Category: Features

NYS Music in Motion: Mister F at The Hollow

Presenting NYS Music in Motion, a video series from NYS Music and Videographer Schuyler Warrenchak. This series will highlight performances by a variety of bands throughout New York State and bring the experience of being at a show to our ever-widening audience.

Our first installment is aptly from the January 1, 2016 performance of Mister F at The Hollow in Albany. Mister F performed with Particle after moe.’s show at The Palace Theater just two blocks up North Pearl Street. This was a bittersweet show as it was guitarist Andrew Chamberlaine’s final performance with the band. Watch the band tear through the proggy “Do it Again,” and stay tuned for more NYS Music in Motion in the near future.

January 14, 2016
Hearing Aide: Mayve ‘Animals’ EP

Fresh off of Long Island came some hot bagels and Mayve’s new EP entitled Animals. Mayve, pronounced like the Irish first name “Maeve” and not to rhyme with “maybe,” got the inspiration for their name from lead singer Nick Micheline; he liked his little cousin Mayve’s first name. The band is comprised of five guys and they’ve been playing together for a few years. Back in 2012, they were featured on “Rick’s Rising Stars.” On the show, Rick Eberle talks about the best upcoming artists in the local scene. This indie pop band fits the standard rock band archetype instrumentation-wise with some synthesizer ornamenting the band’s recordings.

They’re currently unsigned to a record label, but the EP was recorded with the help of Rocky Gallo, who has engineered a number of records with many artists like John Legend, Andrew Bird, Jim Wolf, and more.

Songs like “Hearts on Fire” and “Talking to Myself” aren’t new to their repertoire and have been performed since 2014. But it seems like they’ve compiled five of their more recent original recordings as a marketing tactic to get their songs out there as a unit.

Overall, the lead singer sounds a bit like Andrew McMahon from Jack’s Mannequin and has a little flair of pop punk with his pronunciation of some lyrics. Almost all of the songs have melismatic repetitive phrases which make them easy for listeners to learn and sing along to. No one in the band primarily specializes on synthesizer, (based on the band’s social media and music videos) but the synth definitely helps augment the sound and give it that edgy pop sound.

“Hearts on Fire” is all about love, which is the predominant subject matter in each of their tracks. The band sounds much like The 1975, especially with the bright guitar timbre on this track. The lead singer talks about young love and how no one can take that love away. In “Higher,” the idea of animalistic desires as per the EP title is evident in the lyrics with lines like “My body’s taking over; your body’s taking me higher and higher.” The tune has background group vocals singing “higher and higher” throughout which aurally reinforces the lyrics. “Magic” is the only slower song in the lineup, and uses an acoustic guitar to highlight the emotion behind the words. This song also has backing harmonies, which adds some nice texture to the tune.

The band’s sound is not terribly unique; they sound like a generic indie/pop band. This is just the beginning of their time in the music business with the release of the EP and they have a lot of room to grow. They need to expand beyond what they’re doing both stylistically and instrumentally. They all sound like they are very proficient players, and the production quality is quite high, but they need something to make themselves stand out in a sea of many similar-sounding bands. It will be interesting to see what creative direction they take moving forward.

This EP is available for free listening on SoundCloud, Bandcamp, and Spotify, and for purchase on iTunes.

Key Tracks: Talking to Myself, Hearts on Fire, West Coast

[embedyt] http://www.youtube.com/watch?v=YDrjLlw-d2U[/embedyt]

January 13, 2016
Update: Mountain Jam’s Final Lineup Includes Wild Adriatic and Other NY Acts

Update 2/24/2016:

Mountain Jam finalized their lineup for this year’s festival. Among the additions are Houndmouth, Nahko and Medicine for the People, Quilt, Darlingside, the Record Company, the Movement and Scott Sharrard. Three New York acts were also added to the lineup, including Albany’s Wild Adriatic, Woodstock’s Elijah Wolf and New Paltz’s Upstate Rubdown. Marco Benevento will play a tribute to David Bowie with Superhuman Happiness.

The non-musical activities have also been announced and include yoga with Michael Franti, lectures and Q&A sessions on the cannabis industry, and hula hoop classes. There will also be a screening of “Let Us Play,” a new documentary about funk band and festival performer Lettuce.

Original post:

An annual tradition nestled in the heart of the Catskills, Mountain Jam has unveiled their lineup for 2016, featuring big names, newcomers and familiar acts that make the festival one of the most established in the Northeast.

This year’s lineup features headliners Beck, Wilco, The Avett Brothers, Gov’t Mule and Umphrey’s McGee. Additional acts include Brandi Carlile, Jason Isbell, Gary Clark Jr., Michael Franti & Spearhead, Chris Robinson Brotherhood, Courtney Barnett, Nathaniel Rateliff and the Night Sweats, Lettuce, Sister Sparrow and the Dirty Birds, the New Mastersounds, and Third World.

A few New York acts are on the bill, including Turkuaz and Donna the Buffalo, plus regional acts Son Little, the London Souls, Cabinet, the Ballroom Thieves with Maine Youth Rock Orchestra, And the Kids, Love Canon, Marcus King Band, Con Brio, Jane Lee Hooker, Copious Jones, Madaila, the Suitcase Junket and Paul Green Rock Academy.
Thievery Corporation will take things into the late night. More acts will be announced in coming weeks.

Tickets are on sale now.

January 13, 2016
Deaf West’s “Spring Awakening” Revival Breaks the Mold for Broadway Shows

The Spring Awakening revival on Broadway is really a revolution. It’s changing the way we should be looking at Broadway shows.

Spring Awakening is based on a controversial 1891-banned play written German author Frank Wedekind. His work led to the original groundbreaking musical that opened on Broadway in 2006.

The musical focuses on the lives of three teenagers in 1891 Germany while they are trying to figure out where they belong in the world as they move into adulthood. But trust me, this isn’t your Breakfast Club-type of teen-angst show. This goes much deeper. Touching upon still-controversial topics like teen sex and pregnancy, abortion, suicide, masturbation and homosexuality.

The revival includes the barbaric 1880 resolution passed in schools in the United States and Europe, where sign language was no longer taught and Deaf students had to learn lip reading and speech mimicking. Those who could not learn in such a way were deemed failures.

All 22 Deaf and hearing actors on stage in Spring Awakening use American Sign Language. The Deaf actors each had their own ‘voice’ on stage with them, acting as their character’s conscience.

The voices for the two main characters were perfectly chosen. For Wendla, Deaf actress Sandra Mae Frank and Voice actress Katie Boeck were flawless together. Boeck’s soft and innocent soprano helped to portray Wendla’s innocence. For Moritz, Deaf Actor Daniel Durant and voice actor Alex Boniello were also a superb pair. Boniello’s sad, angry, and powerful voice brought back memories of John Gallagher Jr. – who originated the role on Broadway.

The only disappointing moment for me was during ‘The Dark I Know Well.” Voice of Martha, Katherine Gallagher, fell short as she attempted to bring her own edge to the song, taking away from the lyrics.

There were moments throughout the show where sign language or voice interpretation could not be used, so the words were projected on the wall of the set, using different fonts for each character. Those moments were the most incredible throughout the show, comparable only to the times when the Deaf actors spoke or yelled.

There is no doubt that this show was meant to be portrayed with the inclusion of sign language. The addition of Deaf history and the extra symbolism that teens often feel like they aren’t heard by society, made the experience that much more special.

You will leave feeling invigorated; you will have a rush of emotions. You will also wonder – why aren’t there more Deaf West revivals out on Broadway?

Spring Awakening is a limited engagement on Broadway – closing on January 24.

January 12, 2016
Hearing Aide: Last Conspirators ‘Hold That Thought Forever’

The Last Conspirators just released fourth album Hold That Thought Forever moves the band into new territory. While past releases’ lyrics have dealt with politics and the feelings towards how things have been moving along in the country, this album showcases a more personal side of the band. To go along with the lyric change, the music has also been toned down at times from the punk rock aesthetic known by their fans. The changes are welcomed and it is great to hear the band try something different and succeed in Hold That Thought Forever.

“Addiction” is one of the darkest songs on the record and the funk bass line that it follows goes right along with the subject material, taking the listener into the depths of what addiction can be. “1302” is the first track on the album to have the band start to rock behind Tim Livingston’s lyrics and constantly builds until the end when a fury of music takes over the proceedings and joins the voice in bringing the song to a fiery end.

“Two Days in May” is one of the tracks on the album that finds The Last Conspirators trying something new. The chorus almost comes out of an early Bruce Springsteen song when you could hear him and Steven Van Zandt harmonize with one another. The fact that The Last Conspirators have gone for a more eclectic sound on this record shows how many bands truly influence them as a unit and brings the history of music to the fore front as they continue to push on wish new tunes.

The song “Tracks” bring the punk attitude back, with Tim spitting the lyrics and Nick Bisanz laying down some dirty grungy guitar licks that would fit right in on an old Patti Smith record. “Alright” is great rocker with Mike Grundy and Al Kash constantly moving the song along with their fantastic bass and drum playing on what is sure to a great song to see live.

While most of the record isn’t political, “Truth and a Gun” hits the mark perfectly, especially with how crazy gun violence is gotten in the past year. The song easily makes clear which side of the argument the band is on and ends in a blaze of guitar work by Bisanz. Being a local Albany band, they may not get out of the state to play, but if you’re close enough they definitely are worth checking out. In the live setting their songs get you moving and thinking and this record does the same. Hopefully the band can keep the creative juices flowing and give us another collection of music soon.

Key Tracks: Addiciton, Tracks, Truth and a Gun

[embedyt] http://www.youtube.com/watch?v=FS3pMUJk2Ow[/embedyt]

January 12, 2016
Bryan McPherson and Friends at Gorham Brothers Music

There’s no better way to round out the holidays then with a good live music show. I was lucky enough to spend my evening on Tuesday December 29th at Gorham Brothers music in Syracuse listening to Bryan McPherson and three amazing musicians.

Syracuse local, Dave Mallon, started out the evening with his witty blend of folk story telling. Despite battling a cold, Dave maintained his humor during his set and delivered an engaging performance. Up next was the Mighty Judge Gazza. Gazza generates a sound like no other in part due to that fact that he designs his own guitars from cigar boxes. You would be amazed by the sound he can produce from these guitars and they look awesome! He has a deep growly voice that is perfect for making you feel the blues or for rocking out.

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Headliner Bryan McPherson made his second appearance at Gorham Brothers. A native of Dorchester Massachusetts, Bryan is making his way up the East Coast and into Canada before heading back West on the current leg of his tour. Bryan keeps busy. In addition to a hectic tour schedule, he recently released a video for “Born on a Highway” off his latest album Wedgewood. Check it out here.

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Bryan played a very powerful yet melancholy set. He always pours his heart and soul into his performances; he engages the audience with sometimes serious but often outrageous story telling in between songs and occasionally abandons the microphone to walk through the crowd. One of my favorite highlights from the evening was his cover that he stated he had been “working on for the last ten years” of the legendary Townes Van Zandt’s, “Poncho and Lefty.” Other highlights included “Poor Boy,” an incredibly moving version of “Bullets and Blues,” and of course one of my all-time favorites “Dangerous Friends.” The evening ended with Bryan and several friends heading to local restaurant Beer Belly Deli where Bryan would try salt potatoes for the first time. If you haven’t listened to Bryan McPherson, I urge you to check out his music.

January 11, 2016
The Disco Biscuits 2016 New Years Eve Run: Keeping Everyone On Their Toes

Fresh off of Holidaze in the Dominican Republic, the Disco Biscuits returned to New York City for their 2016 New Years Eve run at The Playstation Theater.

You could tell that the band was excited for the run, as they had many tricks up their sleeves. They started the run off in style with a setlist constructed by two fans, Sean Gruchik wrote the first set, and Rich Steele the second. The second set featured a brilliant “Basis for a Day”/”Spacebirdmatingcall” pairing that took up most of the set and let everyone know that they hadn’t missed a beat since Holidaze.

New Years Eve featured a “Hot Air Balloon” countdown, along with a mix of some old and new sounds. After “Helicopters” > “Feeling Twisted” > “Pimp Blue Rikkis”, the band ended the set with a “Spaga” that included a “Final Countdown” by Europe intro. The Biscuits went all out for the third set which was almost entirely improv. The band played along as the 1982 Disney film Tron was projected onto a see through screen before dropping back into “Helicopters.” The set was incredible and was up there among the best things the Biscuits have done production-wise.

The show on the 1st was a wheel show, the second if it’s kind, which featured a wheel with songs and a few prizes. Fans, friends and even a band member spun it throughout the night to determine the set list. When it was spun while they weren’t in the middle of a jam, they fell back into the same “Mario Star Jam” which they played at the last wheel show in 2007, which gave you the feeling like you were watching some demented T.V. game show. The wheel added a few interesting kinks to the show as the band had to work their way through some uncommon segues and also had to play some rarities. No time for New Years hangover rust, the band stepped up to the challenge and delivered.

After the “Voices Insane” opener, the band played a robot porn soundtrack of “Moshi Fameus” > “Orch Theme” before the wheel delivered a one-two punch of “Mindless Dribble” and “Spraypaint Victory” to end the Set.

Showing their drummer Allen some love after 10 years with the band, they let him spin the wheel to open the second set. Coincidentally, it landed on “Floes,” a song penned by their previous drummer Sammy. That led into the highlight of the night, “Lunar Pursuit” > “Sweating Bullets.” Everyone was completely locked in but Allen and Barber really played off each other well for the segment, which was a nice reminder of just how far the two have come along in the last 10 the years since Allen joined.

Next up was the rarity, “The Unspoken Rhyme,” which the band had not played since 2001. The next person to spin cheated and stopped the wheel on “Munchkin Invasion” but the band decided to mess with her a bit, playing a rare standalone Waves instead, which wasn’t inverted, dyslexic, or chopped up like usual. The band then gave her what she wanted and played a “Munchkin Invasion” encore.

The last night of the run brought the heat and the horns. The Philly Stray Horns came out for the first set along with some Blues Brothers impersonators who sat in for some fun covers of
“Soul Man” and “Everybody Needs Somebody to Love”. The Biscuits finished up their run doing what they do best. The last set was heavy on the improv, starting off with an almost hour long version of “I-Man” before slipping into “Svenghali” > “Astronaut” > “Reactor.”

The Disco Biscuits next run will be at the Fillmore in Philadelphia at the end of February, their first time playing the new venue. Tickets are on sale now.

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January 11, 2016
Rubblebucket Brings New Songs in the New Year to Water Street Music Hall

In what has become a bit of a tradition, afrobeat-dance-pop partiers Rubblebucket once again worked Rochester’s Water Street Music Hall into their New Year’s weekend plans this year. Though their visit is never quite held on New Year’s Eve, they’re always sure to carry over some antics with them.

The stage was dressed with a painted and black-lit backdrop that was hit with various animations throughout the night, including jellyfish, clouds, hyperspace-esque bursts etc. The band continued their strong touring behind their latest album Survival Sounds. The show opened with “Shake Me Around” and “Sound of Erasing” and the rest of the set was peppered with more Survival Songs tracks. Past hits from Omega La La “Silly Fathers” and “Came Out of a Lady” (hilariously available now as a onesie) aren’t ready to leave the rotation though. Most exciting though, the band continued it’s slow and subtle evolution showcasing two brand new songs that will hopefully find their way into stores on a new album sometime in 2016.

First up was “Donna,” a song about imaginary lovers unrelated to the Richie Valens classic and just a smidge more upbeat. It featured Kalmia Traver back on the sax, something that has grown rarer, and Alex Toth making use of a megaphone. Later in the set, the band emerged with another new one, “Party Like Your Heart Hurts.” An apt title for a song by a band who brings a party every night and oozes love for their music, audience and life in general. With an undercurrent of electronics bubbling up, this one is immediately infectious and the crowd spent no time acclimating to the groove. It was as if they’d heard it a 100 times. Check out videos of both songs below.

[embedyt] http://www.youtube.com/watch?v=4z6utKdEqXM[/embedyt]

[embedyt] http://www.youtube.com/watch?v=a6BURv6gqy0[/embedyt]

After an hour long set that featured a tutu worn by multiple members of the band, confetti cannons, full-crowd jump-alongs, a horn march through the crowd, and Kalmia Traver riding through the crowd in an inflatable raft (impressively while still holding mic and singing), the audience wasn’t ready to quit this not-quite New Year’s Eve celebration. Rabidly chanting “One more song!” as loud as you will ever hear, when the band came back Alex Toth asked, “Is it OK if we play 2 songs?”

So two songs they played, the first a cover of Fugazi’s “Waiting Room” (video below) which brought a much harder edge to the mix. It served as a dynamic contrast to their usual bright sound and was a great addition to the repertoire. The night closed with “Save Charlie” and a huge balloon drop, including a massive blue octopus that snaked through the crowd. Rubblebucket continually out-Rubblebucket’s themselves over the New Year’s holiday, and Rochester happily hosted the party once again.

[embedyt] http://www.youtube.com/watch?v=8d2A1FIi2Z4[/embedyt]

January 11, 2016
Ha Ha the Moose Bring Late Night Shenanigans to Irving Plaza

If you love watching your favorite musicians become a band of late night time traveling trash talkers donning capes and Mexican wrestling masks, you may have already seen Ha Ha the Moose. For those unfamiliar with the genre, the band consists of moe.’s Rob Derhak – Dr Guano (bass, vox), Jim Loughlin – Sludge (drums, vox), and Chuck Garvey – Jeff VonKickass (guitar, vox) and prides itself on being anything but a great show.

Ha Ha the Moose

However, it always is and the joke was not lost on fans when last Saturday Ha Ha the Moose performed at Irving Plaza following moe.’s New Years Eve in Albany and offered up as a late night option during Phish’s 4 night run in NYC.

As with most HHTM shows they begin with booing from the crowd and insults tossed from the stage and in this instance went right into a ripping’ “Awesome Gary” to start the show followed by a longer than normal “Mr. Her,” a song about a transvestite that they dedicated to Caitlyn Jenner, for whom 2015 truly was her year. The boys also debuted two new songs this year: “Courtesy Flush,” a ripper about coming back through time to warn mankind the dangers when one does not have the courtesy to flush. Chuck’s sweet guitar arrangement alongside Rob’s powerful message has turned this tune into a beautiful reminder to always be considerate of others.

Ha Ha the Moose

With no setbreak the boys kept it going with “The 10 Things Vin’s Most Likely to Say,” “(Ha Ha the) Moose Theme,” and “Thirsty Carbunkle,” an instrumental that gives a nod to garage rock and makes you feel like you’re on nothing less than a heavy metal surf adventure. The second new song of the year, “F*** me, F*** you,” was dedicated to the fans and is probably the most exciting new tune from HHTM. This song featured not only hilarious lyrics, but some very heavy bass lines not recognized by the normal moe. trained ear. This song is a rager and while HHTM sticks to similar setlists each show, they are making time to introduce new material showing they like what they’re doing and hopefully continue to do it!

Ha Ha the Moose

The Moose proved there isn’t much one wouldn’t do at 3 am in NYC in the name of freedom, closing out the show with, “20lbs.,” “Devil Toad,” and “Redneck Trilogy.” There’s a saying when a Ha Ha show is announced that “the moose is loose”. Seeing Jim, Chuck, and Rob explore their musical boundaries all while keeping a casual atmosphere of belligerent antics, one can see the definition gets left open to their interpretation and for the fans, all for their benefit!

Review by Mary O’Hara

January 9, 2016
Hearing Aide: Fireships

On their self-titled album, Fireships boogaloo down Broadway with stacked-heeled Jackie and cleated-soled Billy in Springsteen’s New York, only to be led astray by the scent of Malibu 120 cigarettes from the hard-drinking divorcees in Craig Finn’s borough. The result is a pleasant, albeit middle-of-the-road folk album that takes you to the bar on the nights you tire of running your fingers through the knotted grass of Prospect Park.

Lead-off track “Come Back To Me” opens with a sprightly guitar that follows Andrew Vladeck’s lovelorn narrative to the top of the Williamsburg Bank Tower off 4th Avenue, turning back the clock. World-worn “Countdown Time” borrows a page from the Steely Dan book, while stripping the processional drum riff from Paul Simon’s “50 Ways to Leave Your Lover”–but alas, with one hand on the wheel, and one hand inching towards a frosted mug, a cop pulls Deacon Blues over before he can die behind the wheel. “Gush” is a fun-loving, schoolboy fantasy about ill-mannered girls a la The Hold Steady’s “Big Cig” that softens the gruff with immoderate rhymes (“I’m dazzled by the cunning things you’ve said/ You’re clever, sharp, astute/ I’m stunned, awestruck and mute”).

The piano-driven “Going Down Fighting” finds a desperate Vladeck heading south on Highway 95 after he loses his job. A hearty kick drum punctuates a wealth of banjo noodling on the atheist-bending “All We Got” (The real cool, the big cool, ain’t caring for cool/ Forbid the wolves to plague you with doubt), making it their big, sing-along track.

“Long Shadows” is one of the sharper songs on the album, with underlying bluesy piano lines that unfortunately aren’t bluesy enough to distract from the incessant rhyming (when you find yourself rhyming “tooth” with “truth”, you may have had too much vermouth.)

“Living The Dream” juxtaposes the talk-singing charm of Craig Finn with a serene flute line and picturesque descriptions of a sparkling Atantis, while “Chasing The Sun” self-actualizes guitar motifs heard before in Moody Blues songs.

Album closer “Unplug the Stars” is a much awaited break from the string of salient verses and vapid choruses between “Words Escape Me” and “Fantasy”. Studded with charming astronomical metaphors like, “Cassiopeia lies in the drink and / Orion’s in trouble with the law so I think” and modest orchestrations, the band breaks free from chaotic campfire maw and finally aspires to an opera bouffe plot.

For a band that thanks two book clubs in their liner-notes, Fireships do not write the most character-defining lyrics, however they are amiable enough for you to hope that they introduce you to the regulars next time they sing about their bar-table blues.

Key tracks: Unplug The Stars, All We Got

January 8, 2016