This summer, English rockers the Temperance Movement will debut the sophomore album, White Bear, followed by a headlining tour.
The five-member outfit kick off the July run at the Ride Festival in Telluride, Colorado, and are scheduled to make stops at Lost Horizon in Syracuse, Mercury Lounge in New York City and Underground Arts in Philadelphia before the tour closes in Detroit. And on May 15, the group exclusively premiered the video for the record’s title track via Loudwire.
The three-minute video was the creation of noted photographer and director Steven Sebring, who used his signature “revolution system” camera techniques to produce a stunning visual manipulation of time and light. Sebring also created the album’s cover image “of a girl and a bear, interlaid and overlapping in magical realism” inspired by Fyodor Dostoevsky’s essay, Winter Notes on Summer Impressions.
The rising rock band that includes vocalist Phil Campbell, bassist Nick Fyffe, drummer Damon Wilson and guitarists Paul Sayer and Matt White. Although bearing the same name as the prohibitionist social movement of the 1900s, the Temperance Movement is not straightedge when it comes to gritty rock and roll. They have opened for heavyweight acts like the Rolling Stones, and this summer, the group shares the Ride Festival bill with Pearl Jam and Cage the Elephant, among others.
White Bear officially drops July 15 via Fantasy Records, but is available for pre-order now via iTunes and Amazon. If you want to see them live, scan the dates here or below to see if the Temperance Movement is coming to a venue near you.
The Temperance Movement summer 2016 tour:
7/9-10 – Ride Festival – Telluride, CO
7/12 – Marquis Theatre – Denver, CO
7/14 – Bottom Lounge – Chicago, IL
7/15 – Limelight – Peoria, IL
7/16 – The Stache at Intersection – Grand Rapids, MI
7/18 – Lost Horizon – Syracuse, NY
7/19 – Mercury Lounge – New York, NY
7/20 – Underground Arts – Philadelphia, PA
7/22 – A&R Music Bar – Columbus, OH
7/23 – The Shelter at Saint Andrews Hall – Detroit, MI
Gang of Thieves will head out on an extensive tour of the Northeast and South with stops at several New York music festivals and shows in Utica and Troy.
Burlington, Vermont-based rockers Gang of Thieves’s spring and summer tour will take them to several stops in New York as well as neighboring states. It brings them back to Lukin’s in Utica on Thursday, May 26. After a tour of North Carolina and South Carolina through the first half of June, they return to the Northeast. They’re back in New York on June 18 to play the River Street Festival in Troy, and they’ll come back to Troy on Aug. 12 for a show on the Captain JP Cruise Line.
Gang of Thieves has several stops in nearby locations in the Northeast including their tour opener on May 20 at Harlow’s Pub in Peterborough, New Hampshire and the following night, May 21, at the Magic Hat Artifactory in South Burlington, Vermont. Following their tour of the South, they return with a show at the Kingdom Taproom in St. Johnsbury, Vermont on June 11. They play the Middle East in Cambridge, Massachusetts on Friday, June 17. A return to Vermont sees them at the Eat More Kale Festival in Montpelier on June 25 before heading to Manchester, Connecticut on July 1 to play the Hungry Tiger. Beer and music lovers will find them at the Stowe Brewers Festival on July 29 in Stowe, Vermont.
They’re making full rounds of the area festivals including Strangecreek on May 27; Buffalove on July 30; the Organic Smiles Festival in Middletown, Connecticut on Aug. 5; Backwoods Pondfest on Aug. 6; and Mazzstock in Marlboro on Aug. 27.
Gang of Thieves tour dates:
May 20 – Harlow’s Pub, Peterborough, NH
May 21 – Magic Hat Artifactory, South Burlington, VT
May 26 – Lukin’s, Utica, NY
May 27 – StrangeCreek Campout, Greenfield, MA
May 29 – Wicked Weed Brewing, Asheville, NC
May 31 – Independent Public Alehouse, Greenville, SC
June 1 – Charleston Pour House, Charleston, SC
June 2 – Visulite Theatre, Charlotte, NC
June 3 – The Pour House Music Hall, Raleigh, NC
June 4 – Bulls Tavern, Winston-Salem, NC
June 11 – Kingdom Taproom, St. Johnsbury, VT
June 17 – Middle East, Cambridge, MA
June 18 – River Street Festival, Troy, NY
June 25 – Eat More Kale Festival, Montpelier, VT
July 1 – Hungry Tiger, Manchester, CT
July 29 – Stowe Brewers Festival, Stowe, VT
July 30 – Buffalove Music Festival, Westfield, NY
August 5 – Organic Smiles Festival, Middletown, CT
August 6 – Backwoods Pondfest, Peru, NY
August 12 – Captain JP Cruise Line, Troy NY
August 27 – Mazzstock, Marlboro, NY
Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.
Aqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.
Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.
4-28-2016
Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
Encore: Weird Charlie pt. 2 [7]
[1] (Contained Vol. 3 tease)
[2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
[3] w/ Mike and Dave from Aqueous (Eagles cover)
[4] unfinished (Contained Turnin’ Knobs tease)
[5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
[6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
[7] contained FATALITY Mortal Combat sample
Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.
“Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.
4-29-2016
Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk
[1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
[2] (Contained Flipped tease)
[3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
[4] Bluegrass
Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.
“Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.
Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
Encore: Made A Design, 8 Years Ended [6], Bluetooth
[1] contained Black and White jam (Contained Give It A Name tease)
[2] (Contained Bahbi tease)
[3] (Contained FABA tease)
[4] Extended Jam; Tim and Eric samples
[5] Extended Jam; crew introductions
[6] (Contained Picture in Picture tease)
It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.
Looking back to my 18 years of photographing concerts, mostly throughout New York State, I can count on two hands the number of shows that I mention when someone asks, “What was the best show you’ve photographed?”. In the past, I could easily say Midnight Oil, Pearl Jam, Springsteen even. On one particular Saturday night at the Rusty Nail, in Stowe, Vermont, I ventured out nearly three hours to witness what is simply put, a top three show, ever as American County Blues band, The Reverend Peyton’s Big Damn Band, out of Brown County, Indiana took the stage and flat out owned it from start to finish.
The hard working three pieced band rumbled through a set list with catchy tunes like “Mama’s Fried Potatoes” and “Clap Your Hands”. Master picker, Peyton and the ever hypnotic “Breezy” Peyton, on the washboard enticed and entertained the half full venue as part of a Spring Shakedown night which in all honesty was dominated by Peyton after a dropout of another band earlier that month. Nonetheless, the storytelling and raw talent of the band stands easily stands out and from a photographer’s standpoint is pure heaven and a band that any music lover would be wise to catch live.
Whimsical jam band heavyweights Phish have hand-picked and released a new live show “From the Archives,” dating back to their fall tour of 1999.
This Sept. 14 performance at Boise State University is now (officially) one for the books with its massive energy and notable 27-minute rendition of “AC/DC Bag.” Dubbed as the “Boise Bag,” the song features Trey Anastasio on keys and John Fishman on vacuum for the better half of the jam that steered its way into a groovy “Gumbo,” containing teases of “Another One Bites the Dust.”
Additional highlights from the evening include a “Loving Cup > What’s the Use?” and bluegrass pickings “Nellie Kane” and “Rocky Top” to cap off the first set. For the audience, it’s always a pleasure to see the quartet gather at center stage to intimately sing songs a cappella, like “Hello My Baby” in this instance.
You can order the live audio over at LivePhish.com or stream that show among many others by logging into the site.
Phish kicked off their fall 1999 tour in Vancouver, followed by a two-night stand at The Gorge and a Sunday show in Portland. The tour then turned toward the Sawtooths for a Tuesday night show at Boise State University before continuing in California and beyond. The BSU Pavilion was opened in 1982 as the Boise State Broncos’ basketball arena with a concert capacity of about 13,000. Tickets for Phish cost $26.50 with a GA floor and reserved seating in the stands. This was the band’s second show at this venue (they had opened summer 1995 there) and their last show to-date in Idaho. Given the days off on both sides, the seven hour drive from Portland and the ten-plus hour drive to Shoreline for the next shows, many opted to skip this gig but those who took the trip were justly rewarded and those who didn’t will never forget it.”
Boise’s Set I kicked off with Chalk Dust Torture and featured The Curtain > Waste, a dramatic sequence of Loving Cup > What’s The Use? and Wading In The Velvet Sea > Farmhouse, and a hot Taste. The mostly non-stop set II began with the first Peaches en Regalia in more than two years, followed by an AC/DC Bag for the ages. This Bag was a tour de force of multi-modal improvisation culminating in a psychedelic freakout so far Out that swirling vacuum ambiance was the only way to wrap it. The Boise Bag spilled over into a standout Gumbo with a slow funk Another One Bites The Dust jam that cemented Boise’s snooze-you-lose status. A frenetic Down With Disease > Frankenstein (with a nod to Pink Floyd) capped the set. The encore was Simple with a live fade-out that gave the band time to move downstage for an A cappella Hello My Baby to close out a magical night at BSU.”
After over 30 years, Glenn Danzig will join Jerry Only and the Misfits on stage for the first time since their breakup in 1983. What fans call “The Original Misfits” — Danzig, Only and long-time guitarist Doyle Wolfgang von Frankenstein, will grace the stage together at this years Riot Fest.
Riot Fest will take place in Denver, on Labor Day weekend Sept. 2-4 at the National Western Complex, then once again in Chicago two weeks later Sept. 16-18 in Douglas Park. The rest of lineup that will appear at Riot Fest has yet to be announced.
After the band split, members got into a legal battle over The Misfits name. Jerry Only won the rights to tour and record under the name The Misfits in 1990. Danzig found success on his own when he started his self titled band Danzig. Danzig appeared on the first two Misfit studio albums before releasing his first solo studio album Danzig, in 1988. Danzig went on to release ten studio albums after his Misfit days including his current album Skeletons, which was released in 2015. The Misfits didn’t release a studio album after Danzig split until 1997 when they released Static Age, and released a total of five studio albums after Danzig.
Just like some other bands that have recently reunited in 2016, many fans thought they would never see this day especially after the two sides have sued each other over the years multiple times. The reunion will mark the first time that three-quarters of the band will perform together since the bands most notable Walk Among Us album, released in 1982. Following the band’s breakup, Doyle has performed with both The Misfits and Danzig over the years after the two separated their ways. The Misfits formed in 1977.
NYS Music goes to Cuba is a multi-part series detailing Cuban music and culture, the impact of Western music on Cuban music and the potential for change given the recent pending normalization of relations between The United States and Cuba.
Let me get something out of the way: Cuba, a Caribbean island that until recently was illegal for Americans to visit, is not going to be ruined by the influx of Americans and tourists now that travel is (somewhat) permitted between the two countries. There will be some change in time, as all things are prone to change, but Cuba is not changing drastically as a result.
That was my mindset when initially considering a trip to discover what music was hidden away from American ears on the island, in the clubs and on the streets of Havana. It took about a day before I realized that while there will be some cultural influence shared between the two countries, Americanization will not take foothold to the degree some predict.
A time capsule of a city, Havana is a dichotomy of beautiful and tattered buildings side-by-side, where Wifi is slowly becoming available – thanks in part to President Obama’s recent visit (per Cuban’s who expressed their admiration for him), an upgrade for citizens in and around Havana – and examples of entrepreneurship are seen on a daily basis, with hostels popping up throughout the city (if you go, we recommend Enzo’s Backpackers), and merchants selling Rolling Stones shirts with the Cuban flag on the iconic ‘tongue’ logo. Even the filming of Fast and the Furious 8 shows signs of things changing in the city, but the original spirit and heart of Havana are intact and will assuredly remain so for years to come, even as the curio closed off to Americans for 55 years prepares for tourists fresh off cruise ships beginning to dock in Havana Harbor.
Staying in a tall apartment building overlooking Estadio Latinoamericano, on the evening of our arrival, my photographer and longtime friend Chris and I head out to Fabrica de Arte Cubano, a former cooking oil factory transformed into a multi-level center for the arts, including a multimedia art gallery and performance spaces for dance, music and theater. The creation of musician X Alfonso, with the backing of the Ministry of Culture, the venue is labyrinthine, with something around every corner, whether it be live performances, gallery pieces, performance art, or a Bohemian gathering of locals and tourist from across the globe sipping on drinks, it was a welcome surprise for our first night observing local culture and taking in as yet-undetermined musical offerings.
The first floor held a 500 person room with a DJ setup for later that evening, the entire room having a 90s dorm room feel and soundtrack – Black Crowes and Jay Z videos on a large screen, with décor to rival that of many clubs back home. Upstairs in the art gallery, odd photography is meshed with paint and various media, while a series of old, naked women on the beach with breasts exposed highlights the beauty of aging.
We head down into the largest room in the complex and find a drink and seat for a performance, which is first come, first serve and wherever you can manage to find a sit – a step, a chair, behind a riser… the area filled in calmly with a little buzz before “Night Club” began.
As the cabaret begins, a cue card girl holds up different numbers for the scenes, with scenes unfolding as such: a female lounge singer with a gritty voice welcomed the crowd; a woman performed a sultry tap dance; a male lounge singer sang a Salsa song; some interpretative tap dancing,; a guy in a tutu performing ballet with vibraphone and percussion as a backup; a woman with a fruit basket giving a confusing yet definitely suggestive performance; a simulated girl fight, and a full cast medley at the end. The audience talked and milled about, becoming part of the show passively, actively and unintentionally.
While we were in the minority with our nascent Spanish, even without knowing what they are saying or singing, you easily got the gist of the show through body language, scenery and context – the club is open for business, the various employees sing about the club, their work, drama ensues, drama is resolved, everyone dances, everyone is happy. It could be an episode of Sabado Gigante but it’s better. It’s not TV. It’s FAC.
Following the show, we head downstairs in Fabrica de Arte Cubano to the first room with the great décor. DJ Seycel comes on about midnight and the younger portion of the crowd remains for a house set with deep bass and various Latin and American hits mixed in. The main takeaway from the night is the overall focus on the music – hardly any phones are out beyond a photo here and there. No one is staring at their phone, and there are no glowsticks or candi kids, just straight dancing to the music. I miss that about shows back home – the focus and pure attention and dedication to the artist and his craft. I for one am guilty of that, and having no internet access for 8 days of travel is a very welcome vacation in itself.
We later find that this first glance at Havana and Cuban culture is not a diamond in the rough, but clearly one of the most unique multi-purpose venues that embraces a wide variety of art like few do. Fabrica de Arte Cubano brought to mind the MuseumsQuartier in Vienna, where numerous museums and performance spaces are found in one large enclosed area. Here in Havana, it is a sought after venue in the evening, open until 4am with lines forming early.
Performances starting at Midnight or later is something that we slowly get used to, and this later start time found between American and Havanan clubs is a cultural apparatus, where clubs do not begin to fill up until 11pm, and some shows not starting until as late as 1am, as we find out the next night in our pursuit of Salsa.
They say this is a bad year for music legends. They say all the good ones are gone. Shhhhh! Don’t tell that to Bunny Wailer, the last original member of the legendary Wailers. Because, not only is he alive, but skipping and skittering across stage while belting out tropical sun-drenched roots reggae songs with sinewy finesse. The three-time Grammy winner recently assembled a robust band along with a buzz-cut sharp horn second called the Solomonic Reggaestra. Wailers assemble sparked the Ogden Theatre last week in Denver, Colorado with jaunty renditions of classic Wailer favorites like “Trenchtown Rock.” Local ska/reggae favorites, Highway 50, led by former Samples keyboardist, Al Laughin, started the evening with lemon bright set of melodies punctuated by the brass jags of The Horns of Destruction. The bloggers may not have it quite right. Maybe it hasn’t all been bad this year for music legends. And they aren’t all dead. Not by a back roads Jamaica mile.
Catskill Chill Festival has announced the third wave lineup. Joining the festival are Lettuce; some members of the band including Eric Bloom, Adam Deitch, Ryan Zoidis, Nigel Hall, Adam Smirnoff and Erick Coomes will also perform with Borahm Lee in “Bitches Bloom: A Tribute to Miles Davis.”
Catskill Chill will feature a special performance by Reed Mathis & Electric Beethoven, which includes heavy hitting musicians Reed Mathis (Billy & the Kids, Tea Leaf Green), Jay Lane (Primus, Ratdog), Todd Stoops (RAQ), Cochrane McMillan (Tea Leaf Green) and Clay Welch. A 10-piece soul/funk band Funky Dawgz Brass Band completes this line-up.
Updated 6/9/16:
Catskill Chill Music Festival released the second phase of 2016’s lineup, featuring a packed bill of diverse artists like George Clinton and Parliament Funkadelic, Electron, Turkuaz, Cabinet, Formula 5 and Space Jesus. The seventh annual September event is throwing in a few new surprises, too, including a Thursday night pre-party.
To kick off the first time at New Minglewood, Chill is hosting an onsite pre-party the night before the festival begins that will feature two sets of Twidde, along with music from Jimkata, Aqueous and Trakstar. And teaming up for collaborative tributes are Dopapod and Turkuaz as Dopakuaz Does Yacht Rock, and Pink Talking Phish and Kung Fu will cover the music of Prince and David Bowie, while Particle and the Werks will play as PartiWerks, plus a Chillfam Allstars Thriller Tribute.
Catskill Chill Music Festival tickets and cabins are still available, and discounted early bird ticketing has been extended to Friday, June 10. See the full 2016 lineup below.
Mike Gordon
George Clinton & Parliament Funkadelic*
Greensky Bluegrass
Electron*
Keller Williams’ Grateful Grass
Break Science Live Band and Duo Sets
Dopapod
Goldfish
Perpetual Groove
Deep Banana Blackout
Rob Garza DJ Set*
Turkuaz*
Kung Fu
The Werks
Cabinet*
Particle
Zach Deputy
Ryan Montbleau
Orgone
The Nth Power
The Main Squeeze
Pink Talking Fish
Tauk
Pigeons Playing Ping Pong
Space Jesus*
Roosevelt Collier’s NY Get Down
Tom Hamilton’s American Babies
The Heavy Pets Tribute to the ‘80s
Gibbz*
Jen Durkin & The Business*
G-Nome Project
Big Something
Scott Pemberton
Elise Testone’s Zeppelin Tribute
The Magic Beans
Danny Mayer Trio
Beau Sasser’s Escape Plan
The Indobox
Lespecial Primus Tribute
The Primate Fiasco
Hayley Jane and The Primates
The Jauntee*
West End Blend
Shwizz
Fikus
ShwiKus
Out of the Beardspace
Turbine plays Radio Dead*
Mister F
Strange Machines*
Broccoli Samurai
Relative Souls*
The Breakneck Boys
Formula 5*
Youth Posse
Animal Reporters
Collaborations: Dopakuaz Does Yacht Rock*
Pink Talking Fu: Prince Bowie*
PartiWerks = Particle + The Werks*
Chillfam Allstars Thriller Tribute*
This afternoon, the Catskill Chill Music Festival released the initial lineup for its seventh-annual event happening Sept. 23 through 25. Artists scheduled to headline are Mike Gordon, Greensky Bluegrass and Keller Williams’ Grateful Grass.
Other acts sharing this year’s festival bill include Break Science, Dopapod, Goldfish, Perpetual Groove, the Werks, Kung Fu, Deep Banana Blackout, Particle, Zach Deputy, Ryan Montbleau, Pink Talking Fish, Tauk, Hayley Jane and the Primates, Mister F and Pigeons Playing Ping Pong. Tributes for Chill 2016 are an ’80s-themed show by the Heavy Pets, Elise Testone’s Zeppelin Tribute and Lespecial Primus Tribute.
Past lineups have featured notable groups including Particle, moe., Yonder Mountain String Band, Lotus, the New Deal, Keller Williams, Lettuce, Umphrey’s McGee and Galactic.
In February, festival organizers announced a venue change from the summer camp in Hancock to New Minglewood in Lakewood, Pennsylvania, but noted that the Chillfam can expect similar amenities including rental cabins, lakefront setting, free parking and camping, plus indoor movie theaters, yoga, art and wellness workshops and an outdoor main stage.
The campground opens at 9 a.m. on Friday and will close at 1 p.m. on Monday. More festival guidelines can be found here. Tickets are on sale now through the event website; details on VIP and RV packages are coming soon. And as Neil Benjamin Jr. noted in his coverage of the Catskill Chills of summer’s past, “It’s an experience that cannot be recreated anywhere else.”
The New Mastersounds and Moon Hooch layed out their deep and funky grooves for the crowded Burlington scene, at Higher Ground Ballroom on April 22nd. TNMS consists of Simon Allen on drums, Eddie Roberts on guitar, Pete Shand on bass and Joe Tatton on keys.
Moon Hooch opened up the night, riling up the crowd with their wild stirring of energy-their presence far exceeding any opener I’ve ever seen. Wenzl McGowen played what seemed to be a non-stop flow of contrabass clarinet, as well as baritone saxophone-along with Mike Wilbur on tenor saxophone and clarinet-dueling at points, as they are known to do. James Muschler on drums, maintained a strong presence throughout the entire show, steadily anchoring the rhythm. At one point he made his way to the corner of the drum-kit stage, to sit and play a very special and beautiful set of bongos. Just when no one was expecting it, Wilbur began belting out lyrics that were enough to shake the ground-the sentiments were shedding light on the truth of current political and environmental issues.
They took over the stage, by the end leaving the crowd wondering if they were the main act. These guys have been building momentum for some time now, and seem to be focusing their energy towards a conscious revolution through their music. Not only do they put on a show that will leave you wanting for more, but they also share their philosophical beliefs, as well as sustainable cooking advice (“Cooking in the Cave”, see their website). If you haven’t experienced Moon Hooch yet, they are one that you absolutely do not want to miss if you get the chance-it’s sure to be a unique and mind-opening experience. In reference to their sound:
“Listening to this music, it’s easy to become emotionally invested….the emotional impact on both the musicians and their fans is visceral and undeniable.” –www.moonhooch.com
Once Moon Hooch finished the transition of the atmosphere from their incredible performance, to the anticipation of The New Mastersounds taking the stage, was quite clear. The energy was so strong, I could feel it pulsating in the air.
Starting off on a high note, these four kept the crowds energy rising with their sound, forming a wave of dancing fans from the beginning of the show until the close of the evening. They played with ease, collectively moving in and out from one soulful tune to the next. The vibe they created was effortlessly smooth, funky and rhythmic. Halfway through, Shand dropped a bass-line with a reggae feel to it, with Roberts following it to transform it into a funky flow, transitioning back and forth. It was at this point that Allen really started wailing on his drums, in turn pushing Tatton to speed it up-to then slow it back down to the rock-steady feel. Through this weaving of complex movement, it was obvious to see that these guys have a chemistry that reverberates through their entire composition as a group.
You’ll find them playing shows all over the U.S. this year-from the south, to the west coast, and as far as Japan. They’ll be making a few stops in N.Y. towards the close of May and the early part of June, and popping up at well known festivals this coming summer such as Summer Camp Music Festival: Chillicothe, IL, Mountain Jam 2016: Hunter Mountain, NY, and Electric Forest: Rothbury, MI, just to name a few.
A little tidbit about their style:
“From their inception nearly two decades ago in Leeds, UK, The New Mastersoundshave wholeheartedly embraced the “old school” label—their sound rooted deeply in those classic soul jazz, boogaloo and funk albums on labels such as Blue Note and Prestige by artists like Wes Montgomery, Jimmy Smith, Jimmy McGriff and Lou Donaldson. The New Mastersounds’ latest LP, The Nashville Session, takes that devotion one step further by recording in the same tradition that many of those rare groove gems were made“
“The New Mastersounds are at the very top of an elite selection of acts that bring the true soul out of funk.” www.newmastersounds.com
The pairing of The New Mastersounds and Moon Hooch was genius-two incredible groups, bringing distinctly different, yet equally enticing and skillful performances to the table.
Burlington, Vermont-based rockers 
Aqueous
Moon Hooch opened up the night, riling up the crowd with their wild stirring of energy-their presence far exceeding any opener I’ve ever seen. Wenzl McGowen played what seemed to be a non-stop flow of contrabass clarinet, as well as baritone saxophone-along with Mike Wilbur on tenor saxophone and clarinet-dueling at points, as they are known to do. James Muschler on drums, maintained a strong presence throughout the entire show, steadily anchoring the rhythm. At one point he made his way to the corner of the drum-kit stage, to sit and play a very special and beautiful set of bongos. Just when no one was expecting it, Wilbur began belting out lyrics that were enough to shake the ground-the sentiments were shedding light on the truth of current political and environmental issues.