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Kinky Boots – Don’t Miss this Must-See Musical

Central New York theater-goers are in for a spectacular treat. Kinky Boots is a wonderful Broadway experience with performances at the Stanley Theater in Utica on September 6-8, 2016. This upbeat and popular musical won the coveted Tony Award in 2013 for Best Musical.

Kicking off this three day extravaganza, patrons who take in the first night of the event will help to raise money for the Q Center, a safe haven for the LGBTQ community, providing case management, after school hours, education awards, leadership and advocacy training.

Kinky Boots is an uplifting story inspired by true events written in a book by Tony winner Harvey Fierstein. It is a story that conveys a valuable message about friendship and acceptance. The main character is Charlie Price. His family run shoe factory is going bust and he comes up with an idea to make and sell thigh high red boots. Together with a drag queen named Lola, they conceive a plan to make these ladies’ shoes marketed for men that are referred to as “kinky boots.” In the process, these two men from very different backgrounds forge a strong friendship.

Tony and Grammy award winning pop star, Cyndi Lauper, wrote the show’s music, winning her best original score at the 2013 Tony Awards. Lauper is most famous for the ’80’s hit “Girls Just Wanna Have Fun” and brings that same energetic style of music to this production. Many shows have the audience dancing in the aisles.

So, pull on your boots and head to the Stanley Theatre this week. This production has proven to have plenty of humor and entertainment for everyone.

September 6, 2016
Hearing Aide: Ampevene ‘Rometheu’

12 minutes and 30 seconds. That’s how long it takes to listen to Ampevene’s new EP, Rometheu. But that’s not the total sum of each of the songs; it’s just one extended track!

Ampevene is a band that stemmed from Gabe Stallman’s solo project as a guitarist. Now the full band consists of Gabe Stallman on guitar and vocals, Mack Hogan on bass, Bob Morris on drums, and Ava Smith on keys, and Jeff Nania on saxophone. The progressive rock group is based in Albany, so it wasn’t too far to the studio, The Recording Company, in Esperance, NY.

It’s not clear by the song why it’s called “Rometheu,” but it is the word “Prometheus” without the first and last letter… Perhaps the song was inspired by Greek mythology?

Rometheu starts out with a rock blues that’s very guitar and bass ostinato heavy. The beginning is not in standard 4/4 time, but rather it’s written with a 6/8 feel – where the first and fourth beat are emphasized in each measure. This helps give the track a flowing groove. At around 2:47, the mode shifts into a fast 4/4, really driving the piece forward.

The lyrics are posted to accompany the track on Bandcamp, which is immensely helpful. The lines don’t seem to relate directly to one another in a story; the emphasis and poetry are behind each individual line. There are only vocals in the first quarter and very end of the song; it’s clear the music drives this track.

The crazy guitar riffs and multi-instrument improvisation are awesome and the instruments sound flawless showcasing their melodic riffs. There’s a point where there is a lack of a clear tonal center, and the band just creates a powerful wall of sound. At around 6:07, a slower groove is established without saxophone at first to allow the audience to breathe after the more intense section. It is here where the piano is high in the mix complementing the haunting guitar melodies. The experimentation with the guitar distortion, some organ sounds, and smooth saxophone is quite soothing and fun to listen to.

The coolest part of this track is the juxtaposition between musical ideas/styles. It makes the piece dynamic and engaging throughout. The slow section is immediately followed by a short, quicker ending featuring a quick line of lyrics. Rometheu is very impressive from a compositional standpoint as well as a musicianship standpoint. It’s a track you can’t help but jam along to.

Listen to it on bandcamp here.

September 6, 2016
Mike Gordon Announces Fall 2016 Tour Dates

Mike Gordon dropped 15 dates today for his 2016 fall tour. He’s playing with frequent collaborators Scott Murawski and Craig Myers along with organist Robert Walter and drummer John Kimock for the tour that hits locations in the east and midwest throughout November and early December.

The tour kicks off on Nov. 18 at the Delmar Hall in St. Louis, MO, and completes with a three-night run at The Sinclair, in Cambridge, MA.

New York dates on the tour include stops at the Town Ballroom in Buffalo on Nov. 23 and the Egg in Albany on Nov. 26.

A limited number of pre-sale tickets are available now through Thursday Sept. 8 at 5:00 p.m. After that, tickets will then go on sale to the general public beginning Friday Sept. 9. For more ticket information, visit Mike Gordon’s website.

Mike Gordon Fall 2016 Tour Dates

Nov. 18 – Delmar Hall – St. Louis, MO
Nov. 19 – Majestic Theatre – Madison, WI
Nov. 20 – Park West – Chicago, IL
Nov. 22 – Stage AE, – Pittsburgh, PA
Nov. 23 – Town Ballroom – Buffalo, NY
Nov. 25 – Higher Ground – Burlington, VT
Nov. 26 – The Egg – Albany, NY
Nov. 28 – Union Transfer – Philadelphia, PA
Nov. 29 – Lincoln Theatre – Washington, DC
Dec. 1 – Orange Peel – Asheville, NC
Dec. 2 – Cannery Ballroom – Nashville, TN
Dec. 3 – Variety Playhouse – Atlanta, GA
Dec. 9 – The Sinclair – Cambridge, MA
Dec. 10 – The Sinclair – Cambridge, MA
Dec. 11 – The Sinclair – Cambridge, MA<

September 6, 2016
Photo Gallery: Phish Finale at Dick’s, September 4, 2016

Never Miss A Sunday Showâ¢ was in full effect on September 4, 2016 – the last night of Phish’s 3-night run at Dick’s Sporting Goods Park in Colorado. Â Do you find yourself still waiting for Fall Tour? Hopefully this photo gallery can tide you over.

Setlist courtesy of phish.net

Set 1: The Moma Dance > Chalk Dust Torture, Mike’s Song > Wingsuit > Weekapaug Groove, Party Time, Bathtub Gin, Split Open and Melt, Tube > Character Zero

Set 2: Crosseyed and Painless > Steam -> Piper > Drums > Light > The Lizards, First Tube

Encore: Walls of the Cave

September 5, 2016
Jaw Gems at Brooklyn Bowl

Crashing pins, Sixpoint IPAs, and music from the future-present; Jaw Gems’ recent performance at Brooklyn Bowl was other-worldly.

The quartet from Portland, Maine created an auditory planet of heavy synths, splashing high hats and rhythmic beats; a sound akin to a lovechild conceived by Flying Lotus, DâM-FunK and Teebs. Their recently released album, Heatweaver, was featured heavily throughout the performance, bringing bowlers and fans on an atmospheric-funk adventure.

It’s no surprise that an interest in legendary producer J Dilla is what brought Jaw Gems together. Their live beat-making is a sonic journey that feels intensely familiar but also quite different than anything else. Drummer DJ Moore’s lush splash’s and high hats provide ample backing to the sonic space traveling of keyboardists Hassan Muhammad and Tyler Quist while bassist Andrew Scherzer’s buttery bass lines fuel the journey. There is an intrinsic aspect to their sound; as if they’re paying homage to their idols whilst traversing new ground and making a place for themselves.

As I was shooting, it was becoming increasingly difficult to not groove with their seamless, auditory space odyssey. “Sap Flow” began with a familiar drum beat and mysterious synths which then built into a luscious and elaborate symphony that sounded like you could swim in it. I was stoked to hear that track performed live as it’s one of my favorites from the album and perfectly illustrates the bands cohesiveness. “Party Slave” was similar in construction yet had more of a funky, lounge-music type vibe; enjoyable, danceable, laid back and very different. Jaw Gems most definitely caught my intrigue that night, I was not expecting to be so captivated by their live show. I’m excited to see more of their divergent take on live beat-making paired with drums and bass as their aural variance is very refreshing.

September 4, 2016
Buffalove Music Festival 2016: Photo Gallery

Buffalove Music Festival, held in Westfield, NY July 29-31, 2016 was another huge success, with incredible performances all around. The new location for the fourth year festival had the benefit of shaded camping, perfect for a late summer festival.

Boss Tweed and the Carpetbaggers (Mike Gantzer, Evan McPhaden, and Nick Sonricker) wearing Mexican wrestling masks, cut off jeans, and no shirts, with Evan destroying a watermelon on stage, much to the delight of the fans. David Loss later joined this now-original Aqueous lineup, but not before being encouraged to shed his shirt and shred with them.

AquaFlow (Aqueous and Funktional Flow members) combined for another memorable set, while Broccoli Samurai, Consider the Source, Pigeons Playing Ping Pong, EOTO, Formula 5 and Mister F performed their usual firebrand sets for the 716 crowd, while Jimkata had an exceptional amount of smiles in the crowd during their set.

For another year of Buffalove, a small fest for the thriving Western New York jamband fans, the great weather added to the weekend’s vibe, as did meeting up with old friends and new, including plenty of AQuaintances who packed the stage for every Aqueous set throughout the weekend.

This photo gallery is dedicated to Keith Rahaim. May he rest in peace.

September 4, 2016
Melvins Make Quick Work of the Westcott

There’s an old adage in baseball, “Get ’em on, get ’em over, get ’em in.” In other words, get the show going, keep it going and bring it on home. Washington work horses Melvins did just that on a sweaty summer Friday night at Syracuse’s Westcott Theater.

Melvins (Buzz Osborne – guitar/vocals, Dale Crover – drums/vocals, Steven Shane McDonald – bass/vocals) have been at it since 1983. When one draws the family tree of Seattle rock music, the Melvins would occupy several branches of said tree. Influential in their sound and the scene they helped forge, it is not a big leap to say that without the Melvins there would be no Nirvana.

Under the glare of red stage lights the entire show, there were no mincing words, no time wasted. The band took the stage and immediately stepped into the psychedelic wash of “Eye Flys.” The near capacity crowd entered the zone, swaying and head bobbing to the lengthy intro.

A quick segue into a hyped-up cover of KISS’ “Deuce” followed. Osborne, with his trademark mane a blur, created riffs that echoed those of Ace Frehley in his ’70s heyday.

The band ripped through a setlist from its vast catalog spanning 33 years. They are currently touring their new album Basses Loaded, an album recorded with a plethora of bassists that includes Krist Novoselic of Nirvana fame, Trevor Dunn of Mr. Bungle, Fantomas and Tomahawk and Jeff Pinkus from Butthole Surfers.

Current bassist Steven Shane McDonald, sporting a black shirt labeling his profession in KISS-style font, was front and center the majority of the show. He spent the night revving up the crowd with pure showmanship and a solid focus on the low end. If the band’s history is any indication, McDonald’s tenure in the band may be short-lived, as Melvins tend to employ more bassists than the fictional Spinal Tap did drummers. However, it would serve Osborne and Crover well to keep McDonald on board for the long haul. He brings a spirit of energy to the band that would be difficult to replace.

A chunky take on Alice Cooper’s “Halo of Flies” worked up the crowd as Osborne delivered superb riffs reminiscent of Tony Iommi. Crover’s tribal drums held the faithful captive throughout this take on the Cooper classic.

What truly captured fans’ attention however, was the appearance of “AMAZON” from The Maggot album. The song took on an epic feeling of a looming apocalypse. Osborne whirled around the stage during the instrumental parts as Crover mesmerized with more tribal beats. McDonald particularly shone during this performance. It was during “AMAZON” that the trio truly seemed to gel.

The show closed with the new dirgy bass-heavy jam “The Decay of Lying” and the equally sludgy Houdini classic “Night Goat” before giving way to the new album’s closer “Take Me Out to the Ballgame” (Yes, THAT “Take Me Out to the Ballgame.”).

As the satisfied crowd dispersed to the sounds of Ronnie James Dio singing his classic Sabbath tune “Neon Nights,” the steam rising from the worked-up crowd provided a visual metaphor for what this legendary band did to this little venue in the Syracuse art district.

September 3, 2016
KISS Brings the Freedom to Rock Tour to Rochester

It’s not often Rochester gets a massive arena rock show. On Monday August 29, the Blue Cross Arena welcomed Rock and Roll Hall of Fame members, KISS on their Freedom to Rock tour. Monday night’s show marked the first time KISS had stopped in Rochester in over 15 years, the last tour being the Psycho Circus tour.

Before KISS stepped on stage to mark their return to Rochester, The Dead Daisies warmed up the crowd. To those who aren’t familiar with The Dead Daisies, they’re a pure Rock n’ Roll band that’s featured a who’s who of musicians over the years. The current lineup features singer John Corabi, lead guitarist Doug Aldrich, bassist Marco Mendoza, drummer Brian Tichy, and rhythm guitarist David Lowy. For those unfamiliar with some of the members, John Corabi was a member of Motley Crue. Doug Aldrich played guitar in Whitesnake and Dio. Marco Mendoza worked with Whitesnake and Thin Lizzy as their bass players. Finally, Brian Tichy spent some time handing drum duties for Ozzy Osbourne and Billy Idol.

The Dead Daisies played a 10 song set which featured songs from a few different albums, including their newest, Make Some Noise. Songs like “Make Some Noise,” and “Long Way to Go” were both tracks that came from last year’s album. The band also threw in some cover tracks such as “Fortunate Son,” by Creedence Clearwater Revival. Fans who were there early seemed to really enjoy the set. The band themselves seemed to have a great time on stage together. There were guitar picks getting thrown all around the stage and out into the crowd. To cap off their set, the band invited fans to come meet them at their merchandise booth afterwards.

Before the black curtain dropped, fans heard “Alright Rochester! You wanted the best! You got the best! The hottest band in the world, KISS!” The curtain then dropped and fireworks and smoke filled the stage while Gene, Paul and Tommy were being lifted down from their center stage platform. KISS wasted absolutely no time and opened with one of the biggest rock anthems ever, “Detroit Rock City”. Complete with pyrotechnics and fireworks, KISS brought Rochester the show it’s been waiting for.

Singer and guitarist Paul Stanley told the crowd they were getting a real rock show, without dancers humping each other, no musicians playing backstage and no backing tracks. It was incredible to see a band that started in the 70’s bring such a production and sound so good.

Before playing “God of Thunder,” Gene Simmons did his bass solo. Complete with dim lights, fog and undertaker-like music in the background, Gene’s platform in the middle of the stage rose to the top of the area. Once he was lowered back down is when the audience got to see the blood spitting and famous Simmons tongue action.

Paul did most of the talking between songs throughout the night. He told the crowd that it started to feel like a circus and welcomed everyone to the show. From that point, everyone knew that the band was about to play “Psycho Circus.” The song started out with the vintage KISS logo flashing on the giant LED screens in the background. At the end, there was another burst of fireworks like many of the previous songs.

After “Psycho Circus,” guitarist Tommy Thayer took over vocals for the song “Shock Me”. During the song, since Paul Stanley didn’t have vocals to worry about, he decided to show off his guitar skills. With all sorts of tricks up his sleeves, Stanley started playing the guitar between his legs with ease. At the end of “Shock Me,” Thayer did a guitar solo that ended with rockets being shot from the headstock of his guitar. He shot one to one side of the stage and then walked to the other side and shot a second rocket in the opposite direction. Thayer then finished off the solo in the center of the stage and shot a rocket directly up in the air.

A few songs later, Paul Stanley asked the audience, “How many of you people like to lick something?” After loud cheers back, Stanley said, “Rochester you are one dirty audience,” and the band went started “Lick It Up”. This track features more “pyro” from behind the band and lasers that shot around the venue. To add to the visual masterpiece KISS creates, drummer Eric Singer’s drum kit lifted up high in the air. Following along, the rest of the band got a lift up on their own platform in from of Singer.

When the band played “War Machine,” the LED screens had a war battle animation on them which was nicely done. The video showed a dragon that blew fire and the animation was perfectly timed with the pyrotechnics that went off on stage. KISS definitely has a great production team that helps them continue to put on one of the best live shows in the world. The end of the stage went dark with red spotlights circling around the arena. When the smoke filled the stage, Gene Simmons emerged with his lit torch and spit fire. This is something that Simmons has done for many years but never gets old and seems to always get better.

The next song of the night for Rochester was “Love Gun.” Before the song started, Paul Stanley once again took to the microphone and asked how everyone was doing so far. He went on to say how the band started in NYC and how Rochester was pretty close to home. Then Stanley said, “For all the times we’ve been here, tonight I wanna be down there with you. But you have to invite me.” After that is when Stanley got on his zipline and flew to a platform at the back of the floor next to the soundboard.

With singer and guitarist Paul Stanley still at his platform in the back of the arena, he performed a chilling guitar solo with the disco ball reflecting purple lights. This then led into the song “Black Diamond.” The song kicked off as Stanley landed back on the main stage. Simultaneously, fireworks exploded and the band did their thing. Once again, Eric Singer’s platform rose in the air and two panthers were on the LED screen to each side of Singer.

The encore kicked off slowly with the KISS classic, “Beth.” The song was sung by drummer Eric Singer who came down from his drum kit and stood front and center on the stage. Behind Singer was the rest of the band who performed the song with their acoustic instruments.

After “Beth,” the band brought out local military and gave them a salute. KISS had the crowd sing the Pledge of Allegiance before continuing to talk about their goals on the Freedom to Rock Tour. With the “KISS One Nation” on the LED screen, Stanley told the crowd that they were donating $150,o00 to the heroes. Stanley went to state that “patriotism is cool” and said “God bless America, thank you.” While the crowd roared in cheers of support, KISS started to perform the Star-Spangled Banner. Again, the center of the stage rose up with the band on board and the LED screen showed the Flag of the United States on it as more fireworks went off to help celebrate.

The evening ended in KISS fashion with “Rock and Roll All Nite.” The song was paired with endless confetti being shot from multiple areas. This was the perfect way to end the show. For those who may have missed KISS, do yourself a favor and check out their upcoming tour dates. They have plenty of shows scheduled in the New England region including shows in Connecticut and Massachusetts.

KISS Setlist: Detroit Rock City, Deuce, Shout It Out Loud, Do You Love Me, I Love It Loud, Flaming Youth, Bass Solo, God of Thunder, Psycho Circus, Shock Me, Guitar Solo (Tommy Thayer), Gold Gin, Lick It Up, War Machine, Love Gun, Guitar Solo (Paul Stanley), Black Diamond, Beth, The Star-Spangled Banner, Rock and Roll All Nite

September 2, 2016
The LOCKN’ Report: Day 4

Friday night Phish served up an incredible show at LOCKN’ that looked like game, set, match for the Jam ‘Lympics. Saturday, My Morning Jacket volleyed back a set for the ages, with an almost unmatchable rock tour de force. Would Phish be able to continue the rally? In short: Yes!

The first set opened energetically with “Sample in a Jar,” “Martian Monster” and “Axilla.” With few exceptions, the set continued to build in intensity. “AC/DC Bag,” “Possum” and “46 Days” each got about as thrashing a treatment as they’ve ever been given, nearly matching the energy exhibited by My Morning Jacket the night prior. A mid-set “Fuck Your Face” was thrown in to drive the point home (“And this guitar is gonna fuck your face `cause it knows how to scream!”) if it weren’t received loud and clear already. A closing rendition of “First Tube” put an exclamation point or two on one of the most pure-rock-energy Phish sets you will hear. Before exiting the stage, Trey Anastasio held his guitar up ceremoniously, like a sacrificial offering to the Gods of rock. And lo, they were satisfied.

With that off of their chest, the band was free to close out the 4th edition of LOCKN’, Phish style. They continued more along the lines of the brilliant explorations from their show on Friday night. As on Friday, this set flowed together almost seamlessly, no breaks, no banter, just wall-to-wall improvisational mastery. Amongst a set with literally no lulls or duds, a mid-set “Twist” > “Light” combo stood high above the rest. The “Twist” evolved into a jam that saw the entire band locked in to an almost dizzying array of sound that seemed to end too soon. But it didn’t, because the “Light” that followed somehow reached deeper, soared higher and was debatably better even that Friday’s “Ghost.” They still had solid versions of “Tweezer” and it’s most-welcome partner “Tweezer Reprise,” “2001,” “Harry Hood” and one last rocker in Led Zeppelin’s “No Quarter” left in them before ending LOCKN’ with The Rolling Stones’ “Lovin Cup.” The PA blasted another Stones classic, the geographically-appropriate “Sweet Virginia,” as they festival-goers walked off the concert field for the final time of the weekend.

The day began twelve hours earlier with Hampton Road’s The Dharma Initiative and their grooving rock that swirled with flourishing keys and vocals. Doobie Decimal System, featuring Jason Crosby, Roger McNamee, Pete Sears and Jay Lane played a fun early afternoon set heavy on familiar covers like “Being For the Benefit of Mr. Kite” and “Ohio.” Twiddle returned for their second day to bring more blended jams and bopping energy. They were certainly one of the better bands at connecting the spaces between bands, both in and out of their set.

Reggae made appearances throughout the festival, whether in My Morning Jacket’s cover of “Could You Be Loved” or as an influence heard throughout Twiddle’s music. But when The Wailers took the stage, they showcased reggae in it’s purest form. Their set played like a greatest hits collection, “Get Up Stand Up,” “Natural Mystic,” “Buffalo Soldier,” “Three Little Birds,” “Lively Up Yourself,” “Exodus,” and on and on. It was all smiles under the beaming Virginia sun as fans twirled and bobbed in the midday heat.

Chris Robinson Brotherhood’s set started conservatively, with takes on “Let’s Go Let’s Go Let’s Go” and “Leave My Guitar Alone.” They continued to loosen the reins as they progressed, ending with some lengthy and rocking jams on a closing run of Bob Dylan’s “It’s All Over Now Baby Blue,” “Vibration and Light Suite” and “Narcissus Soaking Wet.” In their loosest state, they wear their Grateful Dead influence on their sleeves. Their sets will generally contain some Dead covers even, but not on this day. Which was fine, because after a short break, the stage was reconfigured and they would become the backing band for Phil Lesh.

Lesh‘s second set of the weekend would include a bit more traditional instrumentation than the first, and appropriately with a band that took pride in it’s Dead influence. Chris Robinson even came prepared in his Jerry Garcia t-shirt. After an opening warm-up with “Samson and Delilah,” the band played a bluesy one-two punch of “Good Morning Little Schoolgirl” and “Wang Dang Doodle” in order to showcase the talents of special guest guitarist Gary Clark Jr. After he left, they proceeded into a set-highlighting version of “Hard to Handle” that was both right in Robinson’s wheelhouse as a frontman as well as a great vehicle for some classic Dead jams. “St. Stephen” and a slightly rejiggered “The Wheel” featured more superb playing throughout before they closed their set with “Turn On Your Lovelight.”

The Jam ‘Lympics rightly concentrates on team efforts, though one individual needs to be recognized here. Neal Casal played in four sets over the weekend. As a member of his own Circles Around the Sun, Hard Working Americans, Chris Robinson Brotherhood and finally in Lesh’s band, his lead guitar was a central and dominating force in every instance. Truly deserving of standing on the podium to receive an individual medal.

Gary Clark Jr. finished up the daytime portion of the last day of LOCKN’. After his first solo it was clear he was holding back something during his sit-in with Lesh. He is an enormous talent on the guitar and showcased both his playing and songwriting prowess throughout a set of mostly originals like “Bright Lights,” the soulful “Cold Blooded,” and rocking “When My Train Pulls In.” Despite his skills, amongst the other acts of the weekend, this one fell a little flat as a one-sided effort. His backing band took a bit too much of a backseat with repetitive rhythms resulting in songs feeling worn and dragged out.

About the biggest surprise of the weekend was the lack of surprises. With few exceptions, bands were content to play their own sets without inviting any of the many other musicians on stage for something out of the ordinary. That said, each band seemed to be inspired by the others on the bill, and put forth gargantuan efforts. So many bands played to the top, or nearly so, of their capabilities. Just as athletes push themselves to their limits amongst the best-of-the-best, so too did these musicians. LOCKN’ put the music front and center with almost every decision. The sound system was incredible. The rotating stage was a wonder and allowed for a nearly seamless day of music. It didn’t always work perfectly as some of the bands weren’t quite ready to take the stage on time and the sound had a bit of a hiccup on the changeover. Though the fact that you could ever time a band’s exit with the next band’s entrance is somewhat incredible, and it worked more often than not. Late night and late morning options (including a near-mythical stage set in the middle of the woods) gave fans the opportunity to see music with no downtime for over 16 hours of each day. As some are calling for the festival bubble to burst, LOCKN’ has found a niche in the crowded market that sets itself apart. If they continue to concentrate on the quality and experience of the music, it could be viable for a long time to come.

September 1, 2016
Hearing Aide: Earphorik “The Boondock Sessions”

Midwestern quartet Earphorik delivers their sophomore album, The Boondock Sessions with a recognizable “live show” sound. Their signature smorgasbord of musical influences are brought to life throughout the one-take recording which was mixed and produced by none other than Jake Cinninger (Umphrey’s McGee) and Jim Leep at Boondock Studios.

From the earliest notes of the album, “The Great Break” creates a slow build reminiscent of Pink Floyd’s “Speak to Me/Breathe” which greets the listener with intrigue and excitement for what’s to come. The opening track teeters on the edge of twelve minutes of genre explorations and highlights everything from funk to jam with a touch of ska. In the second track “Root One,” Austin Robinson (guitar/vocals) and Chris Treesh (guitar/vocals) sing the lyrics “Love it ’til you want it some more” and where the first ‘root’ song of the album ends another begins with “Root Too.” As the first instrumental track of the album, “Root Too” initially focuses on Nolan Opper (bass) and Ryan Moreno (drums) and their tag team bass-drum introduction. Earphorik fans new and old will dive right into this track as Jake Cinninger, normally melting faces with his stellar guitar magic, takes to the organ and adds that extra “umph” that the song needed.

“Flush” clocks in as the longest song of the album and delivers a gritty, dark and raging jam that could lead to some serious head banging and onstage instrument dismantling during a live performance. Walls have oddly become an important topic for a certain politician party over the past several months, and “Over the Walls” reminds us that, “We just can’t seem to get this under control.” Cinninger reprises his role on keys for this track, making it one of the more sought after pieces on the album for a first time Earphorik listener. “Drift” which is heavily reggae influenced unexpectedly leads to “Kerputley,” which sounds like an entirely different genre, but spares no quality of talent.

The instrumental conclusion to The Boondock Sessions, “Ashrob I” and “II” delivers the sonic exclamation point that many jam rock albums attempt to achieve. Each member of the band gets their time to shine during the closing tracks as they once again showcase their diversity and bring something to the table for everyone. This album is as eclectic as Forrest Gump’s work resume and similar to a box of chocolates, you never know what you’re gonna get.

Key Tracks: The Great Break, Drift, Root Too

September 1, 2016