NYS Music 20​17

Category: Features

  • The Record Archive Backroom Lounge Officially Opens: NY’s First Music Store To Serve Beer and Wine

    In a time when locally owned stores are struggling to stay afloat, The Record Archive in Rochester is finding new ways to thrive. On Friday, April 8, they unveiled their latest endeavor, The Backroom Lounge, with an official Grand Opening Party. A venue like no other, this all-ages community space is annexed to the region’s largest record store. It’s a place to kick back, enjoy live music and have a drink – The Record Archive has the distinction of being the first and only record store in New York with a license to serve alcohol. NYS Music was invited to be part of this prestigious event.

    record archivePulling up to the building at 33 1/3 Rookwood Street in Rochester, there’s an immediate sense that this is not your run of the mill music store. From the sunshine yellow exterior to the enormous record framing the front door, everything about The Record Archive feels extraordinary.

    The interior opens up to a 10,000 square foot retail space, chock full of music, stereo equipment, gifts and memorabilia. For music lovers, it is the equivalent of being a kid in a candy shop. It is a veritable feast for the eyes and ears. It’s hard to imagine that the entire operation began in 1975 with a crate of records on the floor of a flea market stand.

    The entrance to the lounge is beyond the extensive collection of CDs, through tall arched doorways framed in black curtains. For the Grand Opening event, guests were greeted with glasses of blue champagne. We also had the choice of a wide variety of drinks. The shelves held regional wines, craft beers, music-themed beverages and some new discoveries. Beer was available on tap. The cooler is stocked with non-alcoholic beverages, including the local brand FIZ Pop.

    Near the entrance of the lounge, Record Archive founder Richard Storm greeted guests. I asked him what he thought about all of this, and he said, “I never in my wildest dreams imagined I’d have a venue with a bar.”

    The space is furnished eclectically – a mishmash of eras and styles, like remnants of random time travel. Jukeboxes are scattered around the room. Lava lamps bubble up on a far table near bookshelves overflowing with biographies of musicians. One wall is lined with boxes containing a myriad of 45’s spanning decades and genres. Seating options included a diner booth, a cozy couch, pub tables or a 1960’s ball loveseat. The room is lit by the warm glow of chandeliers in varying styles. The look of the space was put together by Reo Alderman. His design aesthetic brings the seemingly disparate pieces together in an artful showcase. And speaking of showcases, many of the pieces in the lounge are available to purchase.

    At the antique piano near the bar sat a musician who could have also been plucked out of a bygone era. Honky Tonk Henry was playing jaunty old-timey tunes. These are the songs I used to listen to with my grandparents back in the day. It was comforting to know that someone is keeping the music tradition alive.

    In the corner, under the watchful gaze of a full-sized T-Rex skeleton, is a stage large enough for bands to perform comfortably. I sought out the Record Archive’s Events Coordinator Deb Jones to get the scoop on the sound system.

    “We’re very proud to have Fulcrom Acoustic speakers,” Deb said, “It’s a locally-based company. They’re world class speakers -they’re being installed in Madison Square Garden. We’re the only place in Rochester to have them. And the amps are Ashly Audio.” Ashly Audio is also a local company, which produces state-of-the-art sound equipment.

    Deb introduced me to Alayna Alderman, business partner and Vice President of The Record Archive. She was the driving force for creating The Backroom Lounge.

    “I told Rich I wanted the place to be an extension of what we’ve been – a touchstone for the community,” she told me. “This is not a club. We’re a record store that sells beer and wine, not a bar that sells music. You can come, have a slice of pizza and a drink, enjoy live music and be home by 9. The music will always be our business. This is the next layer.”

    Obtaining a liquor license was not a decision that they took lightly, she told me. It was a lengthy process, and required lots of forethought (not to mention the amount of paperwork!). In the end, they decided to license the entire space, including the retail area, so that people can enjoy refreshments while they browse through the store.

    The guest list was a who’s who of friends and supporters of The Record Archive over the years. Frank DeBlase, writer/photographer and front man for The Busted Valentines, described the scene as “a new living room that comes furnished with guests.” Among them was Andy Babiuk, a founding member of The Chesterfield Kings and owner of Andy Babiuk’s Fab Gear music shop. Greg DeLuca from the local visitor’s bureau was also there. Members of the local press in the crowd included Emmy-award-winning journalist Seth Vorhees from Spectrum News, Susan Rogers, Executive VP of WXXI, and Mark Shuttleworth from Legends 102.7.

    True to their commitment to support other local businesses, the Grand Opening event included sweets from Savoia’s bakery and was catered by Tasteful Connections. The spread was divine. My favorite of the offerings was a Bacon Rind Shrimp Shooter – a Bloody Mary with shrimp and celery, served in a bacon-rimmed shot glass.

    Alayna took the podium and thanked everyone for their support in this endeavor. And a round of speeches ensued. Ted Potrikus, president and CEO of the Retail Council of New York, talked about working at The Record Archive in 1984, and about all the effort that went into making this venue possible.

    “It’s the coolest place in Rochester,” he concluded, “I’m thrilled to be here.”

    City Councilman Adam McFadden presented The Record Archive with a certificate from Mayor Warren. He also shared fond memories of times spent at the Record Archive, including the joy of meeting the members of Stetsasonic after seeing them perform in the store back in their heyday.

    Baye Muhammad, Commissioner of Neighborhood and Business Development, presented a plaque from the City of Rochester and thanked the owners of Record Archive for being committed to staying within the city limits when they relocated to this space nine years ago.

    After the speeches, shiny blue ribbon embossed with the City of Rochester logo was stretched across the stage. Members of The Record Archive family and key supporters made cuts, marking the official opening of The Backroom Lounge.

    The Backroom Lounge is open to the public during normal business hours, with the exception of when it is reserved for private events. The bar stops serving an hour before closing.

    The room is available for special occasions such as weddings and birthdays. Furniture can be rearranged to meet the needs of events (for example, theater seating or banquet-style table arrangements). Talk to Events Coordinator Deb Jones for more information about reservations.

    The space naturally lends itself to musical performances. Happy Hours are held every Wednesday. Themed nights for metal and blues occur monthly. In-store performances are plentiful. They have a full bill for Record Store Day on April 22, including The Fox Sisters, Teagan & The Tweeds, Teressa Wilcox and more. There are performances by Staly on April 28 and Zara Larson on April 29 in collaboration with local radio station KISS FM. This is also becoming a popular venue for release parties, the next one with Junkyard Fieldtrip on the evening of April 29. For a full event listing, check The Record Archive’s webpage or Facebook.

  • Bringing the Boy Back Home: Brit Floyd Bassist and Syracuse Son, Ian Cattell Discusses Playing a Hometown Show

    The spectacular Pink Floyd experience known as Brit Floyd visits the Crouse Hinds Theater at the OnCenter in Syracuse Tues. April 18. The band has been proclaimed, “The World’s Greatest Pink Floyd Show.” The spectacle and grandeur of each Brit Floyd show leaves few to argue that point. The Immersion World Tour celebrates the 40th anniversary of Pink Floyd’s 1977 album Animals. Tickets for the show are still available through Ticketmaster and the OnCenter box office.

    Recently, NYS Music sat down with Brit Floyd bassist Ian Cattell, who grew up in the Syracuse area, to discuss the current tour; the pressure to perform Floyd material and playing in his hometown.

    brit floydBrit Floyd has been touring the world performing the music of Pink Floyd since 2011 but has its genesis in the Australian Pink Show back in 2005. Cattell has performed with both units in addition to playing in several prog-oriented outfits as an up-and-comer in the Central New York Scene.

    Cattell moved to Syracuse at the age of 10 and lived there throughout high school. He played with several local outfits that gathered some large followings during his time in Syracuse: Crazy Diamond and Childhood’s End, both Pink Floyd tribute projects; the United Booty Foundation, a popular funk-disco band and Seconds Out, a Genesis cover band. It was through these endeavors that Cattell honed his prog-rock chops, leading to his current gig with Brit Floyd.

    When you’re performing the music of such an iconic band in rock history, there is already a built-in fan base looking for note-for-note replication of that band’s work. When asked if he ever feels that pressure or if he places any pressure on himself, Cattell responded,

    Oh, definitely. If we were out doing original music, you can kind of do it however you like. It’s yours. Whereas, there are so many Floyd fans that listen to the albums over and over again and they’re so familiar with every last detail. We try to put a little bit of our own flavor into it for our own fun, but it’s only to a point, because people are expecting to hear how it is on the album.

    Cattell performs both David Gilmour and Roger Waters songs but finds his natural singing voice closer to that of Gilmour’s. He first “tried his Roger Waters vocals on with Childhood’s End” around 2001. He does admit to his voice being “in character” while singing Waters’ vocals. See below for Cattell in character during “The Trial” section from The Wall. Cattell goes full-on Waters. First timers may be fooled into thinking the Floyd bassist is making a guest appearance onstage.

    When attending a Brit Floyd show, expect to spend the night. Each show is approximately three hours long, with songs spanning Pink Floyd’s career. This tour focuses on not only the 40th anniversary of Animals but also the 1994 release The Division Bell, with other eras being represented as well.

    When asked what makes playing in his adopted hometown different from other venues, Cattell states, “Each time we play in Syracuse, it’s quite amazing. I feel like I know at least half the audience. If not from having done gigs or going to see gigs or through Facebook…I get a vibe off the Syracuse crowd like no other because I know so many people there. I do so many gigs where I don’t know anybody…but Syracuse is unique where it’s that the people I know are everywhere I look.”

    If you miss Tuesday’s show in Syracuse, Brit Floyd will be performing in Schenectady at Proctor’s Theater Wed., April 19.

  • Hearing Aide: The Damn Truth ‘Devilish Folk’

    Someone really pulled my leg to check out this band known as The Damn Truth.  Based out of Montreal, this bluesy hard rock outfit’s sophomore effort Devilish Folk, from Fineline Records, is catchy as hell.  Now the most mind baffling thing is, when you listen, you would think this band came from the South or something.   The production isn’t the greatest, but how this album makes up for it is the high octane energy and catchy hooks.  Metal heads, hard rockers, hipsters, indie and blues fans can definitely get behind an album like this.  Whether you need an escape, or are just trying to get through the day, check this album out.

    the damn truthVocalist/guitarist Lee-La Baum has a rockin’ voice on top of the bluesy guitar work from Tom Shemer, and the heavy bass lines from PY Letellier mixed with the heavy backbone beats of Dave Traina make this a band to look out for in the future.  Hopefully, this band can book some shows in New York State soon.   Some of the tunes I enjoyed on this record are the opening track “White Lies” and “Broken Blues.”  But, overall, the album is consistent and fun.  Keep your eyes open for The Damn Truth.

    Key Tracks: White Lies, Pirates And Politicians, Broke Blues

  • Trey Anastasio Band Opens ‘Paper Wheels’ Tour At The Cap

    On Friday, April 14, the hallowed halls of The Capitol Theatre welcomed a sold-out crowd for the first of two nights there for the start of Trey Anastasio’s Paper Wheels tour. The magnificent sound and history of The Cap made it the perfect setting for a tour opener, not to mention a diverse setlist composed of Anastasio and Phish tunes along with a few debuts and covers.

    Set 1 opened with bassist Tony Markellis setting the pace on “Sand” and Anastasio quickly found his mark, clearly showing his excitement to be on the stage with his long-time solo act bandmates. With plenty of improv intertwined in the songs, the set carried on with TAB staples and closed with a funky version of “Gotta Jiboo.” The band made a few debuts and covers in the first set to the delight of the crowd. An original new tune written by Anastasio and Tom Marshall “This Crazy World I Know” made its debut as did a cover of Portugal. The Man’s brand new single “Feel It Still” off of that band’s yet-to-be-released album Woodstock, expected some time this year. Included in the Set 1 covers mix were TAB’s interpretation of George Harrison’s “What Is Life,” Bob Marley’s “Soul Rebel,” and by audience request, Toots and The Maytal’s “Sweet and Dandy.”

    The second set was much looser and groovier with a greater focus on opening the songs up to feature improvisation from everyone on stage, including an impromptu moment with Cyro Baptista getting goofy on percussion. It opened with the salsa-inspired “Curlews Call” and “Night Speaks To A Woman” before getting to the first of two songs in the set from Paper Wheels, “Liquid Time.” Ray Paczkowski’s keyboard introduced “Alaska,” a tune introduced by Anastasio in 2008 prior to Phish’s reunion and reminiscent in feel to a faster version of the Grateful Dead’s “Tennessee Jed.” Things got funkier as “Simple Twist Up Dave” came around with the slow groove of “Windora Bug” following, featuring Markellis on vocals. Speaking of vocals, Jennifer Hartswick had the theatre roaring after her performance on the band’s cover of Gorillaz’ “Clint Eastwood” and again on their take on Led Zeppelin’s “Dazed and Confused” to close the set.

    After closing the second set with a high-energy and powerful performance of “Dazed and Confused,” the band returned for an encore starting with another debut.  The traditional Irish tune with roots in 17th century Scotland, “The Parting Glass,” was a pleasant surprise to hear. The a cappella rendition was led by Anastasio on the first verse, complimented with beautiful harmonies from Casey, Hartswick, and Cressman. Anastasio and his band blazed the end of the show with “Push On Til The Day” with the horns bringing out their inner Tower of Power to add a punch to the song.

    Night One Setlist, 4/14/2017:

    Set 1: Sand, Mozambique, Cayman Review, What Is Life, This Crazy World I Know, Sweet And Dandy, Speak to Me, Pigtail, Feel It Still, Valentine, Soul Rebel, Gotta Jibboo

    Set 2: Curlews Call, Night Speaks To A Woman, Liquid Time, 49 Bye Byes, Alaska, Heavy Things, Simple Twist Up Dave, Windora Bug, Shine, Clint Eastwood, Dazed and Confused

    Encore: The Parting Glass, Push On Til The Day
    Night Two Setlist, 4/15/2017:

    Set One: Drifting, Magilla, Sometime After Sunset, Alive Again, O-o-h Child, 1977, It Makes No Difference, Small Axe, Last Tube, Lever Boy, Bounce

    Set Two: Money Love & Change, The Way I Feel, Tuesday, Ocelot, Goodbye Head, Architect, The Devil Went Down To Georgia, MacArthur Park, Ether Sunday, First Tube

    Encore: Black Dog

  • The Motet and West End Blend at The Fairfield Theatre Company

    Although the mid-week blues were in full swing, West End Blend (WEB) and The Motet managed to put a pep in the step of almost every single attendee at The Warehouse in Fairfield, Connecticut. WEB set the scene and style of the night, something that needed to be done due to the lack of enthusiasm that filled the building. Then The Motet capped it all off and blew away the audience with their relentless energy and zealous attitude. Once again, a very wide array of people attended due to the location of the up-and-coming venue, but everyone was able to find some aspect of the show they loved.

    West End Blend is based out of Hartford and showcased their funk and soul styles, but didn’t show much else. Their show was well performed and obviously well rehearsed, but the music wasn’t anything that would revolutionize the idea of funk -rather it just solidified it, which isn’t necessarily a bad thing. They had the formula: A solid drummer, funky horn line, groovy bassist, talented but reserved guitarist and an eye/ear catching lead singer. But it’s all been done before. They did not come short of a great performance by any means, but they didn’t knock the socks off most people there. That may have been because they were seen as the opening band or maybe it was because they only performed in front of a handful of people. The crowd just didn’t respond very well – they barely even welcomed them to the stage. Hopefully, and more than likely, they will headline a venue and get some well deserved recognition instead of being seen as just the opening band.

    Some of their most memorable tracks were “Say Hey!” which featured one of the most iconic parts of the band, 27-year-old trumpeter Mike Bafundo and his fascinating ability to sound like a funky Louis Armstrong. He and lead singer Erica Bryan have two very contrasting voices which made for a unique sound that the crowed looked forward to for the remainder of their performance. “Get Bye’ was another highlight, featured as one of their most popular songs on Spotify and was one of the only one that ventured outside of the stream line funk sound. The lazy tempo and an even lazier horn line resulted in a danceable but reggae feel. Other songs did not stray far from the funk band formula like “Attitude,” “Too Heavy” and “The Scene” which were plenty of fun and soon to be released on an upcoming album – the date is TBA.

    The Motet on the other hand had a more memorable performance.  Most of the credit goes towards the front man Lyle Divinsky. In a funk band, the lead singer needs to be like a conductor. He/she needs to draw attention to separate parts of the group because they are all required to be in unison to make the iconic sound. The horns stay reserved for the majority of the song but make a big pop during breakdowns and chorus’ – the same applies for the strings and synths. So he/she needs to work the whole stage and keep everyone’s eyes and ears moving – something Lyle has mastered and something that would change the whole attitude of WEB if Bryan were to follow in his footsteps. The Motet came out strong with “Damn!” which has been a favorite to open with for the majority of their shows including their prior Warehouse show and their first time Headlining the Red Rocks Amphitheater. It’s a perfect, straightforward ice breaker with a great funk formula that can easily flaunt their ability to build and climax flawlessly. “Damn!” is off their 7th studio album, Totem, and shows that the group is nowhere near out of ideas for funky tracks. Their sound is very familiar but manages to be unique, something that might only be true to their live performances, as their studio recordings are a little less impactful.

    They moved on to, “Like We Own It,” “Rynodub,” and “The Truth,” all of which were well received. “So High” came up and The Warehouse saw some incredible solo’s from the hornline. The crowd responded really well to Drew Sayers on saxophone. He had plenty of emotion and was able to work his way through the solo in an abstract but palatable way. He was smooth and well thought out and wasn’t afraid to take some risks. Trumpeter Gabe Mervine eventually came out of his shell after some sound board complications. He seemed concerned he wasn’t coming through clearly, but was able to focus after the problem was resolved. Keys player Joey Porter also had a few astounding and greatly appreciated solos, one of which was during “So High” where he played through a vocorder. It fit flawlessly into the songs style and got one of the biggest reactions out of the crowd.

    Drummer and founder Dave Watts never really had a moment to shine unfortunately, nor did bassist Garrett Sayers. Granted both of them have a very important role to play and not a lot of time so flaunt their abilities, but they both deserved a little more limelight than they were given. Garrett had a small chance to solo but he is such an entertaining musician and it would have been nice to see him a bit closer to the audience both literally and musically.

    The music was all incredible, but it all seemed more like an act or play because of Devinsky’s energy and charisma. He is best described as an actor but his personality comes off as genuine. He was so grateful for everyone’s enthusiasm, for being able to play at The Warehouse and was very appreciative of his band mates and their talents. Not only was he appreciative, he was sweating bullets and showed no signs of fatigue. His personality was just charming to everyone and a good part of the bands demeanor stems from Devinsky’s actions. They closed out with a cover of “Getten to Know You” by Parliament and “I Feel For You” by Prince and finished on their own “Closed Mouth Don’t Get Fed.”

    This show was definitely a highlight for The Warehouse and one would hope and expect this won’t be the last time The Motet performs there. They will unfortunately be heading South and West for the first part of the summer, but will be seen at Disc Jam 2017.

  • Hearing Aide: Big Mean Sound Machine ‘Runnin’ for the Ghost’

    Big Mean Sound Machine is an instrumental funk group which has been evolving since the summer of 2009.  The adjectives in the band’s name are normally used to describe a Godzilla-like monster and this 9-piece out of Ithaca, NY has a sound that is far from gorgeous.  While members have come and gone to aid in the experimental efforts, their urge to grow creatively never ceases to amaze their loyal fan base.  Known for throwing some of the sweatiest dance parties in the Northeast, Big Mean Sound Machine has been ambitiously touring and working hard to welcome new followers with no plans of slowing down.  The new fan-funded album, Runnin’ for the Ghost, is just one example of how relentless experimentation on the road can lead to something positive and fruitful in the studio.

    The opening track, “Return of the March” begins with sound effects reminiscent of spaceship maintenance from a galaxy far away.  The futuristic afro-beat introduction to the album peppers in the perfect amount of brass giving it a relaxing hookah lounge feel.  “Runnin’ for the Ghost” features haunting synthesizer-bass interplay with a worldly drumbeat acting as the powerful nucleus.  The title track is the longest on the album, inviting listeners to embark on the meanest, craziest and biggest journey of all and is sure to become a staple of their already bustling live music repertoire.  “Hired Guns” takes to the streets of New Orleans for a straight forward funk piece that would mix well with any Mardi Gras influenced cocktail.  Extremely danceable and groovy, the track exits on the other side of the Earth with a tribal, West African percussion section.

    Big Mean Sound Machine attempts to travel to all parts of the globe in terms of musical influences and in “Burning Van” they cover the slums of Latin America.  The tenor sax and trombone combine forces as other band members delicately weave in and out of the track to create a perfect theme song for any 1970’s police detective TV montage.  Every band has a song that can attract attention simply based on the name.  On their newest release, “Triple Bacon” is that song.  While the title may induce hunger for one of our planet’s finest meat products, the gritty jazz will help you get your ass on the floor and burn some calories.  The 11 tracks come to an end with “Another Grain of Sand” returning to the afro-beat and Jamaican dancehall influence that has appeared throughout the 44-minute album.  An Epcot-like adventure through many different cultures and influences proves that these talented musicians have studied the encyclohpedias of sound.  From James Brown to Fela Kuti, the ghosts of artists that have come before them are sure to be dancing wherever they may be.

    Check out Big Mean Sound Machine on tour and pick up Runnin’ for the Ghost now!

    Key Tracks: Runnin’ for the Ghost, Hired Guns, Triple Bacon

  • This Week in Protest Music: Joan Baez, Kendrick Lamar and Seepeoples

    Joan Baez, who was inducted into the Rock n Roll Hall of Fame this past weekend has released her first original music in 25 years, “Nasty Man.” The title is derived from the final presidential debate when President Trump called Hillary Clinton ‘a nasty woman.’

    On April 15, singers and songwriters will converge at Nyack’s First Reformed Church for a benefit performance of “Songs of Protest: Music That Changed the World.” Headliners include Grammy-winning singer-songwriters Tom Chapin and Michael Mark, The Chapin Sisters, satirist John Forster, Rex Fowler of Aztec Two-Step, jazz vocalist Shirley Crabbe and Mikhail Svetlov, a bass from the Metropolitan Opera. More info can be found here.

    African American tradition in protest music is highlighted in the new Linda Tillery album.

    Jussie Smollett, an openly gay singer-actor takes the administration to task in his new video, “F.U.W. (F**ked Up World).” Featuring various injustices surrounding racial prejudice and the fight for religious, human and LGBTQ rights, Smollett says, “This is not a single. It’s not a song to promote the series. It’s an artistic expression, my view of this sick cycle, an era in which we must fight our way out of before it’s too late.”

     

    SeepeopleS video for “New American Dream” was created and directed by Pete List of Celebrity Death Match fame and dedicated to all those who worship at the altar of power.

    The Los Angeles based Quetzals have been around for 20 years and have embraced protest music in their latest album The Eternal Getdown.

    The Arctic tradition of throat singing is alive and well with Tanya Tagaq taking the indigenous musical style and sings in protest of the rape of the Earth by heavy industry, and the threats posed to traditional culture and to the environment by Westernization and climate change.

    Kendrick Lamar released “The Heart Part 4,” rapping about ‘Chump’ Donald Trump.

    New Orleans born jazz star Christian Scott aTunde Adjuah spoke to Yahoo about jazz as protest music

    And throughout the media, what has been an expected trend are articles criticizing or praising the resurgence of protest music, giving more credence to the rising movement of protest music in 2017.

    Protest music proliferates under Trump administration.

    Protest music helped save 20th-century America. But are today’s pop artists up to the task?

    Pepsi’s Idiotic Kendall Jenner Ad Highlights Pop Music’s Protest Problem

    Post-Brexit punk and austerity anthems – 2017’s political rock resurgence

    joan baez music

  • Hearing Aide: Evolfo ‘Last of the Acid Cowboys’

    Raunchy, horny, raw and unfiltered.  No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys.  This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture.   If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage.   NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”

    When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.” 

    The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades.  About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk.  The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus.  Think Black Keys featuring the Nitty Gritty Brass Band.  Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.

    “Bloody Bloody Knife” has a 60’s punk  feel that makes you feel guilty for listening.  The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it.  “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem.  The decision making on track placement is as ambitious as the tracks themselves.  The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album.  The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form.  Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power.  “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool.  Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.

    “Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece.  The sweet sounding “Peachy” has the loungiest feel of the record.  Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track.  After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.

    Buy Last of the Acid Cowboys now and see them on tour ASAP!

    Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys

  • Hearing Aide: Vassals ‘Halogen Days’

    Brooklyn-based trio Vassals return in 2017 with a four-track EP entitled Halogen Days. It’s their newest release since 2015 and, overall, they’ve had a short musical career, only releasing their first album in 2012. Their style can best be described as dazed and confused indie rock with some slight bits of punk rock sprinkled in. Their rhythms are switched up constantly in creative ways, yet they maintain a sludgy movement throughout the EP to embody the exhausting, contradicting ideas that quarrel their brains.

    What this band makes up for in rhythmic syncopation, they truly lack in artistic flare. They have a slight tendency to embody the styles that we’ve heard before from bands like Silversun Pickups, or even Local Natives, but there are no fresh ideas that truly make them stand out among other artists of their style. Songs like “Sea Spells” and “Moonless” seem to start off on a good foot, but after a few minutes of listening, we are almost grateful for the rhythmic changes that follow. “Ghostwood”, the final track on the album, has one of the best punk-sensible interludes towards the end of the tune, but even the very final idea on the album is kind of a lost one.

    The saving grace on this EP is “SoHo” which has received notoriety not only for its garage-punk angst but also its bizarre, drug-induced music video (which I recommend watching for the Garfield and Tom Cruise cameo appearance). While Vassals may not be our first pick for musical innovation, their career is still taking off. And for anyone who has not yet listened to them, there are likely to be more unique works in their earlier releases as well as their releases to come.

    Top Tracks: SoHo

  • Dopapod and Aqueous at The Fairfield Theater Company

    It was unexpected turnout on Sunday, April 9, with a sea of die-hard fanatics coating the lower level of The Warehouse – so much so that even front man Rob Compa was surprised by their numbers. Fairfield isn’t necessarily the hub of all things jam band related, so it was fantastic to see the fairly seasoned venue collectively pull in a wide variety of artists and crowds. Aqueous warmed up the Fairfield Theater Company stage prior to Dopapod’s performance which consisted of two full sets and and encore. Everyone was thrilled, engaged and once again, due to the location, the venue pulled in a vast age demographic. The more mature and less familiar audience was perched around the ledge of the top floor, thoroughly enjoying the performance. Both groups were tight, virtually flawless and a perfect fit for a laid-back Sunday night party.

    Several months ago, Aqueous underwent a key member change with drummer Rob Houk filling the seat and making himself very comfortable. He was admitted in early June of 2016 and seamlessly fits the groups numerous style variations. He delivered a smooth performance all the way through, working through the inevitable drop of a stick a during a tastefully flamboyant drum fill and quickly grabbing another one from his bag without hesitation. All other members worked the stage well, but unfortunately came off a bit lifeless aside from the enormous voices coming from the instruments. Although they were limited to a small space due to being surrounded by Dopapod’s equipment, it would have been more visually engaging to see some enthusiasm from McPhaden and Loss. It may not have been the time nor the place considering the venue type and turn out, but it’s a new area that draws a different crowd and being as engaging as possible would have helped gain more respect and attention from those not used to seeing this type of performance.

    Aside from  some of their lackluster body language, Aqueous walked out with one hell of an entrance as the Chariots of Fire theme song played over the PA system. They lead a powerful performance which was unfortunately only appreciated by the 30-40 people that arrived before Dopapod’s time on stage. It started with  a funky favorite, “Second Sights,” which literally turned some heads. The early birds had their noses in their drinks, backs to the stage and were deep in conversation until the first first hit of that iconic “Shaft”-like funk theme song filled the room. They then flaunted their wide range of styles and tones and broke out into “Strange Times,” a classic rock sound which blended into a genre classic, “Peg” by Steely Dan. They dove into a classic Aqueous sound with “Staring Into the Sun” and, again, most of the limelight was drawn to a very animated Gantzer who was bobbing and weaving like a boxer around his small section of stage. They capped off the set with the heavy and funky track “Numbers and Facts” and left on a very positive note.

    Setlist: Second Sight > Strange Times, Peg > Staring Into the Sun > Numbers and Facts

    Aqueous left over a large round of applause for the valiant effort and immaculate performance while fans were still rolling in. Dopapod set up in a semi circle, making this an even more intimate experience aside from the time of the week and the amount of attendees. Although this was not a night that would be defined as the most memorable yet, it did not stop them from giving it their all.

    Aqueous wasn’t the only group that underwent a percussive change – original Dopapod drummer Neal “Fro” Evan is back on the throne, placed stage left. Although this is old news to fanatics, a naive eye would not have known he took a hiatus. Speaking of percussion, a special guest sat in on accessory drums, Adrian Tramontano of Kung Fu. Although he laid low behind “Fro”,  his stylings and flavors came through subtly and tastefully  under a very energetic Dopapod. It is unknown whether he will follow Dopapod all the way to Disc Jam.

    About 15 minutes of chatter and socializing went by until Dopapod opened up with “Give It a Name.” It’s a hard hitting track perfect for establishing their dominance in an venue that may not be so familiar with their style. Fans were excited, but were undoubtedly less enthusiastic compared to prior performances. Everyone could be heard chatting away during the breaks in their tracks and were even caught spacing out at times, but the presence of the group brought together new and old fans which made this performance nothing short of a good time. They moved on to “Super Bowl” and over to “Brain Dead,” both of which were obvious fan favorites.

    They moved forward with their fairly sarcastic song “Nerds” and threw a reggae twist on it prior to performing a well orchestrated mash-up of The Donkey Kong Country theme, a new song “Trickery” from their latest album and “Dracula’s Munk,” all of which are incredible funky and very well blended together. Before the end of the first set, sentimentality kicked in when a comedic birthday song and cake was given to Jake Berkowitz.

    Set two was a little short lived and contained “Picture in Picture” with teases of Snarky Puppy followed by “PLSS,” “Bahbi,” “I Am” and “Cure.” Knowing it would be an early night for most, they kept the encore tight but interesting by playing “We’re Not Alone” and “Freight Train Filled with Dynamite,”  during which, members switched instruments and had Gantzer join in for some solo time.

    Everyone was content by the end of the night, even though it wasn’t the most incredible and mind-blowing performance the two groups have put together. But one would hope that this isn’t the last time Dopapod or Aqeuous are invited back to The Fairfield Company.

    Setlist: Set 1 – Give it a Name, Braindead Pt. 2, Nerds, Donkey Kong Theme > Trickery > Dracula’s Monk > Trickery > Donkey Kong Theme > Trickery

    Set 2 – Picture in Picture, PLSS, Bahbi, I Am (Whale Song), Cure

    Encore – We Are Not Alone, Freight Train Filled With Dynamite