NYS Music 20​16

Category: The Northeast

  • Recess with Spinelli Interview with Caravan Palace

    What do you get when you mix old swing music with modern electronic beats? Well, Electro-Swing of course!  And who better to talk about the genre than the pioneers of Electro-Swing, Caravan Palace of Paris, France! From Robots, science-fiction to bras and vintage French porn and late night television, this is an interview you will not want to miss.

    Listen to the abridged feature/interview

    You can listen to the Full Radio Broadcast

    On-stage, Caravan Palace proves they are performers and musicians; keeping the crowd engaged, dancing and of course swingin’.

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

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

  • Hearing Aide: Phish’s “Big Boat”

    Ever think Phish would start off a studio album with a sort of Brit-pop-punk sounding song?

    Me either, but that’s exactly what the band did by kicking off Big Boat with the Jon Fishman song “Friends,” which is the perfect lead-in to an album by a band that has built its fanbase by throwing it curveballs. Phish’s 13th studio recording is the most genre bending album they have released.

    big boatTeaming back up with Fuego producer Bob Ezrin, Phish has created an at-times overproduced record that probably will not be universally loved by fans and aside from a few tracks, won’t get much play from me. But, the beauty of Phish is that this is perfectly fine because each of these songs will be defined by what they do on stage.

    “Blaze On” and “No Man in No Man’s Land” both debuted live in 2015 and become almost immediate jam vehicles. The album versions of these songs are very strong and have the same feel of the live performances.

    The apocalyptic “Breath and Burning” gives way to the first Page McConnell song, “Home,” which features a very Phishy little synth-driven jam. “Things People Do” is very Mike Gordon-like, but is written by McConnell. “Waking Up Dead,” written by Gordon, is among the few songs that sound Phishy.

    The Anastasio ballads “Running Out of Time” and “Miss You” are poignant, with the latter being one of the more emotive songs the guitarist has written in a while. “I Always Wanted it That Way” goes back toward the synth-pop sound, before straightforward rocker “More” sits as the last barrier until the orchestral composition “Petrichor” closes the album with a complicated, at times intricate but often wandering song that Anastasio initially wrote to be performed with an orchestra.

    Big Boat is not their best album, but honestly, who cares? Let’s see what happens on Fall Tour and during the New Year’s Run.

    Key Tracks: More, Waking Up Dead, Petrichor

  • Hearing Aide: Dave Keller “Right Back Atcha”

    Northeastern blues can be heard echoing from the mountains of Vermont in Dave Keller’s new album Right Back Atcha. The September 23 release date came just a day after the start of fall and his lyrics are symbolically vibrant with a colorful spirit and a life-changing attitude.

    dave kellerRecorded in the Green Mountain State, Keller recruited a 3-piece horn section, two backup vocalists and a small string ensemble to collaborate with his usual members of The Dave Keller Band. The diverse talent was used right off the bat in “It’s Time You Made Up Your Mind,” which serves as the opening track and the lone cover on the album. Willie Clayton originally brought the song to the studio during the peak of his funk-soul era in 1974 and much like Keller, Clayton didn’t see much in the way of commercial success or critic recognition until he was ripe into his 40s. Keller tips his hat to the roots he knows best while adding his own modern blues sound to this underplayed gem.

    Title track, “Right Back Atcha” has a very seductive brass and bass combination highlighted by Jessica Friedman’s baritone sax. Although the lyrical structure is very inventive, I found the song somewhat off putting, as I know that Keller is around the same age as my father and singing about his sexy time with a woman.   The album artwork on the back of his LP lets us know Keller is still getting freaky and his not-so-subtle innuendos complete the picture. Putting my personal issues with the song’s story behind, Keller nails his silky guitar solo and gets some help from the backup vocalists to bring this sonic, sweaty bang to a finish.

    After the most provocative track on the album, Keller hits us with his first love ballad entitled, “Deeper Than The Eye Can See.” Original band member, Ira Friedman, warms the tune up with a soft piano introduction before Keller gently harmonizes with the female backup singers. This lyrically and vocally soulful composition is reminiscent of Van Morrison’s “Tupelo Honey” and will leave you feeling all the feels the same way Van the Man does.

    “Circles” clocks in as the longest track of Right Back Atcha, which allows time for the Hammond B3 organ to really drive home the profound message. If “Deeper Than The Eye Can See” is Keller’s way of expressing the beauty of being in love, “Circles” tells the tale of how shitty life can be during the confusing parts. He lets his guitar solo do the crying as Friendman’s B3 steals the show during this deep-rooted blues piece.

    Vermont may one of the least populated states in the country, but that doesn’t prohibit their bands from getting funky. While Keller’s subject matter may be geared towards an older crowd in terms of the over-the-hump, post mid-life crisis topics presented in the lyrics, I can still get down with the eclectic musical arrangements he brought to the studio. This isn’t the type of album that someone in their twenties would throw on during a party, but give me twenty more years of experience and Right Back Atcha may be found on my iPhone 17 shuffle.

    Key Tracks: Right Back Atcha, Circles, You Make It Easy

  • Catskill Chill Closes out Summer at New Minglewood

    Catskill Chill rounded out the New York summer festival season September 24-26 with a stacked line-up and a new location.   Moving just a few miles from its former location in Hancock, NY, the Catskill Chill found a new home this year in Lakewood, Pa. Previously held at Camp Minglewood, this year the Chill found its new home at New Minglewood and included an extra day of camping and more music.

    The festival’s inaugural Thursday night pre-party was a great addition to the weekend. Twiddle highlighted the evening with two sets including a sit-in with Scott Hannay of Mister F.  Although the turn out for the night’s first two bands, Aqueous and Jimkata, was light, the packed house for Twiddle verified that many festival goers had taken advantage of the Thursday night ticket.

    Arriving early had more benefits than just the music.  Many festival attendees enjoyed the ability to set up camp and explore the grounds before the barrage of attendees arrived on Friday.  “The best part of the Thursday ticket was being able to get the choice camping spots.” Jennifer Bliss of Saratoga Springs, NY told NYS Music. “It was also nice to have our camp ready to go, so that we could really enjoy the music on Friday.”

    Mike Gordon drew the largest crowd of Friday Night to the main stage. Among the songs performed, the Phish bassist debuted “Let’s Go,” a tune generally reserved for a Phish set list. George Clinton and Parliament Funkadelic also enjoyed a great turn out, many of whom had never seen the master of funk live.  “I had only heard the name George Clinton, but didn’t really know what he was about.  Thinking about it, that set might have been my favorite of the weekend.  I liked that Chill has artists like that on their line-up,” noted Brian Thomas of Cleveland, Ohio.

    Catskill Chill

    Other much talked about sets on Friday night included Pink Talking Fish and Pink Talking Fu. The Pink Talking Fish set included a variety of Phish, Talking Heads and Pink Floyd with a sit-in from Kung Fu’s Tim Palmeri on “Great Gig in the Sky” and “Crosseyed and Painless.” The B Stage was turned into a dance party during Pink Talking Fu (Pink Talking Fish and Kung Fu.)  The two bands highlighted the music of David Bowie and Prince in a tribute set that featured both top 40 hits and beloved deep tracks. Shira Elias of Turkuaz and Hayley Jane both sat in for vocal performances throughout the set.

    Friday’s sleeper sets included music by Funky Dawgz Brass Band, Mister F and Goldfish.  All three bands are well worth seeing and turned out amazing performances.

    Saturday’s main stage was highlighted with an assortment of musical styles that kept the variety going throughout the day. Ryan Montebleau, Cabinet and Keller Williams’ Grateful Grass added an element of relaxation and chill while Lettuce and Particle were funky and dance worthy.

    The B-Stage popped off thanks to sets from Turkuaz and Tauk. Formula 5, Big Something and the Magic Beans all generated note-worthy buzz at their various sets on Saturday as well.

    Saturday was the day of tribute sets, providing a plethora of familiar music performed by some of the festivals most beloved artists.  Fikus and Shwizz came together to perform as Shwikus Plays the Beatles, while the Heavy Pets played the 80’s and Lespecial paid tribute to Primus.

    “I just loved all of the tribute sets at Chill,” mentioned Nick Augustine of Silver Springs, MD. “Every one that I saw was executed perfectly!”

    The most intriguing set of the night went to Turbine, whose RadioDead set was at times mind twisting and enigmatic. The concept –  Radiohead songs played in the style of the Grateful Dead and Grateful Dead songs played in the style of Radiohead.  Turbine did a stellar job of translating the songs into the respective styles, so much so that many attendees couldn’t quite wrap their heads around what they were hearing.  “Wait, is this Radiohead or the Dead?” was overheard often during the set.

    For the second year in a row, members of Dopapod and Turkuaz brought the house down during their tribute set, this year with a tribute set to the preppie-loved classic soft rock of the 80s known as Yacht Rock.  The set was fun, campy and executed with perfection. It’s a nod to both groups of Berklee trained musicians, as they take such care with music that could otherwise be dismissed.  Somehow they find a way to celebrate not only the music, but the production quality that feels like you are square in the middle of a musical time capsule.

    Josh Schwartz (Turkuaz) receives MVP nods for his spot on vocal tribute to soulful baritone Michael McDonald. However, Rob Compa who tackled vocals on the Eagles classic “Hotel California” as well as the entire Dopakuaz crew wins honorable mention during a production perfect version of the song. The set also included the most “had to be there” moment as Dopapod bassist Chuck Jones took to the Chill Fam seas with a stage dive and crowd surfing adventure.

    The Chill Fam All-Stars tribute to Michael Jackson was another highlight of the night, however, many festival attendees were turned away as the Late Night Hall was packed to capacity before the music even started.  However, despite not everyone being able to attend, the set was highlighted by the vocals of Elise Testone, whuch were a milky and smooth compliment to the original. The Chill Fam All- Stars included Eric Gould (Pink Talking Fish); Adrian Tramontano and Robert Somerville (Kung Fu); Shira Elias, Chris Brouwers and Michelangelo Carubba (Turkuaz); Danny Mayer (Eric Krasno Band); Steve Molitz (Particle) and Robert Volo on trombone (Deep Banana Blackout).

    Sunday’s Main Stage was highlighted by performances from Dopapod, Greensky Bluegrass and Electron.  Although the festival grounds and attendance at sets appeared to begin to thin out by Sunday afternoon, festival goers that stuck it out were also treated to great performances by Perpetual Groove, Tom Hamilton’s American Babies, The Werks and Broccoli Samurai.

    Sunday’s most noteworthy performance went to Pigeons Playing Ping Pong.  They made the most of their two sets, including a two-hour cover set late night at Club Chill. The set was one of the most sit-in heavy of the weekend including performances by Tom Hamilton, Shira Elisa (Turkuaz), Steve Molitz (Particle), Elise Testone, and Rob Somerville (Kung Fu).

    The New Minglewood grounds felt like home for many Catskill Chill veterans. The added facilities of more “play areas” including the basketball courts by the B-Stage created a fun vibe that more people plan on taking advantage of next year.  Wins for the new location included closer parking to the camping grounds, more common areas and the B-Stage, whom many felt housed the best music and sound of the weekend.

    However, despite the great sound at both the main stage and the B-stage, many festival attendees found themselves hanging outside both Club Chill and the Late Night Hall due to the facilities acoustics.   “It was really loud in both the indoor venues,” noted Mike Dustin of Allentown, PA, “For the most part, we chose to just sit outside and listen there.  It just literally sounded like we were watching music in a high school gym.  So much of the sound quality was lost.”

    Most of this year’s attendees agreed that the cabins, vendors and security were in sync with previous years.  However, it was noted by several folks that this year the port-a-potties in the camping areas could have used much more attention, as the usual daily cleanings of the facilities seemed to have been missed in at least one location.

    As the weekend’s attendees packed up and returned home, most were happy with the new location and the line-up. But beyond that, it was the Chill Fam vibe that most were pleased to be a part of.  “Chill is my favorite festival – hands down,” said Kelly Kepler of Portland, Maine. “I was scared that this year would be different, that changing the location would mean all the things we loved about Chill would be different. Honesty, I think it was better.  It was a great way to bond with new people because everyone was on even ground. It only made our little Chill family stronger.  I can’t wait for next year!”

  • Rock Allegiance Stands Strong Among Competition

    For the second straight year, Chester, PA was home to Rock Allegiance. The Rock Allegiance festival, which is one of the many Danny Wimmer Presents events, returned to Talen Energy Stadium (formerly PPL Park) on Saturday and Sunday September 17 and 18.

    Unlike last year’s festival, Rock Allegiance 2016 was set for 2 full days that included some of the biggest bands today, such as Avenged Sevenfold, Alice In Chains, The Offspring and Slayer. To accompany two full days of music, this year added even more of the festival’s signature Gourmet Man Food and other experiences for fans to check out. Some of this year’s experiences included The Music Experience, The Jack Daniel’s Experience, FYE Experience and Zippo Encore. As always, proud sponsor, Monster, was on site giving away free products and hooking fans up with chances to meet their favorite bands.

    Saturday’s festival lineup featured quite a mix of bands. There were heavy metal bands, cover bands, comedy bands, grunge bands and more. Some of Saturday’s stand-out performances were Skindred, Avatar, and Motionless In White. Each one of these bands brings something unique to the table that not an everyday band does. Skindred had the most unique sound of the day. The Welsh rockers mix heavy metal with reggae and create some insane grooves. Lead singer Benji Webbe certainly knew how to lead his band and give the crowd a set to remember past the weekend.

    Certainly no one was disappointed with headliners Alice In Chains, Breaking Benjamin and The Offspring. Each one of those bands has earned their keep and each had their own die-hard fans in attendance. Alice In Chains was joined by Billy Duffy of The Cult for their song “Rooster.” One band that failed to bring out the special guests that everyone was hoping for was Taylor Hawkins’, Chevy Metal.  Chevy Metal, which is Hawkins’ cover band that rips through classic rock songs with ease, is known for bringing out big names at their shows. Unfortunately, when the band closed out the Liberty Stage, no guests came out to join the band.

    Fans of Sepultura got to hear the legendary album, Roots, in its entirety during Max & Igor Cavalera’s Return To Roots set. This was one of the most bad-ass sets of the day. Seeing the two brothers back on stage doing Sepultura songs was absolutely incredible and the crowd went wild. One band that seemed to sneak its way into a huge main-stage slot was Baroness. These guys have been growing and growing non-stop and have been receiving incredible support from some of the biggest musicians on the planet. The love and support of Baroness landed them a late evening slot and definitely gave the band a chance to reach an audience of plenty of Baroness virgins.

    It’s impossible to not mention Trivium when it comes to kicking ass. The guys in Trivium seem to live on the road and never show any signs of slowing down. Although their last album Silence In The Snow, wasn’t as “heavy” as some old fans would have liked, this monster of an album has been a commercial hit and the tracks are solid. Gone are the signature screams of singer Matt Heafy, but the record showcases Heafy’s ability to actually sing. Together with long time band members Corey Beaulieu and Paolo Gregoletto and new drummer Paul Wandtke, Trivium continues to give festival crowds around the world a brutal, fast and a seemingly too short set.

    Saturday’s top performance didn’t come from any headliner or by any band that played on either stage inside the stadium. The top band of the day took the Liberty Stage at 4:15. That band was letlive. For people who skipped letlive., saying they missed out is a complete understatement. Often times, writers will say a band had “high energy” and all these other generic compliments about a band they thought was pretty good. On Saturday, letlive. could be described to someone who missed them simply as, f*&King insane. Singer Jason Aalon Butler gave Rock Allegiance everything he could, without getting in too much trouble. Butler ended up hanging upside down at the soundboard tent and running throughout the crowd while his team of roadies tried to keep the audience from becoming strangled with this microphone cord. If there’s one thing fans at Rock Allegiance aren’t ever going to forget, it is letlive’s set.

    Out of the 2 day festival, Sunday was definitely the day with the stacked lineup. The day started off with what would be one of the best sets of the day from Death Angel. Singer Mark Osegueda is by far one of the best vocalists in heavy metal. This guy can hit any note imaginable. If there was one bad thing to say about Sunday, it would be Death Angel’s set was too damn short. Next time, Death Angel deserves a mid-day main stage slot to show the crowd what they bring to the table.

    After Death Angel, bands like Devour The Day, Twelve Foot Ninja, Crobot and Kyng were all back to back one after the other. Although none of these bands have hit it big yet, they’re all in the process of knocking down that door. This year was Devour The Day’s second year in a row playing Rock Allegiance and the crowd was definitely excited to see them again. The singer of Kyng wasn’t too happy with them and Crobot playing at almost the same exact time. He went on to say that whoever booked that should be fired.

    From 2:30 onward, many fans may not have even left the two main stages inside Talen Energy Stadium. Unfortunately for bands like Neck Deep, Amity Affliction and Pierce The Veil, the main stages where were the party was at. Although, even though the inside floor was packed in, these bands attracted their own die-hard fans and fans who may have been curious to check out someone new. Pierce The Veil certainly could have played inside due to the crowd and the stage setup they had. The guys in Pierce The Veil are an absolute blast to watch on stage and their spaceship on stage isn’t something every band brings out on the road.

    Sevendust had a huge crowd over at the Bridge Stage for their set. One of those fans at the Bridge Stage was Anthrax singer, Joey Belladonna, who joined Lajon Witherspoon to sing “Face to Face.” Sevendust was another victim of the dreaded short festival set. Only having time for a handful of songs, Sevendust wasted no time between songs and gave fans as much as they could. The band closed out their set with their Grammy nominated track “Thank You.”

    Some other highlights of the day were Hellyeah and Killswitch Engage. Both of these bands are entertaining to watch from start to finish. Hellyeah singer, Chad Gray is one of the most explosive front-men in metal. Hellyeah’s setlist only featured songs off their 2 latest albums Blood for Blood and Unden!able. During the track “Sangre por Sangre,” bassist Kyle Sanders spit fake blood all over Chad’s face. Chad would sport this blood for the rest of the set and it was clear this band meant business. Hellyeah have certainly been working their asses off creating new music and trying to win over the haters of their group.

    Killswitch Engage, on the other hand, doesn’t have to do anything fancy on stage to win over fans. The guys in KSE are purely bad-ass and get the crowd going regardless if they’re fans of their band or not. Certainly one of the rowdiest crowds of the day, Killswitch gave them all the reason to be. Guitarist, Adam Dutkiewicz, did what he does best and got the people of Rock Allegiance in the KSE mood. Dutkiewicz and singer Jesse Leach lead the charge and helped give Killswitch Engage one of Sunday’s best performances.

    The rest of the evening after KSE was great as anyone would have guessed. Chevelle, Anthrax, Volbeat and Slayer were all fantastic. Each band had a giant fan base in each section of the floor. Slayer fans waited all day along the rail of the Bridge Stage to be in front of Kerry King and Tom Araya. Having half of the big “four” on one stage was an easy choice for thrash metal fans on where to set up camp. Getting that front row spot for both Anthrax and Slayer would put any thrash metal fan in heaven, or in this case, hell.

    As expected, Anthrax stuck with their casual festival setlist. This setlist is fine for any casual fan of Anthrax, but the die-hard fans who traveled to see them definitely wanted something a little different. Tracks like, “Got The Time” and “Antisocial” could definitely be replaced by songs off their latest two albums, which were both outstanding. Both Chevelle and Volbeat, on the other hand, picked their setlists well offering a nice balance between new and old material. Slayer was also another band that seemed to surprise the crowd with their setlist choice. Instead of playing mainly tracks of their latest album Repentless, they only chose to play the title track. The rejuvenated Slayer lineup dug into deep cuts as well as playing the fan-favorite classics like “Raining Blood” and “Angel of Death.”

    The two top performances on Sunday belonged to two bands that toured together not too long ago. Those two bands are Ghost and headliner Avenged Sevenfold. Ghost, who just kicked off their Popestar Tour days before, opened their set with their new EP single “Square Hammer.” For fans who hadn’t caught on to Ghost already, were probably walking out of the stadium that night with a shirt or CD from the FYE tent. Ghost definitely had one of the biggest fan bases over the entire weekend. Ghost shirts were seen by the minute on both days of the festival. The stage show wasn’t what fans will see at headlining shows due to time restrictions, but fans weren’t complaining. The Ghouls, complete with their new female bassist, ripped through 6 more songs after “Square Hammer.” Together with Papa Emeritus III, the band flawlessly performed songs such as “From the Pinnacle to the Pit,” “Cirice,” “Year Zero”, and more. Unlike headlining shows where the band closes with “Monstrance Clock,” Ghost changed things up and said their goodbyes with “Mummy Dust.”

    The chance of Avenged Sevenfold disappointing the fans at Rock Allegiance this year was practically 0%. It’s been a while since Avenged Sevenfold has toured and fans were ready for something that was new and fresh. The band went on stage and opened with “Nightmare.” Fans could quickly point out that Avenged no longer had the extensive stage setup like they did on their Mayhem Festival run a few years back. This time, Avenged kept things simple with an empty stage and a giant LED screen. People who thought that was all they brought were definitely mistaken. It didn’t take long for the onslaught of flames to come from the back of the stage song after song. The new tour not only meant a new stage but also a refreshed setlist. This time around, Avenged played tracks like “Planets,” “Acid Rain,” “To End the Rapture,” and “Second Heartbeat.” The weekend ended with “Unholy Confessions,” instead of the typical encore of “A Little Piece of Heaven.”

    At the end of the weekend, it would be hard to say fans were left disappointed. The lineup for both days of the festival was solid and seemed to have something for everyone. It may have been noticed by people at Rock Allegiance that it wasn’t close to a sold-out capacity crowd, but that doesn’t affect the experience negatively. With two other festivals going on over the same weekend, both within reasonable driving distance, Rock Allegiance held its ground and drew a decent size crowd for what it was up against. Hopefully next year, Chester, PA. can once again be the host of Rock Allegiance for the 3rd straight year.

  • Hearing Aide: MC Chris is Dreaming

    mc-chris-is-dreamingIt’s hard to tell what MC Chris took seriously while developing this album MC Chris is Dreaming. There are times where the listener may think, “This is a complete joke, he must have completed this album in a night. For heaven’s sake, the album cover looks like it was drawn with pen on loose leaf paper.” And half way through the album, one may think that was one of the quickest, nerdiest, and wittiest rhymes that’s ever been spat. In other words, the quality of the album is proportionate to how much time is invested to finding all the little hidden lyrical gems.  

    This album, set to drop September 30th, will sound absolutely ridiculous to anyone who has not heard of the genre nerd rap. MC Chris has a nasally and high pitched voice that spits culture driven lyrics driven by straightforward videogame-like beats. Take it as a whole and the album seems childish. But dissect it just a little bit and it becomes a pretty comical album.

    This isn’t necessarily a concept album but there is some inspiration to it. Freddy Krueger haunts the dreams of the former Adult Swim contributor and while most of the songs are utterly ridiculous stories about how awesome he is, like “MC Chris Is The Shit,” or the death of Krueger, “Freddy’s Dead,” the album is pretty rewarding if listened to closely.

    The beats can be very familiar, most likely a mockery of today’s popular rap sounds, and the lyrical content is a poetic version of  literally anything that comes to his mind or dreams. The man must have ADD.mc-chris-animated

    Granted there are some pretty clever lines that can be caught if listened to very closely. His nasally voice can be very distracting though and requires the listener to be completely invested into what he’s saying. Once someone is, they’ll find clever little lines like in “MC Chris is Dreaming.”

    “MC Chris is dreamin’ /  I’m not paying attention /  My head’s in the clouds I’m on another dimension / I’m like a space cadet and a space camp convention.”

    Written down, the lyrics do not seem so special but the relentless speed at which he says it makes it pretty remarkable. He keeps up that quick pace throughout almost all of the tracks and it makes it a fairly impressive run, but once again, the listener needs to be totally invested into the song to catch these lines. This album is similar to watching a Disney movie with loads of adult humor –  the movie can be enjoyed as a whole, but watch it closely and find some pretty raunchy and rewarding cameos and easter eggs. In the album, these lines pop up one after another and can be hard to catch with the beats sometimes overpowering his squeaky voice.

    Many of the tracks have to do with Freddy Krueger invading Chris’ mind which are entertaining but are some of the funniest parts of the album, these little run-on stories and dialogues between Chris and Freddy or Chris and the producers he’s trying to sell the album to. The two characters will go off on seemingly never ending tangents which shows some thought went into the chemistry of the characters but still makes one think, “These guys are  just screwing around.”

    Aside from the dialogues, other songs like “Sad Sack,” are a bit more raunchy but pretty funny. It’s a typical trap beat with lyrics about, well, his sack.  It’s clever because usually songs with this kind of tone are more aggressive and hardened. But this is reminiscent of Eminem in terms of lyrics. It’s some pretty X-rated stuff, but the sharpness and speed of it makes it more professional.

    “There’s a bit of a goo / in my fruit of the looms / but that isn’t why I lost a few of my dudes / I don’t need a big crew.”

    It sounds so childish written down, and it is, but it must be compared to the quality of a TV show like South Park. It’s comical because of how narcissistic and sarcastic it is. MC Chris is Dreaming is the same thing.

    If an open mind is kept, the album can be rewarding, but there’s a lot of time and focus to invest if the album is to be fully appreciated. Maybe when a lyrics sheet comes out the songs will need less attention and can be more easily enjoyed.

    Key Tracks: MC Chris is Dreaming, Freddy’s Dead, Sad Sac

  • Hearing Aide: Dinowalrus “Fairweather”

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

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

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

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

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

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

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

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

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

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

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

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

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

    Key Tracks: Tides, Scarcity, Final Wave

  • Catskill Chill Offers Fierce Line-Up at New Location

    If you’re not quite ready for the summer to end, the Catskill Chill offers many music lovers one last chance to spend a weekend immersed in sights and sounds at the festival’s new location. Just a mere ten miles southwest from its former location, 2016 ushers in a new era for the festival at the New Minglewood.  This year’s basic festival ticket includes three days of music and camping starting September 24-26.

    Catskill Chill kicks off this year with a Thursday pre-party, a new addition for the festival.  At the mere cost of $45, the pre-party offers a powerhouse line-up of northeast festival favorites. The inaugural evening features Buffalo grove rockers Aqueous, jamtronica favorites Jimkata, two sets from Vermont’s Twiddle and superduo Trakstar featuring Todd Stoops (RAQ) and Rob Chafin (The Werks). The evening will be filled with high energy music that looks to set the bar high for future pre-party festivities.

    Martie Locke who will be traveling from King of Prussia, PA, said that the Thursday pre-party is actually what sold him on the weekend.  “It’s amazing.  Aqueous, Jimkata and Twiddle offer some of the best musical vibes,” he told NYS Music. “I think Thursday night could be some of the best fun of the weekend.  Well worth the price of the entire ticket.”

    For folks not making the Thursday festivities, the entire weekend is packed with creative collaborations, solid headliners, as well as up and coming artists from all over the country.

    Friday offers a mixture of relaxed vibes and funk.  Zack Deputy kicks off Friday’s Main Stage music.  Kung Fu offers the day’s first look at Main Stage funk takeover while funk masters George Clinton and Parliament Funkadelic and Phish bassist Mike Gordon headline the Main Stage on Friday evening. Pink Talking Fish are sandwiched in between the two powerhouses, with their performance on the B Stage, creating a solid five hours of music.

    Ryan Montebleau sets the mood for the Saturday Main Stage, with Cabinet and Keller Williams offering up a Saturday afternoon filled with Bluegrass vibes.  Lettuce closes out the Saturday Main Stage Music.

    Sunday’s Main Stage is a variety of musical genres.  Roosevelt Collier’s NY Get Down will feature Dopapod’s Rob Compa and Eli Winderman as well as Michelangelo Carubba and Taylor Shell of Turkuaz.  Bluegrass favorites Greensky Bluegrass and electronic rock masters Dopapod fill out Sunday afternoon. Electron will conclude the activity on Sunday’s Main Stage

    This year’s Catskill Chill is filled with a variety of beloved music performed by some of the festivals most respected veteran artists as this year’s Chill is jam packed with tribute performances. Friday night will feature Pink Talking Fu paying tribute to this year’s passing legends David Bowie and Prince.

    Saturday hosts the majority of these performances. Shwikus, featuring members of Shwizz and Fikus, will pay tribute to the music of the Beatles.  The Heavy Pets bring their highly praised Tribute to the 80’s, while fans of Primus will want to check out Lespecial’s Primus set in Club Chill.

    https://www.youtube.com/watch?v=LN246u0Q7J8

    Dopakuaz, featuring members of Dopapod and Turkuaz, returns after a memorable performance of the music of Studio 54 at last year’s Catskill Chill.  This year, the two bands have collaborated to showcase the best of classic 80’s preppie soft rock, also known as Yacht Rock.  Saturday night’s tributes will conclude with the Chillfam All-stars Tribute to Michael Jackson. Fans of Led Zepplin should catch Elise Testone’s tribute set on Sunday. Bitches Bloom will perform the music of American Jazz legend Miles Davis on Sunday as well.

    The Catskill Chill is also offering a few unique choices on their 2016 line-up.  Primate Fiasco’s unique blend of Americana, street band and off humor lyrics are a refreshing change of pace for almost any festival line-up. Meanwhile, Reed Mathis (Tea Leaf Green) and Electric Beethoven featuring Jay Lane (Primus, Ratdog),Todd Stoops, Cochrane McMillian (Tea Leaf Green) and Clay Welch will perform a set of “classical dance music” with a reimagining of Beethoven classics.

    This year’s line-up is also highlighted by a laundry list of this summer’s most buzz worthy bands. Hailing out of New York State, Mister F, Formula 5 and TAUK continue to make noise on festival line-up’s all over the Northeast. Hayley Jane and the Primates are Chill vets, but their rising stock makes the Vermont based group one of the weekend’s acts to see.

    Pigeons Playing Ping Pong and Tom Hamilton’s American Babies are other noteworthy artists for the four-day weekend.  North Carolina’s based Big Something and Boston’s progressive eletrofunk outfit Strange Machines have also been gaining steam all summer long.

    “Strange Machines is just so epic and progressive as they make you want to dance harder,” said Nick Augustine of Maryland, “They blow me away again and again every time.”

    The Werks, Turkuaz and Indobox are also solid, ‘can’t go wrong’ choices amongst this year’s jam packed line-up.

    First time attendees will find themselves on even ground with experienced Chill attendees, as everyone will be learning the festival’s new lay-out.  However, festival organizers look to make the transition a bit easier by keeping stage names and key amenities the same.

    However, beyond the music, the hope of most attendees is that despite venue changes, the “Chill Fam” will maintain the vibe that has, in part, kept the festival growing.

    Rachael Dube from Vermont, a four-year Chill attendee isn’t worried about the venue change.  In fact, she says she is excited for the new location.  “There is just something pretty righteous about moving it from the original spot you know? Change is beautiful and inevitable, nothing should stay the same forever. Being able to take the great base that we have created at the Chill, and move it wherever we like, seems pretty cool to me. It’s something special that’s for sure.”

    And it’s not just the festival goers that are excited for the vibe that the festival offers.  Scott Hannay of the band Mister F was a three-year Chill attendee before his band played the festival in 2014. He told NYS Music, that it’s the “the ubiquitous Chillfam” that makes the festival special. “The vibe, the staff, all that music and unique combinations of musicians, it all melds together in a way that other festivals do not. Chill is exactly that, Chill.”

    Tickets for general admission as well as VIP packages are still available.

  • The Motet Brings the Funk at The Warehouse

    The Warehouse at FTC in Fairfield, CT was alive with jive on Saturday August 13 with The Motet and special guest Mammal Dap lighting up the stage. The pit was near filled to the back wall with fans and every single person having the time of their lives. It would not have been the party that it was without newly added Motet frontman Lyle Divinsky, amping up the crowd and maintaining an inhuman amount of energy throughout the two set performance. 

    The opener Mammal Dap was a unique group that brought a big sound to the venue. The four mammals out of Massachusetts combine rock, EDM hip-hop and funk to make a sound that isn’t too avant-garde but was without a doubt an exceptional  and intriguing performance.

    At the start, there were several people in the front of the stage, most talking amongst themselves, distracted by friends and drinks with people of all ages and attire scattered across the venue. It was an unexpectedly diverse crowd with some kids, 18-year-old at least, wearing tattered Converse shoes, fishnet stockings, band t-shirt and a Hello Kitty backpack. Meanwhile upstairs, several men wearing three piece suits are sipping on mixed drinks talking and laughing with friends.

    Most of the crowd’s attention was drawn to the stage when Mammal Dap performed their first song, “I Want To Be Your Friend.” The track had recognizable sounds from all different genres: a hip-hop drum beat from Colin Jambert, rocking guitar riffs from Killian Karlsson, the EDM aspects from the keys and synthesizers played by Zak Cross, and funky grooves from the bass performed by Rhees Williams. Picked apart instrumentally, the sound isn’t all that interesting. The drumming can be a tad bit repetitive and the main riff from the keys can get a little old as well, but take the music as a whole and it can really start to be appreciated. Saturday night was a party, and a party needs some background music. This is not to say the music wasn’t appreciated, and that there weren’t interesting drops and riffs, but picked apart player by player, the music loses its purpose. This is not to say the musicians aren’t talented. There’s a decent amount of improvisation and they mess around with some pretty challenging time signatures, like in their second song of the night, “Starbirth.” The performance is just appreciated better as a whole.  

    They jammed on for about an hour, accruing more and more attendees from the upper level and really setting the scene for the night. Some other hits from the setlist were ambient still, but tracks like “Lost”  had more of a direction to them, unlike “Starbirth” which felt stuck in the same groove at times, although the beats were very grabbing. Nevertheless, it got the room moving and got people excited for the main event, The Motet.

    “Good God,” was all anyone could say when the funky bunch hit the stage. They were simply electric, a constant flow of energy and power. And it wouldn’t have been the same show with Divinsky. His passion for the music was just infectious and one couldn’t help but feed off of his energy. He and Garrett Sayers were recently added to The Motet’s line up and fit in seamlessly. Someone naive to the band’s history would have no idea they weren’t the original members.

    The group from Colorado defines themselves as having roots from funk, afrobeat, disco, electronic music and soul, while putting a modern jam and improvisational feel to their songs that gets the crowd moving and the party started. Their sound is tight, but very powerful, much like the styles of funk bands in the late 1970’s and early 80’s. These classic groups are what band leader Dave Watts used as inspiration when he first started to toy with the idea of creating a funk band. Their sound is like a mixture between Earth, Wind and Fire and James Brown: tight, funky and moving.

    Their first song was, predictably, very much just a funky, 10 minute jam. Everyone had their shot to flaunt a solo or two, along to a tight, but open groove that had a fun, unpredictable direction to it. Their second song of the night,  “Like We Own It,” had the same feel to it, with a little less improvisation to it and more typical song structure, but was still a blast to listen to. The keys, played by Joey Porter, really started to shine here because of the use of the main riffs of the song in his solos. That’s something that takes some great talent to do and it’s something that the crowd can really appreciate.  The trumpet player, Gabe Mervine, struts his stuff as well, playing a more jazz like solo with long flowing riffs, as compared to the keys quick jabbing notes. Both solos were very fitting though and a huge hit with the crowd.

    “Know It Too Well” came up next, off their recently released album Totem. It had more of a Parliament feel to it, in other words, it wasn’t as tight and fast as other tracks. The feeling is very laid back and flowing but still upbeat and hard hitting. There’s some more work from guitarist Ryan Jalbert, who has a little bit of fun but stays fairly reclusive, but only to really shine in later tracks.

    “Power” came up next, and one can really start to see how much this band relates to James Brown, especially Lyle. His dance moves alone are reminiscent of The King, as he scooted and shuffled his feet across the stage, dripping with sweat only a half hour into the show. The band puts their own, very jam band influenced twist on the tight and funky song, bringing the song down to a tamed, quiet drop to allow members to screw around on their instruments. Mervine got a little dissonant and jazzy during his solo but still retains a good chunk of melodic notes. He rides on the groove for sometime before the band jumps into a “Fame” tease to give saxophonist Drew Sayers some fun on his mic followed by Dave Watts pounding away at his kit for the first time of the night. His set was fairly small but he used crazy amounts of color to make a hell of a solo. They ran through a few more off their new album including “Truth” and “Fool No More”  before they made their way onto the second set of the night.

    The second half started off with “Damn” from Totem and Jalbert really started to get wild on his frets. The crowd went wild when he would fly all the way up the neck and when Lyle would scream all the way to the top of his vocal range. They sounded incredible together and they really connected on this song. Up next was “Back It Up,”  a laid back, swinging kind of groove, highlighting Porter once again, followed by “So High”  and “Rippin’ Herb.” A highly anticipated cover, “Serpentine Fire,” finally came around and it was uncanny how much it sounded like Earth, Wind and Fire. The classic 70’s funk band and The Motet differ in so many ways, especially in size but they sounded impeccably close to the original, of course with their own jam twist on the track. The chorus requires Lyle to really stretch his pipes and he does so with ease. They finally wrapped up their night with one last Earth, Wind and Fire cover “Mighty Mighty.” They perfectly closed their set with something to showcase every person on stage and to give the audience something super catchy to sing along to with Lyle.

    It seemed no one was expecting such an energetic performance from The Motet. The group was drenched in sweat and so was the audience with smiles stretched on everyone’s  face as they walked out.

  • Festivalgoers Let Their Soul Shine During Second Half of The Peach

    Saturday and Sunday at The Peach Music Festival in Scranton, PA was more of the same weather wise with scorching heat, humidity and powerful storms that would delay several sets in the evening. Despite the elements, festivalgoers all across Montage Mountain appeared to be in better spirits for the later half, perhaps due to an acceptance and understanding of these factors, but more likely due to the outstanding music delivered to their eyes and ears. Headliners like Trey Anastasio Band and Umphrey’s McGee delivered top notch sets on Friday and Gov’t Mule and new supergroup “RB&B” brought the festival to a truly satisfying close on Sunday.

    Jim Houle Photography - Umphreys McGee - Peach Fest - NYSMusic-55

    New York’s own Sister Sparrow and the Dirty Birds swooped onto the main stage early in the afternoon. Arleigh Kincheloe and brother Jackson, along with the rest of the birds energized the mountain with their soulful yet funky performance fans have come to love.

    The afternoon also welcomed back Tom Hamilton to the Grove Stage with his band American Babies. Hamilton is a talented songwriter and although his presence in Thursday night’s Pink Floyd Electron set was nothing short of jaw dropping, the change of pace with the lively Americana feel to his afternoon set is exhilarating as well. Also during this time, metal rockers Brown Sabbath slayed over on the Mushroom Stage. Their frontman is as comical as he is talented, addressing the crowd as “motherfuckers” in between sets. As the name suggests, the Austin based band covers the catalog of Black Sabbath, but they do so with horns and Latin-style percussion for a unique experience both metal heads and hippies can appreciate.

    The darlings of the festival scene, Twiddle, brought a massive crowd to the Mushroom Stage mid-afternoon on Saturday. This would likely have been a massive pool party like that of Pigeons Playing Ping Pong the day before, but the wave pool was closed. No matter though as fans packed the area to witness the rising stars welcome Russ Lawton on drums and Ray Paczkowski on keys, both from Soule Monde and TAB, join the band for “White Light.” Bassist Zdenek Gubb proved himself to be MVP of the set with powerful and funky bass playing that could be felt at the very top of Montage Mountain.

    Jim Houle Photography - JRAD - Peach Fest - NYSMusic-24

    The highlight of Friday afternoon was Joe Russo’s Almost Dead. Because the Grateful Dead means so much to so many people in the community, it’s no wonder their set drew such a massive crowd to the main stage. Joe Russo and friends bring a thrilling and welcomed update to the classics so many of us have come to cherish. Their set included greats like “Eyes of the World,” “The Wheel” and a full and powerful “Terrapin Station.”

    As was the trend each evening at Peach, Mother Nature made her presence known with continuous flashes of lightening that would come with strong winds, rain and thunderstorms forcing The Lennon Claypool Delirium to prematurely end their predictably spacey yet original set. Fans took cover under the Pavilion as the first part of the storm passed overhead flooding the floors under their feet. Once passed it was finally time for the great Trey Anastasio Band to hit the stage. The pavilion, now packed with fans, housed tunes like “Cayman Review,” “Magilla,” “Gotta Jibboo” and “Money Love and Change.” As soon as “Sand” started to pick up, Anastasio was forced to tell fans to once again seek cover due to more severe weather. Once given the all clear, TAB returned to the stage to pick up “Sand” where they left off. Later in the set, Trey shared the story of how former TAB trombonist Jeff Cressman left the band to play with Santana. When Trey asked him who might replace him, Cressman suggested his daughter Natalie.  Jeff was then welcomed to the stage and the father-daughter team thrilled the crowd together during “Push on Til’ the Day” to close one of the best sets of the entire Peach weekend.

    Jim Houle Photography - Trey Anastasio Band - Peach Fest - NYSMusic-43

    Umphrey’s McGee gave the best musical nightcap of the weekend with their latenight set on the main stage Saturday night. The lightshow in the Pavilion was spectacular and the music was on point. The progressive rockers from Chicago played older songs from their catalog such as “Wappy Sprayberry” as well as a cover of Prince’s “Controversy,” a song they first covered in Minneapolis the day after the legendary singer’s death. “Puppet String” included Hall and Oates’ “I Can’t Go for That” and Pink Floyd’s “Another Brick in the Wall” teases. Fans beat on the back of the seats within the Pavilion; the sound dragging the band out for a thrilling encore of “In the Kitchen” into “Glory” and ending with a reprise of “Puppet String.”

    Sunday was the return to struggle city for many campers packing up their belongings to hike off the mountain and return home. Lines seemed to move faster and despite it being the fourth day of the festival, people were in good spirits.

    Sunday began with a special ‘Wake up With Warren Haynes’ acoustic set that featured Gov’t Mule numbers “Beautifully Broken,” “Raven Black Night,” and “In My Life.” The set would not have been complete without the delivery of some Allman Brothers Band tunes to commemorate the festival’s beginning. Haynes played “Old Friend” and “End of the Line,” two ABB songs he contributed to. Warren returned for a two-song encore beginning with Van Morrison’s “Into the Mystic” and Gov’t Mule favorite “Soulshine” to the delight of thousands.

    Jim Houle Photography - Govt Mule - Peach Fest - NYSMusic-38

    Not more than a year since the Black Crowes called it quits, founding member Rich Robinson is taking his solo career to new heights. The Rich Robinson Band performed Sunday at The Peach. In addition, Robinson was welcomed to the stage to join Blackberry Smoke and later on with Gov’t Mule.

    Blackberry Smoke is a southern rock group with bluesy guitar riffs and country music undertones not unlike that of the Allman Brothers Band. The set featured originals as well as a down home version of Led Zeppelin’s “Your Time is Gonna Come.” Robinson joined the quintet for The Black Crowes’ “Wiser Time,” in which he delivered a thrilling guitar solo.

    With Gregg Allman canceling a week prior to The Peach due to illness, a supergroup was formed to fill in the time slot he was scheduled for Sunday afternoon. The group consisted of Joe Russo, Marco Benevento and Oteil Burbridge. The trio delivered a unique set that was largely a jazz-fusion jam in which the talents played off one another with ease, a nice segue to the headlining guest packed performance by Gov’t Mule. After a few Gov’t Mule tunes including “Mule” and “Game Face” with a “Mountain Jam” tease, Rich Robinson was once again welcomed back to the stage for a Crowe’s signature song “Sometimes Salvation.” The encore included “Come and Go Blues” with Charlie Starr, Brit Turner and Brandon Still of Blackberry Smoke before Oteil Burbridge joined the stage once more to aid in Allman Brothers’ classic “Dreams,” before ending the festival with a triumphant “Whipping Post.”

    The fifth annual Peach Music Festival was legendary in its own right with world class musical acts, a stunning yet difficult venue, and memories fans would take with them for the rest of their lives. The spirit of the Allman Brothers Band was alive and well and we are happy to hear Gregg Allman is on the mend.