NYS Music 20​16

Category: Rock

  • RoarShark Celebrate Release of Debut Album

    Surf Rock has ridden the ebbs and flows of popularity over the decades, and the tradition is kept alive by enthusiasts of the genre, such as the members of RoarShark. This band hails from Rochester, a location which inspired the album title “…It Came From Lake Ontario.” The band celebrated the album’s release with fans at the Backroom Lounge at Record Archive on November 13.

    roarsharkSurf Rock primarily consists of instrumental music played on electric guitars with rapid alternate picking and lots of reverb, not to be confused with pop music featuring lyrics about surfing. You won’t hear any Beach Boys tunes at a RoarShark show, but you will hear music familiar from its use in television and movies, like “Misrilou” by Dick Dale and the Del Tones and “Apache” by The Shadows.

    The quartet played covers of those songs, as well as original songs which are featured on the album. Inspired by the the greats, the songs written by RoarShark blend seamlessly with the classics. “Azo Go Baja” could feasibly be dubbed into a 60’s beach movie. “Cattle-esque” was nestled between covers of similarly bovine-themed cowboy songs.  “Faulty Equipmonk” has more of a sci-fi feel, with the use of a theramin (played by guest performer H. Elizabeth Alcott of Infrared Radiation Orchestra).

    Attendees were swept away by the infectious grooves. This all-ages show drew in people who grew up during the birth of Surf Rock, toddlers who galloped around the venue, and everyone in-between. Girls in floral dresses danced in a group. Guys in Hawaiian shirts hung out by the bar. There were even a smattering of teenage punk rockers – which isn’t surprising, because the punk and metal genres were heavily influenced by surf rock.

    Together since 2010, RoarShark is Brian Gemme and Josh Reiner on guitars, Neil Bourque on bass, and Gary Yanni on drums.  “…It Came From Lake Ontario” can be found at Record Archive or ordered through CDBaby.

    Set List: Crabs in the Harem, Out of Limits, Faulty Equipmonk, Sadie Hawkins Atom Bomb, Apache, Cattle-esque, Azo Go Baja, Surfin’ Cow, La Femme Electrique, Spy Surfer, Dirk Diggler’s on the Prowl, High Pressure Cutoff, Taco Wagon, Secret Agent Man, White Rabbit, Misrilou, Percolator, Playa de los Muertos, Kids in the Hall

  • Renaissance Still Kicking and Touring

    Renaissance are a peculiar band to say the least. They were part of the progressive rock tradition coming out of 1970’s England, but they were more committed to sounding more classical than rock. At least compared to more well-known prog bands like Yes, Peter Gabriel-era Genesis, and Emerson, Lake, & Palmer. This is a band who did a live album at Carnegie Hall with the New York Philharmonic Orchestra. All their best known songs have some form of orchestra backing. So with their show on November 10 at Buffalo’s Tralf Music Hall, a place that obviously can’t fit a whole orchestra inside, I wondered how they could pull the feat off.

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    On the surface, this sounds like less like a rock band and, as their name implies, a renaissance fair band. But considering they’re still touring, playing in packed music halls, and maintain their stamina despite continuing to play songs around 10-minutes long with many subsections, they certainly deserve much more credit.

    The only remaining member from Renaissance’s 70’s glory years is lead singer Annie Haslam, who has a five-octave range and can still hit and draw out many high notes. She was also the only member to talk to audience between songs. Clearly, the audience came to see Haslam; they gave her much of the adoration between songs. The rest of the band, which included two keyboard players, one dedicated to recreating the orchestral and atmospheric sounds from their albums, maintained a very stoic presence, hardly engaging the audience in ways other than singing their assigned backing vocals.

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    They did play two songs from their latest album, 2014’s Grandine Il Vento, the title track and “Symphony of Light.” Other than that, the eight other songs were from the band’s 70’s era. Prog classics like “Mother Russia,” “A Song for All Seasons” and “Carpet of the Sun” were indeed crowd pleasers, with lesser-known tracks like “Sounds of the Sea,” providing more pleasantries, especially with the sounds of ocean waves and seagulls.

    The encore, the usual closer “Ashes are Burning,” was the only chance the band looked like it was having fun and getting loose. Through it’s 15-minute runtime, everyone took a solo, including the only use of electric guitar the whole night in the final section.

    The show was an odd treat, listening to music of such a bygone era. One where such audacious, un-rock-like rock music had a chance at being commercially successful. Renaissance may not be exactly “hip” anymore, if they ever were at all during their peak years, but I imagine they’re fine with that. As evidenced by the crowd, there will likely still be people interested in this middles ages type of music.

  • The Pretty Reckless Sells Out the House of Blues Cleveland

    Cleveland, home of the Rock and Roll Hall of Fame, hosted The Pretty Reckless who performed for a sold out crowd at the legendary downtown Cleveland House of Blues on Saturday, November 12.

    The popular rock band The Pretty Reckless,  led by the gritty, soulful and mysterious female singer, Taylor Momsen is currently on their fall 2016 headlining tour in support of their latest album, Who You Selling For, just released less than a month ago on October 21. Supporting The Pretty Reckless on this tour are the bands, “Them Evils,” a three piece in your face straight up rock and roll band from Huntington Beach, California and “The Holy White Hounds”, another kick ass rock band hailing from Des Moines, Iowa.

    The Pretty Reckless proves rock is definitely alive and kicking with this, their 3rd studio release following their stunning success of their 2014 album Going to Hell. With her signature raspy, gritty yet soulful vocals, Momsen throws a different smoky-sultry twist on this new album with enchanting and mesmerizing vocals. Although evolving and experimenting on this new album, the bands growth is apparent through their eclectic songwriting, 70’s riffs and signature hooks. The band, formed in 2009 with Momsen on vocals, Ben Phillips on guitar, Mark Damon on bass and Jamie Perkins behind the kit, still put on a kick ass and entertaining rock show. Their sound remains reminiscent of 1970’s rock with a flair of Zep thrown in along with early Heart and maybe a Stones influence. However on Who You Selling For the band is breaking out to define their own unique sound. Their stage show was not at all flashy or showy, with only mood lighting for most of their 60 minute set. The band however is not about theatrics or wild stage shows, they are first and foremost, all about their music.

    Opening the night was the band Them Evils from Huntington Beach, California. This band was a very unexpected surprise. They played a 30 minute blistering set from 7:45 to 8:15 and could have played longer as the set seemed to fly by with mega energy and killer rock tones. Lead singer and guitarist  Jordan Griffin sported a black Gibson Explorer played through a vintage Orange amp and his guitar tone alone set the mood back to a vintage gritty 1970’s rock and roll vibe. His vocals were nothing short of, well, killer. Jordan has amazing stage energy and presence, as does the rest of the band including bassist Jake Massanari and drummer David Delaney. I heard classic Sabbath tones along with a mix of Led Zeppelin, Motorhead and AC/DC. Massanari and Delaney owned the bottom end rhythm section with a thumping, yet groovy beat and drive. Them Evils are definitely a rising band to be reckoned with with their blend of modern and classic rock. Included in their short but solid set were originals “Untold” and “Have One on Me” as well as an amazing cover of AC/DC’s “It’s a Long Way to the Top (if you wanna rock n roll)” and Motorhead’s “Ace of Spades” to close the set. Keep an eye and both ears on Them Evils as the are making big waves in the modern rock in roll world despite having one foot in the 1970’s still in terms of their sound. Check out their website.

    Up next was the four piece rock band, The Holy White Hounds from Des Moines, Iowa. This band, in keeping with the feel and sound of the night, were again, not overly flashy or flamboyant on stage, but put on a kick ass energized show with a ballsy, gritty sound with some killer effects by simply using vintage effects pedals. The band has been climbing steadily since 2005 working their way up the ladder paying all the dues and sweating it out night after night showcasing their unique rock sound with influences of Nirvana, The Pixies, and Queens of the Stone Age all while defining their own sound with infectious hooks and riffs. The Holy White Hounds merge a blend of classic rock, grunge and punk for a totally unique sound. Touring in support of their current album Sparkle Sparkle, the Hounds consists of members Brenton Dean on lead vocals and guitar, Ambrose Lupercal on bass, Seth Luloff on drums, and James Manson on guitar. Their set included original songs “Switchblade,” “Blind,” and “Oh Mama.” Again, despite having been around for over a decade, this is another great rock band on the rise to keep an eye out for. Check out their website for more info.

    Assuming most of the hundreds of fans that started lining up outside the House of Blues on a chilly Saturday night in Cleveland had never heard of the two opening bands, If they chose to enter the club when doors opened at 7 p.m. they definitely got a taste of good old straight up with a gritty kick ass rock and roll welcome.

    At 9:45 p.m. by the stage left clock, The Pretty Reckless took the stage and the sold out crowd went wild with a deafening roar as Momsen casually walked out on stage along with her band mates with her trademark wavy, dirty-blonde hair and a slightly different rock star look than the her norm, wearing black skinny pants, long black boots and a long black leather coat over a dark shirt. The dark tone and look set the mood for their set. Illuminated by only a few dim spots and blue back lighting, the tone was dark but the sound was huge. The Pretty Reckless, touring in support of their most recent studio album Who You Selling For, opened with “Follow Me Down,” their 3rd consecutive number one hit from the 2014 album Going To Hell. Next was an older classic, “Since You’re Gone” from their 2010 album Light Me Up. The band may have wanted the fans to focus solely on the music as their stage presence was ominous and dark with some vintage looking and only necessary mood lighting with the music speaking volumes about how this band has evolved. Momsen knew how to work the crowd in an intimately powerful and commanding fashion as they continued through their set with “Oh My God” and “Hangman” next. Philips was brilliant on guitar as he played his crafted riffs and longer solos from the new material on his beautiful Gibson ES-335. Damon and Perkins were equally as impressive, although again, not flashy, on bass and drums providing a solid, gut felt low and and driving back beat as they plowed through the set effortlessly with a gritty heavy under-toned rock and roll and hypnotic groove at times and a driving all out rock beat at others. The Pretty Reckless continued through their hour set playing other hits including “Prisoner” from Who You Selling For, “Sweet Things,” and “Heaven Knows” from Going to Hell which had the sold out crowd about blowing the roof off the place with their singing along. The Pretty Reckless closed the night with “Fucked up World” also from Going to Hell.

    The Pretty Reckless continue their 2016 headlining tour along with Them Evils and The Holy White Hounds as they are proving to be one of the best female fronted bands going as they are taking no prisoners, kicking ass and taking names wherever they go, just leaving a fun and dirty kick ass rock and roll sensation wherever they travel. They continue their U.S. tour into December before heading across the pond to take Europe by storm in January 2017. It is going to be an excellent new year for the Pretty Reckless and their world-wide fans!

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  • Highly Suspect Hit Big With First Headlining Show At Upstate Concert Hall

    On Saturday, November 12, Highly Suspect, one of hard rocks bands that are fast on the rise, made their first appearance at Upstate Concert Hall in over three years, but this time, they headlined, and have all this momentum with a studio album, (with another on the way this week) a Grammy nomination, and few songs on active radio.  So did the band live up to the hype?

    highly suspectThe night started with indie trio Slothrust, who received a warm reception from the packed crowd.  Now I am not familiar with any of their material, but musically they were very clutch, and that “I don’t give a shit” attitude gives them a unique appeal.  It will be interesting to see what the future holds from this band.   My only minor criticism would be that there’s a minor lack of chemistry on stage between the three of them.

    Things got very loud when Highly Suspect took the stage.  There was plenty of build up before they got on.  They started their set with “Bath Salts” easily one of the best songs off their debut album Mister Asylum.  This band shares a unique chemistry between twin brothers Rich and Ryan Meyer and guitarist/vocalist Johnny Stevens.  They’re heavy enough for the metal heads, they’re hip enough for the hipsters, mainstream enough for the casual rock listener, and have enough sex appeal for the ladies.  You could take anyone with you to see this band and you’re guaranteed a kick ass time.

    The band also did a wonderful job showing off their versatility between each member.  Ryan Meyer had a couple of sick drum solos, and there were a couple songs where Rich Meyer took over lead vocals.  Rich has more of a softer voice than Johnny Stevens, whom I think, has the most emotion behind his voice since Eddie Vedder of Pearl Jam.  Highly Suspect also debut a few songs off their upcoming album The Boy Who Died Wolf  such as “My Name Is Human” and “Serotonia.”  But the main highlight was the song that everyone wanted to hear “Lydia.”  They even teased the crowd a little bit during the song to add a nice element to it that would make this song extra special live.

    After finishing their initial set, they came out with a three song encore and closed with the dirty tune “Fuck Me Up” that got the crowd pumped one last time.  All I can say is that this band has a very bright future ahead of them and will be playing much bigger venues in the next couple years.  Everyone needs to catch this band now while they’re playing the smaller venues.  They’re a young, talented, power trio that will make bigger splashes in the music world and is giving rock and roll the much needed facelift that it needs, so that rock as we now know it, doesn’t fade to obscurity.

  • Leon Russell, ‘Master of Space and Time,’ Dies at 74

    Leon Russell, the long-haired, top-hatted, mystical Oklahoman who rose to fame as the bandleader for Joe Cocker’s Mad Dogs and Englishmen touring band, died quietly in his sleep Sunday. He was 74. His wife, Jan Bridges released the following statement:

    We thank everyone for their thoughts and prayers during this very, very difficult time. My husband passed in his sleep in our Nashville home. He was recovering from heart surgery in July and looked forward to getting back on the road in January. We appreciate everyone’s love and support.

    Russell, born Claude Russell Bridges, was known as a “musician’s musician,” having performed among rock royalty for decades, often anonymously as an in-demand studio pianist. Elton John, whose 2010 collaboration with Russell, The Union, kicked off a comeback for Russell, mourned his mentor on Instagram.

    leon russellRussell had been suffering from a variety of ailments over the past few years. In 2010, he was hospitalized for a brain fluid leak and heart failure. He suffered a heart attack in July of this year, causing the cancellation of several tour dates. Russell’s last performance was in Nashville July 10.

    In an era of flamboyant musicianship, Leon Russell was king. For a period in the early ’70s, he was a dynamo. He put together a band for Joe Cocker, performed as part of the Delaney and Bonnie and Friends touring band and played a major role in George Harrison’s 1971 benefit Concert for Bangladesh in 1971.

    Russell took an interest in music at a early age. Born in Lawton, OK April 2, 1942, he began playing the piano by the age of four. He began playing nightclubs around Tulsa by the age of 14, able to do so because of Oklahoma’s status as a dry state, forming the band the Starlighters, which also included J.J. Cale.

    leon russellHe moved to Los Angeles at the age of 17, where he became a member of Phil Spector’s infamous “Wrecking Crew,” a loose-knit group of studio musicians responsible for the backing music for Jan and Dean, Sonny and Cher, the Mamas and the Papas, Frank Sinatra, the Monkees and the Beach Boys’ Pet Sounds.

    Ever modest, Russell once described himself as a “jobber,” likening himself to an air conditioner installer in a Rolling Stone interview, “You need air conditioning? You call this guy. People called me to do what I did.” And what he did was legendary. Russell played many instruments with aplomb. Russell meandered among genres like a master.

    In 1975 Bob Dylan had requested Russell to play bass, an instrument he wasn’t particularly deft at playing, on the recording of “Hurricane,” or as Russell described it, “that song about the boxer.” Russell recalls of that session:

    “We did a take — just running it down, I thought. I said, ‘Are you going to do the real thing now?’ Bob said, ‘Why? We’re just going to make the same mis­takes.’”

    Just another ho-hum story in the life of a storied musician.

    Russell’s signature song, “A Song for You” has been recorded by more than 40 artists over the years, including the Carpenters, Willie Nelson, Whitney Houston, Amy Winehouse and Ray Charles, whose performance earned him a Grammy in 1993 for Best Male R&B Performance.

    Russell was inducted into the Rock and Roll Hall of Fame by his friend, Elton John in 2011.

    And when my life is over
    Remember when we were together
    We were alone and I was singing this song for you
    – Leon Russell, “A Song for You”

  • Hearing Aide: The Nth Power “To Be Free – Live”

    low-res-to-be-freeThe Nth Power’s latest release To Be Free – Live is exuberantly funky, bursting with spirituality, and clearly on a mission to inspire! After touring to promote their 2015 release Abundance, The Nth Power obliged their fans by creating this nine-track live recording during two nights of performances in Boston, Massachusetts and one night in the band’s hometown of Brooklyn, New York.

    This feel-good 10-track album captures something that you can’t get from a studio recording – the authentic energy that can only come from bearing your soul before a live audience hanging on every note. Anchored in the jazz and funk of New Orleans, The Nth Power’s heady gospel tones and inspirational messages create a well-grounded album which promotes understanding through music. This, my friends, is what love sounds like.

    “Gil said the revolution won’t be televised. These days I start to see it with my own eyes. The media has got you fused with a state of fear. Got you believing all the hate and lies that you feel. I used to believe everything that they tell me was true. But since 9/11 I know I stay lied to. Go smash your TV. You can choose to be free. Stand up and be your own page in history.”

    The lyrics to the song “Truth,”, are a nod to Gil Scott-Heron’s political statement “The Revolution Will Not Be Televised.” With it’s polished yet quirky world-music feel, “Truth” is the track you’d be most likely to hear on your local college radio station. With powerful and poignant lyrics, the song is a call for action, and proof that music is just as powerful of a weapon in this day and age as it was in the 1970’s.

    “Right Now,” featuring a funky Motown vibe, is a reminder to live in the moment, and “celebrate what you’ve been given. This life is so worth living right now.”

    The genre-melding song “Could It Be” mixes a Doobie-Brothers-esque feel –  specifically a throwback to the 1973 hit “Drift Away” – with smooth and sultry vocals, ending in a round of “Stir It Up with You,” conjuring up a bit of Bob Marley’s spirit.

    “Take My Soul” is one of the highlights of the album with the scream of the organ ushering us into roadhouse-style guitar licks and smokey vocals.

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    Each member of the quartet brings varied musical backgrounds. Nikki Glaspie toured as Beyonce’s drummer for five years before joining up with Dumpstaphunk. Bassist Nate Edgar plays with the likes of Groovechild and John Brown’s Body. Singer and Guitarist Nick Cassarino came from the Jennifer Hartswick Band and toured with Big Daddy Kane. The newest member, Courtney J’Mell Smith, toured with Braimah and was musical director of a church in St. Louis, which comes through in the strong gospel tones on “To Be Free.”

    Since 2013, the Nth Power has performed at renowned festivals including Electric Forest, Bear Creek, Catskill Chill, North Coast Music Festival, and in just the last six months, the group has performed more than 50 shows in 21 states, along with making their second international appearance. Distributed on Harmonized Records, “To Be Free – Live” will be available online and in stores starting November 11th. Check them out on Facebook or visit their website for a full tour schedule! 

    For a sneak peek at the band’s new material, check out their latest video below for “Take My Soul” – a standout blues track from the album which was filmed live in Boston at The Bridge Sound & Stage.

    Key Tracks: Truth, Right Now, Take My Soul

    The Nth Power – Live Album “To Be Free” & Fall Tour Announcement from The Nth Power on Vimeo.

  • Patrick Harbron’s Rock Photography Exhibit opens at Albany Institute

    The photographer stands in front of a print of a young Bruce Springsteen squatting down and looking out upon the crowd as he straddles his guitar. “I try to tell a story with every picture I take,” said Patrick Harbron, acclaimed concert and portrait photographer of some of the biggest names in rock. “Even here with Springsteen. Unless you lived under a rock or were in solitary confinement, you can tell what’s happening here.”

    In Lawrence Kirsch’s “The Light in Darkness,” a book covering Springsteen’s “Darkness on the Edge of Town” tour, Harbron described The Boss’ music as “grand but not arrogant.” The same could be said for the photographer who penned the words. The helix of Harbron’s career wraps around a pivotal time line in rock and roll history — out of the infancy of touring county fairs and maturing in front of sports arenas. He has followed and captured the likes of The Who, B.B. King, KISS, Prince and Blonde, in their respective primes, yet recalls stories of his personal interaction with these legends devoid of pretense.

    Harbron began his concert photography career capturing local acts in the Canadian media hub of Toronto, Ontario. At the onset of the 70s, Toronto was a blossoming music scene teeming with local acts while being a natural stop for the largest personalities in rock and roll.

    Born to a photographer as a father and an editor as his mother, Harbron’s lifework began covering concerts as a freelance journalist. Having a natural proclivity for both film and prose, he said he had difficulty choosing on which career to focus.

    “When I saw how large the picture was, and how [much smaller] the article was, the choice was easy.” he said.

    The Albany Institute of History & Art is showcasing Harbron’s work in its latest exhibition “Rock & Roll Icons: Photographs by Patrick Harbron” from Nov. 12 through Sunday, Feb. 12, 2017. The exhibition includes some of Harbron’s concert posters, memorabilia and souvenirs, as well as items on loan from the Rock & Roll Hall of Fame.

    “As disparate as some of these artists seem,” said Harbron, “they all share the common ideal that rock and roll is made up of many faces, voices and influences. Everybody’s love of rock and roll is personal choice. I couldn’t do justice to just one artist or the entire genre at once, so this is rock and roll from my point of view.”

    The exhibit includes Harbron’s collection of concert and promotional posters and personal memorabilia he collected over the years. Much of the work on display, including album covers, books, magazine and publicity shots, have not been viewed before.

    Harbron first brought a camera to a show in December 1975. The Who was playing at Maple Leaf Gardens. “I had no idea then where it would take me,” he said.

    A black and white image of Debbie Harry tossing her hair is the lone image displayed on the show’s promotional material. It’s a picture Harbron captured at El Mocambo Club in Toronto in 1978. The contrast between her skin and platinum (and black) hair against the backdrop of the club shows a flash was used — a no-no for today’s photographers.

    “The early concerts were really exciting, and there was a little more freedom,” said Harbron. “Somebody asked me about access recently. There was a little more access. You could do more. And as groups began to understand how they appeared visually, they became more controlling. To the point it’s out of control, from a photographer’s point of view.”

    Camera technology had advanced so far as allowing photographers to capture images in low-light environments by tweaking their ISO setting. ISO once distinguished a film’s sensitivity to light. A roll of 100 ISO film was best used for bright, outdoor shots, where 800 ISO film was best for indoor, low-light action shots. Harbron commonly shot shows with 400 ISO film with a shutter speed of 1/125. Today’s high-end cameras are capable of shooting at 25,600 ISO (so, a flash would be unforgivable).

    “Photography was, it wasn’t digital, it was all film,” said Harbron. “You had to have the skill set. And, of course, I hit the runway running. … I don’t remember shooting [those first] live performance shoots foundly because it was really before my skill sets matched the requirements of the job. I learned the hard way. I learned on my feet.

    Harbron’s body of work includes two JUNO Award nominations for album cover photography. His work appears in magazines, advertising, annual reports and books. His clients include Rolling Stone, Time, People, and Business Week. His style of photography has lended him opportunities in photographing advertisements for Apple Computer, IBM, American Express, AT&T, PepsiCo, and Nabisco, among others. He now works for television network programs like “Marvel’s Daredevil” on Netflix, and is a faculty member of the International Center of Photography.

    Over nearly 20 years, Harbron photographed the likes of Springsteen, Ray Charles, the Grateful Dead, Blondie, David Bowie, Eric Clapton, RUSH, Michael Jackson, The Rolling Stones, KISS, Queen and The Who. “Many of these performers influenced me as a listener and musician,” Harbron said, who still plays the drums, and was able to pull a favor to display a symbol and a pair of drumsticks from Neil Peart. “I grew up with them. The photographs on display are only a slice of my archive, and of rock and roll itself. … Through it all, I never lost my love of music, the artists or the shows. And, I still have most of my hearing.”

    The above piece appears special to NYSmusic.com from TheSpot518, a weekly arts and entertainment newspaper out of New York state’s Capital District. You can find content shared between NYSmusic.com and TheSpot518 in their concerted effort to provide quality coverage of our area’s music scene. For more information on TheSpot518, visit www.TheSpot518.com.

  • Highly Suspect to Play First Upstate Concert Hall Show Saturday

    Grammy nominated Cape Cod rockers Highly Suspect are set to play a show at Upstate Concert Hall this Saturday, November 12 for the first time.  Doors are open at 7:00 p.m with show at 8:00 p.m. Slothrust is slated to open the show.

    Along with the upcoming show, Highly Suspect is releasing their sophomore effort The Boy Who Died Wolf on November 18 via 300 Entertainment. The band will undoubtedly play a few songs from that album.

    This is a band on the rise so it would be best to purchase tickets for this show sooner rather than later.

    highly suspect show

  • Another Spectacular lespectacle @ The Paper Box

    On Saturday night at The Paper Box in Brooklyn, lespecial held their annual mini-festival to the delight of hundreds of lucky fans in attendance.  After meeting dozens of friendly freaks in the crowd, I regretfully realized that I was one of the rare guests taking part in my first lespectacle.  While I was unable to locate a coat check in the eerily, yet vibrantly decorated venue, it was clear from the very beginning that I would need to check my concept of reality at the door.

    Starting around 9pm, Connecticut based producer, Tsimba was spinning his intricate form of otherworldly music to a prematurely spun-out crowd.  During this opening act, it was clear that the energy of the room was already sky high and not coming down anytime soon.  Tsimba’s bio describes his music as “sounds that could manifest anywhere in the universe” and while no one on the floor appeared to be a qualified astronaut, the dance moves suggested some spacey exploration.  

    After the short and sweet DJ set, Gene Shinozaki of The Beatbox House popped out of the crowd to show off his amazing talent.  I have heard many variations of beatboxing in my life ranging from legends like Doug E. Fresh and Biz Markie to my drunk white friend at a frat party in college, but Shinozaki introduced me to sounds that I did not know were possible to create with one human mouth.  His ability to tackle genres like dubstep while looping underground hip-hop beats was fantastic.  

    Other members of The Beatbox House joined Shinozaki along while the oddly-dressed crowd of music lovers circled around them.  Light on the treble, the group segued into their abbreviated version of Meghan Trainor’s “All About That Bass” before dropping into something that sounded like Plinko chips on The Price Is Right.  The House’s first performance of the night came to an end, but they were set to appear several more times before the end of the event.

    lespecial bassist, Luke Bemand, filled in as the MC of the night and introduced the next group, Ross Jenssen, as one of his favorite bands in the world.  The “Ross” part of the Connecticut trios name is Brian Ross on bass.  The “Jenssen” half is Jules Jenssen on drums and the “just right” third bear in between the two of them is Sam McGarrity on guitar.  Their mostly instrumental set had the occasional spoken word sample thrown in for good measure, but the crowd will be talking about this performance until next year’s lespectacle.  Ross Jenssen opened up with the introduction to “Perspiration” off their debut album, Phrases.  

    Interstellar travel seemed to be the theme of the night as the first few songs reminded me of a spaceship about to blast off into outer space.  Songs like “Curmudgeon” and “Hell or High Water” begin with a haunting yet tranquil groove before launching into heavy, raw and unfiltered rock and roll.  It is a sonic wonder how the same band weaves an original like “Illumination” into a set filled with head banging madness as this tune may be appropriate for deep meditation at a yoga studio.  

    Ross Jenssen’s chameleon-like ability to adapt to different genres makes them a hard act to compare or even describe for that matter, which is why they had the crowd in the palm of their hands all night. “Rabble Rouser” creates an electronic sludge that leads to a danceable darkness toward the middle of the jam, yet prior to entering this disco-dungeon, the trio covered “Ten Tonne Skeleton” by Royal Blood to the delight of a music-loving room.  After closing with the topically appropriate “Afraid of Americans,” I searched the room for the insane guitar-shredding McGarrity to learn more about the mad scientist’s lab where he got his hands installed.  

    An incredibly humble musician in a world full of Trumps, I found Sam backstage crushing a slice of pizza before taking five minutes to speak with me.  He gives all the credit to founding members Ross and Jenssen for allowing him to jam with them back in 2013 and then join them on their album “Phrases.”  After he became “somewhat of a permanent member” he describes his musical influences and the strong connection that members of lespecial and Ross Jenssen have shared since playing together and going to shows in high school.  I mentioned how some of their sound reminded me of a darker version of a prog-rock jamband and one example that came to mind was Umphrey’s Mcgee.  Much like Jake Cinninger of the Chicago-based jam monster, Sam explained how from an early age he “loved to shred.”  “I’m gonna do that, that sounds cool, I want to do that,” he wildly proclaimed before mentioning how much stronger of a player he has become since joining Ross Jenssen and practicing daily.  

    After the The Beatbox House finished improvising with “Can’t Feel My Face” by The Weeknd, it was finally time for the main event, lespecial.  Guitarist Jonathan Grusauskas held down a powerful solo during one of the band’s most popular songs “Fruit Dance Wolf.”  I would have felt completely satisfied with their set had they just played that song, but there was still two full and fiery sets to go when they brought out their first guest, Jesse Stocker on flute for “Skull Kid.”  

    The appropriate set placement of this tune worked well with the central decor of the night as skulls, antlers, and post-Halloween props were set up throughout the stage and venue by designer The Reliquarium.  Speaking of antlers, “Third Antler> 4th Antler Improv” found their way into this first set madness after the trio covered Nine Inch Nails’ “Piggy.”  Prior to the event, I predicted some band collaborations due to the overwhelming talent on the bill and lespecial did not disappoint when calling upon Gene Shinozaki for some improvisational beatboxing assistance on stage before “Pressed for Time” closed out this jaw dropping first set. 

    In order to stimulate some other senses before during and after lespecial, Vin Pugliese was put in charge of the intense lighting and visuals to make everything look and feel as good as it sounded.  Set two was off to a thunderous and spooky start as the boys took a stab at their Fela Kuti arrangement of “Harambe Zombie” to honor a fallen hero.  While there were no dicks out during their rendition of the afro-beat classic, there was black magic in the air as the band and the zombies in the crowd became one.  

    The tribal beat presented one of the highlights of the entire night for me until just two songs later lespecial annihilated a cover of “Frizzle Fry” from the iconic Primus album.  Bemand proved to the crowd that his chops were among the best in the business as he channeled Les Claypool in this creatively mind-blowing anthem.  The band kept an eclectic mix of covers coming with Skrillex’s “With Your Friends” and “Fade” by Kanye West.  The first set began with a track off their newest album, Omnisquid and in a similar fashion, “Squid Rising” ended the show.

    While lespecial was technically finished performing for the night, the now masked trio reemerged as Robert Jacob Max’s Supersillyus Lifeband took the stage.  The shadowy and mystical super-group has been an ever-changing phenomenon since its early conception years ago.  The Lifeband was heavy on the jam and risk-taking improvisation while still keeping the crowd moving as we gained an hour thanks to an end of Daylight Savings in the outside world.  A psychedelic journey through extraterrestrial soundscapes took the Paper Box for one last ride before sending us back into reality in the streets of Brooklyn.

    After my first lespectacle, I discovered a kaleidoscope of all things that are right with Brooklyn.  A melting pot of different subcultures coming together to create something new during a time when almost everything seems to be remade.  The musicians, the visuals, the art and the audience all worked together to create something great instead of trying to make it “great again” which will lead to even stronger and thought-provoking lespectacles in the future!  I will see you there.  

  • Albany Institute of History and Art Hosting ‘Rock the Museum’ Event this Saturday

    This Saturday Nov. 12, from 6:00 p.m. until 9:00 p.m., The Albany Institute of History and Art is holding the Rock The Museum event, featuring an exhibit from photographer Patrick Harbron.

    rock-roll-graphic-d78f3496Harbron is a New York City and Hudson Valley resident who spent his career photographing the early careers of rock icons such as Blondie, Elvis Costello and The Police as well as the later careers of The Who, Genesis, The Grateful Dead and KISS.

    Attendees will get a rare opportunity to explore more than 70 of Habron’s concert and portrait photographs of influential musicians from the 1970s and 1980s. The exhibition also includes some of his concert posters, memorabilia, and souvenirs, as well as guitars from the Rock and Roll Hall of Fame.  Guests are encouraged to wear concert attire.

    Tickets for Rock the Museum are available at the Albany Institute of History and Art’s website.