NYS Music 20​17

Category: Reviews

  • Phish Delivers Strike Three at The Garden

    With two nights in the books, and raised expectations thanks to the lore of the “30th” show, Phish dealt a musical hand that would be hard to beat last night.  The first set played like an epic second set at points and saw an old favorite song get revamped.  The second set featured the Vermont rock stars in peak jaw-dropping improvisational form and was bookended with two of the more legendary songs in Phish canon.  And the encore was filled with thousands of fans singing the keyboardist’s favorite song before “Tweezer Reprise” ended the show in ragingly appropriate fashion. All this and it’s not even 2018 yet.

    phish the garden deliversTo the delight of many, Phish went back to its roots with a classic opening sequence of “Mike’s Song” > “I Am Hydrogen” > “Weekapaug Groove” that was once more than a regular sequence on set lists but seems to have petered out in recent years in favor of different permutations of “Mike’s Groove.”  The iconic opening guitar lick was met with a resounding roar from the crowd and the band never looked back from there. “Hydrogen” gave Lighting Director Chris Kuroda a chance to show off his mood lighting as he added a perfect visual backdrop for the moody instrumental number. No sooner had the closing notes of “Weekapaug Groove” been played before guitarist Trey Anastasio ripped into another iconic opening guitar riff – this one belonging to “Tweezer,” a first set rarity to say the least. By this time, The Garden was in full “bouncy house” mode with the ground noticeably shaking and seemingly moving along in unison with everything else.

    Following a soaring jam that touched on a myriad of themes, Anastasio huddled with Jon Fishman briefly before the drummer belted out the crowd favorite “Ass Handed.”  Before long, the entire crowd, with nothing but the house lights on, was singing along in full unison, the first of two memorable sing-a-longs this evening.  As if not to stem the energy too much, a blistering “Kill Devil Falls” followed that flowed ever so effortlessly into “Bathtub Gin” which had a majestic jam attached to it, further solidifying the second set feel to this first one.  Soon after another energized reception from the crowd, bassist Mike Gordon began soloing in what turned out to be a new take on the old school number “Brother,” with this version taking a slower, more rhythmic approach.  First set closer du jour “More” then capped off a first set that already felt like an entire show’s worth of music.

    Topping a first set like that would normally be difficult, but Phish attempted to do so with another epic jam vehicle, this one being a more traditionally placed “Down with Disease” second set opener.  The ensuing improv was Phish at their finest, with a jam that grew in scale and intensity before settling into “Steam.”  This newer song evoked memories of New Years’ past when the band used it as part of their “gag” and played it while elevated on risers.  “Light” kept the energy going in full force, highlighted by steady play and typical sound melodies from keyboardist Page McConnell. “Farmhouse” then delivered the second set “breather” song everyone had been waiting for before the set was bookended with another Phish staple, a breakneck speed, intense “Run Like an Antelope.”  With no encore even necessary after a performance like that, it did offer the crowd one last chance to join together in song via “Sleeping Monkey” before the expected “Tweezer Reprise” closer blew the lid off the world’s most famous arena…again.  Three special nights of music are now complete as Phish begins plans for its 17th show at Madison Square Garden in the year 2017.  What they have left in the tank is anyone’s guess.

    Setlist via Phish.net

    Set 1: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Tweezer > Ass Handed, Kill Devil Falls > Bathtub Gin, Brother, More

    Set 2: Down with Disease[1] -> Steam > Light > Farmhouse, Run Like an Antelope

    Encore: Sleeping Monkey > Tweezer Reprise

    [1] Unfinished

  • And Then There Were Three: A Night on the Road with Periodic Table of Elephants

    “Ever want to experience what it’s like to travel with a band?” read the Periodic Table of Elephant’s Facebook post. “Experience travel in a gear-laden vehicle! Participate in the time-honored tradition of unloading! Eat gas station food!” The Rochester-based band had room to take a few people for their headlining show in Tonawanda on Thursday, December 28. It is likely the best ad I ever have or ever will respond to.

    I hitched a ride with bassist Greg Horton in his gear-laden station wagon, and we picked up a friend of his on the way to the gig. Cruising along I90, he filled me in on the origin story of the band, which is known as PToE for short. While Horton is the newest member of PToE, he’s not new to playing with the other members, Sean McGinnis Scanlon and Jason Pariseau. They were in a band together until Horton moved out of state three years ago. Before leaving, he suggested changing the name to Periodic Table of Elephants. Pariseau and Scanlon carried on as a duo in Horton’s absence, until he made a return to New York this fall.

    This was my first time at Stamps in Tonawanda. The bar is located in a stone building on Main Street. Inside, a long and inviting bar stretched back to a mid-sized room with a stage, some tables and seating, and a pool table. Pariseau and Scanlon arrived before us. After a warm welcome, I was introduced to their entourage of friends and loved ones.

    It was still early, so we threw back Coronas by the bucket while the guys held a pool tournament. Pariseau had picked out some epic rock anthems on the jukebox: Social Distortion “Story of My Life,” Queen’s “Somebody to Love” and Goldfinger’s cover of “99 Red Balloons.”

    Scanlon was wearing his Lil Bub t-shirt and told us all about meeting the phenomenal feline at a recent appearance at Black Sheep in Buffalo. Lil Bub is a miracle cat, having several rare conditions including dwarfism, extra toes, and the only cat diagnosed with osteoporosis. She’s become a poster child (er… rather poster cat) for disabled and homeless cats, and helps raise awareness and funds for charities. Sean is a cat-lover, and he and his wife share their home with several rescue cats. 

    The conversation turned to music, and we talked shop for a bit. PToE has been selected for again to play the Homegrown festival at Lovin’ Cup in Rochester. They’re one of seven bands on the bill for the day-long celebration of Rochester’s indie music, food, and beverages. The annual event is scheduled for January 20. They also talked about re-entering the studio to work on a follow-up to last year’s debut EP Henry.

    Attention was then directed to the stage, which is lined in vinyl records, as singer-songwriter Jordan Potter took to the mic. The solo performer from the Southern Tier played a handful of originals and finished with a cover of Oasis’s “Don’t Look Back in Anger.” Potter was followed by Buffalo-based progressive band Jon Rizzo & The Conference of The Strange. Imaginative art rock originals incorporating vocals, drum, bass, keyboard and mellotron were intermixed with a handful of holiday classics.

    Before starting to play, Horton, a proponent of hearing loss prevention, offered complimentary earplugs to members of the audience. It was a good idea to take him up on it, because these guys play loud. From the first note of the set to the last, PToE put the pedal to the metal and didn’t ease up. They started with their garage rock anthem “Kung Pao Chicken.” It begins with a simple guitar chord progression before Pariseau lets loose the guttural cry, “In America” signaling the onset of earth-shaking rhythms and grungy guitar riffs.

    While PToE was doable as a live duo, the addition of Horton to the band gives their performance extra oomph. Not only does he contribute to the added dimension of sound on bass, but also with his stage presence. There’s a dynamic energy between the trio and it’s fun to watch them go all out on stage together. Scanlon is easily one of my favorite drummers to watch play live. He goes at the drums with exuberant expression, and the waves of pure unadulterated joy he emanates are downright contagious.

    It was great to enjoy the show among the herd of Elephants fans, surrounded by the friends and family who’ve supported them for years. Playful banter between the stage and crowd erupted between songs. 

    PToE did a bunch of their most popular songs, and tried out a new one. “Lost” is full of crashing waves of sound, reminiscent of 90’s rock. In a fun twist, they also covered a song from their previous iteration as a band, a punk rock rager called “Lament.” They ended strong with the bar-brawl riot theme “Better Off Dead.”

    In the car on the way back home, we listened to some classic rock tunes (Talking Heads, The Kinks, David Bowie, and the like) and talked about shows we’ve been to and the ones we plan to hit up this year. Horton has seen an impressively long list of legendary artists, including Pink Floyd and The Grateful Dead. We arrived back in Rochester after midnight, thoroughly exhausted, but still riding that post-show adrenaline high.

    To keep up to date with events, follow Periodic Table of Elephants on Facebook. Read the NYS Music review of Henry. You’ll find their EP and their live album to stream on Spotify or purchase through Bandcamp.

    Setlist: Kung Pao Chicken, Head Trauma, Machines, Duck, Whatever, My Youth, Lost, CBT, Lament (Ack! cover), Better Off Dead

  • Phish Break New Ground on December 29 in Push for 17 in 2017

    The members of Phish returned to Madison Square Garden for an unprecedented 15th time in 2017 on Friday, December 29, 2017, and while the first set showcased a few stumbles along the way, the band showed it’s still pushing brand new boundaries heading into its 35th year.

    With biting winds and the repetitiveness of yet another MSG jaunt, fans filled the sideways, bars and restaurants of midtown Manhattan, pre-show prepping for an unpredictably wild night. Off the bat, the band slid into the slinky intro of “Cavern,” typically a set closer. While Trey Anastasio mixed up a few lyrics, he set the tone for the evening. A lengthened “Blaze On” followed that fell into jazzy ambiance before bassist Mike Gordon leaped into his song, “555.”

    phish december 29 2017“I Always Wanted It This Way,” keyboardist Page McConnell’s tune, stretched out from 1980s-like quirkiness into a vast yet quite dark jam. “Martian Monster” and “Heavy Things” saw the band have a little fun, notably the interplay between Anastasio and McConnell in the latter. “Destiny Unbound,” somewhat of a rarity, injected a breath of life into the crowd. Stretching to nearly nine minutes, this version of “Destiny” is longer than all in recent memory, but it was clear the band hadn’t practiced it much prior.

    “Ocelot” slowly turned into a jam that featured Anastasio’s slinky fretwork, built up to a peak rife with tension. A little bit of his old school bravado from the mid-1990s was on display, dancing runs of notes up and down with little abandoned. While some fans are growing a bit weary of The Garden, Phish doesn’t appear to be among them. Launching into the set closing “Walls Of The Cave,” Phish was set to send us all to the restrooms and beer lines with a little extra pep in our steps. Anastasio had a little trouble with the intro, but he was pushed by excellent drum work by Jon Fishman, who was quietly the most important piece of the band in the set. With his extra effort rubbing off on Anastasio, Phish set “WotC” into orbit with a frenetic finish, capped off by incredible lighting from Chris Kuroda, who has incorporated seemingly every house light in the building with his rig to make for quite a stunning visual component.

    The tone was immediately set when the first strums of “Sand” echoed through the sold out Garden. Anastasio quickly made use of his new toys on his completely redesigned guitar rig. Designed by Custom Audio Electronics, the set features new cabinets and a wide array of new options for Anastasio to incorporate.

    With the “Chalk Dust Torture” that followed, the band unleashed a jam that quickly became the highlight of the night. After the typical song portion, Anastasio bullied his way into a quiet jam that really felt forced and out of place. It seemed as if they simply decided they’re going to launch a completely separate segment, which really should be titled “Chalk Dust Torture->Jam” on the official setlist. That was quickly forgotten, as the quiet melodies bled into an Allman Brothers-sounding jam. Gordon and McConnell continued forcing Anastasio to enter new territories before dissolving into what can only be described as a siren-sounding jam.

    The execution of the segue into “Ghost” was as smooth as it gets. Almost contrary to the jam before it, this “Ghost” was led in force by the rhythm section. Gordon and Fishman landed on a smooth groove, to which McConnell responded with wavy synth runs to give the jam a dreamy finish.

    “Backwards Down The Number Line” may not be everyone’s favorite song, but no one can argue that it’s about as fun of a Phish song as there is. The previous 41 minutes was Phish showing us that nothing gets stale with this band. The following eight minutes was them telling the crowd how it’s as important to the show as the band is. When Anastasio sang the closing “you decide what it contains” lyric, the people on the Chase Bridge went into pure bliss. A very quick “Simple” gave way to the drums of “Split Open And Melt.” This “Melt” was the perfect cap to a show that took a left at every right hand turn. The middle segment was eerie, haunting and quite strange. It was a dissolution into some ambient work by McConnell and Gordon, before Anastasio brought the song — and set — to a close. It was the most improv heavy “Melt” since the SPAC, 2013 version.

    For the encore, that bravado of Anastasio resurfaced. “Julius” may have been about the only predictable part of the show, but it gave Anastasio one more chance to show he’s most exciting and innovative guitarist in rock and roll today. The rocking finish was coupled with Kuroda lighting the Garden in some of the most impressive ways of his career, and that’s saying something.

    Tonight Phish goes for No. 16 at the Garden. If the first two nights are foreshadowing tonight, we are in for another gem.

    Setlist via phish.net

    Phish, December 29, 2017 Madison Square Garden, NY, NY

    Set 1: Cavern > Blaze On, 555, I Always Wanted It This Way > Martian Monster, Heavy Things, Destiny Unbound, Ocelot, Walls of the Cave

    Set 2: Sand > Chalk Dust Torture[1] > Ghost > Backwards Down the Number Line > Simple > Split Open and Melt

    Encore: Julius

    [1] Unfinished

    Phish, December 29, 2017 Madison Square Garden, NY, NY

  • A Triumphant Return: Phish at MSG, December 28, 2017

    Four long months after the final notes of the Baker’s Dozen’s “Tweezer Reprise,” Phish retook the Jell-O stage at MSG on December 28, 2017, for their “Triumphant Return” to the world’s most famous arena. If there were any doubts as to whether they could play with the intensity and passion of the Baker’s Dozen, they were abandoned almost immediately as New York was treated to a show that carried a similar magic to those of the previous run at the Garden. The only noticeable difference was the bitter cold and lack of gourmet donut wrappers on the floor.

    The band took no time getting the show on the road with a spacey ‘AC/DC Bag’ which saw Trey sitting back on the solo and letting the rest of the band organically develop a patient groove, which would foreshadow the jamming style of the night. ‘Wolfman’s Brother’ emerged out of the white lights and provided the first (of many) jam highlight of the evening. The band quickly transitioned from the classic Wolfman’s funk to a dark, murky jam that gave the feeling that you took the wrong turn down a shrunken alley on the lower east side, but there was no going back because you already devoted to making it past the sketchy brown walls and back to a world of streetlights and pretzel vendors. An early first set ‘Roggae’ broke out of the darkness and saw masterful interplay between all four band members as they reached a glorious peak that shook the garden.
    phish msg 2017

    Another first set highlight came next in the funky ‘Tube’ which saw an extended jam reminiscent of the Dick’s 16 ‘No Men in No Man’s Land.’ Trey played around with his effects to create an echoed funnel over the fast-building Mike led jam. It was brought so far into space they had to take a couple of seconds to catch themselves before fumbling back into the final verse of the song. There was so much packed into this short ‘Tube’ that I still almost don’t believe it only clocked in at just over eight minutes. A standard ‘Bouncing Around the Room’ came next and gave everyone a chance to catch their breaths before the band went right back at it with an exceptionally rocking ‘Back on the Train.’ For a while in recent years, this song played the role of keeping the energy in a setlist up without doing anything too special, but the last few we have seen has broken that mold and become must listen to first set highlights.
    phish msg 2017

    A funky ‘Your Pet Cat’ followed and kept up the energy in the room before a dark ‘Waking up Dead’ showcased Mike’s songwriting ability and Trey’s prog-rock roots in the solo. An oddly placed, but much appreciated, set closing ‘Theme From the Bottom’ followed, and quickly broke the mold from a traditional ‘Theme’ jam as the band built a peak similar to a summer 2014 ‘Bathtub Gin.’ The only other time ‘Theme’ closed out a first set was 12/13/1999. While the first set may look standard on paper, it was anything but. Nearly every song saw the band taking a risk and going off the deep end, as they have been doing all year.

    After a smile-fueled set break, the band to the stage with a rocking ‘Wilson’ which got everyone in the crowed fired up and ready to boogie. As soon as the opening notes of ‘Wilson’ began, there was a feeling in the air that the second set was going to be special, as second sets that open with Wilson are historically very strong (the last two prior to this shows were 9/6/15 and 7/27/14). ‘No Men in No Man’s Land’ came hot off the high energy ‘Wilson’ produced and catapulted the show from “Wow” to “Did that just happen?!?” The multi-part behemoth saw an array of the band’s play styles from funk to rock to space, and created soundscapes that swirled through the air from Page’s new synth, which defined the sound of 2017 Phish. Clocking in at just over 24 minutes, this NMINML is a jam that will be listened to for a long time. Out of the madness came a familiar riff as Trey transitioned into another anticipated jam vehicle, ‘Twist.’  The band took no time getting things going as they built the versatile song into a fervent funk jam which shot laser beams from one end of the garden to the other. Out of the funk peak saw a push back into darkness from Mike and Fish, which lasted for a few minutes leading many to believe they were going into ‘Steam,’ though Trey had different ideas.
    phish msg 2017

    The transition to ‘Everything’s Right’ wasn’t the cleanest, but once the vocals started it did not matter one bit. The new song has been a consistently strong jam vehicle since it’s debut, and this version was no exception, as it dissolved into a misty canal then slingshot the band back into space as they effortlessly transitioned into ‘2001.’ While this ‘2001’ didn’t really break the mold of the song’s structure, it was played exceptionally well with a little extra mustard and no (blatant) missed notes. The band was not about taking a break during this set, so what better song to cap it off with than ‘Harry Hood?’ This Hood saw a patient build with all four members contributing to the jam leading to the peak. While it wasn’t the most over the top peak they’ve played, there was on old school feel to the way Trey approached the ending solo which filled the garden with uncontrollable joy and plentiful high-fives.

    A standard ‘The Wedge’ was placed in the encore role for only the second time in the song’s history (the first being the infamous 11/14/1995 show), and just when everyone thought they were done Trey played the opening notes to “Slave to the Traffic Light” and ripped us back in. Slave is another song that will always keep you satisfied while not quite living up to the glory of it’s younger days, but this version seemed to have a little extra something in it. The jam leading to the peak showcased a band that did not want to stop as Mike, Page and Fish pushed the structure of the song to its limits while Trey held a note for what felt like an eternity and drove the crowd wild. When he finally let go and exploded into the peak it was as if 20,000 people who had just been holding their breath underwater for two minutes came up for air at once and completely let go of any control they had of their bodies. It was a phenomenal way to end an amazing show, and this was only the first night.

    Setlist via Phish.net

    Set 1: AC/DC Bag, Wolfman’s Brother, Roggae, Tube > Bouncing Around the Room, Back on the Train, Your Pet Cat, Waking Up Dead > Theme From the Bottom

    Set 2: Wilson > No Men In No Man’s Land > Twist > Everything’s Right > Also Sprach Zarathustra > Harry Hood

    Encore: The Wedge, Slave to the Traffic Light

  • Hearing Aide: Noon Fifteen ‘Volume 1’

    Ithaca’s growing music scene includes prog soul project Noon Fifteen. This band of seasoned musicians have blended elements of 60’s rock and 70’s blues, creating catchy songs that make it impossible to sit still. The songs on their debut release, Volume 1, showcase powerhouse vocals, intriguing musical arrangements, and captivating story lines.

    The EP captures attention from the first track, “Knock Knock Knock.” Sassy chanteuse Mandy Goldman sings about the time her drunken neighbor was banging on her door in the middle of the night. The story takes a surprising twist as she waits for an apology, and hopes that it would come in the form of an Olive Garden gift card. Goldman’s powerhouse vocals are backed by funky rhythms, starring Harry Nichols on bass and Chris Armitage on drums. The songs have a timeless quality, achieved in part through the use of vintage instruments, with Joe Massa on guitar and Sam Lupowitz on keyboard. Saxophones punctuate the melody, adding yet another layer of dimension to this plucky little number.

    A couple other songs on Volume 1 incorporate horns (trumpet and sax), as well as a string section featuring violins and cellos. One of them is “Dave Coulier.” This tale of passion and revenge features a character who realizes that she is only loved when she is needed. “I will be the girl to fix it for you,” later becomes the bitter line “I won’t be the girl to fix it for you.” The instrumentation also reflects the change. It starts as a jangly and upbeat love song, with some hand claps thrown in for good measure. It becomes progressively darker as the narrator becomes more embittered, and picks up as she exacts vengeance. Each chapter is separated by a dramatic musical interlude. The song was originally titled “You Oughtta Know,” but Alanis Morissette already used that title for one of her songs.

    “Her (Morisette’s) song is about Dave Coulier, the actor who played Uncle Joey on Full House,” Nichols told NYS Music. “So, in a moment of randomness equal to that of the song’s overall composition, we called the song Dave Coulier.”

    Overall, the EP is a jam, with infectious grooves, skillful arrangements, and rich vocals. As the title Volume 1 suggests, this is just the beginning for this group. Just don’t let the name throw you: it’s always a good time to listen to Noon Fifteen.

    Volume 1 is available on Bandcamp and Spotify. They’ve also released behind-the-scenes music videos and a Noon Fifteen podcast with episodes about each song.

    Key Tracks: Knock Knock Knock, Dave Coulier

  • The Goon Squad: Ripe Make Their Debut at The Capitol Theatre

    They played moe.down this past summer, they opened for J.J Grey and Mofro at NYC’s PlayStation Theatre, they released an EP—Ripe, a relatively still new six-piece pop-funk outfit from the Boston Berkley scene, has had a year of accomplishments. This weekend was another notch, when they made a terrific debut at The Capitol Theatre on Saturday, December 16. With a couple of guest bands joining, it revealed itself over its course of the evening as a really special kind of show.

    One of these guests were Juice, a fellow Boston group of a similar musical flavor. The pairing of these two bands was perfect, as it made for a full night of uniformly bright personality and musical zest.

    Juice channeled the finessed pizazz of a Broadway production. But their material was a  mix of R&B and pop rock, that also radiated an extremely positive mood from the start. Among other strengths, like their charismatic electric violinist Christian Rose, Juice have a real vocal power going for them—something becoming less of a rarity for jam scene acts than it’s been in the past. Most of the material of their set featured at least a couple members either harmonizing or rapping improvised bars.

    If you can believe it,  the band’s banger for the night, and a topper for the entire evening, was a take on Kanye’s “Gold Digger.” It didn’t sound like such at first, but the band put a Little Feat-inspired, piano-touched funky groove behind the song that made it surprisingly heady and listenable. They finished out very strongly, with a song that they announced would be on an upcoming album: a tune that revolves around a great, gospel-inspired chorus of “Mercy, mercy.” It actually echoed the sound and feel of the more soaring section of Tedeschi Trucks Band number.

    As they started out, Ripe introduced a similar yet also unique brand of this positive-funk  Now it was something like a modern, more revamp of 80s dance pop. It also got slightly groovier in tandem with its building—as Ripe would reveal over the course of the night, they were good at taking things up from an already good level to an even higher one. By the third song into their set—which now was delivering a sound that fused The Red Hot Chili Peppers and Stevie Wonder, they’d tapped into a huge momentum already.

    Robbie Wulfsohn, Ripe’s almost dizzingly enthusiastic lead singer, had enough personality for everybody in the theatre, but there was the “it” kind of talent to back it up. To his band’s suave yet hard-pushing grooves, he stood out still as a strong point, with a far-reaching, soulful, youthful voice that didn’t let up as the night went on.

    “This is crazy,” he was panting to the crowd halfway through the set. He was no doubt addressing the surreality of the night, the fact that his still very much up and coming Boston band of friends was getting this golden opportunity to do their thing in the big, majestic space of The Capitol Theatre.

    For that golden opportunity, they were really doing it up right all night. Track after track, the components from Ripe, from the two-man horn section, to the two-man guitar team, to the dramatic builds, was combustible with energy, and radiating a concoction of confidence and gratitude. The amount of hype the entire band was clearly feeling thankfully fueled a set of more than solid playing, with strong solos from all around, and even some squaring-off-style improv sprinkled throughout.

    For the crowd that they managed to bring into the Capitol Theatre, they rocked them. It’s not an exaggeration to say that the Cap’s audience absolutely ate this show up. People jumped around, they danced like they were drunk, they screamed in the middle of songs, many sang along for the entirety of the show.

    The fun boiled over at some point. Ripe’s guitarist, Jon Becker, at one point snuck away from the stage, only to reappear in amusing fashion in the presidential box above everybody’s heads. Right after this, the band invited up Christian Rose from Juice to add a few short but shiny violin rips to one of their jams.

    At the tail end of what Wolfsohn called the “final stretch” of the night, Ripe laid down a pretty remarkable, multi-segmented version of The Lion King’s “I Just Can’t Wait To Be King.” Taken through a few different waves of funk, a couple builds, and even a quick section of jazzy space that preluded a big return to the chorus, if was a keen choice for rounding off a big night of music.

    Ripe and Juice might be some names to listen for in the coming times. For all the fun and musical radiance this Capitol Theatre show brought, it certainly also came across as a rock concert equivalent to stepping up to a big plate, and knocking it out of the park.

  • Hearing Aide: Chris Eves and The New Normal ‘Find Your Way’

    Chris Eves and The New Normal debut their album Find Your Way this Friday night, December 22 at Funk n Waffles in downtown Syracuse, and on a busy night of Christmas parties and shows, its a must-see show given the prowess shown on this release. Recorded, produced and mastered at More Sound Studios in Syracuse by The New Normal and Andrew Greacen, this homegrown album and band sound ready to deliver in a live setting.

    chris eves Find Your Way
    Chris Eves Band

    Opening tracks “Remember to Forget” and “Green and Blue” show off the guitar work of Jay Lock, with the latter a stand out track on the album, truly soaring to height after height. “Walking on a Wire” is light and poppy in a Dave Matthews/Dispatch way, down to the built in crowd sing along. “Find Your Way” – all eight minutes of it – is a journey of a song, with peaks and valleys with an Assembly of Dust vibe throughout, down to Mike D’Ambrosio’s keys, which shine even more on “On Rainy Days.”

    The album doesn’t have a lull or soft spot, and halfway through there’s a steady rock groove that gets harder with “The Chains You Wear,” with an early Soundgarden vibe.  “Fall” is the hardest rocking track, bringing to mind moe.’s “McBain” and “George” amid an accelerated raging first half and a mellow reflective second one that turns up with Bayliss/Cinninger-esque guitar licks. Eves’ vocals are a treat throughout the album – like a diamond in the rough of jam band vocalists – notably, on the soul-extending “New Normal” and song of longing that closes the album, “Flown Away.”

    Most tracks clock in between 4-6 minutes, giving a sign that these songs will stretch out much further in a live setting. After a few listens to the album, two things are apparent: Find Your Way is a debut album with shine and depth, and The New Normal might be the best new band out of Syracuse.

    Key Tracks: Green and Blue, When the Stars Start Falling, Fall

  • Best of NYS Music 2017: Albums of the Year

    With a wide ranging variety of music across the state, New York has an intense amount of bands releasing music each year, much of it recorded in New York State. Whether it was recorded at in Syracuse at Subcat Studios, at Albany’s Overit Studios, New Paltz’s Castle Studios, or Dreamland Recording in Woodstock (among the numerous options around the state), these 2017 albums from homegrown artists reflect the diverse music being produced right at home in New York.

    Best Albums by a New York Artist

    Staff Picks

    Dopapod MEGAGEM

    Dopapod may be taking 2018 off, but they left a fantastic album for fans prior to their year long hiatus. After their Fall Tour closing show in Syracuse this past Saturday, the band gears up for two final shows – December 30 at Fete Music Hall in Providence, and December 31 at Paradise Rock Club in Boston. Catch em while you can, because these NYS Music faves won’t be back until 2019!

    Read what Alyssa Ladzinski had to say about Megagem: “With their most themed release to date, its apparent the quartet knew exactly where they wanted to go, as they take their listeners on a dream pop journey to the center of self fulfillment. The 5th studio album comes a a bittersweet symphony, the last creative piece relinquished by the jam rockers before the looming hiatus. While its bittersweet to know you wont witness the live, raw talent of a band so deserving of its praises for an entire year, at the very least, we’re left to see how the entire album translates on stage and if any of those strings just so happen to surface during fall tour.”

    Big Mean Sound Machine Runnin’ For The Ghost

    Ithaca’s Big Mean Sound Machine is no small touring band. Nine members have been storming the Northeast for the past few years, and their fan funded album Runnin’ for the Ghost served as a catalyst for the group to launch outward in 2018. “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.” Read more of Ben Boivin’s review.

    Formula 5 All Points North

    Eli Stein said of the jam happy foursome “On All Points North, the new album from Albany jam-rockers Formula 5, ‘North’ is not a physical direction, but a mental state. North is up, and up is good.” Read more and don’t miss Formula 5’s final show of the year at DROM following Phish on December 30.

    The Other Brothers Jones


    New Paltz is alive and kicking with The Other Brothers storming out of the gates with their Jones EP, released in September with a sold-out show at American Beauty to celebrate. Alyssa Ladzinski said of Jones “With eclectic and effortless transitions between a broad horizon of styles, The Other Brothers don’t allow themselves to be labeled as a one-genre group, if anything, they’re simply contagious. Instead, they master a collection of ballads and soul-soothing soundscapes leaving their exploration and further projects open to directions of all kinds.” Read more here

    Folkfaces How Long

    Folkfaces have had a great year – they were one of the founding bands of NYS Music 87/90, they had a relentless Summer Tour, and released How Long back in April. Buffablog said of the album “From the back-country banjo charm of “Institution Blues,” to the rowdy foot-stomping pandemonium of album opener “Arrows We Break,” right on down to the sultry jazz elements of “Indian Lake,” there is something for everyone on this record. No matter what your poison, it is served with a smile on How Long.

    Reader Picks

    The Other Brothers Jones

    Readers loved The Other Brothers Jones, and why not? Their dedicated fans sold out their album release show at American Beauty in September. Check out our recap.

    Aqueous Element Pt. 1, Element Pt. 2

    Aqueous has had a monster year, including signing with Nugs.net and releasing not one but two live releases in the form of their Element series. Stream these jam favorites below and pick up the album at their Bandcamp store.

    Best Albums – Nationwide

    Staff Picks

    Mike Gordon OGOGO

    The evolution of Mike Gordon’s side project has been a delight to watch over the past decade. The current incarnation of Mike Gordon Band straddles the line between Phish’s jammy goodness and Mike’s inherent weirdness. Tracks like “Marissa” and “Crazy Sometimes” have made their way into Phish’s rotation this year and OGOGO was well received on Mike’s recent fall tour.

    Body Count Blood Lust

    Ice-T’s heavy metal band returned with their first album since 2014’s Manslaughter received a Grammy nomination for the song “Black Hoodie.”

    Kendrick Lamar DAMN.

    When you are named the greatest living rapper, you expect greatness. That’s exactly what DAMN. delivers. It ended the year as the #1 album on Billboard, and was nominated for Best Rap Album and Album of the year, which is Lamar’s third consecutive album to be nominated for the honor.

    Queens of the Stone Age Villains

    Marc Ronson produced the seventh album from the heavy rocking QOTSA, led to longer than usual tracks (six of nine are over 5 minutes long), all based on hearing the Ronson produced “Uptown Funk.” Frontman Josh Homme told VICE earlier this year “I knew I wanted to make something that sounded very tight, and with the air sucked out of it and very clear. So he was just a great reminder just as an opening and then his desires are so beat-centric. And so are mine […] we had this tremendous amount of overlap.”

    lespecial Cheen

    Boston’s heavy jamband lespecial produced a winning album in Cheen, released this past Halloween. Read more in our review, that said ‘lespecial has spent several years cultivating a dedicated fanbase with a sound that cleverly interweaves psychedelia, technical math-rock, metal, electronica, and a tribal influence that feels like it comes from deep in the jungle. The entire album has the coherent flow of a concept album, with its many themes seeming to bleed effortlessly from one song to the next.

    Dopapod MEGAGEM

    No surprise here – Dopapod was a staff favorite, enough to be selected as album of the year nationwide.

    Reader Picks

    King Gizzard and the Lizard Wizard Polygonawanaland

    Australian Psych rockers King Gizzard and the Lizard Wizard produce a style of rock that is as unique as their name. They’ve produced 12 albums in the past five years, with Polygonawanaland their fifth of 2017 alone. Stream the full album below and discover the weirdness within.

    Dopapod MEGAGEM

    NYS Music’s readers were on the same page with us. There’s no denying how great Megagem is.

    Kendrick Lamar DAMN

    Kendrick’s conscious rap received rave reviews from media outlets around the country. It’ll be a surprise if he doesn’t win top honors at the Grammys in January.

  • Hearing Aide: Wavy Cunningham ‘Welcome to the Wave’

    Albany has always had a diverse music scene. The Capital Region has a way of nurturing countless acts and genres throughout the years and our city always seems to have a surprise up its sleeve. The biggest surprise in 2017 has been the release of the newest project from Wavy Cunningham, Welcome to the Wave. This endeavor showcases Wavy’s ear for samples and his ability to paint a story. Ever eloquent, Wavy shows us that he can be the light of the party.

    wavy cunningham
    Wavy’s most ambitious project yet starts with “Sunrays,” a calypso-inspired introduction track whose chorus echoes the theme that persists throughout the album, “518, if you didn’t know you know now.” He peppers his storytelling with various local references and a sound that encompasses the feel of the State Capitol. This is apparent in his upbeat manifesto, ‘Welcome to the Wave,’ which is a prime example of how Wavy can balance the tempo, timbre, bass and rhythm of a track while spinning a yarn to the listener.

    The most impressive aspect of Wavy is the sheer number of genres he uses in his samples. Two shining examples of this are the incredible Barry White sample in ‘Back on the Scene’ and the Bob Marley vibe surrounding ‘Montego Bay’. However, Wavy is able to move past relying on popular samples by creating his own atmosphere which permeates the album. ’Bout Me’ possesses a striking West Coast influence while maintaining Wavy’s Northeast attitude and the angelic track, ‘Ain’t Fo Sho’ flourishes while Wavy floats amongst syllables.

    Welcome to the Wave shows that hip-hop is alive and well in Albany. This is the perfect summertime album and while we may be in the depths of winter, don’t be surprised if the next 518 party you attend has Wavy playing in the background.

    Key Tracks: Sunrays, Welcome to the Wave, Aint fo Sho

  • Victor Wooten Trio Speaks without Words at Anthology

    A modern jazz club manifested at Anthology Thursday, December 14, welcoming Victor Wooten Trio with Dennis Chambers (drums) and Bob Franceschini (sax). A red curtain backdrop stippled with strands of soft yellow lights dripping to the floor radiated an understated elegance, setting the mood for the trio’s dichotomous playing style. A melodic infusion of jazz, R&B and funk abstractly bestowed upon eager ears, many belonging to fellow musicians.

    The relaxed musicians stood comfortably on stage, emulating a nonchalant but composed demeanor similar to one who might stand in the kitchen eating a bowl of cereal while contemplating life’s deep questions. Victor Wooten Trio provided a musical approach that can seem simple upon first listen or to the untrained ear. They offer an underlying complexity that grabs the listener’s attention more fervently with purposeful, controlled sound than a performance riddled with wickedly intricate sequences.

    Their performance seemed to unfurl organically, in a free flow of notes with ever-changing rhythms that kept the head bobbers and toe tappers constantly reinventing their own body movements in a frivolous attempt to mirror the music. Wooten, Chambers and Franceschini know when to push and when to pull back, leaving ample space for each musician to unhurriedly showcase their style.

    In Wooten’s words from a TEDx talk at Gabriola Island a few years back he offered: “To be a good musician you have to be a good listener. Doesn’t matter how great I am as a bassist. We can put five of the world’s best musicians on this stage but if we’re great separate from each other it’s gonna sound horrible. But if we listen to each other and play together, individually we don’t have to be as great and it’ll sound much better.”

    Wooten contrived several noteworthy instances, the least of which was casually slipping from electric to double bass. The latter an instrument he less commonly plays, yet fingertips danced across the fingerboard unabashedly. Fusing classical and modern, he even doubled back to brandish his bow across the electric bass to create provocative sounds. Perhaps one of Wooten’s most intriguing acts unfolded as he utilized his loop pedal to create multiple polyrhythmic melodies, adding each note one at a time. The mounting complexity of this sequence mesmerized listeners because of the precision and patience behind it’s development.

    The method of slowly building a progression note by note could be traced back to Wooten’s TED talk where he describes music as a language, and one that he learned at a very early age, when he was also learning the language of speech. Just as children begin by learning one word at a time to build their vocabulary, Wooten still applies that same basic principle on a professional stage decades later to communicate with his audience.

    Midway through the evening, Wooten introduced his two comrades before jokingly introducing himself as Stanley Clarke, a prominent jazz bassist. Later on in the set, he treated listeners to a mashup of Clarke originals to the delight of those familiar with his work. The trio inserted other Easter eggs throughout the set, including a Stevie Wonder sample, but even these more recognizable riffs were cleverly disguised, detectable to those listening intently.

    What was plainly obvious was Wooten’s almost comically precise ability to manipulate his bass to sound like other instruments. At one point I found my eyes furiously darting across the stage to locate the elusive flute player. Low and behold, it was coming from Wooten’s electric bass. The running joke of the evening was that after talking to him for ten minutes, he could probably make his bass sound like that person’s voice. Perhaps this feat of musical wizardry can serve as his next musical conquest.

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