NYS Music 20​17

Category: Reviews

  • X Ambassadors play host to Cayuga Sound Festival

    The atmosphere of the Cayuga Sound Festival perfectly summed up the Ithaca experience. The day-long festival kicked off Saturday, the 23rd, beginning hopefully a new annual tradition. The festival was scheduled during one of the most musical weeks in Ithaca, as locals were gearing up for Porch Fest the following day. The festival kicked off around noon, with the Imperials taking the smaller of the two stages. Unlike most music festivals, the two stages were located side by side. This allowed both venues the classic Stewart Park Lake view beloved by all, and allowed for continuous music to a static audience. The Imperials set the mood of the festival. This local band is categorized as post-rock, and their eclectic musical quality lent itself to the ambient environment of the afternoon. The theme of the festival seemed to be hometown heroes, with the entire thing put together by the X Ambassadors, an indie-band that got its start in Ithaca. Each band that came on played into the atmosphere, calling out the beautiful scenery and talking to the crowd.

    X Ambassadors cayuga sound festival
    Photo by Graham Fielder

    After Imperials, Stone Cold Miracle took the Main Stage. Another locally based band, their soul-infused style played perfectly off the energy created by Imperials. The crowd for the first few concerts was primarily locals, with lots of families running around the grounds. Stations were set up for face painting while the lake side of the stages were lined with local favorite food trucks like Silo’s. The day crowd stayed small enough that wait times were short. The longest line was for the ice cream, as the crowd tried to beat the heat. Still, a consistent group of enthusiastic fans stuck by the stage. The group was hemmed by couples and families in lawn chairs and on blankets. The rest of the concertgoers spent their downtime sprawled out by the lake, which was filled with boats as people flooded to get as close to the music as possible. Although Ithaca is frequently dominated by the two large colleges in town, the festival was marketed to all ages, which allowed the true relaxed and friendly spirit of Ithaca shine through.

    Following on the Lake Stage was Izzy True, an indie-rock band. Their mood was less joyful than that put out by Stone Cold Miracle, however, their lead singer had instant charisma with the crowd, who were found nodding along. A few even broke into dance as the pace picked up. Jukebox the Ghost continued this energy. Although still within the aesthetic of the festival, they were the most pop-oriented group of the day. The younger audience was really engaged through their energetic performance style, and their songs were a mix of their older acoustic-based music and more recent indie-pop songs.

    X Ambassadors cayuga sound festival
    Photo by Graham Fielder

    Sammus completely changed the mood as the young rapper took the stage. The artist is known for her evocative lyrics paired with heavy beats, and although she gave an incredible and resonating performance, it was a sudden derailment from the relaxed family-friendly vibe set by the earlier groups. The crowd thinned out to mostly young adults and college students, with Sammus being a clear favorite for many concert goers. She fit the theme of powerful women set forth by Izzy True that would be repeated again in K.Flay and Tei Shi’s performances.

    Crush Club’s funk mix brought back the earlier vibe, along with grabbing the attention of some surprised older concert goers who were drawn to the band’s sound. Their set was fun and light-hearted without losing the attention of the younger group that Sammus had drawn.

    The largest issue that arose during the festival seemed to be around scheduling, as The Knocks ended up canceling the day of the concert. Although times were shifted to accommodate this, many later performers didn’t seem to get the memo. This was unfortunate as it created musical gaps in the well-planned schedule. It also gave concertgoers a chance to relax along Cayuga Lake, indulge in the delicious food, or just hang out with a beer. During these breaks, the atmosphere was relaxed instead of stressed. People hula-hooped, played Frisbee, and even napped.

    The music got progressively heavier as the sun set. This was fitting, as the crowd shifted from families to college students and young adults. K. Flay’s music picked up the energy, with her making several shout-outs to being in Ithaca. Savior Adore’s pop-infused music kept the crowd dancing as more and more people began to trickle in for the night’s main event. By the time Tei Shi took the stage, the crowd had easily doubled from the daytime group. Gone were the lawn chairs, replaced by a crowd ready to dance, jump, and jam with the three headliners.

    By the time X Ambassadors took the stage, the crowd was going wild. This marked a homecoming for the band, and their excitement to be back was palpable. Their set was one of the most memorable of the night, as they mixed popular and newer songs together to create a show that suit both avid fans and more passive listeners. Finally, The Roots made it to the main stage. Their performance included their beloved music, reaching back into the ‘90s for some crowd favorites. By now the crowd was huge, spilling over the area in front of the stage so people were dancing in the field and even down on the shore of the lake. The Roots were perfectly suited to this festival, as their sound appealed to all ages of audience. Many families had left by the time The Roots stepped out on the main stage, however the audience as still a great mix of local Ithacans and college students. The fireworks following the concert tied together a beautiful day, hopefully one that will be repeated in years to come!

  • Hearing Aide: The Other Brothers Debut EP ‘Jones’

    Everyone, at some point, dreams of being in a band. Everyone who is in a band, dreams of achieving ultimate success. Some bands spend years in musician purgatory, putting forth albums, riding the in-between waves of small victories within their genre and trying to come to terms with if they’ll ever break through to fame or if the future remains with sold-out hometown shows. The Other Brothers, while still managing similar questions of their own, have showed relentless passion and drive to come out on top over the years, despite the lack of tangible music, until now.

    Trading in hometown gigs for Capitol Theatre collaborations with Theo Katzman and Joe Dart of Vulfpeck as well as slots on festival bills, The Other Brothers have quickly hopped amid their own neo-soul totem pole to the top. Beginning as a New Paltz quartet in 2012, the six-pack made up of the flavorful Chris Owens (lead vocals), John Morrison (guitar), Jordan Mendelson (bass), Brandon Bera (drums), Gabriel Marquez (keys) and Jared Nelson (percussion), constantly performed to friends and family while hitting up the town bars and cafes, quickly making their name known and earning the gold star achievement of local favorites. Fast forward five years and the high-talent sextet have finally compiled a five-song, debut EP, Jones, ready to bestow a plentiful stew of soulful R&B, funky, rock and roll genres onto new listeners.

    Adorned with a simple cartoon drawing of a burnt orange beanie, Jones offers up a fusion of sound from the very first track. The EP kicks off with “A2W,” or better known as “Addicted to Weed” and if you’ve had the pleasure of catching The Other Brothers live, you’ve noticed it’s quite the crowd pleaser, evoking smiles around the room. The song’s theme is centered on playful lyrics about tokin’ and jokin’ as listeners are lead into Jones with a head-knock worthy drumbeat and funky bass line. Owen’s launches into a narrative of all things that have been blown off because of his unwavering marijuana morale. His deep and smooth articulations are perfectly supplemented by the sultry back up vocals of Mary Corso which make a second pop up later on the release.

    Lyrics like “Used to make me laugh, now I just wanna quit” and “get a full-time job and maybe a car” allude to the crossroads many people come to–when to shake a certain comfortable lifestyle in hopes of shifting into a different one or how to make both worlds coexist. The end of the song finds a rap breakdown filled with inner thoughts about giving up personal addictions while guitar aficionado Morrison dives into a funky segue with a build up and climax of heavy, mind-altering psychedelia. The EP quality is top-notch as Jones was recorded to tape, mixed and mastered by David Andersen at Art Farm in Accord, NY and Sound City Studios in Los Angeles.

    “Can I Get It” quickly follows as the second track of the EP, with pronounced drum-circle percussion by Nelson and Mendelson’s bass hook stealing the show in the midst of a dance-party anthem that awakens all senses. The lyrics, while repetitive and straight-forward, aren’t meant to be the highlight of the track. Rather, they state exactly what the band will do as vocal growls and embellishments unleash before wrapping back to the song’s theme of  “We’re gonna funk you up, gonna funk you down!”

    An abrupt ending welcomes another fan favorite “Hit You Up” ft. The Other Brothers’ companion Wavy Cunningham. Taking a slower R&B approach to track three, silky smooth vocals and Marquez’ assistance on the keys come to the forefront of the tune before Cunningham steals the mic for a quick rhyme, appropriately placed smack dab in the middle of the track. Owens truly displays his powerhouse singing chops as the song nears its end with high-hitting notes, running scales and impressive falsetto.

    Up to this point, the EP has offered slower, smooth arrangements and dance-centered tracks until “Your Machine” comes as the funkiest tune off of Jones, immediately placing you in a time machine to their enchanting Disc Jam 2017 performance. An unmistakable groove first grabs hold of your ear as odd time signatures, soaring guitar licks and swift tempo-switches keep you attentively listening to the very ending note. The guitar-wailing track collectively showcases all member’s talents and even ends with a stellar outro that tantalizes a full spectrum of sentiments.

    “Cave In” is delivered as the EP’s 5th and final track, giving off a stimulating and inviting arrangement to tap your toes and swing your hips to. The dreamy vocals enter into airy falsetto, unmistakable growls and even add jazzy scatting into the mix for a nod to yet another wall of sound. “I’m gonna hide inside this groove, baby, until I get back to you” perfectly depicts the soulful and emotive themes the ending track delivers.

    Before The Other Brothers even released their tunes in any capacity, they shared the stage with Vulfpeck giants Theo Katzman and Joe Dart at the famed Capitol Theatre, sold out their EP release party at American Beauty in NYC on September 30 and tore up their festival slots and summertime gigs. Taking the frontman’s signature hip sways and energetic bops across the stage out of the equation, the debut places focus on the band’s music alone–solidifying what most already knew. Owens may act as the mitochondria of The Other Brothers cell, but each of the members carry out their own complimentary duties to craft their ever-morphing sound.

    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.

    Celebrating their first official EP, a release party will take place at American Beauty in NYC on Sept. 30 at 8PM. Keep your eyes peeled for impending fall tour dates that will be released prior to the show.

    Key Tracks: Your Machine, Cave In

  • Ferocious Funk: Rich Bomzer Project

    Funk and jazz improvisation was served up at the Big Kahuna in Huntington, Long Island, when members of the Rich Bomzer Project took the stage to close the night with an electrifying performance!
    Rich Bomzer ProjectThe lineup on the night’s gig consisted of Rich Bomzer on tenor sax, Eric Frost and Christian Crawford (trumpet), Annie Mclean (vocals), Tj Adorno (guitar/rap), Colin Dooman (bass),  Evan Sundquist (keyboard, vocals, computerized sound effects), Angel Lau (percussion) and Alex Aitken (drums).
    The group truly showed their skills as both instrumentalists and vocalists. Some members demonstrated extreme versatility by switching from lead guitar and keyboard on one chart, to lead vocals and rapping in another. They touched on all corners of great classic genres from Motown to rock followed by jazz ballads and R&B. All songs were infused with heavy horn hits and ferocious tenor sax improvising.
    The set list included hits from Earth Wind and Fire, Stevie Wonder, and Rolling Stones. Amongst those hits were original compositions written by Rich Bomzer himself. Some songs by Bomzer performed that night were filled with such expression and memorable phrasing, namely: “Everything Is Gunna Be Alright,” “Never Felt Like This Before,” “The Dank” and “Feel You.”
    While watching the band’s performance, their strong stage presence and synchronization could all be felt. This major attribute is rooted in their tight sound and mutual melodic style. Rich Bomzer Project is full of energy and expression; they do what they love with ease. The band’s unique sound and flair emulates their musical influences.
    For music by the Rich Bomzer Project, listen to their recently released EP titled Last Night that can be found on apple music, iTunes, Spotify, and Soundcloud.

  • Bastille’s Wild, Wild World Stops by The Palace

    While weeknight shows are sometimes a little bit more difficult to make it to, they are just as worth a show on the weekend. On Sept. 12, Bastille made their second Upstate NY appearance along with some help from FRENSHIP at the Palace Theatre in Albany for a nice chip out of a midweek routine.

    California-based FRENSHIP opened the night with an upbeat electropop set that seemed to impress new ears as well as fans of the band. While the band only released their debut EP last year, they were dynamic on stage, on par with the fact that they’ve been playing together for a few years prior to their EP release.

    When Bastille took the stage silhouetted by the brightly backlit stage, the eagerness of the crowd in the standing area near the stage was like a flock of salmon jumping up a waterfall. The Palace remained tightly attentive to the music from start to finish.

    Frontman and lyricist Dan Smith writes lyrics that are typically rooted in not the brightest of themes (though not always, as in “Glory”) which are paired with upbeat musical moods. Without being aware of the lyrics it is easy to place Bastille in a happy-going dance pop category. It is this conflict between lyric and song that work symbiotically on the subconscious ear.

    It was this balance which kept the balcony and orchestra levels dancing throughout the show and carefully tuned in to the quieter songs such as the hauntingly melodic guitar and vocal duet between Smith and Will Farquarson on “Two Evils.” Bastille also showed off their knack for intelligently mashing two songs together – “No Angels” as a mix of TLC’s “No Scrubs” and the xx’s “Angels” and “Of the Night” as a mix of the two 90’s dance hits “Rhythm of the Night” and “Rhythm is a Dancer.”

    Just as it would seem abnormal for a band like Lynyrd Skynyrd to not end their show with “Freebird,” Bastille rightfully closed their show with their biggest success, “Pompeii,” which got the band in a much brighter spotlight outside of the UK. FRENSHIP came out to jam for the last song, having just as much fun on stage as fans in the audience were having.

    Bastille Setlist: Send Them Off!, Laura Palmer, Overjoyed, Warmth, Flaws, Lethargy, Snakes, No Angels, The Draw, The Currents, Glory, Bad Blood, Oblivion, Blame, Icarus, Of the Night, Fake It, Good Grief

    Encore:
    Two Evils, Things We Lost in the Fire, Pompeii

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  • Pixies Rocked an Incredible Hometown Throwdown

    Most people might not know this, but The Pixies got their hometown start at UMass Amherst back in 1986, when two of the founding members were neighbors. Over 30 years later, they still play like the 90’s never ended. On September 20, their alt-punk-rock filled the John M. Greene Hall in Northampton, MA. With no set list, the band came out to a packed crowd and played hit after hit. After each song, the lights would dim while Black Francis would choose where the band would go next, feeding off the energy of the crowd. They have a few more shows in the northeast and Canada before moving westward. Do not miss these guys. Check out photos below from Zatchmo Lives Media.

  • Lettuce Brings the Funk to Buffalo

    People from all walks of life gathered together in Buffalo at the intimate Tralf Music Hall Sunday, September 17 to experience the long-awaited return of the Boston-based funk machine that is Lettuce. While it was a typical, dreary September Buffalo night outside, the crowd and aura of the dancefloor gave the feeling that you were at a late Saturday night festival show.

    lettuce funk buffaloThe show began with a high energy DJ set by the up and coming electronic artist Maddy O’Neal. The 45-minute set showcased a great combination of bone shaking bass drops, obscure drum beats, and well-placed sound effects as she sampled songs that were both familiar and unfamiliar to the crowd. O’Neal’s energetic movements blurred the lines between the crowd and the performer as red, blue and yellow lights swirled around the stage and inspired the mostly timid crowd to get up and dance. By the end of her set nearly the entire dancefloor was filled and grooving, and the crowd was warmed up and ready for the meat- or vegetable- of the show.

    The audience was ecstatic when Lettuce took the stage, with a few extra cheers and whistles directed towards keyboard player Nigel Hall who emerged from behind the curtain in a Bill’s hat and old-school O.J. Simpson jersey. The band took no time getting going as they opened with an electrifying “Requiem,” a song that wove jazz and funk influences as drummer Adam Deitch and bass player Erick “Jesus” Coomes held down a steady funk groove while trumpet player Eric Bloom and saxophonist Ryan Zoidis skillfully whirled through a Middle-Eastern melody.

    The tight stage and small venue created a college-basement feeling as the crowd was now shoulder to shoulder, bobbing and spinning just feet from the almost comically over-packed, tiny stage of musicians. The next two songs kept the energy high as they blasted through “Get Greasy” and “Chief,” two fat funk instrumentals which gave the band multiple opportunities to showcase their ability to control the energy in the room and build to a peak out of almost thin air. The crowd clearly appreciated the heavy funk to start the show because by the end of the third song multiple heads of lettuce could be seen flying around the audience.

    The band slowed things down a bit with “Dump,” the first song featuring vocals, which sounded like a cross between James Brown and Stevie Wonder. Hall did a magnificent job handling the vocals with his delicate yet dominating voice, as the band played softly around him.

    The next few numbers highlighted the band’s ability to create ambience while at the same time holding on tight to their funk roots. The intro to “Ready to Live” gave the feeling that you were being ominously watched as you went scuba-diving through an abandoned shipwreck at the bottom of the ocean, eventually being pulled up to the surface by the funky breakdown.

    High energy jazz solos by guitarist Adam “Shmeeans” Smirnoff was a clear highlight to the diverse crowd before the band took a quick break leaving Deitch alone on stage to hammer out an intense, Bonham-like drum solo. When the band returned to the stage, they might as well have come back with George Clinton with them because they brought the funk. The crowd exploded with the band, and there was not a single person whose neck wouldn’t be sore in the morning from the trance-like grooving.

    The band ended their set with two songs containing more vocals than they had utilized the entire night. During “Shmink Dabby” Hall taunted the audience in a James Brown-like fashion yelling “Buffalo, Hit Me!” while Zoidis let out a powerful saxophone solo. They ended their set with “Sounds Like a Party,” a fun song that does in fact sound like a party. During the breakdown, each band member took a small solo before coming together as one entity to leave the crowd on a high note.

    The band did not leave the stage for long before the crowd began a “One More Song!” chant, forcing the musicians back out almost immediately. The band thanked the audience and gave them a little more of what they wanted with a bustling rendition of “The Flu.” Hugs, high fives, and smiles were exchanged as the crowd left the venue, with every soul feeling just a bit richer thanks to the night of funk they had just experienced together.

    Setlist: Requiem > Get Greasy > Chief > Dump > Ready to Live > Purple Cabbage > Kron Dutch > Blaze > Phyllis > Lettsanity > Shmink Dabby > Sounds Like A Party

    Encore: The Flu

  • Broken Social Scene Breaks Out a Social Scene in Ithaca

    Canadian indie-rock collective Broken Social Scene opened their US tour, their first in six years, at the State Theater in Ithaca on Saturday, September 16. They’re touring behind Hug of Thunder, their first album in seven years. With the exception of some one-off festival shows here and there (mostly there), the band has essentially ceased to exist.

    As soon as the lights went down, the much-less-than-sellout crowd left their assigned seats en masse, as if it were planned, tightly packing the theater halfway. What they lacked in size, they made up for in energy and excitement. Ring leader Kevin Drew took notice and set the tenor for the evening. He said the tour manager warned of a light crowd, but they didn’t care, they were going to throw a “private party” in Ithaca. And gracious hosts they were. Indeed they broke out quite a social scene. Drew, always a showman, was especially high-spirited and chatty on this evening.

    They may not have played as a regular unit in a while, but this wasn’t a mere reunion show featuring just a couple of the original members. They brought the core band that has been together since the early days of the band, Drew, Brendan Canning, Charles Spearin, Justin Peroff, Andrew Whiteman, Amy Milan, Sam Goldberg along with some horns and percussion and Ariel Engle, the relative newcomer on vocals. Members came and went and switched instruments at will for a constantly fluctuating lineup that maxed out at 11 people. The guitarist became the bassist became the keyboardist became the trumpeter became the drummer, and so it went.

    The band, or at least some of them, kicked into the opening notes of “7/4 Shoreline” shortly after arriving to the stage. Drew stopped them, saying they weren’t playing that yet. They recollected themselves and reached further back in their catalog for the opening “Cause=Time,” which was immediately followed by the aforementioned “7/4 Shoreline.” The band was loose in spirit and playing, but still incredibly tight, like they’d been playing hundreds of shows a year.

    Drew’s strict adherence to their predetermined setlist was eventually abandoned. Midway through the set he started openly taking requests from the audience. It was a “private party” after all. “We’re for you, not us, don’t forget that,” explained Drew. “Almost Crimes” opened up the request faucet. “Texico Bitches” also came by request, though as the band started into it, Drew said, “Oh we’re really doing this?” The leader became the follower, reluctantly. They wouldn’t oblige all requests though, “Swimmers” was too deep to be dredged up. Nonetheless, that the somewhat out-of-practice band of 11 was willing and able to take random requests was most impressive. That’s not an easy ship to steer.

    Someone, perhaps angry their request wasn’t granted, threw their cup on stage, nearly hitting Drew. Security quickly apprehended the guilty party and dragged them out of the venue. Drew, watching the action unfold, responded, “Aww, I liked that guy!” But he wouldn’t be invited back to the party.

    Right before “Sweetest Kill,” Drew took a video of the crowd wishing his friends congratulations on their wedding, which he was sad to be missing due to this show. A message from one “private party” to another. “And now we’re going to sing a song about divorce,” he kidded.

    “Ibi Dreams of Pavement” closed the set, but the word ‘closed’ is used loosely. It was announced as the closer, and the band started leaving as it finished up, but before the entire band left Drew managed to wrangle a few to stay as he said, “That was the last song, but I gotta do this for this guy.” Another request which, as the host of the party, he couldn’t let pass. So the crowd was treated to “Major Label Debut,” and as more and more band members got back on stage, it eventually finished with the full band. One more song with more from the ladies, so they played their early infectious hit, “Anthem for a Seventeen Year Old Girl,” which mirroring the start of the show, featured a false start and a do over. But they still weren’t finished, and would grant one last request, this one from the back of the stage, as drummer Justin Peroff asked to play another early one, “KC Accidental.” After a rocking romp through that classic, the band waved their goodbyes and stood together off to the side of the stage for one last look at their party guests. Egged on by a lingering guitar swirl from Whiteman, a few members grabbed an instrument and kept the jam going. A couple more minutes of incredible instrumental Broken Social Scene were squeezed into the end of the show, it was the kind of party no one wanted to leave.

    One last pearl of wisdom from Drew as they finally left the stage, “We’re relying on you, so help someone out, it’s the best feeling in the world.” Earlier in the evening, he wondered aloud if he was talking too much. He was looking forward to reading the review of the show that complained about his excessive banter. This isn’t that review.

    Setlist: Cause=Time, 7/4 Shoreline, Halfway Home, World Sick, Victim Lover, Protest Song, Superconnected, Fire Eye’d Boy, Almost Crimes, Gonna Get Better, Sweetest Kill, Stay Happy, Hug of Thunder, Texico Bitches, Stars and Sons, Ibi Dreams of Pavement, Major Label Debut, Anthem for a Seventeen Year Old Girl, KC Accidental

  • Hearing Aide: Deadrider ‘Reaper’

    Living in Central New York, you will find some great talented musicians lurking at your favorite dives and music venues. Oh yes, these creatures still exist and they seek out souls to join their ranks. The energy and the aggression in the material these bands crafted will have it become as if it was forged into your DNA! A perfect example that the music scene in my hometown is still  baring teeth is no other than the mighty and destructive Deadrider! With their 2017 album Reaper, you will join the ranks of  the CNY  metalheads!

    deadriderDeadrider is a heavy metal and thrash inspired group containing the talents of John V Bustos (lead singer/lead guitar), Antonio Labbe (drums), Michael V Visconti (guitar and backing vocals) and Mike Losert (bass). If you go to the local shows in the area, I bet you will meet these rocking dudes! With so many great influences on the album from the late 80s and early 90s, the best track that encompasses these elements would be the track. “Heavy Metal Deadride.” With amazing guitar work  with searing guitar solos from both Bustos and Visconti , your ear will pick up the how the track is deeply rooted into bands like Anvil and early Iron Maiden days. With a dangerous cocktail of power and aggression, this jam becomes a whiplash worthy type of track; prepare for bangovers! The melodies are infused with g-force speed and allows this piece to come alive. It will eat you up! The vocals will create a fire in your blood as if it was your last ride. Ready for their last ride and hot damn it makes it addicting. With such speed you can see this element on other tracks on the release like “Brainwashed” to keep you windmilling for days.

    What I love most about Deadrider is the hints of thrash in their material. Let me tell ya brother, I love my thrash as much as I love my crafted beer. One of my favorite tracks to give me my thrash fix is the necksnapping “Skulls and Bones.” This thrash based track with neck breaking riffs will have you sore for days! The drums are wild and sparadic and it fits the overall approach of this song quite well. This will make you pick up your feet and mosh as if your life depends on it. Losert brings that nice old school 80s bass tone to it. Labbe with his great approach and dynamic style, really allows the lower and bottom end in great form. This allows both the bass and drums to shine like a sword after it is folded into the perfect weapon. Show no mercy when this song is blasting.

    The band’s track “Iron Angel” is one hell of a catchy grooved based tune. With the mindset of the end is coming towards the listener and your possible enemies, it really feeds that urge to have destruction take hold. If Venom had a bastard son, this would be the track! This one is indeed for the metal fans of the all or nothing type of attitude. It is one my personal favorite tracks on the album. Along with “Through The Trenches” the added variable of the formula to this album of fighting to the last breath will  make this your go to release to get pumped before the show. Like pumped and ready to scream!

    Reaper has the fix for that raw thrash and old school heavy metal approach that will fill any bar and music venue in the area! I would rate this album 5 out of 5! Check them out on Facebook and their website.

    Key Tracks: Iron Angel, Brainwashed, Skulls and Bone

  • Hearing Aide: Ocular Panther ‘Insistences’

    Ocular Panther, a prog rock band hailing from Rochester, NY, recently released their new album Insistences. With interesting chord progressions and guitar riffs, each song has a new, fresh sound that is easily distinct from the rest. Each track has an extremely full sound through the harmonies of each instrument, giving way to one large, almost orchestral sound. The band consists of members Jason Gilly (bass), Michael Pantano (guitar/programming), Collin Jones (guitar), and Tristan Greene (Drums).

    The largest thing that sticks out is the repetition of the beginning riffs. Everything starts out simple and gradually builds almost to the point of being out of  control but is as chaotic as can be while remaining clean. In “Protactinium” the basis of the whole song stems from the beginning guitar riff, which is gradually added on to with accents from other instruments, leading up to a finale ripping guitar solo and finally ending with a sudden halt amidst all the disarray while avoiding a sloppy finish.

    The final track “Ellipses” is easily the most avant garde of the whole album. Filled with white noise and other sounds indicative of outer space, the title of the track is a message that there is a lot more to come from this band.  So, prog rock fans get ready, because Ocular Panther isn’t finished yet!

    Key Tracks: Protactinium, Marking Houses, Ellipses

  • Vulfpeck Rocks Brooklyn Steel With Sold Out Show

    The Ann Arbor, Michigan born quartet Vulfpeck took the Brooklyn Steel stage Friday, September 8, as well as the following weekend, before departing for their upcoming tour in Europe. The venue holds a max capacity of 1800, as well as multiple bar areas and a mezzanine. The Brooklyn Steel is a popular new theatre in Brooklyn, and was the perfect setting for Vulfpeck to perform a great show. The show was entirely sold out, but the crowd was very laid back before the show started, something not common in a crowded setting like this.

    Multi-instrumentalist Joey Dosik was the opening act for the night, but he was not alone, accompanied by Vulfpeck’s Theo Katzman. Katzman played both bass and drums for this portion of the evening. Dosik elicited large amounts of excitement from the crowd, who seemed to be starstruck by his acapella rendition of “Stories” by Bill Withers. His tone and dynamic control were something to behold, and he seemed to be humbled by the praise he received. When his set ended, he then joined Vulfpeck on the stage and played along side them for the rest of the night, this time equipped with a saxophone. The vibe of the show was incredible.

    While Vulfpeck performed, everyone in the venue became a unit. There was a magnetic pull that draped over the crowd like a blanket, and it seemed that not one person was standing still. With high energy, dancing, and lots of hollering, the people of the crowd could be seen having the time of their lives, living in the moment and through the songs the band banged out with expertise. Vulfpeck’s setlist for the evening contained some of their most iconic songs, such as “Daddy’s Got A Tesla,” “Game Winner,” and “Back Pocket.” However, not one song was played live in the same style as the studio version. Improvisation was a driving force at this show in the best way possible. They fed off of each other musically, trading ideas and including the crowd whenever possible.

    vulfpeck brooklyn steelThe crowd harmonized as a group a number of times, the harmonies led by Theo Katzman. Not only that, but Vulfpeck spoke to the crowd like they would to a friend. The atmosphere was comfortable, and Vulfpeck made it easy to relax and enjoy a quality night of music. The acoustics of the venue were crisp, making each sound travel smooth and clear. Vulfpeck is a force to be reckoned with, being arguably one of the most diverse and unique music groups in the scene as of right now.