NYS Music 20​16

Category: Alternative/Indie

  • Canalside Announces Annual Summer Concert Series 2016

    The free summer concert announcements are keeping music fans in Buffalo excited. The city’s popular and free Canalside series announced its Thursday night concert series this week. Canalside is hosting 12 concerts starting June 9 and running through August 25, 2016.

    canalside 2016This year’s lineup includes a variety of acts that span over a wide variety of musical genres. The Buffalo Philaharmonic Orchestra will take the stage once again in “A Tribute to David Bowie.” Other highlights of the lineup include Public Enemy, Zappa Plays Zappa, and Claypool Lennon Delirium.

    Canalside‘s weekly events will include a variety of food trucks and vendors. All of the concerts are free and open to the public, and all start at 6 p.m. VIP packages are available.

    Event organizers will be offering local area musicians the chance to open this summer’s concerts through a Battle of the Band contest held in conjunction with local arts magazine The Public.

    Canalside Thursday concert series lineup:

    • June 9: Charles Bradley & His Extraordinaries
    • June 16: Frank Turner with special guest July Talk
    • June 23: Public Enemy
    • June 30: Frankie Ballard
    • July 7: Dweezil Zappa Plays Frank Zappa
    • July 14: Shakey Graves and Preservation Hall Jazz Band & Wild Child
    • July 21: The Arcs and Mariachi Flor De Toloache
    • July 28: BPO “A Tribute to David Bowie”
    • August 4: Tritonal
    • August 11: Lowest of the Low and Serena Ryder
    • August 18: Coolio
    • August 25: Claypool Lennon Delirium

  • Hearing Aide: Rogue Wave “Delusions of Grand Fur”

    Rogue Wave Delusions of Grand FurCalifornia based Rogue Wave’s six studio album Delusions of Grand Fur – the band’s first release since 2013’s Nightingale Floors – is a progression, if not a departure, from their customary sound. Despite the change of pace, Delusions of Grand Fur provides a welcome and sometimes synth-fueled soundtrack representative of the mellow, coastal sounds of the West Coast. Recorded and produced by the band in their own home studio in Oakland, Delusions of Grand Fur is representative of spring with tracks such as “California Bride” and “Ocean.”

    Rogue Wave is a quartet led by Zach Rogue, who also serves as the principle song-writer. The space between Delusions of Grand Fur and previous albums, and the band’s self-led production, has allowed for growth and experimentation that is apparent on this album. The title itself – a pun meant to emphasize the misconceptions of life in a band – also places emphasis on the listener not to underestimate or enter with preconceived expectations concerning the band’s sound.

    The album opens with “Take it Slow,” particularly reminiscent of The Shins, and sets the tone for the remainder of the album. This leads into the following two tracks “In the Morning” and “California Bride,” the latter showcasing beach-y and pop-y lyrics, with melancholy undertones. While “What is Left to Solve” initially sounds like a departure, with the heavier bass, after a few listens it fits in with the album as a whole.

    Falling” similarly is mellow and harmonic, again pairing positive melodies with more somber lyrics, such as: “We live in an era where everything is for sale.” Lyrics such as these feel particularly relevant given the state of the current primary elections. The next track “Curious Me” is reminiscent of Elliot Smith in sound if not in theme.

    Perhaps a favorite track on the album is “Ocean,” departing from the mellow themes to supply a refreshingly more upbeat and pop-ish reprieve. Though different, it still fits with the remainder of the album. Overall, this is a solid release, if at times certain tracks seem a bit too derivative of The Shins and Simon and Garfunkel (particularly, “Fallen”). Similarly, while enjoyable, the repetition of lyrics in other songs (“Look At Me”) can be a bit trying. These minor aspects aside, this is a great album to sit back and relax to.

    Delusions of Grand Fur is released on Friday, April 29. They are on tour this spring and summer with Hey Marseille and Floating Action.

    Key Tracks: Curious Me, Oceans, Falling

    Catch Rouge Wave on their upcoming tour:

    5/5/16 Oakland, CA @ Starline Ballroom
    5/6/16 Mill Valley, CA @ Sweetwater Music Hall
    5/7/16 San Francisco, CA @ The independent
    5/10/16 Cleveland, OH @ Beachland Ballroom
    5/11/16 Buffalo, NY @ Tralf Music Hall
    5/12/16 Boston, MA @ The Sinclair
    5/13/16 New York, NY @ Bowery Ballroom
    5/14/16 Brooklyn, NY @ Music Hall of Williamsburg
    5/15/16 Philadelphia, PA @ Johnny Brenda’s
    5/17/16 Washington, DC @ Black Cat
    5/18/16 Carrboro, NC @ Cat’s Cradle
    5/19/16 Atlanta, GA @ Terminal West
    5/20/16 Nashville, TN @ Mercy Lounge
    5/21/16 St. Louis, MO @ Old Rock House
    5/22/16 Kansas City, MO @ Riot Room
    5/24/16 Milwaukee, WI @ Turner Hall
    5/25/16 Minneapolis, MN @ Turf Club
    5/26/16 Chicago, IL @ Thalia Hall
    6/9/16 Dallas, TX @ Club Dada
    6/11/16 Austin, TX @ Mohawk Outdoors
    6/12/16 San Antonio, TX @ Paper Tiger
    6/17/16 Los Angeles, CA @ Teragram Ballroom

  • Squirrel Nut Zippers Return to the Road

    The ’90s-nostalgia boomlet has revived yet another decade-defining sound — juke-y, jive-y, neo-swing. This summer the Squirrel Nut Zippers will resurface for a seven-date tour.

    Announced yesterday via the band’s Facebook page, the tour kicks off on June 29 in Tucson, Arizona, and currently caps with an appearance at the LEAF Festival in Black Mountain, North Carolina. The closest the Zippers will come to New York state is Virginia; but hang tight, swing kids, as fall shows are in the works.

    The Chapel Hill, North Carolina, band made noise with the release of their second album, Hot, in 1996, (featuring the chart-topping hit “Hell”), and in honor of the 20th anniversary of this commercial success, the Zippers decided to return to the road. For this limited run, founding members James “Jimbo” Mathus and Chris Phillips recruited the talent of singer Ingrid Lucia (Flying Neutrino) and noted New Orleans musicians to join the new stage show. Phillips commented on the band’s reunion in the statement:

    The band has been quiet for long enough. Honestly, the songs from such a unique and rambunctious catalog never get old on stage. When it was brought to my attention that 2016 was the 20th anniversary of Hot I knew the timing was right. We take great pleasure in the sense of togetherness we maintain with audiences that have such a wide age range — from young to old and those in between. Even the old are young at heart when they are at a Squirrel Nut Zippers show…

    In other words, press your zoot suits, and get ready for a blast from the past. Most tickets are on sale now through the venue box offices or online; see the full set of tour dates below.

    Squirrel Nut Zippers tour dates:

    6/29 – Rialto – Tucson, AZ
    6/30 – Marquee – Tempe, AZ
    7/1 – Orpheum – Flagstaff, AZ
    7/3 – Deer Valley Resort – Park City, UT
    9/3 – Sausalito Arts Festival – Sausalito, CA
    10/18 – The Birchmere – Alexandria, VA
    10/23 – LEAF Festival – Black Mountain, NC

  • The Wild Feathers MOVE at The Hollow

    Hardworking Nashville-based band, The Wild Feathers made their first appearance in Albany on Friday April 22 as part of the weekend wide MOVE Music Festival.

    Music lovers filled into The Hollow awaiting an 11:30pm appearance from the band who feature original members, Ricky Young, (guitar, vocals), Taylor Burns, (guitar, vocals), Joel King, (bass, vocals), and Ben Dumas, (drums). Burns’ explosive vocals meshed perfectly with Young and King who all share lead vocals during the 13-song set.

    Fan favorite, The Ceiling closed out the set which drew Young into the audience. Shining on guitar was Nashville guitar phenom Daniel Donato who makes an instant impact and valuable addition to The Wild Feathers’ live show.

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  • The New Mastersounds Return to Brooklyn Bowl

    The New Mastersounds’ extensive U.S. tour is under way with the first of three concerts at the Brooklyn Bowl on Thursday, coming after a quick appearance at Wannee Festival. Opening a three-night residency on a Thursday gave fans a unique opportunity to see a band deliver a compelling show to a small weeknight crowd while also gearing up for the rest of a big weekend. The jazz-funk quartet from Leeds, UK, was supported by Brooklyn’s own Moon Hooch.tkenna_newmastersounds_bkbowl_35

    Moon Hooch put on an opening performance that was brimming with creativity and authenticity. Their music is a sort of new wave-influenced EDM brought to life with an arsenal of carefully selected acoustic and electronic instruments. The HN3A8280compositions are rooted in tight dance rhythms precisely metered out by drummer James Muschler. Mike Wilbur’s saxophone melodies typically take the lead while Wenzl McGowen produces womping bass lines using anything from a contrabass clarinet to a baritone sax to a woodwind MIDI controller. Song arrangements did vary in surprising ways, though, such as when
    Muschler sat down on the floor of the stage to provide some excellent tabla playing or when Wilbur delivered a dope rap verse. All three members of the trio proved themselves to be versatile and cleverly skilled. Moon Hooch’s set had a spiritual undertone throughout, made explicit at times by slowed down samples of Alan Watts and McGowen’s closing remarks about imaginal cells, which turn caterpillars into butterflies.

    The New Mastersounds kicked off their set with characteristic pep and never slowed down for a second. Their brand of bouncy, uptempo jazz riffing was infectious and immutable. Drummer Simon Allen propelled the band with giddy enthusiasm. Bassist Pete Shand was an endless fountain of rhythmic momentum and complex harmony. Some of the most ebullient soloing came from keyboardist Joe Tatton’s organ. Guitarist and bandleader Eddie Roberts defined the character of each tune with a steady cascade of jazz-funk techniques. The set consisted pretty much entirely of cheery, major key groovers. Whatever it may have lacked in emotional range, it more than made up for in intensity. The buzz that the band created was one of pure joy and vigor. Even as the Thursday night crowd began to thin towards the end of the performance, the remaining audience was huddled in front of the stage, soaking in every moment of what came to feel like a very intimate musical experience. The band seemed to be projecting a humble appreciation for the setting and to be gearing up for the remaining shows on Friday and Saturday. These weekend shows are likely to see larger turnout and even more fiery performances from The New Mastersounds.

  • Hearing Aide: Jason Bean ‘Black Then Blue Then Gray’

    Jason Bean, a singer-songwriter originally from Phoenix, NY, and now based in Syracuse, is a worthy local musician to be on the look-out for. Black Then Blue Then Gray sounds very professionally recorded and produced, which is quite notable, being that Bean recorded this, his fifth album, in his home studio, Black Match Studios. Mellow was the first word that came to mind as a very first impression, featuring a simple mix of guitar (played by Bean), vocals (predominantly from Bean himself, but joined by the lovely Kate Crawford on a few of the tunes), drums (masterfully played by Jason’s brother Christopher Bean), and the occasional bass and keys (performed by friend and previous producer Doug Moncrief).

    jason beanThis album can actually be enjoyed on two very different levels. On the surface, if you happen to just be listening in passing, this album can be appreciated for its simplicity and repetitiveness in both the instrumental and lyrical aspects of the music. Full disclosure: I admittedly was not overly impressed by this album when giving it a first listen, in part due to the fact that there aren’t any complicated jams or epic solos, but upon truly listening to the lyrics – which is something you evidently must do to be able to fully appreciate this album – it becomes clear just how impressive this album is. The heartfelt lyrics take you on a journey through something most of us have been through or are presently in: a relationship.

    Black Then Blue Then Gray features more traditional love songs such as “Real,” about new love in its purest sense, on which the “guy” is begging his love interest to let him show her “this is something real,” and “Safe,” about feeling truly comfortable and safe with someone, the type of song you wouldn’t mind someone singing to you! But this album also delves into much deeper and more difficult aspects of the relationship. “Let Her Run” puts a clever twist on the cliché “if you love her, let her go,” while “Our Fears” offers the listener an ironic “non-love” song, repeating the lyrics “Don’t tell me that you love me, it’s all downhill from here.”

    The album then moves on to the break-up stage of the relationship, from the bitter feelings and trying to justify the break-up on “Smokescreen,” to feeling the burn of being replaced by someone else on (the appropriately named) “Someone Else,” to the acceptance of and finding comfort in being alone on “Windows.” The last song on the album, “You,” brings everything full circle, with Kate Crawford joining in again on this nostalgic song of loving memories and regret about the love they have lost.

    Black Then Blue Then Grey presents the listener with a complete story put to music. One could venture to say, even, that the music plays a back seat to the story, while, at the same time, the understated nature of the instrumental components of the album seem to serve as the perfect backdrop to the story: a very symbiotic relationship. This album certainly leaves the listener curious about the four previous albums put out by Jason Bean, as well as those yet to be released.

    Key Tracks:  Our Fears, Safe, Smokescreen

  • 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.

  • Spring Fling Tour Invades Rochester’s Armory

    When you work up a sweat at a show, you know you’ve had a good time. The Easter eve stop of the Spring Fling tour at Rochester’s Main Street Armory made sure the 6500 in attendance did just that. The package tour, headlined by Bowling Green, KY natives, Cage the Elephant along with Silversun Pickups, Foals and Bear Hands, may become one of those hallmark tours mentioned years from now. This show puts together four perfectly complementing artists, all proving the state of rock and roll is alive and quite well, thank you.

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    Headliners Cage the Elephant had the sold out crowd eating out of their hands from the opening notes of “Cry Baby.” Lead singer Matt Schultz’s stage presence evokes the spirit of peak Iggy Pop or Mick Jagger. Shortly into the set, his red sport coat and shirt were shed and audience members were surfing the crowd. This is the band the young crowd was here to see and a band sure to make waves in the mainstream if its current live show is any indication.

    Like many great bands, Cage the Elephant is best heard in a live setting. Shultz commands your attention and the band is top notch. Particularly impressive was the interaction the audience had with the band during its performance. For an “indie” band, Cage the Elephant surely engages the masses. This was particularly exhibited during Cage’s “Ain’t No Rest for the Wicked” from their 2008 debut. Fans held their hands high in the air while singing along while others made attempts to surf the crowd.

    Spring Fling TourCage had tough acts to follow on this night. The earlier bands on the bill all delivered solid performances. Veteran Los Angelinos, Silversun Pickups could very well have been the headliners on this tour. The Pickups have been indie rock stalwarts since their debut Carnavas in 2006. Lead singer Brian Aubert and bassist Nikki Monninger have an onstage chemistry akin to an older brother and younger sister. Aubert introduced the new song “Circadian Rhythm (Last Dance)” as Monninger’s first foray into lead vocals. She responded as being nervous putting herself out there but performed the song beautifully, winning over the audience. The Pickups set ended with a raucous version of their first charting song, “Lazy Eye.” Aubert’s vocal were hardly necessary as the crowd sang along word for word. It was a solid ending to a solid performance by one of indie rock’s most versatile bands.

    Foals performed early, and while still working to win over the American public, they made it known that they wouldn’t be an opening act for long in the states. These Brits performed a set reminiscent of Joy Division meets the Clash. Lead vocalist Yannis Philippakis has a manic stage presence that makes you take notice. Foals will be making their presence known to the American mainstream in short order.

    Brooklyn-based band Bear Hands opened the night. Out of the four bands on the bill, Bear Hands were the most indie of the bunch. Several times throughout the brief yet energetic set, one could imagine Interpol or the Smiths onstage. But Bear Hands absolutely proved their worth on this bill of indie heavyweights. We’ll be hearing more from this band in the future.

    The Spring Fling tour has wrapped but Cage the Elephant is continuing to tour. Upcoming in New York is a date with Portugal, the Man and Broncho at the Times Union Center in Albany on May 11. You can also catch them at Summerstge in Central Park on May 16 and 17.

  • Hearing Aide: The Heroic Enthusiasts “Memory Wheel”

    Rochester’s self-described “new wave influenced indie-pop” group The Heroic Enthusiasts have spun their new EP Memory Wheel and landed on a unique combination of musical genres.

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    Released in February 2016 on Jam Tom Music, the guitar-heavy tracks combined with lyrics delivered with a slight English accent put off a progressive rock vibe with a slight 1980’s tone. That’s no surprise as the group is led by James Tabbi and Tom Ferrara on vocals and guitar, both of whom are math majors and music lovers of Sicilian descent.

    Tabbi and Ferrara have weaved intricate guitar stylings and open-for-interpretation lyrics into a soundtrack reflective of the tangled melodies of track 2, Falling of the Drop, which runs the gamut of emotions from a sense of foreboding to a feeling of release, a reminder that through music we we truly are “all one.”

    “Suspended, connected, singularity of thought, the falling of the drop. In silent reflection, more powerful than fear, the falling of the drop.”

    The lyrics in track 4 Broken Liquid could be about anything from broken friendships, regrets, love or loss.

    “We say we’re friends but never can speak again. Leftover thoughts, discarded with broken plans. Isn’t this how it always ends”

    The Heroic Enthusiasts (3), photo credit Jason Wilder

    Professionals by day, Tabbi and Ferrara started playing together performing covers, but soon realized they wanted to write their own songs. They’ve since recorded eleven songs as The Heroic Enthusiasts since 2013, four of which are featured on their first EP Memory Wheel, also featuring Dexter Redic on bass and Mike James on drums. The album is worth taking a spin, especially for those who enjoy a methodical and progressive approach to music.

  • Slothrust Shreds at Baby’s All Right in Williamsburg

    Slothrust shreds. This past Saturday Slothrust (Leah Wellbaum on guitar/vocals, Kyle Bank on bass, and Will Gorin on Drums) played Baby’s All Right in Williamsburg with Diet Cig, the playfully charming pop punk duo from Upstate, New York and YUNG, the killer rock band hailing all the way from Denmark. The show was sold out, the music was powerful, and the whole venue seemed to hum with the undeniably infectious energy of being young and alive in Brooklyn.

    slothrustSlothrust finished up a month long tour at Baby’s that night and closed out the show. Their tour hopped all over the country, including five showcases at SXSW. As I watched them set up I wondered if they were worn out from tour, burnt out from travel, the back to back shows, the van life. I thought maybe their set would be a bit sluggish. I was dead wrong. They were tight. They are always so incredibly tight.

    To start, they hit the crowd with a jam that was heavy like a ton of bricks and by mid set had leveled things out with both “Magnets part 1” and “Magnets part 2”,  dark yet delicate crowd pleasers. The whole performance was a perfect balance; new songs and old favorites that provided a trip through intimate, emotional lyrics that were delivered with captivating, deadpan vocals and guitar riffs that rip right through you. It can’t really be compared to anything else. Slothrust is it’s own kind of strange darkness. Straight up grunge rock that can get you all choked up without a single cliche lyric to be sung.

    slothrustThey closed their set with “Crockpot” which is a spot-on representation of who they are as a band. It’s a sample of the dichotomy the trio has mastered; soft yet strong, gentle but raw and raging. A spellbinding sweetness broken by a build up that makes the blood flow faster through your body. As “Crockpot” rang out, the back lights made perfect silhouettes of the three talented musicians responsible for making the packed house sing along at the top of their lungs. It was then that I truly realized the power of Slothrust. I wholeheartedly believe their future holds something huge- something great. If you haven’t heard Slothrust yet, listen to “Of Course You Do” (their latest album which is an absolute masterpiece), get yourself to their next show, or do both if you know what’s good for you.