NYS Music 20​17

Category: Beyond NYS

  • Hearing Aide: The Bowling Alley Sound ‘The Bowling Alley Sound EP’

    On Friday, February 24, New Jersey’s own The Bowling Alley Sound will release their self-titled EP on their label 46 West. Their sophomore release brings musical and physical growth, as the original 4-piece has now transformed into a quintet with the addition of bassist and album cover artist, Andrew Capuano.

    The post-rock follow up to their 2014 debut, Metaphysical You, begins with the most energetic release of the four-track list, “Henry and Clark.” Well-known bands in the post-rock genre such as Explosions in the Sky and Mogwai can be heard echoed in their opening song as EP producer and guitarist, Mike Basil, kicks it off with a soft and subtle rift. Nick Looney’s drum playing anchors the song in place until the final section finds Issac Rubins’ violin eerily bringing the song to an end.

    “Night Flight” recreated the rich and repetitive textures heard in the first track, but much like the song title, the listener is reminded of dreams about flying. While the song will not make you want to get up and dance, or get up at all really, it would fit well at a yoga studio, meditation session, or music score of a Planet Earth episode.

    During the final two tracks, they inject muffled crowd noise to bring the listening audience together as one with the band. The group attempts vocals for the first time during the closing track, “The Conversation Of The Street Lights Will Pass As Quickly As Our Words,” a title almost as long as the EP itself. The post-rock vocal approach is very different from the typical verse-chorus structure found in many other rock genres, and The Bowling Alley Sound stay true to form using soft, spoken words to poetically describe a 2017 New Year’s resolution. While I would have liked to hear more trumpet textures from Danny Molloy, the final track sends the listener off in a tranquil and serene mood.

    The digital-only release of The Bowling Alley Sound will be available on all major platforms and can be pre-ordered now for only $1 (US currency).

    Key Tracks: Henry and Clark, The Conversation Of The Street Lights Will Pass As Quickly As Our Words

  • Sinkane Brings A Well-Traveled Musical Experience to Great Scott

    This past Thursday night, February 16, Great Scott welcomed the hip shaking, heart grooving, culturally wide-brimmed (wider than the brim of frontman Ahmed Gallab’s awesome cowboy cap) group known as Sinkane to an excited crowd.

    The Brooklyn based band was only on their second stop in their Life & Livin’ It tour. And after spending the past month in a rehearsal space in New York City, it was clear Sinkane was eager to show exactly what they had spent their time honing in on, which was nothing short of a very tight, impactful and all around free flowing and positive performance, often extending their songs into engaging jams.

    Sinkane1

    Immediately of interest was the shear size of the crowd. Last time Sinkane trekked their way up to the Bean Town (without the accompaniment of keyboardist and co-singer) they played to a mere ten people, one of which Ahmed Gallab impressively remembered and called out to from the stage in thanks of the support. This time however, the audience packed the venue and it’s a clear case in point of Sinkane’s success with the time acquired in-between. The band has really honed in on their sound, and with Life and Livin’ It, Sinkane is able to exhibit where they truly glow. It isn’t in one particular style in fact. Reggae, psychedelic, jam, funk, world—all of these peak their way into the uniqueness of what is Sinkane. Take their tracks “U’Huh” and “Favorite Song” for example, both off Life and Livin’ It. These take on so much influence from great songs and genres that the outcome is more along the lines of highly cultivated originality.

    Sinkane3

    With the help of one of the opener bands, No BS! Brass Band, for horns, Sinkane even furthered the immensity of their sound. The two groups had actually never performed together, as Gallab was excited to admit, and yet the result was an even fuller and more dynamic, refined sound. This might be something Sinkane wants to consider adapting to their live set next time around on tour, which if history repeats itself will likely be performed to an even bigger crowd.

    Sinkane closed with the audience favorite “How We Be,” and afterwards came back on stage for an encore that jammed into the wee early hours of 1:30am. This is a band that simply loves to play. And only the most respect goes to this group who’s shining attributes are giving every musical bone a rattle and shake and spreading some obvious cheer and positivity while doing it.

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  • Hearing Aide: Ross Jenssen ‘Stories’

    Future groove group Ross Jenssen put forth their sophomore release February 7, titled Stories. The instrumental nature of the album , sans lyrics, provides a suitable backdrop for listeners to marry their own imagination with the instrumentation. A frantic moodiness looms throughout the EP, keeping the listener ever so slightly on edge. Ross Jenssen (writer/producer), Brian Ross (bass), Sam McGarrity (guitar), Jules Jenssen (drums/moog), and Ricky Tiven (violin on tracks 2,3) are the instrument wielders behind the madness.

    Stories opens with “The Chronicle,” which begins with brooding bass before quick and subtle percussion and guitar distorted with a trace of metal lend the song a sense of urgency. “The Tall Tale” holds a beat that ceaselessly drives the song forward before sliding into its own noodly jam. “The Myth” rounds out the three-track trio with a flurry of wavering tempos that suggest the group couldn’t settle on a cohesive rhythm for the closing tune.

    The songs are similar enough in style that if you were to listen without paying attention to track numbers or knowing this was a three song EP, you could mistake it as one lengthy jam. It’s a bit too repetitive, although the musicianship is crisp and controlled. Recorded at Sub Station Studio in Housatonic, MA, the EP was engineered by Jackson Whalan, Jules Jenssen, Ian Stewart, mixed by Ian Stewart, mastered by Taylor Larson (periphery, veil of maya, FFTL) with album cover by Simon Ban. Get the album here.

    Key Track: The Chronicle

  • Albert Cummings Brings Best the of the Blues to Stage One

    The best performances of the blues will always be in an intimate venue. Singing the blues, contrary to it’s name, is about having fun and make the best of sticky situations. Lyrically, artists talk about woes, troubles and sorrows, but the instrumentals are mostly uplifting and emotional.  And when musicians can belt out these feelings to a smaller audience, it feels like a conversation with good friends. Granted, seeing B.B. King play a 10,000 person venue would be a once in a lifetime experience, but it doesn’t compare to paying 20 bucks to sit 20 feet away from a few talented musicians playing some of the most important and influential musical styles ever created. Stage One at the Fairfield Theater Company in Connecticut is just the place to hold concerts like this and fit the bill perfectly for the Albert Cummings band.

    The best way to describe Cummings is a mix between Vaughan and Hendrix. They had the power and modern blues sound of Stevie but with the musical and visual flair of Hendrix. Their recordings are immaculate and unique but seeing them perform live gave their music a bit more magic. They were well rehearsed, energetic, relentless and without these characteristics the show would not have been the same. Causal listeners of the blues may have a notion that blues music is slow or depressing, but it’s not all like that. The patterns were the same, they mostly stuck with a 12 bar blues sound, but managed to make each one interesting and unpredictable.

    There weren’t too many theatrics to the show, but just enough to keep things visually interesting. Stage One just isn’t that type of venue. The light work was mild, no spotlights or grand entrances. Most of the pizzazz came from a very animated drummer and from Cummings himself, who did everything Jimi would have done on stage just short of playing the guitar with his teeth. He would dance around the stage during his solos, swing his arms around and even bowed the neck of his guitar against his mic stand.

    They warmed up with a few of their own compositions like “The Blues Makes Me Feel So Good” which all had a very aggressive attitude and high energy. Drummer Warren Grant gave the performance the energy it needed to keep people energized and interested. Without Grant, the show would have had a completely different attitude. He was a fun character to watch when he got his turn to flaunt during drum fills and the crowd loved it. His aggression is what gave the Stevie Ray vibe to it with his brash but precise style. Bassist Scott Spray gave the low end of the sound a great character as well. He was able to hold the beat and groove effortlessly while still having his own fun.

    The crowd of 60-70 people immediately felt a connection with the band and began shouting out requests and telling Cummings where they came from and how much they love him. The worked their way through the set to a classic B.B. King tune “Three o’clock Blues” to which the crowd reacted very positively too. One woman almost stopped the performance as she screamed out, “getting wetter over here!” The look on Cummings’ face was absolutely priceless.

    One 12 bar blues song after another can get a little monotonous so they were sure to throw in some good old American rock. A steady drum chop from Grant gave the songs a powerful feel, Spray laid low and let Cummings have his fun with his wide array of floor pedal that gave his guitar a nice variety of voices to choose from. He stuck to a few covers including “Hoochie Coochie Man” among others which got a rise out of the crowd. Unfortunately, it was hard to differentiate what was a cover and what was an original recording because there was no set list. When asked what Cummings played that night, he replied, “I have no idea what I played. I don’t use a set list.” That’s not what’s important, though. The groups  attitude and good spirits made for a fantastic show that left the crowd on their feet cheering for an encore.

    Sadly, Cummings won’t spend anymore time in New England and is headed south to finish his tour, but he has a plethora of music to enjoy on multiple platforms including iTunes, Spotify, Soundcloud and physical CD’s available for purchase on his website.

  • Hearing Aide: John Ginty ‘Rockers’

    John Ginty has recently released a new album titled, Rockers, featuring his band’s new lead vocalist, Aster Pheonyx. This is his fourth studio effort, which was set into motion following his discovery of Pheonyx’s powerhouse vocals when she opened for his band at the Wonder Bar in Asbury Park. Following some backstage conversation and jamming, he invited her to perform with his band and the chemistry during the unplanned performance was what led to the birth of this swell new line-up and album.

    Ginty is a celebrated performer and recording artist, known not only for his mastery on organ and keys, but also his extensive catalog of performances as a session musician. His career kicked off in the mid-1990’s following his contribution on Neal Casal’s “Fade Away Diamond Time,” which opened a number of doors for him. He joined Jewel’s touring band soon after, and then, went on to perform on records by Citizen Cope, Matthew Sweet and Shannon McNally. Ginty joined Robert Randolf in 2000, as a founding member of Robert Randolf & the Family Band. He has performed with nationally acclaimed artists such as, Warren Haynes, Albert Castiglia, Cris Jacobs, Alecia Chakour, Todd Wolfe and more.

    His band also features Justine Gardner on bass, Maurice “Moe” Watson on drums and BKG vocals, and Mike Buckman on guitar. Special guests on the album include Jimmy Bennett (guitar), Paul Gerdts (BKG vocals), Josh Gannet (guitar, percussion, backwoods), Paul Kuzik (bass) and Reggie Noble as DJ.

    Aster Pheonyx certainly brings her own flair to the table, bringing spice to Ginty’s expertise with her compelling vocals. Pheonyx, a three-time winner of the Top Female Vocalist from the Elephant Talk Indie Music Awards, is influenced by artists like Beth Hart, Susan Tedeschi and Amy Helm, which is undeniable in the way her sound ripped through the 12-track album that she co-wrote with Ginty.

    https://www.youtube.com/watch?v=WZgPXVv1Z5o

    The first track, “The Shark,” doesn’t feature vocals, and instead eases you in with a funky melody that has Ginty rip-roaring the organ. “Lucky 13,” a hard rocking blues number that features the full band and Aster’s raging vocals that fit the music like a glove, was released as a single prior to the album release, with an accompanying music video. It has an urgent tone that shows right off the bat the power of Pheonyx’s vocals, underlined by the band’s rock fusion. “Believe in Smoke” is a great track, because it showcases the successful combination of Ginty’s sound buttered by Aster’s vocals, before diving into a great jam at the end of the song. “WKYA” breaks up the music a bit with an amusing skit featuring Reggie Noble as a radio DJ interviewing Ginty.

    Another favorite was “Mountains Have My Name,” which is where one can really hear the Susan Tedeschi influence on Aster’s voice, while the keys in this track add a special element. This beautiful soulful number features Ginty on piano and is about a woman who is called away from her man by the mountains. The instrumental title track, “Rockers,” is the last track, and it is a great way to close the album, because it leaves the audience with a full lick of their musical capacity.

    John Ginty is currently on tour in the south. He returns to the Northeast for an album release party on Feb. 17 at Revolution in Morristown, New Jersey. He also plays the Fountain House in Newton, New Jersey on Feb. 24. Rockers will be released on Friday, Feb. 17. For tickets and more information visit here.

    Key tracks: Lucky 13, Believe in Smoke, Mountains Have My Name, Target on the Ground, Captain Hook

  • New York Artists Make a Splash at 2017 Grammys

    Talk of the 2017 GRAMMYs will center on Adele’s profanely humble request to re-start her tribute to George Michael so she can “get it right for George,” Beyonce’s cinematic performance of “Love Drought” and “Sandcastles” from her universally acclaimed album Lemonade or Bruno Mars’ role as the Purple One in the joyous celebration of Prince that also included Morris Day and the Time. The televised portion of the awards is the show, with the focus on performances and the marquee categories. However, there was a slew of awards presented throughout the weekend that weren’t televised. NYS Music detailed a number of the New York-based honorees and nominees in December. Many took home Grammys this weekend.

    2017 grammysThe late David Bowie was nominated in five categories for his groundbreaking album Blackstar and won all five. Taking home the Grammy for Best Rock Performance, Blackstar, Best Rock Song, “Blackstar,” Best Alternative Music Album, Blackstar, Best Recording Package, Blackstar, and Best-Engineered Album, Non-Classical, Blackstar.   Bowie had never won for his music throughout his storied career prior to this year. In his later years, the Great White Duke maintained a residence in Woodstock.

    DJ duo the Chainsmokers, Andrew Taggart (a Syracuse University graduate) and NYC native Alex Pall, were nominated in three categories – Best New Artist, Best Pop Duo/Group Performance for their single, “Closer,” which also features Halsey on vocals, and for Best Dance Recording for their single, “Don’t Let Me Down,” featuring Daya – ultimately leaving with a win in the Dance category.

    2016 Nobel Prize winner Bob Dylan was nominated for Best Traditional Pop Vocal Album, Fallen Angels, and for Best Historical Album, The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition), winning for Best Historical Album.

    New York-via-Texas transplants, Snarky Puppy were also nominated and won the Grammy for Best Contemporary Instrumental Album for Culcha Vulcha, an album NYS Music reviewed last year. The jazz fusion band made several stops in New York last year, breathing new life into the genre. You can read our review of Snarky Puppy’s Syracuse stop last year here.

    Perhaps one of the most powerful performances of the night came from Queens natives a Tribe Called Quest who were joined by Busta Ryhmes and rising rap newcomer Anderson .Paak to perform “Award Tour” and “We the People.”  An empty microphone stand was present in tribute to fallen Tribe member Phife Dawg, who passed away last March.

    The performance with Rhymes delivering a particularly scathing diatribe of President Trump and the executive order signed to prevent people from seven predominantly Muslim countries from entering the United States. It concluded with a parade of people of varying ethnicities entering the stage to cheers from the people in attendance.

    Art rock pioneers the Velvet Underground were honored with a Lifetime Achievement Award, an award few would have imagined for the band in the burgeoning New York City art scene of the late 1960s. The late Lou Reed and Sterling Morrison, former roommates at Syracuse University, along with Welsh-born John Cale formed an early version the Velvets, called the Worlocks in the mid-60s. Cale was in attendance at Sunday’s ceremony to represent the band.

    The Velvet Underground was a band that never achieved significant commercial success. But as producer Brian Eno once said in an interview, “everyone who bought one started a band.”

  • Metallica 2017 North American Tour Announced, Includes Stops at MetLife Stadium and Uniondale

    After being disrespected at this years Grammys, the kings of thrash Metallica have officially announced their 2017 North American Tour in support of their new album Hardwired…To Self Destruct.  The first date kicks off in Baltimore, and concludes in Edmonton, AB, Canada.  But for the first time in over 6 years, Metallica will be stopping twice in the New York City surrounding area with a May 14 date at the glorious MetLife Stadium in East Rutherford, NJ and May 17 at the New Coliseum in Uniondale, NY (which is set to open their doors for the first time on April 5.)  Avenged Sevenfold and Volbeat are slated to be the openers on this tour. Gojira is set to open on the Canadian dates.

    This is likely to be one of the highest grossing tours of 2017, and tickets will be going fast as they go on sale to the public this Friday, February 17. Check out the tour dates below.

    Metallica 2017 North American Tour Dates

    May 10 – Baltimore, MD – M&T Bank Stadium
    May 12 – Philadelphia, PA – Lincoln Financial Field
    May 14 – East Rutherford, NJ – MetLife Stadium
    May 17 – Uniondale, NY – New Coliseum
    May 19 – Boston, MA – Gillette Stadium
    May 21 – Columbus, OH – Rock On The Range Festival
    June 4 – St. Louis, MO – Busch Stadium
    June 7 – Denver, CO – Sports Authority Field
    June 11 – Houston, TX – NRG Stadium
    June 14 – San Antonio, TX – Alamodome
    June 16 – Dallas, TX – AT&T Stadium
    June 18 – Chicago, IL – Soldier Field
    July 5 – Orlando, FL – Camping World Stadium
    July 7 – Miami, FL – Hard Rock Stadium
    July 9 – Atlanta, GA – Suntrust Park
    July 12 – Detroit, MI – Comercia Park
    July 14 – Quebec City, QC – Festival D’Ete
    July 16 – Toronto, ON – Rogers Centre
    July 19 – Montreal, QB – Parc Jean-Drapeau
    July 29 – Los Angeles, CA – Rose Bowl
    August 4 – Phoenix, AZ – University of Phoenix Stadium
    August 6 – San Diego, CA – Petco Park
    August 9 – Seattle, WA – Centurylink Field
    August 14 – Vancouver, BC – BC Place
    August 16 – Edmonton, AB – Commonwealth Stadium

  • moe. and Twiddle to co-headline Red Rocks on August 13

    moe. and Twiddle have announced a co-headlining show with special guest Pigeons Playing Ping Pong on August 13 at Red Rocks in Morrison, CO.

    The weekend will kick off at Boulder Theater with moe. and Twiddle trading off acoustic and electric sets on August 11 and 12. Tickets go on sale February 17 through moe.org and Twiddlemusic.com
    Multi-day, VIP and GA tickets will be available Friday, February 17.

  • Disco Biscuits Drop Mid-Run Heater at the Fillmore

    All Disco Biscuits shows are not created equal.  Throughout their career, the band has gone through periods of inconsistency that can last for years at a time.  In fact, the only guarantee involved in attending a Biscuits run are the differing opinions that the massively diverse fan-base somehow accumulates over the course of the weekend.  The Disco Biscuits homecoming at the Fillmore Philadelphia last weekend drove this point home yet again, with nearly everyone’s preference all over the musical map.  Thursday, February 2 kicked the weekend off with a rarely played tune, “Biscuits Are Coming Home” which has only been performed 3 times previous, the last of which was in 2010.

    From the information gathered, it seems as though there was a 33/34/33 split as to who championed February 2, 3, and 4 as the best shows, respectively.  Friday happened to be my 50th Disco Biscuits show, so let’s hope there isn’t a slight bias in my agreeing with the slight majority.  Thursday’s setlist selections didn’t seem to stream, while Saturday was nearly completely frequent repeats (with several of the evening’s tracks having been performed multiple times during the last 3 runs)  from last year’s rotation.  Anyway, let’s put on our red shoes and dance.

    The 3rd began with familiar Philadelphia locals, Swift Technique.  Combining aspects of funk, rock and roll, and hip hop with a heavy rhythm section and the sparkling lead vocals of Chelsea ViaCava provided an excellent warm up to the ultimately horny theme of the evening.  A skintight rendition of Rage Against the Machine’s “Know Your Enemy” provided the horn section a platform on which to display their multifaceted choreography routine; playing while darting through the crowd to the delight of surprised early birds.

    The Biscuits hit the stage a few minutes before 10 PM, coming hot off the line with “Bernstein And Chasnoff.”  Guitarist Jon “Babs” Gutwillig took a few minutes to gain his sea legs, but by the time they rolled into “Voices Insane” his licks and hairstyle for the evening fulfilled the wacky technicality demanded by the composition.  The solo was noticeably brighter than the commonly minor and eerie jam that suits the song’s unsettling lyrical content. It appropriately continued the upbeat theme as bassist Marc “Brownie” Brownstein slapped it silly into the end of “Bernstein and Chasnoff,” bringing the first segment of the night to a promising end.

    Quite a tasty sandwich, and only the first course!  The opening bars of “The Very Moon” proved another slight challenge for the Barber, but he seemed to lock in and flash a smile at keyboardist Aron Magner just as the galloping acoustic piano lit up the whole room. With 2 crystal chandeliers flanking the stage on either side of the ceiling at the Fillmore, the light show was multiplied in a dazzling array of prisms.  Just as the tune was about to peak into its heavy riffing funk section, Swift Technique’s horn section rejoined the stage for a seamless transition into Rick James’ “Give it To Me Baby,” which the Disco Biscuits have played once before on Halloween of 2015, also accompanied by horns.  This version seemed more frequently rehearsed, having been at both performances.  The ST horns exited stage left as the funk cover transitioned into an ending of the old school “Morph Dusseldorf” to complete the final round of the first set.

    After a quick half hour plus set break, the boys from Philly came out swingin’ harder than Rocky with a pummeling “King of the World,” with the horns of Swift Technique once again in their corner.  Drummer Allen Aucoin kept pace as immaculately as usual, slowing things down for a debut cover of David Bowie’s 1983 smash hit “Let’s Dance.”  The white lasers playing off the disco ball like a crown brought the energy of the crowd straight back to the 80’s dance vibe that we all hate to love.  Disco Biscuit cover tunes are usually not, in any way, my bag; but something about Gutwillig’s low crooning register actually worked with the classic.  It was roughly 10 to 15 times more together than last year’s covers of “Touch Me” and some other unmemorable tripe at the February Fillmore run, which were also performed with Swift Technique horns. And the Doors are completely unbearable as it is.

    The resulting improvisation was quite danceable, flirting with a few familiar melodies before taking flight with an inverted “Humuhumunukunukuapua’a.”  “Astronaut” continued the segment with a surprising drop in and quite the dreamy bridge, conjuring an image and feeling of zero gravity.  There were many contradictory opinions as to where the next jam was leading, and the Biscuits turned up the heat big time with the lead in to the chorus of “Down to the Bottom,” playing a fully dyslexic version instead of their typical last-first inversion arrangement.  Combining that classic with the end of “Confrontation” to bring the evening to a close left many fans with their favorite high energy segment of the weekend.  For the encore the boys selected “On Time,” which was a bit strange considering they played it in the encore slot on the second night of last year’s Fillmore run as well.

    With two down and one to go, the internet was ablaze with vastly differing commentary.  We rushed to our Ubers and off to typical Philly after parties in cramped lofts to continue having our brains jangled by DJs, Space Bacon, and other sixth tier jam squads…and to continue the beautiful and elusive flight of the Flugel.

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  • Strange Machines Launch Kickstarter Campaign for First Full Length Album “Voice of Color”

    Strange Machines is hitting 9b Studio in Milford, MA this winter to record Voice of Color, the band’s first full length album. Working with producer Toft Willingham (Spiritual Rez) who also worked with the band on 2014’s Turn the Tide, the group has launched a Kickstarter campaign with a great deal of rewards for fans new and old.

    Guitarist/singer Mike MacDonald talked to NYS Music about the campaign and shed some light on the project. Catch them on the road this spring at April 8 at Putnam Den with Lord Electro and April 20 at The Haunt in Ithaca supporting TAUK.

    https://www.kickstarter.com/projects/strangemachines/strange-machines-first-full-length-album

    Pete Mason: The video is hilarious and gets the message across for purpose of the Kickstarter in a unique way. How did you guys come up with the concept and how long did it take to shoot?

    Mike MacDonald: Haha the video was a blast to make, we were in tears laughing the whole time. The concept came from myself and Toft one night in the studio tossing around concept idea’s and that one stuck. We shot it the next day over the course of several hours, Toft has a great eye for film.

    PM: You are recording at 9b Studios in Milford, Mass. How did you come across the studio for your first album and what brings you back for the second time, with producer Toft Willingham?

    MM: We came across 9b back in 2013 when our previous bass player recommended the studio for our first music video shoot. We did our Steal Away video there with Toft and clicked immediately with him on both a creative and personal level. The chemistry was right so we decided to do our whole EP there and we couldn’t have made a better choice. Toft is an incredible producer, he brings a wealth of technical knowledge to the table as well as creative input and is just down right fun to work with. He’s become a great friend over the years. 9b has almost become like a second home to us, we feel completely relaxed and at ease there which is essential when creating any form of art. It’s for all these same reasons that we decided to return for our new album.

    PM: How does the upcoming album “Voice of Color” compare to 2014’s “Turn the Tide”?

    MM: You’re going to see a whole new side of SM on this record. Some new songs as well as some we’ve been playing out for awhile but with a new twist. We also have two new members since the last one which brings a very different feel. It’s already starting to sound incredible, we couldn’t be more excited to share it with everyone. Turn the Tide was a very reggae-oriented album; and while Voice of Color touches on some reggae at points, there is much more diversity. A lot of rock and a lot of funk with hints of livetronica, hip hop and other things all  while keeping to our roots. I think there is something for everyone on this album.

    PM: How has Strange Machines grown and evolved over the past 5 years, and where does 2017 find the band headed, both directionally and on tour?

    MM: The band has evolved a great deal since it’s incarnation back in 2012. We’ve had several lineup changes but we’ve finally found the perfect fit. Isaac and Craig are both incredible musicians and we’re lucky to have found them. We all have very diverse musical backgrounds which has been the cornerstone for our eclectic sound which is constantly developing and changing. We’re dreaming big for 2017; we plan to release the album in May and we will be releasing our spring tour soon with some big surprises in the mix. We also plan to hit more festivals than ever before this summer, which ones we can’t say just yet but there’s some good ones on deck. We’ve even discussed doing our first tour to Colorado in the fall but that’s still a little ways away. Keep an eye out for spring dates coming soon.