NYS Music 20​17

Category: Alternative/Indie

  • Head North Discusses Band’s New Sound and the Making of Their Breakaway Album

    Head North’s debut full-length album The Last Living Man Alive Ever In The History Of The World represents a new direction for the band. The Buffalo-based quartet has shed their teenage pop punk angst and emerged from last year’s break with an impressive coming-of-age indie rock venture.

    Head North
    Head North. Photo: Eli Ritter

    On The Last Living Man Alive Ever In The History Of The World, singer Brent Martone’s weathered vocals convey a wisdom beyond his youth as he delivers storylines of characters searching for meaning in a dystopian world in which love and God are forbidden. The instrumentation augments the myriad of moods, from the melancholy march in “Sort of Medicine” to the frantic breakdown in “Pulse.” Experimental elements from spoken word segments to a snippet of bird songs contribute to the authenticity in the story. The result is a work that is honest, ambitious, and creative. It’s as intriguing on the first listen as it is on the hundredth. Maybe even more so.

    NYS Music sat down with drummer Ben Lieber over a cup of coffee at an unpretentious shop away from the touristy area of Buffalo. We talked about the evolution of the band, the creation of the album, and playing live shows.

    Paula Cummings: Head North started as a pop punk band?

    Ben Lieber: We had a great year in 2015. We were very busy. We did the country three times that year, and put out two releases. Everything was going great. We were like ‘We got this record deal, we’re going to be on tour with these bands, we’re 18/19 years old, pissed off at the world, let’s make an angry emo record, and it will sell.’ And that’s what it did.

    PC: What factors led to changing the direction the band was heading?

    BL: The way we operated our band, and the trajectory that we were on in 2015, helped us decide what type of band we wanted to be and how we wanted our sound to reflect that. And I think what it came down to was being genuine. The sonic direction was a result of personal growth as well as realizing what we didn’t want to do.

    PC: At what point did you know this was going to be a concept album?

    BL: Brent had the basic idea of the story for a long time. He spent a lot of time with himself to figure this out. I also think there’s a lot of the narratives in the record that are true to our lives, which had to happen for there to be a resolve in the story. Our lives needed to happen. It’s comforting because we went through all that shit and it took so long, but clearly it needed to happen in order to make this record.

    PC: What was it like to record the album?

    BL: We funded the recording ourselves. When we were recording, I feel we were all in this mindset that it had been so long since the band was hyped, we were so far out, that we didn’t care. The record was solely ours at this point, so we could do whatever we wanted. It was very freeing. Previous to this recording, we had always done it in the format of instrument to instrument. That’s cool and allows for speedy work, but it doesn’t allow you to get into the vibe of the song. But with this recording, we had the whole studio for two weeks, and we did it song-by-song. Having that ability made a huge difference.

    PC: Head North has played everywhere from basement house shows to large venues. Where do you prefer to perform?

    BL: Playing a massive venue, the wall of sound is the coolest feeling for sure, but I still like the intimacy of a small show. The new music is set up for a full stage. We run sample pads and multiple harmonies, and try to create a massive sound. Sometimes we struggle to translate that to a house or DIY show. But the best way to accomplish that is to play it like a punk show like we used to. At the end of the day, it’s about getting energy out, feeling it. It’s a live experience. And I like playing first. I like opening a show. Being the first band is sink or swim. If you’re sick, you’re going to win them over, but if you’re not, people aren’t going to care. I like that challenge.

    The Last Living Man Alive Ever In The History Of The World is available through iTunes, Spotify, Soundcloud, and Bandcamp. Physical copies on CD and vinyl, as well as other merchandise, are available on the Head North webstore.

  • Songsmith C.K. Flach Talks about His Songwriting and What Inspires Him

    Curtis “C.K.” Flach — pronounced flack — has a look and sound to him that clashes with today’s world. But, when he opens his mouth, people listen.c.k. flach

    The 25-year-old Coeymans Hollow native often takes to the stage dressed one necktie away from a job interview, with a clean white shirt and sports jacket, topped with a whimsical head of hair reminiscent of a flamboyant Jerry Lee Lewis.

    But, flamboyant, he is not. Though people may want to mispronounce his name as flash, there is little flashy about Flach, but the self-described “quiet kid” commands the stage like a master craftsman at work in the backwoods, strumming his guitar and sharing stories of struggle through a voice others have compared with the late Lou Reed.

    The association with Reed is no mistake. As Flach started listening to music as a musician, he came across Reed’s “Walk on the Wild Side,” and thought he could learn how to develop his vocal range through the late artist. “I felt I could learn a lot about what to do vocally by listening to him,” he said. “Then I found that I really, really like his writing style, how bold it was, and just went from there.”

    Reed’s music was often described as avant garde. Credited as one of the pioneers to the punk rock genre that started in the late ‘60s. A rebel renowned by music lovers of today, but woefully underappreciated by critics of today. Upon his death in 2013, Rolling Stone magazine apologetically held vigil by tweeting and reporting about his every last moment. But, in the past, the magazine was one of his harshest critics. So goes Reed’s style and polarizing persona. For the deadpan singer sharing stories about drug addicts and social misfits, there was no middle ground. People either loved him or hated him.

    “He’s a tough guy rebel. He’s the godfather of punk rock. You listen to him talk, he’s got that New York accent. He’s got a toothpick in his mouth while he’s playing on stage. Yeah. A real rebel. I don’t see myself like that at all. I’m quiet, to be honest with you. I don’t really stand out like that. I’m a pretty nice guy, I think. And, really shy at times as a kid. It’s amazing that I get up on stage and sing in front of people.

    Flach was born and raised on a steady diet of classic rock. He started drumming when he was ten. He only learned to play a few chords on the guitar when he was a teenager. By 2012, he was out of high school and in a band he started with his brother, called “The Kindness.” Then he started to songsmith.

    As a songwriter, Flach said he draws inspiration from what is around him: the landscape, lifestyle and people here in the Hudson Valley. Flach started singing and writing for “The Kindness,” which released an EP in 2015. That immediately took Flach to a solo project that produced “Empty Mansions” in 2016.

    Flach prefers to describe himself as a songsmith, because he sees himself more as a craftsman that is considering all aspects of music and not only the lyrics. Standing front and center on stage, he is wrapped in layers of song structure, lyrics, tone, and delivery. The placement of the bridge. Where to start the chorus. How does it relate to the previous song.

    “It’s important to think all of those things through,” said Flach. “I think the difference between writers and craftsman is that [a songsmith] thinks of all the angles, and tries to approach it as a total project and not just song. … I like that term “smith” because it makes me feel like a craftsman. That’s important to me.

    Flach began writing songs that spoke of social strife — politics, racism, division and corruption — and stories of love, loss, heartache and salvation. He said he was heavily inspired by Reed’s critically acclaimed album “Berlin,” which does the same. Stories, he said, that come through the “eyes of empathy.”

    “It’s an interesting world we live in,” said Flach, who said he doesn’t feel today’s pop music speaks to today’s problems — drug addiction, financial struggles and Washington politics. Though, he said, music is often an escape for some people, “but I also know there’s a place for songs to be realistic,” he said. “Sometimes things happen that we prefer didn’t. I think having a song or two about it wouldn’t be the worst thing in the world. It might be comforting at times to have that relatable song that we can go to that helps us square up with reality and be aware of what’s going on around us. Another part of it comes through the eyes of empathy. Because, there are people out there who are struggling, and go through different things than we do. They may not have a use for a poppy song. It doesn’t really reflect their life at the moment, and I hope that anything that happens to someone, that’s not quite ideal, is temporary. Maybe in that moment, they could use a song or two that speaks from where they are coming from. … That place of empathy is where I’m coming from.”

    Flach said opportunities have presented themselves to him since the release of “Empty Mansions.” Aside from opening this year’s MOVE Music Festival with a sold out show at Cohoes Music Hall, people have approached him about collaborating. Though he is currently writing for another release, no timetable is set for a second album just yet. He plays next at the Dana Park free concert series on Monday, Aug. 7, with Let Go Daylight and Two Guys in Albany.

    This article was originally published by The Spot 518.

  • Tart Vandelay on The Art of Creating Transcendence Through Music

    Tart Vandelay is as fun and feisty as their name. With bopping beats and catchy choruses, they’ve been winning the hearts of music lovers in Western NY and beyond with their live shows over the past year. Next month, they’ll be playing two sets during Rochester Fringe Festival.

    Charismatic couple Katie Halligan and Martin LoFaso started the project while studying at Berklee College of Music, and have since added band members Pete Zamniak on bass and Christopher Dubuc-Penne on drums. Last fall’s EP Frontier Pioneer is a zesty little delight. Blending art with inspiration, the collection of songs are the acoustic equivalent of a novella which celebrates the triumph of the human spirit over adversity.

    NYS Music met up with Halligan and LoFaso at Village Gate, an eclectic multi-use community in the heart of Rochester’s Neighborhood of the Arts. We talked about the joy of making music, and they created a playlist of some of their indie faves.

    tart vandelayPaula Cummings: The name Tart Vandelay, does everyone get that it’s a Seinfeld reference, or are there people who don’t?

    Martin LoFaso: They either do or they don’t. If people are too young or their parents didn’t watch Seinfeld, they don’t get it. But they still appreciate it, it’s still kinda goofy for them, so they still like it. But I was raised on Seinfeld, and I always loved the name Art Vandelay. George is my favorite character. He’s the despicable person who stands out in a group of despicable people. Even compared to other despicable people, he’s bad. It’s just funny to watch and I was always into that name. Luckily, Kate suggested Tart Vandelay.

    Katie Halligan: I thought that adding a letter in front of it, and changing it slightly would just make it a fun play on words.

    PC: What instruments do you play?

    KH:  I sing. I also have a looping station that I use, and I play ukulele and auxiliary percussion – different types of shakers.

    PC: When you use the word “sing” you also mean vocalizations, not just words.

    KH:  I loop vocal percussion, and then I add harmonies on top of myself to fill out the sound and make it sound like there’s a chorus.

    ML: You also play bass and keys and sax, but not for the band yet.

    KH:  I play a lot of other instruments. The next one I will be incorporating into the live performances is keys, the piano.

    ML: In the band, I just play guitar and do backing vocals. I can play other instruments – bass and keys and the drums. She likes being a multi-instrumentalist, and I really like guitars. Any of the writing I do is on guitar. It’s just the instrument that speaks to me the most.

    PC: I’ve seen you on stage, and it looks like you’re having so much fun.

    ML: I’m glad that comes across. What’s interesting about the live show is trying to communicate that feeling. That’s what bands are selling. The good ones are selling a specific feeling at a live show, and it changes based on the band. Have you seen our full band?

    PC: Not yet. That is one of my questions, the difference between playing as a duo and as a full band.

    ML: There’s a lot more energy as a full band, but we still try to retain the cheery disposition. Just having fun. But I think a lot of our songs, especially as a duo, become very meditative. I think we still try to retain that with the full band because that’s the feeling that we’re selling, this sort of transcendence. As opposed to if there was a band that was heavier and wanted to sell more of like an angsty feeling, an aggression feeling. There’s nothing wrong – there’s no wrong feeling to feel. It’s just different bands sell you different feelings. And maybe that’s the feeling that we’re trying to get across.

    KH:  Definitely transcendence, with all our music. Being honest about the human experience. We’re trying to translate that on stage. Hopefully people in the audience not only enjoy it, but explore a lot of different feelings.

    ML: I think making people cry is the best. Especially if you’re going out to a live show. A lot of people have built up defenses about being that vulnerable in public in front of people. I can totally understand that – a room full of strangers watching you bawl your eyes out. But really, we’ve been able to get through to people like that before just with a song, the message cuts so deep for them. That’s the thing, it’s just such a deep connection – it’s the deepest I think – to create that vulnerability, get people to feel the most raw that they can feel.

    KH:  But not always in a sad way.

    PC: You have a song “Alien” that speaks to a lot of people about feeling out of place in the world.

    KH:  You’re taught from when you’re young that the nail that sticks out gets hammered. But we really try to embrace that because what else do we have but our differences? It’s a beautiful thing. I definitely wrote that pretty autobiographical. I’m glad that it speaks to other people. How could somebody not feel the same way at some point in their life and somehow relate to it? And I like the groove, too. That was one of the songs that wrote itself.

    ML: It was the first one you finished.

    KH: Yeah, that was the first. The first Tart Vandelay song.

    PC: So were you in the dorm room at Berklee when you wrote that?

    ML: We had an apartment along the subway line. Yeah, I wrote the guitar part.

    KH:  It started as a project he was doing.

    ML: That’s usually our writing process – I’ll get the skeleton as far as the guitar line and bass of the song. Then it goes to her to write lyrics and rearrange.

    KH:  If I feel it needs a bridge or something, I send it back to him.

    ML: Like Katie said, that one was autobiographical. I think they all are in a way. I think we’ve made a concerted effort as far as the writing itself. If we’re really after something that’s universal to the human condition and at the root of something that everyone is able to go through, then it should resonate even if it comes from an individual standpoint. The universal timeless things we all go through, existential questions and stuff like that. We don’t have to write for other people. We write for other people by writing for ourselves. It’s just a matter of getting people to surrender, to go to the feelings that deep.

    PC: You have some creative pursuits outside of music as well?

    KH:  Right now, I’m a professional henna artist. Also, in my spare time I enjoy drawing and painting.

    tart vandelayPC: What do you like to listen to?

    ML: This year in September will be the 20th anniversary of my favorite album. It’s called Dots and Loops by the band Stereolab. I can appreciate their music, but I really only listen to that album. Some of our other favorite bands are Wilco…

    KH:  My Morning Jacket-

    ML: Grizzly Bear, St. Vincent-

    KH:  White Denim, Dirty Projectors. We’ve been compared to Dirty Projectors.

    ML: Tune-Yards.

    PC: How do you like to listen to music?

    KH:  Usually in the car, because we’re always on our way to someplace else.

    ML: I’ve been using Spotify. I have mixed emotions about Spotify. As a consumer, it’s just so easy.

    PC: And easy to curate playlists.

    ML: Which is mostly what I do, make a bunch of playlists.

    KH:  It’s mostly through Spotify that we listen to stuff. Sometimes we still use CD’s and mix tapes that we’ve made.

    ML: Sometimes radio. Rochester has amazing radio stations. Both WRUR and WITR are great. 95.1 WAYO is great. WBER is an institution. Both of our jazz stations. We listen to local radio in Rochester, but if there’s nothing on at the moment that I like, I’ll go back to Spotify.

    PC: If you made a playlist right now, which songs would you include?

    ML: I would grab maybe the song “Diagonals” from Stereolab.

    KH:  I would grab “Touch Me I’m Going to Scream, Part 2” by My Morning Jacket.

    ML: That one’s great. I’ve been really digging Wilco’s album they put out last year. It’s called Schmilco. It’s pretty low key and acoustic. I would probably put “If I Ever Was a Child” on that.

    KH:  My next song would be “Huey Newton” by St. Vincent.

    ML: “Unto Ceasar” by Dirty Projectors.

    KH: I just thought of one. We didn’t mention the band earlier, but the song, I love it so much. “Great Curve” by Talking Heads. I love Talking Heads.

    PC: What would you name this playlist?

    ML: We might call it something like “Summer Slummer.” We usually aim for cheesy puns when naming things. More fun that way.

    PC: Let’s talk about Fringe Fest. You will be playing at Java’s. Have you played there before?

    KH:  No, this will be our first time playing there. We love going there, so it will be nice to play there. I think our music always translates well in a coffee shop setting. Especially because Java’s is artsy and perfect for Fringe Fest.

    You can Tart Vandelay on the “Summer Slummer ’17” playlist on Spotify, and the EP Frontier Pioneer on Bandcamp.

    Tart Vandelay will perform as a duo at Java’s Cafe in Rochester on Sunday, September 17 at 5 pm and Thursday, September 21 at 9 pm as part of Rochester Fringe Festival. Both shows are free and open to the public. Attendees are encouraged to arrive early for seating/standing room.

    They also have upcoming shows at Butapub in Rochester on August 5 and The Daily Planet in Buffalo on August 11. Follow Tart Vandelay on Facebook for updates.

  • Drive-By Truckers: Protest Rock At The Egg

    It’s been a long and inspired ride for the Athens Georgia based Drive-By Truckers. Since their debut album Gangstabilly almost 20 years ago, the band has seen numerous band lineup changes and produced multiple critically acclaimed LP’s. Co-founders of Drive-By Truckers Patterson Hood (lead vocals, guitar) and Mike Cooley (lead vocals, guitar, banjo) have been the architects of their longevity by amassing a pool of amazing musical talent that currently includes Matt Patton (bass guitar, backing vocals), Jay Gonzalez (keys, guitar, accordion, backing vocals), and Brad Morgan (drums). The band’s last LP, 2016’s politically charged American Band, takes head on the subjects of gun violence and the current state of U.S. race relations that only a Southern based rock band steeped in that culture and tradition possibly could.

    Drive-By Truckers at the Egg

    DBT brought that politically charged power and intensity to the Hart Theater located in Albany’s Egg Performance Art Center on Tuesday July 25. This is the eleventh stop on DBT’s Resist Tour and the band was accompanied by opening act The Seratones. Based out Shreveport Louisiana, The Seratones are touring in support of their 2016 rocking release Get Gone. Lead Singer and guitarist AJ Haynes along with band members Connor Davis (guitar), Adam Davis (bass guitar), and Jesse Gabriel (drums) kicked off the show with a high octane version of “Choking On Your Spit.” The high octane, in your face, offering set the tone for their remaining energetic set.

    After a short break, it was the Truckers turn to take the stage and they kicked off their set with “Filthy and Fried” off of 2016’s American Band. Vocalist Cooley painted a gritty picture of a modern day landscape that showcases the angst of a 27-year-old woman trying to cope with the struggles of gender identity in everyday life. Next it was Hood’s turn to take the lead on vocals with a stirring rendition of “Two Daughters and a Beautiful Wife” off of 2008’s Brighter Than Creation’s Dark. It was just a little later in DBT’s set that Cooley realized that the crowd at the Egg were being overly reserved and sitting statically in their seats. He addressed the audience, stating that it was alright if they wanted to keep sitting down. Cooley went on to say that he and the band were more than willing to play slow songs, but if they wanted to rock they should feel free to get up on their feet. The newly energized crowd eagerly left their seats, the majority of which, stayed that way for the remainder of the performance.

    DBT kept up their end of the bargain by cranking out down and dirty versions of Truckers fan favorites “Where The Devil Don’t Stay” and “Puttin’ People on the Moon.” Bassist  Matt Patton also got a turn at vocals later in the set with a high-powered rendition of the Ramones classic, “The KKK Took My Baby Away.” DBT finished the night with an encore that included American Band’s politically charged “What It Means.” The song lyrically examines the ever-increasing incidents of gun violence in America and references the gun slayings of African Americans Trayvon Martin and Michael Brown. The stage lights went down during the performance, with the exception of a brightly lit Black Lives Matter sign that was prominently featured on the side of the band’s piano. Hood ended the anti-gun violence anthem with the impassioned mantra “It ain’t political…It’s personal!”

    The Truckers wrapped up their set with a stirring version of “Grand Canyon” off of 2014’s English Oceans. Hood dedicated the song on-stage to “Departed Drive-By Truckers Family,” a reference to longtime merch-man and band ambassador Craig Lieske who passed away in 2013. The Drive-By Truckers will be featured at both the Newport Folk and XPoNential Music Festivals later this month.

    Setlists:

    Drive-By Truckers:  Filthy and Fried, Two Daughters and a Beautiful Wife, Ramon Casiano, Baggage, Marry Me, Dead, Drunk and Naked, Guitar Man Upstairs, Darkened Flags on the Cusp of Dawn, Surrender Under Protest, The Company I Keep, A Ghost to Most, The Guns of Umpqua, Where the Devil Don’t Stay, Puttin’ People on the Moon, Shit Shots Count, Ronnie and Neil, Kinky Hypocrite,The KKK Took My Baby Away, Sinkhole, Made Up English Oceans, Let There Be Rock, Zip City, What It Means, Love Like This, Grand Canyon

    Seritones: Choking On Your Spit, Sun Kingdom Come, Get Gone, Head-trip, Chandelier, Tide Brainwashed, Take It Easy, Necromancer, Don’t Need It, Trees

  • Ten Bands to See at Panorama This Weekend

    The masterminds at Goldenvoice have brought us innovative music festival experiences all over the country, from Firefly to Hangout Music Fest (not to mention Coachella). They graze the east coast next weekend on Randall’s Island to present their newest endeavor, Panorama Music Festival, for its second year.

    panoramaDespite its sophomore residency, Panorama has added some big names to its roster, including Frank Ocean, Solange, Tame Impala, Alt-J, Nine Inch Nails, and A Tribe Called Quest. Spanning over the last weekend in July, Panorama already crosses off some musical bucket list items, but what’s even more impressive is their unique and extensive series of lesser-known artists on the rise. With such a wide range of audiences, there’s a setlist to watch for everyone. If it gets too overwhelming to choose who to see at Panorama this year, we’re here to give you some guidance. Here are 10 acts to see, from the celebrities to the rising stars, in no particular order.  

    1) Spoon

    Triumphing off their latest release entitled Hot Thoughts, Austin indie-rock band Spoon makes their Panorama debut this year. They’ll be playing on the Pavilion Stage Friday night, featuring the music of their newer, Hot Thoughts as well as their memorable 2000s indie punk classics that have gained them their remarkable fanbase. With their chart successes, television appearances, and tours spanning across continents, these gentlemen have certainly earned the right to be listed under Friday night’s headliners.

    Friday Night, Pavilion Stage, 5:45pm

    2) HONNE

    Super Recordings have served as a launching point for electropop British artists like AlunaGeorge, but have recently brought a modern twist to velvety jazz with electronic duo HONNE. With a career only dating back to 2014, this two-man band has developed a blissful soul influence, while remaining true to their Honne, or “real intention” in Japanese. Despite their relatively short career, they’ve already had chart success with their latest release, Gone Are the Days, and are sure to bring some smooth vibes to the Panorama Stage on Friday afternoon.

    Friday afternoon, Panorama Stage, 2:30pm

    3) Nine Inch Nails

    There is not a band on this earth with more depth, chaos, vulnerability, and ambiguity than the industrial rock gods of Nine Inch Nails. Their long career has exposed their audiences to the most honest and wildest emotional journey. More recently, they have shifted the instrumental focus of their new music to appeal to a new generation. “Less Than,” their most recent single, brings us into a transient space shuttle through time, with the same accountability and menacing vocal timbre that attracts all those who listen. As headliners, surely they’ll have time to throw in some songs from their With Teeth album, for some of their more loyal fans.        

    Sunday Night, Panorama Stage, 9:20pm

    4) Jagwar Ma

    With such a wide array of talent gracing the Panorama fest, it’s always important to keep people dancing and smiling, and there’s no better remedy for the blues than Australian band Jagwar Ma. This band has a plethora of dance tunes, influenced by psychedelic rock and electro pop. Their first single, “Come Save Me” dates back to 2011, and they’ve been trailing the way for indie rock ever since, with a recent release of their second album Every Now & Then. They’ll play the main stage Saturday afternoon, and surely it’ll be the best chance for Panorama attendees to get their dance on.

    Saturday afternoon, Panorama Stage, 4:45pm

    5) A Tribe Called Quest

    This group needs absolutely no introduction. With their ability to constantly reshape the hip hop genre, these legends will perform at Panorama as means to inspire a new generation as the group departs from the music world. Beyond their 15-year legacy, A Tribe Called Quest lost their bandmate and rap pioneer Phife Dawg to diabetes back in March 2016. Appropriately titled We Got It from Here… Thank You 4 Your Service, Tribe’s latest and final album pays homage to their beloved brother in music, as well as the highs and lows of their long, influential careers in alternative trip hop music. This is the kind of performance that will bring the funk, and then bring on the tears as we bid farewell to one of the greatest hip hop bands to ever grace this country.

    Sunday night, Panorama Stage, 7:30pm

    6) Tame Impala
    The Australian psychedelic pop/rock band Tame Impala is rolling past their 10-year anniversary in 2017. Tame Impala draws on the sounds and colors of early Pink Floyd and psychedelic rock of the 1960s focusing on the guitar and synth effects of the time. Their latest album Currents was released in 2015 charting at number one in their home country and charting well in several other countries including the US. Tame Impala’s sound delivers a genuine fresh take on psychedelic rock.

    Saturday Night, Panorama Stage, 9:20pm

    7) Foxygen

    The California-based duo has consistently put out recordings uniquely their own since their second album We Are the 21st Century Ambassadors of Peace & Magic in 2013. Their latest album Hang was released January 2017 and marks a turn in their journey of experimenting with sounds and rock composition styles. The album carries a string of a sense of chaos seen in previous Foxygen albums but hones in on a crisper energetic sound.

    Friday Afternoon, Pavilion Stage, 3:20pm

    8) Angel Olsen
    Olsen is an indie folk singer-songwriter who broke into a solo career following work as a touring musician with Bonnie “Prince” Billy. Her style is synonymous with her voice, recognizable riding ahead of the generally upbeat sound of the music. Olsen’s latest album My Women was released following the two singles “Intern” and “Shut Up Kiss Me” to well-deserved critical acclaim. Olsen also appeared on the 2015 Grateful Dead tribute album Day of the Dead with her version of “Attics of My Life.”

    Sunday Afternoon, Pavilion Stage, 4:20pm

    9) Glass Animals

    Representing England’s indie rock presence at Panorama is Glass Animals. Formed in 2010 with its members still attending university, the band has made a home in major festivals appearing at Coachella, Bestival, Bonnaroo, and Glastonbury among others. Their sophomore album released August 2016, How To Be A Human Being, continues beyond the sounds of their debut album ZABA to explore the stories of life while weaving in and out of musical themes.

    Friday Night, Pavilion Stage, 8:40pm

    10) Nicolas Jaar

    Composer and electronic music artist Nicolas Jaar is appearing at one of his hometown’s biggest music festivals of the year. Born and raised in NYC, Jaar creates compositions that ebb and flow in energy with a semi-improvised feel. His second album Sirens was released only last year but he has a strong resume of live improvised and experimental performances. His songs interlace grooves to dance to with ambiance to get lost with in the trance. Jaar’s skill with improvisation and composition make his live show a must-see.

    Saturday Night, The Parlor, 8:30pm

  • Hearing Aide: Diluted ‘Never Fit In’

    We all know there are bands that ladies just dig, and groups with  lyrics that can get the booty shaking while keeping it gritty enough for the guys to be able to pump their fists to as well are even better. You know there is a band that many of us can enjoy when we want a party type of sound. There is one band from Rochester, NY who can supply such great tunage. Who is this group that promises nothing but good grooves and chaos? Diluted of course my dear friends! With their EP, Never Fit In, you will find yourself dancing and shaking more than the time you tried to reenact the bar dancing scene from Coyote Ugly! Let us get this album review in full swing boys and girls!

    dilutedThe first track off this album “Better Living Through Hennessy” goes from 0-60 in less than 2 seconds into the album. The guitar styles of Helmer and Coffey will take you by storm. Their funky yet hardcore approach for this track is nothing but full of life! You will have yourself singing along with the lyrics while moving those two left feet of yours. Let me tell ya, nothing beats a good old fashioned song you can find yourself singing to in the car.  This song is one of those jams I can see the whole venue singing along to with a couple drinks in hand!

    If you like groups like Faith No More, who has a nice little mix of rap flow blended with some great punk related attitude, the track “Hipster Helmets & Harpsichords” will make those feet of yours go manic! I really enjoy this track from the get go!  Like seriously digging it with my whiskey right now! The vocal approach by Mulligan and Coffey reminds me of the glory days of my youth with such bands like Neurosonic and Skindred. Excellent destructive vocal execution  fused with modern hip-hop type of lyrical construction made this song stand  out the most to me personally.  The most fascinating part of this track is the communication between West (drums) and Kimak (bass), which really lays down the foundation for the energy of this sweet tune!  The beat is never lost and you can really swing your body to it all the way through! This will be the jam the ladies will be losing their minds to. Look out fellas, we have some bonafide lady killers on our hands!

    Now this album has some great party songs on it, but it also contains great heavy tunes like “Sledge Hovercraft.” Much like the other tracks on the EP, it has a great flow with both the lyrics and musicianship. You can tell the boy’s formula is spot on with this gem! The screeching sound of the vocals on the track will make you bang your head! If you want some Red Hot Chili Peppers type funky style with your hardcore music, but want to be mad as hell at the same time, well this track is for you. This song is made for the guys hands down. If you get drunk enough and want to start a bar brawl, this will be your theme song for the ring.

    Over all there are so many other great tracks on this album from Diluted. I wouldn’t think I would find myself enjoying a band like this, but I am hooked and I cannot stop blasting this. My fingers are starting to bleed from pressing the repeat button so many times! Go out and buy this sick product of jams! 4 stars out of 5 for sure! Go check out their page. You will not regret it, I promise you!

    Key Tracks: Better living Through Hennessy, Sledge Hovercraft, Hipster Helmets & Harpsichords

    https://www.youtube.com/watch?v=m7EeFtvvxkU

  • Jay Peak Ski Resort Welcomes Jeezum Crow Fest For Its Fourth Consecutive Year

    The fourth annual Jeezum Crow Fest at Jay Peak Ski Resort began with a rainy and windy start on Friday, July 14, though many locals and out-of-towners braved the elements for a night of great music at the Stateside Amphitheater. Though construction prevented as many vendors from setting up shop as in previous years, there were still a few staples of the community, such as Miso Hungry, an authentic ramen shop and a tie-dye stand, where children were taught how to make their own tie-dye shirts. The rainstorms were scattered, with blue sky peaking through the clouds fairly often.

    Friday’s music kicked off with the return of The Mallett Brothers Band, who performed in the Foeger Ballroom last winter. The Brothers brought their blend of folk, rock and Americana to an eager crowd, successfully melding several genres into their sound, a snug fit for Jay Peak, whose locals exhibit a propensity for the folkier side of music. They were followed shortly after by a local favorite, one of Vermont’s hardest working musicians, Seth Yacavone of Morrisville, Vermont. Better known for his work with Dead Sessions, an extremely active Grateful Dead cover band, Seth Yacavone and his power trio played a set full of originals, showcasing his incredible chops on the guitar, as well as an affinity for the edgier side of rock music. They performed several cuts from their latest album, entitled Shovel Down,  artfully creating a sound that drew influence from both funk and hair metal, bringing some much needed energy to the mountain.

    Friday night’s headliner, Pink Talking Fish, did not disappoint the growing crowd, with their expertly interwoven sets that featured the timeless music of Pink Floyd, Talking Heads, and Phish. Right out of the gates, they got the crowd moving with Phish’s “Possum” which flowed seamlessly into “Breathe” by Pink Floyd into the dark and funky “Slippery People” by Talking Heads. Pink Talking Fish’s true merit lies in their ability to integrate riffs and progressions from each band and incorporate them into their jams, playing each song faithfully to the source material, but still managing to find inventive new ways to tweak the music and keep it interesting for the audience. A blend of hits and obscure gems were played, with the band diving into some deep Pink Floyd cuts as well as the rare Phish tune “Colonel Forbin’s Ascent.” This reporter may have had to wipe a tear or two from his eye when Floyd’s “Fearless” was played, and the whole crowd sang along while the band encored with a mash-up of “Tennessee Jed” and “Ocelot” that concluded with the iconic “Bathtub Gin” riff.  Unfortunately, due to unforeseen circumstances, the late-night act, the Balkun Brothers were unable to perform in the Bullwheel Bar, but attendees took to the parking lot and partied the night away regardless.

    jeezum crow festFestivities began again at noon on Saturday with Lionize, who had been added to the bill relatively late. Though many Jeezum Crow attendees were still sleeping off the previous night’s shenanigans, Lionize performed energetically for a small crowd in the bright sun, which starkly contrasted Friday’s gray skies. More concert-goers began to trickle in as Rick Redington & the Luv (another Vermont local and staple of Franklin County and the Northeast Kingdom) took the stage, delivering a mellow and enjoyable set.  Soule Monde followed next, and truly blew the minds of the audience with their ability to sound like a full orchestra, despite just being a drummer and an organ player. Their flavor of heavy jazz-funk with just a little bit of rock  impressed existing fans and newbies alike, as the duo displayed some impressive musical ability. Soule Monde is comprised of Russ Lawton and Ray Paczkowski of Trey Anastasio Band fame. Eric Gales Band performed after that, bringing some heavy funk to an already-energetic crowd. He closed his set out with an instrumental, psychedelic version of “Don’t Fear The Reaper” by Blue Oyster Cult. The Infamous Stringdusters took the stage afterwards, bringing the predominantly Vermont-based crowd their daily dose of traditional bluegrass, with a modern twist. Full of explosive energy, the Charlottesville, Virginia-based outfit plucked and crooned for nearly two hours, and even invited Todd Park Mohr, Big Head Todd of Big Head Todd and the Monsters, to perform a song.

    jeezum crow festBig Head Todd took to the stage for an impressive set that blended their older tunes with several new tracks from their last album, released in 2014. A bluesy, rocking set that incorporated southern rock and country as well, Todd Park Mohr showed Jay Peak his guitar-playing skill as well as his fantastic, Stevie Ray Vaughn-esque voice, which was well-suited to the older crowd. Jeezum Crow collectively swooned during their rendition of their original song, “Bittersweet,” and sang along and swayed with a soaring encore of the classic rock hit, “Hey Joe.” Big Head Todd and the Monsters formed in the early eighties, saw some fame in the mid-to-late nineties, and are seeing a resurgence now with the release of the album Black Beehive and an extensive tour.

    jeezum crow festAfter the Monsters played their closing notes on the main stage, festival-goers were delighted to see Burlington-based band Barika, whose sound almost defies description. Incorporating a sitar-like West African instrument called a N’Goni, Barika played their late-night set in the intimate Bullwheel Bar, the perfect closer to the weekend. Their highly-danceable sound is made unique by the West African influence of Craig Myers, who has performed with Mike Gordon of Phish and Burlington greats Rubblebucket. Their music, which would already be an exciting blend of styles ranging from reggae to funk to afro-beat, is bolstered by the use of the N’Goni, which is best described in appearance and tone, as a cross between a banjo and a sitar. They also incorporate drums, bass, guitar, keys, trombone, and baritone into their multi-faceted sound. They ended their set close to 2am, and then took to the parking lot to mingle with a very satisfied group of concert-goers.

    jeezum crow festThough the absence of Dark Star Orchestra for the first time since the festival’s induction and nasty weather on Friday may have hurt attendance somewhat, Jeezum Crow managed to assemble a very eclectic group of musicians and bands, for a weekend that truly unites the many communities that border Jay Peak Resort. Visitors new to Jay Peak and families that have lived on or near the mountain for years enjoyed one of Jay Peak’s biggest musical attractions.

  • Levitate Festival Brings The Rythym To South Shore

    Levitate Music Festival said this year there would be two days and it was groovy. July 8 and 9 in Marshfield, MA, this little grassroots festival brought thousands of fans to the fairgrounds for some of the best and brightest names touring today.

    Giant Panda Guerilla Dub Squad had people going ape in the pits to start off on Saturday. The good tunes kept rolling as New Orleans’ own Rebirth Brass Band brought that southern jazz you never knew you needed. These Grammy winners didn’t become a NOLA institution by accident. You can’t help but get down to this kind of funk. I was a little disappointed to find that Mihali & Friends was dueling with Rubblebucket, but the festival was so well organized that I was able to move between stages with ease to make sure I captured as much of the magic as possible. Deer Tick and The Revivalists were followed by the first set of Umphrey’s McGee. A heavy dose of Umph goodness echoed over a packed crowd. The guys took a quick break to let local-legends Stick Figure tear up the main stage, and then returned with a jam-heavy second set that took over that little fairground. The headliner for the night was the legendary Dispatch, and the rails were surging as they rocked the crowd til the sun had finally set on a magnificent first day.

    Guitar prodigy and singer/songwriter Quinn Sullivan really impressed to start off Sunday. The teenage phenomenon has made a true name for himself in his short career. It was a treat to see him and his star-packed band play a hometown show. Pigeons Playing Ping Pong opened the main stage with their insanely contagious energy and funky jams that cannot be matched. Once “Melting Lights” was done melting everyone’s brain, Ripe followed on the Style Stage. This funk/pop group has completely taken this scene by storm with Robbie Wulfsohn’s sassy and soulful presence. Their cover of Ellie Goulding’s “On My Mind” is one of those songs that you can play on repeat for an hour… at least. Trevor Hall and JJ Grey & Mofro had the pits screaming so loud I thought my ears were gonna burst. Vermont favorites, (and yours), Twiddle blew the fans away and blanketed them with dreams and relaxation. You couldn’t help but sing along when they played their new song “Orlando’s.” The Style Stage was closed out with the hottest folk-rock band out there right now, in Lake Street Dive. The reggae legend, Ziggy Marley closed out the festival in pure style. The festival could not have ended on a higher note. Check out the pics from Zatchmo Lives Media and remember to Dream Big, Live Bigger.

  • Lakeshore Record Exchange in Rochester Closing Its Doors After 29 Years

    Lakeshore Record Exchange announced that it will be closing the doors of its retail shop this summer. This cornerstone of the Rochester music community specialized in alternative music, especially rare and imported items. Starting next week on Monday, they will begin liquidating their inventory. The store will close once it’s empty. A farewell event is scheduled for September 20, with a live performance from Australia’s Severed Heads.

    Time, technology and the ways in which people consume music have have changed, and in doing so have brought the Lakeshore Record Exchange’s purpose for being to its natural conclusion. – Andrew Chinnici, President

    While the store at 307 Park Avenue is closing, the ancillary activities will continue. AlternativeMusic.com will continue to deliver alternative music online and through streaming apps. The Alternative Music Film Society will also live on with monthly screenings at the Memorial Art Gallery, located at 500 University Avenue. This month’s offering, Garbage One Mile High Live, will take place on Thursday, July 20 at 6:45 p.m. Admission is free.

    The farewell show will also take place at the Memorial Art Gallery. This is one of a handful of U.S. shows Severed Heads will be playing this fall. The event starts at 9 p.m. on Wednesday, Sept. 20. Tickets are on sale for $20 in advance at Lakeshore Record Exchange or Memorial Art Gallery, or online with a small delivery fee. Tickets will be $25 on the day of the event.

    Follow Lakeshore Record Exchange on Facebook for more information and updates.

  • Vans Warped Tour Caters to Hardcore in Connecticut

    Dust, blood, sweat and smiles don’t begin to describe a typical day at summer’s largest traveling music festival. Currently in its twenty-third year, the Vans Warped Tour returned for fans of all genres to enjoy their best day of the year on July 9 in Hartford, CT.

    Originally created by founder Kevin Lyman as a festival for alternative rock music, the tour has adapted in it’s over 20 years of activity to cater towards a variety of music genres. This year, the tour made an effort to reign in metal and hardcore fans by featuring bands such as GWAR, CKY, Hatebreed, The Acacia Strain, Municipal Waste, Anti-Flag and Carnifex.

    Alongside these musicians, bands such as Bowling For Soup, Goldfinger, Jule Vera, Streetlight Manifesto, Watsky, Neck Deep, Alestorm and Plain White T’s worked to showcase the festival’s diversity in musicians.

    Besides showcasing bands and musicians such as the popular Andy Black, Never Shout Never, Beartooth and Dance Gavin Dance, the festival also had a knack for highlighting up-and-coming bands and bringing them into the spotlight. With this year’s Full Sail Stage, Knocked Loose, Trophy Eyes, Movements and Boston Manor are a few of the bands on the rise that were able to give everything they had to their performances.

    Although the main stage bands tend to bring in the largest crowds at the festival, this year fans should focus their attention on the Mutant Party Zone, the set of two stages side-by-side labeled Mutant North and Mutant South. The two stages which focus more on heavy music, held hidden treasure performances by some bands that shouldn’t be missed.

    Blessthefall, the five-piece metal band from Arizona, put on a genuine performance that kept fans entertained from start to finish. Whether it’s frontman Beau Boken jumping into the crowd to sing with his fans, or guitarist Elliot Gruenberg jumping and getting in fans’ faces with his guitar, Blessthefall were a highlight of the Vans Warped Tour lineup this year for many reasons.

    Even for Warped Tour attendees who don’t enjoy heavier music, Blessthefall  are a must-see band on this year’s tour.  The consistent energy from every member of the band make watching Blessthefall a genuine pleasure. Besides the fact that they don’t miss a beat, there is not a moment of silence during their set. They will go out of their way to make sure everyone in the audience is noticed, and thoroughly entertained. Where some musicians may get on stage and play their instruments, Blessthefall showcase what a performance really means.

    Another band that knows how to perform for their fans is Gwar. Fans will find themselves in a sea of fake blood while watching the legendary rock band takeover Warped Tour. Opening sets with a decapitation and then blood spewing onto the audience leaves nothing but smiles on fans faces as their white clothes turn into light shades of red.

    The crowd became filled with smiles as fans chanted, “God what an awful racket,” and went out of their way to have their white t-shirts they bought for the show covered with blood. For the sake of the experience, make sure to watch Gwar on the Vans Warped Tour. Depending on where you stand, you will leave with minimal blood on your clothes, and an understanding of why Gwar are a once in a lifetime rock group to see.

    Whether you’re a fan of pop, rock, heavy metal or rap, the Vans Warped Tour has you covered for a good time. For fans that attend to see multiple bands they adore, they will get their money’s worth for an entire day of meeting and watching their favorite bands they may not get the chance to see elsewhere. Although it’s difficult to get the entire Warped Tour experience in one day, you’ll understand why it continues to be the longest running music festival in the country, and continues to dominate the music scene as the must-see music festival of the summer.

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