Category: Features

Cannibal Corpse Returns Home to Buffalo

The winter in Buffalo has been awfully nice to us this year. For those who know we are known for some of the worst snow conditions. This past Friday was quite the exception. We had a beautiful 45 degree day to welcome Buffalo native legends Cannibal Corpse back to the stage. Hundreds of death metal fans descended upon Town Ballroom, you could tell without a doubt just about everyone was there to see CB. From Denim Jackets with huge patches sown, to zip up hoodies with their name. Cannibal Corpse is currently on tour promoting their latest album from 2014 A Skeletal Domain and joining them on tour are death metal veterans, Cryptopsy, Abysmal Dawn and Obituary, also a heavy hitter in the death metal genre.

The show opened with Abysmal Dawn. They provided a high energy 40 minute set that brought a buzz to the already lively crowd. After a short 15 minute break, the road crew had the stage set for Crytopsy. The Canadian veterans brought the crowd to another level of excitement as singer, Matt McGachy, effortlessly took command of the stage and encouraged the rowdiness of the audience. Midway through their set, a mosh pit formed in the middle of the crowd. Elbows and bodies met as those participating appeared to have a great time as they released a weeks worth of aggression in the pit.

Obituary quickly set up and the guys played a instrumental number before singer John Tardy ran onto stage got the crowd roaring. It would be easy and obvious to say turned the crowd into a giant circle pit. The sound was brilliant. Loud but not too loud, and it was crisp so you could hear every note. Solos were incredible. Every pick, every bend, was clearly audible and in perfect unison.

When the lights dimmed in anticipation of Cannibal Corpse taking the stage, the venue erupted in cheers and screams. After all some of these guys are Buffalo Natives. For a brief second, vocalist George Fisher could have been mistaken for the mass axe murderer in a horror movie. The set began with “Evisceration Plague.” After the first song, they dug deep into their catalog, playing some of their best tracks from as far back as Tomb of the Mutilated. It wasn’t until the midpoint of the set that they played a few songs from their 2014 release, A Skeletal Domain, including “Kill or Become,” “Icepick Lobotomy,” and “Sadistic Embodiment.” Throughout their set, the crowd was worked into a hysteria state. This was the type of show that leaves you sweaty and exhausted, in a good way. The show was loud, brutal and electrifying. Cannibal Corpse did not disappoint with their flawless musicianship

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February 26, 2016
Hearing Aide: Trinity Park Radio “TPR Comes Alive”

TPR, short for Trinity Park Radio, just released a live album playfully titled TPR Comes Alive. Many nuances throughout this album make it an unique adventure from Cleveland to Chicago (more on that later), and these fun loving college guys have etched themselves a niche in the live music scene. Some live albums overshadow the band with long drawn out jams, and don’t highlight the personality of the band and focus on their ability. TPR connects with their audience in a more intimate way, making them feel as if they are part of the show. By recording in a cozy setting, the listener feels like they’re one of the people in the crowd.

Right off the bat, “King of the Park” hits you in the face with pure adrenaline charged rock and roll while “Cleveland Gary” shows a different side of the band – a softer, more emotional side. “You’re on Fire” is a catchy little number with a fun repeating title phrase which speeds up to astronomical speeds, bringing out a silliness from the band members as they get increasingly excited and deliver that energy through the speakers. TPR also put a hip spin on a grade school classic, the famous “Stop Drop and Roll.” These lads added rock ‘ n before the roll and all are left singing along. That wasn’t the only point in the album where the lyrics were ironic, the title “I Love Dick’s….Sporting Goods”, is another perfect example.

The album closes out with “Carl Winslow,” yes, that Carl Winslow, the Chicago mailman from the ABC hit “Family Matters.” It’s a delightfully hokey song telling stories of Steve Urkel and others cast members, but the music itself is the most catchy part, although you may find yourself confused by the band saying Carl Winslow, as the music doesn’t fit the character at all – a middle class, mid-America man – does not translate to hard kicking guitar riffs and slamming drums. Again, this fits the over riding motif of the album, with the titles and the lyrics making the listener believe they are going to hear one thing, but the music delivering another.

Listening to TPR Comes Alive, the amount of effort put in becomes clear straight away. You can tell they don’t take themselves too seriously, but they are far from a joke. TPR is having fun toeing that line, and if they stay they the course it can only mean a bright future for these guys from Upstate New York.

Key Tracks: Cleveland Gary, King of the Park, You’re on Fire

<a href="http://tprband.bandcamp.com/album/tpr-comes-alive">TPR Comes Alive by TPR</a>

February 25, 2016
Twiddle Brings Plumperdump to Packed Syracuse Crowd

Twiddle rolled into Syracuse this past Saturday to a sold out crowd at the Westcott Theater. The third stop on the band’s Plumperdump Tour was also the third sold out show of the short winter run. An indication that the band’s stock is rising, backed by a continuously growing fan base.

The house wasn’t packed with just Twiddle fans from central New York. Before the band took the stage, the room was energized by swarms of fans from all over the Northeast. Some chatted about the half day drive or relived the tour’s first two shows in Maine and Rhode Island and many new fans simply waited in anticipation of their first Twiddle show.The evening’s set list showcased songs from the band’s latest release, PLUMP- Chapter One, as well as a playful blend of covers and Twiddle fan favorites. The music showcased a growth in exploration of self-education. Twiddle has found ways to weave together its new momentum and classic jams; a seemingly tricky task of bridging a new polished studio sound while exploring the space between the choruses.

Beyond the much hyped message of the band’s music, is a less discussed musical workmanship that sometimes get lost within the hype of “frends” and “pe^king”. What fans of the band are witnessing so far on the Plumperdump Tour, is the harmonious blend of the band’s musical journey; a tasty mix of hooky lyrics and feel good singalongs with whimsical improvisational composition while still creating an effective and intriguing blend.

Twiddle is on a journey, that if continued, will shine best during the summer festival season, where Twiddle is poised to play a mix of regional festivals and high profile events, such as this summer’s Lockn’ Music Festival.

The high profile growth seems to be giving the band a new approach to its performance. On this tour, Twiddle plays with an overwhelming sense of love for the journey.

In the show opener “Syncopated Healing” as well as in the evening’s extended version of the PLUMP single “Every Soul”, the band presented with a cleaner and brighter quality to their sound.

In “Carter Candlestick” and “Doinkinbonk”, Twiddle continued to showcase an onstage brotherhood by creating stand out moments for bassist Zdenek Gubb, who has eagerly driven the band toward a more dark, funky, but yet playful groove.

What makes Twiddle endearing is that, as highlighted in the evening’s version of the disco classic “Funkytown”, they explore a more playful space. Among their own original material, the song “Dr. Remidi’s Melodium” treated fans to the signature Twiddle reggae/funk/rock fusion that kept the crowd in a rhythmic bliss of engaging lyrics and danceable grooves.

Twiddle also seems to be finding new ways to take risks within its sets. The first set ended with not only a rousing rendition of the Beatles’ “Rocky Raccoon”, but also a seldom heard vocal jam. And although they may not be the first jam band to explore this technique, they are doing it their own way. The Twiddle vocal jam is a captivating blend of beat-boxing and vocal rhythms that mimics the best video game soundtracks and electronic grooves – a group of twenty something musicians playfully distorting and manipulating the sounds of its generation into a unique musical moment.

The only downfall of the evening was that the energy of the crowd felt too big for the venue. The Westcott Theater staff found themselves turning fans away at the door. And while continued sellouts are great to encourage the band to book larger venues, it’s that larger space that the band’s sounds is looking to fill. For a band like Twiddle that is clearly looking to attract a mix of fans while blending a variety of musical textural sounds, the band will only continue to grow if the size of the spaces they play grows as well.

Twiddle continues the Plumperdump tour Thursday, Feb. 25 at the Town Ballroom in Buffalo before heading to the Upstate Music Hall in Clifton Park on Friday, Feb. 26 with Formula 5 and Irving Plaza in New York City on Feb. 27.

Setlist: Syncopated Healing, Every Soul, Carter Candlestick, Five, Dr. Remidi’s Melodium, Dusk ‘Til Dawn, Doinkinbonk!!! > Funky Town > Doinkinbonk!!!, Rocky Raccoon

Encore: Hattibagen McRat

February 25, 2016
Hearing Aide: Bump ‘Broken Fix’

One of the timeless dangers of cataloguing relationship woes through song is the risk of drowning in cringe-worthy cheesiness. Bump and their debut album Broken Fix is swimming in an industrial vat of artery-clogging Velveeta. Released in October, the self produced album was recorded over the course of a week in an old barn in Cambridge, NY. Mixed by JJ Beck at Akin Studios and mastered by Larry DeVivo at Silvertone Mastering.

Formed in Saratoga Springs, cheesemongers Todd Pasternack (guitar), Angela Ford (bass), Gregory Nash (drums) and special guest Kirk Juhas (piano/B3) comprise Bump, and have formulated an almost unpalatable recipe over-salted with boring and predictable lyrics in a watered-down interpretation of Red Hot Chili Peppers. Any hope for attaining béchamel quality music on this album is melted by weak vocals.

The first track “Hello Again” serves up Pasternack’s whiney voice with Ford’s backup vocals adding more confusion than complexity to the laid-back rock flavor. He opens the song, “Hello again, did my text get through? And are we still friends, or did we lose that too? Just send me a picture of your broken heart, tell me once again we should never have started to care.” Predictability breeds familiarity, so despite the eye-roll inducing lyrics, many listeners can at least relate to their meaning.

“Wrecking Ball” opens with grungy guitar before Ford’s voice emerges, evoking a gentle Pocahontas quality that doesn’t support the musical tone reminiscent of “The General” by Dispatch. An alien-like mid-song lyrical breakdown is an intriguing experiment that seems out of character for the album as layers of Ford’s voice hauntingly echo each other.

In full Flight of the Concords fashion, “How Could You Go So Low” presents feathery falsetto and restrained instrumentation, emphasizing the exaggerated vocals. “Anymore” holds a promise of redemption with bluesy jazz instrumentation and whirling organ before the words “Just can’t maintain this lifestyle anymore/Will my spirit no longer fly? The wings are paralyzed,” interrupt the mystical instrumentals.

Key tracks: Wrecking Ball, How Could You Go So Low, Anymore

February 24, 2016
All Good Music Festival Retired

After nearly 20 years of great music and fun, All Good Music Festival & Campout is retiring.

Tim Walther and Junipa Conteno-Süslü began promoting and producing shows as a way to highlight the growing jamband scene in the Washington, D.C. and Baltimore area. The All Good Music Festival, which commenced in 1997, was the culmination of their work, bringing many touring acts to a single location. The festival began at Wilmer Park in Brandywine, Maryland and, after bouncing around for a couple years, landed on the festival’s longtime home at Marvin’s Mountaintop in Masontown, West Virginia. It was held there until 2012, when it moved to Legend Valley in Thornville, Ohio.

The festival had become a mainstay in the early days of music festivals, but was not without problems. In 2011, a truck crashed through the camping area over some tents, killing one and severely injuring three others. The driver blamed the parking lot attendants and security guards who guided him to park on a steep grassy area near tents and other vehicles, but failed to guide him out of his space upon leaving. Families of the victims sued him, along with about a dozen organizers and promoters.

All Good Music Festival has showcased both big names and newcomers to the jamband scene, as well as alternative rock acts. Well-known acts such as the Allman Brothers Band, Phil Lesh & Friends, Furthur, Primus, the Flaming Lips, and Cake have made appearances at the festival. Many popular smaller and regional acts have also been featured at All Good, including Brew, the Slip, the Werks and Brooklyn’s Moon Hooch. While Phish was broken up in 2006, the headliners were Trey Anastasio and Mike Gordon with the Benevento/Russo Duo.

The retirement was announced via a post on the All Good website.

[embedyt] http://www.youtube.com/watch?v=bpiKzK12HWI[/embedyt]

February 24, 2016
Hearing Aide: Major Player ‘Grift & Gum’

Jeff York and Liz Strodel of indie soul/rock project Major Player kicked back at a local bar to discuss wardrobe malfunctions, zodiac signs and how Major Player was almost a funk cover band. Amidst the silly antics, York and Strodel expressed serious enthusiasm about the recent release of their debut album Grift & Gum, which was recorded, mixed and mastered at More Sound Studio. Their playful demeanors in conversation slightly contradict the album’s make-up, which manifests a moodiness wrought with the emotional drudgery of deteriorating relationships.

The somber title track offers minimalist guitar and drum work with Hammond organ weaving through ambiguous lyrics. The song grapples with the need to persevere in the face of an uncertain fate. York postulates “I laid down by better days/Reach out for better days,” his words chased by echoing organ, produce a resounding emptiness to match the dark intangible hope for a better future.

York notes how the straightforward instrumentation on the record affords the musicians wiggle room to improvise and experiment with live performances. Improvisation may become most necessary in instances when Strodel’s sticks weasel their way into the tangle of bracelets on her wrist, causing her to obscure the beat. Such was the case during their December show at Funk ‘N Waffles downtown, much to the audience’s amusement. York views these occasional hiccups as happy accidents explaining, “When she messes up, it sounds good.” Strodel jokingly mused how she can play down offbeat occurrences with an “I meant to do that” attitude.

The second track, “Hailey,” careening through slightly more buoyant rhythm, questions the validity of a soured relationship, asking as many couples have, “Could this mean at last now/that we’ve past our/infatuated moment/What drew us so close in.” “Static Noise,” speckled with bluesy guitar riffs imparts a dejectedness often felt after a breakup. Heavily distorted instrumentation adds a sense of unfamiliarity akin to the newly single state in which one relearns how to act independently. “Hard From Now On” showcases the most progressive rhythm on the album. The lyrics allude to finding new love in religion, or some greater cause contingent on the listener’s perspective.

Despite the melancholy nature of the album content, the abbreviated collection of songs is alluringly presented in the vein of ethereal trip hop. York assembled this first taste of Major Player from a larger catalogue of material he’s already written. As York plans to release more songs in the spring, the entire band also plans to write material collaboratively and continue to characterize their musical identity. Though Major Player has strayed from becoming a cover band devoted to The Meters, as was the original intent, listeners might recognize a cover or two thrown into live performances in the near future. York and Strodel, along with bandmates Nick Mazzeo (keys) and Andrew Greacen (bass) are looking forward to performing more in the warmer months.

With beer glasses nearly empty and conversation winding down, Strodel sarcastically offers to disclose their zodiac signs for interview purposes. So for anyone curious, York is an Aquarius and Strodel is a Saggitarius. Both wryly smiling York added, “Take that for what it is.” A simple sentiment which also reflects the bands’ laid-back attitude for their open-ended future.

Key tracks: Grift & Gum, Hailey, Hard From Now On

February 23, 2016
A Pleasant Hudson Valley Sunday With Gin Blossoms and Joe Duraes & The Skills At Paramount Hudson Valley

A decent sized crowd gathered at Paramount Hudson Valley this past weekend for a Valentine’s Day pairing of rock acts from opposite ends of the United States. The Paramount has been building a record of supporting local music, this time inviting Gin Blossoms and Peekskill-based Joe Duraes & The Skills to open the night following an open mic set they did at the theater Nov. 2015.

The Skills’ set was driven by the band’s enthusiasm for sharing the stage with a band they listened to throughout the 90s and undoubtedly for the first large show they’ve played. From start to finish the crowd was impressed by a band who made it clear that they were genuinely having fun on stage. After a set of all original tunes, The Skills broke out their own version of “Pleasant Valley Sunday,” which they recently recorded as a single. Though they were the opening act, their performance put them at a level where they could have been mistaken as a co-headliner instead.

Long-time Gin Blossoms fans cheered on as Robin Wilson led the band on stage but the energy was slow to build through their set. While Wilson was animated, the overall stage presence felt static to a degree. The music was solid and fun to hear but the disengaged crowd early on made it difficult to get excited about the show. The first portion of their set was filled mostly with songs off of their last two albums, No Chocolate Cake (2010) and Major Lodge Victory (2006), both of which charted though not as highly as their two albums released in the 90s.

The energy picked up a bit more as the set progressed and Gin Blossoms steered toward their earlier releases which the crowd seemed to have a greater familiarity with. It took some prompting from Wilson for the audience to get on their feet once they broke out “Til I Hear It From You,” but from that point until the end of the show there was a much greater connection between the stage and the audience. Gin Blossoms closed their two-song encore with “Until I Fall Away,” which fit well as a conclusion to the show. Despite the slow energy of their set, the upbeat nature of Gin Blossoms’ songwriting made the entire set enjoyable.

Setlists:

Joe Duraes and The Skills: Everybody Needs To Have Some Fun, Hudson River, Crash, Anything For You, Mixed About You, Ebb and Flow, Pleasant Valley Sunday

Gin Blossoms: Don’t Change, Somewhere, Allison Road, Lost Horizons, As Long As It Matters, Miss Disarray, 29, Dead or Alive on the 405, Hands Are Tied, Wave Bye Bye, I’m Ready, Til I Hear It From You, Found Out About You, Follow You Down. Encore: Hey Jealousy, Until I Fall Away

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February 23, 2016
Nunchuck! Brings Psychedelic Punk Rock to Suwannee

The 7^th annual Aura Music and Arts Festival is less than two weeks away and we couldn’t be more excited to show the Spirit of Suwannee Music Park in Live Oak, Florida some New York love! The Disco Biscuits and Thievery Corporation will headline this festival, one that many say is their favorite all year. In addition to a stacked lineup of various talented artists, one that we’re particularly intrigued by is Nunchuck!

Nunchuck! is a new project consisting of bassist Chuck Jones and drummer Scotty Zwang of Dopapod, guitarist Craig Brodhead of Turkuaz, and renowned percussionist Mike Dillon. The collaboration was formed specifically for Aura and despite what the name suggests, it’s not a Chuck Jones led group or even solely his brain child. (Nor is it affiliated with Lotus’ Mike Greenfield’s side project bearing the same name.)

Chuck Jones and Scotty Zwang of Dopapod.

Jones explained the selection of the other band members. He and Brodhead have become close friends as they both live in Hartford, Connecticut and are geographically displaced from the rest of their band members. Brodhead’s main project Turkuaz is also on Aura’s lineup. Mike Dillon – a member of Critters Buggin and Les Claypool’s Fancy Band – has past experience playing with Dopapod and even opened for them last year at this festival. The Mike Dillon band is on Aura’s schedule for Friday.

Craig Brodhead of Turkuaz

The four of them together make Nunchuck! – a “psychedelic punk rock” band that is sure to be something unique.

“The entire set list that we’re figuring out is all our favorite punk songs from the 70s, 80s and 90s,” said Jones. “All of us – myself, Scotty, Mike and Craig –part of our musical background has been inspired by heavier artists and genres so it will be nice for us to be able to experiment with that a little bit.”

Jones said their own creative palate is where the “psychedelic” portion comes in.

“That really means that we’re going to have not enough music to fill the slot, so we’ll be making lots of noise,” he said. “It’s going to be loud, aggressive and upbeat – so it will be fun!”

Mike Dillon.

According to Jones, the project was developed after Zwang expressed interest in participating in Aura, even though Dopapod is (sadly) not on this year’s lineup. With attendance around 5,000 guests in some of the most picturesque scenery, Aura offers something other festivals cannot.

“I love Suwanee so anything down there is a good time. I really think they do a nice job working with artists that are true to the festival circuit. Sometimes large ones pull in big names that they know will bring in a lot of people but they kind of lose its – I think the only way to describe it is ‘music festival vibe.’ Only people who’ve been to smaller ones and medium ones will know what that is exactly – the community vibe sort of thing.”

Nunchuck! is playing on Friday, March 4, from 8 to 9:15 p.m. in the Vibe Tent. Also playing at this time is Particle to which Jones sends a friendly challenge:

“I can guarantee with 100 percent certainty that Particle will be tighter and well-rehearsed, but…I don’t know if they’ll have as much fun as we are.”

In addition to The Disco Biscuits and Thievery Corporation, Nunchuck! will join the The New Deal, The Main Squeeze, The Werks, Snarky Puppy, Animal Liberation Orchestra (ALO), The Heavy Pets Tribute to the ‘80s, American Babies and more at this year’s festival March 3 – 6.

Aura also includes more than 25 yoga classes and an extensive Silent Disco lineup with guest DJ appearances from various musicians including Scotty Zwang.

Additional information and tickets available at www.auramusicfestival.com.

February 23, 2016
Hearing Aide: Subsoil ‘On the Bus’

Stealing a page from the late great Ken Kesey, Rochester’s Subsoil opens their new album proclaiming, “You’re either on the bus, or you’re off the bus.” This bus, number 585 (Rochester’s area code), is bound for “trans-dimensional hyperspace.” With a destination like that, how could you resist at least one trip On the Bus with Subsoil?

The album consists of reggae, soul, R&B, jazz, funk and rock, sometimes fused, sometimes fairly straight. Ted Ladwig has a knack for catchy keyboard nuggets, whether they come to the fore (“High Noon”) or hide just under the surface (“Zombies”). He sets up Wil McKenna for an array of surprising and diverse guitar solos which can echo Santana’s tone (“Surrender”), wail like an Allman Brother (“Meditation”), or crunch out some funky rhythms atop Ladwig’s whirling B3. Sprinkle in some well-placed saxophone blasts by Bill Smith and lay it all over some steady work by the rhythm section and you have yourself an enjoyable and bouncy ride.

Oh wait, did I forget to mention that front-men Moon-Roc and Laz Green are rapping over the whole thing? It’s a combination that can be reminiscent of the trip-hop of the 90’s and bands like Buckshot Lefonque and Us3. Steve Gutenberg, Tetris, Muhammed Ali, Walter White, Eazy-E, Scooby Doo and obviously the aforementioned Ken Kesey all get referenced, and that’s just in the album-opening title track. Later on Captain Trips gets a call out, though likely in reference to the Stephen King character from The Stand, and not Jerry Garcia. Plenty more pop-culture references, both historical and current, and clever word play make their way into this tight 30-minute set.

Released early in 2016, On the Bus was recorded and mixed by Josh Russell at Spring House Recordings in Oswego and mastered by Jason “Jocko” Randall at More Sound Recording in Syracuse. It is available at many area record stores, as well as online retailers including Subsoil’s website, and streaming on Spotify and YouTube. So get on the bus.

Key tracks: High Noon, Surrender

February 22, 2016
Lil’ Wayne Lights Up The Blue Cross Arena In Rochester

On Saturday, February 20, Lil’ Wayne brought “The Dedication Tour” to Rochester. The performance was held at the Blue Cross Arena at the War Memorial which has had a busy year so far. Prior to the doors opening, not many fans were seen lining up outside the arena, which was surprising considering Rochester hit a high of 55 degrees.

The night started off with a performance by S – Eighty who only had about 10 minutes of stage time. During this quick set, fans were busy trying to find their seats on the floor and around the area. Surprisingly, the floor was all assigned seating, which is why no one had to line up early to secure a spot on the floor. Shortly before 8pm, Rae Sremmurd took the stage. For 30 minutes these guys got the crowd on their feet dancing and singing along. The two brothers Khalif “Swae Lee” Brown and Aaquil “Slim Jimmy” Brown were a great choice as an opener for Lil’ Wayne on this tour. The crowd’s reaction was purely positive and it seemed like everyone wanted a little bit more.

Even though Rae Sremmurd put on a great performance, the crowd came to Blue Cross Arena for one man and his name is Lil’ Wayne. Weezy took the stage shortly before 9pm and the crowd went wild. The night was started with Wayne’s classic “Mr. Carter”. As fans stood up on their chairs and waved their hands in the air, the appreciation of support was shown by Wayne. Throughout the night Lil’ Wayne thanked fans for coming out and supporting him while reminding them that he’s the best rapper alive. Between every couple songs, Weezy would also ask where the real Lil’ Wayne fans were and the entire area would chat “Weezy!”.

For an arena that looked empty to start the night, the floor was filled from front to back and the lower bowl was packed. To no surprise the music of Lil’ Wayne got the entire place on their feet dancing, literally everybody. Hit after hit Weezy kept pleasing the crowd who were having an absolute blast. The vibes throughout Blue Cross Area were incredible and it goes to show how powerful music can be. Toward the end of the show, Weezy brought out a handful of up and coming rappers so they could show the crowd what they were made of. One thing that Wayne is good at is finding new talent and collaborating with other artists. The show ended with all the guys on the tour coming out on stage celebrating a great show and also included an appearance of Weezy’s son who looks like a mini version of his dad.

For those who missed the show, Lil’ Wayne should be pretty busy this year on the road with the highly anticipated release of his last Carter album, the Carter V. Although the album is finished, its release has been held due to issues with the record label. Regardless of when the album finally gets put on shelves, Lil’ Wayne will be out on tour to give his fans their fix of Weezy.

February 22, 2016