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.
Category: Reviews
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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).
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.
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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.
Vocalist/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
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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
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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.
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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
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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
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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
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Hearing Aide: Formula 5 ‘All Points North’
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.And so we begin with a happy-go-lucky blast of B3 on album-opener “Come Along.” Even a dark turn toward a minor key on the following “Sad Bed” quickly escapes to a frenetic organ and guitar groove that mostly bobs and floats above the surface.
There are plenty of extended instrumental moments to satisfy fans of the band’s penchant for live improvisation. “Trout Waters Pt I & II” is a two-part instrumental that begins rocking in a Widespread Panic sort of way, climaxes midway with some surprisingly nifty guitar howls, then finishes off with a funk that attempts to match the Headhunters in it’s depth and length but perhaps wanders on too long. “Excalibur” twists and turns in almost disorienting fashion, but always settles back to North. The highlight of the instrumental gymnastics comes in “Q & A,” a near twelve minute multi-section workout that hits all the sweet spots. Early moments borrow elements from Frank Zappa and the Grateful Dead, piano and guitar intermingle in a light and airy mid-section before it all builds to a triumphant finish.
Though, the best moments on All Points North, Formula 5’s third studio recording, come in the shorter, song-centric tracks. In the jam band world, this is remarkable and refreshing. A sign of maturation and of great things to come for this young band. There’s the feel-good blues of “It Goes…” and the Southern-rock-meets-soul anthem “The Birch Tree.” Strongest of all is the slinky groover, “Do Tell.” Vocals, guitar, keys, horns and cymbal-washed rhythms softly smudge together eliciting the moment where an early morning Sesame Street montage and a late night smokey jazz lounge meet halfway at a time that is either too late or too early. The set finishes strongly with “Figure Out a Feeling,” which finds a happy medium between the band’s songwriting and desire to stretch the limits.
Key tracks: Do Tell, Q & A, Sad Bed