NYS Music 20​17

Category: Regions

  • 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

  • Big Mean Sound Machine Bring The Funk To The Root Cellar

    The 9-Piece powerhouse brought their album-release tour to The Root Cellar in Greenfield, MA on Saturday, April 15. Big Mean Sound Machine played their hearts out for two incredible sets for a crowd of locals ready to dance. They’re taking their groove back for a hometown throw-down in Ithaca, NY this Friday before taking a short trip down the east coast in early May.

  • 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.

  • The Record Archive Backroom Lounge Officially Opens: NY’s First Music Store To Serve Beer and Wine

    In a time when locally owned stores are struggling to stay afloat, The Record Archive in Rochester is finding new ways to thrive. On Friday, April 8, they unveiled their latest endeavor, The Backroom Lounge, with an official Grand Opening Party. A venue like no other, this all-ages community space is annexed to the region’s largest record store. It’s a place to kick back, enjoy live music and have a drink – The Record Archive has the distinction of being the first and only record store in New York with a license to serve alcohol. NYS Music was invited to be part of this prestigious event.

    record archivePulling up to the building at 33 1/3 Rookwood Street in Rochester, there’s an immediate sense that this is not your run of the mill music store. From the sunshine yellow exterior to the enormous record framing the front door, everything about The Record Archive feels extraordinary.

    The interior opens up to a 10,000 square foot retail space, chock full of music, stereo equipment, gifts and memorabilia. For music lovers, it is the equivalent of being a kid in a candy shop. It is a veritable feast for the eyes and ears. It’s hard to imagine that the entire operation began in 1975 with a crate of records on the floor of a flea market stand.

    The entrance to the lounge is beyond the extensive collection of CDs, through tall arched doorways framed in black curtains. For the Grand Opening event, guests were greeted with glasses of blue champagne. We also had the choice of a wide variety of drinks. The shelves held regional wines, craft beers, music-themed beverages and some new discoveries. Beer was available on tap. The cooler is stocked with non-alcoholic beverages, including the local brand FIZ Pop.

    Near the entrance of the lounge, Record Archive founder Richard Storm greeted guests. I asked him what he thought about all of this, and he said, “I never in my wildest dreams imagined I’d have a venue with a bar.”

    The space is furnished eclectically – a mishmash of eras and styles, like remnants of random time travel. Jukeboxes are scattered around the room. Lava lamps bubble up on a far table near bookshelves overflowing with biographies of musicians. One wall is lined with boxes containing a myriad of 45’s spanning decades and genres. Seating options included a diner booth, a cozy couch, pub tables or a 1960’s ball loveseat. The room is lit by the warm glow of chandeliers in varying styles. The look of the space was put together by Reo Alderman. His design aesthetic brings the seemingly disparate pieces together in an artful showcase. And speaking of showcases, many of the pieces in the lounge are available to purchase.

    At the antique piano near the bar sat a musician who could have also been plucked out of a bygone era. Honky Tonk Henry was playing jaunty old-timey tunes. These are the songs I used to listen to with my grandparents back in the day. It was comforting to know that someone is keeping the music tradition alive.

    In the corner, under the watchful gaze of a full-sized T-Rex skeleton, is a stage large enough for bands to perform comfortably. I sought out the Record Archive’s Events Coordinator Deb Jones to get the scoop on the sound system.

    “We’re very proud to have Fulcrom Acoustic speakers,” Deb said, “It’s a locally-based company. They’re world class speakers -they’re being installed in Madison Square Garden. We’re the only place in Rochester to have them. And the amps are Ashly Audio.” Ashly Audio is also a local company, which produces state-of-the-art sound equipment.

    Deb introduced me to Alayna Alderman, business partner and Vice President of The Record Archive. She was the driving force for creating The Backroom Lounge.

    “I told Rich I wanted the place to be an extension of what we’ve been – a touchstone for the community,” she told me. “This is not a club. We’re a record store that sells beer and wine, not a bar that sells music. You can come, have a slice of pizza and a drink, enjoy live music and be home by 9. The music will always be our business. This is the next layer.”

    Obtaining a liquor license was not a decision that they took lightly, she told me. It was a lengthy process, and required lots of forethought (not to mention the amount of paperwork!). In the end, they decided to license the entire space, including the retail area, so that people can enjoy refreshments while they browse through the store.

    The guest list was a who’s who of friends and supporters of The Record Archive over the years. Frank DeBlase, writer/photographer and front man for The Busted Valentines, described the scene as “a new living room that comes furnished with guests.” Among them was Andy Babiuk, a founding member of The Chesterfield Kings and owner of Andy Babiuk’s Fab Gear music shop. Greg DeLuca from the local visitor’s bureau was also there. Members of the local press in the crowd included Emmy-award-winning journalist Seth Vorhees from Spectrum News, Susan Rogers, Executive VP of WXXI, and Mark Shuttleworth from Legends 102.7.

    True to their commitment to support other local businesses, the Grand Opening event included sweets from Savoia’s bakery and was catered by Tasteful Connections. The spread was divine. My favorite of the offerings was a Bacon Rind Shrimp Shooter – a Bloody Mary with shrimp and celery, served in a bacon-rimmed shot glass.

    Alayna took the podium and thanked everyone for their support in this endeavor. And a round of speeches ensued. Ted Potrikus, president and CEO of the Retail Council of New York, talked about working at The Record Archive in 1984, and about all the effort that went into making this venue possible.

    “It’s the coolest place in Rochester,” he concluded, “I’m thrilled to be here.”

    City Councilman Adam McFadden presented The Record Archive with a certificate from Mayor Warren. He also shared fond memories of times spent at the Record Archive, including the joy of meeting the members of Stetsasonic after seeing them perform in the store back in their heyday.

    Baye Muhammad, Commissioner of Neighborhood and Business Development, presented a plaque from the City of Rochester and thanked the owners of Record Archive for being committed to staying within the city limits when they relocated to this space nine years ago.

    After the speeches, shiny blue ribbon embossed with the City of Rochester logo was stretched across the stage. Members of The Record Archive family and key supporters made cuts, marking the official opening of The Backroom Lounge.

    The Backroom Lounge is open to the public during normal business hours, with the exception of when it is reserved for private events. The bar stops serving an hour before closing.

    The room is available for special occasions such as weddings and birthdays. Furniture can be rearranged to meet the needs of events (for example, theater seating or banquet-style table arrangements). Talk to Events Coordinator Deb Jones for more information about reservations.

    The space naturally lends itself to musical performances. Happy Hours are held every Wednesday. Themed nights for metal and blues occur monthly. In-store performances are plentiful. They have a full bill for Record Store Day on April 22, including The Fox Sisters, Teagan & The Tweeds, Teressa Wilcox and more. There are performances by Staly on April 28 and Zara Larson on April 29 in collaboration with local radio station KISS FM. This is also becoming a popular venue for release parties, the next one with Junkyard Fieldtrip on the evening of April 29. For a full event listing, check The Record Archive’s webpage or Facebook.

  • Bringing the Boy Back Home: Brit Floyd Bassist and Syracuse Son, Ian Cattell Discusses Playing a Hometown Show

    The spectacular Pink Floyd experience known as Brit Floyd visits the Crouse Hinds Theater at the OnCenter in Syracuse Tues. April 18. The band has been proclaimed, “The World’s Greatest Pink Floyd Show.” The spectacle and grandeur of each Brit Floyd show leaves few to argue that point. The Immersion World Tour celebrates the 40th anniversary of Pink Floyd’s 1977 album Animals. Tickets for the show are still available through Ticketmaster and the OnCenter box office.

    Recently, NYS Music sat down with Brit Floyd bassist Ian Cattell, who grew up in the Syracuse area, to discuss the current tour; the pressure to perform Floyd material and playing in his hometown.

    brit floydBrit Floyd has been touring the world performing the music of Pink Floyd since 2011 but has its genesis in the Australian Pink Show back in 2005. Cattell has performed with both units in addition to playing in several prog-oriented outfits as an up-and-comer in the Central New York Scene.

    Cattell moved to Syracuse at the age of 10 and lived there throughout high school. He played with several local outfits that gathered some large followings during his time in Syracuse: Crazy Diamond and Childhood’s End, both Pink Floyd tribute projects; the United Booty Foundation, a popular funk-disco band and Seconds Out, a Genesis cover band. It was through these endeavors that Cattell honed his prog-rock chops, leading to his current gig with Brit Floyd.

    When you’re performing the music of such an iconic band in rock history, there is already a built-in fan base looking for note-for-note replication of that band’s work. When asked if he ever feels that pressure or if he places any pressure on himself, Cattell responded,

    Oh, definitely. If we were out doing original music, you can kind of do it however you like. It’s yours. Whereas, there are so many Floyd fans that listen to the albums over and over again and they’re so familiar with every last detail. We try to put a little bit of our own flavor into it for our own fun, but it’s only to a point, because people are expecting to hear how it is on the album.

    Cattell performs both David Gilmour and Roger Waters songs but finds his natural singing voice closer to that of Gilmour’s. He first “tried his Roger Waters vocals on with Childhood’s End” around 2001. He does admit to his voice being “in character” while singing Waters’ vocals. See below for Cattell in character during “The Trial” section from The Wall. Cattell goes full-on Waters. First timers may be fooled into thinking the Floyd bassist is making a guest appearance onstage.

    When attending a Brit Floyd show, expect to spend the night. Each show is approximately three hours long, with songs spanning Pink Floyd’s career. This tour focuses on not only the 40th anniversary of Animals but also the 1994 release The Division Bell, with other eras being represented as well.

    When asked what makes playing in his adopted hometown different from other venues, Cattell states, “Each time we play in Syracuse, it’s quite amazing. I feel like I know at least half the audience. If not from having done gigs or going to see gigs or through Facebook…I get a vibe off the Syracuse crowd like no other because I know so many people there. I do so many gigs where I don’t know anybody…but Syracuse is unique where it’s that the people I know are everywhere I look.”

    If you miss Tuesday’s show in Syracuse, Brit Floyd will be performing in Schenectady at Proctor’s Theater Wed., April 19.

  • Hearing Aide: The Damn Truth ‘Devilish Folk’

    Someone really pulled my leg to check out this band known as The Damn Truth.  Based out of Montreal, this bluesy hard rock outfit’s sophomore effort Devilish Folk, from Fineline Records, is catchy as hell.  Now the most mind baffling thing is, when you listen, you would think this band came from the South or something.   The production isn’t the greatest, but how this album makes up for it is the high octane energy and catchy hooks.  Metal heads, hard rockers, hipsters, indie and blues fans can definitely get behind an album like this.  Whether you need an escape, or are just trying to get through the day, check this album out.

    the damn truthVocalist/guitarist Lee-La Baum has a rockin’ voice on top of the bluesy guitar work from Tom Shemer, and the heavy bass lines from PY Letellier mixed with the heavy backbone beats of Dave Traina make this a band to look out for in the future.  Hopefully, this band can book some shows in New York State soon.   Some of the tunes I enjoyed on this record are the opening track “White Lies” and “Broken Blues.”  But, overall, the album is consistent and fun.  Keep your eyes open for The Damn Truth.

    Key Tracks: White Lies, Pirates And Politicians, Broke Blues

  • 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

  • Confirmed: Mysteryland 2017 Canceled

    Looks like the rumors are true. After various reports, it has been confirmed that the Mysteryland USA Music Festival will not happen in 2017 and is canceled. The event was supposed to take place at the Original Woodstock Grounds in Bethel, NY on June 9-12. The event has been held in Bethel since it’s debut in 2014. Mysteryland has given no explanation as to the reason why the festival has been scrapped. Mysteryland was set to feature headliners G-Eazy, LCD Soundsystem, and Major Lazer during the 3-day event.

    The rumors started after several scheduled artist, started making moves on social media, making it obvious that the festival was leaning toward being cancelled. G-Eazy and LCD Soundsystem pulled the date from their upcoming shows, and Ekali, one of the many artists set to perform at, confirmed the rumors with his post on Reddit, stating that he was informed the festival was a no go. The post was deleted shortly after.

    Dancing Astronaut posted that a source from within the festival confirmed the show was canceled. Organizers were said to be left in a bad position when one of their PR firms parted ways with the festival, leaving them looking for a replacement firm. This would coincide with another rumor that the festival didn’t garner much interest due to a poor lineup and bad ticket sales.

    Mysteryland promoters spoke on social media about the cancellation and how to get your ticket purchases refunded:

    Dear Nomads,
    Due to unforeseen circumstances, Mysteryland USA will no longer take place in 2017.
    Since 2014, we have strived to produce the best possible experience for our festival attendees, and are truly humbled by all of the love and support that you, the artists, the beautiful venue of Bethel Woods Center for the Arts and the Town of Bethel have shown us as we celebrated life through music, culture and art.

    Paylogic has started the refund process. Full refunds will be issued automatically to the bank account used to pay for the order within the next 3-5 business days. Paylogic will send all ticket buyers an update with more details about the refund process. The refunds will be processed automatically. No further action is required from your side.

    Mysteryland will mark another ID&T produced festival to march off into the sunset, after 2015 saw the end of TomorrowWorld. With the Mysteryland cancellation, Electric Zoo is the only major EDM festival left standing in the NYC area.

    Fans who already had plans to attend the festival, and were looking forward to a weekend full of live music can explore another option, although a different type of festival, Disc Jam will take place around the same time as Mysteryland was originally scheduled,  in Stephentown, NY, on June 8-11. Disc Jam will feature some of the best jam bands across the nation including Pink Talking Fish, Tauk, Aqueous, Dopapod, and Kung Fu.

  • The Motet and West End Blend at The Fairfield Theatre Company

    Although the mid-week blues were in full swing, West End Blend (WEB) and The Motet managed to put a pep in the step of almost every single attendee at The Warehouse in Fairfield, Connecticut. WEB set the scene and style of the night, something that needed to be done due to the lack of enthusiasm that filled the building. Then The Motet capped it all off and blew away the audience with their relentless energy and zealous attitude. Once again, a very wide array of people attended due to the location of the up-and-coming venue, but everyone was able to find some aspect of the show they loved.

    West End Blend is based out of Hartford and showcased their funk and soul styles, but didn’t show much else. Their show was well performed and obviously well rehearsed, but the music wasn’t anything that would revolutionize the idea of funk -rather it just solidified it, which isn’t necessarily a bad thing. They had the formula: A solid drummer, funky horn line, groovy bassist, talented but reserved guitarist and an eye/ear catching lead singer. But it’s all been done before. They did not come short of a great performance by any means, but they didn’t knock the socks off most people there. That may have been because they were seen as the opening band or maybe it was because they only performed in front of a handful of people. The crowd just didn’t respond very well – they barely even welcomed them to the stage. Hopefully, and more than likely, they will headline a venue and get some well deserved recognition instead of being seen as just the opening band.

    Some of their most memorable tracks were “Say Hey!” which featured one of the most iconic parts of the band, 27-year-old trumpeter Mike Bafundo and his fascinating ability to sound like a funky Louis Armstrong. He and lead singer Erica Bryan have two very contrasting voices which made for a unique sound that the crowed looked forward to for the remainder of their performance. “Get Bye’ was another highlight, featured as one of their most popular songs on Spotify and was one of the only one that ventured outside of the stream line funk sound. The lazy tempo and an even lazier horn line resulted in a danceable but reggae feel. Other songs did not stray far from the funk band formula like “Attitude,” “Too Heavy” and “The Scene” which were plenty of fun and soon to be released on an upcoming album – the date is TBA.

    The Motet on the other hand had a more memorable performance.  Most of the credit goes towards the front man Lyle Divinsky. In a funk band, the lead singer needs to be like a conductor. He/she needs to draw attention to separate parts of the group because they are all required to be in unison to make the iconic sound. The horns stay reserved for the majority of the song but make a big pop during breakdowns and chorus’ – the same applies for the strings and synths. So he/she needs to work the whole stage and keep everyone’s eyes and ears moving – something Lyle has mastered and something that would change the whole attitude of WEB if Bryan were to follow in his footsteps. The Motet came out strong with “Damn!” which has been a favorite to open with for the majority of their shows including their prior Warehouse show and their first time Headlining the Red Rocks Amphitheater. It’s a perfect, straightforward ice breaker with a great funk formula that can easily flaunt their ability to build and climax flawlessly. “Damn!” is off their 7th studio album, Totem, and shows that the group is nowhere near out of ideas for funky tracks. Their sound is very familiar but manages to be unique, something that might only be true to their live performances, as their studio recordings are a little less impactful.

    They moved on to, “Like We Own It,” “Rynodub,” and “The Truth,” all of which were well received. “So High” came up and The Warehouse saw some incredible solo’s from the hornline. The crowd responded really well to Drew Sayers on saxophone. He had plenty of emotion and was able to work his way through the solo in an abstract but palatable way. He was smooth and well thought out and wasn’t afraid to take some risks. Trumpeter Gabe Mervine eventually came out of his shell after some sound board complications. He seemed concerned he wasn’t coming through clearly, but was able to focus after the problem was resolved. Keys player Joey Porter also had a few astounding and greatly appreciated solos, one of which was during “So High” where he played through a vocorder. It fit flawlessly into the songs style and got one of the biggest reactions out of the crowd.

    Drummer and founder Dave Watts never really had a moment to shine unfortunately, nor did bassist Garrett Sayers. Granted both of them have a very important role to play and not a lot of time so flaunt their abilities, but they both deserved a little more limelight than they were given. Garrett had a small chance to solo but he is such an entertaining musician and it would have been nice to see him a bit closer to the audience both literally and musically.

    The music was all incredible, but it all seemed more like an act or play because of Devinsky’s energy and charisma. He is best described as an actor but his personality comes off as genuine. He was so grateful for everyone’s enthusiasm, for being able to play at The Warehouse and was very appreciative of his band mates and their talents. Not only was he appreciative, he was sweating bullets and showed no signs of fatigue. His personality was just charming to everyone and a good part of the bands demeanor stems from Devinsky’s actions. They closed out with a cover of “Getten to Know You” by Parliament and “I Feel For You” by Prince and finished on their own “Closed Mouth Don’t Get Fed.”

    This show was definitely a highlight for The Warehouse and one would hope and expect this won’t be the last time The Motet performs there. They will unfortunately be heading South and West for the first part of the summer, but will be seen at Disc Jam 2017.

  • TPR will Figuratively Set Fire at Two Upcoming Shows

    For some lucky rock n roll music fans, the end of April will usher in some rough around the edges, ecstatic basement rock by the name of TPR. What do those three letters stand for? Guess you’ll have to turn up at one of their two shows scheduled later this month in the Capital District and Central NY.

    TPR formed in the rugged Adirondacks by Will Scheifley (guitar), Justin Schultz (bass), Kevin Lewis (guitar) and Sam Egan (drums). Now they’re migrating from the forests to assist live music seekers with dancing their pants off. To not miss out, rock fans are strongly encouraged to attend at least one but preferably both of their upcoming appearances. Their sound concoction incorporates flavors of Pink Floyd vocalists David Gilmour and Roger Waters, seared to a golden brown with early 2000’s rock akin to Jet and the Hives, finished with a garnish of punk rock spice. Don’t regret not seeing them and supporting local homegrown music. Go dance and have fun. You deserve it.

    See them Friday, April 28 at 8 p.m. with special guests Good Hair & Robo-France 29 at Our Place Bar & Grill in Mechanicville, NY. Can’t make that date? Try the following night where TPR will be joined by the Thirds at the Beer Barrel Inn, in Oneonta, NY on Saturday, April 29 at 8 p.m. In the meantime, check out this NYS Music review of their live album and get pumped by listening to it on their Bandcamp.

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