NYS Music 20​17

Category: Features

  • Hearing Aide: The Ghost of Paul Revere ‘Monarch’

    As autumn sets fire to leafy landscapes, The Ghost of Paul Revere is turning over a new album, Monarch, transitioning through the seasons with an altered lineup, but staying true to their self-proclaimed “holler folk” inclinations.

    ghost of paul revere monarchMonarch emerges Oct. 27, borne from the minds of Ghost’s three mainstays: Griffin Sherry (guitar/vocals), Max Davis (banjo/vocals) and Sean McCarthy (bass/vocals). Though the recent departure of harmonica man Matthew Young has trimmed Ghost to a trio, by no means has their sound been diminished. This album abundantly features a kaleidoscope (also the term for a group of butterflies) of instrumental contributions including drums, cello and piano.

    Thematically the songs hover heavily over heartache, with lyrics written by Sherry and Davis. Sherry’s more straightforward, relatable verses are delivered with a slight gruffness compared to Davis’ more poetically descriptive, obscure language and delicate vocals. The three musicians harmonize beautifully, adding a warmth to even the saddest of songs. Several of the songs pose questions for the introspective: “Little Bird” asks “Do your bones feel hollow? Do you tremble and shake? Do you cry when you’re all alone?” “Kings Road” ponders “What will you tell the dogs of your past? What will you tell the rest of your bloodline pack?” “Montreal” achingly offers “Are we growing apart or are we growing up?”

    Not many songs on this album will induce a stomp and clap barn dance, but the music is gripping. The musicians add weight to their lyrics through beautiful intonation, where seemingly mundane words suddenly become powerful. There is a lot of power in feeling pain. Hardship often leads to metamorphosis.

    Catch The Ghost of Paul Revere as they swing through the southern states into early November before heading up north, where they will play at Rough Trade in NYC on December 2 – be sure to keep an eye out for Monarch, released via Kobalt Music Recordings.

    Key Tracks: Little Bird, Wild Child, Monarch

  • Hearing Aide: Lespecial “Cheen”

    Scheduled for release on Halloween of 2017, Lespecial return with their first full album since 2015’s breakthrough album, Omnisquid. Continuing to forge their unique sound and amalgamate several genres, Cheen showcases the power trio’s considerable talent and innovation.

    Originally from Connecticut, Lespecial has spent several years cultivating a dedicated fanbase with a sound that cleverly interweaves psychedelia, technical math-rock, metal, electronica, and a tribal influence that feels like it comes from deep in the jungle.

    lespecial cheenThe entire album has the coherent flow of a concept album, with its many themes seeming to bleed effortlessly from one song to the next. The introductory track, entitled “Donut Ghost House 1” sets the mood with a creepy, moody instrumental that slowly builds up with a hypnotic bassline and ambient keyboards, before the somber opening riff of “Onlookers” leads to some thoughtful verses. One of the notable improvements Lespecial has made with this album is an improvement in both vocals and lyrics.

    The third track, “Jackwise” begins with a treading drum beat and an incredibly memorable heavy metal riff, followed by a catchy, funky verse. They really show their propensity for genre-bending here, as this song has elements of metal, funk, reggae,  and rock. It’s followed by “Sound That We Do (Featuring Zion I,) which begins with a Middle-Eastern influenced guitar riff that quickly supports rapper Zion I’s angry, prophetic and politically-charged verses.

    “Gallows Hill” opens with a spacey keyboard riff before dropping into a mellow, jazzy groove that takes the listener on a spacewalk. The song steadily builds as the verses are sung, then morphs into an infectious rythym as the bassline climbs and climbs. “Pentachronic” follows afterward, juxtaposing the sad, atmospheric nature of the last song with a whimsical, vibrant instrumental that manages to still deliver a high energy while sounding undeniably peaceful

    In typical Lespecial fashion, this levity is short-lived, as the aptly-named “Skull Kid” follows, shedding darkness on the listener with more Middle-Eastern influence in the guitar and a tribal drum sound reminiscent of bands like Tool. The following guitar riff is simultanously heavy and quirky, and the rest of the song plays like an ominous horror soundtrack, complete with spooky samples. “American Apocalypse” starts with a fast, funky, slappy, bassline, and continues with a sound that only be described as a cross between horrorpunk, funk, and metal. The lyrics and lyrical deliver remind strongly of Les Claypool and Primus.

    “Stolen Land” begins the process of winding the album down with a slow, trancey, reggae sound, as well as some highly accusatory lyrics before “Donut Ghost House 2” bookends the album. Lespecial’s new release, the dark, atmospheric, trippy, and over-all fun romp into the weird side of rock music, arrives just in time for Halloween in 2017, and proves that Lespecial is starting to gain some serious momentum in the music world.

    Key tracks: Gallows Hill, American Apocalypse, Skull Kid

  • Dark Honey Revamp Their Sound, Drop Single ‘Stinging Nettle’

    After taking some time to redevelop themselves and fine-tune their music, it seems like Dark Honey’s got it figured out. Formerly known as One Red Martian, the band of (mostly) brothers picked up shop from the south and reverted to their roots in Upstate NY to record and release their newly calibrated music. The Albany outfit dropped the catchy single “Stinging Nettle” as their new sound takes finally takes shape trailing a five year hiatus.

    “Stinging Nettle” is delivered to us by a trio of brothers, Ben, Jimi and Joe Woodul as well as life-long friend Dan DeKalb, with a fun pop-melody that dives into deeper meanings with its playfully vivid syntax, amusing synth and carefully articulated lyrics. In a wave of pure indie-pop-rock, the quartet delivers a blunt track filled with clear cut emotion through personal storytelling and youthful mishaps. With an artistic vision entirely their own, the foursome even direct and produce their own videos, including their other track “Driving Song,” displaying raw emotion and full-on guitar psychedlia.

    A band a decade in operation, Dark Honey has molded its unique sound and racked up a larger bank of relatable experiences to creatively share with listeners as Woodul’s vocals have the ability to master a light, airy sound in one breath and raw and gritty in another. They’ve made their way to favorite local downtown Albany venue, The Hollow, for a show back in September and the Alt ranked them third best band in Albany. Since its debut, “Stinging Nettle” was featured on Spotify’s New Music Friday as well as Weekly Buzz and the USA Viral 50 Charts.

    Catch Dark Honey at their next gig at Rockwood Music Hall in NYC on Nov. 7.

    Listen to their newest single here:

  • Interview: Catching Up with 311’s Tim Mahoney

    Next week, reggae rock giants 311 will be making their way through the northeast, in continuation of their currently underway 2017 fall tour. Tomorrow night, the band comes north to Pennsylvania to start at Sands Bethlehem Event Center, and then will hit Lupo’s in Providence on Friday and The Wellmont in New Jersey on Saturday. Sunday, October 30 will take them to none other than Port Chester’s The Capitol Theatre, before Halloween night sees the band play at Huntington’s The Paramount. Earlier this year, the band released their 12th studio album, Mosaic, which has been receiving high praise from longtime fans as one of their most creative albums yet. After a big summer tour (which makes eighteen summers in a row for the band), 311 is feeling more energized than ever. In anticipation of what should be a terrific run of shows next week, lead guitarist Tim Mahoney talked with NYS Music about the new album, practice time, Halloween costumes, and more.

    Miles Hurley: So 311 fall tour is underway with several shows so far. How are things feeling?

    Tim Mahoney: Good! We took a long enough break from summer until now, that you kind of get comfortable being at home. But once you get back out here, though, you realize it hasn’t been that long, so you just get back into it. No real dust or cobwebs, we’ve mostly been trying to get through some of these back catalogue album tracks that we did not play in the summer. You know, to just mix it up from there. This record, Mosaic, I think it was June it came out, we’re getting through a lot of that, too. Right before I called you I was just doing a little bit of homework, going over a handful of songs for soundcheck that we haven’t played for a minute. But it’s going good. Same crew and everything, so it’s like…knock on wood. Probably break both my knees or something tonight now (laughs).

    MH: Which tracks from Mosaic have been your favorite to play, or which ones have been sounding the best live to you so far?

    TM: Well, we’ve been working through most of them, I do like “Face in the Wind,” because there are a couple of guitar solos in there. You know, being the guitar guy (laughs). But they’ve all been fun to play, but it’s a challenge, because there’s a lot of material there. But it seems like most of the kinks are out of them. There’s one we have not played yet, but that might be farther down the pipeline.

    A song like “Too Late” we’ve been doing pretty much every night, and it seems to get people going. I kind of forget that there are some super metal parts, that come up in the songs all of a sudden, and if you’re not ready for them, well….(laughs) We’ve been trying to get a balance of them out there, some of the more mellow ones with the heavier ones. And when we come to the east coast, we’ll try to mix it up.

    MH: I think that’s what I like especially about the new record—it has a nice flow back and forth between the more laid back, groovier songs, and some really heavy stuff. When it comes to the heavier and the more laid back, where would say your taste, or your playing preference, lies these days?

    TM: Ooh, it’s hard for me…well both, definitely. Being a guitar player and listening to, when I was starting, punk rock and more aggressive stuff, I’ve always enjoyed that, the heaviness you can get with the electric guitar. But I also like the grooves, and funk and jam bands, I’m a Jerry Garcia fan. I’ve always enjoyed…you know like all the way back to the Bad Brains, who does reggae and punk rock together. It’s hard for me to choose one or the other, I’ve always enjoyed just playing reggae, and being a part of an ensemble playing reggae.

    But I like to kick it to the high side of the amp, too. It’s nice that on Mosaic, as you mentioned, a lot of the songs, even within the songs, are pretty bipolar, going from super clean to super heavy, I like the contrast of them. It’s fun to get to be able to play both sides with this band.

    MH: I’ve heard many fans feel this is some of the most mature stuff from 311 yet, in how many styles it weaves together.

    TM: That’s good to hear. That’s how we feel, everybody’s on the same page right now, in being inspired to play together, and to go at it like that. That makes me happy to hear that people would say that.

    MH: I also read that 311 has always been diligent when it comes to practice, and I’m sure that’s something the fans truly appreciate—the band nailing the parts in songs when the time calls for it. In terms of, on the one side, practice makes perfect, and on the other side, just going with the flow when things happen on stage, where would you say you are right now?

    TM: Aw man, yeah, that’s a hard thing because…you know, as much as you practice, you’ll never be perfect. You have to put in the time and the work, so that when you get into a situation on stage, you can let it flow, and be in the moment, and have the tools that you’ve worked on sitting there to keep you flowing. So I think it’s both, and you can only really do the work on stage on stage, basically, in front of people.

    We talk about this a lot, about the adjustments. You know, if we rehearse in the studio, it still can’t really prepare you for when you get on stage, in front of people. And there are all these other entities there, the energies and stuff, that come into play. So managing that energy and that excitement and being able to keep focused and have it flow with the music is a big part of it, too. And that just comes from time spent doing it. But to be able to survive and to be comfortable in the on stage situations, you have to spend time working. Even the greatest players that maybe don’t rehearse any more, there was a time when they did, and I still have to work at it, everyday.

    It’s so funny, because the most random things can happen up there, in different parts of the songs. So, you always try and do your best out there, but it’s different every night, and that’s what’s fun, that’s what’s exciting about it. Even the songs we play, they’ll be different from night to night.

    MH: So would you say you are still experiencing unexpected moments on stage from your band members?

    TM: Oh yeah! (Laughs) Just weird funny little things that might make you laugh. Whether it’s a new dance move from SA, or last night Chad had some light up drumsticks that were pretty cool. And as time goes on, I enjoy playing music more and more, and I think everybody in the band is on the same page there. We’re just very appreciative of the fact that we can go out there and play music.  

    MH: Have you ever considered either playing some kind of solo shows, or solo recording?

    TM: Well I’ve played with some friends bands and stuff, and recorded here and there with them, just little projects. I think eventually I will do something, because I have songs from over the years that aren’t quite right for 311. Like, although I enjoy singing, I’ve never really sang (laughs). So it’d probably be a collaborative thing, but eventually, yeah. When I get a little time to work on something like that, it’d be fun.

    MH: Something to bring the trombone in on, too.

    TM: Yes! That’s funny you bring that up, because I have been working on a little something there. I’ve been trying to figure out what song I might be able to whip it out on. My first instrument, you know, I do love it. The hardest thing, having to buzz your lips, and the wind control. That kind of stuff has been the hardest for me. But you know, I’ve got a pretty solid one octave there, so I figure I could chip away at one of these melodies, I just have to figure out what the proper one would be.

    But yea, trombone! I’m excited, I don’t know if you listen to much Phish or to Trey, but his solo band there has a really great trombone player…I’m a huge Trey fan, so it’s nice for me also being a trombone fan, that he’s got a trombonist in his band.

    MH: Yeah, Natalie. I’ve seen her in TAB and in some side stuff with other people, yeah she’s incredible.

    TM: Yeah, chainsaw! Wow, you’re lucky, see every time Trey Band comes to Los Angeles, I’m out of town, it’s been going on for years and years now. This year they’re doing Halloween out there, and we’ll be in New York. I’m such a huge Phish fan, and every couple of years their schedule and ours line up…but yeah, TAB, what a great band he’s got there.

    MH: And I also read that you’ve always been a big deadhead, too. Has 311 played the Capitol Theatre before, or will this be a debut there?

    TM: Aw yeah. I’m pretty sure this is our debut there. It’s exciting for me, just knowing so many people have played there, you know what I mean? I’m pretty sure I have some Jerry Garcia Band shows from The Capitol Theatre. It must be a stop for a lot of bands on the jamband circuit, too. I’m getting all the emails, it seems like a lot of people are going through there.

    MH: It’s a special place to see a show, for sure. Crowds tend to get really amped there.

    TM: Aw, good! Well I’m just excited to get to step foot in it. It sounds to me like a classic room, too…

    MH: You mentioned Halloween. The 31st you’ll go to The Paramount. Does 311 do any Halloween-type bashes?

    TM: Actually, it’s been so long since we’ve played on Halloween, so we’re trying to get it together. We have some ideas, but you know you’ve got five people, so things get vetoed and cut. What I thought were good ideas, I don’t want to say them, I don’t know if they have any traction anymore (laughs). But it’ll be fun, it has been a long time since we’ve played on Halloween. You know, we’re kind of procrastinators a bit, but we’ll get something good going that night. I still have to get my costume together, that’s my biggest thing right now (laughs).

    MH: You’ve got something good?

    TM: You know, I like going as guitar players, like back in the day when we were playing on Halloween all the time. I got through a lot of the obvious ones, like Slash, Garcia, Angus Young. So I’ve been toying with that, but I don’t know yet for sure…you know the thing is, everybody in the band dresses up and I go out there without a costume, I end up looking like a dilweed.

    MH: You’ve got a date coming in November with Karl Denson. Has there been any collaboration there before?

    TM: No, you know I’ve met him…because he’s played with Slightly Stoopid, right? That’s where I’ve gotten to meet up, and hear him play. And I’ve heard…Tiny Universe songs, just a couple of them. And he’s a great player, and in Slightly Stoopid, in that context, it’s great to hear him, his solos and stuff. So I’m looking forward to playing with him. But we’ve never collaborated before, that would be a fun collaboration, to have him sit in with us, if he would ever be into that. Looking forward to that. And I didn’t know he played with the Rolling Stones, too, shit. But that show should be fun, that’s a benefit show we’re doing down there. I haven’t heard much yet other than that we’re playing with him, and…I can only imagine that the band he gets together must be pretty fun to listen to.

  • Hearing Aide: Strange Machines ‘Voice of Color’

    On the week of their seventh year anniversary, New England quartet Strange Machines released their first ever full length album, Voice of Color. While some of these tracks can be found on the previously released live compilation, Cause and Effect, the crowd funded sessions created the safe space for the band to hone in on the production value at 9B Studio. Voice of Color is an album with an identity crisis, fusing together a plethora of genres and switching focus during each song in an almost schizophrenic manner. Longtime producer and sound engineer, Toft Willingham, utilized every square inch of the disc capacity, capping the album at a whopping 77 minutes and providing space for the extended jams the die-hard fans have come to appreciate.

    “Motion Picture” kicks off the album with the original progressive rock/reggae sound that revved up Strange Machines back in 2011.  Veteran keyboardist, Christian Perron, provides a mellow and jazzy foundation throughout the track that blends well with the 311-esque chorus sung by founding member Mike MacDonald.  Where tracks like “Motion Picture” and “Little Monster” will bring fans back to the band’s youth in terms of influence, “Golden Rule” displays the evolution of their sound and brings the listener to a whole different place.  The intro of the second track sounds like the outro of a Dr. Dre produced beat which dives into a catchy electronic composition highlighted by Craig Holland on bass and drummer Issac Civtello.  “Golden Rule” has been used as an improvisational launch pad at live shows for years, and at the 7-minute mark of the studio release, the band showcases some of that on-stage energy by giving MacDonald room to spread his wings on lead guitar.

    Perron wastes no time jumping into a gritty funk groove during the title track, “Voice of Color.”  As the second of three songs in a row that clock in over nine minutes, Strange Machines have already produced a longer album than most bands and we still have a long way to go.  The wordy first half of the track is overshadowed by the prog-rock breakdown in the second half, returning once again to the sound that described the band during their conception.  “Enter the Interceptor” has a Primus-like value and while it is the shortest track on the album, it has the heaviest feel.  The chilling rocker is reminiscent of the type of music Rob Zombie may add to one of his demented movies during the bloody peak of a chainsaw massacre.  Acting as the halfway point on the album, “Enter the Inceptor” is one more example of a band that is traveling many sonic dimensions at the same time.

    “Squid” is another recognizable staple that has legs, or tentacles, when seeing the band in a live setting.  Certain species of squid have the ability to fly out of the water for short distances and Strange Machines have found a way to express this phenomenon in the studio.  The approachable lyrics and hints of tribal percussion creates a smooth island sound that finishes with an unexpected tidal wave guitar solo by MacDonald.  “Armorphous” serves as the final track of the uber-eclectic Voice of Color and begins with a tight and haunting graveyard vibe before transforming into a powerhouse of danceable energy.  Stacked with trippy effects in all the right places, this soaring jamtronic piece finds the foursome momentarily channeling Pink Floyd before blasting off into the exclamation point of the 77-minute debut.

    So welcome to the Machines!  In their rookie album, Strange Machines packed six years of concepts into one piece of art.  While the track placement and flow have some maturing to do, there is no doubt that this multitalented quartet has endless room to grow.

    Key Tracks: Voice of Color, Squid, Amorphous

  • Photo Gallery: Jimkata at Buffalo Iron Works

    Jimkata‘s farewell tour saw them stopping at a sold out Buffalo Iron Works on October 20. Jimkata Nation packed the place eagerly anticipating the Friday night throwdown while West End Blend‘s opening set made sure things got started with a funky good time. Soon enough the lights dimmed, the trio took the stage and memories were made…

  • RAQ is Back: An Interview with Chris Michetti and Jay Burwick

    To many jam band fans, catching a RAQ show is like finding a four-leaf clover; it doesn’t happen often, but when it does you know you’re having a legendary day. The four-piece jam band from Burlington, VT made a name for themselves in the early millennium by touring relentlessly and creating some of the most distinctive psychedelic albums of the early 2000’s. After seven ferocious years of creating music together, the band decided to take a hiatus in 2007. Then in 2010, the band decided it was time to reunite with a show at the Bowery Ballroom in Manhattan.

    RAQSince they have gotten back together, RAQ has not toured the same way they used to. Their focus has been on shorter, more condensed runs rather than the “50 shows from coast to coast” tour model. Fans have come from all over the country for a chance to see RAQ again during these runs, and this Fall they will have another opportunity. RAQ will be performing a five-night east coast Halloween run with special guest ‘Goose’ starting on 10/31 at Gypsy Sally’s in Washington, DC. The Halloween show is being billed as “FOO-Q-AZI” as they will be mixing in material from the Foo Fighters and Fugazi, along with their own songs. From there they will play The Stanhope House on Nov. 11 in Stanhope, New Jersey, the Abby Bar at Appalachian Brewing Co. Nov. 2 in Harrisburg, PA, The Hollow Nov. 3 in Albany, NY, and will finish things off at the Arch Street Tavern Nov. 4 in Hartford, CT. I had the opportunity to speak with Chris Michetti (guitar and vocals) and Jay Burwick (bass and vocals) about their upcoming run:

    Ryan Randazzo (RR): You recently got back together again. Why did you initially take a break, and what made you want to start things up again?

    Chris Michetti (CM): We took a break in 2007 because we played together for 7 years at that point. We did 50 show tours, lived in a van for what felt like forever, and got burnt out. RAQ hit their stride in 2004-2005, then we hit a point where we were spending a lot of money, people’s lives got in the way, and we just needed a break. Looking back on it, we had no one to tell us to take a short break to just play a New Year’s Eve or big show, so we just stopped.

    We have been on and off since, and all have our own musical and life projects around the band. I like it better now because I’m not relying on it. Back then, we relied on the band, our manager, the lighting guy, our agent, etc. It was our sole source of income. It was hard relying on all that, and became stressful. We’re doing it for fun now. It takes all the bullshit away of how much money we make each night, how many people came to see us, and how we did that night.

    I remember, when we were younger, if someone missed a note we would get made at each other. Now we laugh about missing a note and joke about it. It’s almost the best part. At the end of the day we have a new attitude: “who freaking cares, we’re having fun.” It sounds silly, but we just have fun. It was so hard to do when we were young. We still had fun, but things were more serious.

    Jay Burwick (JB): It’s different when you’re doing it for fun. Now we’re just having a good time and it’s apparent in both the band and audience. We were shooting for the golden ring in the early day. Everything was focused on being a huge band and making it big. Now we get to get together with our brothers and play music to people who appreciate it. It’s such a blast to not have to worry about the end game. It’s more about music, fraternity, and having a good time. It’s also really cool to see dedicated fans who are excited about it.

    RR: Is this going to be the same RAQ on stage, or will things be changed up musically?

    CM: It will be and it won’t be. We used to call what we play “high performance rock and roll” and that’s what it is, but the attitude of having fun has made us a bit more mellow and that’s been great. We used to get compared to Phish and other jam bands because we used to come out and play a million notes. We still do that, I guess, but are more relaxed with it. When we’re on it’s super fun. Like riding a wave; there’s nothing like it. That’s the goal. I used to think we had to slow down, but really, we just need to get into a groove and do our own thing. When we first formed the band and played at parties we would do this thing where we’d get ultra-loose, and it was infections. We were having such a good time it would spread and people would be freaking out. We have hit more of those moments in the past four years than ever. It happens once every two shows now.

    JB: What he said. It’s different because now we just relax. We don’t worry about impressing anyone. We have a good time and let the music come out as it does.

    RR: What are you most excited about for this Halloween run you’re about to embark on?

    JB: I’m honestly most excited for Halloween night. The FOO-Q-AZI thing is going to be a ton of fun.

    CM: I’m looking forward to playing The Hollow. The last time we played there it was crazy loose, like, what’s going on with this place?!? I’m also excited to hang out with friends and play some music.

    RR: How has not playing together often changed the band?

    JB: A great aspect of us not playing together often is that the jamming is epic when we do get together. It’s like all the ideas flow out in the first few shows. Sometimes we rehearse and play an epic jam, then we wish we saved it for the show. The lack of jamming together has been a good thing because since we’ve played together for so long and know each other so well that when we finally get together it just explodes.

    CM: Scotty, our drummer, has become the most learned on RAQ songs. The rest of us have played them so many times over the years we’ve just gotten lazy and forget parts, so Scotty has to show them to us. With the condensed mini tours, we end up reaching points that used to take us 50 shows to achieve. The jams are so fresh. Music can get old, and I bore myself pretty quickly. If haven’t played in a while, a jam in ‘A’ becomes the best thing ever and everything feels so new. Even writing music is different. Now when I’m writing a song and making it sound good, I’m not concerned if others will like it. I just do it for myself.

    RR: What are your future plans? Will we see more RAQ after this run?

    CM: We have a record coming out soon that’s so cool. I’m really excited about this record. I wanted to create a new RAQ album for a while, but I didn’t think I had the time. Then it all just started coming together. With today’s technology, we can basically create a record on our own. We used to have to hire producers and spend a lot of money, which can drain a band. It also meant someone else had control of our destiny, which is a weird feeling. The last time we were in the studio as a band it made me want to learn how to record an album on my own. Now I have a vision, the songs are fun, and there’s an attitude of “who cares” so the raw tracks sound freaking good. We’re hoping the album will come out by February at the latest, and after that we plan on playing some more shows.

    RR: What’s been different with this album compared to past ones you’ve made?

    CM: The biggest thing is technology. You can have an idea and just do it all yourself; the drums, bass, keyboard. Then you just hand it out to everyone and it’s done. Then the band members interpret it differently, so you let go of some control and collaborate. Like, I did all the drum parts on drum a software. I could have spent a lot more time on there, but then Scotty will just practice to drum tracks he made anyway. We get to where we want to be for each part without having to explain to each other what it should sound like since it’s already there. Then he gets it, and it makes it easier to record. I wish it was like this years ago. We’re not just sitting in a room all day recording. Now we have layers, textures and polish.

    RR: What are your thoughts on the jam scene now as opposed to when you started?

    JB: It’s definitely changed, but when I go out in Denver I still see the same things. The same people seeing shows. Bands still tour the hell out of themselves to get recognition. The biggest change is how people market themselves and advertise to get people to shows. They post on Twitter and Instagram now. When you go out to see a jam band you still get the same feeling though, and you know it’s a jam band. The festival scene is very different. It’s crazy. There are groups of people who just go to festivals. They weren’t that big when we first started, so it’s very different in that aspect.

    CM: It’s changed on so many levels, but I love the use of technology. It’s interesting to see it stay the same yet change in so many ways. Musically its consistent across the board. Even with newer bands, it’s the same vein of music. If you hear jam music you know it’s a jam band, but electronic bands are where there is a big difference. With a lot of bands, the internet had brought the secret out. Sometimes there is extra hype for a show that normally wouldn’t have had any. Because of this there are new ways of navigating way to find a band, and people have to be convinced to see them or like them. The best bands I like I had to be convinced to like at first. But overall the scene is pretty much the same. If we play Camp Bisco this year, it might as well be 15 years ago. We play the same songs, get into the same hijinks, see the same people. It’s the same thing. Most changes are technological. Social media, ticketing, and sound.

    RR: What are your biggest influences for you, and how have they changed over the years?

    JB: Early on it was the Dead, Phish, Zappa; live music bands. Lately I’ve been big on the Foo Fighters. I’m psyched to play some Foo Fighters on Halloween. I love Grohl’s writing style. It’s easy to absorb. It’s also fun to have a metal vibe when I’m in a jam and just want to shred. It’s influenced me to play harder, dig deeper, and get heavier.

    CM: Everything Jay said, but I’m not as big into the Foo Fighters. Anyone who plays guitar well is a big influence on me. I love music everywhere. Sounds, production; I like it all. Sounds absurd. There are a million good guitar players out there, and many people wouldn’t recognize them if I listed them. I find a lot on social media, like Andy Wood. I find them online and am amazed. It’s fun to find new guitar players on Instagram.

    RR: What advice do you have to young bands just starting out?

    CM: The best thing is to understand business aspect of music and the music business. It’s gonna help you. Help with struggle. The struggle is real, be ready. Know the backend before booking a show. Think: how can we maximize this? Learn the deal: What you will make, how you can make it better, and understand the settlement sheet with club. If you want to make your living off music, it’s very important to understand the business and how to actually make money doing it. If you follow and understand what’s happening you can make it better. You have to rely on yourself, not the tour manager who is gonna quit in two weeks.

    JB: I second that; study business. It will bite you in the ass if you don’t have someone in the band who knows business.

  • Sydney Worthley Drops Debut Album to Positive Reviews, Earns Respect in Local Scene

    Sydney Worthley is walking down the hall before she is stopped by a friend who confesses, “I’ve had that song stuck in my head the entire day.”

    That song is “One Two Three,” an earworm off of Worthley’s own 14-track CD Strong which dropped last month through Ambassador Music Group.

    The Voorheesville teenager is aggressively pushing out into the local music scene. She’s performed several gigs throughout the Capital District in the past several months, highlighted by a show at Albany’s Tulip Festival in May and a headlining act at Jupiter Hall to celebrate the release of Strong.

    Since it’s release in September, the title track has received play on local alternative and Americana stations, including 88.3 WVCR-FM, where Worthley has already earned respect from its prominent on-air personality.

    “Her charm and poise were evident,” said Vito Ciccarelli, WVCR radio personality. Ciccarelli interviewed Sydney Worthley for his show and he said he was impressed within two minutes. “You don’t generally see that in performers that young. When she performed live, I said to myself — this is the real deal. Reminded me of Moriah Formica… just in the way she didn’t stumble, and let her knowledge and charm take over the interview.”

    In a NYS Music album review, writer Julia Wolfe describes Worthley’s writing technique as similar to Taylor Swift, another artist whose music career started in earnest at the age of 14. Like Swift, the topics in which Worthley touches upon transcend into more mature interpretations of self-awareness, love and death.

    A dedication to Worthley’s grandmothers is scribed on the front of the CD’s lyrics booklet; “two women who exemplified what it means to be strong.” Dorothy Contreras and Sherry Worthley both died of cancer within four months. The young artist took to writing.

    “After that, I had started writing about things I had experienced,” said Sydney, “and that’s what this entire album is about.”

    Shauna Worthley, Sydney’s mother, said her daughter has been determined to strike out onto the world since performing in front of her first crowd at 9.

    “Any parent thinks that their daughter is extremely gifted,” said Shauna. She and her husband decided to gift Sydney with a guitar for her 9th birthday after showing an interest in playing music. Three months of lessons were followed by a performance in front of more than 100 people at her school’s talent show. “And, [she] came off the stage bawling. She was just so happy. Throughout all of this, she just wanted more.”

    Last Thanksgiving, Sydney sat before the piano and started writing.

    In 20 minutes, she had the words down for “Better Than You.”

    “It’s No. 8, which is my favorite number,” said Sydney. The track that contains biting lyrics from a jilted lover is also her favorite. Which, perhaps, draws another comparison to Swift. “I don’t think they know it’s about them. It’s about certain people in particular. Not the entire song is about them. Sometimes little bits and pieces are about that person, and then I go off and make the song bigger.”

    In addition to the 14 songs debuted on Strong, Sydney has 18 more written down. A lyrical chain of subjects that all began with her first song “Wrong Way.” It’s a song Sydney said was initially difficult to perform in front of audiences. The last track on her CD covers the topic of bullying. She admits to once feeling like the “odd person out.” Struggling through the fear of sharing her songs to strangers helped her realize that others could relate to her words.

    “This is what I want my career to be,” said Sydney. “I want it to go as big as it can.” Writing down places to play such as the Times Union Center, “because that’s a big dream of mine. World tours and most of what other musicians want to do.”

    She already has someone in radio convinced.

    “Sydney is the whole package,” said Ciccarelli. “Amazing talent, wonderful songwriter, and an engaging young lady. Having worked with many young acts over the years, I see her achieving great things in the future.

    This article was originally published by The Spot 518.

  • Watch Jon Lewis Band’s Spooky Music Video for “Let Me Go”

    Just in time for the witching season, Jon Lewis Band created a music video inspired by classic black and white horror movies. Filmed on location in their hometown of Rochester, the monster chase includes scenes from local landmarks such as the Cinema Theater and Mount Hope Cemetery. The band used delightfully cheesy low tech filming techniques reminiscent of classic B movies from Hollywood’s golden age.

    The song “Let Me Go” comes from Jon Lewis Band‘s latest EP, Baby Brother. It’s their second release of the year. The first, Exquisite Corpse, is a contender for best local album in City Newspaper’s annual “Best Of” reader’s poll.

  • Venezuelan-American Folk/Rock singer Daniel Tortoledo Premieres “Eloise”

    Brooklyn-based Venezuelan-American songwriter Daniel Tortoledo has released his latest single “Eloise,” from his upcoming album Throughout These Years.

    Regarding “Eloise,” Daniel Tortoledo noted “When we first started putting it together with the band, I remember challenging the drummer to a bare minimum use of cymbals. Listening to the track today, I think it shows how much it can be accomplished with so little.” Daniel added “Anecdotes aside, I believe and stand behind every word in the lyrics.”

    Daniel Tortoledo EloiseThroughout These Years is Daniel Tortoledo’s first full-length solo album and was recorded in New York City and Boston, and backed up by band members Billy Herron, Cullen Corley, Chris Kyle, Dave Cole and Grant Zubritsky. “I’ve worked in different projects in the past but this one has the most meaning to me because I was able to get out of my comfort zone and hit extreme aspects of my inner self.” he explained. “I feared and loved every decision along the process.”

    Alongside the studio version, Tortoledo has shared an acoustic stripped-down rendition of the song, filmed during an intimate live session in Brooklyn shortly after the songwriter completed a string of West Coast shows.

    Follow Daniel on his website and on Spotify, Facebook, Soundcloud, Instagram, Youtube and Twitter.