Category: Alternative/Indie

  • Blackberry Smoke rolls into Upstate Concert Hall

    Blackberry Smoke tells everyone that they are too country for rock and to rock for country, and that was on full display Saturday night as they tore up the Upstate Concert Hall. Lead vocalist and guitarist Charlie Starr, Bassist Richard Turner, drummer Brit Turner, guitarist Paul Jackson and Brandon Still on keyboards ripped through a set that contained songs from their long 16-year career.

    blackberry smoke upstate concert hallCapping off a weekend of headlining shows after opening up for the legendary Gov’t Mule all summer Blackberry Smoke proved to everyone in attendance that they deserve to be in a headlining spot. They are one of the tightest live bands this writer has seen with everyone on the band playing off of and complimenting each other to the fullest. Blackberry Smoke seamlessly blends Southern Rock, Country, Hard Rock and Jam music into their own style and they did it to near perfection. Starr’s vocals live are just as smooth as they are on a recording.

    Mid-way through the show there was a distinct sticky smell in the air near the front of the stage which led to Charlie Starr to make a new impromptu song which he called “Front Row Reefer”, which was basically an ode to the best reefer being in the front of the house and the skunk was in the back. After riffing on the new song he asked the crowd if anyone got that on video. Maybe the cut will make the next album.

    blackberry smoke upstate concert hallBlackberry Smoke play their music their way and have not changed that thinking over their long career, and it now seems people are finally starting to take notice. They have gone from a bar band to a band that is capable of headlining arenas, and this writer for one hopes that more people take the time to listen to them and appreciate one of the truly great modern bands that is keeping the rock and roll spirit alive.

    Opening the show was Philadelphia’s Stolen Rhodes whose brand of Southern rock got the packed crowd heated up.

    Blackberry Smoke are on tour supporting their upcoming new release “Like an Arrow” which is slated to be released on October 14, 2016.

    blackberry smoke upstate concert hall

  • Project/Object Kicks-Off Northeastern Tour

    New Jersey-based Frank Zappa tribute band Project/Object will be touring the Northeast United States through October 23rd with stops at Mavericks  in Ontario, Canada on Friday, October 7; The Garrison in Ontario, Canada on Saturday, October 8; at The Tralf in Buffalo, New York on Sunday, October 9 and at Lovin’ Cup in Rochester, New York on Monday, October 10.

    Founded in 1989 by guitarist/vocalist André Cholmondeley, Project/Object has gone through numerous lineup changes since its inception, hosting more Zappa alumni than anyone other than Zappa himself. Project/Object welcomes back alumni vocalist/guitarist Ike Willis and synthesizer legend Don Preston for a tour  “Celebrating 50 years of The Music Of Frank Zappa” featuring material both men recorded with The Mothers Of Invention, The Frank Zappa band, and much more!

    NYSMusic’s Amy Cavalier recently caught up with Cholmondeley about the upcoming tour and what it’s like being in the longest-running Zappa alumni tribute band in the world!

    NYS Music: Tell me the story behind Project Object’s inception? What was the vision for the project?

    André Cholmondeley: My vision for the project was simply to turn people onto music that was very influential and important to me.

    Around 1989 I started having a Frank Zappa birthday party at my apartment. We would listen to only Zappa music for 24 hours and read interviews read album covers etc. I realized that many people were showing up and did not know a lot about Zappa and left with names of records and songs scribbled on paper. This is way before the blow up of the Internet so people would come back the next year having searched record stores and maybe built a little Zappa collection.

    About the third and fourth year, my band played at one of these parties, performing about a half-dozen Zappa songs. It went over great so we learned another half dozen and soon we played our first gig in New Brunswick, New Jersey. It just blew up from there. Next was Lion’s Den in New York City where we connected with our first managers Howie Schnee and Mike Maietta.

    NYS Music: A pretty high bar has been set by Frank Zappa, his son Dweezil other Zappa tribute bands…what makes Project Object so unique?

    AC: Indeed Dweezil’s band is incredible.I think what makes us unique in our way is that we went out and did it before other bands, over twenty years ago. We were the first band to tour with so many diverse Zappa alumni across the USA and into Canada since Zappa himself took them on the road. We also were the first to do a wide variety of his music

    The Grandmothers (ex Zappa/Mothers members) were out there but they tended to do the very excellent early stuff ONLY. We went out there with Ike Willis then Napoleon Murphy Brock etc. and did material from every period in Zappa’s history.

    NYS Music: Is there a lot of pressure to get it right and recreate the songs as accurately as possible? Or is there still room for improvisation?

    AC: The fans know every note! We strike the balance between doing some tunes as close to the record as we can, with the correct sounds and timbre and instrumentation. And then other things we do – perhaps one of Zappa’s many live versions – we look for moments in the songs where he would leave room for improvisation.

    Improvisation is very important part of the Zappa aesthetic but at the core is doing the music accurately and getting chords and little parts correct. I have been fortunate to have so many of the actual ex-Zappa players in the band so along the way they correct parts and help us get little details right.

    NYS Music: There have been a lot of stories about Zappa’s family and disagreements over copyright issues, as well as stories floating around about bad blood between you and Dweezil, in the news. How do you get away with playing songs without infringement issues? And has the air cleared between you and Dweezil?

    AC: Early on we got so many threats from Gail Zappa that we sought the advice of a lawyer and I learned a lot about copyright law. It’s very basic and simple. As long as the venue you are performing is paying their American Society of Composers, Authors and Publishers (ASCAP) or Broadcast Music Inc. (BMI) membership dues for publishing rights, you are fine. That’s why there is an enormous business in cover bands of every genre imaginable. It was always completely legal to do what we do. In the Project/Object entire career of over two decades we have had to cancel two, maybe three gigs because the venue was not part of ASCAP membership.

    I think the NPR interview I did “NPR Zappa Lumpy Legacy” is the final word on it. NPR spoke to me as well as Gail Zappa and independent legal

    counsel and they said on national radio that as long as the club is certified it’s no problem playing published music of any artist.

    As far as the recent history about the copyright issues and the Zappa family, a lot of what happened was due to the wishes and direction of Gail Zappa. Now that she is gone there is a real splintering of stuff and the siblings are sadly in dispute over many issues.

    Even before she passed away I made peace with Dweezil and have seen his band several times. He was very gracious about accepting my apologies for the previous bad vibes. He was aware it flowed in both directions. This thawing of the ice has continued after Gail Zappa’s passing and Dweezil has been very public talking about how the Zappa family trust unfairly charged him for various things and made it difficult for him to just go out and play the music.

    I’m happy to say that through his agent, Dweezil and I worked together recently to plan out these historic appearances that Ike Willis is doing with his band. I want to support anything and everything that celebrates Frank’s music.

    NYS Music: Your partner was in a serious car accident recently which caused you to postpone your tour. How is she doing and why have you decided to resume the tour at this point in time?

    AC: While Robin is still experiencing a fair amount of pain and difficulties she has come a long way in what is almost seven months since the accident. She will be with us on this tour in a very tentative and basic role – we are trying to see how much she can do safely in her regular job as merch and Production Assistant. We hated canceling that tour and she is happy to be out on this one and to be able to personally thank so many of the fans who helped us out.

    NYS Music: What is the feeling going into this tour?

    AC: We just love to play and get out and travel and this is a great time of year to do so. We have a few things we have never done before, some stuff we have not done in a decade or more, balanced with a couple of the Zappa song-along, crowd favorites that you almost have to do, so it’s a mix!

    We are upbeat and excited to get out there playing this incredible music again. Also Zappa lyrics, without even touching them up, have a timeless political accuracy and so getting out right before yet another ridiculous American election season is kind of perfect.

    For more information about Project/Object visit www.projectobject.com or follow Project/Object on Facebook or Twitter.  

  • Glass Animals Brings Dance Party to Sold Out Show

    British indie rock group Glass Animals finished their two-night New York City run on Thursday night at Terminal 5. The evening began with opener Pumarosa. Lead woman Isabel Munoz-Newsome captivated the audience with her sultry voice and funky dance moves. Their unique sound, which combines disco beats with electric guitar solos, tight bass lines and an occasional saxophone playing in the background filled the space nicely. Their closing song, “Priestess” was a 10-minute long dance party that got everyone in the crowd moving and pumped up the adrenaline for the headliner, Glass Animals.

    Glass Animals The venue was packed, and there was barely room to move in the general admission area. During the agonizing 45 minute long set change, the crowd started to get a little rowdy, pushing and shoving to try to make more space. Glass Animals finally came out, opening the set with their hit “Life Itself,” and the mood in the venue lightened. Everyone starting dancing and having a great time.

    The sound was impressively clear, and front man Dave Bayley didn’t miss a note all night. The band seemed to be having just as much fun as the audience, and the feedback between the two created a great atmosphere. The set list was well balanced with older songs, such as “Black Mambo,” “Gooey,” and “Cocoa Hooves.” They also played a lot of songs from their new album, closing the evening with a version of “Pork Soda” that included a long freestyle section at the end that had everyone rocking out.

    The band was well-rehearsed and knew how to create a fun atmosphere for their audience. Everyone was on their feet, dancing around and completely absorbed in the music. The light show was simple but effective. The band was often washed in pink, green, or red which really complimented the rock-band-at-a-discotheque vibe they were going for.

    Dave Bayley came into the crowd for the encore, serenading fans with a cover of Kanye West’s “Love Lockdown.” It was funky and original, and fans loved it. The band put on a great show, captivating an anxious New York City audience that just wanted to dance.

  • Recess with Spinelli: An Interview with Dorothy

    Radio host, Alexander Spinelli of the new music broadcast, Recess with Spinelli had a chat with the quartet, Dorothy after their show at Upstate Concert Hall in Clifton Park, NY. A fun chat with silliness abound, the band dives into some of their notions of “rock” in today’s music industry, origins, touring with the Struts and long walks on the beach in Hawaiian shirts, while sipping Mai Tais.

    Listen to the abridged feature/interview

    You can listen to the full feature/interview on the live radio broadcast

    On-stage, the band’s presence is energetic, loud, raunchy and well, pure Rock ‘N’ Roll.

    DorothyRecess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud  Mixcloud Tumblr and online at longbowmedia.us

  • Joy Formidable interview on Recess with Spinelli

    Alexander Spinelli of the new music radio program, Recess with Spinelli spoke with Rhydian, the bassist of the Welsh band the Joy Formidable. Rhydian discuses motivation, recording process, tour life, Welsh culture, music & language and their new album, Hitch.

    Listen to the abridged feature/interview

    You can listen to the full feature/interview on the live radio broadcast

    While on-stage, the Joy Formidable are a well pieced band who look like they are having the best time of their lives. But don’t take our word for it; look at the photos below.

    joy formidableRecess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud  Mixcloud Tumblr and online at longbowmedia.us

  • Photo Gallery – Galactic and Warpaint, Pearlpalooza 2016

    The weather in Albany was near perfect for the 7th annual Pearlpalooza street festival on September 17, 2016. This all day, free event has become a favorite among people in the Capital Region, and this years festival did not disappoint. Attendees had plenty of craft and food vendors to browse while rocking out to the stellar music lineup. This year’s Pearlpalooza featured Galactic, Warpaint, Maybird, Bassh, The Greeting Committee, and Rechorduroys.

    Pearlpalooza 2016

  • Fitz and the Tantrums talk to Recess with Spinelli

    From College Radio to Top 40 Radio,  Fitz and the Tantrums have proven that they can cross multiple generations, genres and audiences.  Alexander Spinelli of the radio show, Recess with Spinelli spoke with Keyboardist, Jeremy on the phone before their performance at the Upstate Concert Hall in Clifton Park, NY.

    Listen to the abridged feature/interview

    You can listen to the Full Radio Broadcast of Fitz and the Tantrums.

    Concert Photos:

    Fitz and the TantrumsRecess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM (https://academics.skidmore.edu/blogs/wspn/) and on Hoxton FM in London, England every Wednesday 11pm-1am GMT (6pm-8pm EDT) (http://www.hoxton.fm)

    Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud  Mixcloud Tumblr and online at longbowmedia.us

  • Hearing Aide: Dinowalrus “Fairweather”

    Dinowalrus - Fairweather - coverAn album created by a band with a, simply put, different name like Dinowalrus, is sure to hold something different musically. Their soon to be released album, Fairweather, set to drop September 23rd 2016, is definitely one of a kind. The band congregates loads of influences into one, light and airy yet powerful tone that skillfully uses contradicting sounds to create a psychedelic, electronic rock, punk dance voice. It pulls from a mouthful of influences and the album shows it, but it’s not distractingly busy in terms of instrumentals. One might even call it easy listening. Others will call it party music. And the fact that it’s not easily defined makes the album pretty special.

    The group of eclectic musicians from Brooklyn started to dabble with their sound in 2008, releasing several albums and touring with a number of groups including Real Estate, Screaming Females and A Place to Bury Strangers. When asked what inspires their song writing process, they said, “Songs always start with a beat and bass line that moves us in a new and different way than anything we’ve done before, then layers of synths and guitars expand intuitively on top of that, finally vocal hooks and lyrics drop into our heads when we least expect it, usually while lulled into a trance by riding the subway around our hometown of NYC.”

    A big part of their tone is the contradicting  instruments. Their drums and bass lines are driving and pushing through measures non-stop. They’re tight, driving and consistent while almost all other aspects of their tracks are at first, unexpected. The synthesizers are legato; long and flowing. Same goes for their vocals. Visually, this album is a gargantuan wall of bass and beats with wisps of melodies and harmonies seeping through the cracks.Ben Kulo Dinowalrus-0207 (7)

    The first track, “Tides”, is quite different than the remaining songs, maybe to ease the listener into more intense sounds. It’s a feel-good song with a major tonality but the bass and drum tracks make it a bit more energetic. The sound of the track stays pretty consistent throughout, but pulls out some unexpected stops, like a fairly distorted guitar solo that keeps things interesting. But the formula seems to be repeated throughout the album.

    This is not to say each song sounds the same. Each beat is different as well as the key and tempo, among other things,  but the direction of the song is always locked in. In other words, one gets a sense of what the rest of the song will be like within the first 30 seconds of listening to it.

    “Falling Into the Periphery” and “Plain Sight” are similar as well. The vocal hooks are what differentiates the songs if the listener isn’t fully invested in the track. Sometimes a synth or guitar lick will mark the different songs, but the beats themselves, although very important to the unique tone they make, lie dormant and simple in the recording.

    “Guilty” is where things start to get a little more interesting. There’s a few subtle things like a few key changes and momentary deletes in the bass track to give the sound more perspective. One of the most unexpected parts of any of the tracks, is an incredible shredding guitar solo that comes from nowhere but is unbelievably fitting for this sound. There is also a very prominent vocal addition that simply sounds awesome all together.

    “Light Rain”; Once again the guitar solo’s are the highlight of the track. They stand out the most, almost more than the synth and vocal hooks and it’s because the timbre doesn’t fit the electric and spacey sound that’s prominent throughout every song.

    “Scarcity” is unique to the album right from the get-go. It’s direction is more unpredictable as compared to other tracks which is very refreshing. The harmony, being lead mainly by the guitar, is a very nice change of pace, giving the song more of a not so traditional rock band feel, while still having traces of electronic dance to it.

    “Final Wave” is definitely an attention grabber because of how different it is from the synthesizer focused tracks. The vocals are also a tad less spacey but still sound flowing and the tone is more instrumentally organic. The sound isn’t as busy as previous tracks, which are a result of layers and layers of instrument recordings. “Compass Rose” is the same way. It’s more streamlined and simplified, a bit less intense, but still has the same effect of energizing the listener in a grounded way. The guitar solos are still  one of the most grabbing parts of the track and the songs wouldn’t be as energizing without them.

    “Silent Earth” reverts back to the timbre at the beginning of the album, soft sounds but powerful grooves. It doesn’t move in any direction and is fairly predictable but definitely puts the listener in a trance. The consistent sound is very encompassing and is best appreciated with a set of good headphones on because the sound circles around the listener’s head making for a not so energetic but interestingly deep track.

    “The Painted Desert” offers an acoustic guitar based intro that is a nice change of pace for the electronically centered band. The intensity of the bass and drums cuts in and out to give some perspective  which makes the chorus’s that much more appreciated because there’s an obvious peak rather than one long one.

    The album is truly one of a kind with such  a wide array of instrumental color and genre influence, but there are several songs that aren’t as engaging and energizing as the band may have hoped for. Granted, very few artists can achieve a perfect album. But the songs that find that perfect combination are definitely something worth listening to.

    Key Tracks: Tides, Scarcity, Final Wave

  • Counting Crows interview on Recess with Spinelli

    Local radio show, Recess with Spinelli sat down for an interview with Adam Duritz of Counting Crows before their concert at SPAC in Saratoga Springs, NY with Rob Thomas and K Phillips.

    Listen to the abridged feature/interview

    You can listen to the Full Radio Broadcast

    Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli on Instagram Twitter Facebook Youtube Soundcloud  Mixcloud Tumblr and online at longbowmedia.us

  • Holy Ghost Tent Revival Converts Listeners to Fans

    It was only appropriate that a group named Holy Ghost Tent Revival, from Asheville, North Carolina, played at a converted church, and converted listeners into new fans. Named after a roadside advertisement in their home state, they kicked off the fall schedule at the Kirkland Art Center on September 8th. The six-piece band showed tremendous versatility, with four different members playing keyboards at various times during their two-set performance.

    brian-cornish-holy-ghost-tent-revival-18Stephen Murray handled most of the lead vocals and rhythm guitar, but also played trumpet, and switched to the bass guitar when Kevin Williams played piano. Murray sat at the keys himself to close the first set with a stunning cover of George Harrison’s “Isn’t It a Pity,” performed with remarkable grace. Ross Montsinger on drums and Kevin Williams on bass handled the bottom end, with Williams lending backup vocals on most songs. Williams’ lead vocals and song styles while playing keys had an early Elton John feel to them. The majority of the band’s selections were in the roots rock/Americana realm accented by the wonderful punch of Charlie Humphrey on trumpet and the trombone of Hank Widmer, who both also played keyboards.

    brian-cornish-holy-ghost-tent-revival-07Widmer added clarinet on some of the evening’s quieter pieces. Rounding out the sextet was Matt Martin leading the way on guitar, sales pitch chants (“Pay what you want. Pay what you can.”) entertaining gesticulations, and fashion sense. How many ascots have you ever seen on stage?

    The intimate venue may have had a bit of a reduced crowd on a Thursday night, but those in attendance were very appreciative of the energetic appeal of this group, and glad to have the opportunity to support live music. Holy Ghost Tent Revival’s most recent release, the EP Summer Jelly, is available on a pay what you want, pay what you can basis. The remainder of KAC’s fall performance schedule, and other events, may be found at Kirkland Art Center’s website.

    brian-cornish-holy-ghost-tent-revival-04Partial setlist: Who Knew, Long Road, Right State of Mind, Sun/Shadow, Walking Over My Grave, Isn’t It a Pity?, Trouble with the Truth, Smoke Myself to Death, Long Night, Broken Spirit, The End to, Thought About