Last month, the jam scene’s funk favorites, Lettuce, released a new EP, titled Mt. Crushmore. While still holding down their exclusivity and unique take on the genre, it is largely more background music than it is dance fuel like we’ve seen from full albums like Rage and Fly.
The likely reason for this is that the 7-track EP contains tracks that didn’t make the cut for “Crush,” (Crush…Mt. Crushmore…you get it). Although it’s not to say these tracks are sub-par by any means. They still demonstrate the band’s ability to lay down groovable tracks, but with perhaps a more hip-hop feel. Many of the tracks would add powerful, yet sophisticated instrumentals for a progressive lyricist.
Mt. Crushmore starts off with its title track and what is hands-down the most epic sounding piece to date. Adam Deitch’s rhythmic drumming combined with Eric Bloom’s authoritative trumpet alarm could be the soundtrack to a military march – if that army was ascending upon enemy territory on an alien planet. A choir of female vocals only adds to the celestial impression.
Other female vocals appear later in the album but with full-on lyrics, a feature that is atypical for Lettuce. “The Love You Left Behind” featuring Alecia Chakour is a nice mix of funk and gospel music to keep you interested.
The EP includes “’Lude, Pt. 5” and “’Lude, Pt. 6,” two quick tracks that sound like intros or filler music. They are a continuation of the series that began on the previous album, “Crush.”
In “116th St.” Erick “Jesus” Coomes drops the signature Lettuce bass thud, the foundation and appeal of their sound. “Ransome” also brings the beloved funk, with a quick rhythm making it the dance tune of the EP.
Listeners should keep in mind that “Mt. Crushmore” is not an album, but an EP, short for “extended play.” And that’s exactly what it feels like – an extension of “Crush.” Absolutely worth a listen if you enjoy Lettuce, but would be largely underwhelming as a standalone album compared to the rest of their catalog.
Key Tracks: Mt. Crushmore, Ransome, The Love You Left Behind
A double header of Vermont jammers treated a Massachusetts crowd to a night of improvisational grooves, saxophone sit-ins and Christmas carol teases in true holiday fashion at Thunder Road Music Club & Rock n’ Roll Bistro. Vermont’s own RAQ, restocked with a reputable drummer in the scene, teamed with an up and coming group, Swimmer, who share roots in the same town of Burlington. Both drew an impressive gathering of fans both local and branching across the Northeast, making it safe to say many left the MA venue newly admitted “swimmers.”
The progressive rock-fusion quintet based out of Burlington, took the reigns early in the night, kicking things off with a kinetic performance that displayed a melting pot of genres over a six-song set list. Carefully crafted, it brought forward original compositions intertwined with covers of some of their largest musical influences, Frank Zappa and Phish. The night found mesmerizing flair from keys player Matt Dolliver, bassist Jack Vignone, guitarists Paul Klein and Joe Agnello, who swapped vocals with man behind the drum kit, Cotter Ellis. Original and innovatively named tracks “5 Seed and Feeble,” “Godmeat” and “Sea Cerebral” truly portrayed the unique sound Swimmer bears to those who have never been introduced to their music–seemingly effortless tight grooves, progressive journeys and charismatic originality.
Highlights of the set instantly point towards Matt Dolliver as he delighted the audience with smooth saxophone performances and Swimmer’s conquering of Frank Zappa’s “Pound for a Brown” > Phish’s “F*ck Your Face” > “The Impossible Engineer,” an original track that ended the set with high-energy and roars of approval.
RAQ certainly came baq and kept the crowd fully captivated throughout a two-set performance. The audience and RAQ members alike were elated with the fact that former Dopapod drummer Scotty Zwang, has completed the final piece in their lineup puzzle–one that has proven to be tossed up in the past and especially interwoven with Kung Fu. Todd Stoops was nothing short of vocal, proudly admitting from behind the keys that Zwang is the “best drummer they’ve ever had” as he corralled multiple rounds of applause throughout the first set, which included “Bootch Magoo,” “Clamslide,” “Bobs Your Uncle,” “Crazy Tonie” and “Gabvonie.” Before heading offstage for a 15 minute reprieve, RAQ incited a sing-a-long on fan-favorite “Walking in Circles.”
Also displayed on two TV’s hanging above head at a full-stocked bar, the second set of the performance found a few dressed in Christmas colored velour and blazers in the holiday spirit as their atmosphere quickly turned into a reggae sound-tracked snowglobe. RAQ dove into Peter Tosh’s “Legalize It” before taking on a string of Christmas classics from “The Little Drummer Boy” and “Joy to the World,” to “Rudolph the Red-nosed Reindeer,” which paired nicely with the “Deck the Halls” ornament and garland decor at Thunder Road. Newly confirmed “swimmer,” Stoops, re-introduced Matt Dolliver to the stage after approaching him in the crowd between set changes. An impromptu sit-in on Men at Work’s “Who Can it Be Now?”ultimately brought down the house.
Swimmer will resume gigs after the holidays with their first 2017 appearances across Clear River Tavern, Showcase Lounge and The Snow Barn in Vermont before heading to Stella Blues in CT. RAQ ended their trifecta of North East comebaq performances, with stops through The Westcott Theatre in Syracuse, a penultimate gig with Twiddle at Port Chester’s Capitol Theatre and last night’s Thunder Road wrap up. Saturday night alone determined that both groups have big moves on the horizon for the upcoming new year.
It’s a cultivation of everything interesting about music. There’s no other way to describe it because there are so many influences, some that the majority of his followers probably don’t know exist. But if it were to be described in a genre, it’d be something along the lines of this tongue twister: Psychedelic funk, rock and R&B with hints of new-age rap and electronic undertones. Unfortunately, he hasn’t created something revolutionary, he’s recreated the sound of the most beloved musicians of all time, and missed the mark on a track or two, but nonetheless has brought back one of the great forgotten sounds of music.
It’s nothing like his older works which were heavily influenced by modern rap. But it makes for the perfect platform on which to build a fun, but very familiar sound. This is not to say his prior albums were simple, but they lacked instrumental color and were driven lyrically. Before the song-by-song analysis begins, some background knowledge is needed to understand how talented Donald Glover really is.
He is not a stranger to the arts: He had two full albums and a few single releases prior to this one, he appears as Troy Barnes on Community as well as a starring role in Atlanta, a series which he created. He will also soon star as a young Lando Calrissian in an upcoming Star Wars movie. Point is, the guy knows what he’s doing and he does it pretty well. But of course, such a drastic change in his falsetto will result in a few quirks, because as stated before, this album is nothing close to what he released in 2013-14.
Almost every track has the funky hooks of the classic 70’s funk bands but with the unpredictable musical direction of Zappa and even the ones that lack a little bit of complexity can still have some value to them.
The first track is a bit misleading, especially if a listener reads this review first. It’s called “Me and Your Mama” and it can be interpreted as a transition into this genre. It starts with a simple, spacey trap modern rap beat, similar to his former albums, that suddenly drops into a completely different genre. It’s dramatic enough that it may sound like the next song on a shuffled Spotify playlist. The second part of the song is synonymous to that of Pink Floyd, with a slow, swaying groove, a female chorus ringing out in the background and some wailing guitar, that all fades out into something like Funkadelic’s “Maggot Brain” with echoing drums, and droning keys in the back. It’s an intense and perfect introduction to this album.
“Have Some Love” and “Boogieman” have strong funk influences, with some tricky drumming, catchy breakdowns and that angelic chorus, all garnished with the perfect amount of spaciness. As stated before though, the sound is eerily similar to the funk Gods of the 70’s. This is not to say that he’s not a creative person, he just hasn’t created anything revolutionary here, but his mind is in the right place.
“Zombies” is one of the tracks that may have “missed the mark.” It’s just weird. There isn’t a lot of musical complexity to it making the lyrics stand out more. But they’re not about anything deep or inspirational. It’s about zombies. “All I see is zombies, feeding all around us, all they eat are people… We’re eating you for profit… there is no safe place to hide.” He’s most likely not talking about The Walking Dead type of creature, but the lack of lyrical eloquence kind of ruins this song. That and it sound like he has a stuffy nose when he’s singing. But they can’t all be winners, as the saying goes.
“Riot” comes next and brings back the technical funk heard at the beginning of the album, but isn’t necessarily a rioting song. It is still fantastic and fun to listen to though. “Redbone” was one of the singles released before the full album and was the most listened to track on the album according to Spotify. This is a fairly unique one, a little low on energy but it is also a love song, and pretty good one at that. It builds up nicely and has very colorful instrumentation making this a key track.
As if there weren’t enough hard left turns, “California” pops up next and again gives the impression that the listener hit the shuffle button by accident. It’s a pretty adorable track that sounds like Jason Mraz, Sublime and Glover had a kid…. A really weird kid. It’s a tight sound with a strange association of instruments, including what sounds like glass bottles being blown into. It’s a key track not because everyone will love it, but it just further shows how Glover is taking a totally new direction with his music.
Glover has got the nail into the board, but he isn’t striking it on the head just yet. At least he’s on the right board though. This must have been a fun project for him, and it’s very obvious that he’s not through with rap, but he’s moving onto more complex projects. Unfortunately, his old audience may not follow him, but he will undoubtedly gain some more attention with this collection. Key Tracks: Me and Your Mama, Have Some Love, RedBone, The Night Me and Your Mama Met
If you like a little soul sprinkled into your funk, and you have a little jiggle in your step, then you’ll love D.C.’s emerging talent, Aztec Sun.
This eight-piece ensemble brings funk-groove-improvisation to their performances that is sure to kick dancing shoes into gear; the band is Stephane Detchou, on lead vocals & rhythm guitar, Ryan ‘Catch’ Sarafolean, on keys/organ & backing vocals, Michael Dravone on trombone, Shane Weckesser on bass, Ray Lamb on lead guitar & backing vocals, John Heinze on drums, Adam Kent on trumpet and Dave Klein on the sax.
Originally conceived back in 2013, Aztec Sun has been steadily evolving and making a name for themselves; and 2016 was a big year for the group. For one, they were voted “Best Original Local Band” by the Washington City Paper, and performed in front of a significant crown at the D.C. Armory for the paper’s annual “Best of D.C. Celebration.”
In the past, they’ve shared the bill with other talented acts such as Pimps of Joytime, Burning Spear, The Suffers, Alanna Royale, Naughty Professor, Major and the Monbacks. AZTEC SUN talks about wanting to “push out their ‘Soul with Funk’ to diverse audiences,” and this year, they have done so at prominent D.C. establishments, like The Black Cat, Howard Theater, Rock & Roll Hotel and Strathmore.
In the future, however, they look to spread their love of funk further, into surrounding areas like upstate New York and Boston, for example; and their dreams extend to playing at bigger venues like Red Rocks, The Gorge, or maybe the Brooklyn Bowl or Fillmore West. Their name is one you’re sure to hear of again.
Their new studio E.P., titled Set You Free, a five-track, self-produced album, will be released tomorrow. The album is a recognition of their accomplishments thus far, and true to the band’s manifesto to “do whatever you can to make them dance,”AZTEC SUN invites anyone in the DMV area to come celebrate their newest project at their E.P. Release Dance Party at the Songbyrd Music House & Record Cafe, tomorrow, Sat., December 10.
For more information and tickets, please visit here.
Karina Verlan: What is the origin of the name Aztec Sun?
Stephane Detchou: Once the founding band members decided to “become a band,” they wanted to come up with a name that would best represent the music they were writing. After a number of different noun pairings, we decided on “Aztec Sun”: a name which, for us, combined the indelible, fiery presence of Funk with the warmth and energy of Soul.
Ray Lamb: This has nothing to do with how the name came about but in researching about the ancient Aztecs, I learned that they were not one tribe, but multiple tribes unified together. I think our band dynamic and music have similar qualities.
KV: What genre of music do you consider your work to be, and who are your major influences?
SD: We call it “funk with soul.” It generally errs on the side of groove music with a focus on rhythms that will make you move. Our influences are as diverse as our bandmates — James Brown, Sly & The Family Stone, Prince, D’Angelo, Ben l’Oncle Soul, Phish, Snarky Puppy, The Meters, Budos Band, Fela Kuti (to name a few)
RL: I agree with Steph. We incorporate a lot of different influences in the music we play. I guess sort of like a funk/soul stew with a sprinkle of jazz, rock, blues, pop, jam etc.
KV: I love that! funk/soul stew… How did you all meet?
SD: Aztec Sun was initially four guys (two guitars, bass, drums) who started playing together four years ago off of Craigslist. From there, we met and invited new bandmates through personal connections, referrals or random meetings at music events.
RL: I met Steph at a show that we both were performing in. We had a great conversation about music. About a month later my previous band was having a show and I asked if Aztec Sun wanted in. Steph accepted and asked if I wanted to sit in. I did and they haven’t been able to get rid of me since.
KV: Who writes your songs in your band? Do you typically write the music or the words first?
SD: Given the size of our group (eight+ musicians), most of our songs are written collaboratively in some shape or form. Someone will bring a demo to the group with draft arrangements, structure, direction and we’ll hash out details by playing through the songs in rehearsals. In most cases, we’ll have some words to accompany the music when we start working on a song (especially when one of our singers brings a demo); but there are times when a song is born out of an organic “jam session” and we’ll write lyrics afterwards.
RL: Yeah it’s really a cool process with this band. You can bring in an idea and you have seven other minds to help develop it. It’s quite a luxury. Also listening back to jams is great because there are eight different instruments that you can listen to get new ideas from.
KV: Very cool. How has your music evolved since you first began playing music together? What’s your ultimate direction for your band– are you seeking fame and fortune?
SD: Our first batch of music was more like funk-rock (think some of Red Hot Chili Peppers). As we added horns and keys (piano + organ), our sound naturally expanded to include a dimension of classic ‘70s soul we could add to the danceable funk we were already playing. At this point, our band’s goal is to continue sharing our music and our live performance with new audiences within and throughout the DMV and add to the funk & soul movement in D.C.
RL: In the two years I’ve been in the band, I think we’ve all become better friends, which in turn helps with the music becoming tighter. We listen better and trust each other more. Fame and fortune might be a stretch. However, if it comes, that would be awesome. But that’s not our goal. We want to keep having fun and get as many people dancing to our music as possible. I think we want to ride the train as long as it stays on the tracks.
Ryan ‘Catch’ Sarafolean: We want to continue to push this as far as it can go, at this point, it feels like this project has a lot of growth left still in it and we’d all like to see where we can take this music. Outside of the D.C. area is our first step from here.
KV: Is there anyone you’d like to acknowledge for offering financial or emotional support?
SD: So many people have helped us accomplish what we’ve done so far. In terms of emotional support, probably all the friends and family who have been coming to our shows to support us, no matter how many times they’ve seen our live set.
RL: I’d like to thank family, friends, and old band mates.
RCS: I’d like to also thank all of our neighbors and roommates for dealing with our music into the wee hours – you all are the best!
KV: Haha. So, what advice do you have for people who want to form their own bands?
SD: Be honest and collaborative. Being part of a band is an opportunity to express oneself creatively, but that also means remembering to keep an open ear for others’ expressions and ideas.
RL: Have fun! I think that’s why most people play music to begin with. When you’re having fun, people can tell and it’s infectious. If you read about why most bands break up, they state that they stopped having fun.
RCS: Push yourself outside of your comfort zone, I’ve found that is where the most amazing growth comes from.
KV: What are your dream cities to tour? And who would you like to tour with, in an ideal situation?
SD: Aztec Sun is from D.C., but we aren’t all “from” D.C., so we’re going to be working on touring in cities closer to home: Montreal, upstate New York, Minneapolis, Boston, Chicago… And in terms of tours, it would be great to share a stage with any of the artists that influence our music.
RL: Touring is great. It’s always nice to play in front of new people. I’d love to play Red Rocks, The Gorge, The Fillmore West, Brooklyn Bowl, Electric Factory, Fox Theatre, Madison Square Garden (hey, gotta dream right!). As far as bands, Alabama Shakes, Vulfpeck, Trey Anastasio Band, D’Angelo, Turkuaz to name a few.
RCS: I’ll say it – it would be great to play at the 9:30 club, here in our backyard. That venue is continually rated as the best venue to go see live music in, and damn would it be a fun place for some funk. I’d love to open for Galactic, or Trombone Shorty, or Rebirth Brass Band – anyone out of New Orleans would be dope.
KV: Do you find it hard to balance music with your other obligations at this point in your career?
SD: At times, definitely. We try to balance a very accurate shared calendar that keeps track of everyone’s schedules which helps us determine whether or when we can book gigs. On top of that, we’re all working full-time — which can mean very late nights/tough mornings when we’ve got a couple of shows in the same week. We also need to ensure we’re taking our time to check with our families, partners and friends etc (and not just inviting them to our gigs)… so it can get to be a very busy time. But we really enjoy playing and creating as Aztec Sun, so it’s worth it.
RL: It’s definitely hard but music always manages to make itself a priority in my life.
Funk comes in all shapes and sizes these days. Those eager to see two very different versions headed to the Putnam Den in Saratoga on December 6 to see The New Mastersounds, originally from the U.K., co-headline with Brooklyn’s Turkuaz.
The two boast their own unique style, but both brought anyone with a pulse to their feet that night. The show was part of an extensive tour to promote a split 7” vinyl featuring both bands performing a cover song from the other’s catalog, while also joining in on the collaboration.
The New Mastersounds came as a pleasant surprise to those witnessing the foursome’s raw talent for the first time. The band makes its rounds on this side of the pond, but the majority of those in attendance had likely never seen them before.
With slicked back hair and a blue suit jacket complete with a pocket square, guitarist Eddie Roberts paralleled his fashion swagger with his musical prowess. He laid down soulful yet jazzy riffs throughout the evening with ease. Pete Shand thudded the bass to bring the familiar foundation of funk this upstate New York crowd came to see. The level of technicality in which Joe Tatton wailed on the organ was impressive and moving, even adding synthesized tones later in the set. The funk was here and the crowd was loving it, whistling loudly indicating their approval and awe.
Their set was upbeat and drove harder and faster as it progressed. They slowed it down slightly to do a one-of-a-kind version of Sneaker Pimp’s “Six Underground,” a song that became popular in the 90s, included on the soundtrack of the movie Can’t Hardly Wait.
Without a horn section, their sound is old-timey soul but with a modern funk that hits just right. They welcomed Turkuaz saxophone player Greg Sanderson on stage who fits the band like a glove. Den dwellers had fogged up the windows at this point and many headed outside to catch some air only to be sprinkled with wet snowflakes. The already thick crowd swelled as more joined the party for Turkuaz.
Anticipation built as the 9-piece ensemble entered the stage and prepared to take off. “You’re in for a treat” was heard muttered in the crowd from the more experienced Turkuaz fans to some of the “newbs.” They weren’t wrong.
They set sail into fan favorite “Bubba,” and then to a speedy rendition of “Percy Thrills, The Moondog.” After big songs, the explosions of color and sounds end abruptly as the lights shut completely off on stage, like a period indicating the end of a sentence.
The Turkuaz ladies, Sammi Garett and Shira Elias, choreographed their moves and vocals to add a splash of Motown to the pop funk. Chris Brouwers keyboard skills were reminiscent of the digital sounds of the 1980s. Josh Schwartz took a break from the sax and sang, and “Dude’s got some pipes on him,” was overheard in the crowd.
Shira Elias and Sammi Garett took the lead vocals on a funked up rendition of The Band’s “Don’t Do It,” providing a welcomed twist on the beloved classic. The energetic and colorful evening came to a close with a one-two punch of “Chatte Lunatique” and “Ballad of Castor Troy” in which drummer Michelangelo Carubba delivered a solid solo.
The tour hits the road and heads south to Pittsburgh, PA on December 8, Washington D.C. on December 9 and on to Philadelphia on December 10.
Nothing beats a night filled with funk—something the Putnam Den knows all too well. This time around on December 6, multi-talented, power funk collective Turkuaz, with drummer Michelangelo Carubba, will come together with old souls at heart, The New Mastersounds, ready to demonstrate their deep seeded talents for an Upstate New York crowd on a Tuesday night.
Turkuaz, a sizable group containing talent just as abundant as its 9-piece lineup, has explored their extensive vault of instruments, gripping vocals and dance moves each night during their 40+ co-headlining tour dates. While some might think that’s a tough act to follow, or open up for in this case, The New Mastersounds provide necessary balance to explosive dance music with their smooth tunes and classic style, crafted two decades ago directly from Leeds, UK.
In conjunction with the country-spanning tour, the two outfits will come together to release a split 7” vinyl, where they take turns covering each other’s songs, while adding their own elements and sounds into the mix. Fans can also find tracks that feature the 80’s funk revolutionaries collaborating with the 4-piece smooth R&B and jazz fusion pioneers. The limited edition vinyl is now available to order, and will be exclusively available for pick up at merch tables on tour.
This co-headlining tour is sure to jam the roof off of any venue with its thick grooves, synchronized dancing and encapsulating performances, which has proven to be true so far with praised stops across the board in New Haven, Chicago, Lake Tahoe and more. Don’t miss their Putnam Den gig this Tuesday, December 6! Doors open at 8PM with a harmonious show to follow at 9PM. 18+ with a $5 surcharge for those under 21. Tickets are $17 in advance/ $20 day of show.
Ever wonder if anyone still uses ringback tones and if Mike Carubba of Turkuaz did, what it would be? I have the answer: “The Watcher” by Dr. Dre.
Q & A with Turkuaz drummer Michelangelo Carubba:
Alyssa Ladzinski: In today’s day of social media, things can blow up pretty fast. Can you explain how it felt when your performance video reached 2 million hits on Facebook?
Mike Carubba: It was exciting for us. It was the first time any of us had been a part of something that had gone viral like that. The international reach of something like that was the most exciting part for me. I had google translator working hard as I read thousands of comments from people all over the world.
AL: Being from Buffalo, NY yourself and the band being Brooklyn based, what did it mean to you guys and to your career to have your music soundtrack a New York Knicks game?
MC: That was another moment where we felt like the hard work was paying off, and the Knicks and the city of NYC sort of giving a nod to us, as being something uniquely “New York”, felt really gratifying. We’re a lucky band.
AL: You got your band name from a Turkish deli across the street from where Dave and Taylor used to live. They frequently bought Fantas—what flavor?
MC: I think Dave and Tay would dabble in all flavors Fanta. They like to really live on the edge.
AL: What’s one band you would love to tour with that you haven’t gotten the chance to? Last time NYS Music interviewed you, you said Snarky Puppy but that has since been scratched off the list!
MC: There’s a lot of cool music going on right now, so it’s hard to pick one band, but I think as a group we’re starting to really set our sights high, and look for a major tour to work with. Dave Matthews, Tedeschi Trucks, the Stones would all be amazing.
AL: In conjunction with the tour, you and The New Mastersounds are releasing a 7″ split vinyl where you cover each others songs and collaborate on others. What has been your favorite New Mastersounds song to cover so far? And what do you think theirs has been?
MC: We’ve been playing their song, “On the Border,” and we’ve given it the P-Funk treatment, which is always fun for us. Eddie and the guys have been doing a really great job with our tune, “The Rules.” I’d like to think he’s been enjoying it.
AL: As a drummer, do you have any specific brand loyalties?
MC: Early on I was pointed in the right direction with the gear I used, and they’ve provided me with quality products for the last 20 years. Companies like Vic Firth drumsticks and DW hardware are companies I’ll be working with until I retire or my hands fall off, whichever happens first.
AL: Let’s be honest, artists always have that one song or artist they despise playing. If any, what are yours?
MC: If you ask me to play Lady Gaga, I will refuse.
AL: What’s your favorite CD, vinyl or song purchase from 2016?
MC: Josh Homme and Queens of the Stone Age released a live acoustic concert called Like Cologne, and anyone that knows me knows I’m a sucker for QOTSA.
Jam for Tots returns to the Capital Region of New York for the 10th year in a row, with a series of performances that bring the live music community together in supporting children in need this holiday season.
Hosted by Luke Weiler of Positive Mental Trip, the event started as a way to help make less fortunate children happy and doing so through music for a positive cause. Working with The Marines Corps, who run Toys for Tots, the events grew from one in 2007 to nine in 2013, while keeping a focus on the Northeast as an area of need.
“Our goal for 2016 is to make as many children happy on Christmas Day and make sure that every person that comes to Jam for Tots leaves happy and glad that they took the time to come,” said Weiler. “We go to great lengths every year to make sure people have a blast at Jam for Tots with raffles, giveaways, great bands and all around good vibes. When a town and a good promoter get behind these events, there is really nothing that can stop them from being successful. This year all four shows are in places that love Jam for Tots and are all about it so they are all gonna rock.”
The four Jam for Tots events kick off on Friday, November 25 in Tannersville at The Spinning Room. Bring a toy for a child as your cover charge for the shows.
The Other Brothers have been bringing a soulful twist to funk and R&B in the greater New York City area since 2012. They’ve since appeared on stage with artists like Goose, Bushicks, with members of Kung Fu and Deep Banana Blackout and more.
This six piece includes Brandon Bera (drums), Chris Owens (vocals), Gabe Marquez (organ and keys), Jared Nelson (percussion), John Morrison (guitar) and Jordan Mendelson (bass), all of whom are SUNY New Paltz students, both current and graduated.
They took out some time this weekend to answer a few questions for NYS Music about their origin, creative process, and future aspirations.
Karina Verlan: What genre of music do you consider your work to be? Who are your major influences?
The Other Brothers: We would say we’re neo-soul, but with some jam flavor. Our sound is derived from a handful of records that we’ve been in love with for the past few years, including Voodoo (D’Angelo), Channel Orange (Frank Ocean), and Off the Wall (Michael Jackson). We take a lot of cues from Phish, who we’ve collectively seen a million times. The Band is also a big influence on us, especially since we live in the Hudson Valley where they set up shop.
KV: How long have you all known each other? How did you meet?
TOB: John & Chris met at a Phish show at Bethel Woods in 2011. Then John heard Chris jokingly sing Creed at a house party and was very impressed. In fall 2012 John met a then-freshman Brandon at a jam session at the then-house of Matt Richards (of Formula 5) where they had a memorable “Good Times Bad Times” jam. Brandon met Jordan through a mutual friend at the very start of college (2012) and they jammed together in the dorms as well as in jazz ensembles. Then in the past year we met Jared and Gabe through jam parties and mutual friends.
KV: How has your music evolved since you first began playing music together?
TOB: Our goal has always been to write soulful tunes based in a real moment or feeling so that our audience can share that experience with us. Whether they are funky, slow and soulful, or dark, we try to keep the original emotion as raw as possible. We try to keep the tunes loose so that we can jam on them if the mood strikes at a particular show. The recent addition of Gabe (organ/keys) and Jared (percussion) has opened everything up. They’re both great musicians and they’re really elevating our sound.
KV: What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?
TOB: We have a cozy rehearsal space at Castle Studios in New Paltz, where we practice usually 3 times per week depending on schedules. We keep it mostly productive, working on new material or polishing up old tunes. We also spend a lot of time kicking it and jamming on covers we’ll never play – just having fun. The other nights of the week we are usually out seeing music in New Paltz or shredding with our favorite vinyl at our house (Brandon, John, and Jordan live together).
KV: What advice do you have for people who want to form their own bands?
TOB: Play music with people you love to be around. We’re always joking around with each other and we care about each other. The stronger your friendship is, the stronger the musical relationship will be. Also, support your friends’ bands and local scene as much as you can.
KV: What was the most exciting gig that you have done in 2016 thus far?
TOB: Our gig at American Beauty in NYC in support of the B.R.Y.A.C. Funk All Stars (of Kung Fu and Deep Banana Blackout) was too much fun. We had an amazing audience of friends and new fans. It was also our first full show with Gabe on keys, and he just crushed it. Halloween weekend at Neptune’s in Lake George was insane – the crowd was killer and Formula 5’s Lord of the Rings improv set was simply incredible music.
KV: What is your dream gig, venue, and supporting artist?
TOB: Someday we’ll host our own festival in the beautiful Hudson Valley with Breakfast for the Boys, Formula 5, and Let’s Be Leonard. Be on the lookout… We’re also looking forward to our gig at Madison Square Garden on New Year’s Eve 2023 with Anderson Paak opening.
KV: How can fans-to-be best gain access to your music?
TOB: If you sign up for our email list and we will send you a copy of our album which we’re recording in February at Art Farm studios in Accord. For now we have a few demos on our site. Also be on the lookout for our live release medium called Noach’s Roaches from chemist, brewer, and archivist Adam Noach.
KV: How do you feel about the influence of the internet on the music business?
TOB: It’s causing a shift in focus back to live performance because that’s where the money is now, which is fine by us because that’s where we thrive. We’re big Vulfpeck fans, and Jack Stratton is currently reinventing the game in terms of music marketing, which is cool to see.
KV: Which songs do you perform most frequently? Do you ever play any covers? Do you have a set play list?
TOB: We don’t have a standard setlist and play mostly originals with some covers. We’ve played our song “Addicted to Weed” at pretty much every recent show because it’s such a fun groove. Also a big tune for us is called “In the City,” which is about all the social injustice our country is facing. We have a few covers that are in pretty heavy rotation including “Nothing from Nothing” (Billy Preston) and “Who Did That to You” (John Legend). We’ve covered a wide variety of artists from Eminem to Radiohead.
KV: Which gig are you most excited for before the end of the year?
TOB: We have three more shows this year. We’re playing Thanksgiving Eve at the Hollow in Albany with our good friends the Late Shift and Loveport. Then December 2nd we have a hometown banger scheduled at Snug Harbor in New Paltz with our best friends Formula 5. December 3rd we hit Rockwood Music Hall in NYC where we always enjoy a nice crowd.
Nostalgia has taken over modern pop culture. Star Wars and Ghostbusters are back in theaters, Dave Chappelle guest starring on SNL, and now one of the most influential American rap groups rises again for the first time in 18 years to release their sixth and final album. It’s a product of the exact recipe of what makes a Tribe album so revolutionary, but with a slight variation of every ingredient.
The production value of A Tribe Called Quest We got it from Here… Thank You 4 Your Service is immaculate. It feels like listening to a remastered, never released album, because Tribe led the public to believe their fifth album was their last breaking up in 1998. And even without all of the original members, their sound is still effortless and always moving. The passing of Malik “Phife Dawg” Taylor was an inspiration for the production of the album that includes a variety of unpredictable, unique jazzy grooves and heavy drum and bass beats, placed under quick and witty lyrics. Putting aside the negative feelings and thoughts was the best thing the members could have done for themselves because once again, the group has created something one of a kind a revolutionary, that listeners can only hope will inspire other artists to follow in Tribe’s footsteps.
Key Tracks: Whateva Will Be, Lost Somebody, Solid Wall of Sound
Bearsville Theater in Woodstock, NY played host to Dopapod and Pigeons Playing Ping Pong on Saturday, November 19. Check out some of the the action below.
Pigeons Playing Ping Pong Setlist: Walk Outside, Stay, Too Long, Lightning, Poseidon, >Horizon->Eyes of the world->Horizon, King Kong, Fortress, Time to Ride
Dopapod Setlist: My Elephant Vs. Your Elephant, Flipped, FABA, November, Nuggy Jawson, Foxy Lady*, Nude^, Vol. 3 #86, The happy song->Trickery, Braindead Encore: Blast, You Oughta Know”
*Jimi Hendrix Cover
^Radiohead Cover
“Alanis Morrisette Cover
The likely reason for this is that the 7-track EP contains tracks that didn’t make the cut for “Crush,” (Crush…Mt. Crushmore…you get it). Although it’s not to say these tracks are sub-par by any means. They still demonstrate the band’s ability to lay down groovable tracks, but with perhaps a more hip-hop feel. Many of the tracks would add powerful, yet sophisticated instrumentals for a progressive lyricist.
Turkuaz
Hosted by Luke Weiler of 
This six piece includes Brandon Bera (drums), Chris Owens (vocals), Gabe Marquez (organ and keys), Jared Nelson (percussion), John Morrison (guitar) and Jordan Mendelson (bass), all of whom are SUNY New Paltz students, both current and graduated.
Pigeons Playing Ping Pong Setlist: Walk Outside, Stay, Too Long, Lightning, Poseidon, >Horizon->Eyes of the world->Horizon, King Kong, Fortress, Time to Ride