NYS Music 20​17

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  • Great Blue Releases New Album, to Play the Java Barn in Canton Thursday

    Connecticut rock power trio, Great Blue have hit the road for the first leg of their tour in support of the band’s new self titled album, Great Blue. The first portion of the tour will see the band travel for two months throughout the eastern U.S., hitting 20 different cities. Great Blue is planning a second leg of the tour and currently working out the details for that run.

    The tour kicked off on Oct. 27 at the Centre Street Pub in Schenectady and will conclude at home, on Nov. 25, at the Arch Street Tavern in Hartford, CT. New Yorkers can catch Great Blue play one more show on the first leg in N.Y. state at the Java Barn in Canton.

    Rocking together for 10 years, Great Blue is made up of Peter Anspach (guitar/bass), Nick Hanna (drums), and Ethan Michael (guitar/bass). The band’s new self titled album was mastered by 13-time Emmy winner, Andy Gundell. The band has recently released the music video for their new song “Seeker.” Great Blue’s style of music has the melodies, grooves, and riffs to keep the energy electrifying and crowds moving.

    Remaining Great Blue Tour Dates:

    Oct. 31 – Zenbarn – Waterbury, VT
    Nov. 2 – The Java Barn – Canton, NY
    Nov. 4 – The Pompei Lounge – Staunton, VA
    Nov. 7 – The Local – Boone, NC
    Nov. 8 – The Nick – Birmingham, AL
    Nov. 9 – Green Bar – Tuscaloosa, AL
    Nov. 10 – Congress Street Social –
    Nov. 11 – Palmetto Brewing Co. – Charleston, SC
    Nov. 13 – Preservation Pub – Knoxville, TN
    Nov. 14 – Nowhere Bar – Athens, GA
    Nov. 16 – Isis Music Hall Lounge – Asheville, NC
    Nov. 17 – The Whiskey – Wilmington, NC
    Nov. 18 – Surf Bar – Folly Beach, SC
    Nov. 19 – Tiki Hut – Hilton Head Island, GA
    Nov. 20 – Cary St. Café – Richmond, VA
    Nov. 24 – La Boca – Middletown, CT
    Nov. 25 – Arch Street Tavern – Hartford, CT

  • Jimkata Says Farewell at American Beauty

    Ten Years, six albums, and hundreds of shows ago, three friends from Oneonta formed the electro-rock band Jimkata. After kicking off in Ithaca and accumulating a dedicated fan base across New York State and beyond over the past decade, Evan Friedell, Packy Lunn, Aaron Gorsch packed up the synths said farewell with a five show/eight night run across New York State. The tour came to an end on Saturday October 28 at American Beauty in Midtown Manhattan.

    Jimkata American Beauty

    The sold out room could barely contain the energy as Halloween costume adorned fans flooded the room. “I knew them back at Ithaca University…” One fan reminisced just before the start of the show. “…I would see them all the time, and when they announced their last show would be in the city I couldn’t miss it.” The conversation was abruptly interrupted when “Jurassic Park Theme” by composer John Williams was played as the band emerged from the green room and took the stage together. With no plans for a return, fans cheered and sang along for what could be the last time.

    Photo Gallery By Chris Capaci/Capacity Images

  • Nietzsche’s FolkFest 2017 Lineup includes Folkfaces, Jonathan Richman

    Nietzsche’s dropped the lineup for the 2017 edition of their FolkFest, which takes place next week at the famed Buffalo club. The second annual FolkFest features headliner Jonathan Richman and NYS Music 87/90 act Folkfaces.

    After a successful inaugural year, Nietzsche’s brings back their FolkFest for 2017. The fest kicks off on Wednesday, Nov. 8 and runs through Saturday, Nov. 11. Jonathan Richman, known for his work with the Modern Lovers, headlines the festival on Nov. 11 at 8 p.m.

    Tyler Westcott and Dr. Jazz kick off the festivities on Wednesday at 6 p.m. with some old time swing and gypsy jazz. The headliner on Wednesday is the Oddjob Ensemble from Santa Rosa, California at 10 p.m. Following them is 18 Wheels and a Crowbar.

    Thursday night features the Heenan Brothers followed by local act the Observers. The Dishonest Fiddlers, of Northeast Pennsylvania headline the night at 10:30 p.m. Rockabilly Steve and RB3 close out the night at midnight.

    The fest starts to heat up on Friday with Seth Faergolzia’s Multibird from Rochester headlining the night at 11:30 p.m. The music kicks off with Cooper and Gin at 10 p.m. followed by Utica’s the Old Main at 10:30 pm. Ryan Sutherland and Dave Brown cap off the night at 1 a.m.

    Follow the festival headliner show with Jonathan Richman, there is a second late night show with second tier headliners the Crooked North at 10 p.m. The late show also features NYS Music 87/90 act Folkfaces at 11:30 p.m. followed by Pine Fever at 12:30 a.m. The festival concludes at 1:30 a.m. with Chris James and Mama G.

    Admission for Wednesday and Thursday nights is $5. Friday and Saturday’s late night run $10 with Saturday’s headliner set costing $15 to get in. All shows are 21 and over, though minors will be admitted when accompanied by an adult.

    Nietszche’s FolkFest 2017 Lineup

    Wednesday, Nov. 8
    Oddjob Ensemble
    18 Wheels and a Crowbar
    Tyler Westcott and Dr. Jazz
    No Illusions
    Bess Greenberg
    Tough Old Bird
    Old Time Hoedown
    Cairde “That’s Irish for Friends”
    Mike & Kathy

    Thursday, Nov. 9
    The Dishonest Fiddlers
    The Observers
    The Heenan Brothers
    Rockabilly Steve & RB3
    Greg Barresi
    Nickel City String Band
    James Robert Kibby

    Friday, Nov. 10
    Seth Faergolzia’s Multibird
    The Old Main
    Cooper and Gin
    Ryan Sutherland and Dave Brown

    Saturday, Nov. 11
    Jonathan Richman
    Folkfaces
    Pine Fever
    The Crooked North
    Chris James & Mama G

  • A Prohibition Era NYC Law Close to Repeal

    A Prohibition Era law designed to put the clamps on NYC nightlife has support for a repeal, according to Brooklyn councilman Rafael Espinal. Espinal introduced a bill that will be taken under consideration Tuesday to repeal the near century-old Cabaret Law that makes it illegal to host “musical entertainment, singing, dancing or other form of amusement” without a proper cabaret license.

    The law kept such music luminaries as Billie Holiday and Ray Charles from performing in the “City That Never Sleeps” for decades before being amended to lessen restrictions on performers. The dancing provision of the law, however, has remained in tact, resorting to clubs using speakeasy tactics to warn of crackdowns. The selective enforcement by the Multi-Agency Response to Community Hotspots, otherwise known as MARCH, has led to many establishments being shut down and underground dance clubs taking their place.

    The New York Times reports that Mayor Bill de Blasio supports a repeal, provided the security camera and certified security guard requirements added to the law during the Rudy Guiliani administration, remain in place.

    When the Cabaret Law was enacted in 1926, the expense and restrictions placed on establishments wishing to provide nightlife entertainment made acquiring a license difficult. Many of the night spots that were targeted early on included the jazz clubs of Harlem. During the 1990s, Mayor Guiliani ramped up enforcement of the law as the EDM movement began to take hold. The current administration has issued few citations and with possible repeal on tap for Tuesday, New York will once again be free to dance.

  • Hearing Aide: Ghost Atlas ‘All is in sync and there is nothing left to sing about’

    If you follow any releases or bands under Sumarian Records belt, then you probably heard of the metal band ERRA and Jesse Cash!  Stepping away from the more heavier sound, Cash has created his own solo project, a more melodic alt-rock approach with an immense amount of emotion driven lyricism. His solo project is called Ghost Atlas. Cash had previously created under the Ghost Atlas name in 2014 with Gold Soul Coma and then in 2015 with the Immortal Youth EP. Now with the full-length All is in sync and there is nothing left to sing about is set for release independently on November 17th. This review will help not only spark your interest, but enhance your need to feel all across the emotion spectrum.

    ghost insideThe first single off the album, “Legs,” sets the alluring tone and foundation for the piece.  It compounds a very dark and melancholy setting which is created by Cash’s mental state and musical influences. The melody really resonates inside the listener. You feel like you are being seduced by something wicked, but the temptation is very much there with the need to explore deeper into that realm. The sound of the drums sounds like your very heart is about to give out with each passing second. The bass plays with that idea well as it creates a very soothing, yet uncomfortable tone. I feel what really gives this track the passion and drive the most is the guitar combined with Cash’s vocals.  The high screams are vicious and the more calming vocals really do play on that high emotional factor. It does feel as if you are fighting to be both good and evil at the same time with some inner demon. It is both a demon and an angel that you will find yourself becoming with “Legs” as the puppet master.

    Some tracks from groups can really make you feel like you are about to lose it all, yet slowly but surely, grounds you where you need to be. The song “NightDrive” is that very song where you can set your inner most secrets free. It starts off  on a very sorrowful note. The slower pace of “NightDrive” really creates that atmosphere and it could be described as almost suffocating. Cash implementing so much of the human psyche in this track, if you listen closely enough and feel enough, the lyrics starts to paint a picture. The need to find where you belong in this world in my opinion shines in this amazing piece of audio. If you ever had any skeletons in the closest, this song really makes you try to confront them. The over the top slow, but heavy melody-induced guitar playing in the beginning slowly crates your trouble mind into submission. Halfway through, the chaos starts to awaken in the tune. You really do feel as if you are struggling to find a way out of a bad situation. The bass and drums propels the listener to different dimensions of the inner workings of what makes us human. Cash continues to serenade and becomes the medium for the listener to discover the most surreal self-awareness inside ourselves.

    With his time with ERRA, Cash still knows how to create some great explosive creative pieces as well. “Badlands” is the track that has a real punch to it. The overall theme of the album is still found in here, but it does have more attitude than the other tracks on the album in my opinion. You have the whole idea that things are changing around us, which  it is something we all know very well, and is something we have to deal with in this world. The bass comes alive in this, letting down a solid catchy bass line. The drumming is very addicting to follow along to while getting lose in the world Cash has created. I would say “Badlands” is the song off the album that will make you move around a bit with a sense of questioning what you are willing to change in your life, while getting lost in the event of experiencing new things. I have a gut feeling this song might be one of the most adored tracks. among be masses!

    All is in sync and there’s nothing left to sing about is the very manifestation of Cash’s emotions and ideology. Investing thousands of his own money into the creation of this  project comes to show how much heart and blood he has placed into this. This album will destroy the charts in the alt-rock genre without a doubt in November. If you like Deftones with a hint of mid-2000’s alternative influences, you will find a new album to be obsessed with.  This album gets 4 out of 5 from me. Do not forget to pick up your copy on November 17 on the official bandcamp.

    Key Tracks: Legs, NightDrive, Badlands

     

  • Primus Still Sucks, Ambushes Albany’s Palace Theatre

    Primus has never fit the mold of conventional music, so it was only fitting the trio helped kick off Halloween weekend in appropriately eccentric style. Playing to a sold out crowd of not only those who grew up on Primus in the eighties, the packed Palace Theatre housed an audience that ranged from elementary-aged, youthful rockers to unsuspecting parents with college students. Having only performed in Albany three times prior, the fourth run-around brought tricks on stage and treats in unique encores as bodies dressed head to toe in spider webs, sequin dresses and spooky masks trashed around for a three-hour show. Yes, Primus still sucks.

    Equipped with video screens behind them, Les Claypool, Larry LaLonde and Tim Alexander began the night with the help of quirky British flash animation series, Saladfingers, as the first set was jam-packed with Primus favorites. Quickly following, “Too Many Puppies” spiked ultimate excitement in the regal downtown Albany venue. While the short, hard-hitting tracks seemed fleeting, “Sgt. Baker” found its way into an energizing “Too Many Puppies” sandwich as technicolor prisms were projected onto the Palace ceiling and Claypool stomped circles around the stage with grit. More classics like “Last Salmon Man,” “Mr. Crinkle” with a Zeppelin “Kashmir” tease and “My Name is Mud” popped up throughout the set with tempo-matching,  psychedelic video footage before a fun “Candy Man” called for clips of hypnotizing and colorful candy-like claymation.

    Primus Still SucksLaLonde and Les Claypool left the stage for an anticipated drum solo as a hooded Alexander led the show. Claypool shortly returned while sporting a pig mask and breaking out the Whamola for entrancing sounds. This time, the video projections offered clips of instrument strumming, as it matched up perfectly in sync with the live strums of Claypool’s Whamola. Interacting with the audience every so often with small interjections like “beautiful building you’ve got here,” Les Claypool asked the crowd to guess the ending track of set one with the firm strike of one note. Without a doubt– “Jerry Was A Racecar Driver” would close out the night with clips from the music video displayed symbiotically.

    Trading in a pig mask for a ram head, set two unleashed the force behind the Ambushing the Storm tour as Primus shredded through their latest studio effort, The Desaturating Seven, finding applause during every passing silence.  Eerie cartoon goblins found their way dancing across the screens in the Palace, the same ones from an Italian children’s book, The Rainbow Goblins. The newest album was heavily influenced on the Ul De Rico-written book, one Les Claypool used to read to his children. Played front to back, the unique seven-track album reminded everyone why Primus still sucks after all these years. On the heels of ending a grimy Halloween weekend performance, the trio ended with a triple-header of an encore with special dedications to the devastating fires in California. “Groundhog’s Day,” “Wynona’s Big Brown Beaver” and one they rarely ever play, “Tommy the Cat,” all welcomed extended guitar solos and wicked improvisation from LaLonde as well as shrieks and rock on symbols from the crowd.

    Primus Still SucksWith their last Palace Theatre gig in 2014 and before that 2009, for some this was a short-lived chance to catch the seasoned rockers in person.  There are two situations where walking by talking animals and skipping pirates is the norm: during halloween festivities and leaving a Primus show,  as a satisfied audience quickly flooded out of the venue and infiltrated an already amped up South Pearl Street crowd.

  • Hearing Aide: Veil of Maya ‘False Idol’

    Veil of Maya the metalcore quartet based out of Chicago,IL was founded in 2004 by Marc Okubo and Sam Applebaum. The band is currently on their sixth album release with False Idol being the latest album released off of Sumerian Records. Including Okubo (guitar) and Applebaum (drums); the band also consists of Danny Hauser (bass) and Lukas Magyar (vocals).

    Their new album False Idol released on October 20 is the follow up album to the 2015 album Matriarch. Following in the direction they lead off with Matriarch, False Idol continues down the strong melodies and hard vocals that preceded this album. Right off the start “Lull” leads perfectly into the second track on the album “Fracture.” Magyar’s vocal range is really shown off in this song as he hits very low and high pitched screams into melodic singing. At the two minute mark, the song slows down and you can grab your dance partner as the melodies of the band and Magyars vocal make a beautiful blend. The pace is brought back up with eerie keyboards and chuggy guitars.

    “Overthrow,” the first single released off of the album is one of those songs that when you hear it at a concert, in your living room, or your car; wherever you are you immediately begin to bang your head, as this writer is as he is listening to the track. Once the chorus hits…

    “We refuse to live, Only sparing breath, We’re caged in silence, We will soon begin, Bringing forth the end, To all this madness, Hold me high above the rest, We speak through defiance, We refuse to live, In this pattern of death, Return the violence”

    Try to not sing along with it when you hear it all blended together pumping through your ears. The song hits a massive breakdown and puts you into a zone that leaves you wanting more and more. When the song finally ends you look around and realize that you’ve destroyed your house thrashing and dancing around to the track.

    “Graymail,” the eighth track on the album starts off at a slower pace and works its way up to the quick pace the album had previously established. The chorus of this song has a very powerful message that is proved with the lyrics and the power of the band behind them:

    “To the honest man I’ve broken apart (broken apart), But they fail to understand that, Their ridicule has made me what I am”

    To anyone that has been pushed around, bullied or felt unwanted by those around them, these lyrics will make you want to stand tall and look at yourself in the mirror and say screw the haters, the doubters and all the naysayers, “I am who I am and those that have caused me trepidation can kiss my ass.”

    Veil of Maya have hit the ground running with False Idol, this album from front to back is a masterpiece. Every note sang and played is so perfectly melded together making you want more and more. Follow Veil of Maya on Facebook, Instagram and Twitter

    Key Tracks: Lull, Fracture, Overthrow, Graymail

  • They Fought the Law and the Funk Won: After Funk Debuts Latest Video “Freak”

    After Funk has released the video for “Freak,” the first single off their album set to be released in Spring 2018. Shot in Toronto, Ontario, Canada and Tampa, Florida over last New Years, the video follows two criminals, Donnie and Lou, who flee with their winnings to South Florida, and the detectives who track them down.

    After Funk is currently wrapping up their Fall Tour with shows in Hamilton, Ontario on Saturday 10/28, Boston on Wednesday 11/1, Providence on Thursday 11/2, Bridgeport on Friday 11/3 and wrap things up on Thursday, November 30 at Java Barn in Canton, NY.

  • Hearing Aide: The Ghost of Paul Revere ‘Monarch’

    As autumn sets fire to leafy landscapes, The Ghost of Paul Revere is turning over a new album, Monarch, transitioning through the seasons with an altered lineup, but staying true to their self-proclaimed “holler folk” inclinations.

    ghost of paul revere monarchMonarch emerges Oct. 27, borne from the minds of Ghost’s three mainstays: Griffin Sherry (guitar/vocals), Max Davis (banjo/vocals) and Sean McCarthy (bass/vocals). Though the recent departure of harmonica man Matthew Young has trimmed Ghost to a trio, by no means has their sound been diminished. This album abundantly features a kaleidoscope (also the term for a group of butterflies) of instrumental contributions including drums, cello and piano.

    Thematically the songs hover heavily over heartache, with lyrics written by Sherry and Davis. Sherry’s more straightforward, relatable verses are delivered with a slight gruffness compared to Davis’ more poetically descriptive, obscure language and delicate vocals. The three musicians harmonize beautifully, adding a warmth to even the saddest of songs. Several of the songs pose questions for the introspective: “Little Bird” asks “Do your bones feel hollow? Do you tremble and shake? Do you cry when you’re all alone?” “Kings Road” ponders “What will you tell the dogs of your past? What will you tell the rest of your bloodline pack?” “Montreal” achingly offers “Are we growing apart or are we growing up?”

    Not many songs on this album will induce a stomp and clap barn dance, but the music is gripping. The musicians add weight to their lyrics through beautiful intonation, where seemingly mundane words suddenly become powerful. There is a lot of power in feeling pain. Hardship often leads to metamorphosis.

    Catch The Ghost of Paul Revere as they swing through the southern states into early November before heading up north, where they will play at Rough Trade in NYC on December 2 – be sure to keep an eye out for Monarch, released via Kobalt Music Recordings.

    Key Tracks: Little Bird, Wild Child, Monarch

  • Hearing Aide: Lespecial “Cheen”

    Scheduled for release on Halloween of 2017, Lespecial return with their first full album since 2015’s breakthrough album, Omnisquid. Continuing to forge their unique sound and amalgamate several genres, Cheen showcases the power trio’s considerable talent and innovation.

    Originally from Connecticut, Lespecial has spent several years cultivating a dedicated fanbase with a sound that cleverly interweaves psychedelia, technical math-rock, metal, electronica, and a tribal influence that feels like it comes from deep in the jungle.

    lespecial cheenThe entire album has the coherent flow of a concept album, with its many themes seeming to bleed effortlessly from one song to the next. The introductory track, entitled “Donut Ghost House 1” sets the mood with a creepy, moody instrumental that slowly builds up with a hypnotic bassline and ambient keyboards, before the somber opening riff of “Onlookers” leads to some thoughtful verses. One of the notable improvements Lespecial has made with this album is an improvement in both vocals and lyrics.

    The third track, “Jackwise” begins with a treading drum beat and an incredibly memorable heavy metal riff, followed by a catchy, funky verse. They really show their propensity for genre-bending here, as this song has elements of metal, funk, reggae,  and rock. It’s followed by “Sound That We Do (Featuring Zion I,) which begins with a Middle-Eastern influenced guitar riff that quickly supports rapper Zion I’s angry, prophetic and politically-charged verses.

    “Gallows Hill” opens with a spacey keyboard riff before dropping into a mellow, jazzy groove that takes the listener on a spacewalk. The song steadily builds as the verses are sung, then morphs into an infectious rythym as the bassline climbs and climbs. “Pentachronic” follows afterward, juxtaposing the sad, atmospheric nature of the last song with a whimsical, vibrant instrumental that manages to still deliver a high energy while sounding undeniably peaceful

    In typical Lespecial fashion, this levity is short-lived, as the aptly-named “Skull Kid” follows, shedding darkness on the listener with more Middle-Eastern influence in the guitar and a tribal drum sound reminiscent of bands like Tool. The following guitar riff is simultanously heavy and quirky, and the rest of the song plays like an ominous horror soundtrack, complete with spooky samples. “American Apocalypse” starts with a fast, funky, slappy, bassline, and continues with a sound that only be described as a cross between horrorpunk, funk, and metal. The lyrics and lyrical deliver remind strongly of Les Claypool and Primus.

    “Stolen Land” begins the process of winding the album down with a slow, trancey, reggae sound, as well as some highly accusatory lyrics before “Donut Ghost House 2” bookends the album. Lespecial’s new release, the dark, atmospheric, trippy, and over-all fun romp into the weird side of rock music, arrives just in time for Halloween in 2017, and proves that Lespecial is starting to gain some serious momentum in the music world.

    Key tracks: Gallows Hill, American Apocalypse, Skull Kid

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