NYS Music 20​17

Category: Genres

  • Head North Announces Coast to Coast Fall Tour Dates, with Stops in Brooklyn and Buffalo

    Buffalo’s Head North announced this week that they will be supporting Australian punk pop band Trophy Eyes on a North American Tour. They’ve also booked a series of headlining shows in the Midwest leading up to the extensive 21-date tour. A hometown show at Mohawk Place in Buffalo is slated for Tuesday, Dec. 12. They play New York City at Brooklyn Bazaar on Thursday, Dec. 14. The tour promotes Head North’s recently released debut full-length album The Last Living Man Alive Ever In The History Of The World, a concept album which explores themes about coming of age in a dystopian society. Tickets are on sale now.

    Head North. Photo: Eli Ritter

    Head North burst onto the pop punk scene in 2015 with their EP Bloodlines and toured relentlessly – crossing the country three times with bands like Knuckle Puck and Have Mercy. After taking time off, they came back this summer with the self-released LP The Last Living Man Alive Ever In The History Of The World, departing from their early angst-driven work and making a foray into indie rock.

    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,” drummer Ben Lieber told NYS Music in a recent interview. “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.”

    The Last Living Man Alive Ever In The History Of The World is available to stream on Spotify and can be purchased digitally on iTunes and Bandcamp. Physical copies on CD and vinyl, in addition to other merchandise are available on Head North’s webstore.

    Tour Dates:

    Headlining Shows:
    Nov. 14 – Indianapolis, IN – Hoosier Dome
    Nov. 15 – Chicago, IL – Camp/Us
    Nov. 16 – Dubuque, IA – Olliewood
    Nov. 17 – Ames, IA – The Pine House
    Nov. 18 – Omaha, NE – The Commons

    With Trophy Eyes and Free Throw:
    Nov. 24 – Seattle, WA – The Funhouse
    Nov. 25 – Portland, OR – Analog Lounge
    Nov. 26 – Berkeley, CA – Cornerstone
    Nov. 27 – Los Angeles, CA – Echo
    Nov. 28 – Anaheim, CA – Chain Reaction
    Nov. 29 – San Diego, CA – The Irenic
    Nov. 30 – Phoenix, AZ – Rebel Lounge
    Dec. 2 – Dallas, TX – Dirty 30
    Dec. 3 – Houston, TX – Walters
    Dec. 5 – Atlanta, GA – The Masquerade
    Dec. 6 – Nashville, TN – The End
    Dec. 7 – Columbus, OH – Woodlands Tavern
    Dec. 8 – Detroit, MI – The Shelter
    Dec. 9 – Cleveland, OH – Mahalls
    Dec. 10 – Toronto, ON – The Hard Luck
    Dec. 12 – Buffalo, NY – Mohawk Place
    Dec. 13 – Boston, MA – Sonia
    Dec. 14 – Brooklyn, NY – Brooklyn Bazaar
    Dec. 15 – Philadelphia, PA – The Foundry
    Dec. 16 – Washington D.C. – DC9
    Dec. 17 – Asbury Park, NJ – House Of Independents

  • The Young Dubliners East Coast Tour Begins

    NYS Music welcomes the Young Dubliners once again to New York as they begin their east coast tour, making their first of three New York appearances tomorrow evening in Cohoes at the Cohoes Music Hall.

    Often considered one of Celtic Rock’s hardest working bands, The Young Dubliners blend their musical backgrounds and styles to create a unique sound that encompasses an electric mix of influences which of course includes a Celtic rock sound. Touring the entire year across the United States and Ireland, these few shows are their only east coast appearances scheduled this year in our area. Don’t hesitate to grab your tickets and take in a show as their energy as a live band is a must see.

    Sept. 22 – The Kate – Old Saybrook, CT
    Sept. 23 – Cohoes Music Hall – Cohoes, NY
    Sept. 25 – Mercury Lounge – New York, NY
    Sept. 27 – Westcott Theater – Syracuse, NY
    Sept. 28 – World Cafe Philadelphia – Philadelphia, PA
    Sept. 29 – Stouts Irish Sports Pub – Providence, RI
    Sept. 30 – Amp by Strathmore – North Bethesda, MD

    You can stream the Young Dubliners’ latest release NINE here.

  • Interview: One For The Braves

    One For The Braves just debuted their first music video, for the song “Dirt Nap” off their latest release Does Anybody Honestly Care.

    The EP’s a mile-a-minute pop punk revelry, with pop culture references bringing levity to heart-on-sleeve lyrics. The quintet from Poughkeepsie features Adam “Radam” Rebillard on vocals, Avery Avello and Brian Morgan on guitars, Nick Ferraioli on bass, and Sean Mercado on drums. NYS Music spoke with Rebillard about the band, their latest release, and their first music video.

    Photo: Sabrina Leviton

    Paula Cummings: When and why did you start writing songs?

    Adam Rebillard: I started writing lyrics when I was really young, mostly just to kill time. When I got older, I got bored of doing it. Then I discovered punk and pop punk and all those wonderful styles of genres. It sounded fun to me, so I started singing and putting melodies to some of the lyrics. Then my freshman year in college I met our guitar player Avery, and the two of us started jamming together and it kept going from there. We got a few new members over the years.

    PC: How would you describe your band?

    AR: We take the nostalgic pop punk style, which would be bands like New Found Glory, and mix it with a newer style like The Wonder Years and Story So Far. We find ways to make it our own, so we’re not a clone of another band. That’s not what we want.

    PC: What was your most memorable show so far?

    AR: We did a show back in January. It was our first headline show at our local venue, The Loft. It was fun to finally be the main event of a local venue that we all grew up going to. We had a good turnout. We were on with some of our best friends’ bands. It was laid-back. Everyone was happy, having a good time. We do everything we can to grab an audience and keep their attention. I personally move around a lot. We incorporate solos in our songs. We do our best to get the audience interactive, talking between songs.

    PC: You recently released your sophomore EP. Tell me about the team you recorded this one with.

    AR: The first EP we did over at New Paltz. But the sophomore EP, Does Anybody Honestly Care, we did at Nada Studios in Montgomery. It was awesome. We recorded these songs with another studio, and got it back, but it wasn’t what we were looking for. We emailed Eric and Nada, told him what we were looking for, and that we wanted to record again from the ground up. We went in and he had ideas to bring to the songs. We made this amazing EP that we’re all so proud of.

    PC: What was it like to film your first music video?

    AR: It was weird, but it was fun. Like I said, I like to move around a lot – jumping, spinning. I’m doing my usual stuff. We’re filming and the guy’s like “Hey, man, that’s really cool but you need to stay in one spot so I can keep up with you.” We did it at a high school track. The song we did it for is called “Dirt Nap.” The idea behind the song is regardless of what people think you keep moving forward in life. People are going to like you, people are going to not like you. You can’t let that get to you. So when I feel anxious or whatever, I go run on a track, so one day I got the idea. So we drew up some signs and had people stand around holding these signs. The idea was to keep going regardless of the signs and what people think, and keep moving on and pushing forward.

    Does Anybody Honestly Care is available on Bandcamp. Follow One For The Braves on Facebook or Twitter for updates and show announcements.

  • Lettuce Brings the Funk to Buffalo

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

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

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

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

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

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

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

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

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

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

    Encore: The Flu

  • Broken Social Scene Breaks Out a Social Scene in Ithaca

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

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

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

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

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

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

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

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

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

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

  • Hearing Aide: Deadrider ‘Reaper’

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

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

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

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

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

    Key Tracks: Iron Angel, Brainwashed, Skulls and Bone

  • Sunday Fun Day at Rochester Fringe Festival with Tart Vandelay at Java’s Cafe

    KeyBank Rochester Fringe Festival is still going strong. In its fifth year, the entertainment offerings are better than ever. After a couple nights at the main stage on Parcel 5 at Fringe Festival, I took a detour down Gibbs Street to check out one of the smaller Fringe Festival venues, Java’s Cafe. On Sunday, they featured a musical performance by art pop duo Tart Vandelay.

    Tart Vandelay Java's CafeJava’s Cafe is situated beside the Eastman Theatre and across from the Eastman School of Music, making it a natural place for musicians and music-lovers to congregate. The wooden interior, warm lighting and art-lined walls lend to the cozy atmosphere. The venue is a perfect pairing for local indie pop artists Tart Vandelay. Tonight they performed as a duo rather than a full band. The founding members, Katie Halligan  with her microphone and looping station and Martin LoFaso with his guitar, set themselves up in the corner of the shop, the tables already filled to capacity with family, fans, and people who came to see them for the first time. Among the crowd were members of The Demos, a testament to how supportive the local music scene is of each other’s work.

    Tart Vandelay Java's CafeThey started the set with a cheery song called “Spin.” Halligan worked her magic with the looping station to create repeating layers of playful vocalizations (“ba-da-ba”s and “ooh”s) and percussive beats with handshakers. Over-top this foundation, she began to sing in dulcet tones the optimistic chorus, “Spin, spin. Go with the flow. Let my orbit carry me where I need to go.” LoFaso chimed in on guitar, and his solo replicated the melody of the chorus. They radiated pure joy as they played, and the feeling was contagious. The audience was drawn in by their charisma. The typical coffee shop chatter and bustle seemed to be put on hold, as all eyes and ears were fixated on the splendor that is Tart Vandelay.

    Tart Vandelay continued to spin an intricate web of acoustic strands, deceptively simple yet completely spellbinding. The set included all the songs from last year’s debut EP Frontier Pioneer, and a couple new ones that they’ve been working on. One of the new ones, “I’m Gonna Try,” is a great example of how they incorporate wordplay into their songwriting. The chorus “Try, try, do my best and do it again” was repeated with slight variations of melody and layered over each other. It’s like having an entire choir of Halligans, a delightfully enchanting concept that she is able to bring to life using modern musical technology. It was easy to let oneself get lost in the enchantment of sounds as the duo continued to weave their magic spell. The set was over way to quickly, time seemingly suspended and the world having faded away for a too-brief period of time. Halligan dedicated the final song to her father, who was in the audience: a heartfelt cover of Julia Easterlin’s “Go Straight Away.”

    https://soundcloud.com/tartvandelay/spin

    Tart Vandelay Java’s Cafe Sunday Setlist: Spin, Alien, I’m Gonna Try, Not Alone, Bells, How Hard Could It Be?, High Life, Go Straight Away (Julia Easterlin cover)

    Tart Vandelay makes another appearance at Java’s Cafe on Thursday, September 21 at 9pm. Frontier Pioneer is available on Bandcamp, Soundcloud, and Spotify. Follow Tart Vandelay on Facebook for news and upcoming events. To read more about the band, see their recent interview with NYS Music.

    Java’s Cafe offers a wide variety of environmentally-friendly and socially-conscious menu items, including free-trade coffee, an exotic collection of teas made from loose leaves, hormone-free dairy from a local farm, and allergen-free baked goods. They’re providing free entertainment during Fringe Festival.

    Remaining Fringe Festival Shows at Java’s Cafe:

    September 20 – 6pm – Cherrytree Jukebox (duo covering singer/songwriters of the past century)

    September 20 – 8pm – An Evening With Logan Miller (singer/songwriter)

    September 21 – 7pm – Dave DiPrimo Band (alternative rock)

    September 21 – 9pm – Tart Vandelay (indie pop)

    September 22 – 11pm – Ponder the Giraffe (alternative jam)

    September 23 – 2pm – Daniel Henry (tribute to Frank Sinatra and Friends)

    Rochester Fringe Festival continues through Saturday, September 23. Shows at Java’s Cafe and several other venues are free – arrive early for seating. Ticketed shows have been selling fast, so it’s best to purchase them in advance. For more information, visit RochesterFringe.com.

  • An Interview with YES Keyboardist Geoff Downes

    YES is best known for their influence on rock history and classic songs including “Roundabout,” “I’ve Seen All Good People,” “Owner of a Lonely Heart,” and countless others. On their recent YESTIVAL tour, YES featured a setlist of greatest hits from the band’s studio work, performing at least one song from each of the first 10 albums, starting with YES (1969) through Drama (1980).  Matt Richards, keyboardist for Formula 5 spoke with YES keyboardist Geoff Downes about his gear, YES’ best compositions and the rock legacy of YES as they near the half century mark.

    Matt Richards: How has the YESTIVAL tour stuck out to you compared to your previous tours with YES?

    Geoff Downes: It has been very different so far because we have been doing the chronological tracks from each of the first ten albums. That has seemed to be something the fans really like because they get to hear tracks that are not in the normal YES repertoire and haven’t been played for quite some years. I think being on the bill with Todd Rundgren and Carl Palmer’s ELP Legacy has been a nice mixture to be able to have a whole feast of music rather than just the standard YES classics. In the past we have been doing albums in their entirety and it has been nice to move away from that and look at a much more historical view of the band’s catalogue.

    MR: How is touring in The United States different from touring in The UK?

    GD: A lot of the venues in The US are better designed for concerts in the modern age. The backstage areas and load-in areas are much more accessible. The British venues are not designed for big stage trucks to come through and some of the theaters in the UK are very old. There is a bit of a logistical problem in that regard but audience-wise, we’ve got a following in the UK as well as the United States that is very receptive to the music of YES

    MR: Is there one song you find the most representative of the music of YES?

    GD: I think there are certainly a few but I find “And You And I” from the Close To The Edge album is the most representative of YES’s music in terms of the changes in the sections, the dynamics, and the great uplifting finale. In a lot of ways, dynamics is what YES’s music is all about. It has the same application that classical music does where the orchestra is not going full torque all the way and it features certain instruments at certain times. That’s what makes YES’s music very interesting and appeal to a wide range of generations. It is always uplifting to play that one live and I look forward to it coming up in the setlist because it is such a great piece of music.

    geoff downes

    MR: As a keyboardist do you find there is any particular keyboard that is the most representative of YES’ sound?

    GD: The music has been very focused since the early days with Tony Kay on the acoustic piano and Hammond organ rolls. That was extended more by Rick Wakeman when he started to introduce Melotrons and the Minimoog. I think those elements have always been key to YES’ music and progressive rock music in general. When I joined the band in 1980 that is when the real explosion of synths and digital keyboards was just beginning. I think I injected that into the Drama album. I tried to take it a step further and bring the technology in line with what was happening in music in general.

    MR: Is there any keyboard that you are currently touring with that is your favorite to use in your performance?

    GD: I use Mac laptops for recreating a lot of those old sounds because the software now is so sophisticated that we are capable of doing that. I have always been very interested in not only the musical side, but the technological side of keyboard playing. It is sort of a dream to be able to create these wonderful sounds with virtual synths.

    MR: What program do you find is best to recreate the classic synth sounds?

    GD: I use Apple’s Mainstage which is a development from Logic. Logic Pro X is the main program and it is great because you can create all these virtual layers of keyboards. It is a very powerful piece of design.

    MR: With such an emphasis on composition in YES’ music, what role does improvisation have in the live performance?

    GD: Generally, we try to remain fairly close to the original recording in terms of core parts of the pieces because that’s what people mostly have as their highlights of our music. There are occasions where solos have more flexibility and some of the arrangements will be chopped around while still recreating the songs accordingly.

    MR: What role does YES play in the world of music?

    GD: It is a very unique volume of music in the history of rock music. There is a very positive and uplifting experience that drew many listeners to the band from the beginning. The name of the band and the positivity emanating from that is carried on into the music. I think people find that not only something nice to listen to but also a spiritual experience. I think YES is quite unique in that respect that they can actually convey that feeling to people, making them feel good and want to say “Yes!” as they listen.

  • Frank Palangi Premieres Title Track off Upcoming EP ‘Set Me Free’

    Glens Falls native Frank Palangi has released “Set Me Free,” the title track off his upcoming EP. The hard rocking single puts Palangi’s gritty vocals and grunge-tinged sound on display ahead of the October 2 release of the Set Me Free EP.

    Palangi draws on hard rock and metal influences such as Metallica, Creed and Daughtry, and has opened for a variety of artists including 3 Doors Down, Candlebox, Buckcherry, Starset, Spiritual Rez. Using powerful vocals layered on driving, upbeat rock and roll, Palangi brings a fresh sound to modern rock.

    Set Me Free was produced and mixed by Frank Palangi, mastered by Robert Venable, and recorded at The Cat Room Recording Studios, Off The Wall Studios, and Palangi Studios.

    “Set me Free” will be released on October 2. Pre-order on iTunes or Amazon.

  • Saturday at Rochester Fringe Festival: Rocking with The Demos and Penthouse Views

    Excitement abounded downtown on Saturday September 16, the third day of the KeyBank Rochester Fringe Festival. With hundreds of shows on dozens of stages over a span of ten days, there’s a lot to see and do. I made my way down East Main Street of my native town, heading towards Parcel 5 to catch a set by power pop band The Demos and the second and final night of Plasticiens Volants. A sign on the corner of East Avenue invited festival-goers up to the building’s penthouse terrace. I kept that in mind for later, and continued on to the stage.

    The Demos were scheduled to play at Fringe Festival last year, but the show was called off due to rain. This time, the weather couldn’t have been better – a warm and sunny end-of-summer day. Native Rochesterians and visitors filled the square, milling about or relaxing on blankets and lawn chairs. Tonight, the stage was decked out in strands of fairy lights, with lawn flamingos perched about – the same flamingos from the videos The Demos used to promote their show.

    The band wasted little time on sound check, diving right into a cover of Velvet Underground’s “What Goes On.” While The Demos rocked out, the stage was flanked by a pair of girls with light-up hula hoops, who spun the circles with acrobatic skill to the rhythm and tempo of the music. Bubbles floated around the stage, carried by the wind from the street performer on the corner. The atmosphere was buzzing with a sense of fun and excitement, and people were drawn towards the sights and sounds of the stage.

    Members of the band were having fun, too, exchanging smiles and glances as they played “I Don’t Mind” and “Clearly” from their last release, Paramount Clouds. The synthesizer plays a particularly prominent role on these numbers, with Caela Moore grooving out at the helm of a double deck of keyboards. Frontman Jay Milton was on top of his game tonight, putting everything he had into the performance, from rich vocals to on pointe guitarwork.

    A rousing rendition of “Veronica” got the audience clapping along. They added some twists to the song, a few call-and-response-style lines sung by bassist Cal Saunders that aren’t on the version they recorded for their full-length album Lovely. Drummer RJ Papaleo may be the newest member of the band, but he didn’t miss a beat as they dug into the catalog of songs from the band’s archives. Jeremiah O’Reilley is also relatively new to the band, but has been a fan since the early days, and slipped seamlessly into the role of guitarist.

    The crowd continued to swell as the sun started to set. Jay asked the amassing audience who among us has seen the band before. A sea of hands flew into the air, with cheers. He asked who had been coming to see them since he and Cal started 15 years ago. There were still some hands in the air. “This one’s for you,” Jay said as they started playing a song called “Don’t Give Up On Me.”

    The tempo slowed a bit as they did a couple more stripped-back songs, starting with “Shooters and Fixers.” Then they played a new song, “All I Need,” a bittersweet ballad featuring Caela on ukulele, Jay on the keyboard, and Cal singing harmony. Jeremiah, his services not needed on the stage, took the opportunity to come down from the stage and dance with his wife. He hopped back on stage for a couple more new songs.

    The sea of people were nodding and moving along to the new tunes, but when the band followed them with their hit “Hardly Done,” people started singing along. Another new one, “Risin’ Up,” represents a departure from their typical lyrical themes. This anthemic song has more of a political bent. “People rising up, they’ve all had enough,” Jay sings. “Where do we go from here?”

    The pinnacle of the set was “Better.” The groovy pop song with a sweet hook peaked with a solo in which the instrumental sounds came crashing together in a frenzy of noise, amassing in a sheer wall of acoustic energy. The 75-minute long set concluded with an ode to Rochester called “My City.” They took a quick moment to thank their manager, friends and families before being whisked off the stage. Around me, a group was chanting for an encore, but Plasticiens Volants‘ “Big Bang” show was about to begin.

    Still buzzing with adrenaline and not ready to call it a night, I retraced my steps to The Penthouse at One East Avenue to scope out the scene. The 11th story penthouse is now a hip, upscale event venue which offers a unique perspective. The sleek interior does not detract from the view through floor-to-ceiling windows, and glass doors give way to a wraparound outdoor terrace. In the center of it all is a small bar which offers a selection of beer, wine, and spirits. In addition to private events such as weddings and corporate meetings, they’ve also held a series of musical performances and silent disco. Coming up on September 21 is a Bacon and Bourbon tasting, and on October 28 they’ve planned an interactive mystery night. Tonight, they’re open for viewing the events at Parcel 5, including the second and final Rochester performance by French street theater troupe Plasticiens Volants.

    Walking the length of the balcony, I witnessed the city alive with lights across the skyline glowing and traffic bustling down the main arteries. A crowd was already jockeying for position along the railing for a look at the multi-media show by Plasticiens Volants, featuring balloons the proportions of Macy’s Day Parade handled by puppeteers who walk through the crowd, a mix of narration and world beat music, pyrotechnics, lights and mirrors. For a more in-depth description, read the review from Friday night’s performance.

    The Demos’ next show is the Floated Halloween Bash at the Bug Jar on October 21. Find their music online at Bandcamp, iTunes, and Spotify. Read more about the band in their interview with NYS Music.

    The Demos’ Setlist: What Goes On (Velvet Underground), Regal Dimensions, I Don’t Mind, Clearly, Bobby Pins, Veronica, Impossible, Another Day, Only Want The World, Nervous, Truth & Lies, She Lives in Pictures, All I Need, We Could Do Anything, Elegant Ties, Not Coming Down, Hardly Done, Risin’ Up, Life’s A Gas (T. Rex), Better, My City

    Rochester Fringe Festival runs through September 24, with a wide variety of music, theatre, comedy, and other entertainment. Advance ticket purchases are recommended, as shows do sell out. For more information, visit RochesterFringe.com.

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