NYS Music 20​16

Category: Western NY

  • RoarShark Celebrate Release of Debut Album

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

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

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

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

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

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

  • Hearing Aide: Haewa “There Is No History”

    haewa_coverHaewa’s, There Is No History, offers a wide assortment of songs, encompassing a range of 90s grunge and jam band influences. Matching its meditating psychedelic album cover, Haewa sets forth a heavier side in the realm of thoughtful soundscape.

    An instantly likeable track is “Born Into the Morning Light,” which has an excellent convergence of drum and slide guitar, both of which work off of each other in a format that seems fitting as what could be part of a film soundtrack. Coming in at the #4 slot on the album this song is a track that utilizes multiple and interlocking guitar riffs that give the song longevity in repeated listens. The lyrics, “I was born in the morning light,” allot this song a hopeful outlook amidst its more serious style. Although somewhat of the black sheep song on the EP, this one definitely deserves attention as a great listen.

    “Chem Division” is a track off the EP that retains much more of the style that Haewa is known for based off of this EP. It’s a heavier jam that has a prominence of layered and unique guitar chords. Similarly related is the Black Keys/Led Zeppelin riffing of “Innovation at the Edge of Time.” This gives great credit to Haewa’s ability to likely be an excellent live show band. “No Ocean” is another fitting jam and be sure to listen to the fluttering guitar work found towards the end of the song.

    Last but not least, “Swamping,” is a key track off the EP, which displays the use of harmonica, feeding into the 90s grunge feel overall. Ultimately, Haewa is a highly guitar driven band that has a great deal of potential going forward with their future EPs, which hopefully come out frequently.

    Key Tracks: Born Into the Morning Light  Swampin’ Chem-de-Vision

    Follow Haewa on Facebook

    <a href=”http://haewamusic.bandcamp.com/album/there-is-no-history”>There Is No History by Haewa</a>

  • Lotus Completes Halloween Weekend in Buffalo

    Lotus completed a two night run in Buffalo October 29-30 with a Space Disco Theme on Halloween, complete with the Town Ballroom’s giant Disco Ball shining on a crowd who were dressed to impress.

    The room filled in shortly after Jimkata took the stage to a sold out show. Lotus followed and absolutely crushed the room and blew the roof off the place.

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    October 29 Setlist
    Set 1: Middle Road, I’ve Been a Fool (Toy Guns), Uffi, Destroyer, Bubonic Tonic>In the Bliss>Bellwether
    Set 2: Fearless, Ashcon, 128>Philly Hit>Did Fatt>128, Turquoise, Greet the Mind
    Encore: Sodium Vapor, Age of Inexperience

    October 30 Setlist
    Set 1: Nematode, Opo, Arupa>Sift>Mikesnack>Hammerstrike, Eats the Light
    Space Disco Set: Space Disco Intro Story>Snooze 4 Love>Stellar Triangulation*>Bizarre Love Triangle>Giffards Airship*, Sextant*, Ra Ako St>Life on Mars>Like a Prayer>Get Lucky
    Encore: Jump Off, Disappear in a Blood-Red Sky
    *original music written for Space Disco Set

    Check out live download here for night 1 and night 2.

  • Social Repose Performance in Rochester before Starting Month-Long Tour

    Social Repose made a stop in Rochester on November 2nd as he was making his way to Toronto to join some friends for a month-long tour. The artist/musician with a penchant for goth performed an hour-long electronic pop set on the stage of the historic Harmony House Ballroom.

    Social ReposeAs we entered the hall, we spotted Social Repose signing autographs and taking pictures with fans between opening acts. He wore his trademark feathered headdress and wings – all black, of course. It’s a look instantly recognized by anyone who has seen his YouTube Channel, which has attracted nearly three quarters of a million subscribers. Over the past five years, he has used YouTube to post hundreds of videos featuring original songs, a cappella covers, comedic skits, and performance art.

    In fact, watching him and his crew set up the stage, I felt like I was witnessing a live art installation. Multiple light towers stood behind a DJ Booth featuring a dream-catcher logo. He launched the evening with “I Can’t Sleep,” an ode to insomnia with digital tick-tock beat. A light show was timed to the rhythms, and the back-lighting emphasized the silhouette of Social Repose’s figure in full regalia as he dominated the stage.

    The local scene turned out, wearing T-shirts from alternative bands and beanie hats over vibrant hair colors. We jumped, clapped and sang along. At one point, when Social Repose thought the crowd was a little too cheerful for the mood of a particular song, he brought us down by reminding everyone that My Chemical Romance has broken up and will never re-unite.

    Social ReposeHe sang a handful of fan favorites, and even threw in a cover of a Twenty-One Pilots song. The highlight of the evening was “Filthy Pride,” the new single released on Halloween, just three days prior to the show. A warped music-box melody augments the heart-wrenching lyrics: “I should’ve known a little better / Good things never last forever / My heart in repose / I need you the most.” Winding things down, Social Repose pulled out a ukulele for “If You’re Thinking of Leaving, You Should.” This emo ballad is about setting a loved one free while yearning for her return.

    The sentiment echoed as we all parted at the end of the evening, hoping that Social Repose will make his way back to our city again someday.

    Social Repose is the stage persona of Richie Giese, a 24-year old who resides in the vicinity of Washington, DC. He can be found on multiple social media platforms, including YouTube, Twitter, and Instagram. His music is available for purchase through iTunes and Google Play.

    The day after this performance, he joined fellow musicians Say We Can Fly and Johnnie Guilbert for the Something Before Christmas Tour. Shows are listed as open to all ages.

    Something Before Christmas Tour dates:
    November 3 Toronto, ON Hard Luck Bar
    November 4 Philadelphia, PA Voltage Lounge
    November 5 Cambridge, MA Middle East Downstairs
    November 6 New York, NY Webster Hall
    November 7 Kittanning, PA Radioactive Events Center
    November 8 Lakewood, OH The Foundry Concert Club
    November 9 Pontiac, MI The Pike Room at Crofoot Ballroom
    November 10 Columbus, OH Park Street Saloon
    November 11 Chicago, IL Reggies Rock Saloon
    November 12 Burnsville, MN The Garage
    November 13 Saint Louis, MO Fubar
    November 15 Denver, CO Moon Room @ Summit Music Hall
    November 16 Salt Lake City, UT Billboard – live
    November 18 Orangevale, CA The Boardwalk
    November 19 Van Nuys, CA White Oak Music
    November 20 Anaheim, CA Chain Reaction
    November 22 Mesa, AZ Nile Theatre
    November 23 Albuquerque, NM Blu Phoenix
    November 25 San Antonio, TX Korova
    November 26 Fort Worth, TX Tomcats
    November 27 Houston, TX Scout Bar
    November 29 Orlando, FL Backbooth
    November 30 Saint Petersburg, FL Local 662
    December 1 Atlanta, GA The Masquerade
    December 2 Nashville, TN Rocketown
    December 3 Greensboro, NC Arizona Pete’s
    December 4 Freehold, NJ GameChanger World

  • Shonen Knife Return to Buffalo

    A very eclectic crowd showed up at Buffalo’s Mohawk Place on Friday, November 4th, made up of regulars, some older patrons, and some visible Japanophiles. The kinds of people based on visual looks you wouldn’t expect to be at the same show. Somehow, they all came together for quite a novelty show; a Japanese all-girl garage-pop band by the name of Shonen Knife.

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    Shonen Knife, currently made up of guitarist Naoko Yamano, bassist Atsuko Yamano, and latest drummer Risa Kawano, have had quite the long, strange history for what at first seems just like another garage band, this one just happens to be from Osaka. Since their albums got their first American release on Sub Pop records in the mid-80’s, they’ve made fans out of Nirvana, Sonic Youth, and L7, along with Matt Groening and Mike Judge. They even played some dates with Nirvana on their Nevermind tour, various festivals like Lollapalooza, Fun Fun Fun Fest, Fuji Rock Fest, and had a tribute album made for them, Every Band Has A Shonen Knife Who Loves Them, featuring underground 80’s punk acts like Sonic Youth, L7, Babes in Toyland, and the wonderfully named The Mr. T Experience.

    Shonen Knife does have a soft spot for Buffalo. Their current American record label, Good Charamel Records, is based in Buffalo and run by Goo Goo Dolls bassist Robby Takac. They also released a live DVD at the very same Mohawk place establishment from their 2009 American tour.

    When they finally took the stage, after having three opening acts, Shonen Knife came out wearing dresses looking like they were flattened disco balls, playing sparkling instruments, and going straight into their fast, tight bubblegum punk songs that left a good portion of the full crowd dancing. They hardly let anyone have a chance to take a break from the fun at the frantic pace they went on at.

    The show lasted 75 minutes, but it somehow simultaneously felt like it passed by really quickly and took forever. All their songs are around two to three minutes, so they were able to fit quite a lot in for an average set. Not to mention getting various synchronized motions during and after the songs. Hell, there was only a few seconds of downtime between the songs, with Risa either doing a quick 1,2,3,4 on her cymbals or Atsuko shouting a 1,2,3,4. What downtime there was when they talked to the audience, in the best conversational English they could muster, was spent introducing the next song, or talking about their new album, Adventure, and it’s 1970’s influences.

    I suppose this next part is expected, given most American’s common perception of stereotypical Japanese music, but the song lyrics are about cute things. Like cats, complete with a “meow meow meow” chorus line, capybaras, tangerines, and how fun roller coasters are. Dare I say, the only unpleasant thing they sang about all night was wasabi. But Atsuko said she likes it before starting to sing, so maybe I’m convinced it’s gotten better since the last time I tried it.

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    Even when the band left the stage, with the audience demanding an encore, I figured they would come back eventually. It’s a tradition at most major rock shows. But this was a small venue with everyone cramped for space, where it felt like anything could happen. So when Shonen Knife came back onstage for a two-song encore after some audience chanting, it somehow felt more earned than when it happens in an arena setting.

    For a band with a visible American cult following, along with being around since 1981, it’s was odd for me at first seeing a band with Shonen Knife’s cred playing here, one of many Buffalo venues mainly catered toward local bands. Now I wonder if they play at any larger venues here in America, if it may ruin their mystique. I don’t blame them for wanting to play in a small, cramped space like the Mohawk Place. It just makes the fun all the more infectious, which makes for a better experience.

  • Tom Hamilton’s American Babies Transcends a Reincarnation of the Dead

    When the venue space is sufficient and the sound is solid in any direction you choose to wander, there’s only one more thing you need from a show, and that’s mind-blowing music.  That is exactly what we got from Tom Hamilton’s American Babies show at Buffalo Iron Works on November 2nd.

    Hayley Jane and the Primates delivered an impressive belting opening set built for the largest stadium.  Hayley lead this group of focused musicians and commands her stage with not only a strong vocal range reminiscent at times of Nancy Wilson or the roaring 20’s but kept the audience captivated with movement, dancing and expressions.  It’s when everyone watched to see what she would do next that the power of a good lead vocalist lies.  You would expect Hayley, adorned with feathers in her hair, for the Primates to back her musically with jam grooves.

    Yet Hayley isn’t the only thing that kept us on our toes as they moved through the music adding tinges of alternative and winding back beat flairs that make us long for what’s next.  Then they played “Mama.”  Hayley strapped on a washboard and everything changed.  Bluegrass vocal harmonies between Hayley and the band ripped us open with tales of the mountains and we were immediately taken there.  Hayley Jane and the Primates is not your average jam band and will absolutely put you on a musical roller coaster through the festivals, clubs and finally drop you off in the mountains by the fire. They were an opener well chosen for Tom Hamilton’s American Babies.

    Hamilton settled the crowd in for what you may think is a set layered from his work with Grateful Dead counterparts but then something surprising happened, his music began to defy categorization.  Hamilton layered his music in a way that takes you on a trip through his own musical inspirations. Tinges of classic rock, including heavy rhythms, melodic tones and even whispers of punk made their appearance throughout his set.  Tom stated that through his music, he “delves deeper” and brings out his own musical influences.  Yes, the basis of this group may be found in the roots of jam and trance but layered throughout is a trip through musical time as we hear riffs reminiscent of everything from Led Zeppelin, to Ramones and Tool.

    Tom’s title release, “An Epic Battle Between Light and Dark” sent the audience on a tour through what Tom considered a battle not only mentally but musically as we were captivated by cool back beats and entranced by a full array of guitar solos and rhythms.  If you were looking for a Grateful Dead reincarnation, you wouldn’t quite find it here but you would find something more complex.  Tom Hamilton’s American Babies took the genre to a new level by adding his own personal experiences and influences, keeping the music relevant in order to give you a ride worth taking.  “An Epic Tour from East to West” is hitting most major cities. To find the next stop on Tom Hamilton’s ride visit their site.

  • Vibe and Direct Play Nietzsche’s

    On what felt like the first Buffalo weekend it actually felt like fall, a band from Cleveland made their first appearance at Nietzche’s on Friday, October 21st. While many other bars nearby in Buffalo’s Allentown district had people flocking in from the cold, this establishment had quite the treat in Vibe & Direct.

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    The band, made up of Doug Rab on bass, Mike Miller on guitar and electronic effects, and Danny Giannetto on drums, plays a self-described psychelectrojam dance party. It comes down to Miller playing his guitar in a blues-smooth jazz sounding style, with plenty of fast strumming thrown in, Rab bouncing around on bass wearing his lensless green sunglasses, poofball golf hat, and shirt saying “Electrolytes, it’s what plants crave,” and Giannetto throwing off drum licks like Carter Beauford of the Dave Matthews Band.

    Despite the band’s proclamation of psychelectrojam, the jam part is what stands out most. The psychelectro aspects didn’t feature in every song, they moreso enhanced, but that didn’t stop the audience there from bobbing their heads along with the sharp beats. A band engaging in lengthy jam sessions needs to know where the other members are heading, chord-wise and tempo-wise, so that the entire song doesn’t fall apart. Thank goodness these players have those skills. No matter where they were in the middle of their various jams, nobody gave the impression they were lost, nor struggling.

    The song that best epitomized Vibe & Direct’s set and style was a cover of Seals & Croft’s “Summer Breeze,” from early in the set. It started off respectable enough, channeling the same yacht rock vibe the original captures. But once the first 3 minutes of the song were up, they went on an original jam session that had you forgetting they were playing a cover. It was a shame they had to take a 10-minute break after finishing because of technical difficulties involving Miller’s computer.

    Vibe & Direct kept at it until 2 am, playing through roughly two and a half hours with an intermission. It was also the night the Chicago Cubs won the National League pennant, and will face the band’s hometown Cleveland Indians in the World Series. Miller had to make a comment that two championships for Cleveland in one year would be too much for him. They certainly kept those huddling in the cramped standing space entertained, and no doubt those listening at the bar or passing by outside could find something to like too.

  • AC/DC Brings a New Flavor to First Niagara Center

    _dsc9469AC/DC finally made their appearance on Sunday, September 22 at First Niagara Center after an extended delay because of the departure of longtime lead singer Brian Johnson. They performed a lengthy list of fan favorites. Guns N` Roses’ Axl Rose had taken Brian’s place and the reviews were mixed from fans.

    Axl treated the arena to a remarkable performance, vocally that is. He seemed to find a perfect harmony between his style and the original singers. Rose had a couple moves like his signature sway dance to make it his own as well. Rose did not dominate the show which was feared; he rather fit into the band like a missing puzzle piece.

    AC/DC really isn’t AC/DC at this point. The only original member is Angus who was really the star of the show, with his signature moves and energy, going from side to side of the stage and skipping out onto the runway with his childlike charm. He has the uncanny ability to work the crowd. Chris Slade replaced Phil Rudd and Malcom was replaced by Stevie Young. They added a new sound to the band but most people who new the original lineup just weren’t having it.

    Like always AC/DC pulled out tricks left and right in regards to special effects, including a giant blow up doll making sexual gestures during “Whole Lotta Rosie,” a giant bell lowering from the rafters for “Hells Bells” and a line of cannons during “For Those About to Rock.”

    The crowd was scattered with an array of flashing red horns that were printed with AC/DC on them. Some people were leaving the venue either by escort or the occasional police car. AC/DC has had plenty of mishaps but still manages to deliver their own brand of rock. Granted Axl killed it vocally all night and made quite the impression; the star of the night was Angus and will always be. He still carries the school boy image after all these decades and will forever remain the face of AC/DC.

  • Just the Tip is Night 1 of the 3 Day Halloween Indoor Fest at Anthology

    Just the Tip is the start of a three day Halloween event at Anthology in Rochester, NY. Kicking off on Thursday, October 27, this ALL AGES show, featuring regional bands and headliners each night for a sensational music experience.

    On Thursday, Level 7, Joe Driscoll, Funknut and Subsoil perform sets throughout the night, performing from 8:30 PM until 2 AM. Save money by purchasing the three-night ‘megaticket’ and enjoy PBR specials at Just the Tip.

    Friday, October 28 features Thunder Body, Danielle Ponder and the Tomorrow People, with Saturday night performances from The Blind Owl Band, The Honey Smugglers, and Mulberry Soul. Friday tickets are $20 and Saturday tickets are $16.

    Thursday schedule:

    Doors: 8:00 PM
    Level 7: 8:30 PM to 9:00 PM
    Joe Driscoll: 9:00 PM to 9:30 PM
    Funknut: 9:30 PM to 11:00 PM
    Joe Driscoll: 11:00 PM to 11:30 PM
    Subsoil: 11:30 PM to 1:00 AM
    Joe Driscoll: 1:00 AM – 1:30 AM
    Level 7: 1:30 AM to 2:00 AM

    Known for their high-energy live shows, Subsoil is lyric-driven live Hip-Hop music. Subsoil’s performance wields a keen edge of razor-sharp lyricism, with equal emphasis on tight grooves and furious improvisations within a funky dance aesthetic.

    Funknut formed in 2006 when Tony Gallicchio and Tristan Greene started playing together as a key and drum duo. Since then, Funknut has expanded and has been blessed to play with a rotating cast of talented musicians with Tristan and Tony as the core. In 2009, Sean McLay became a permanent member of the band holding down the low end and making things even funkier than before. In 2010, good friend Paul McArdle joined in on the guitar. Fans of improvisation, each Funknut show is different from the next.

    Joe Driscoll was born in Syracuse, New York. He performs solo, and uses recorded loops of his own beatboxing and live looping using a sampler to fuse hip-hop, reggae, soul, folk and roots rock. During 2007 and 2008, Driscoll has toured with Dirty Pretty Things, Regina Spektor, Coldcut, and The Sugar Hill Gang at events in the US and Europe.

    Level 7 (Skribe & DJ 2way) are a hip-hop duo who have been blessed to share the stage with bands such as Mosaic Foundation, Giant Panda Guerilla Dub Squad, Thunderbody, Subsoil, Sophistafunk, Danielle Ponder and TheTomorrow People, and Cha Cha & the Ndor Band.

  • Hearing Aide: Aqueous ‘Best in Show’

    It’s been almost two years since Buffalo groove rockers Aqueous released their fourth studio effort, the acclaimed Cycles. Shortly after the release, the band’s founding trio found themselves struggling to keep a pair of sticks behind the kit.  After a national search, drummer Rob Houk joined the band full time and the quartet headed into the studio. The resulting EP, Best in Show, is a four song reflection not only of the band’s time without a permanent drummer, but also a glimpse into the band’s future as Houk melts into the Aqueous groove with fluid rhythm that feels as if he’s always been here.

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    Kicked off by the infectious opening track, “Don’t Do It,” Best in Show is a shining example of how Aqueous uses time in the studio to expand on their signature live sound.  The band and producer Dan Brace of Sonic Farm Studios find a way to build depth and layers into “Don’t Do It” that surpasses the way the band already deposits the song’s structures live.

    Production on the song, as well as throughout the entire album, is thoughtful and subtle. It leaves room for exploration upon each subsequent listen.  Best in Show presents like a musical onion, revealing something new every time you listen.  It’s a theme that is present in all four tracks.  New nuances, subtle changes, and microscopic effects take some of the band’s newest songs and turns them into some of the band’s most laser focused studio work to date.

    “Underlyer” has seen plenty of stage time, but from the studio the song takes on a whole new life with a slightly different tempo. Tender and soulful, it’s one of the album’s lyrical gems.  Musically, the tune is funky while moving, highlighted by a delicious groove anchored by bassist Evan McPhaden. On keys and synth, Dave Loss creates beautiful and whimsical layers that highlight the song as its most intense yet reflective moments. Lead guitarist and vocalist Mike Gantzer explores moments of falsetto and vocally the song is a showpiece for his continued vocal growth. Gantzer continues to develop a rich, milky quality that settles neatly against Aqueous’ harder and more polished technical musical edge.

    “Random Company” and “Calling Out” although vastly different in composition, highlight Aqueous’ ability to structurally string together a variety of musical genres and styles that you wouldn’t naturally blend.  Listening to many Aqueous tracks is akin to strapping in for the front row of a musical roller coaster. It’s an ebb and flow that is reflective of the band’s moniker.  It’s a musical device that Aqueous executes with precision, keeping their sound fresh and their live shows full of astonishment to first time listeners.

    The four songs are highlighted by tiny nuggets of rightness; lyrically, musically and in its production Best in Show turns a pointed spotlight on how much Aqueous has grown in the two years since their last studio release. But more importantly, Best in Show is Aqueous’ resolve from the challenges they have faced and proves their tenacity to move forward while solidifying their line-up.

    Houk flourishes on drums.  His previous work as a studio drummer is evident with thoughtful punctuation and temperate pressure. But it is also evident that Houk, Gantzer, Loss and McFadden have wasted no time in melding together a sound that is uniform, distinct and cohesive.

    As a producer, Brace clearly utilizes his experience with mixing a variety of the band’s live efforts, including their Aqueous Halloween 2015 Dark Side of the Oz release, to the band’s advantage in the studio. He seems to be coaching them in the best ways to enhance their sound.  A nod to not only his skills as a producer, but also a nod to Aqueous for taking direction in nuance.

    Best In Show will be available through hard copy purchase starting Thursday Oct 13 and Friday Oct 14 during the Best in Show CD release party at Buffalo Iron Works in the band’s hometown of Buffalo, New York.  Digitally, the EP will be available through online services such as iTunes, Spotify, Amazon and Google Music starting Oct 14.