NYS Music 20​17

Category: Features

  • Hearing Aide: String Cheese Incident ‘Believe’

    Those crazy kids from Colorado are it again. String Cheese Incident, one of the true pioneers of the modern jamband scene, has just released a feature length LP entitled Believe, their seventh studio produced LP and second with famed Talking Heads producer Jerry Harrison playing a prominent role.  Spawned from an intensive, full band writing session in Sedona, Arizona in 2014, the songs on this album range from simple and laid back to complex and intense, showing just how much of a range SCI can navigate through these days.

    Things pop instantly on the first and title track “Believe” with a quite funky, techno-ish groove that snakes in and out of some glossed up vocals led by guitarist/violinist/string wizard Michael Kang.  “Sweet Spot” gives Keith Moseley a chance to shine on vocals on a feel good, simple number featuring his always steady bass play. One of the jewels of this recording is “My One and Only” which masterfully mixes the band’s rhythmic cohesiveness and heartfelt lyrics over a bed of pleasant violin and acoustic guitar before abruptly transitioning into an Irish folk dance ending of sorts, reminiscent of something from Riverdance.  Along with vocal support supplied by Elephant Revival’s Bonnie Paine, it’s no surprise this song is in constant rotation on Sirius Satellite Radio’s Jam On channel.  “Get Tight” is another one of those classic SCI songs that’s beautiful in its simplicity and catchy as all get out. Although it is very similar in nature to “Sweet Spot,” both songs elicit a relaxing, summertime vibe that would seem to fit perfectly in a first set when played live.

    The following track, “Stop Drop Roll,” quickly changes things up and represents one of the true “dance” tracks on the album with evident elements of Daft Punk and Talking Heads (see: Harrison, Jerry).  This one seems to be heavily influenced by the rhythm section of Michael Travis (drums) and Jason Hann (percussion) which would make sense as they comprise EOTO, an established EDM act that is no stranger to late night festival sets.  “Flying” is really the only track that gives guitarist and founding member Bill Nershi a chance to take center stage and has a somber yet airy feel to it. “So Much Fun” gives keyboardist Kyle Hollingsworth a turn on lead vocals and has so much of an 80s pop rock classic feel to it that you almost expect Huey Lewis to jump in and sing a few bars.  And perhaps no other track on Believe serves as a better example of the band’s current sound than the last one, “Beautiful.”  Already well established in the live setting, this song meshes String Cheese Incident’s signature sound texturing and heartfelt, joyous, lyrics all while being powered by an infectious electronica-type groove.

    Overall, this album does a nice job of keeping the listener engaged and mixing up different sounds and styles almost track to track.  It showcases the band’s musical chemistry that comes from decades of playing with one another and a simple yet heartfelt songwriting approach, serving as a great example of both the band’s history and their current sound.  This is a recommended purchase certainly for any SCI fan, but also for anyone who may be out of the loop and is curious what these rockers from the Rockies sound like today.

    Key Tracks: My One and Only, Beautiful

  • Hearing Aide: Kolby Oakley ‘Where Would I Be’

    Several years ago I had an opportunity to see a local young man open for Parmalee at Toby Keith’s.  Impressed by his talent, I made a point to speak to him that evening as I noted something unique about him.  Fast forward two years later and color me pleasantly surprised to have his new EP Where Would I Be come across my desk to be reviewed.  After listening to it, once again I noted that unique quality in his work that makes him stand out amongst the crowd. Kolby Oakley, a 22 year old country musician, hails from a musical family.

    Although he is young in years, his experience is that of years of musical influences.  His father, Steve Oakley, sings, his mother, Kim Oakley, plays bass, and his uncle Craig Oakley, is well known for performing with both The Beach Boys, and Bob Hope.  Playing alongside his folks throughout the years on drums, he taught himself the guitar, and after loosing his great Grandmother in 2007, he began writing his own work.  A wonderful musician, it’s his writing that stands out to me.  Kolby has a gift of story telling.  His descriptive lyrics place you in a frame of mind of the characters he sings of and transports you to the moments in which they reflect.  This was evident as I began to listen to his four-song EP that is being released this week.

    The title track, “Where Would I Be,” paints a story of those influences throughout the years that shaped the person he sings of.  This upbeat song, gives thanks to those moments and the reflective journey taken to arrive at the destination of today.  The next track, “First Kiss,” slows down the tempo, but not the momentum of this EP.  Kolby’s knack of writing mimics that of a novel writer, giving your senses the touch, taste, smell, and flavor of the moment, making this track somewhat sensual.  My favorite track however is the third, “Keeps Me Coming Back.”  Perhaps it’s the fun Caribbean flare of toes in the sand, sun on your shoulders, beer in your hand that come across and pulls me in on this number.  The final track, “Counting On,” is my next favorite. The consistency in his writing once again draws you in and takes you on a journey of heartbreak, loss, and coping. It floors me that at only 22 years of age, this young man, has the soul of a seasoned country  musician.

    I highly recommend catching Kolby Oakley this weekend at his EP release party, in Binghamton at Touch of Texas. Doors open at 6pm and tickets can be purchased both online and at the door.

    Key Tracks: Keeps Me Coming Back and Counting On

    https://youtu.be/RTdXHgiSVug

  • Melissa Etheridge Returns to Paramount Hudson Valley with a Big Sound

    In less than a year since making an impressive solo performance at Paramount Hudson Valley, Melissa Etheridge returned on April 29 with her full band for another appearance at the historic theater.

    EtheridgeIt was a night filled with some of her popular tunes and several off of her 2016 release, Memphis Rock and Soul, including her take on venerable blues/rock staples from the likes of Albert King, The Staples Singers, and Isaac Hayes among others. The room felt electric from the moment Etheridge stepped on stage with one of her several Ovation guitars in hand, receiving a standing ovation from the crowd even before striking the first notes of “Angels Would Fall.”

    Last year Etheridge made a solo appearance at the Paramount, at times creating a one-person band set against a backdrop of a dozen or so guitars including a new bass she picked up at Division Street Guitars (right around the corner from the theater). This time with a full band the musicianship on stage from everyone was excellent, with plenty of warm-hearted anecdotes to fill the time between songs.

    Her show felt like a tribute of sorts to the Memphis blues and rock and roll songwriting, often citing Stax Records artists as inspiration while introducing the songs off of her latest release. Combined with her showmanship, Etheridge’s rich tenor  vocals validate the authenticity of her take on those songs and the style.

    Although she didn’t pick up a guitar at the local guitar store around the corner from the Paramount as she did last year, Etheridge expressed a bit of gratitude and appreciation for the venue and the city of Peekskill.

    With Etheridge’s trend of releasing a new album every few years, it’s likely just a matter of time before she is welcomed back to the Paramount with open arms.

    Setlist: Angels Would Fall, Similar Features, Any Other Way, I Want To Come Over, Fearless Love, I Want To Be In Love, Respect Yourself (People Stand Up), Hold On I’m Coming, Born Under A Bad Sign, Chrome Plated Heart, Come To My Window, Bring Me Some Water, I’m The Only One->Rock Me Baby->I’m The Only One

    Encore: Like The Way I Do

  • Hartley’s Encore: Albany’s Newest Funk Band

    Albany has a new funk band in town and Hartley’s Encore is a can’t miss show. Twice this spring I have been floored by the high energy funk originals and covers that have kept bar stools empty and the club floor full. A lineup of veteran musicians from around the Capital District, Hartley’s Encore is led by Luke Malamood on keys and vocals, backed by what he accurately refers to as ‘Albany’y Best Rhythm Section’ in Andrae Surgick on drums (and occasionally Mike Gilet) and Josh Gordon on bass. Co-founder Chris Oliver on guitar opposite Jeff Nania on saxaphone (and on some nights like this evening at Parish Public House, joined by Phil Chow on trumpet) completes the five/six man group, a welcome addition to Albany’s stellar music scene. Go see this band!

  • Hearing Aide: Lotus ’86 Revolutions’

    From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the post-rock electronic jam band decided to share a live compilation album fresh off the heels of their recent journey. Titled 86 Revolutions, the 14-track release brings listeners through live takes of tracks pulled from the five-piece’s Eat the Light and Build, as well as dug up songs from Lotus’ developing stages as a group.

    “We had a new soundboard for this tour, and the multi-track sources sounded great,” said bassist Jesse Miller, who selected each track and mixed the album. “We release all of our shows, but this was an opportunity for me to spend extra time mixing to expose all the layers that build the Lotus sound.” Group improvisation is the name of Lotus’ game and Miller plays a solid hand in highlighting that through the albums construction.

    We’re welcomed into 86 Revolutions by percussion on “Debris” as Disc One introduces listeners to six tracks of high-energy jamtronica. The entire album can be found via Bandcamp, where more information is listed on track performance date, artist collaborations and more. Proven to be a solid inaugural track with tantalizing guitar, “Debris” is sure to get you grooving by the time Eat the Light track, “Anti-Gravity” ft. electric soul artist Oriel Poole, kicks in. Performed in Ohio, Poole’s soft vocals and lyrics of “You’re my anti-gravity, hold me so I don’t float away,” pair nicely with the spacey jams that help keep the dance mentality alive. At 7:30, the track’s sound takes a turn as it relies heavily on drums and keys until an ultimate fade out transitions into Nomad’s “Livingston Storm” from the very same gig. Loud cheers from the fans can be heard just before the five minute mark until tempo begins to pick up, slow down and do it all over again before closing out the track.

    “Sleep When We are Dead” comes as the first vocal-heavy choice, executed by the band members themselves with breathy vocals, a catchy “Surf Rock” chorus and clean guitar with warbling effects. Lyrics describe grabbing life by the horns, living in the now and of course an allusion to the age old saying “I’ll Sleep When I’m Dead.” Highlights from the first half of the release come in “Expired Slang,” which hails from the instrumental-heavy group’s outrageous performance at the 930 Club in Washington, DC. Hearing the track that’s never been included on a studio album through the buds of earphones and computer speakers does, in fact, do the song justice–which only makes one wonder how impeccable it sounded in person. The recorded take relinquishes zippy synth/keys and heavy electro-funk to end on a powerful note. Disc one’s closing track treats fans to another round of pleasing vocal harmonies and percussion breakdowns with lyric-heavy Eat the Light’s “When Our Nerves No Longer Twitch.”

    The second disc leads with a “Slow Cookin” sandwich, pieced between funky “Neon Tubes” Part 1 and 2 on each end. Recorded during their Aspen, CO gig, Greensfield begins to explore unique time signatures at about a minute and a half into the track. “Slow Cookin’” keeps things rolling with cymbal crashes, drum solos and percussion teases as the sampler and synthy vocals get ample attention. “Neon Tubes” rolls back around, transitioning in with whirling sound effects on the dance heavy song. Guitar harmonies and mastery on “The Opus” instantly draw attention inward for the track that was recently performed for the first time ever at the famed Port Chester Capitol Theatre.

    Quite possibly the cleanest sounding tune from the compilation, “The Opus” is another first-time studio album cut. “Rà-Àkõ-St,” originally by Lindstrøm’ and the first cover included on 86 Revolutions, outwardly appeals to the more electronic side of Lotus. The track is played in a triumphant key, as its improvisational volume and speed bounce from high to low and slow to fast. “Blacklight Sunflare” follows, with exploration of diverse sounds and elements, giving a more progressive rock feel to the album. The second and final cover comes as an ode to Talking Heads with a 9-minute “Moon Rocks,” originally off of 1983’s Speaking in Tongues, complete with David Byrne-esque voice inflection and new wave tendencies.

    86 Revolutions wraps up with an 11-minute “Umbilical Moonrise” off of 2003’s Germination, sure to send long-time fans into an extreme state of bliss. Appropriately placed as the ultimate tour closer, the track was the first to ever be penned by Lotus, giving a “full circle” feel to their start as musicians and conclusion of a triumphant tour. It’s fitting for a calm and reflective song, giving listeners time to unwind and reflect on the 86 day journey Lotus embarked on and condensed into 14, carefully selected tracks.

    Key Tracks: Anti Gravity, The Opus, Blacklight Sunflare

    Disc One

    1. Debris  8:39  
    2. Anti-Gravity feat. Oriel Poole >  10:22
    3. Livingston Storm  13:26
    4. Sleep When We Are Dead  6:12
    5. Expired Slang  10:56
    6. When Our Nerves No Longer Twitch  6:10

    Disc Two

    1. Neon Tubes Part I >  6:26
    2. Slow Cookin’ >  7:47
    3. Neon Tubes Part II  4:19
    4. The Opus  9:17
    5. Rà-Àkõ-St  7:20
    6. Blacklight Sunflare  7:52
    7. Moon Rocks  9:01
    8. Umbilical Moonrise  11:40

  • Hearing Aide: Matthew O’Neill’s ‘Trophic Cascade’

    Underwater Panther Coalition, an emerging record label with a mission to take care of our Earth, recently released Matthew O’Neill’s LP Trophic Cascade on May 5. This debut LP features O’Neill’s single “Louisiana” released in March earlier this year in support of Earth Guardians.

    Currently living in Upstate New York, O’Neill was raised in Pennsylvania and spent much of his time immersed in the Eastern Woodlands. O’Neill’s musical inspiration and style is drawn directly from his relationship between modern life and his exposure to the indigenous lifestyle. Half of all profits from the record sales are to be donated to frontline earth protection groups and more specifically to conserving indigenous rights.

    O’Neill’s perspective of the world is drawn from varied experiences that can be heard throughout his LP as he channels these contrasting lifestyles into music. Trophic Cascade is composed of fourteen tracks that experiment with sounds from a broad range of music genres. Styles such as psychedelia are prevalent during “1000 years” and the mountain styled music peaks through on songs like “Golden Boy” and “Relaunching.”

    Other songs on Trophic Cascade include elements of Americana, rock, folk and soul. “There You Go Again” features a horn section while “Break Stride” embodies a toe-tapping and fun upbeat rhythm. Each of these fourteen tracks embodies another emotional message and strives to build the bridge between activism and action.

    Whether or not you are an avid tree hugger is not integral to be a fan of O’Neill’s music. The sincerity within his music shines through as it goes hand-in-hand with his message of appreciating and protecting our world’s natural beauty.

    Key Tracks: Louisiana, Ain’t No Way, Relaunching

  • Hearing Aide: Jocelyn & Chris Arndt ‘Go’

    As much as we’ve seen styles change over the past few decades within our current blues genre, it’s frustrating that many of the blues creators we see don’t vary in general characteristics. In an older, mostly male-dominated blues world, there seems to be few oddball types of pioneers that redefine the ‘modern’ blues genre, that possess elements of instrumental mastery as well as superb songwriting chops. More specifically, there just doesn’t seem to be enough young people in the blues genre whatsoever.

    As early adults and siblings, Jocelyn and Chris share a creative blood. They are unapologetic with their entrance into listener’s speakers in their recently-released sophomore album, Go. Chris Arndt is a powerful songwriting force on all twelve tracks of the album, delivering piercing guitar riffs that are precise, yet purposefully sluggish as a means to flirt with his listeners. Many of his melodic lines are the forefront of song creation, that can be especially noticeable in songs like “History” and “Red Stops Traffic.”

    Only to balance the sound (without overshadowing the existing space) is Jocelyn Arndt, whose lyrics paint several pictures we can all relate to, in tracks such as their uplifting ode to dreams “Footprints on the Moon,” and desolate lullaby “Bad Business.” More apparent than her story is Jocelyn’s extroverted voice, that commands the room by presenting listeners with a delicate, soothing head voice to contrast an assertive, powerful chest voice, and then back, with a complete sense of ease and elegance.

    While they have the support of a full band on this album (occasionally featuring members of Gov’t Mule and Kung Fu), Jocelyn and Chris maintain a unified sound that doesn’t need any backing. They have the freedom to do this by choice, and only being in their early stages speaks volumes as to what their future may bring for blues music, both as performers and songwriters.

    While their tour is nearing its final stops, Jocelyn and Chris will make one more visit to New York on July 6 at the Mercury Lounge. You can buy tickets and follow their happenings on the artist website.

    Key Tracks: Footprints on the Moon, Red Stops Traffic, History

  • Hearing Aide: Julia Felice and The Whiskey Crisis ‘Devil On Your Back’

    Julia Felice and The Whiskey Crisis, a rock group from Ithaca, have just released their second album Devil On Your Back. The album contains 11 tracks, and has a listening time of 44 minutes. Their tunes have an alternative, bluesy sound, and the album as a whole is more focused than their first, titled “Diving For Falls.” The group’s individual style is more refined on this record, as well, but the tone of their music can get repetitive.

    Julia FeliceThat being said, the tracks on Devil On Your Back do feature some variety.

    “Help Me Break,” the 6th song on the album, is sultry, soulful, and holds a slower rhythm than some of the other tunes. Julia Felice, the lead singer of The Whiskey Crisis, has a deep, raspy voice that is well complimented by the instrumentals this group puts out. “Help Me Break” showcases that factor in a different light. “Denim,” the shortest song on the album, exudes a funky, old school vibe, while “Waste” is one of the few upbeat tunes on the record, holding lots of feeling and spirit.

    The classic sounds that Julia Felice and The Whiskey Crisis produce are strong, much like the stage presence the members hold, which can be demonstrated below. Julia Felice and the others exude focus and passion when performing, which is magnetic. They seem to be an entertaining group to watch if looking for an entertaining night of live music, producing Devil On Your Back for those who enjoy timeless tunes.

    Key Tracks: Help Me Break, Denim, Waste

  • Rochester Music Hall of Fame Honors 2017 Inductees

    Last week Rochester honored six people who contributed to the local music legacy. In a ceremony held at the iconic Eastman Theatre, The Rochester Music Hall of Fame 2017 inducted blues man Joe Beard, classical composer Samuel Adler, pop star Gary Lewis, jazz trumpeter Lewis Soloff, radio DJ Roger McCall, and Penny Arcade owner Greg Sullivan. Highlights of the evening included spectacular performances by honorees and distinguished guests David Clayton-Thomas and Paul Shaffer.

    The first inductee was the legendary Joe Beard, born in the 1930’s to sharecroppers in Mississippi, he grew up immersed in the musical heritage of the delta blues. He migrated north and settled in Rochester, where he married and raised four children. In his lifetime, he has played with the likes of Muddy Waters, BB King, and Son House. On this occasion, he performed with his sons, Chris and Duane. They played a trio of songs from his extensive catalog of music, including “Don’t Know Why.” Joe stood center stage, his cherry red guitar a stark contrast to his dark suit, while his sons stood behind. At one point, they took turns soloing on their guitars, playing with as much comfort and ease as a friendly conversation.

    Next up for an award was Samuel Adler, a distinguished composer and teacher, with more than 400 published works to his name. Adler taught at the Eastman School of Music for three decades before relocating to New York City to teach at Julliard. His “Piano Quintet for Piano and String Quartet” was performed by Upton String Quartet with Yi-Yang Chen on Piano. The piece starts slow and lamenting, bursts into discordant notes, then finds triumphant harmony. It is a shining example of Adler’s adept skill as a composer, and why he is highly sought after for commissions.

    Gary Lewis took the stage, sidestepping his way to the mic. His natural ability at showmanship comes from growing up in the entertainment industry, taking the stage at an early age with his father, Jerry Lewis. Gary made a name for himself in the 60’s with his band, Gary Lewis and the Playboys, with rapid-fire hits that bumped bands like The Beatles down on the charts. Gary Lewis met his wife at the Eastman Theatre twenty years ago, and has lived here since. They still tour actively around the world. Tonight, they performed rousing renditions of their greatest hits, including “This Diamond Ring,” which had audience members dancing in their seats.

    The intermission was also a to-do, with performers and local music legends like Lou Gramm meeting with attendees in the hallways to chat, sign autographs, and share a “Kodak moment” with their fans. The second half of the night was more somber, with posthumous awards given to members of the local music community who we have lost.

    Lew Soloff, most notably known for his work with the band Blood, Sweat & Tears, spent part of his career teaching at the Eastman School of Music. His daughters accepted the award on his behalf. Paul Shaffer and David Clayton-Thomas also made the trip to Rochester to help honor their longtime friend. Paul carried out Jimi Hendrix’s “Little Wing” on piano, then took to the organ to accompany as David Clayton-Thomas played a trio of Blood, Sweat & Tears songs, starting with “Spinning Wheel.” He also sang “God Bless the Child,” a song originally done by Billie Holiday, which he said Lew had encouraged him to tackle. He ended with “You Make Me So Very Happy.”

    Roger McCall, the beloved radio DJ known by the alias “Unkle Rog,” worked for over 30 years at WCMF, making him the longest-running DJ at a single station. He worked the graveyard shift, and featured local artists, helping to cultivate the local music scene. Unkle Rog was taken from us in 2003 in a tragic act of violence. His wife and his son accepted the award. A tribute song “All Night DJ” was composed by John Akers. The jazzy number was performed by Akers on vocals and piano, Paul Akers on Bass, Erik Welsh on drums, Andy Calabrese on Keyboards, and James Richmond on Saxophone.

    The final inductee was Greg Sullivan, owner of local venue The Penny Arcade. The nightclub featured live music, bringing in major rock stars like Iggy Pop, Greg Allman, and Huey Lewis & The News. Sullivan also mentored local musicians, providing a place for them to hone their craft and grow a following. The club has been closed for seven years now, and Sullivan passed away in 2014. Sullivan’s wife accepted the award. A tribute song “We’re Rockin’ at the Penny Arcade,” was composed by James Richmond, Mike Gladstone, and Rob Smith. The rocking number was played by Smith and Phil Naro on vocals, David Cohen on drums, Ron France on Bass, Gladstone and Donnie Mancuso on guitars, Will O’Riley on keyboard, and Richmond on saxophone.

    The finale of the night was a tribute song “You Shine,” written by Jeff Cosco in memory of Greg Sullivan and Unkle Rog, and played in homage to the legends by Cosco on vocals, Mancuso, Gladstone, and Joe Chiappone on guitars, Bobby Bond on drums, France on bass, and Andy Calabrese on keyboards.

    All of the performances of the night were supported by the Hall of Fame’s house band, Prime Time Funk. The Rochester Music Hall of Fame is a non-profit agency, and this program was made possible by a host of local patrons and advertisers. For more information about the Rochester Music Hall of Fame and past inductees, visit www.rochestermusic.org.

    Photos by Battista Photography

  • Interview: Life Of Agony’s Joey Z and Alan Robert Talk Touring, New Album, and More

    On April 29, Life Of Agony played their 3rd show of their spring tour at The Chance in Poughkeepsie, NY in support of their recently released album A Place Where There’s No More Pain, their first album in 12 years.  Before another kick ass performance from the Brooklyn metal veterans,  I was lucky enough to sit down with lead song writer and bassist Alan Robert, as well as guitarist Joey Z.

    Joey Z

    We sat down and discussed topics such as playing overseas, other bands they hope to play with, and the recording process of the newest album.  They also shared some advice and opinions on how new bands can get their start.

    Check out the full interview in the video below:

    Here is some of the interview transcribed:

    JS: I see last night you guys played the hometown show in NYC. How did it go?

    AR: Great.

    JS: First show of the tour right?

    JZ: Actually no we played Boston the previous show, but last night was the record release party. But the previous night was album release party. But the night before was a warm up show in Boston. SOLD OUT. Packed house, did a lot of driving, but otherwise it worked out great, got warmed up, had a great night last night and really killed it. Now we are at the Chance tonight and we are gunnakill it again.

    JS: Yes, so now that you’re doing a small tour out here in the east coast, I gottaask, you go some overseas shows coming up, and did some overseas shows last year, how are the crowds different between and Europe?

    AR: It’s weird. Its like over the years things have changed in the states a lot. Scenes die out, clubs close down. In Europe, it is as strong as it ever was.  Sometimes we go over there, people are camped out in the rain and go there just to experience the music.

    JS:  Yea like Gene Simmons talking shit that rock is dead, but that’s not the case in Europe.

    JZ:  Yea, Eurpope still has that same feeling that it had fucking 20 years ago, so it really hasnt lost that heart.

    JS:  I was watching you guys on YouTube playing in front of these fucking huge crowds in Europe. It’s so bananas.

    AR: And the thing is too its different types of music.  Like hip hop bands, alternative bands, death metal bands that all play all the same stage.

    JZ: Yea they’re blending the genres out there, blending them all together.  So you get the chance to play with David Bowie, and Journey, then on the same bill you could have Lamb Of God or something.

    JS:  You guys kind of did the same thing over here with Tsunami Fest (Reading PA) I was there, and Body Count and Wu Tang played the first day and you guys and Madball played the next day. That was a good fucking blend of hardcore and hip hop and it was my first LOA show.

    JZ: Awesome, it seems America could pick up the ideas or traits of the European music scene.

    JS: Maybe someday.  I feel like bands tour in packages and festivals.

    JZ:  Well the buisness has changed alot in music so thats caused a lot of these promoters to put bigger packages together to get more people to get away from the computer and step outside their house and make an effort to go see their favorite bands instead of sitting around in their underwear.

    JS:  Do you guys have a wishlist of bands you want to play with?

    AR:  The original Misfits.

    JZ:  Ah that’s a great one.

    AR:  That would be a dream.

    JZ:  I think it would be great for this band to play with Soundgarden.

    JS: YESSSSSS. One of my favorite bands.

    JZ:  I think we would work really well with them.  Think both bands would go really well together.  Misfits would be great cuz that was our favorite band growing up.

    JS: Soundgarden is working on new material and touring.  So it will be cool to see what Chris and Kim come up with. Now before you guys hit the stage, do you guys have any pre rituals before you go on stage or do you have any warm up music you listen to get psyched up?

    JZ: It depends. Like in Europe, we find ourselves in the dressing room listening to music.  It depends on the room too.  If we’re in a room like this, there’s not much vibe. So probably try another room.  Or decent place thats comfortable with couches and we will listen to a Soundgarden, or a Sabbath, or throw on some music to get those musical juices flowing.

    JS:  So what are you listening to right now? Like in the car or gym.

    JZ: “A Place Where There’s No More Pain” (Laughter) It’s in my CD player in my car.

    JS: Hey I cranked it all the way here.  I love it.  So let’s get into it right now.  It’s been years since “Broken Valley”… what was it like to finally get back in the studio again? Was it different?

    AZ:  It was completely different from any other record we’ve made.  For the better.  We were more focused.  We were very concentrated on the performances.  To get the best from each other.  It was awesome.

    JZ:  Almost like isolated performances.  We worked with Matt Brown.

    JS:  I know Matt Brown.

    JZ:  He plays with Pale Horse Named Death (Sal Abruscato’s other band)

    JS: That’s how I met him.

    JZ:  We did it like Alan said, more each person had a focus.  And Matt took the time to work each person on their own to mix it.

    JS:  The mixing is FANTASTIC by the way.

    AR: He would love to hear that.

    JZ:  He’s gunna hear it. So yea Matt was an integral part on how the record turned out.  The way it sounds, the way it turned out, the performances on us, Matt pushed all that to get that done.  I give him a lot of credit for this.

    JS: I think it’s cool that you guys decided to stay in house with Matt instead of getting a Rick Rubin, or a Brendan O’Brien. You guys stuck in house, and say this is the guy we want, this is the guy who knows us best.  I find that an awesome approach.

    AR:  We almost did the exact opposite of what we did with “Broken Valley” every step of the way.

    JS: Like major label.

    AR: We did the major label, big time producer. Greg Fidelman fantastic, he worked with Metallica, Slipknot, worked in big studios, sunset sound, where they did Led Zeppelin drum tracks.  We totally went stripped down on this record.

    JZ:  This record is different.  We really utilized all of our assets around us.  All the studios where we know and we’re comfortable with.  And it worked out cuz hey listen, there’s more than one way to skin a cat and get it done.  We were actually able to turn out and make a great record with our own little chemistry on how we were gunna do it.

    AR:  Plus our schedules.  We all have other things that we we’re doing.  So scheduling stuff was a lot easier to do one-on-one with Matt, versus trying to get everyone there all the time.  It was really cool.

    JS:  I see you guys spent years apart, then got back together.  During this time between the last album and this album, you guys all had other bands and projects. Sal had a band called A Pale Horse Name Death

    JZ: Yea.

    JS:  I love both of those fucking albums, I was lucky enough to catch them, and now with this album I hear a lot of doom and gloom, very dark and gritty compared to the others.  Did Sal’s time in Pale Horse have an influence and with Matt Brown, did they influence on the direction of the dark sound this album has?

    JZ: I would say absolutely.  Because Sal brought a shit ton of rifts to the table.  We’re all guitar players in this band.  I always say we got four guitar players in this band, so there’s not like “oh Joey is the guitar player, he has to write the rifts.”  It’s not like that.  We all contribute to the pot.  Sal had a shit load of rifts to offer for the band and that’s why you hear a lot of that sound you were talking about.  And it’s cool cuz now you hear Mina sing over those rifts.  So I feel my job in the end as a guitarist, is kind of making those my own.  Make them my own so when I record them I make them my own.  It’s me.

    AR:  He’s a machine.  I don’t know how he does it.  He can do like six guitar tracks that sound exactly the same.  (Laughter)

    JZ: Thank you.

    AR: It amazing.  And that’s why the record sounds the way it does.  Because everything is so precise.  Everyone spent the time to hone it in.  Really make sure we got it the way we want them.

    JS:  My two favorite tracks from this album are, umm I really love, “Meet My Maker,” and I absolutely love “A New Low.”

    JZ: “A New Low!” Me too! That’s one of my absolute favorites!

    JS: That’s fantastic! Now, that I’ve just said my favorite tracks, what other tracks are you guys most proud of, or what’s your favorite track on the album?

    AR: Ahh, I would say “The Dead Speak Kindly” is my favorite.

    JS: Okay.

    AR: Umm, and probably,” World Gone Mad.”

    JS: Yeah, the video was awesome by the way.

    JZ: I keep jumping around, umm, because I listen to it a lot.

    JS: Yeah.

    JZ: And I keep flipping. I love “A New Low,” every time that song comes up…

    JS: Yes! That song speaks to me.

    JZ: It’s my favorite! But then honestly I’ve been really hot lately on” Right This Wrong,” because I can picture us doing it live. It’s like when I can really picture this band playing a song at a festival, and making, ya’ know, 80,000 people go insane. I can picture” Right This Wrong,” doing that to a crowd just by the groove it has and the drilling and the vibe it has. It has that festival big crowd vibe.

    AR: Yeah.

    JS: So now, I don’t wanna give away too much, but is it safe to say that a lot of these songs will be played at these upcoming shows?

    JZ: Yeah, ya’ know we’re gonna pace ourselves a little bit, and not blow our load all at once. We’re gonna start introducing songs to the set. We already are, umm, tonight we will play a couple off the record. I know a lot of people are just getting the record so they don’t have start learning, ya’ know?

    JS: Yeah.

    JZ: Yeah, so we’re gonna throw a couple of songs from the new album into the set tonight and then when you see us again down the line you’re gonna hear more of the album in the set, you know?

    JS: Yes. Everybody should be at the show tonight. If you missed the last three shows, not the end of the world, especially if you’re still in the east coast. There are more Life of Agony shows coming up in May.

    JZ: So we are playing Stroudsburg, PA on May 12 and then May 13 we are playing Long Island, Wantaugh, NY.

    AR: First time in a very long time. We haven’t played Long Island in I can’t remember.

    JZ: Yup, May 19 we play Lancaster, PA and then May 20 we play Starland Ballroom.

    JS: Yes, speaking of the ballroom, I was there for Mina’s birthday, that was an awesome fucking show by the way, so yeah Starland Ballroom is definitely a good venue, you gotta check it out. It’s bloody fantastic. I caught you guys there, I caught Garbage there. It’s a kick ass venue man.

    JZ: Yeah, we’re gonna have fun.

    JS: Okay I got one last thing, Zire’s War.  That’s how we met.  Cuz I was catching Biohazard on the small little tour that they did. And Lo and behold you got Zire’s War opening.

    AR: Was that your first show?

    JZ: No, I believe our thrid show.

    JS: Zire’s War… you with some of the guys of Misery Kills.

    JZ: And John from Stereo Mud.

    JS: YES Stereo Mud! So what’s going on with Zire’s War?  I know you’re busy with LOA

    JZ: Well the way I am in life is that I want to give my full attention, my full energy, my committment, to what I’m doing. I can do both when we are playing live when LOA is touring, and I can fit Zire’s War in between it. That’s one thing, but making a record is a completely different animal.  And when it was real when we were about to do this record.  I spoke to the guys, and told them, and Zire’s War I write the stuff, I don’t wanna call it  “My Band” but it is my baby that I’m putting it out on the world, so I told the guys that it’s very important that I do this LOA record and give it my full attention.  And not try to squeeze Zire’s War because then I’m thinning this out or I’m thinning that out for each other.  And that’s not healthy for either project.  So I want to give it my full attention for this Life Of Agony record.  And I’ll get that Zire’s War record out as the Life Of Agony cycle continues here.  I plan on recording somewhere down the line.  And finally getting out.  And I think it’s a great thing because this record has reintroduced all of us back into the industry.  It’s not easy out there.  Not everyone is throwing deals at you.  So being relevant again is important to us individually.  You know Alan has his comics and coloring books he released.  All that’s going on with Life Of Agony, it all trickles down in our personal adventures.  It all just helps each other.  You gotta be smart about what you do.  And you can’t step over each other.  And that’s the way I saw it if I tried to push to do both with full force at the same time.  So I’m going to pick up Zire’s War again. The songs are there, they’re not going anywhere and I’m making them better and working on them here and there at home.  So now when it finally comes out, and when it’s released I can give it more of my attention.  It will make a lot more sense.

    JS:  My last question for the day is do you guys have any advise for bands trying to get their start in this changing industry?

    AR:  That’s a tough one.  It’s funny. Yesterday at the Irving Plaza at the record release show, we had an unsigned band contest, just trying to give back, ya know. It’s kind of how we found our way, we got to play some really great shows when we were a baby band, played with Agnostic Front, opened for Type O, and Overkill at the Ritz. Stuff like that happened to us and it help us put us on the map so now we are trying to do that for someone else.  Just gotta keep doing it and hope that those opportunities happen.

    JZ:  And a way to make them happen and it’s something we did in the past is, and I remember clearly, when we were young, we didn’t have management or anything, we used to connect with the promoters ourselves.  And I remember Gene from Faces.  The only way we got to play that first  show was that we would go to faces and see a band like Biohazard or Monkey Bump, and we met the promoter and said “Hey we would like to play here.”  And gave them music.  I think if more people did that, actually found out who was booking the shows at their local venue, and actually went to go personally say hello. You see people just complain that nothings happening but they’re not trying.

    AR:   It’s like everything is all computers, and everything is virtual, friendships are virtual.  There are no faces to names anymore.  It’s like sometimes you have to get “real” with people so they can give you a shot.

    JZ:  Yea go meet with them. Go to the venue. Go hand them some music and say we’d love to play here.

    AR: It’s easy for someone to press delete when the email comes in with music from someone you’ve never met before.

    JZ: Yeah, there’s no face, there’s no personality, there’s no connection you know?

    AR: And there’s so much of it online. It’s almost like you get bombarded.

    JS: Yeah, I get it.

    AR: Sometimes you’ve gotta be more proactive.

    JZ: Definitely! That’s it, you people out there! Young bands, get proactive!

    AR: Whipper-snappers!

    JZ: And I don’t mean the fucking pimple shit.

    JS: Guys, thanks so much for giving me the time to do this. Go kick ass out there, I’m definitely looking forward to the show, and obviously best of luck for the rest of the shows. And just a quick special thanks to Napal Records, Life of Agony, over at NYS Music.com, Peter and Jim, my co-hosts Mosh Pit Fardo, Black Metal Steve, and Psycho Steve of Steve Losurdo Productions, and of course my lovely camera gal Danielle, thank you so much. It’s been a real honor.