NYS Music 20​17

Category: NYC Metro

  • Hearing Aide: Leslie Mendelson ‘Love & Murder’

    With so much noise going on in the world today due to technology, from cell phone beeps and rings to endless updates on various apps, it’s easy to get lost in the computer-strung clutter. The one enjoyment that can take an individual away from the murky shadows of continuous information overload is music. Sure, there are endless amounts of live shows available for streaming on the internet, but to really get to the raw simplicity of a note takes putting on the headphones and pressing play on the new album by singer Leslie Mendelson. Love & Murder is her first work released in eight years.

    Mendelson’s latest album steps away from her earlier work and presents music in a simplistic form, featuring full-bodied folk tunes filled to the brim with emotional ebbs and flows. The ten track album begins with a darker emphasis, as “Jericho” slowly carries the listener into the overall theme. Stripping away the extras, and focusing on the vocals, lyrics, and calm melody, it’s easy to sit back and get lost in her angelic voice. “It’s been a long time coming,” lyrics within the opener, have never been more true, as fans have patiently been waiting eight years for this new album. It was well worth the wait.

    An uncomplicated, piano heavy “Coney Island” takes listeners on an emotional whirlwind. Stringed instruments add to a heaviness surrounding the lyrics, while Mendelson’s vocals tear at the heartstrings. “Murder Me” continues the enigmatic vibe surrounding the album, as Mendelson’s voice, both mysterious and wispy, are charged with a heaviness tipping on sadness and loss.

    As if sharing a personal moment with Mendelson, “Chasing The Thrill” has an air flowing around the lyrics, as well as the melody, with a reflective core gluing the song together. A haunting “Crazy” gently drifts along. Unhurried and light, this track sways in a musical breeze, allowing the listener to relax and fall within the grip of the beautiful winding notes.

    An unexpected appearance on the album comes from the Grateful Dead’s Bob Weir, as he guests on the cover of Roy Orbison’s “Blue Bayou.” Weir originally discovered her as she performed her own twist on “Friend of the Devil,” and has since invited her to join him during performances. Their intertwined vocals throughout this song make for an affectionately graceful rendition that Orbison would be proud to hear.

    An effortless “Love You Tonight” rolls along at a confident pace, turning the corner away from the darker tones. Bright lyrics embody the upbeat notes, lifting spirits as the album progresses, without losing the overall feel of the simplistic mood. Maintaining hopeful enthusiasm, another cover takes hold, this time with a tip of the hat to Bob Dylan. A gorgeous rendition of “Just Like A Woman” is carried by the simple strums of the ukulele, with touches of guitar and harmonizing vocals gently sprinkled in to round out the effortless track.

    “The Circus Is Coming To Town” carries a mystical energy, surrounded by mystery and uncharted vibes, throwing the listener into a dusky trip under the big top. The album ends with a cover of the 1954 country classic “Cry, Cry Darling,” originally written by Jimmy Newman and Jimmy Miller.

    Love & Murder flows freely. It’s stocked with raw simplicity and no holds barred emotion. Take a trip away from technology with this beautiful album filled with heartfelt tracks, deep with fearless tenderness. The natural flow from track to track will take the listener on a ride reaching into the depths of one’s soul, making sure to pay attention to each note and lyric, without getting lost in the noise.

    For more information about Leslie Mendelson and her new album, Love & Murder, please visit her official website.

    Key Tracks: Jericho. Love You Tonight. Cry, Cry Darling

  • Hearing Aide: Woods ‘Love is Love’

    Some protest music speaks to specific events. Sometimes it commands specific actions. Other times it is a non-specified reaction. Woods’ Love is Love is a reaction to the unexpected turn of events that flipped the United States on it’s head last November.

    Recorded in the immediate months that followed, it is not overly negative, angry or sad. As the title clearly states, it is steeped in feelings of love. If you made a word cloud of the compiled lyrics of this six-song EP, ‘LOVE‘ would stand central, big and bold, eclipsing all others by a large margin. This is a record borne in protest, but one that exists to lift up and comfort. If the ‘Love Trumps Hate’ slogan needs a soundtrack, this is it.

    Woods fans will find immediate comfort in the familiar psychedelic rock sounds with it’s signature mix of Ethiopian jazz influences as the band had built into their last standout record, City Sun Eater in the River of Light. Horns, psychedelic guitar, groovy bass and in-the-pocket rhythms wrap around each other to form a bond not easily broken throughout this tight 30+ minute set.

    The record kicks off with positivity and warmth on the title track. It’s a song that instantaneously gets added to the Woods canon like it was there all along. “Bleeding Blue” sounds like the soundtrack to a Rocky montage, had Rocky been training in the streets of London while being chased by a throng of young screaming women. “Lost in a Crowd” brilliantly adds a sunny splash from the Caribbean to the already thick mix. Beginning with a din of digital crickets, “Spring is in the Air” builds to colorful and blooming horn blasts, but never quite explodes through to summer. Instead it falls quietly into “Hit That Drum.” The EP isn’t just oozing positivity, doubt and struggle do rear their ugly heads. But lead man Jeremy Earl more or less explains the main drive for the album in “Hit That Drum,” singing “Feeling dark / feeling down / I hit that drum / It takes me away.”

    They end it with a return to the title track, and a question, “How can we love with this kind of hate?” And comes the answer: “Say that love is love.”

    Key tracks: Bleeding Blue, Lost in a Crowd, Spring is in the Air

  • Hearing Aide: Arthur Moon ‘Our Head’

    Arthur Moon, the transcendental Brooklyn-based project, has released its expanded debut EP entitled Our Head. The band’s founder and song-smith Lora-Faye Ashuvud was born in Sweden and raised in Brooklyn. She studied contemporary art at Smith College in Northampton and later relocated back to NYC to pursue music. The remaining members of the six-piece band consists of Rachel Brotman (keyboard and banjo), Nick Lerman (guitar), Marty Fowler (bass), Dave Palazola (drum) and Aviva Jaye (back-up vocals).

    arthur moon our head
    Lora-Faye Ashuvud lead singer of Arthur Moon

    Ashuvud has a unique way of creating the lyrics for her songs. She cuts out words from magazines and randomly combines them, thereby creating a contemplative and creative texture to her raw and hypnotic vocals. The first track and latest video from Our Head entitled “Room” showcases this unique process, with the addition of Lerman’s reverberating guitar and Brotman’s stark banjo creating a puzzling menagerie that the listener will relish deciphering.

    The politically minded track “Wind Up,” also recently released by the band as a video directed by film maker Sam Jones, interlaces spoken phrases from a robotic male voice that comments on today’s daily hypocrisies combined with Ashuvud’s haunting vocals. The track’s repetitive chorus, “Oh but the mind is narrow, love little wind up bird” is illustrative of a multi-layered critique of today’s social and political landscape.

    Tracks like “Bold Affair” and “Boxing” both use generous amounts of Palazola’s percussion which showcases various rhythms and time signatures that keep the listener actively engaged with the music. These tunes forces the audience to pay attention to the band’s musical details, a definite contrast from most contemporary popular music artists who do not exact that kind of scrutiny from their listeners.

    Arthur Moon’s fifth and final track on their EP Our Head is simply named “The Beatles Cover.” The song is the band’s modernistic homage to The Beatles’ White Album classic, “While My Guitar Gently Weeps.” Ashuvud and company took many liberties with their take on this Beatles gem, one of which was the omission of the title phrase “While My Guitar Gently Weeps” from the chorus of their rendition entirely. “The Beatles Cover” also has a surprising lack of guitar on a track that historically relies heavily on the instrument for it’s renowned lengthy solos. The band fills this void with multiple synthesizer overlays and Ashuvud’s vocals creating an original version that is almost as creative and unique as the band Arthur Moon itself.

  • Trey Anastasio Band Opens ‘Paper Wheels’ Tour At The Cap

    On Friday, April 14, the hallowed halls of The Capitol Theatre welcomed a sold-out crowd for the first of two nights there for the start of Trey Anastasio’s Paper Wheels tour. The magnificent sound and history of The Cap made it the perfect setting for a tour opener, not to mention a diverse setlist composed of Anastasio and Phish tunes along with a few debuts and covers.

    Set 1 opened with bassist Tony Markellis setting the pace on “Sand” and Anastasio quickly found his mark, clearly showing his excitement to be on the stage with his long-time solo act bandmates. With plenty of improv intertwined in the songs, the set carried on with TAB staples and closed with a funky version of “Gotta Jiboo.” The band made a few debuts and covers in the first set to the delight of the crowd. An original new tune written by Anastasio and Tom Marshall “This Crazy World I Know” made its debut as did a cover of Portugal. The Man’s brand new single “Feel It Still” off of that band’s yet-to-be-released album Woodstock, expected some time this year. Included in the Set 1 covers mix were TAB’s interpretation of George Harrison’s “What Is Life,” Bob Marley’s “Soul Rebel,” and by audience request, Toots and The Maytal’s “Sweet and Dandy.”

    The second set was much looser and groovier with a greater focus on opening the songs up to feature improvisation from everyone on stage, including an impromptu moment with Cyro Baptista getting goofy on percussion. It opened with the salsa-inspired “Curlews Call” and “Night Speaks To A Woman” before getting to the first of two songs in the set from Paper Wheels, “Liquid Time.” Ray Paczkowski’s keyboard introduced “Alaska,” a tune introduced by Anastasio in 2008 prior to Phish’s reunion and reminiscent in feel to a faster version of the Grateful Dead’s “Tennessee Jed.” Things got funkier as “Simple Twist Up Dave” came around with the slow groove of “Windora Bug” following, featuring Markellis on vocals. Speaking of vocals, Jennifer Hartswick had the theatre roaring after her performance on the band’s cover of Gorillaz’ “Clint Eastwood” and again on their take on Led Zeppelin’s “Dazed and Confused” to close the set.

    After closing the second set with a high-energy and powerful performance of “Dazed and Confused,” the band returned for an encore starting with another debut.  The traditional Irish tune with roots in 17th century Scotland, “The Parting Glass,” was a pleasant surprise to hear. The a cappella rendition was led by Anastasio on the first verse, complimented with beautiful harmonies from Casey, Hartswick, and Cressman. Anastasio and his band blazed the end of the show with “Push On Til The Day” with the horns bringing out their inner Tower of Power to add a punch to the song.

    Night One Setlist, 4/14/2017:

    Set 1: Sand, Mozambique, Cayman Review, What Is Life, This Crazy World I Know, Sweet And Dandy, Speak to Me, Pigtail, Feel It Still, Valentine, Soul Rebel, Gotta Jibboo

    Set 2: Curlews Call, Night Speaks To A Woman, Liquid Time, 49 Bye Byes, Alaska, Heavy Things, Simple Twist Up Dave, Windora Bug, Shine, Clint Eastwood, Dazed and Confused

    Encore: The Parting Glass, Push On Til The Day
    Night Two Setlist, 4/15/2017:

    Set One: Drifting, Magilla, Sometime After Sunset, Alive Again, O-o-h Child, 1977, It Makes No Difference, Small Axe, Last Tube, Lever Boy, Bounce

    Set Two: Money Love & Change, The Way I Feel, Tuesday, Ocelot, Goodbye Head, Architect, The Devil Went Down To Georgia, MacArthur Park, Ether Sunday, First Tube

    Encore: Black Dog

  • Update: Chillfam All-Stars Pay Tribute to Michael Jackson at Phish After-Party

    The Chillfam All-Stars will play a tribute to Michael Jackson on Aug. 5 at the Gramercy Theatre for an afterparty during the Phish Baker’s Dozen run. The band is a supergroup of familiar faces and includes Elise Testone, Jen Hartswick and Natalie Cressman of the Trey Anastasio Band, Alex Petropulos of Pigeons Playing Ping Pong, Danny Mayer of the Eric Krasno Band, Eric Gould and Richard James of Pink Talking Fish, Adrian Tramontano of Kung Fu, Matt Wayne of the Bobby Deitch Band and Rob Volo of Deep Banana Blackout. Tickets go on sale this Friday at noon.

    Update 5/23/2017:

    Turkuaz is the latest act to announce a Phish afterparty during the Baker’s Dozen run. They play Irving plaza on Tuesday, July 25. Tickets for their show go on sale this Thursday, May 25, at noon.

    Update 5/4/2017:

    Matisyahu, Atlas Road Crew and Strange Machines will all play afterparties following Phish’s Baker’s Dozen shows.

    Strange Machines plays Wednesday, July 26 at Drom. Eggy opens the show. Atlas Road Crew hits up American Beauty on Friday, Aug. 4. Tickets for both shows are on sale now.

    The Cutting Room sees Matisyahu on Wednesday, Aug. 2. Tickets go on sale tomorrow, Friday, May 5 at noon.

    Update 4/26/2017:

    Pink Talking Fish, Holly Bowling and the Motet will all play shows around Phish’s Baker’s Dozen run at Madison Square Garden. Following Phish on Tuesday, Aug. 1, Pink Talking Fish plays as Pink Talking Fish Are Dead at the Cutting Room. They also play an after-party on Friday, Aug. 4 at the Gramercy Theatre. They board The Jewel for a pre-party booze cruise the next day, Saturday, Aug. 5. The cruise is at 2 p.m.

    Holly Bowling brings her solo piano renditions of Phish and Grateful Dead songs to the Cutting Room on Saturday and Sunday, July 22 and 23 and Saturday and Sunday, Aug. 5 and 6. All her shows start at 4 p.m.

    The Motet plays an afterparty on the first night of the run, Friday, July 21 at B.B. Kings.

    Original Post:

    When Phish comes to New York City, the party tends to start well before the shows and it always ends long after they leave the stage. As with every Phish run at Madison Square Garden, a slew of pre-parties and afterparties are planned for their 13 night Baker’s Dozen run at the storied arena.

    Phish is set to play their historic 13 night run at Madison Square Garden beginning July 21 and ending on Aug. 6. CEG Presents has pre-parties and afterparties planned for just about every night of the Baker’s Dozen. Their run of shows kicks off a day early on Thursday, July 20 with Twiddle and Madaila. Twiddle finishes out a three-night run with a pair of Phish afterparties on Friday, July 21 and Saturday, July 22. All three shows are at Irving Plaza. Particle also plays an afterparty on July 21 at the Cutting Room. The DeadPhish Orchestra plays a 2 p.m. concert cruise on July 22 before the show.

    John Kadlecik brings Jay Lane of Ratdog to join his band for a pair of afterparties on Tuesday and Wednesday, July 25 and 26. Both shows are at American Beauty.

    The second weekend of the run has Dopapod playing two nights at the Gramercy Theatre on Friday, July 28 and Saturday, July 29. Also on July 29 are Bonerama at Iridium and Torus and the Mushroom Cloud at Drom.

    The final stretch of Phish shows see fewer afterparties. Zach Deputy hits up American Beauty after Phish on Wednesday, Aug. 2. Saturday, Aug. 5 has a pair of shows with Formula 5 at Lucille’s at B.B. King’s and Particle back at the Cutting Room for their “Director’s Cut.”

    Tickets for all of these shows, except Dopapod, are on sale now. The Dopapod shows go on sale on Friday, April 14 at noon.

  • Hearing Aide: Evolfo ‘Last of the Acid Cowboys’

    Raunchy, horny, raw and unfiltered.  No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys.  This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture.   If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage.   NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”

    When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.” 

    The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades.  About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk.  The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus.  Think Black Keys featuring the Nitty Gritty Brass Band.  Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.

    “Bloody Bloody Knife” has a 60’s punk  feel that makes you feel guilty for listening.  The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it.  “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem.  The decision making on track placement is as ambitious as the tracks themselves.  The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album.  The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form.  Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power.  “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool.  Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.

    “Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece.  The sweet sounding “Peachy” has the loungiest feel of the record.  Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track.  After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.

    Buy Last of the Acid Cowboys now and see them on tour ASAP!

    Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys

  • Hearing Aide: Vassals ‘Halogen Days’

    Brooklyn-based trio Vassals return in 2017 with a four-track EP entitled Halogen Days. It’s their newest release since 2015 and, overall, they’ve had a short musical career, only releasing their first album in 2012. Their style can best be described as dazed and confused indie rock with some slight bits of punk rock sprinkled in. Their rhythms are switched up constantly in creative ways, yet they maintain a sludgy movement throughout the EP to embody the exhausting, contradicting ideas that quarrel their brains.

    What this band makes up for in rhythmic syncopation, they truly lack in artistic flare. They have a slight tendency to embody the styles that we’ve heard before from bands like Silversun Pickups, or even Local Natives, but there are no fresh ideas that truly make them stand out among other artists of their style. Songs like “Sea Spells” and “Moonless” seem to start off on a good foot, but after a few minutes of listening, we are almost grateful for the rhythmic changes that follow. “Ghostwood”, the final track on the album, has one of the best punk-sensible interludes towards the end of the tune, but even the very final idea on the album is kind of a lost one.

    The saving grace on this EP is “SoHo” which has received notoriety not only for its garage-punk angst but also its bizarre, drug-induced music video (which I recommend watching for the Garfield and Tom Cruise cameo appearance). While Vassals may not be our first pick for musical innovation, their career is still taking off. And for anyone who has not yet listened to them, there are likely to be more unique works in their earlier releases as well as their releases to come.

    Top Tracks: SoHo

  • Sold Out: Steel Panther in New York City!

    Steel Panther is the Amy Schumer of rock and roll; raunchy, smutty, not for the faint of heart and hilarious. I bet Ms. Schumer is a fan. I can completely visualize her rockin’ out in her NYC townhouse to “That’s When You Came In.”  Or perhaps she was at their sold out Irving Plaza show last Thursday, April 6?

    Steel Panther is a tongue-in-cheek parody of all the 80’s hair bands that we know and love, but witty banter and explicit lyrics aside, they are a skilled group of musicians as well that possess a deep love for the music of their youth. With the exception of the guitar solo tribute to some of the greats, including “The Sound of Music,” Steel Panther’s set is strictly original music. You might hear shreds of Van Halen, melodies of Ratt, big guitars a la Iron Maiden, bass lines of Guns and Roses, throw in some Amy Schumer raunch and lyrics that would make Dr. Dre’s mother collapse, finally sprinkle the glam glitter of Poison and Motley Crue and you have Steel Panther.

    Michael Starr’s larger than life David Lee Roth presence and incredible vocal range complements itself to Satchel’s white lightning speed on the guitar. Their music runs the gamete from hard and edgy to acoustic ballads that bring you back to the corner of Sunset and N. San Vicente Boulevard.

    Playing to a sold out, mostly male crowd at Irving Plaza, the night was full of lots of great music and BOOBIES; talk about boobies, boobies on stage, girls with boobies, the Mercedes Benz of boobies and well, just plain boobies. The complete perfect night out for the guys! Favorite songs included “Just Like Tiger Woods,” “Asian Hooker,” “Poontang Boomerang” and their finale for the night, “Party All Day (F*ck All Night).”

    Steel PantherAfter 5 studio albums since 2003, they seem to be gaining more and more momentum with each year that passes. Missed them in NYC? In support of their newest release, “Lower The Bar,” they are traversing the country with dates until mid-May. Click here for tickets!

    Setlist: Eyes of a Panther, Goin’ in the Backdoor, Just Like Tiger Woods, Fat Girl (Thar She Blows), Asian Hooker, That’s When You Came In, Poontang Boomerang, Guitar Solo, Anything Goes, Girl From Oklahoma, 17 Girls in a Row, Gloryhole, Death to All but Metal, Community Property, Party All Day (F*ck All Night)

    Steel Panther

  • Foolin’ Around with moe. at The Paramount

    On Saturday, April 1, at The Paramount, Buffalo-based moe. took April Fools’ Day to the next level by sonically messing with the minds of everyone in attendance.  The die-hard moe.rons in the crowd knew that an inevitable prank was coming in some form, but the anticipation led to an even more exciting Saturday night show.  Opening with “Defrost” the boys did not wait to get the venue dancing.  The historically rare instrumental was the third appearance of “Defrost” in 2017 and it was frequently played in 2016, leading fans to assume that this oldie-but-goodie is not just getting a dusting, but being taken off the shelf permanently.

    Moe. brought out the heavy hitters early with a transition into an epic “Brent Black” in just the second slot.  Al Schnier and Rob Derhak chiseled the signature song into form while Chuck Garvey used his guitar pick to work on the intricacies.  Garvey celebrated his birthday on Thursday night in New Jersey, and on stage he has been having his cake and eating it too during the entire 3-show run.  “Lost Along The Way” gave the already sweaty crowd a much needed breather which was followed by “Blue Jeans Pizza” off the decade old album, The Conch.  One of the more lovey-dovey moe. originals, “Pizza” found Schnier switching from guitar to minimoog allowing Garvey to take full leadership of the solo to the delight of the crowd.  The only annoying aspect of this part of the set was the crowd chatter being at an all-time high.  While I felt that the energy from “Brent Black” never went away throughout the entire set, there are times to talk and times to STFU.

    Jim Loughlin lead the tribal transition into “Bring It Back Home” as Schnier jumped back onto his guitar for some added flare.  Loughlin remained in the spotlight while Derhak and Vinnie Amico tag teamed the next tune, “Billy Goat” off the most recent release studio release, No Guts, No Glory.  The surfer-rock jam found on the Smash Hits release, “Tailspin,” got the crowd spinning around again.  The very impressive first set was praised throughout the break as moe. spanned their entire career in just seven songs.

    moe at the paramountThe April Fools’ prank ensued as soon as the 5-piece reentered the stage for the second set.  Over the 28-year career of moe., many different rumors have been spread describing the origin of the band’s name.  One rumor was that moe. is a simple acronym for “monkeys on ecstasy” and on April 1, 2017, the monkey was brought to life in one of the stranger moe.ments I have seen a long time.   As members began tuning up for the start of the second half of the evening a person dressed in a monkey costume with giant headphones appeared next to Amico’s drum kit, fist-pumping to what sounded like a mashup of “Plane Crash” and Beastie Boys’ “Brass Monkey.”  The odd display transformed the rock venue into an electronic dance club and judging by the smile on Derhak’s face, even the band got a kick out of the gag.  The prankster monkey seemed to fall into his own trap as he slipped and fell while trying to get off the stage.  They covered it up nicely as the “too f**kin’ high” primate took off the giant headphones and put them on Derhak’s head before exiting the stage.  Was the slip a set up or did the gag lead to an injury?  The world may never know.

    moe at the paramountAfter the shenanigans ensued, “Rainshine> Understand” got the show back on track.   As the light two-song combo fizzled out, a reggae-influenced intro to “Time Ed” got the room swaying back and forth.  The band had a few laughs during the line, “Born a monkey from the sky (monkey, monkey)” before Loughlin returned to business as usual during his flying trapeze percussion section.  Throughout the song, he switched back and forth from bongos to MalletKat to xylophone in harmonious fashion.  The final segue of the set occurred during a strung-out “Haze” into one of their more euphoric songs off Dither, “So Long.”  Every jam band has their own repertoire of songs that cuts to the core of their loyal fan base and mellows out the room.  “So Long” is a chameleon of sorts because while it can act as the fluffy cloud to space out the heavier songs, it can also get pretty intense on its own, which is exactly what happened on Saturday night.

    Schnier came out as he usually does before the encore to read some fan shout-outs.  On certain nights he has no problem deciphering what the writers are trying to say, but in Huntington after a night of debauchery, he seemed to struggle through the chicken scratch handwriting.  There was some light banter from Loughlin as he announced the next song was one that he wrote.  The dark lyrics and southern-rocking Widespread Panic-esque sound of “Don’t Wanna Be” is not really my cup of tea and with little head nodding in the crowd, I felt like there had to be one more crowd-pleaser to end the incredible weekend of moe. in the Northeast.  Sure enough, “New York City” was served as the entrée of the encore and considering many fans came to The Paramount on a train from the Big Apple, the famoe.us tune was well received.

    The boys will play four sold-out shows at The Sinclair before departing for the South to cover some ground in warmer territories.  The recently added set entitled “phil.moe.” at Lock’n was the latest news from the band, and from now until the special dead-inspired set, they will headline Summer Camp and the return of Moe.Down.  The bright future and booked calendar gives the moe.rons hope that while the band may be up for a good time and a few pranks, they are in no way ready to cool it down.

    moe. – 4.1.17 – The Paramount – Long Island, NY

    Set 1: Defrost > Brent Black, Lost Along The Way > Blue Jeans Pizza > Bring It Back Home, Billy Goat > Tailspin

    Set 2: Rainshine > Understand, Time Ed, She, > Sensory Deprivation Bank, George, Haze > So Long

    Encore: Don’t Wanna Be, New York City

    moe at the paramount

  • Hearing Aide: Grand Gesture ‘King of Cups’

    All in all, it’s a wholesome, laid back and refreshingly straightforward collection. The album holds a  psychedelic feel without bombarding listeners with abstract and unnatural sounds that tend to come with the genre, and not doing so takes a considerable amount of talent. It’s well produced, diverse and catchy – something the group harps on in their biographies.

    Grand Gesture hails from Brooklyn and are best described as a combination of Talking Heads, Lou Reed, The Pixies, the Grateful Dead. They don’t copy the sound of these historical groups, but there are hints of their inspirations found throughout all of their tracks. They range from a fairly heavy rock drive to a plain and simple folk jam, and listeners might hope that they take a more aggressive route with their tone in any forthcoming album because tracks based off that formula leave more of an impact that their lighthearted tracks, if they were to ever drop another album.  Examples of this style are found predominantly in “King of Cups.” One of the highlights is a dueling guitar breakdown that’s very Allman Brothers-like along with a funky and heavy guitar solo played through a fuzzy and distorted amps.

    “Straw In My Sock” is another key track that had a more forceful tone which keeps listeners engaged. Their songs don’t rise and fall as much as other psychedelic rock songs do, so songs like “Wildflower” seem to drone on a bit. With the more intense tone, listeners feel more immersed into the music. This feeling could also only be only true when listening to the recording. They claim, “The band aims to write songs with pop song precision, yet they have a deep respect for improvisation so it’s not uncommon for the material to take on new directions in the live setting.”

    “Hey Okay” has a cool ‘skipping’ feel to it with more of those dueling guitars everyone loved from the Allman Brothers. It’s funky and technically with great direction and precision. It’s a song that would be an absolutely blast to see live as there’s so many fantastic opportunities to vamp and mess around.

    It is undoubtedly feel good music and would make a perfect fit for a live setting in an intimate bar or concert hall. The album is available on their website and Spotify and show no sign of any live performances this year, but will post upcoming events on their Facebook page.

    Key tracks: King of Cups, Straw in My Sock, Hey Okay

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