NYS Music 20​17

Category: Genres

  • ARISE Has Risen

    ARISE Music Festival was held at Sunrise Ranch in Loveland, Colorado, on a jovial weekend August 4-6, surrounded by rock formations, pleasant lakes, and mysterious meadows. This land was indeed filled with love, so its name holds true to its essence. It was a glorious gathering of all walks of life – an open, family friendly, health conscious like-minded atmosphere where one can simply be whoever they please. Acceptance was a big feature of the time that was had and the energies that flooded the air proved this to be true. People united and rejoiced in ways the whole world could learn from.

    ARISEThe weekend consisted of countless extraordinary artists including performances by Atmosphere, Tipper, Lettuce, Beats Antique, Ani DiFranco, SunSquabi, Rising Appalachia, Brother Ali, Break Science, The Brothers Comatose, Desert Dwellers, and Dopapod, just to name a few. The vibe of these acts included a wide range of eclectic music including electronic, hip-hop, funk, jazz, world fusion, folk, soul, and progressive rock.

    Despite the waves of torrential downpour fluctuating all weekend, flooding and destroying the temporary homes of many, everyone at ARISE seemed to shine through the rain and it only made people dance even harder to the grooves of mother earth, especially when a calm, strong, and bright double rainbow appeared at the end of a fierce shower on the third day. This experience was an evolution of mankind, uniting positivity and kindness throughout each moment.

    Food vendors provided healthy and nutritional options for all types of eaters, as well as the festival’s own farmer’s market. As you entered from the main camping ground through giant neon totem poles, there was eye candy everywhere; each white tent displayed an extensive collection of interesting goods to be sold, not to mention countless painters, sculptors, and artists of all kinds.

    Temptations with zero expectations. Hammocks galore! There were yoga workshops and practices, domes to climb, beaded huts, teepees, and much, much more. This interactive experience gave one the liberty to wander to different areas such as the “Wisdom Village,” “Children’s Village,” and “Solutions Village”, which all co-created a friendly habitat for the weekend in its own worldly bubble. As a good-vibe-only festival, people could be found at any of the stages, including Big Sunrise Dome, StarWater, Scene Magazine, Green Tree, and main headliners at the Eagle stage.

    Sound mimicked the rhythm of body movements and the full moon and clear night on the final evening of the journey fabricated unparalleled liveliness. For anyone interested in participating in a relaxing care-free time with no service whatsoever, ARISE should be on the top of your list, where you can freely admire the sun and moon rise and set over this magical land while opening your mind to stellar soundwaves.

  • Panorama’s Sophomore Year Brings Diverse Music To Randall’s Island

    For its second year counting, another sun sets on the Panorama Music Festival in Randall’s Island Park. Along with a lineup spanning across a vast array of decades and styles, Panorama brought some unexpected surprises this year, most prominently a broad artistic landscape to admire and become engulfed in.

    panorama randall's islandPanorama’s biggest sponsor this year was HP, and they made it blatantly obvious. A massive tent and dome structured like the Florence Cathedral became home to The Lab, which required visitor participation to thrive, both functionally and artistically. One room would feature a giant globe of constantly-moving graphics. Take one touch of it, and the patterns would shift, creating an entirely new display. Another room had levers attached to brass instruments through long tubes, and each lever pulled created a new sound for the surrounding song played. Another room featured virtual reality glasses to transport visitors to another space. HP also brought us The Lounge, which was an activity center with live music all day, bandana printing, and interactive art photo booths (not to mention very long lines).

    Although one would say this was as equally an arts festival as it was music, it was the impressively diverse lineup that brought in attendees from all walks of life. From R&B worshipers flooding in for Frank Ocean Friday night, to the industrial rockers jumping around for the closing Nine Inch Nails set on Sunday night, there was a place at Panorama for everyone, and everyone came from around the world to celebrate.

    Friday, July 28

    After hours of waiting in line to check in and passing through inspection, Panorama was alarmingly empty in the late afternoon on Friday. With the sweltering heat, it seemed people drifted into the fest slowly, while bands would start playing in one or two of the four venues on the Island. The first Main Stage act to go on was British electro-soul artist HONNE, who played the hit singles “Warm On A Cold Night” and “All In The Value,” along with a groovy “3am.”

    As the Main Stage acts picked up on popularity, the crowd size slowly expanded. Vance Joy came on after HONNE, and despite him being a slight one-hit wonder, his following was enormous and devoted. He played “Riptide” as everyone suspected, but threw in other songs from his popular album Dream Your Life Away, including “Your Mess Is Mine” and “Fire and the Flood.” He also did an incredible cover mashup of the Omi billboard hit “Cheerleader” and “You Can Call Me Al.”

    After some perusing of Panorama’s endless food vendors, and catching part of Future Islands’ set on the Main Stage, in addition to confessions from their previous night (spoiler alert, the lead singer got too drunk), Spoon eased us into the evening at the Pavilion stage, where there was just enough room to squeeze your way to the front. Spoon jumped all over their catalogue for this set, from their newest release of Hot Thoughts (“I Ain’t the One,” “Can I Sit Next To You,” “Do I Have to Talk You Into It,”) as well as their 2014 release They Want My Soul (“Rent I Pay,” “Do You”).

    MGMT followed Future Islands on the Main Stage, and their set featured hits that brought us back to high school where we first fell in love with them. Songs like “Time To Pretend,” “Weekend Wars,” “Kids” and “Electric Feel.” As the night passed on, the stage lights became brighter and the crowd continued to flow in, preparing for the soul and R&B artists to come.

    Beyonce’s sister Solange took the Main Stage at 8, and if you haven’t heard of her before, she is best explained to have a similar-sounding voice to Bey, but with a completely different musical direction. Beyonce keeps to more of a hip hop base, with attention to melodic phrasing. Solange is more abstract, tuning her voice to an instrument timbre and embracing jazz influences to a trip hop style of music. She was the perfect way to segue the psychedelic set of MGMT to the simplistic beauty of Frank Ocean’s music.

    Frank Ocean had a different plan than most headliners you’d suspect. From his introduction through the piano-based ballad masterpiece “Solo,” he segued into a variety of poetically-somber song choices, including his most recent singles “Chanel” and “Lens.” With an occasional loop or sample, Frank’s set was mostly piano and acoustic guitar to support his sultry-toned voice. The ending of his 2016 hit “Self Control” seemed to elevate the audience to a unison voice, and with every part Frank sang, the audience sang back. To top it all off, Frank wore a shirt for his entire set that read “Why be racist, sexist, homophobic, or transphobic when you could just be quiet?”

    Saturday, July 29

    Saturday’s cloudy skies staved off sunburns and provided some refreshingly mild air as the early afternoon sets broke the silence of Randall’s Island. Opening The Parlor stage was the female-fronted gritty punk rock band BLEACHED, countered on the Pavilion Stage with NONAME dealing out some funky R&B beats. On a casual-paced meander toward the Panorama Stage, the laid-back rock grooves of Pinegrove, indie rockers from not too far away in Montclair, NJ. The easy-going afternoon saw one more act before gearing up for the evening. New York’s own Mitski welcomed many late arrivals to the festival as they finished their walk over the RFK Bridge. Though backed by a full band, Mitski closed her set solo bringing out a powerful lo-fi  rendition of Patti Smith in her vocal performance.

    The packed evening schedule posed several tough choices to make especially for those who had hopes of staying through an entire set. The side stages were scheduled with just enough time to catch at last part of a set without completely missing an act. Texas-based Survive’s set was rather captivating with an improvised feel that drew ears and minds close in to the experimental electronic ambience. Following Survive on The Pavilion stage were Scottish indie pop-rockers Belle and Sebastian, led by Stuart Murdoch sporting a Mets hat as a nod to Panorama’s originally planned site in Queens. With other local NY hat-tips tossed throughout the set, Belle and Sebastian weaved a bit of the early afternoon good vibes pace into the evening. The tent at The Pavilion was packed for that stage’s last act of the day was packed. Alt-J clearly had a big following of their own as fans, including in their set one of their better known songs “Left Hand Free” and one of their newest songs, “In Cold Blood.”

    Back at the main stage following Pinegrove, Jagwar Ma turned their electronic dance rock into a big sounding, beat heavy jam including their songs “Uncertainty,” “Give Me A Reason,” “Come Save Me,” and the set-closing “O B 1.” Nick Murphy, who previously went by the stage name Chet Faker, had a rather impressive rock ‘n roll stage presence behind the fusion of electronic, rock, and trip hop. Closing out Saturday was a highly anticipated set by Tame Impala, whose Panorama set was the biggest show they have played so far in the US. Their live show was just as precise as their recorded songs but much more immersive with their visuals just as much a part of the show as the music.

    Sunday, July 30

    Like each of the previous two days Sunday saw a light crowd for the early afternoon sets. Early birds had an easy start before kicking into high gear with some mellow danceable beats from Maryland-based producer Shallou before a New Orleans style interactive revival set from NYC’s own Rev. Vince Anderson & The Love Choir. As more of the snooze button crowd flocked in, the warm July sun greeted alt rocker Bishop Briggs on the main stage while the dimly-lit set of post punk band Preoccupations was underway during the same time slot at the tented Parlor stage. The never-ending festival dilemma of competing set times was a nuisance as both sets would have been better seen in full rather than making a jump from one to the other.

    For anyone who knew the band Jack’s Mannequin, the lead singer Andrew McMahon has since moved on to a new project, known as Andrew McMahon and the Wilderness. Though they’ve had success with their recent album release Zombies on Broadway, the ensemble brings in a nostalgic audience from the early 2000s, and their set wasn’t complete without Andrew playing the early Jack’s Mannequin classic “Dark Blue,” which added an extra piece of satisfaction to the set. Andrew McMahon is a frontman and character of his own, constantly walking through the audience, crowd surfing, and even riding an inflatable duck above the crowd. Their set included parachutes and beach balls, entertaining us in a way our inner four-year-old could really appreciate.

    Glass Animals was the perfect following act on the Main Stage, as the artwork for their new album How To Be A Human Being lit up the stage in vibrant shades. From that album, they played “Life Itself,” “Season 2 Episode 3,” and “Pork Soda.” They also payed homage to their earlier album release that got them on the musical map, ZABA (“Black Mambo,” and ”Gooey”). Days before the festival, they released the single “Agnes” which they also debuted at Panorama to hundreds of fans spread across the Island.

    In a sudden shift in musical genre, hip hop legends A Tribe Called Quest followed Glass Animals, with an impeccable energy and bittersweet farewell as the group openly announced that this set was the last they’d play in New York as Tribe. Woven in between their latest releases from their November 2016 closer album We Got It from Here…Thank You 4 Your Service (“The Space Program,” “Dis Generation,” “Black Spasmodic,” “We The People”) and some of their influential songs throughout trip hop history (“Buggin’ Out,” “Check The Rhime,” “Bonita Applebaum,” “Electric Relaxation”), their set spanned over years of evolution, while repping the same Queens pride from their youth. They made several acknowledgements to the audience, including their gratitude for the support they’ve received over the last few years without founding member Phife Dawg. They even left an extra mic open on stage to keep his spirit present, and upon the end of their set, the applause was long and emotional as fans bid farewell to one of the greatest groups in hip hop history.

    To imagine a Nine Inch Nails concert may be difficult for some of their most devoted fans, being that the band has been through two hiatuses, label complications, and several changes in band members. Since their official return in 2013, they’ve been releasing new material, like a trifecta of singles entitled “Not The Actual Events,” “Add Violence,” with one to still be released by the end of the year. They opened their set with the uncomfortably luring intro to “Dear World,” and with thin black ribbons flying from their instruments, they transitioned from feelings of rage with songs like “The Wretched” to the unsettling ballad “Something I Can Never Have.”

  • Chenango Blues Fest to Celebrate Twenty-fifth Anniversary

    The Chenango Blues Fest will celebrate its twenty-fifth anniversary on Aug. 18 and 19 at the Chenango County Fairgrounds in Norwich, New York headlined by the North Mississippi Allstars with John Medeski. The event kicks off with a free show on Friday night beginning at 6:00 p.m., with stylish showman Reverend Shawn Amos.

    Following Amos will be 2017 International Blues Competition Best Band Winners, Dawn Tyler Watson & the Ben Racine Band. Headlining the opening night will be twenty-time Blues Music Award nominee Lil’ Ed & the Blues Imperials. Lil’ Ed Williams continues the lineage of such Chicago slide guitar masters as Hound Dog Taylor, Elmore James, and Williams’ uncle, J.B. Hutto. The fan favorite, fez-wearing, toe-walking showman is not to be missed.

    Chenango Blues Fest anniversarySaturday’s ticketed event ($25 advance, $35 day of show) has a jaw-dropping amount of talented musicians. Acts will alternate between the main infield stage and the tent stage.

    Main Stage:

    11:30 – Gracie Curran & the High Falutin’ Band
    1:45 – Muddy Magnolias
    4:00 – Mannish Boys Allstars
    6:30 .- Tommy Castro & the Painkillers w/s/g Magic Dick
    9:00 – North Mississippi Allstars w/s/g John Medeski

    Tent Stage:

    12:45 – Alvin Youngblood Hart
    3:00 – Jason Ricci and JJ Appleton
    5:15 – Ghost Town Blues Band
    7:45 – Victor Wainwright and the Wild Roots

    Gracie Curran, Muddy Magnolias, and the Ghost Town Blues Band all continue to confirm the Chenango Blues Festival’s ability to identify and feature emerging artists that captivate audiences and quickly become fan favorites, as the GTBB demonstrates with their third Norwich appearance since 2015. Alvin Youngblood Hart’s powerful vocals will kick things off on the tent stage, where he will be followed by Jason Ricci and JJ Appleton. Ricci is one of the most talented and creative harmonica players playing anywhere. Blues harp fans will come from far and wide to hear him. He teamed with Appleton on the 2015 acoustic blues release, Dirty Memory.

    The Mannish Boys Allstars is a dream team of veteran award-winning bluesmen including lead vocalist and front man extraordinaire Sugaray Rayford, guitar wizard Kid Ramos, Anthony Geraci on keyboards, and the rhythm section of Willie J. Campbell and Jimi Bott.

    Tommy Castro & the Painkillers will add harmonica ace Magic Dick Salwitz, known best for his work with J. Geils Band, to their lineup.

    Closing out the tent stage will be 2017 BMA Pinetop Perkins Piano Player of the Year winner Victor Wainwright, appearing with his eight-piece project, Victor Wainright and the Wildroots. This band won the 2016 BMA Band of the Year Award. This group is a full-blown aural onslaught replete with piano, organ, guitar, bass, drums, horns, harmonica, and backup vocals.

    Headlining the main stage for the second time are the North Mississippi Allstars. The duo of brothers Luther (guitar, vocals) and Cody Dickinson (drums, piano, synth bass, vocals) are steeped in the traditions of Mississippi hill country blues music and will be complemented by in-demand keyboard virtuoso John Medeski. Expect the unexpected with this collaboration.

    More details on the 25th Chenango Blues Fest can be found here.

  • 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.

  • Nights Of Fire: A Conscious Evolution Festival Preview

    It is officially time to prepare for this year’s Nights Of Fire: A Conscious Evolution festival.  Hosted by Spun Out Productions, the annual music festival kicks off on Thursday, August 17, and runs through the morning of Monday, August 21.  Located at The Woods at Bear Creek, a “glamping”–glamorous camping–ground in Franklinville, NY, Nights of Fire will offer it’s patrons an educational exploration through fire dancing, art, live music, and workshops.

    As  eloquently described on the Nights Of Fire Event Page: “Nights Of Fire is a FIRE, Art, Music, & EDUCATIONAL RETREAT. We invite all likeminded individuals and those who seek to learn and do more to improve themselves and the world around US. NIGHTS OF FIRE is an educational retreat where YOU can come study many different forms of FIRE SPINNING, FLOW, DANCE, DRUMMING, PAINTING and much more. Evolve with us at night as we will teach you how to celebrate life and simply being alive through song and dance with live music.”

    Pre-sales for the festival are no longer online, however, you can pick up a $75 ticket thru a ticket rep, or grab one for $100 at the gate! The ticket includes camping and parking.

    Take a peek below and click the play button. You’ll find a Rochester Groovecast podcast episode. This episode is a preview of the upcoming Nights Of Fire Music Festival.  During the episode, you’ll listen to Roots of Creation, Freekbass, The Mantras, Madam Bliss, Dixon’s Violin, Stereo Nest, Subsoil, Space Junk, Haewa, and  Flux Capacitor.  All of these artists are performing at this year’s Nights Of Fire Music Festival.

    If you peek even farther below, you’ll find an episode timestamp, and Nights Of Fire’s daily schedule.

    Enjoy!


    —
    Timestamp:
    00:00: Roots Of Creation- Different
    04:12: Episode Introduction
    09:56: Roots Of Creation- Row Jimmy
    15:23: Freekbass– Put It In A Letter
    18:42: Freekbass- Milkhunt
    23:25: The Mantras- Here We Go
    29:27: The Mantras- Dirt Nap
    35:26: Madam Bliss Remix- Notorious BIG “Dead Wrong”
    39:15: Madam Bliss Remix- Erykah Badu “On And On”
    44:10: Dixon’s Violin- Ignition (Correction! Jade Dragon is the album name)!
    46:31: Dixon’s Violin- Night Spirit
    50:56: Stereo Nest- Gradient Peak
    55:03: Stereo Nest- Elder Ladder
    59:39: Subsoil- Joe Rogan
    1:03:24: Subsoil- Great Unknown
    1:07:34: Space Junk- Ascension
    1:14:31: Haewa- Chem De-Vision
    1:18:15: Haewa- Swampin’
    1:23:35: Episode Closing Comments
    1:26:46: Flux Capacitor- Big Bad
    1:36:29: Flux Capacitor- Unit

  • Two More Days of 1969: Woodstock 48th Anniversary Feat. Arlo Guthrie, Billy Cox, Leslie West, and More Coming This Weekend To Brooklyn Mirage

    Every August there are a variety of Woodstock 1969 tribute events, the last major one being the Heroes of Woodstock tour with many of the original festival performers in 2009 for the 40th anniversary. This Friday and Saturday Aug. 18 and Aug. 19, several of the original Woodstock performers and key figures will be appearing at Brooklyn’s newest outdoor music and event space, the Brooklyn Mirage. 48th

    arlo guthrie Woodstock 48thLeading the two day event is the co-creator and founder of Woodstock, Artie Kornfeld, a Brooklyn native himself. Friday’s event is a speaking engagement with Kornfeld featuring a discussion about Woodstock. Doors open at 5 p.m., tickets are available for general admission ($10) or seated ($20).

    Woodstock 48th

    Saturday’s event will feature music by Arlo Guthrie, Billy Cox Band of Gypsys Experience, Melanie, and Leslie West (of Mountain). Kornfeld will be back to host the evening of music and there will also be an appearance by Wavy Gravy and special guests. Tickets for Saturday are $49 (general admission) and $69 (seated); doors are at 4 p.m.

    Tickets are available through Eventbrite.

  • 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.

  • Hearing Aide: Incantation ‘Profane Nexus’

    Death metal has many faces, much like the seven headed beast that rises from the sea! It can have the speed and ferocious nature of a great white shark, thrashing while tearing the flesh apart without mercy! Or the infernal beast can take a sickening slow approach. Slowly filling your body and soul with dread as you gasp for air! Yes, the genre has taken many shapes and forms. One of the most recent incarnations, has risen from the depths of the nine circles once again. This demonic beast is known to those as Incantation from Jonestown, Pennsylvania. They have unleashed the most disgusting of all unholy sounds with their latest release Profane Nexus (released via Relapse Records). Let us delve into the hellish world of death metal, but with severe caution in this album review.

    Incantation 'Profane NexusProfane Nexus is the follow up from 2014’s Dirges of Elysium ( released via Listenable Records). With this latest release mixed and mastered by Dan Swano at Unisound  Studios, most known for helping the Swedish death metal scene with such groups like Entombed,  you can bet already the album will have that filthy muddied sound we love to drown ourselves in. The album starts with the blistering guitar works from McEntee and Lombardozzi on the opening track “Muse.” With the familiar down tuned style of the band, it contains both groove orientated soundscape combined with clearly mastered technical skills of both guitar players. You can feel the riffs gorge on your remnants with each passing second!
    If you need something for those blasphemy outings, “The Horns of Gefrin” shall be your unholy hymn of choice for you then! Severn (drums) will have you begging for the barrage of intense and unforgiving dynamic display he is showcasing in his drumming to stop before your skull cracks open! He will bash your head in with a smile on his face. Incantation is most known for their more sludge driven type of death metal much like Autopsy and Disma. The track “Incorporeal Despair” brings that sudden sensation of dread and suffocation to the album. McEntee’s vocal approach will make you feel as though he is speaking from the deepest parts of the abyss. Dragging through the river of Styx you shall find Sherwood as your ferryman as he plays  the most blood curdling  bass riffs, cracking your soul in half!
    Even throughout the many band changes in regards to  live performance members, the name Incantation shall reign forever in the death metal world from the past, present, and the future! I give this album an 8/10. Check out the band’s site to order, and sample the album, Relapse Records online store,  and of course check out your local record store to see if they can supply you with this perfect dose of death.  Remember boys and girls, hail the goat!
    Key Tracks: The Horns of Gefrin, Incorporeal Despair, Ancients Arise

  • Hearing Aide: Wintersun ‘The Forest Seasons’

    With the seasons being so diverse in their nature, many find comfort with each emotion they bring along with them. The cold bitterness of winter as wildlife and forestation finds rests, the welcoming embrace of spring when life resurrects again, summer brings the heat to keep our spirits filled with fire, and fall the season of beautiful changes and wonderful spices. Much like the four seasons, metal has the ability and beauty of melding together all sorts of aspirations. Only a few groups have been able to incorporate these elements to make  masterpieces in our time.  It has been five years since the 2012 release of Time I (released via Nuclear Blast Records), which pushed boundaries which a metal band should sound like. With much anticipation of the latest album from Wintersun, The Forest Seasons (released via Nuclear Blast), the musicians of this ever changing and growing tribe has without a shadow of a doubt created another masterpiece that will stand throughout time. This band is no other than Wintersun! With their third studio album under their belt, it is time to give into nature and give this album a proper review!

    Back in January 2017, Wintersun announced they were finished recording the newest album and you can bet the metal community was set on fire. Through every metal forum I was on to my Facebook feed, the flavor that everyone wanted to taste the most this year was Wintersun. Upon them releasing this album, you bet metalheads world wide were eating this up like the mead from Thors goblet! The first track of the album, “Awaken From The Dark Slumber (Spring),”  opens up with such galloping force, it will overtake you in mere seconds. Jari Mäenpää (vocals/guitar) has the perfect mold for beauty and relentless attitude with both his clean vocals and growls. Mäntysaari  joins Mäenpää on guitar to help propel the song on an ever ending journey of soaring guitar riffs as well as very delicate yet masculine precision. Much like many great progressive metal bands, such as Dream Theater and Symphony X, you will find the guitar work is mesmerizing as much as the lyrical content. The visual of dreams fading and life not returning back to the lands, this track will take you on a brand new journey of rebirth and darkness.

    What I adore most form the boys in Wintersun are the elements they bring across the spectrum into all of their material. Pulling influences from folk metal, black metal, power metal, and progressive elements to craft a very unique sound that many tried over the years to copy, but failed doing so. With such huge amounts of inspiration from previous projects they have done like Ensiferum for example, they know how to make the influences work as one. The track which really builds upon the many musical backgrounds of the members is “Eternal Darkness (Autumn).” This song is so over the place, yet the band knows exactly how to bring it altogether. Koskinen adding some more bass along with Mäenpää (also drum programming), they give it a very sinister sound with a hint of sorrow hidden in the wall of sound they have created. It has the power symphonic feel of Dimmu Borgir while giving it such a technical sound, it blows your mind! This track is made for the black metal type of fans as well the symphonic metal camps. The tremolo picking is so fast it is face melting. If I can suggest you listen to any track by itself to get the main idea of the album, you should blast this one when you can. You will not regret it, I promise!

    With such a huge amount of production they used on this album you see some great vocals on the choir pieces with great vocalists that worked with Tyr, Children Of Bodom, and Moonsorrow for a couple of  examples. What gives this album even more of a  mystic vibe to it are the liner notes giving those who had the most hands on this album  their own seasons. Mäenpää (winter), Mäntysaari (spring), Koskinen (Autumn), and Hahto (Summer). This album carries all the best elements of what metal and what musicianship should be crafted as. It gets a 10/10. Go check out the album on the band’s page.

    Key Tracks: Eternal Darkness (Autumn), Awaken From The Dark Slumber (Spring), Loneliness (Winter)

  • Hearing Aide: Venomous Maximus ‘No Warning’

    Over the years, Black Sabbath has been known to create not only the metal genre as a whole, but  also inspired so many sub-genres  from the roots of all things heavy.  Because of the wall of sound and the occult themes, many fans were mesmerized by that approach and set out on pilgrimages to create their own form of occult rock. From bands like Candlemass, Angel Witch, whom brought the sound of wicked laced lyrics in their songs, to groups like Electric Wizard who brought the evil overtones with immense amounts of 60’s influence drug speak,  it is fair to say Black Sabbath has given birth to so many great bands over the years with their influence. Among the children of Sabbath, we have Houston’s Venomous Maximus.

    venomous maximus no warningThey started casting evil incantations with their debut album, Beg Upon The Light (released 2012 via Occulture), the band was eagerly accepted in the doom underground. Now it has been two years since their last spellbound of a record Firewalker (released 2015 via Shadow Kingdom Records). They came back from the crypt to cast one more feverishly dangerous of an album, No Warning (released via Shadow Kingdom Records), the doom rockers have once again unleashed hell and we love it!

    No Warning is the third studio album from the band. The formula of New Wave of British Heavy Metal (NWOBHM) with the elements of Black Sabbath,  this album hits you where it matters most. With Beg Upon The Light single “Give Up The Witch” we have the continuation of the story with “Return of The Witch.” Much like from the debut album, the vocals will  have your skin crawling with excitement. Higgins (vocals/guitar) still sounds like an ominous banshee which you do not want to meet in a dark alley. Such a deep and very melancholy style of vocals, one will find themselves caught in the beauty of the darkness of the lyrical themes. With tracks like “All Of My Dreams” and “Pray For Me”  displaying the most powerful of vocal creation, you will without a doubt be putting these tracks on repeat while you let the night take you away.

    The band really knows how to make catchy songs while keeping that metal attitude alive. With Higgins, Larson (guitar/synth/backing vocals), Diles (bass), and Draungardy (Drums/percussion) working like an unholy covenant, the songs they create will have you banging at your next black mass! My personal favorite songs which I feel have the best girt type of mood would be “No Warning” and “Spellbound.” With such energy you will fall in love with Draungardy drumming and bass playing from Diles to penetrate into your mind the end of days is nye! It really will make those fans of Sabbath and Candlemass really feel as though the two groups made a Rosemary Baby and is offering the craft to the world! With the guitar work of Higgens and Larson working as one being, the 80’s guitar style is very clear in the tracks, with soaring guitar solos, but still carrying that doom induced dread that even the dead can enjoy rocking out to!

    I have always been a huge fan of doom and occult themed bands. In fact it is one of my favorite genres of all time to enjoy with friends in the graveyard back in my youth. Doom metal will continue to haunt the underground and the passion for all things ominous. The genre will continue to be a favorite of the metal underground. With No Warning your passion will only grow with the genre and the band. This fine specimen gets an 8 out of 10 from me.  You may go to the band’s bandcamp to get the album or Shadow Kingdom Records website. Get it out and may the spirit of the witch grace your ears!

    Key Tracks: Return Of The Witch, Pray For Me, All Of My Dreams

Built in Breakdance