NYS Music 20​17

Category: Jam/Progressive

  • Hearing Aide: Lotus ’86 Revolutions’

    From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the post-rock electronic jam band decided to share a live compilation album fresh off the heels of their recent journey. Titled 86 Revolutions, the 14-track release brings listeners through live takes of tracks pulled from the five-piece’s Eat the Light and Build, as well as dug up songs from Lotus’ developing stages as a group.

    “We had a new soundboard for this tour, and the multi-track sources sounded great,” said bassist Jesse Miller, who selected each track and mixed the album. “We release all of our shows, but this was an opportunity for me to spend extra time mixing to expose all the layers that build the Lotus sound.” Group improvisation is the name of Lotus’ game and Miller plays a solid hand in highlighting that through the albums construction.

    We’re welcomed into 86 Revolutions by percussion on “Debris” as Disc One introduces listeners to six tracks of high-energy jamtronica. The entire album can be found via Bandcamp, where more information is listed on track performance date, artist collaborations and more. Proven to be a solid inaugural track with tantalizing guitar, “Debris” is sure to get you grooving by the time Eat the Light track, “Anti-Gravity” ft. electric soul artist Oriel Poole, kicks in. Performed in Ohio, Poole’s soft vocals and lyrics of “You’re my anti-gravity, hold me so I don’t float away,” pair nicely with the spacey jams that help keep the dance mentality alive. At 7:30, the track’s sound takes a turn as it relies heavily on drums and keys until an ultimate fade out transitions into Nomad’s “Livingston Storm” from the very same gig. Loud cheers from the fans can be heard just before the five minute mark until tempo begins to pick up, slow down and do it all over again before closing out the track.

    “Sleep When We are Dead” comes as the first vocal-heavy choice, executed by the band members themselves with breathy vocals, a catchy “Surf Rock” chorus and clean guitar with warbling effects. Lyrics describe grabbing life by the horns, living in the now and of course an allusion to the age old saying “I’ll Sleep When I’m Dead.” Highlights from the first half of the release come in “Expired Slang,” which hails from the instrumental-heavy group’s outrageous performance at the 930 Club in Washington, DC. Hearing the track that’s never been included on a studio album through the buds of earphones and computer speakers does, in fact, do the song justice–which only makes one wonder how impeccable it sounded in person. The recorded take relinquishes zippy synth/keys and heavy electro-funk to end on a powerful note. Disc one’s closing track treats fans to another round of pleasing vocal harmonies and percussion breakdowns with lyric-heavy Eat the Light’s “When Our Nerves No Longer Twitch.”

    The second disc leads with a “Slow Cookin” sandwich, pieced between funky “Neon Tubes” Part 1 and 2 on each end. Recorded during their Aspen, CO gig, Greensfield begins to explore unique time signatures at about a minute and a half into the track. “Slow Cookin’” keeps things rolling with cymbal crashes, drum solos and percussion teases as the sampler and synthy vocals get ample attention. “Neon Tubes” rolls back around, transitioning in with whirling sound effects on the dance heavy song. Guitar harmonies and mastery on “The Opus” instantly draw attention inward for the track that was recently performed for the first time ever at the famed Port Chester Capitol Theatre.

    Quite possibly the cleanest sounding tune from the compilation, “The Opus” is another first-time studio album cut. “Rà-Àkõ-St,” originally by Lindstrøm’ and the first cover included on 86 Revolutions, outwardly appeals to the more electronic side of Lotus. The track is played in a triumphant key, as its improvisational volume and speed bounce from high to low and slow to fast. “Blacklight Sunflare” follows, with exploration of diverse sounds and elements, giving a more progressive rock feel to the album. The second and final cover comes as an ode to Talking Heads with a 9-minute “Moon Rocks,” originally off of 1983’s Speaking in Tongues, complete with David Byrne-esque voice inflection and new wave tendencies.

    86 Revolutions wraps up with an 11-minute “Umbilical Moonrise” off of 2003’s Germination, sure to send long-time fans into an extreme state of bliss. Appropriately placed as the ultimate tour closer, the track was the first to ever be penned by Lotus, giving a “full circle” feel to their start as musicians and conclusion of a triumphant tour. It’s fitting for a calm and reflective song, giving listeners time to unwind and reflect on the 86 day journey Lotus embarked on and condensed into 14, carefully selected tracks.

    Key Tracks: Anti Gravity, The Opus, Blacklight Sunflare

    Disc One

    1. Debris  8:39  
    2. Anti-Gravity feat. Oriel Poole >  10:22
    3. Livingston Storm  13:26
    4. Sleep When We Are Dead  6:12
    5. Expired Slang  10:56
    6. When Our Nerves No Longer Twitch  6:10

    Disc Two

    1. Neon Tubes Part I >  6:26
    2. Slow Cookin’ >  7:47
    3. Neon Tubes Part II  4:19
    4. The Opus  9:17
    5. Rà-Àkõ-St  7:20
    6. Blacklight Sunflare  7:52
    7. Moon Rocks  9:01
    8. Umbilical Moonrise  11:40

  • NYS Music Launches 87/90

    Every band was a local band once. Today, we launch NYS Music 87/90, reflecting the highways artists travel upon to reach markets across The Empire State. 87/90 brings together 8 New York State born and raised bands that have strong potential to make it big. We will bring news and coverage of these bands to you on a regular basis, highlighting what we see as the next wave of bands to come out of New York State. These are just the first wave of bands that we will be bringing to your attention – there are plenty more artists in every corner of the state from all genres. As we discover them, we’ll bring them to you and beyond.

    nys music 87/90The 8 artists we launch with include: Space Carnival, Cousin Earth, Formula 5, Folkfaces, Boogie Low, Intrepid Travelers, Let’s Be Leonard and Gowanus. These artists were selected for potential, work ethic and appeal to a wider audience. They include jam bands, bluegrass/folk, psychedelic rock, electronic and a mix of everything. We will expand in the future with bands that we see strong potential in – this is a select group we launch with and we will keep it reserved only for bands that pass muster.

    The bands we are reaching out to as founding artists are bands that we have highlighted on our pages in recent years, see a strong future in and have shown that they are committed to making a name for themselves well outside of New York State. This is not an open invite – the initial roster includes only bands that are on the rise and have developed a following through their music.

    Every band was once local.

  • Book Review: Peter Conners’ ‘Cornell ’77’

    May 8 will mark 40 years since the Grateful Dead descended upon Ithaca and performed a concert that would go down as the most talked about show in the band’s 30-year history.

    Many people say it’s the greatest performance in the Dead’s storied history, and it’s easily the most documented show the band ever performed. In the new book, “Cornell ’77,” author Peter Conners dissects the famous and infamous concert at Barton Hall on the Cornell campus in a variety of ways, from culling excerpts of local media at the time, to finding and interviewing attendees of the show, to emailing with the living band members.

    The history of the Grateful Dead has been documented endlessly in print form, with full band documentaries, autobiographies, fan accounts and everything in between. But Conners’ book is the first time a single show has been viewed on such an in-depth level, and with good reason: May 8. 1977, is the most downloaded Grateful Dead concert ever, and has been streamed live more times than any other.

    Conners clearly spent his time in piecing together information for the book. He rounded up newspaper clippings from the time, both previewing and reviewing the show, located a few people who attended the concert and spoke on record, and even got some of the band members to give their input.

    The first chunk of the book gives a history lesson of sorts into the Dead up until that time, including a great deal about the famed Wall of Sound, and more importantly a lot of insight about the near breakup, which turned into a hiatus, in 1974.

    The most interesting parts are in the chapter titled “Cold Rain and Snow,” where Conners depicts a few fans’ experiences of the entire day, from traveling to the area, to getting in the show and how the fans viewed the music at the time. Fan Robert Wagner, who traveled from North Carolina to upstate New York, gives anecdotes about experiencing snow in the spring that catapult the reader back to 1977. This chapter easily is the book’s selling point.

    Something that has been documented ad-nauseam is listener reviews of the show. Conners did not attend the show — he was a Deadhead in his youth, however — but did give some of the better breakdowns of the songs performed that night that I have ever read. At times, Conners’ comparisons were a bit odd: he compared “U.S. Blues’” line about skinning a goat to a cat, which left me wondering what he meant; later, he compared “quaaludes running through the bloodstream” to the jam in “Supplication,” and I was, admittedly, a bit lost. But in the end, Conners ended up giving readers a completely unique review of the show, breaking each song down, while providing a little history and context for each one.

    While the premise of the book is initially intriguing, “Cornell ’77” does have its shortcomings. At times, the book appears to have not been edited very well, as it has a few glaring grammar problems.

    But my main issue with it, is that Connors seems to have pulled most of his information from other sources, while seemingly being unable get much information directly from the four living members of the band. Drummer Mickey Hart pours his heart out, as always, but outside of Planet Drum, the rest of the band is nearly absent outside of Conners taking quotes from past interviews conducted by others. That makes the book not feel fully authentic.

    If you’re a seasoned Deadhead, this book won’t provide you with much new information.

    But if you’re new to the Grateful Dead, this is a book I highly recommend checking out, as your eyes will be opened to an era of the Dead many think is the unquestioned leader in the handful of iterations of a rock and roll band beloved by its followers.

  • Brit Floyd Wows Syracuse Crowd

    Classic Dark Side of the Moon prism tee shirts were abundant in Syracuse as Brit Floyd performed its Immersion World Tour 2017 at the OnCenter’s Crouse-Hinds Theater April 18 to a near capacity crowd of both young and the bit more seasoned.

    Brit Floyd speaks fluent Floydian.  The tribute act has toured the world since 2011 and has mastered the art of Pink Floyd’s catalog while still managing to put its own stamp on the music.

    brit floyd syracuseA highlight of this particular show was the homecoming of Brit Floyd bassist and Chapman stick player, Ian Cattell. Cattell grew up in the Syracuse area and performed in many Syracuse area bands prior to joining the Australian Pink Floyd Show in 2005. He is equally adept at channeling Roger Waters and David Gilmour. One unique instrument he employed during the later era Floyd songs is the Chapman stick. It is a long 10 or 12 stringed guitar used to play bass and melody lines.  Cattell’s gig with the Australian Pink Floyd Show led to his current one in 2011. You can read more about Catell in the NYS Music preview interview here.

    Brit Floyd dipped its toes into every era of Pink Floyd’s history, from the psychedelic era “Astronomy Domine” off the band’s 1967 debut album to the opening numbers, the instrumental “Cluster One” and “What Do You Want From Me” from 1994’s The Division Bell.

    What you get with Brit Floyd is attention to detail. The band is respectful of the source material, yet still manages to put a Brit Floyd twist on it.  The lighting and visual effects (the circular video screen used is the same one Pink Floyd used on the Division Bell tour) are top notch. The sound circled the theater, creating the intended immersion effect. It was a full on immersion into Floyd.

    brit floyd syracuseThe graphics used introduced the year of each song played and mixed public domain videos and images along with original animation synchronized to the music and lights.

    Cattell and musical director/guitarist Damian Darlington took on the vocal roles of Roger Waters and David Gilmour with daft precision. Cattell’s inner Waters proved a highlight throughout the night. Cattell also took turns on Gilmour-sung songs such as on the A Momentary Lapse of Reason track, “One Slip.” Cattell claims his natural voice is more similar to that of Gilmour’s. This was proven on the latter era Floyd songs he captained.

    Lead guitarist Edo Scordo manages what few who cover Floyd can. He has the Gilmour feel. While Gilmour may not be the most technical guitarist in rock, what he brings to the table is an emotion that translates through his fingers to the fretboard. Scordo has that knack. Throughout the night, he nailed the solos, smiling at the adoring audience as he did so.

    brit floyd syracuseThe band is celebrating the 40th anniversary of the Animals album on this tour. Following the second set opener “Astronomy,” the band broke into the familiar keyboard intro and pig noises that open “Pigs on the Wing, Part 1” from that album. The crowd immediately responded in favor. Not stopping there, Brit Floyd seamlessly worked its way through the remainder of the “first side” of the criminally overlooked album.

    They jumped forward to 1987 for the following two songs, “A New Machine (Part 1)” and “Terminal Frost” before the alarms and bells broke out for a trip to the Dark Side, of the Moon, that is. “Time” and “Breathe (Reprise)” are what this audience came to hear. Darlington broke into the lead lines of “Time” sounding every bit like Richard Wright.

    The true highlight of the night, however, was still to come. Vocalist Angela Cervantes wowed the crowd with her hair-raising performance of “The Great Gig in the Sky.” Those in the know, realize this song, originally performed by Clare Torry on Dark Side, utilizes lyric-less female vocals as another instrument over Wright’s piano. On this night, Cervantes, accompanied by Ryan Saranich on keys, nailed it, lifting the audience out of its seats for the first standing ovation of the night.

    brit floyd syracuseFollowing the Dark Side tracks, the spirit of Syd Barrett paid a visit to Crouse-Hinds in the form of “Wish You Were Here” and “Shine on You Crazy Diamond (Parts VI-VII).” The video screen flashed video of early Floyd performances and glimpses of Barrett to the applause of the crowd. During “Wish You Were Here” Scordo and Darlington traded acoustic riffs as Darlington sang accompanied by those in attendance.

    The second set ended with Cattell showing off his acting chops. A chair, television and lamp, props mimicking those used in the film version of The Wall, were carted on stage as Cattell emerged dressed in a lab coat and carrying a clipboard. Cattell’s played the role of the menacing doctor to a tee and Darlington’s solo was spot-on.

    The band returned after “Numb” for a two-song encore. The first was a surprising pull. Darlington broke into the angst-ridden Waters-penned track “Not Now John” from Pink Floyd’s final album with Waters, The Final Cut. The song is one of Floyd’s heavier numbers and this brought raised fists and head bobbing from the audience.

    Brit Floyd closed their near-perfect Syracuse evening with a pulsing “Run Like Hell” from The Wall accompanied by a tremendous light and laser show. If there were anybody left disappointed by this show, they were simply not Pink Floyd fans. Brit Floyd is likely the closest we’ll come to a true Pink Floyd experience these days. Fans of the music would be wise to catch this band on tour.

    Set One: Cluster One,  What Do You Want from Me, Welcome to the Machine, Coming Back to Life, Another Brick in the Wall Part 2, One Slip, One of These Days, Us and Them, Any Colour You Like, Brain Damage, Eclipse

    Set Two: Astronomy Domine, Pigs on the Wing, Part 1, Dogs, A New Machine (Part 1), Terminal Frost, Time, Breathe (Reprise), The Great Gig in the Sky (featuring Angela Cervantes), Money, Wish You Were Here, Shine On You Crazy Diamond (Parts VI-VII), Comfortably Numb

    Encore: Not Now John, Run Like Hell

  • Photo Gallery: Sunsquabi Rolls Through Boston

    Late Night Radio and Maddy O’Neal opened a long night of music at Wonder Bar in Allston, MA on Sunday, April 30 for Sunsquabi. Saxophone extraordinaire, Tommy Weeks (Sophistafunk, Funky Dawgs) came up and belted out a few rounds during Maddy O’Neal, and even impressed Sunsquabi enough that he was asked to come back up for a tasty jam with them towards the end of the night. The Squab-Train drove straight through til the wee hours of the morning, delivering that funky Colorado sound we’ve been waiting so long for.

  • 2017 Saranac Thursday Acts Announced

    Saranac Brewery in Utica announced the 2017 lineup for its annual summer music series, Saranac Thursdays, on Tuesday. The kick-off event takes place May 18 with a 25th anniversary show from local show band Classified. The 19th year of the series continues throughout the summer, with hard rock act the Bomb closing it out Aug. 31.

    Syracuse-based groove rockers, Barroom Philosophers make their Utica debut on the Saranac stage July 13 and local favorites, the Canadian Celt-Rockers Enter the Haggis make their annual return to the courtyard the final Thursday in July. Other popular regional acts slated to play include the Old Main, Annie in the Water, Chris Eves and the New Normal and Gridley-Paige and 3 Inch Fury presenting “Rock of Ages.”

    The series features local and regional acts from 6-9 p.m. each Thursday. Cover charge for each 21 and over show is $5, which includes your first drink. A portion of the proceeds from the series is donated to the local United Way. The events raised $41,000 for the organization last year.

    2017 Saranac Thursday Series

    May 18 – Classified (25th anniversary show)
    May 25 – Soundbarrier
    June 1 – Showtime
    June 8 – The Crazy Fools
    June 15 – Ladies Drink Free
    June 22 – Last Left
    June 29 – Gridley Paige and 3 Inch Fury Present: ROCK OF AGES
    July 6 – Sir Cadian Rhythm
    July 13 – Barroom Philosophers
    July 20 – Annie in the Water
    July 27 – Enter the Haggis
    Aug. 3 – The Matt Lomeo Band
    Aug. 10 – The Old Main
    Aug. 17 – Lonesome Dove
    Aug. 24 – Chris Eves and the New Normal
    Aug. 31 – The Bomb

    See Enter the Haggis’ official video for “One Last Drink” shot partially at last summer’s Saranac Thursday performance below.

  • Celebrations Planned Across New York State on May 8 for Anniversary of Grateful Dead Show

    Next week on May 8, Grateful Dead fans around the world will mark the 40th anniversary of one of the most revered and traded shows in the band’s extensive history, that of 5/8/77 at Barton Hall at Cornell University. The show is a thing of legend for fans new and old, an oft listened to show that features numerous stand out versions of classic Dead songs. It has led to Tompkins Country Legislature announcing May 8 as ‘Grateful Dead Day’ and will also feature the release of a book covering the lore of the show, Cornell ’77: The Music, The Myth And The Magnificence Of The Grateful Dead’s Show At Barton Hall.

    may 8 grateful deadListen to the show below and check out the numerous events taking place across New York State to honor this milestone anniversary in Grateful Dead history.

    State Theatre of Ithaca

    Right in the town where the show was held, The State Theatre of Ithaca will hold….

    The event at The State Theatre of Ithaca will feature a special set of acoustic Grateful Dead music performed by Ithaca’s own tribute band, “Terrapin Station”, an official listening party of the 1977 release on the State Theatre’s brand new state-of-the-art sound system, a unique silent auction and a variety of special guests and speakers. In addition to the live music and Grateful Dead celebrations, Cornell University Press and author Peter Conners will also be in attendance chatting to fans about their new book “Cornell 77: The Music, The Myth and The Magnificence of The Grateful Dead’s Concert at Barton Hall”. Signed copies will also be available for purchase at this event.

    Dark Hollow at The Range in Ithaca

    Central New York’s Dark Hollow will perform the 1977 Barton Hall show at Cornell on May 8 for the 40th-anniversary celebration at The Range in Ithaca. Dark Hollow is one of the premier Grateful Dead bands in the Upstate NY area and will be joined by Rick Redington & the Luv, who seamlessly introduce the best aspects of country and folk into a variety of genres.

    Cornell Chimemasters

    In honor of the 40th anniversary, the Cornell Chimes will perform 4 songs from the Grateful Dead repertoire from 6 – 6:30pm on May 8. Fans are encouraged to bring blankets and spread out on the lawn around the tower. At 5:45pm, Dan Klein from the Tompkins County Legislature will read a proclamation declaring May 8, 2017 “Grateful Dead Day in Tompkins County.”Author Peter Conners will be available to sign copies of his new book from Cornell University Press Cornell ’77: The Music, The Myth, and the Magnificence of the Grateful Dead’s Concert at Barton Hall at the Cornell Store from 5:45-6:30pm

    The Cornell Chimes have been the heartbeat of Cornell’s campus life for more than a century, marking the hours and chiming concerts. The original set of nine bells first rang out at the university’s opening ceremonies October 7, 1868. Over time the chime has been recast and expanded to 21 bells; it continues to ring daily concerts, making it one of the largest and most frequently played chimes in the world. This marks the first time The Cornell Chimes will perform works by the Grateful Dead

    The Hollow Bar and Kitchen

    In Albany, Gratefully Yours will recreate the 5/8/77 show at The Hollow Bar and Kitchen with an all-star lineup of Albany musicians including Alex Mazur (Keyboards, Vocals), Adam Czolowski (Guitar, Vocals), Tom Pirozzi (Bass), Rob Schiff (Guitar, Vocals), Jeff Prescott (Drums) and Jessica Barlow (Vocals)

    Rhino Entertainment and The Capitol Theatre Present: 5/8/77 Revisited – A Grateful Dead Dance Party

    Part of the legacy of the Barton Hall performance is the quality of the recording that has circulated, and on May 8, The Capitol Theatre will host a listening party of the just-released “official” recording. The new recording will sound impeccably good through The Cap’s state-of-the art sound system and the new recording will be available for purchase at the event. Rhino Records will be on hand, giving away free stickers, patches, notebooks, and music releases as well. Also in attendance will be Larry Reichman, the “official” photographer of Cornell University on 5/8/77, who will be presenting never-before-seen images from this concert that we’ll be projecting on the walls of the Cap. He will also be promoting his upcoming book that will contain them. Tickets to this performance cost only $6.50 in advance – the original price of tickets for the Barton Hall performance in 1977.

  • Granddaddy of the Jam Scene, Col. Bruce Hampton, Dies While Passing the Torch in Atlanta

    Col. Bruce Hampton (born Gustav Valentine Berglund III) collapsed onstage at a celebration of his 70th birthday at the Fox Theatre in Atlanta May 1. The Atlanta Journal-Constitution reported his death hours after Hampton was rushed to the hospital by ambulance.

    col. bruce hampton
    Photo: Melissa Ruggieri/Atlanta Journal-Constitution

    Hampton turned 70 on April 30 and was taking part in an all-star salute to him at Atlanta’s Fox Theatre on May 1. He collapsed during an encore performance of “Turn on Your Love Light.” Hampton sang while encouraging 14 year-old guitarist Brandon Niederauer to take a solo. It was during this solo that Hampton collapsed onto an amplifier. Many witnesses to the scene thought it was a ruse. Those thoughts changed to concern as he was rushed off the stage to a waiting ambulance.

    The Colonel’s guest list for the four hour long show exhibited the true multi-generational impact he had on the Atlanta music scene. Joining him onstage for the tribute event were: Warren Haynes, Phish’s Jon Fishman, Drivin’ n Cryin’s Kevn Kinney, R.E.M.’s Peter Buck, John Bell, Dave Schools, Duane Trucks and Jimmy Herring of Widespread Panic, Blues Traveler’s John Popper, Derek Trucks, Susan Tedeschi, Oliver Wood, Karl Denson, Chuck Leavell, Billy Bob Thornton and major league pitcher Jake Peavy.

    col. bruce hamptonBorn in Knoxville, TN in 1947, Hampton founded the avant-jazz Hampton Grease Band in Atlanta, recording the 1971 album Music to Eat for Columbia Records. This album garnered the title, “Second worst selling record in Columbia history” upon its release, but in a retrospective review of the reissue, The Vinyl District describes the album as:

    The fertile zone where the Mothers of Invention and Captain Beefheart’s Magic Band intersected with the outbound psychedelia of The Grateful Dead and the sturdy blues-rock of The Allman Brothers, as a huge dollop of surrealist humor was slathered over the entire mess. Simply put, Music to Eat is an amazing document.

    Hampton went on to form what would become his most well known band, the Aquarium Rescue Unit, featuring Oteil Burbridge, Jimmy Herring, Rev. Jeff Mosier, Matt Mundy and Jeff Sipe, all prominent members of the early jam community. From there, he joined forces with Bell, Popper, Eric Schenkman of the Spin Doctors and all four members of Phish to put together the H.O.R.D.E. Tour in 1992. Inspired by Perry Farrell’s alternative traveling festival Lollapalooza, H.O.R.D.E. outlasted Lollapalooza and in its wake, inspired the second wave of improvisational jambands.

    Aside from his musical hi-jinks, Col. Bruce Hampton also had a role alongside Billy Bob Thornton in the 1996 movie Sling Blade, was the subject of the 2012 documentary Basically Frightened: The Musical Madness of Col. Bruce Hampton, Ret. and also appeared in the 2014 Run the Jewels video for “Blockbuster Night, Pt. 1.” He also starred in Mike Gordon of Phish’s first feature length film Outside Out in 2001 as a guitar “out”-structor and as the voice of Space Ghost’s mentor, a potted shrub, in a 1998 episode of Space Ghost Coast to Coast entitled “Warren.”

    Hampton lived his life outside the lines, influencing generations of musicians. He went out exactly the way he should have, performing an encore of “Turn on Your Love Light” among several generations of those he influenced, passing the torch to a young guitarist who will always have Hampton in his life.

  • Hearing Aide: Twiddle ‘Plump- Chapter Two’

    In January of 2015, Vermont based jam quartet Twiddle launched a Kickstarter for Plump Chapters One and Two. With their fan’s help, the band set out to launch two separate chapters. Fifteen months after Chapter One’s December 2015 release, Twiddle has unveiled Plump Chapter Two, the second half of the two-volume set.

    Plump Chapter Two is juicy. It’s full of variety. It’s thick with unexpected sounds. It’s a glimpse into the vast musical variety that makes Twiddle such a success live.  Producer Ron Saint Germain (311, Bad Brains, Sonic Youth) masterfully brings Twiddle’s self-professed ability to “spin tall tales over an intricate soundscape of hi-def shred” to life.  At its completion, Chapter Two reads like a nod to the master sounds of the 90’s alternative rock scene.  And at the height of 90’s throwback in fashion, pop culture and music, Plump Chapter Two is just the right sound at the right time.

    The album begins and ends at the hands of Twiddle’s pianist and keyboard guru Ryan Dempsey. “Enter” is only a mere 30 second glimpse into Dempsey’s contribution throughout the album. His compositions and his performance throughout Plump Chapter Two are whimsical and cartoonish, yet somehow also romantic and tortured. Dempsey deserves MVP nods for magically weaving the most classically branded sounds flawlessly throughout the album.

    “Enter” is the perfect introduction to “Orlando’s”, a 9-minute jam vehicle which is a nicely packaged glimpse into Twiddle’s catalog history, with over a dozen references to some of the band’s most beloved songs, characters, and mantras.  But the song is also a peek into the band’s live show. Simply stated: the tune is catchy. It contains the sing-a-long type of ear worm that gets stuck in your head. The song is highlighted by the powerhouse duo of Dempsey and bassist Zdenek Gubb. Together, the pair weave groovy and unique  gems that put bounce in your knees. It’s a wonderful trend that, thankfully, is repeated more than once.

    Originally called “L.A. Beach Song,” “Moments” has the potential to be the album’s most prevalent single. It’s the perfect showcase of guitarist and lead vocalist Mihali Savoulidis’ ability to write delicious hooks and positive emotionally fueled lyrics. The feel-good vibe of “Moments” makes it the perfect summer tune. If radio takes the bait, this song has the potential to be everywhere by early fall.

    While Chapter Two has plenty of shiny, radio friendly hooks, it is also full of unexpected moments.  The album is littered with typical tinges of sadness, love and angst. But it’s the new way with which the band handles this subject matter that is the album’s biggest suprise.  When the band revealed the album’s third track “Juggernaut” this past April at the PlayStation Theater (NYC), fans were surprised and delighted by the tracks shock and awe factor. But the song’s live reveal does nothing for the power of the studio version. The song is angry, forceful, and political, yet it still has a conscience.  “Juggernaut” feels part Rage Against the Machine, part Beastie Boys.

    Yet, despite the expansion of this edgier studio sound into the Twiddle catalog, Savoulidis stays true to his lyrical values. As with all his poetic content, Savoulidis continues to show a duality in his prose which is sometimes whimsical, heartfelt, and hopeful while managing to create a subconscious call to action.

    Chapter Two is also home to Twiddle’s signature yarn spinning tales via “Nicodemus Portulay” and “The Fantastic Tale of Ricky Snickle.” In the middle of the album, sits “Forevers.” This one take, improvisational piano piece showcases Dempsey’s classical training at it’s finest.

    Bassist Zdenek Gubb is a quiet force behind Twiddle’s most unique showings. His musical growth is the most evident, especially between Chapters One and Two. It’s in instrumental songs like “Milk” and “Peas and Carrots,” of which Gubb is given full songwriting credit, that listeners truly hear the musical creativity inside his head. Dempsey’s piano arrangements highlight both song’s unique timing signatures and unexpected transitions.

    Drummer Brook Jordan contributes lead vocals and full songwriting credit for two of the albums tracks “New Sun” and “Drifter.” There is an easy, soft timbre in Jordan’s vocal work. “Drifter,” which has yet to be released live, is poised to be the album’s sleeper hit. The song contains finely placed instrumental work by both Savoulidis and Dempsey. Jordan’s signature mellow and smooth songwriting style is the perfect base for the tune to take on new life live with plenty of space for musical exploration.

    Towards the end of Chapter Two are three golden nuggets.  “Blunderbuss” which was debuted live almost a year ago, when the band played the Captiol Theatre in May 2016, is a powerhouse instrumental.  Technically, the song is a knock out.  It is rich in tone and musically sound,  but the studio version is missing a certain “je ne sais quoi.” There is an edge and grit to the song live that doesn’t quite fulfill its full potential in the studio.

    “Fat Country Baby” a quick and playful bluegrass tune is a mere 70 seconds but requires multiple listens to appreciate the vast layered production quality. “Dinner Fork” is a perfect blend of Dempsey’s signature sounds – part classical, part terrestrial. All four members bring something different to the song. Savoulidis’ guitar brings an edge while Jordan and Gubb’s respective rhythm  work lays a solid base for Dempsey’s handy work.

    Through of all of its success, Plump Chapter Two misses only on superficial levels. There are often abrupt transitions in feeling between tracks.  It’s an unused opportunity to create a story with the songs presented on Chapter Two.  And although tracks like “Juggernaut” and “Moments” are perfectly placed in terms of commercial viability, the album’s track listing order could have made for a much more impactful finished product.

    Savoulidis shows great restraint vocally throughout the album.  His powerful lyrical content is highlighted by rich diction and confident conveyance. But that clarity of delivery also appears to have sacrificed a small amount of emotional delivery. It’s a tricky balance for even the most seasoned of vocalists. While both Savoulidis and Jordan nail their respective vocal work, much like its predecessor Chapter One, both of Twiddle’s main vocalists have yet to find a way to blend their voices.

    Newly remastered songs from Chapter One, which includes a rerecorded 2017 version of Twiddle’s “When It Rains, It Pours ” will be released with Chapter Two as the band’s first ever two-volume set. Chapter One’s “Five” is represented twice with both a new radio edit and the original album version. As of release day, Plump will only be available for purchase and download as a two-disc set.

    Plump Chapter’s One and Two drops April 28 via all major downloading sources including iTunes and Amazon. Pre-order of the double disc are now available and includes three immediate downloads accessible immediately. In addition, a double disc vinyl set is available for purchase through Twiddle’s website, however vinyl will not be shipped until August 2017.

    Key Tracks: Orlando’s Bar, Juggernaut, Moments

  • Formula 5 Gets By with a Little Help From Their Friends During ‘All Points North’ Album Release Party

    Capital Region jammers Formula 5 pulled out all the stops for their final All Points North album release party in Saratoga Springs in front of a full crowd of familiar faces and an exponentially growing fan base. After premiering the album in its entirety in New Haven with Relative Souls, the foursome decided to team up with the New Paltz-rooted The Other Brothers to serve up slices of true NY funk and soul on a Saturday night with a dirty laundry list of reasons to celebrate.

    From 8pm-10pm, fans rolled through the Putnam Den doors to enjoy the likes of a free keg with The Other Brothers set slated to rock at 9 pm. With a 15-song set, the six-piece of Chris Owens (vocals), Brandon Bera (drums), Gabe Marquez (keys), John Morrison (Guitar), Jared Nelson (Percussion) and Jordan Mendelson (Bass) kicked off the night with their rock and roll origins, soulful captivation and soaring vocals. Having convened in 2012 at SUNY New Paltz, the group is in the midst of preparing their first studio album, Jones. Having played shows for a few years and acting as seasoned veterans on the Rock and Roll Resort lineup, it’s a bit surprising that they’re only releasing their first album. At the same time, it allows you to get in on the ground level and perhaps grow with a band you’ve never had the pleasure of seeing or listening to before.

    From first impression, you could tell The Other Brothers’ sound and Owens’ powerhouse vocals provided a pleasing contrast to Formula 5 and what was to follow. As their set unraveled, each song found the front man, dressed in pale pink, rocking his hips back, forth and around town and further exploring his vault of dance moves. During a fun reggae-fusion tune, “These Cycles,” Owens’ charisma and onstage conversation demanded your attention–all that was left to do was listen and sway along with him. He often took the audience through anecdotes of how song titles came to be and strange one-off experiences that helped shape their musical contributions. It was hard not to keep your eyes locked on Nelson as his hands transitioned through tapping the congas and tossing a shaker, tambourine and rain stick for high points of the set, which also included Mendelson, sporting a Iron Maiden hockey jersey, impressively hitting quick tempo switches and odd time signatures on “Your Machine.” “Hit You Up” brought out the first guest of the night, Wavy Cunningham, to ease smooth tunes and a bit of rap into the set while the ending track of the night, “Levee for Free” had all fans on foot and Formula 5’s Joe Davis (also sporting pink) delivering tasty licks on guitar.

    The eclectic group of six will open up for Vulfpeck’s Theo Katzman on April 19 at the famed Capitol Theatre in Portchester, NY.  Looks like all is pointing North not only for Formula 5 but for these New Paltz natives as well.

    The Other Brothers Set List:

    Sleep Yo, Good Thing, The Man, Don’t Mean A Thing, Love Recedes, These Cycles, K2 in the Bathroom, New Friends, Can I Get It?, Why You Are, Hit You Up*, Game Show Radio, Your Machine, Bound, Levee for Free*

    * Wavy Cunningham

    $ Joe Davis from Formula 5 on guitar

    After a short introduction from a sincerely grateful and proud band manager, Pete Mason, Formula 5 immediately launched into their double header with transcending energy and multicolored lights boasting “F” and  “5” from the top corners of the stage.

    set the tone for their Saturday night gig with kinetic energy that only kept building. While fans may have heard the newer tunes from recent gigs and even more recent album release teases, it was the first time listening to the entire album in a live setting, lending their ears to Formula 5’s natural creativity and improvisation. Bassist James Woods sported a slight smirk all night, which could be attributed to a number of things, but we’ll just pin it on the electric energy and a “load-off” feeling of finally offering the band’s new studio album to the world. The merch table was freshly stocked with musical material both new and old, freshly crafted Trout Waters pins and newly designed T-shirts available for longtime fans and those just discovering their music.

    Having transformed a Kickstarter goal into reality, Joe, Matt, and James long awaited the night’s celebrations after pouring endless amounts of effort into their third studio album which follows their self titled debut album, April 2014’s Edging on Catastrophe and one live album, Live Five Vol. 1. The quartet implemented some classic strategies as well as newfound ways to draw a dancing crowd to their Putnam Den gig. Joe and Matt dedicated a few hours of their day to Albany’s own Madison Avenue Ben and Jerry’s shop on free cone day to dish out tasty frozen treats to Albany locals, hand out fliers for the album release show and spin their newest record to listening ears and the hungry humans attached to them–talk about a marketing triple threat. 

    Set one presented All Points North front to back, with friends Phil Chow on trumpet and Bryan Brundige of The Chronicles on trombone during “It Goes” paired with a loud exclamation of “I love horn-ula 5!” from the depths of the crowd. Not only did Brundige lend a helping horn on stage, he handles audio engineering at OverIt Media and aided the guys through their All Points North journey in the studio. A long set break brought set two, chock full of covers, a “Tweezer” tease and a loaded surprise sit in. Following a jam and “Booher’s Pass,” moe.’s own Vinnie Amico took to the drum kit during “Pedro” to sit in for the group’s drummer. The two seamlessly transitioned on and off stage while the drummer tried to use his surroundings to aid the beat to try and smoothly dip back behind the moe. veteran. Amico’s presence was unplanned, making the surprise sit in all the more sweet. The seasoned drummer happened to be hanging in the Saratoga venue before wandering into the back room and admitting  he was a Formula 5 fan and excited to see their set. From there, an organic sit in blossomed to cap off an already exceptional night.

    Next up was a double header of covers with Don Henley’s “Dirty Laundry” and Steely Dan’s “Hey Nineteen,” band and fan favorites alike. Appropriately closing out a night of well deserved festivities and completing a pretty solid song cover trifecta, the night was wrapped up into a funky package with a Phish phavorite, “Run Like An Antelope.” Keeping the momentum rolling the next day, the guys announced their participation at The Werk Out Music and Arts Festival alongside Dopapod, Emancipator, BIG Something, Spafford and more. They’ll keep the grooves going with a continued Spring 2017 tour as summertime bliss will bring Formula 5 tunes not only to the festival circuit but directly to phans during the Madison Square Garden Baker’s Dozen run.

    Formula 5 Set List:

    Set I: (“All Points North”)

    Come Along, Sad Bed*, Trout Waters, Pt. I & II, It Goes…^, Excalibur, The Birch Tree^, Q&A, Do Tell^, Figure Out A Feeling^

    Set II:

    Jam -> Booher’s Pass, Pedro$, Dirty Laundry$, Hey Nineteen!

    E: Run Like An Antelope~

    *Unfinished

    ^ Phil Chow on trumpet, Bryan Brundige on Trombone

    $ Unfinished, Vinnie Amico of Moe. on drums

    $Don Henley cover

    ! Steely Dan cover

    ~ Phish cover