NYS Music 20​17

Category: Features

  • Rochester Congregates for the Gospel of Robert Randolph

    With an even mix of covers, instrumentals, and tracks off his new album, Got Soul, in just a little over an hour, Robert Randolph made Anthology his house of gospel worship. When you’re on stage with Randolph you’re a part of his family, whether you share blood relation or not. Other than his actual cousin Marcus sitting behind the drums, the names and faces have changed over the years. But their mission has stayed the same. Robert Randolph and the Family Band conduct a non-denominational service espousing love, hope and energy via a program of invigorating and uplifting funk and soul filtered through the unique style of pedal steel guitar originating in the Sacred Steel church. On a cool and damp April 20, the traveling ministry arrived in Rochester.

    The service began, as they often do, with the organist filling the air with thick swirls, preparing the crowd for prayer. Things took an unexpectedly dark turn with a quick cover of Black Sabbath’s “War Pigs.” But in that quick two-minute flourish the darkness would stay for the remainder of the night. It quickly moved into another cover, this one of ZZ Tops “I Thank You,” which is featured on Got Soul.

    From there Randolph kicked into the first of three stunning instrumentals he would intersperse throughout the evening. Each had it’s own character, but followed the tried and true Sacred Steel format, begging the question: Can you be summoned to scream Hallelujah and Amen without a prayer being uttered? Randolph proved the answer to be a resounding ‘Yes,’ as he stretched and twisted notes, sculpting the structure of sound, building it slowly to ecstatic peaks. Randolph may have adopted a slick and polished exterior in his studio output, but from the inside looking out, he’s still the same old impassioned and energetic force of musical enlightenment.

    And the new songs came off well from the stage as well, with the band rolling through uplifting takes on “Find a Way,” “Love What You Do,” “Shake It,” and “I Want It.” On “Love Do What It Do” Robert egged on his sister Lenesha to freestyle about their childhood trips up to Rochester to see the Campbell Brothers at their church on Goodman Street.

    The encore began with Randolph on stage alone, eliciting some gorgeous Hawaiian pedal steel sounds on the instrumental “Heaven’s Calling” before the rest of the band filed on for one big final thank you and their version of the Sly and the Family Stone classic “Thank You Falettin’ Me Be Mice Elf Agin.” The band filed off again mid-jam, leaving just the original Family Band members, Marcus and Robert, to close out the evening with a breakdown jam that drifted off into midnight.

    Rochester’s own soul superhero, Danielle Ponder, got the evening off to a hot start. Public defender by day, soul-belting goddess by night, her and her band the Tomorrow People mesmerized the early crowd with powerful heartfelt grooves, highlighted by a sexy and sultry cover of “Crazy.” Luke Wade and his young trio, playing together for the first time, played a set chock full of original love songs, with “Morning View” and “On Fire” being the stand outs.

    Setlist: War Pigs > I Thank You, Instrumental, Find a Way, Instrumental, Shake It, Superstition, Instrumental, Love Do What it Do, I Want It E: Heaven’s Calling > Thank You Falettin’ Me Be Mice Elf Agin

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  • Hearing Aide: Twiddle ‘Plump- Chapter Two’

    In January of 2015, Vermont based jam quartet Twiddle launched a Kickstarter for Plump Chapters One and Two. With their fan’s help, the band set out to launch two separate chapters. Fifteen months after Chapter One’s December 2015 release, Twiddle has unveiled Plump Chapter Two, the second half of the two-volume set.

    Plump Chapter Two is juicy. It’s full of variety. It’s thick with unexpected sounds. It’s a glimpse into the vast musical variety that makes Twiddle such a success live.  Producer Ron Saint Germain (311, Bad Brains, Sonic Youth) masterfully brings Twiddle’s self-professed ability to “spin tall tales over an intricate soundscape of hi-def shred” to life.  At its completion, Chapter Two reads like a nod to the master sounds of the 90’s alternative rock scene.  And at the height of 90’s throwback in fashion, pop culture and music, Plump Chapter Two is just the right sound at the right time.

    The album begins and ends at the hands of Twiddle’s pianist and keyboard guru Ryan Dempsey. “Enter” is only a mere 30 second glimpse into Dempsey’s contribution throughout the album. His compositions and his performance throughout Plump Chapter Two are whimsical and cartoonish, yet somehow also romantic and tortured. Dempsey deserves MVP nods for magically weaving the most classically branded sounds flawlessly throughout the album.

    “Enter” is the perfect introduction to “Orlando’s”, a 9-minute jam vehicle which is a nicely packaged glimpse into Twiddle’s catalog history, with over a dozen references to some of the band’s most beloved songs, characters, and mantras.  But the song is also a peek into the band’s live show. Simply stated: the tune is catchy. It contains the sing-a-long type of ear worm that gets stuck in your head. The song is highlighted by the powerhouse duo of Dempsey and bassist Zdenek Gubb. Together, the pair weave groovy and unique  gems that put bounce in your knees. It’s a wonderful trend that, thankfully, is repeated more than once.

    Originally called “L.A. Beach Song,” “Moments” has the potential to be the album’s most prevalent single. It’s the perfect showcase of guitarist and lead vocalist Mihali Savoulidis’ ability to write delicious hooks and positive emotionally fueled lyrics. The feel-good vibe of “Moments” makes it the perfect summer tune. If radio takes the bait, this song has the potential to be everywhere by early fall.

    While Chapter Two has plenty of shiny, radio friendly hooks, it is also full of unexpected moments.  The album is littered with typical tinges of sadness, love and angst. But it’s the new way with which the band handles this subject matter that is the album’s biggest suprise.  When the band revealed the album’s third track “Juggernaut” this past April at the PlayStation Theater (NYC), fans were surprised and delighted by the tracks shock and awe factor. But the song’s live reveal does nothing for the power of the studio version. The song is angry, forceful, and political, yet it still has a conscience.  “Juggernaut” feels part Rage Against the Machine, part Beastie Boys.

    Yet, despite the expansion of this edgier studio sound into the Twiddle catalog, Savoulidis stays true to his lyrical values. As with all his poetic content, Savoulidis continues to show a duality in his prose which is sometimes whimsical, heartfelt, and hopeful while managing to create a subconscious call to action.

    Chapter Two is also home to Twiddle’s signature yarn spinning tales via “Nicodemus Portulay” and “The Fantastic Tale of Ricky Snickle.” In the middle of the album, sits “Forevers.” This one take, improvisational piano piece showcases Dempsey’s classical training at it’s finest.

    Bassist Zdenek Gubb is a quiet force behind Twiddle’s most unique showings. His musical growth is the most evident, especially between Chapters One and Two. It’s in instrumental songs like “Milk” and “Peas and Carrots,” of which Gubb is given full songwriting credit, that listeners truly hear the musical creativity inside his head. Dempsey’s piano arrangements highlight both song’s unique timing signatures and unexpected transitions.

    Drummer Brook Jordan contributes lead vocals and full songwriting credit for two of the albums tracks “New Sun” and “Drifter.” There is an easy, soft timbre in Jordan’s vocal work. “Drifter,” which has yet to be released live, is poised to be the album’s sleeper hit. The song contains finely placed instrumental work by both Savoulidis and Dempsey. Jordan’s signature mellow and smooth songwriting style is the perfect base for the tune to take on new life live with plenty of space for musical exploration.

    Towards the end of Chapter Two are three golden nuggets.  “Blunderbuss” which was debuted live almost a year ago, when the band played the Captiol Theatre in May 2016, is a powerhouse instrumental.  Technically, the song is a knock out.  It is rich in tone and musically sound,  but the studio version is missing a certain “je ne sais quoi.” There is an edge and grit to the song live that doesn’t quite fulfill its full potential in the studio.

    “Fat Country Baby” a quick and playful bluegrass tune is a mere 70 seconds but requires multiple listens to appreciate the vast layered production quality. “Dinner Fork” is a perfect blend of Dempsey’s signature sounds – part classical, part terrestrial. All four members bring something different to the song. Savoulidis’ guitar brings an edge while Jordan and Gubb’s respective rhythm  work lays a solid base for Dempsey’s handy work.

    Through of all of its success, Plump Chapter Two misses only on superficial levels. There are often abrupt transitions in feeling between tracks.  It’s an unused opportunity to create a story with the songs presented on Chapter Two.  And although tracks like “Juggernaut” and “Moments” are perfectly placed in terms of commercial viability, the album’s track listing order could have made for a much more impactful finished product.

    Savoulidis shows great restraint vocally throughout the album.  His powerful lyrical content is highlighted by rich diction and confident conveyance. But that clarity of delivery also appears to have sacrificed a small amount of emotional delivery. It’s a tricky balance for even the most seasoned of vocalists. While both Savoulidis and Jordan nail their respective vocal work, much like its predecessor Chapter One, both of Twiddle’s main vocalists have yet to find a way to blend their voices.

    Newly remastered songs from Chapter One, which includes a rerecorded 2017 version of Twiddle’s “When It Rains, It Pours ” will be released with Chapter Two as the band’s first ever two-volume set. Chapter One’s “Five” is represented twice with both a new radio edit and the original album version. As of release day, Plump will only be available for purchase and download as a two-disc set.

    Plump Chapter’s One and Two drops April 28 via all major downloading sources including iTunes and Amazon. Pre-order of the double disc are now available and includes three immediate downloads accessible immediately. In addition, a double disc vinyl set is available for purchase through Twiddle’s website, however vinyl will not be shipped until August 2017.

    Key Tracks: Orlando’s Bar, Juggernaut, Moments

  • Searching for Sonic Spaces: An Interview with Morgan Bolender and Scott Ferreter

    “Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.”  She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.

    During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.

    Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.”  Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally.  He uses his music to tell stories of his life and experiences.  Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons.  After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres.  His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review.  It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.

    After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days.  I have so many feelings.”  These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring.  They will embark on yet another house concert tour entitled The Feelings Parade.  After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail.  Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests.  In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers.  We miss you already.”

    The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs.  No town is too big or small.  No mansion is too sparkly and no barn is too dirty.  No swamp lands are too filled with alligators and no desert is to dry.  Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself.  If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest.  I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.

    Ben Boivin: What covers did you play most frequently?

    Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.

    Scott Ferreter:  I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.

    BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?

    MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.

    SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.

    BB:  What was your worst show of the tour?

    MB:  New Orleans. For sure.

    SF:  Absolutely, New Orleans. Heiress to a fortune.  Old school classism and elitism.  Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!

    BB: What was one of the best shows of the tour?

    MB:  That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived.  That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia!  In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.

    SF:  There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings.  Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.

    BB:  If you had to spend two weeks at one venue you played, where would it be?

    MB:  Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.

    SF:  Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.

    BB:  What did you learn during your travels and would you do it all over again?

    MB:  If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from.  Also, ethically sourced and produced merchandise is more expensive.

    Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.

    It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.

    I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go.  [There are] so many more things that I don’t know yet.  I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!

    SF:  I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself.  I would do it again tomorrow!

    In a dark world, Bolendar and Ferreter use their music as the guiding light.  Their compassion for the human race is powerful and their creative approach to going on tour is refreshing.  The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss.  Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.

  • Hearing Aide: Leslie Mendelson ‘Love & Murder’

    With so much noise going on in the world today due to technology, from cell phone beeps and rings to endless updates on various apps, it’s easy to get lost in the computer-strung clutter. The one enjoyment that can take an individual away from the murky shadows of continuous information overload is music. Sure, there are endless amounts of live shows available for streaming on the internet, but to really get to the raw simplicity of a note takes putting on the headphones and pressing play on the new album by singer Leslie Mendelson. Love & Murder is her first work released in eight years.

    Mendelson’s latest album steps away from her earlier work and presents music in a simplistic form, featuring full-bodied folk tunes filled to the brim with emotional ebbs and flows. The ten track album begins with a darker emphasis, as “Jericho” slowly carries the listener into the overall theme. Stripping away the extras, and focusing on the vocals, lyrics, and calm melody, it’s easy to sit back and get lost in her angelic voice. “It’s been a long time coming,” lyrics within the opener, have never been more true, as fans have patiently been waiting eight years for this new album. It was well worth the wait.

    An uncomplicated, piano heavy “Coney Island” takes listeners on an emotional whirlwind. Stringed instruments add to a heaviness surrounding the lyrics, while Mendelson’s vocals tear at the heartstrings. “Murder Me” continues the enigmatic vibe surrounding the album, as Mendelson’s voice, both mysterious and wispy, are charged with a heaviness tipping on sadness and loss.

    As if sharing a personal moment with Mendelson, “Chasing The Thrill” has an air flowing around the lyrics, as well as the melody, with a reflective core gluing the song together. A haunting “Crazy” gently drifts along. Unhurried and light, this track sways in a musical breeze, allowing the listener to relax and fall within the grip of the beautiful winding notes.

    An unexpected appearance on the album comes from the Grateful Dead’s Bob Weir, as he guests on the cover of Roy Orbison’s “Blue Bayou.” Weir originally discovered her as she performed her own twist on “Friend of the Devil,” and has since invited her to join him during performances. Their intertwined vocals throughout this song make for an affectionately graceful rendition that Orbison would be proud to hear.

    An effortless “Love You Tonight” rolls along at a confident pace, turning the corner away from the darker tones. Bright lyrics embody the upbeat notes, lifting spirits as the album progresses, without losing the overall feel of the simplistic mood. Maintaining hopeful enthusiasm, another cover takes hold, this time with a tip of the hat to Bob Dylan. A gorgeous rendition of “Just Like A Woman” is carried by the simple strums of the ukulele, with touches of guitar and harmonizing vocals gently sprinkled in to round out the effortless track.

    “The Circus Is Coming To Town” carries a mystical energy, surrounded by mystery and uncharted vibes, throwing the listener into a dusky trip under the big top. The album ends with a cover of the 1954 country classic “Cry, Cry Darling,” originally written by Jimmy Newman and Jimmy Miller.

    Love & Murder flows freely. It’s stocked with raw simplicity and no holds barred emotion. Take a trip away from technology with this beautiful album filled with heartfelt tracks, deep with fearless tenderness. The natural flow from track to track will take the listener on a ride reaching into the depths of one’s soul, making sure to pay attention to each note and lyric, without getting lost in the noise.

    For more information about Leslie Mendelson and her new album, Love & Murder, please visit her official website.

    Key Tracks: Jericho. Love You Tonight. Cry, Cry Darling

  • Hearing Aide: Talking Under Water ‘Talking Under Water’

    Talking Under Water takes us on a journey that some of us know too well: the winding path to recovering a broken heart. At times achingly candid, the overall tone of the album is triumphant, featuring big choruses and soulful vocals that stir the intricate songwriting. Talking Under Water is a five-piece outfit hailing from Rochester. Their namesake debut LP is a great premise for what we can expect from this promising group.

    After Dave Chisholm received his Doctorate of Musical Arts from Eastman School of Music for jazz trumpet in 2013, he found himself returning to his roots of singer-songwriter. The project began to take on life when he decided to put together a band. He elicited help from fellow former Eastman students Elise Hughey (cello), Alex Patrick (guitar) and Joe Parker (drums).

    “I really think cello lends itself well to the type of songs I tend to write–these reflective, melancholy, lyrical things–so I asked Elise to play,” Chisholm told NYS Music. “She has both her Bachelors and Master’s Degrees from Eastman, as well. In any project she’s a part of, Elise really puts everything she has into it.”

    While Parker and Patrick’s contributions live on with this LP, Talking Under Water now features Colin Gordon (piano), Matt Bevan-Perkins (drums) and Samantha Thomas (vocals). According to Chisholm, there are plans in stow to record this summer with the current line-up.

    The group recorded in December of 2015 at Temperamental Studios in Geneseo, NY. A large portion of the LP was recorded live; and Grammy Award winner Stephen Roessner produced and mixed the record. Violinists Marja Alanen and Molly Werts McDonald, and violinist Ben Magruder joined them in the recording studio, along with jazz trombonist Brendan Lanighan and Matthew Sieber-Ford on tenor saxophone.

    One of the driving forces of this record is to give people a guiding path in times of trouble. “I just think about the hard times I’ve had, the struggles I’ve faced with regards to my own mental health–it seems like sad songs really serve such a strong purpose for those times in our lives,” Chisholm wrote. “So often the overwhelming feeling during dark times is one of isolation, and sad songs tell me that I’m not alone. The message is ultimately one of empathy. I hope listeners find this music cathartic when times are hard, and point the way for a more hopeful tomorrow, even on just a personal level.”

    The album begins with an alluring piano tune, and Chisholm’s voice quickly follows in the first track, “Lost,” which has the first big chorus that could be seen as the band’s signature sound. The interplay of instruments and artistic melody exhibits the diligence the band poured forth while producing the record. The second track, “We Used to Dream,” blends the horn section seamlessly into their sound. “Days Like Today” shows Beatles inspiration, while the piano certainly adds a wonderful element to the building melody. Finally, the track “Gravity” is an acoustic melody, eventually backed by Hughey with stirring cello, where Chisholm once again displays his wide vocal range.

    The album will be released on Friday, April 28, 2017. To pre-order your copy today, visit here. Talking Under Water will hold an album release show on April 29 at The Little Theater in Rochester. For more information, go here.

    Key Tracks: Lost, Days Like Today, If My Body Freezes

  • Formula 5 Gets By with a Little Help From Their Friends During ‘All Points North’ Album Release Party

    Capital Region jammers Formula 5 pulled out all the stops for their final All Points North album release party in Saratoga Springs in front of a full crowd of familiar faces and an exponentially growing fan base. After premiering the album in its entirety in New Haven with Relative Souls, the foursome decided to team up with the New Paltz-rooted The Other Brothers to serve up slices of true NY funk and soul on a Saturday night with a dirty laundry list of reasons to celebrate.

    From 8pm-10pm, fans rolled through the Putnam Den doors to enjoy the likes of a free keg with The Other Brothers set slated to rock at 9 pm. With a 15-song set, the six-piece of Chris Owens (vocals), Brandon Bera (drums), Gabe Marquez (keys), John Morrison (Guitar), Jared Nelson (Percussion) and Jordan Mendelson (Bass) kicked off the night with their rock and roll origins, soulful captivation and soaring vocals. Having convened in 2012 at SUNY New Paltz, the group is in the midst of preparing their first studio album, Jones. Having played shows for a few years and acting as seasoned veterans on the Rock and Roll Resort lineup, it’s a bit surprising that they’re only releasing their first album. At the same time, it allows you to get in on the ground level and perhaps grow with a band you’ve never had the pleasure of seeing or listening to before.

    From first impression, you could tell The Other Brothers’ sound and Owens’ powerhouse vocals provided a pleasing contrast to Formula 5 and what was to follow. As their set unraveled, each song found the front man, dressed in pale pink, rocking his hips back, forth and around town and further exploring his vault of dance moves. During a fun reggae-fusion tune, “These Cycles,” Owens’ charisma and onstage conversation demanded your attention–all that was left to do was listen and sway along with him. He often took the audience through anecdotes of how song titles came to be and strange one-off experiences that helped shape their musical contributions. It was hard not to keep your eyes locked on Nelson as his hands transitioned through tapping the congas and tossing a shaker, tambourine and rain stick for high points of the set, which also included Mendelson, sporting a Iron Maiden hockey jersey, impressively hitting quick tempo switches and odd time signatures on “Your Machine.” “Hit You Up” brought out the first guest of the night, Wavy Cunningham, to ease smooth tunes and a bit of rap into the set while the ending track of the night, “Levee for Free” had all fans on foot and Formula 5’s Joe Davis (also sporting pink) delivering tasty licks on guitar.

    The eclectic group of six will open up for Vulfpeck’s Theo Katzman on April 19 at the famed Capitol Theatre in Portchester, NY.  Looks like all is pointing North not only for Formula 5 but for these New Paltz natives as well.

    The Other Brothers Set List:

    Sleep Yo, Good Thing, The Man, Don’t Mean A Thing, Love Recedes, These Cycles, K2 in the Bathroom, New Friends, Can I Get It?, Why You Are, Hit You Up*, Game Show Radio, Your Machine, Bound, Levee for Free*

    * Wavy Cunningham

    $ Joe Davis from Formula 5 on guitar

    After a short introduction from a sincerely grateful and proud band manager, Pete Mason, Formula 5 immediately launched into their double header with transcending energy and multicolored lights boasting “F” and  “5” from the top corners of the stage.

    set the tone for their Saturday night gig with kinetic energy that only kept building. While fans may have heard the newer tunes from recent gigs and even more recent album release teases, it was the first time listening to the entire album in a live setting, lending their ears to Formula 5’s natural creativity and improvisation. Bassist James Woods sported a slight smirk all night, which could be attributed to a number of things, but we’ll just pin it on the electric energy and a “load-off” feeling of finally offering the band’s new studio album to the world. The merch table was freshly stocked with musical material both new and old, freshly crafted Trout Waters pins and newly designed T-shirts available for longtime fans and those just discovering their music.

    Having transformed a Kickstarter goal into reality, Joe, Matt, and James long awaited the night’s celebrations after pouring endless amounts of effort into their third studio album which follows their self titled debut album, April 2014’s Edging on Catastrophe and one live album, Live Five Vol. 1. The quartet implemented some classic strategies as well as newfound ways to draw a dancing crowd to their Putnam Den gig. Joe and Matt dedicated a few hours of their day to Albany’s own Madison Avenue Ben and Jerry’s shop on free cone day to dish out tasty frozen treats to Albany locals, hand out fliers for the album release show and spin their newest record to listening ears and the hungry humans attached to them–talk about a marketing triple threat. 

    Set one presented All Points North front to back, with friends Phil Chow on trumpet and Bryan Brundige of The Chronicles on trombone during “It Goes” paired with a loud exclamation of “I love horn-ula 5!” from the depths of the crowd. Not only did Brundige lend a helping horn on stage, he handles audio engineering at OverIt Media and aided the guys through their All Points North journey in the studio. A long set break brought set two, chock full of covers, a “Tweezer” tease and a loaded surprise sit in. Following a jam and “Booher’s Pass,” moe.’s own Vinnie Amico took to the drum kit during “Pedro” to sit in for the group’s drummer. The two seamlessly transitioned on and off stage while the drummer tried to use his surroundings to aid the beat to try and smoothly dip back behind the moe. veteran. Amico’s presence was unplanned, making the surprise sit in all the more sweet. The seasoned drummer happened to be hanging in the Saratoga venue before wandering into the back room and admitting  he was a Formula 5 fan and excited to see their set. From there, an organic sit in blossomed to cap off an already exceptional night.

    Next up was a double header of covers with Don Henley’s “Dirty Laundry” and Steely Dan’s “Hey Nineteen,” band and fan favorites alike. Appropriately closing out a night of well deserved festivities and completing a pretty solid song cover trifecta, the night was wrapped up into a funky package with a Phish phavorite, “Run Like An Antelope.” Keeping the momentum rolling the next day, the guys announced their participation at The Werk Out Music and Arts Festival alongside Dopapod, Emancipator, BIG Something, Spafford and more. They’ll keep the grooves going with a continued Spring 2017 tour as summertime bliss will bring Formula 5 tunes not only to the festival circuit but directly to phans during the Madison Square Garden Baker’s Dozen run.

    Formula 5 Set List:

    Set I: (“All Points North”)

    Come Along, Sad Bed*, Trout Waters, Pt. I & II, It Goes…^, Excalibur, The Birch Tree^, Q&A, Do Tell^, Figure Out A Feeling^

    Set II:

    Jam -> Booher’s Pass, Pedro$, Dirty Laundry$, Hey Nineteen!

    E: Run Like An Antelope~

    *Unfinished

    ^ Phil Chow on trumpet, Bryan Brundige on Trombone

    $ Unfinished, Vinnie Amico of Moe. on drums

    $Don Henley cover

    ! Steely Dan cover

    ~ Phish cover

  • John Mayer Launches his Search For Everything World Tour

    The musically acclaimed John Mayer kicked off his latest tour at the Times Union Center in Albany, NY on March 31, 2017. This tour is in support of his recently released studio album entitled The Search For Everything.

    Search For EverythingThe format of his concert included five chapters to help guide the audience through the show, which featured songs from his entire repertoire of music. The sets consisted of a digital backdrop that projected different scenes for each song. Mayer began by playing a set with his full band stretching as far back as his 2006 Continuum era to open the show with “Belief” and later playing “I Don’t Trust Myself (With Loving You).” During this first chapter, in addition to live debuting “Helpless,” Mayer stepped away from his sidekick guitar with a microphone in hand to engage with his audience during “Moving On and Getting Over.” He decided to play the hook back multiple times varying the speed and melody while breaking out unusual dance moves rarely seen in his live performances.

    Not only is John Mayer a brilliant lyricist with a distinguishable voice, but he is also an incredibly talented guitarist. The second chapter of his show was composed of three well-known songs and referred to as the ‘acoustic’ set, allowing him to display his mesmerizing guitar skills. In this chapter specifically, the crowd could be caught singing along to every word of “Daughters” and his infamous cover of Tom Petty’s “Free Fallin’” where he was accompanied by band-mate and fellow guitarist David Ryan Harris.

    Search For EverythingEvery concert on this tour also features songs from John Mayer Trio (JM3) during which Mayer excitedly invites the legendary bass player Pino Paladino and drummer Steve Jordan to perform alongside him. The trio reunited on stage to play both original JM3 songs and covers from the greats such as Chuck Berry and Jimi Hendrix. Each show on this tour features well-known, new and obscure tracks from Mayer’s vast musical library.

    Some highlight performances from the fourth chapter were songs from his earlier record “Why Georgia.” Mayer also reminisced on the making of Paradise Valley before playing the light-hearted “Dear Marie.” After leaving the stage and returning for his full band encore, playing songs like the anticipated “Slow Dancing in a Burning Room,” Mayer exited the stage for what the audience thought was the last time, only to return a few minutes later to booming applause from the audience.

    Search For EverythingFor this final chapter, the entire stage set was transformed into a blank white page except for the word ‘Epilogue’ which flashed on the screen. Mayer appeared alone on stage sitting at a white piano which he used to accompany himself for the final song, “You’re Gonna Live Forever in Me.” At the conclusion of the song, he walked through a stage door in the middle of the white screen that was not visible to the audience, leaving one to wonder if his passage through this door is meant to symbolize his continual Search for Everything.

    Excitement amongst long-time fans started buzzing from the moment Mayer announced his tour. His opening show exceeded my expectations as the emphasis was placed upon the music with a tasteful amount of production elements. I personally can’t wait to see what he has up his sleeve for future shows and encourage all who have the opportunity to see him on this tour.

    Setlist: (Full Band): Belief, Helpless, I Don’t Trust Myself (With Loving You), Love on the Weekend, Moving On and Getting Over (Acoustic): Daughters, In Your Atmosphere, Free Fallin’ (Trio): Who Did You Think I Was, Promised Land, Wait Until Tomorrow (Full Band Reprise): Blues Run the Game, Queen of California, Edge of Desire, Dear Marie, Why Georgia, In Repair

    Encore: Stitched Up, Slow Dancing in a Burning Room (Epilogue): You’re Gonna Live Forever in Me

  • Hearing Aide: Woods ‘Love is Love’

    Some protest music speaks to specific events. Sometimes it commands specific actions. Other times it is a non-specified reaction. Woods’ Love is Love is a reaction to the unexpected turn of events that flipped the United States on it’s head last November.

    Recorded in the immediate months that followed, it is not overly negative, angry or sad. As the title clearly states, it is steeped in feelings of love. If you made a word cloud of the compiled lyrics of this six-song EP, ‘LOVE‘ would stand central, big and bold, eclipsing all others by a large margin. This is a record borne in protest, but one that exists to lift up and comfort. If the ‘Love Trumps Hate’ slogan needs a soundtrack, this is it.

    Woods fans will find immediate comfort in the familiar psychedelic rock sounds with it’s signature mix of Ethiopian jazz influences as the band had built into their last standout record, City Sun Eater in the River of Light. Horns, psychedelic guitar, groovy bass and in-the-pocket rhythms wrap around each other to form a bond not easily broken throughout this tight 30+ minute set.

    The record kicks off with positivity and warmth on the title track. It’s a song that instantaneously gets added to the Woods canon like it was there all along. “Bleeding Blue” sounds like the soundtrack to a Rocky montage, had Rocky been training in the streets of London while being chased by a throng of young screaming women. “Lost in a Crowd” brilliantly adds a sunny splash from the Caribbean to the already thick mix. Beginning with a din of digital crickets, “Spring is in the Air” builds to colorful and blooming horn blasts, but never quite explodes through to summer. Instead it falls quietly into “Hit That Drum.” The EP isn’t just oozing positivity, doubt and struggle do rear their ugly heads. But lead man Jeremy Earl more or less explains the main drive for the album in “Hit That Drum,” singing “Feeling dark / feeling down / I hit that drum / It takes me away.”

    They end it with a return to the title track, and a question, “How can we love with this kind of hate?” And comes the answer: “Say that love is love.”

    Key tracks: Bleeding Blue, Lost in a Crowd, Spring is in the Air

  • Big Mean Sound Machine Bring The Funk To The Root Cellar

    The 9-Piece powerhouse brought their album-release tour to The Root Cellar in Greenfield, MA on Saturday, April 15. Big Mean Sound Machine played their hearts out for two incredible sets for a crowd of locals ready to dance. They’re taking their groove back for a hometown throw-down in Ithaca, NY this Friday before taking a short trip down the east coast in early May.

  • Hearing Aide: Arthur Moon ‘Our Head’

    Arthur Moon, the transcendental Brooklyn-based project, has released its expanded debut EP entitled Our Head. The band’s founder and song-smith Lora-Faye Ashuvud was born in Sweden and raised in Brooklyn. She studied contemporary art at Smith College in Northampton and later relocated back to NYC to pursue music. The remaining members of the six-piece band consists of Rachel Brotman (keyboard and banjo), Nick Lerman (guitar), Marty Fowler (bass), Dave Palazola (drum) and Aviva Jaye (back-up vocals).

    arthur moon our head
    Lora-Faye Ashuvud lead singer of Arthur Moon

    Ashuvud has a unique way of creating the lyrics for her songs. She cuts out words from magazines and randomly combines them, thereby creating a contemplative and creative texture to her raw and hypnotic vocals. The first track and latest video from Our Head entitled “Room” showcases this unique process, with the addition of Lerman’s reverberating guitar and Brotman’s stark banjo creating a puzzling menagerie that the listener will relish deciphering.

    The politically minded track “Wind Up,” also recently released by the band as a video directed by film maker Sam Jones, interlaces spoken phrases from a robotic male voice that comments on today’s daily hypocrisies combined with Ashuvud’s haunting vocals. The track’s repetitive chorus, “Oh but the mind is narrow, love little wind up bird” is illustrative of a multi-layered critique of today’s social and political landscape.

    Tracks like “Bold Affair” and “Boxing” both use generous amounts of Palazola’s percussion which showcases various rhythms and time signatures that keep the listener actively engaged with the music. These tunes forces the audience to pay attention to the band’s musical details, a definite contrast from most contemporary popular music artists who do not exact that kind of scrutiny from their listeners.

    Arthur Moon’s fifth and final track on their EP Our Head is simply named “The Beatles Cover.” The song is the band’s modernistic homage to The Beatles’ White Album classic, “While My Guitar Gently Weeps.” Ashuvud and company took many liberties with their take on this Beatles gem, one of which was the omission of the title phrase “While My Guitar Gently Weeps” from the chorus of their rendition entirely. “The Beatles Cover” also has a surprising lack of guitar on a track that historically relies heavily on the instrument for it’s renowned lengthy solos. The band fills this void with multiple synthesizer overlays and Ashuvud’s vocals creating an original version that is almost as creative and unique as the band Arthur Moon itself.