Ocular Panther, a prog rock band hailing from Rochester, NY, recently released their new album Insistences. With interesting chord progressions and guitar riffs, each song has a new, fresh sound that is easily distinct from the rest. Each track has an extremely full sound through the harmonies of each instrument, giving way to one large, almost orchestral sound. The band consists of members Jason Gilly (bass), Michael Pantano (guitar/programming), Collin Jones (guitar), and Tristan Greene (Drums).
The largest thing that sticks out is the repetition of the beginning riffs. Everything starts out simple and gradually builds almost to the point of being out of control but is as chaotic as can be while remaining clean. In “Protactinium” the basis of the whole song stems from the beginning guitar riff, which is gradually added on to with accents from other instruments, leading up to a finale ripping guitar solo and finally ending with a sudden halt amidst all the disarray while avoiding a sloppy finish.
The final track “Ellipses” is easily the most avant garde of the whole album. Filled with white noise and other sounds indicative of outer space, the title of the track is a message that there is a lot more to come from this band. So, prog rock fans get ready, because Ocular Panther isn’t finished yet!
The sort of plasmic, shape-shifting rock and roll spawned by The Southern Belles of Richmond, VA, has been released to humans everywhere for their listening and dancing pleasure on August 5. Their third album, In the Middle of the Night, is oddly akin to Willie Wonka‘s three course dinner chewing gum, in that, through the consumption of one product, several flavors can be indulgently experienced in a brief period. At least by listening to this album, no one will need a swarm of oompa loompas to roll them to the juicing room… that we know of.
This album dives deeper than their previous release Close to Sunrise, offering heavier jams, tighter instrumentation and an overall more spacious and grandiose sound. The Southern Belles is Adrian Ciucci (guitar), Tommy Booker (keys), Aaron Zarrow (drums), and Derrick Englert (bass). In the Middle of the Night was recorded at The Ward recording studio in Richmond.
“Everywhere 1” floods the eardrums with runaway guitar like an antsy racehorse exploding out of the starting gate. In under a minute the tune relaxes before getting groovier, continuously arousing the listener’s curiosity. Ciucci’s vocal tone is a crosshatch of Motion City Soundtrack’s Justin Pierre and Jimmy Eat World’s Jim Adkins. The song culminates with an uplifting message of gratitude: “Everything I try to be, there’s someone there reminding me/ Life is grand, we’re so lucky/ And it’s amazing everywhere it takes me.” This closing sentiment is a suiting cap to the opening song of an album, almost an anthem to their success, four musicians converging, playing their brand of music together in a way no other combination of musicians could exactly replicate. Something to be thankful for.
“Deja Vu” offers a more somber beginning, with higher octave backing vocals that emulate The Flaming Lips with a sea of airy voices echoing Ciucci. It shifts from whirring organ to bouncy guitar, offering an uplifting release from the heavier tone. “L.A. Moves” opens with delicate guitar and elements reminiscent of NY synth-rock band Jimkata. “Tryin” promptly brings the Vulfpeck vibes with playful keys before escalating into a rock-opera ballad replete with gospel-like vocals and undulating tempos. The album closes with “Everywhere II,” trickling in with calming water effects, muted organ and vocals with Pink Floyd connotations before Ciucci utters the heartening sentiment, “Just know in the end you’re gonna get where you’re goin, so take good care of your friends/ They’re the only ones who know you and the only ones who care so be kind and fair.” The song then picks up tempo and finishes on a high note with a cathartic swirl of guitar and pounding drums, bringing it full circle to the beginning of the album.
In the Middle of the Night was officially released on August 5 at The Broadberry in their hometown. The single is being streamed via Soundcloud and their website, and can be heard on SiriusXM’s Jam On. The Southern Belles have been touring the East Coast leading up to the album release, and will hit the road again for their fall tour. They will be playing Saturday August 12 in Capon Bridge, WV at La La Land, followed by the Peace of Mind Fest in Halifax, PA on August 31.
You find yourself in bed with the wind screaming outside your bedroom window like a banshee. Shadows dancing and morphing into sinister shapes upon the walls . Indeed the world is different once the warm embrace of the sun abandons us in the hands of the unknown abyss. Demons both of man and out of this world come out to play. Seducing the weak and creating nightmares that no man should ever experience, but there will always be some who seek out these dreaded apparitions. For them there is a soundtrack that catches the beauty of the night, I am speaking of Danzig’s 2017 release Black Laden Crown (released via Evilive Records). Here is another album review for those who love all things metal and dark!
Black Laden Crown is Danzig’s first original album since 2010’s release of Deth Red Sabaoth. The album features Glenn on vocals as usual and Tommy Victor behind the devil’s axe. You have Johnny Kelly, Joey Castillo, Karl Rokfist, and Dirk Verbeuren featured on this release for drumming sessions on the album. Recorded at East West Studios in Hollywood, California, Danzig once again generated his own brand of metal mixed with blues with the help from the undead! The track that really sets the mood for the album is the first single, “Devil On Hwy 9,” which first premiered on Full Metal Jackie’s show Whiplash on April 02, 2017. This song starts with a strong, straight for the throat blues-induced attack. The guitar solo by Victor and the slow bass playing really creates that sense of becoming dangerous for the listener. The drumming on this track by Castillo is a savage skull beating, which no man can help but feel the tribal need to go out on a hunt. With the lyrics being so simple and addicting, fans will imagine themselves behind the wheel on a forbidden highway with demons flying by and cursing through the night. With Glenn’s vocals being so raw and deeply disturbing, it gives the track a real element of morbid obsession. A perfect song to drive late at night. Just make sure you keep your eyes on the line!
With “Devil On Hwy 9” being such a direct approach of pure danger and blood boiling elements, we see this element in some other songs like “But A Nightmare” (Dirk on drums). Now we all do love Danzig for his slower stuff as well. I am a blues and a metal fan at heart, but sometimes the slower songs can be much heavier in terms of approach compared to the aggressive counterparts. With the second single “Last Ride,” it has that eerie sensation running down your spine as if death is waiting for you to greet him in your blacken room. It is very much in the veins of Black Sabbath and The Doors with the slow bass line and a wall of sound from the experienced mixing hand of Chris Rakestraw, which helps develops the vibe of the track. You see this same direction on the final track on the album, “Pull The Sun.” These two songs contain so much dismay and loathing you will find yourself drinking to these tunes at the bar with your friends. Pray that it is not your last drink my friend!
This album is a solid release from start to finish. This album is perfect for both metal fans and blues fans. With so much influence from past and new releases, this album is in my top ten of favorite albums to be released halfway through 2017. This album gets 4.5 out of 5 stars in terms of production, lyrics, and imagery. If you haven’t picked this beauty up, then you are missing out on something that is both dark and beautiful. Pick it up now through the Danzig official site.
Key Tracks: Last Ride, Devil On Hwy 9, Pull The Sun
Cycles is a three-piece band from Denver, CO that performs “psychedelic rock fusion” with a blend of other genres like jazz, funk, and more. The band features Patrick Harvey on guitar, Michael Wood on drums, and Tucker McClung on bass and vocals. They’re celebrating the release of their new album Vacation with a show at Cervantes Masterpiece Ballroom on Saturday, June 3. This new album comes a little more than a year after their 2016 EP Loads of Fun.
Vacation was masterfully recorded in Blackhawk, CO at Mountain Star Studio. There’s a high attention to detail with every note throughout as the band writes each song themselves. The title track on the album kicks off with a great instrumental build into the lyrics where McClung sings that “you’re just along for the ride”- the ride through this aural vacation of an album. “The Aloe Parade,” cleverly named after the post-beach sunburn remedy, features some funky bass techniques throughout that are sure to have listeners grooving along. Instrumental track “Green” sounds like a tune you want to have playing as you drive to a great vacation destination to somewhere open and scenic.
Characterized by repetitive rhythms and clean doubling between guitar and bass, ”The Store” is quite unique with its various changes and phrasing. The listener doesn’t stay too comfortable in a mode before switching. The band artistically paints the picture of a day in “Twilight” with ascending chordal motifs in the first half of the song to show the progression of the sun, and descending motifs once ‘twilight’ hits, signifying the sun has almost set. To ruminate means to meditate or ponder. “The Ruminator,” a funky and slower jam, shows the process of pondering a situation or making a decision. The listener thinks the song is over about halfway through it, but the driving ride cymbal lets you know that the song isn’t quite done, showing a thought or idea changing its shape during the second half.
This album blurs lines between genres and takes listeners on a sonic journey. The album is quite symbolic inside and outside of the lyrics, and each song plays around in different modes showing the diverse capabilities of the group. It’s evident that they strive for variety in both their recordings and performances. This album accurately reflects the groups’ writing talents and individual musicianship as they manage to produce a full sound with just three members.
Cycles is hitting the road this summer on a tour appropriately called the “Summer Vacation Tour.” They’re set to hit many spots around Colorado and they’re branching out of state to Kentucky, Ohio, Illinois, Texas, and more. Try to catch them in action on the road!
New York hip hop is often thought of as music with a classic “boom-bap” style beat, intricate rhyme schemes, vivid lyrical content, grittiness and smooth flow. When people think of NY hip-hop, the five boroughs and their respective legends come to mind…But everyone always forgets about the suburb attached to the City’s hip; Long Island. When you think of Long Island, you think of rich people, strip malls & mindless self-indulgence. Musically you think of pop punk and garage bands. But walk into a Long Island bar or music venue and you might just catch a rare breed; the Long Island emcee. Among this rare breed there’s a sound that would be hard to forget; Doug G the Nightchild performing tracks off of his EP Nightchild.
The Nightchild EP coincides with the change in Doug Gallardo’s moniker from “Doug G” to “Doug G the Nightchild.” Going for a darker, grittier route in both instrumentals and lyrics, songs on the record cite feelings of disgust, hate, rage, teetering on brokenness and impending apathy. In other words, the boiling angst that can be found in the millennial counterculture. Doug delivers this feeling through hard-hitting, atypical beats, clever word play, smooth flowing multi-rhyme schemes and tons of vocal energy that most people can’t muster live nor in the booth.
“66669” is the song that will get the audience jumping and shouting back the lyrics. The hook is as simple as the chant “six-six-six-six-nine” over a trap style beat, with edgy, aggressive vocals. “66669” in context of the song is Doug being the “devil” and “69” being what he’s doing/will be doing to your girl, the game, etc. My initial reaction to the song was “damn that sh*t is thug as f*ck”…but the Nightchild isn’t thug, just a real NY lyricist.
Doug captures the essence of what he’s living and feeling a la songs like “Death to Your Drug Dealer,” which captures the state-of-affairs on Long Island where addiction to heroin and opiates runs rampant. The issue of this poison ruining the lives of young men and women is one that many listeners will be able to connect to. “Emotionless” expresses the guttural feelings of “hating the pain away,” and taps in to the apathy that most millennials are feeling.
Overall, this five-song EP does two very essential things; it snapshots an energetic and constant performance that would appeal to a new listener, and it gives Doug’s established fan-base something with a lot of substance and some new flavor to enjoy. By being able to accomplish these things, Doug G The Nightchild continues to grow his following both online and at live shows. What makes this EP a noteworthy piece of art from the Long Island music scene is first and foremost Doug’s vocal performance and energy. Without having to utilize a singer, catchy hooks or overbearingly fast flow (disclaimer; people are dumb enough to think rapping fast equivalates to having the best flow), Doug establishes a unique sound that captures your attention throughout the entire EP.
Be on the look out for Doug G the Nightchild at a NYC or Long Island music venue, often performing alongside his counterpart Bearded Legend as BLDG.
Key Tracks: 66669, Emotionless, Death to Your Drug Dealer
Matisyahu may have found a unique niche in the Jewish reggae and hip hop scenes, and with the 2017 release of his sixth studio album Undercurrent, his religious convictions are woven into a stream of consciousness that flows between genres throughout the album. The album was described in a recent press release stating, “The vulnerability felt throughout the lyrical narrative comes from acceptance in uncertainty. “Step out into the Light” sets the tone for the record, as Matisyahu delves into a musical reframing of the Jewish philosophical differences between the constant of faith and the immediacy of trust.”
Matisyahu completed the album with a team of esteemed collaborators including some who have a long history working with Matisyahu on past projects. Aaron Dugan (guitarist), Stu Brooks (bassist), Joe Tomino (drums), Tim Keiper (drums) Cyro Baptista (percussion) and Big Yuki (keys) serve as the vehicle through which Marisyahu delivers his rhythmic remarks.
Undercurrent serves as the musical checkpoint along Matisyahu’s continued journey of seeking greater truth within himself and the world around him. “Step out into the Light” opens the album with a modern hip hop vibe. Matisyahu quickly entangles the album with religion, mentioning a dreidel in the first few lines. The lyrics are at times ambiguous but flow well. Matisyahu offers some seemingly deep philosophical musings but leaves it to the listener to fully unpack their meaning
“Coming up Empty,” is more heavily produced than much of Matisyahu’s work and may catch fans off guard. “Blue Sky Playground” is heavy on the hip hop and is the first song on the album worth a head bob or two. Halfway through, the nasty hip hop groove fades to a mellow jam which rounds out the eight-minute track. “Forest of Faith” is easygoing and pleasant on the ears with instrumentation that sounds like a tropical xylophone. “Head Right” tricks the listener into thinking its a heavy rock tune, but quickly morphs into a hip hop/reggae hybrid and flips back and forth to the rock realm. “Driftin” concludes the eight-track album with a song that could almost be split into tow separate tracks. The first half serves as a low key hip hop track akin to Dirty Heads before the last seven minutes resort to minimalist instrumentation with Matisyahu displaying his beatboxing ability. This album will certainly keep listeners on their toes.
Key Tracks: Blue Sky Playground, Forest of Faith, Head Right
Those crazy kids from Colorado are it again. String Cheese Incident, one of the true pioneers of the modern jamband scene, has just released a feature length LP entitled Believe, their seventh studio produced LP and second with famed Talking Heads producer Jerry Harrison playing a prominent role. Spawned from an intensive, full band writing session in Sedona, Arizona in 2014, the songs on this album range from simple and laid back to complex and intense, showing just how much of a range SCI can navigate through these days.
Things pop instantly on the first and title track “Believe” with a quite funky, techno-ish groove that snakes in and out of some glossed up vocals led by guitarist/violinist/string wizard Michael Kang. “Sweet Spot” gives Keith Moseley a chance to shine on vocals on a feel good, simple number featuring his always steady bass play. One of the jewels of this recording is “My One and Only” which masterfully mixes the band’s rhythmic cohesiveness and heartfelt lyrics over a bed of pleasant violin and acoustic guitar before abruptly transitioning into an Irish folk dance ending of sorts, reminiscent of something from Riverdance. Along with vocal support supplied by Elephant Revival’s Bonnie Paine, it’s no surprise this song is in constant rotation on Sirius Satellite Radio’s Jam On channel. “Get Tight” is another one of those classic SCI songs that’s beautiful in its simplicity and catchy as all get out. Although it is very similar in nature to “Sweet Spot,” both songs elicit a relaxing, summertime vibe that would seem to fit perfectly in a first set when played live.
The following track, “Stop Drop Roll,” quickly changes things up and represents one of the true “dance” tracks on the album with evident elements of Daft Punk and Talking Heads (see: Harrison, Jerry). This one seems to be heavily influenced by the rhythm section of Michael Travis (drums) and Jason Hann (percussion) which would make sense as they comprise EOTO, an established EDM act that is no stranger to late night festival sets. “Flying” is really the only track that gives guitarist and founding member Bill Nershi a chance to take center stage and has a somber yet airy feel to it. “So Much Fun” gives keyboardist Kyle Hollingsworth a turn on lead vocals and has so much of an 80s pop rock classic feel to it that you almost expect Huey Lewis to jump in and sing a few bars. And perhaps no other track on Believe serves as a better example of the band’s current sound than the last one, “Beautiful.” Already well established in the live setting, this song meshes String Cheese Incident’s signature sound texturing and heartfelt, joyous, lyrics all while being powered by an infectious electronica-type groove.
Overall, this album does a nice job of keeping the listener engaged and mixing up different sounds and styles almost track to track. It showcases the band’s musical chemistry that comes from decades of playing with one another and a simple yet heartfelt songwriting approach, serving as a great example of both the band’s history and their current sound. This is a recommended purchase certainly for any SCI fan, but also for anyone who may be out of the loop and is curious what these rockers from the Rockies sound like today.
“Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.” She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.
During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.
Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.” Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally. He uses his music to tell stories of his life and experiences. Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons. After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres. His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review. It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.
After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days. I have so many feelings.” These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring. They will embark on yet another house concert tour entitled The Feelings Parade. After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail. Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests. In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers. We miss you already.”
The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs. No town is too big or small. No mansion is too sparkly and no barn is too dirty. No swamp lands are too filled with alligators and no desert is to dry. Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself. If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest. I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.
Ben Boivin: What covers did you play most frequently?
Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.
Scott Ferreter: I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.
BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?
MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.
SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.
BB: What was your worst show of the tour?
MB: New Orleans. For sure.
SF: Absolutely, New Orleans. Heiress to a fortune. Old school classism and elitism. Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!
BB: What was one of the best shows of the tour?
MB: That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived. That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia! In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.
SF: There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings. Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.
BB: If you had to spend two weeks at one venue you played, where would it be?
MB: Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.
SF: Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.
BB: What did you learn during your travels and would you do it all over again?
MB: If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from. Also, ethically sourced and produced merchandise is more expensive.
Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.
It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.
I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go. [There are] so many more things that I don’t know yet. I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!
SF: I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself. I would do it again tomorrow!
In a dark world, Bolendar and Ferreter use their music as the guiding light. Their compassion for the human race is powerful and their creative approach to going on tour is refreshing. The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss. Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.
The musically acclaimed John Mayer kicked off his latest tour at the Times Union Center in Albany, NY on March 31, 2017. This tour is in support of his recently released studio album entitledTheSearch For Everything.
The format of his concert included five chapters to help guide the audience through the show, which featured songs from his entire repertoire of music. The sets consisted of a digital backdrop that projected different scenes for each song. Mayer began by playing a set with his full band stretching as far back as his 2006 Continuum era to open the show with “Belief” and later playing “I Don’t Trust Myself (With Loving You).” During this first chapter, in addition to live debuting “Helpless,” Mayer stepped away from his sidekick guitar with a microphone in hand to engage with his audience during “Moving On and Getting Over.” He decided to play the hook back multiple times varying the speed and melody while breaking out unusual dance moves rarely seen in his live performances.
Not only is John Mayer a brilliant lyricist with a distinguishable voice, but he is also an incredibly talented guitarist. The second chapter of his show was composed of three well-known songs and referred to as the ‘acoustic’ set, allowing him to display his mesmerizing guitar skills. In this chapter specifically, the crowd could be caught singing along to every word of “Daughters” and his infamous cover of Tom Petty’s “Free Fallin’” where he was accompanied by band-mate and fellow guitarist David Ryan Harris.
Every concert on this tour also features songs from John Mayer Trio (JM3) during which Mayer excitedly invites the legendary bass player Pino Paladino and drummer Steve Jordan to perform alongside him. The trio reunited on stage to play both original JM3 songs and covers from the greats such as Chuck Berry and Jimi Hendrix. Each show on this tour features well-known, new and obscure tracks from Mayer’s vast musical library.
Some highlight performances from the fourth chapter were songs from his earlier record “Why Georgia.” Mayer also reminisced on the making of Paradise Valley before playing the light-hearted “Dear Marie.” After leaving the stage and returning for his full band encore, playing songs like the anticipated “Slow Dancing in a Burning Room,” Mayer exited the stage for what the audience thought was the last time, only to return a few minutes later to booming applause from the audience.
For this final chapter, the entire stage set was transformed into a blank white page except for the word ‘Epilogue’ which flashed on the screen. Mayer appeared alone on stage sitting at a white piano which he used to accompany himself for the final song, “You’re Gonna Live Forever in Me.” At the conclusion of the song, he walked through a stage door in the middle of the white screen that was not visible to the audience, leaving one to wonder if his passage through this door is meant to symbolize his continual Search for Everything.
Excitement amongst long-time fans started buzzing from the moment Mayer announced his tour. His opening show exceeded my expectations as the emphasis was placed upon the music with a tasteful amount of production elements. I personally can’t wait to see what he has up his sleeve for future shows and encourage all who have the opportunity to see him on this tour.
Setlist:(Full Band): Belief, Helpless, I Don’t Trust Myself (With Loving You), Love on the Weekend, Moving On and Getting Over (Acoustic): Daughters, In Your Atmosphere, Free Fallin’ (Trio): Who Did You Think I Was, Promised Land, Wait Until Tomorrow (Full Band Reprise): Blues Run the Game, Queen of California, Edge of Desire, Dear Marie, Why Georgia, In Repair
Encore: Stitched Up, Slow Dancing in a Burning Room (Epilogue): You’re Gonna Live Forever in Me
Arthur Moon, the transcendental Brooklyn-based project, has released its expanded debut EP entitled OurHead.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).
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 “BoldAffair” 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.
Ocular Panther, a prog rock band hailing from Rochester, NY, recently released their new album Insistences. With interesting chord progressions and guitar riffs, each song has a new, fresh sound that is easily distinct from the rest. Each track has an extremely full sound through the harmonies of each instrument, giving way to one large, almost orchestral sound. The band consists of members Jason Gilly (bass), Michael Pantano (guitar/programming), Collin Jones (guitar), and Tristan Greene (Drums).
The sort of plasmic, shape-shifting rock and roll spawned by The Southern Belles of Richmond, VA, has been released to humans everywhere for their listening and dancing pleasure on August 5. Their third album, In the Middle of the Night, is oddly akin to 
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The Nightchild EP coincides with the change in Doug Gallardo’s moniker from “Doug G” to “Doug G the Nightchild.” Going for a darker, grittier route in both instrumentals and lyrics, songs on the record cite feelings of disgust, hate, rage, teetering on brokenness and impending apathy. In other words, the boiling angst that can be found in the millennial counterculture. Doug delivers this feeling through hard-hitting, atypical beats, clever word play, smooth flowing multi-rhyme schemes and tons of vocal energy that most people can’t muster live nor in the booth.
The format of his concert included five chapters to help guide the audience through the show, which featured songs from his entire repertoire of music. The sets consisted of a digital backdrop that projected different scenes for each song. Mayer began by playing a set with his full band stretching as far back as his 2006 Continuum era to open the show with “Belief” and later playing “I Don’t Trust Myself (With Loving You).” During this first chapter, in addition to live debuting “Helpless,” Mayer stepped away from his sidekick guitar with a microphone in hand to engage with his audience during “Moving On and Getting Over.” He decided to play the hook back multiple times varying the speed and melody while breaking out unusual dance moves rarely seen in his live performances.
Every concert on this tour also features songs from John Mayer Trio (JM3) during which Mayer excitedly invites the legendary bass player Pino Paladino and drummer Steve Jordan to perform alongside him. The trio reunited on stage to play both original JM3 songs and covers from the greats such as Chuck Berry and Jimi Hendrix. Each show on this tour features well-known, new and obscure tracks from Mayer’s vast musical library.
For this final chapter, the entire stage set was transformed into a blank white page except for the word ‘Epilogue’ which flashed on the screen. Mayer appeared alone on stage sitting at a white piano which he used to accompany himself for the final song, “You’re Gonna Live Forever in Me.” At the conclusion of the song, he walked through a stage door in the middle of the white screen that was not visible to the audience, leaving one to wonder if his passage through this door is meant to symbolize his continual Search for Everything.