” are still available for a short time, but after the band’s killer 2016 Fall Tour, they won’t be around for long. You can purchase tickets here.

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  • Photo Gallery: Phish Finale at Dick’s, September 4, 2016

    Never Miss A Sunday Show™ was in full effect on September 4, 2016 – the last night of Phish’s 3-night run at Dick’s Sporting Goods Park in Colorado.  Do you find yourself still waiting for Fall Tour? Hopefully this photo gallery can tide you over.

    Setlist courtesy of phish.net

    Set 1: The Moma Dance > Chalk Dust Torture, Mike’s Song > Wingsuit > Weekapaug Groove, Party Time, Bathtub Gin, Split Open and Melt, Tube > Character Zero

    Set 2: Crosseyed and Painless > Steam -> Piper > Drums > Light > The Lizards, First Tube

    Encore: Walls of the Cave

  • Jaw Gems at Brooklyn Bowl

    Crashing pins, Sixpoint IPAs, and music from the future-present; Jaw Gems’ recent performance at Brooklyn Bowl was other-worldly. 

    The quartet from Portland, Maine created an auditory planet of heavy synths, splashing high hats and rhythmic beats; a sound akin to a lovechild conceived by Flying Lotus, DâM-FunK and Teebs. Their recently released album, Heatweaver, was featured heavily throughout the performance, bringing bowlers and fans on an atmospheric-funk  adventure.

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    It’s no surprise that an interest in legendary producer J Dilla is what brought Jaw Gems together. Their live beat-making is a sonic journey that feels intensely familiar but also quite different than anything else. Drummer DJ Moore’s lush splash’s and high hats provide ample backing to the sonic space traveling of keyboardists Hassan Muhammad and Tyler Quist while bassist Andrew Scherzer’s buttery bass lines fuel the journey.  There is an intrinsic aspect to their sound; as if they’re paying homage to their idols whilst traversing new ground and making a place for themselves.

    As I was shooting, it was becoming increasingly difficult to not groove with their seamless, auditory space odyssey. “Sap Flow” began with a familiar drum beat and mysterious synths which then built into a luscious and elaborate symphony that sounded like you could swim in it. I was stoked to hear that track performed live as it’s one of my favorites from the album and perfectly illustrates the bands cohesiveness. “Party Slave” was similar in construction yet had more of a funky, lounge-music type vibe; enjoyable, danceable, laid back and very different.  Jaw Gems most definitely caught my intrigue that night, I was not expecting to be so captivated by their live show.  I’m excited to see more of their divergent take on live beat-making paired with drums and bass as their aural variance is very refreshing.

  • Turkuaz and lespecial Funk It Up Night Two at Brooklyn Bowl

    Turkuaz continued their 2016 Digitonium Tour with a 3 night run at Brooklyn Bowl, featuring lespecial for their second night. If any NY funk lovers were looking for something to do for 3 days in April, this was it.

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    lespecial opened the night of groovy dancing and brought a lighter, funkier version of their death-funk/future-groove with some staples from Omnisquid such as “Fruit Wolf Dance”, “Sugaboi”, and “Pressed For Time”tkenna_lespecial_bkbowl_020 (guitarist/vocalist Gruskauskas’ vocal range truly shines on this track). The trio from Boston also featured classic cover of Les Claypool’s “My Name is Mud”, some new music in collaboration with some Turkuaz members and even a cover of Tears For Fears’ “Everybody Wants To Rule The World.” I’ve mentioned before in previous reviews, lespecial is truly one of my favorite bands to experience live as their genre-bending capabilities are unmatched!

    Succeeding their funk-band-in-arms, Turkuaz took the stage and opened with a fitting “Introduction” from their recent album, Digitonium. Following a strong intro, a very funked up “The Rules” from the 2011 album Zerbert , had the crowd dancing and bopping from the floor to the bowling lanes. It was at this moment I realized what I had been missing; Turkuaz truly brings the funk and I had seen the light in only their second song of the night. Each piece of the band plays a very integral part as each member not only brings their extreme talent to each instrument and vocal aspect but also their own unique style. Some favorites from the night included “The Generator” and “King Computer” from Digitonium and “Tip Toe Through the Crypto” and “It’s So Hard” from the Stereochrome EP.

    Turkuaz’s second set was very special as they dedicated the entirety of it to The Band. They opened with a very funky “Chest Fever” followed by an affectionately soulful “Ophelia” and then an extremely heartfelt “The Night They Drove Dixie Down.” “Up On Cripple Creek” seems to have been made for them to cover as they certainly shined in all aspects whilst rocking the track. Naturally, during “The Weight”, a beautiful sing-a-long manifested from the crowd and a very dancey “Don’t Do It” got everyone moving and shaking. Closing out with a fervent and almost spiritual “I Shall Be Released” it’s an understatement to say that Turkuaz did these anthems justice; they put their all into every track and made each one a unique experience. Turkuaz is an amazing spectacle of talent, color and funk. If you consider yourself a fan of live music and have not experienced a Turkuaz show, you’re doing yourself an injustice.

  • The Human Experience/Gone Gone Beyond Thrive at House Of Yes

    From his recent performance at House of Yes in Bushwick, David Block (The Human Experience) brought a night full of heartfelt, new music with his live endeavor, Gone Gone Beyond. The event opened with the artists asking all in attendance to momentarily pause, hold the hand of the person closest to you and have a moment of gratitude; this task was quite easy as House of Yes seems to engender a feeling thankfulness any time I find myself there.

    The combination of The Human Experience and House of Yes is essentially a no-brainer; a musical artist that combines ethereal, tribal sounds with heavy, grooving bass and an amazing venue that feels as if a Burning Man camp was transplanted to Bushwick makes for a wonderful experience. The name of the event was “The Vibe” which was quite fitting as there certainly was an understanding and sharing of similar emotional and musical platitudes amongst all in attendance.

    Opening with “Ain’t Giving up on Love” from their self-titled album Gone Gone Beyond, Danny Musengo’s gratifying vocals and Block’s melodic piano chords had the crowd swaying and singing along to the chorus. Horns were brought out for “Back Swing” whilst an aerialist performed on some silks in the middle of the venue and I felt like I was in a circus tent in New Orleans, certainly a sight to behold. Closing with “Carnival” was proper as it got the crowd moving, dancing, and smiling as an entire aerial performance was occurring above the band on stage invoking carnival vibes tenfold. Following Gone Gone Beyond, was David Block himself as The Human Experience. Block’s ethereal, world sound were in full effect as many patrons were moving intently with their eyes closed as if to truly feel the music. As mentioned, the blend of The Human Experience and House of Yes is like no other; Block’s celestial sounds with HOY’s vibe and performers is an unparalleled experience.

  • Getter Rips at Webster Hall

    Following the release of his stylistically diversified Radical Dude EP, San Jose native Getter (aka Tanner Petulla) wreaked some auditory havoc at Webster Hall on Friday, March 18. Fans were engaging Webster Hall’s social media channels with a fierce perseverance, determined to find out what time he went on as their excitement amplified leading up to his performance.

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    After a super heavy, brain-combusting dubstep set by New York’s own Symbiotic, Getter took the stage and swiftly opened with the first single from Radical Dude, “Rip and Dip.” Getter’s style of producing/DJing has evolved through the years from massive dubstep tracks to a diverse assortment of genres which culminate to an ethereal, trap-light sound that still contains those hard-hitting dubstep roots. His live shows are most definitely a reflection of his most recent release as he’s stated in interviews that he has purposely released his expanded styles to show fans that they can expect vastly different genres of producing in the future. When a producer and DJ of Getter’s caliber creates tracks like “666!” and can incorporate Enya’s “Only Time” and Fall Out Boy’s “Sugar We’re Going Down” into a live performance and have the crowd cross-eyed with amazement, it’s safe to say they are most definitely capable of broadening their approach and style with new releases and live shows.

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    Some highlights of the performance included a “Damn Daniel!” sample, obligatory “SUH DUDE” appearance, which has an excellent melodic, crunching bass behind it, and some new tracks, namely one feat. rapper Pouya. Getter’s collaborations with Pouya and other rappers are a fascinating departure from his earlier work, clearly showing his range as a producer. I’d never seen a mosh-pit at an EDM show before Getter at Webster; glad he’s upgraded from the BASSment to the Grand Ballroom.

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  • Stuyedeyed at Shea Stadium

    The Brooklyn/NYC DIY scene is replete with talented bands and artists that offer a plethora of genres for anyone’s taste. Stuyedeyed stands out with their psychedlic, desert-esque facet of punk rock. It’s almost as if Jimi Hendrix, Danzig and Kyuss had a peyote ceremony in the desert and made music. Their live performances are bursting with masses of energy and instrumental intricacies that will have you wondering how they played those notes and moved around so much. Stuyedeyed is Nelson Antonio Espinal (guitar/vocals), Andrea Scanniello (guitar/organ/vocals), Luis Ruelas (drums), and Humberto Geñao (bass).tkenna_stuyedeyed_shea_04

    A recent performance at Shea Stadium in Brooklyn showcased their raw talent and ability to croon a crowd with heavy, crunching guitar riffs, smooth, groovy bass and ferocious drumming that could have you saying a divine four letter word. Although most of the material they performed was brand new, some tracks I’m familiar with made an appearance such as “Land Mines” (from their Cursed EP) which has a melodic guitar riff over a driving force of drums and a bass line that makes you want to groove your hips and bang your head simultaneously. “Erik’s Song” was played (also from the Cursed EP) and its heavy, droning guitar riff over a continuous drum roll matched superbly with Espinal’s aggressive, crooning vocals. Stuyedeyed bleeds DIY and possesses a natural talent not seen in many groups which is why they have become one of my favorite bands in the scene. I heard they may be recording new material soon; I’m very excited to see what comes next for the psych-rock quartet.  Check out their EP, Cursed as well as their Facebook page for upcoming shows in Brooklyn/NYC.

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  • Big Gigantic Got Rowdy with a Sold Out Terminal 5

    Big Gigantic commenced their Spring tour to a sold-out crowd at Terminal 5 this past Friday, March 11th. The performance was chock full of familiar samples, super funky sax, meticulous drumming and a new and unique stage setup that appeared to have the duo commanding a spacecraft through a galaxy of super light beams.

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    Upon entering the venue, the energy level was extraordinary. Once Big G took the stage it was clearly evident why; the combination of their music style and the amount of energy and intensity they put into a performance is infectious. When you see saxophonist Dominic Lalli belting out a solo whilst sweating bullets or drummer Jeremy Salken laying down an intricate groove with tons of focus it’s very easy to appreciate their talent & dedication and give it back by showing off your funkiest moves to those closest to you. Big G got the crowd super hyped with tracks new and old, namely their new single, “Little Things” (feat. Angela McCluskey) which has an excellent balance of EDM styled builds and drops and anthemic piano/sax along with an excellent dose of sultry, soulful vocals. They dropped some Griz x Big Gigantic with “Let The Good Times Roll” as well as their celebrated remix of Aloe Blacc’s “Need A Dollar” which had fans sending singles off of the third level balcony. Ivan Jackson from Brasstracks was Big G’s very special guest and ably brought his brand of brass to the sold out crowd by guesting on a few tracks.

    Big Gigantic is forging an awesome place for themselves in the live instrument/production genre as their evolution of sound has continuously been on an upward trajectory. I’m hoping to catch their sets at some festivals this summer as they will surely not disappoint.

    Around New York, you can see Big Gigantic performing at Summer Camp Music Festival on May 29 and Camp Bisco on July 14.

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  • Choose Your Own Genre: Ether Band at Brooklyn Bowl

    Way back when on Friday February 5, Ether Band took their fans and the patrons of Brooklyn Bowl on an improvised auditory journey like no other. This experience is extremely unique as the audience is invited to aid in the style of music the band plays by choosing the key and genre before each performance. That means that every song or jam is very particular and a surprise for all in attendance. tmckenna_ether_bkbowl_14

    There was a very special guest present as famed trombonist Natalie Cressman joined the band for their improvisational expedition as the night ranged from “EDM in D” to “Nola Funk in F#,” “Williamsburg Chainsaw Massacre in F” and even some “Light Metal in D.” No matter what Ether Band played they exuded massive amounts of precision musicianship and talent; it’s as if they were reading each other’s minds during the performance. Every genre displayed someone’s chops in full swing and had the crowd moving non-stop.

    As a fan of live, improvisational music I realized that it is an absolute treat to witness an Ether Band performance; the audience CHOOSES what the band plays which ensures that no show is the same, the band is comprised of incredibly talented musicians that continuously find each other’s grooves, and lastly, there are amazing guest musicians that join in on the fun. If you’re able to see them live I implore you to do so, it’s certainly an adventure.

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  • Bell Serenades The Knitting Factory

    On Sunday February 28, Bell brought their tranquil sounds to an eager crowd at The Knitting Factory in Brooklyn. The southern-bred, NYC-crafted folk group is comprised of Caitlin Marie Bell (guitars/vocals), Gab Bowler (bass), Harper James (guitars) Jared Saltiel (drums) and Jason Sager (keyboards).

    It was a fitting night for their bright, soaring harmonies and placid soundscapes as Mother Nature had graced the borough with warm(ish) temperatures and plenty of sunshine earlier in the day.

    The band took the stage, made quick introductions and graciously thanked the crowd for their support. They opened with a cover of “Let the Mermaids Flirt With Me” which was performed with so much character and earnest, you’d think it was an original. Caitlin’s soft and honest vocals weave a serene story over the band’s crisp and considered notes. They’re able to tell a different tale with each song and have the audience feel as if they’re a part of it; “Isn’t That Life,” an original, is a great example of this.

    They performed an excellent rendition of Hozier’s “Work Song” showcasing their tact at turning music into serious emotion. My favorite song of the night was their amazing performance of “In the Pines.” I’ve heard this track covered before but not quite how Bell did it justice; their harmonies and endearing sentiment allowed me to perceive the pain and worry the song imbues in a way I hadn’t heard before. Once the track ended you could hear a pin drop; they have an uncanny ability to tug on heartstrings through sound.

    I’m excited to hear and see more from Bell as they certainly possess an abundance of talent. Be on the lookout for upcoming shows in the NYC metro area!