NYS Music 20​17

Tag: NYS Music

  • Balance and Composure ‘Afterparty’ Breaks Out for Night 2 at Monty Hall

    Reflection: Who did I really see? What turned out as a spontaneous, nearly three hour drive from New York’s capital region to Jersey City to catch Doylestown, PA natives Balance and Composure for a low key night of alternative rock, grunge and some newfound shoegazey material, quickly turned into what can be described as a Balance and Composure after party, an appropriate nod to a popular track on their latest album. I’ve been to my fair share of B&C shows and lets just say this one does not conventionally belong among the rest.

    Queens of Jean and From Indian Lakes opened up the second Monty Hall gig of the weekend on April 23 before the three groups took the reigns of their US. Spring 2017 tour. Frontman Jon Simmons took to the stage to prep for the set ahead–along with two other non-band members, which quickly generated buzz among the loitering fans. Simmons guitarist Andy Slaymaker and drummer Bailey Van Ellis, took their respective spots on stage, however, guitarist Erik Petersen and bassist Matt Warner were nowhere to be seen.

    Taking a glance around the tightly packed venue, it was evident that the calmer and probably older Balance and Composure veterans sat toward the back while the younger crowd channeled their energy and pushed their bodies to the forefront of the room. The two unknown members turned out to be members of the Doylestown, PA group on hiatus, Superheaven, bringing an evident “pop punkier” sound throughout the set.

    Without lineup explanation or further ado,  Simmons briefly addressed the crowd, thanking everyone for coming out for night two at Monty Hall in Jersey City– a place they’ve yet to play or “even knew existed.” It was clear Balance and Composure 2.0 was ready to kick things off for a night of fun, even with the unconventional or unexpected lineup. Making cryptic jokes and spewing one-off phrases and interjections throughout the show such as “well, let’s uh have some fun tonight” and “the band and I have taken a consensus…” I wasn’t sure if I had walked into the alternative rocker’s edition of The Twilight Zone or if Ashton Kutcher reprised Punk’d just for me, but confusion danced in the air as did I. Although not the run of the mill B&C show, there was only one thing to do– embrace it. (I later found out that Erik and Matt are in the midst of planning their own weddings. Congrats, guys!)

    The group’s third and most recent studio album, Light We Made, stirred up some fan controversy and genre expectations. With the help of producer Will Yip, they took a leap away from the grunge and angst given off on their debut album Separation and implemented auto tune and electronic drumming. Their sophomore release, The Things We Think We’re Missing, blended said genres with more wistful sounds and whimsical lyrics until their third album completely strayed away from their original angered disposition. Diving into Light We Made’s inaugural track for the opener, “Midnight Zone,” Simmons’ threw his hands in the air and began to groove, as the crowd followed. He began to sing through a mic which crafted his voice into the exact way it sounded on the album, certainly Kanye West-style auto tune, but airy and intriguing all at once.

    “Spinning” came next, further conjuring fans to dance and get movin’ before TTWTWM’s “Tiny Raindrop” and “When I Come Undone.” “Void” awakened the violent finger pointing, mosh veterans and long-time fans of the band, conjuring nostalgia and angst from their very first studio album which segued nicely into “Fade,” another heavy hitter. “For A Walk” definitely sits in its own category, as it uses mainly electronic sounds and beats and only makes sense it was delivered to the Monty Hall crowd during the band’s most electronic set to date. “Postcard” was fun to see in a live setting, as Bailey originally tracked the song with electronic drums. If you’ve ever heard of Balance and Composure, you know “Quake,” which was instantly proven as all sang along and rocked their heads to the classic fan-favorite. Next, the group executed  “Run From Me,” giving fans another opportunity to hear their latest Record Store Day project before a bust out of the calming and emotionally charged “Stonehands.” “Notice Me” found the most audience praise and participation as the ending lyrics and title were shouted loudly in repetitive unison with Simmons.

    “Afterparty” came next to accurately sum up the night’s theme. With a group of what seemed to be intoxicated high school girls screaming “well that was fun!” rap music blaring over venue speakers between sets, the makeshift lineup and the care-free, party mentality that Simmons displayed, it truly felt like the song’s namesake. A penultimate deliverance of “Reflection” and a final encore of “I Tore You Apart in My Head” found all fans pushing directly to the front. Whether you entered the Balance and Composure fandom at the grungy, ground level, jumped in during TTWTWM’s experimentation or just came into their new-found electronic explorations, all fans found themselves layered against one another for the final track of the night.

    I’m not sure if it was the atypical line-up, or the self-preparation before the show that shaped this one of a kind experience, but toss all factors together into a neat package and the hour and ten minute set proved to be quite a unique one– and one I’ll never forget. Balance and Composure never fails to deliver.

    Setlist: Midnight Zone, Spinning, Tiny Raindrop, When I Come Undone, Void, Fade, For A Walk, Postcard, Quake, Run From Me, Stonehands, Notice Me, Afterparty, Reflection, I Tore You Apart in My Head

  • Hearing Aide: Lotus ’86 Revolutions’

    From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the post-rock electronic jam band decided to share a live compilation album fresh off the heels of their recent journey. Titled 86 Revolutions, the 14-track release brings listeners through live takes of tracks pulled from the five-piece’s Eat the Light and Build, as well as dug up songs from Lotus’ developing stages as a group.

    “We had a new soundboard for this tour, and the multi-track sources sounded great,” said bassist Jesse Miller, who selected each track and mixed the album. “We release all of our shows, but this was an opportunity for me to spend extra time mixing to expose all the layers that build the Lotus sound.” Group improvisation is the name of Lotus’ game and Miller plays a solid hand in highlighting that through the albums construction.

    We’re welcomed into 86 Revolutions by percussion on “Debris” as Disc One introduces listeners to six tracks of high-energy jamtronica. The entire album can be found via Bandcamp, where more information is listed on track performance date, artist collaborations and more. Proven to be a solid inaugural track with tantalizing guitar, “Debris” is sure to get you grooving by the time Eat the Light track, “Anti-Gravity” ft. electric soul artist Oriel Poole, kicks in. Performed in Ohio, Poole’s soft vocals and lyrics of “You’re my anti-gravity, hold me so I don’t float away,” pair nicely with the spacey jams that help keep the dance mentality alive. At 7:30, the track’s sound takes a turn as it relies heavily on drums and keys until an ultimate fade out transitions into Nomad’s “Livingston Storm” from the very same gig. Loud cheers from the fans can be heard just before the five minute mark until tempo begins to pick up, slow down and do it all over again before closing out the track.

    “Sleep When We are Dead” comes as the first vocal-heavy choice, executed by the band members themselves with breathy vocals, a catchy “Surf Rock” chorus and clean guitar with warbling effects. Lyrics describe grabbing life by the horns, living in the now and of course an allusion to the age old saying “I’ll Sleep When I’m Dead.” Highlights from the first half of the release come in “Expired Slang,” which hails from the instrumental-heavy group’s outrageous performance at the 930 Club in Washington, DC. Hearing the track that’s never been included on a studio album through the buds of earphones and computer speakers does, in fact, do the song justice–which only makes one wonder how impeccable it sounded in person. The recorded take relinquishes zippy synth/keys and heavy electro-funk to end on a powerful note. Disc one’s closing track treats fans to another round of pleasing vocal harmonies and percussion breakdowns with lyric-heavy Eat the Light’s “When Our Nerves No Longer Twitch.”

    The second disc leads with a “Slow Cookin” sandwich, pieced between funky “Neon Tubes” Part 1 and 2 on each end. Recorded during their Aspen, CO gig, Greensfield begins to explore unique time signatures at about a minute and a half into the track. “Slow Cookin’” keeps things rolling with cymbal crashes, drum solos and percussion teases as the sampler and synthy vocals get ample attention. “Neon Tubes” rolls back around, transitioning in with whirling sound effects on the dance heavy song. Guitar harmonies and mastery on “The Opus” instantly draw attention inward for the track that was recently performed for the first time ever at the famed Port Chester Capitol Theatre.

    Quite possibly the cleanest sounding tune from the compilation, “The Opus” is another first-time studio album cut. “Rà-Àkõ-St,” originally by Lindstrøm’ and the first cover included on 86 Revolutions, outwardly appeals to the more electronic side of Lotus. The track is played in a triumphant key, as its improvisational volume and speed bounce from high to low and slow to fast. “Blacklight Sunflare” follows, with exploration of diverse sounds and elements, giving a more progressive rock feel to the album. The second and final cover comes as an ode to Talking Heads with a 9-minute “Moon Rocks,” originally off of 1983’s Speaking in Tongues, complete with David Byrne-esque voice inflection and new wave tendencies.

    86 Revolutions wraps up with an 11-minute “Umbilical Moonrise” off of 2003’s Germination, sure to send long-time fans into an extreme state of bliss. Appropriately placed as the ultimate tour closer, the track was the first to ever be penned by Lotus, giving a “full circle” feel to their start as musicians and conclusion of a triumphant tour. It’s fitting for a calm and reflective song, giving listeners time to unwind and reflect on the 86 day journey Lotus embarked on and condensed into 14, carefully selected tracks.

    Key Tracks: Anti Gravity, The Opus, Blacklight Sunflare

    Disc One

    1. Debris  8:39  
    2. Anti-Gravity feat. Oriel Poole >  10:22
    3. Livingston Storm  13:26
    4. Sleep When We Are Dead  6:12
    5. Expired Slang  10:56
    6. When Our Nerves No Longer Twitch  6:10

    Disc Two

    1. Neon Tubes Part I >  6:26
    2. Slow Cookin’ >  7:47
    3. Neon Tubes Part II  4:19
    4. The Opus  9:17
    5. Rà-Àkõ-St  7:20
    6. Blacklight Sunflare  7:52
    7. Moon Rocks  9:01
    8. Umbilical Moonrise  11:40

  • Joey Belladonna On His Vocal Longevity and That One Thing That Has Haunted His Career

    Oswego native and Anthrax frontman Joey Belladonna was recently interviewed by Roy Turner of Trickykid Radio. In the interview, Belldonna talks about his one regret that has haunted him, how he keeps his vocals on point through the years, and being asked to perform John Bush era tracks.

    Turner asked Joey Belladonna how he can still perform at a high level today after decades of performing, and if he thinks that he’s better performer now than in the ’80s. Belladonna responded:

    I just love music a lot. I strive on getting better; I work at it all the time. I’m real conscious of just elevating my vocals and just being in a band…I don’t want to go out there and not do it well. That’s why I’m always trying to do it better. I always try. I have a cover band too. I also do that on the side. We do four hours of classic rock.

    I really focus. I really try. I’m not in fear of anything right now. Back in the day when I first started, I didn’t know the music so well. Vocally, it was really a challenge to just find a way to sing over that stuff. Because I like to sing so I’m not going to do something outside of all the new styles you hear now, it’s just finding a way to make it comfortable and legible and fun to sing as I can. You realize there’s a lot of words in our stuff and the keys and the speed…it’s real hard to sing over that stuff and make it work.

    On being asked to perform John Bush era music when he returned to Anthrax:

    Personally, I felt we had enough music. I was just trying to be a champ and try something. For some reason, when we get that rivalry crap that went on, it bugs the shit out of me. I have nothing against him or nothing against them. I don’t sit around and have a grudge, but I didn’t want to try… It’s hard enough when you do covers but doing something with the singer of the old [version] of the band. He had it rough, because for the sake [of it], he had almost to do older songs because then they’d really be fighting the good fight there. For me, I didn’t want to get too involved with doing that. I didn’t want to keep opening that door and what was I trying to prove? I’m glad I don’t have to. I just don’t really feel like it. I could, I’m sure, I always felt, nothing against those songs, forget you ever heard them, we could have done any of those records and I think they would have been cool. We don’t know because I never did them before other than that.

    If he has ever thought about what would have happened if Joey Belladonna never left the band, and lent his vocals to Anthrax’s sixth studio album Sound Of White Noise:

    That will always haunt me. The fact that those 13 years went away and they’re gone. They’re just gone. Maybe I just feel good about it now, right? With all the crap… I could add to this, but at the end of the day, it’s all good. I’m really glad for the fans too, and even myself, I’m proud, but I also love that people are enjoying it and all of these new people are coming up and get to see what was there before.

  • Rikki Rockett Talks Hall of Fame and New Poison Music

    Poison drummer Rikki Rockett was recently interviewed by Tigman for Albany area rock station Q103. In the interview, Rockett talks about the possibility of new music with Poison, the Rock & Roll Hall of Fame, and how the band got its name.

    When asked whether he feels Poison deserves a Hall of Fame nod:

    I think we are, but I’m biased. [Laughs] Listen, honestly, I think the criteria for that is longevity, having lots of songs that have impacted people, which I think [we have] both of those things, and also a social impact. I think we have all three of those qualifications. So, really, I do. I think we should [go in there], for the sake of our genre.

    Rockett was asked if he is open to the idea of making new music with the band, and if he thinks that venture could possibly happen. He responded:

    There has been some talk. It’s acting on it is always the key thing. [Laughs] I would love to do it. I’ve been wanting to do new stuff for quite a while. I’m always thinking about ‘Okay, what would we do?’ Throwing ideas out there and stuff like that. I hope, I really, really hope, that maybe in the fall that we could go in and at least cut a couple of songs. Even if it’s not a whole record, we could get out there and do a couple of things.

    Tigman was curious as to how Poison became the name of the band, Rockett replied:

    Believe it or not, it was one of our road crew guys who spit it out. But it was with another name, like, it was ‘POISON something’ he said and we wrote it down and nixed all these other names and went back and said, ‘What if it’s just POISON and not ‘POISON anything else’?’ I forget what it was, what the extra word was that we threw in there. So we wound up shortening it to ‘POISON’ and went, ‘You know what? No one else has done it.’ And I love one-word band names. They’re easy to remember.

  • Ivan Moody Clarifies His Comments About Leaving Five Finger Death Punch

    Several metal and hard rock fans, and various music industry insiders, have always had a lot to say when it comes to Five Finger Death Punch frontman Ivan Moody. Over the last few of years, fans, music journalists and everyone else that has an opinion on this subject has always felt when it comes to Moody and his constant “meltdowns,” and “alcohol/substance abuse” problems, many are surprised that Moody has not been kicked out of the band.

    Moody was even replaced by All That Remains frontman Philip Labonte, to end the band’s 2016 run with Shinedown and Sixx: A.M., after Moody fell “ill,” and could not finish the remaining dates. As reported by NYS Music, many feel that Labonte’s time filling in for Moody was actually an audition and a possible glimpse into the future. So, at first, when several music news sites started reporting that Moody was departing Five Finger Death Punch after his 2017 commitments to the band started to circulate, not many were surprised that some kind of split between the band had finally happened.

    Hours later, Moody released a new statement saying that he’s not going anywhere.

    Moody’s KBPI statement read:

    I had a meltdown. I was like Kanye West without the money. To be completely honest with you, Death Punch and I have kind of come to a crossroads. We’re very proud of what we’ve done – years and years and years of work… It’s time for us to take our way and go do something else, so after this year… my new band, Villain… I’m so excited.

    After several hours, and no response for anyone in Five Finger Death Punch, Moody released a statement on the band’s Facebook page stating that Moody “sets the record straight,” with a link to the band’s website post of Moody’s statement about his comments to KBPI:

    It’s no secret that this has been a tough year for me and for my bandmates in Five Finger Death Punch. When you put everything you have into making music, both on and off the stage, it can be very frustrating when the music you work so hard to create is not allowed to see the light of day. I know we share this frustration with our fans too, who have come to expect new music from us – fans who mean everything to us. It is true that Five Finger Death Punch has come to a crossroads – and that crossroads is we’re all at a place where we will never again let someone or something hold us back from making music for our fans.
    The lawsuit by Prospect Park holding our new album hostage has taken a toll on me. I was in a rehabilitation facility when Prospect Park decided to sue the band last year, and that was very difficult for me to handle all at once.
    Yesterday I made a statement that was taken out of context by the media – a media always looking to create headlines that will make people click them. The truth is, I want to start a side-project like Corey Taylor has with Stone Sour or Maynard has with A Perfect Circle and I want to do it when Five Finger Death Punch’s deal with Prospect Park is over and we are out of this lawsuit.
    THIS DOES NOT MEAN I PLAN ON LEAVING FIVE FINGER DEATH PUNCH!
    The great thing about being a musician today is that you can explore your creativity in multiple ways without compromising your primary focus.  I learned this watching people like Corey and Maynard and I think their fans are glad they’ve put more music out into the world. I hope my fans are, too.
    All that said, Five Finger Death Punch fans can expect our next album via Prospect Park and we are geared up to tour all throughout 2017.  We are about to leave for South America and Europe and we have other dates TBD.
    All of us in the band have worked incredibly hard over the last 10 years to build this band and none of us are going to let that go just because our record company is trying to sabotage us.  I am sorry if the media took my statement as a resignation, but I assure you it wasn’t.” IVAN MOODY – vocalist Five Finger Death Punch

    Moody’s side project Villain will consist of members from Gemini Syndrome and Coal Chamber.

  • Formula 5 Gets By with a Little Help From Their Friends During ‘All Points North’ Album Release Party

    Capital Region jammers Formula 5 pulled out all the stops for their final All Points North album release party in Saratoga Springs in front of a full crowd of familiar faces and an exponentially growing fan base. After premiering the album in its entirety in New Haven with Relative Souls, the foursome decided to team up with the New Paltz-rooted The Other Brothers to serve up slices of true NY funk and soul on a Saturday night with a dirty laundry list of reasons to celebrate.

    From 8pm-10pm, fans rolled through the Putnam Den doors to enjoy the likes of a free keg with The Other Brothers set slated to rock at 9 pm. With a 15-song set, the six-piece of Chris Owens (vocals), Brandon Bera (drums), Gabe Marquez (keys), John Morrison (Guitar), Jared Nelson (Percussion) and Jordan Mendelson (Bass) kicked off the night with their rock and roll origins, soulful captivation and soaring vocals. Having convened in 2012 at SUNY New Paltz, the group is in the midst of preparing their first studio album, Jones. Having played shows for a few years and acting as seasoned veterans on the Rock and Roll Resort lineup, it’s a bit surprising that they’re only releasing their first album. At the same time, it allows you to get in on the ground level and perhaps grow with a band you’ve never had the pleasure of seeing or listening to before.

    From first impression, you could tell The Other Brothers’ sound and Owens’ powerhouse vocals provided a pleasing contrast to Formula 5 and what was to follow. As their set unraveled, each song found the front man, dressed in pale pink, rocking his hips back, forth and around town and further exploring his vault of dance moves. During a fun reggae-fusion tune, “These Cycles,” Owens’ charisma and onstage conversation demanded your attention–all that was left to do was listen and sway along with him. He often took the audience through anecdotes of how song titles came to be and strange one-off experiences that helped shape their musical contributions. It was hard not to keep your eyes locked on Nelson as his hands transitioned through tapping the congas and tossing a shaker, tambourine and rain stick for high points of the set, which also included Mendelson, sporting a Iron Maiden hockey jersey, impressively hitting quick tempo switches and odd time signatures on “Your Machine.” “Hit You Up” brought out the first guest of the night, Wavy Cunningham, to ease smooth tunes and a bit of rap into the set while the ending track of the night, “Levee for Free” had all fans on foot and Formula 5’s Joe Davis (also sporting pink) delivering tasty licks on guitar.

    The eclectic group of six will open up for Vulfpeck’s Theo Katzman on April 19 at the famed Capitol Theatre in Portchester, NY.  Looks like all is pointing North not only for Formula 5 but for these New Paltz natives as well.

    The Other Brothers Set List:

    Sleep Yo, Good Thing, The Man, Don’t Mean A Thing, Love Recedes, These Cycles, K2 in the Bathroom, New Friends, Can I Get It?, Why You Are, Hit You Up*, Game Show Radio, Your Machine, Bound, Levee for Free*

    * Wavy Cunningham

    $ Joe Davis from Formula 5 on guitar

    After a short introduction from a sincerely grateful and proud band manager, Pete Mason, Formula 5 immediately launched into their double header with transcending energy and multicolored lights boasting “F” and  “5” from the top corners of the stage.

    set the tone for their Saturday night gig with kinetic energy that only kept building. While fans may have heard the newer tunes from recent gigs and even more recent album release teases, it was the first time listening to the entire album in a live setting, lending their ears to Formula 5’s natural creativity and improvisation. Bassist James Woods sported a slight smirk all night, which could be attributed to a number of things, but we’ll just pin it on the electric energy and a “load-off” feeling of finally offering the band’s new studio album to the world. The merch table was freshly stocked with musical material both new and old, freshly crafted Trout Waters pins and newly designed T-shirts available for longtime fans and those just discovering their music.

    Having transformed a Kickstarter goal into reality, Joe, Matt, and James long awaited the night’s celebrations after pouring endless amounts of effort into their third studio album which follows their self titled debut album, April 2014’s Edging on Catastrophe and one live album, Live Five Vol. 1. The quartet implemented some classic strategies as well as newfound ways to draw a dancing crowd to their Putnam Den gig. Joe and Matt dedicated a few hours of their day to Albany’s own Madison Avenue Ben and Jerry’s shop on free cone day to dish out tasty frozen treats to Albany locals, hand out fliers for the album release show and spin their newest record to listening ears and the hungry humans attached to them–talk about a marketing triple threat. 

    Set one presented All Points North front to back, with friends Phil Chow on trumpet and Bryan Brundige of The Chronicles on trombone during “It Goes” paired with a loud exclamation of “I love horn-ula 5!” from the depths of the crowd. Not only did Brundige lend a helping horn on stage, he handles audio engineering at OverIt Media and aided the guys through their All Points North journey in the studio. A long set break brought set two, chock full of covers, a “Tweezer” tease and a loaded surprise sit in. Following a jam and “Booher’s Pass,” moe.’s own Vinnie Amico took to the drum kit during “Pedro” to sit in for the group’s drummer. The two seamlessly transitioned on and off stage while the drummer tried to use his surroundings to aid the beat to try and smoothly dip back behind the moe. veteran. Amico’s presence was unplanned, making the surprise sit in all the more sweet. The seasoned drummer happened to be hanging in the Saratoga venue before wandering into the back room and admitting  he was a Formula 5 fan and excited to see their set. From there, an organic sit in blossomed to cap off an already exceptional night.

    Next up was a double header of covers with Don Henley’s “Dirty Laundry” and Steely Dan’s “Hey Nineteen,” band and fan favorites alike. Appropriately closing out a night of well deserved festivities and completing a pretty solid song cover trifecta, the night was wrapped up into a funky package with a Phish phavorite, “Run Like An Antelope.” Keeping the momentum rolling the next day, the guys announced their participation at The Werk Out Music and Arts Festival alongside Dopapod, Emancipator, BIG Something, Spafford and more. They’ll keep the grooves going with a continued Spring 2017 tour as summertime bliss will bring Formula 5 tunes not only to the festival circuit but directly to phans during the Madison Square Garden Baker’s Dozen run.

    Formula 5 Set List:

    Set I: (“All Points North”)

    Come Along, Sad Bed*, Trout Waters, Pt. I & II, It Goes…^, Excalibur, The Birch Tree^, Q&A, Do Tell^, Figure Out A Feeling^

    Set II:

    Jam -> Booher’s Pass, Pedro$, Dirty Laundry$, Hey Nineteen!

    E: Run Like An Antelope~

    *Unfinished

    ^ Phil Chow on trumpet, Bryan Brundige on Trombone

    $ Unfinished, Vinnie Amico of Moe. on drums

    $Don Henley cover

    ! Steely Dan cover

    ~ Phish cover

  • 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.

  • Buffalo EDM Artist, Grabbitz Releases Video From Upcoming Album

    Buffalo singer, songwriter and producer Grabbitz, has released his music video for the single “Don’t Let Me Go,” which is off the artist’s debut album, Things Change, due May 19 on Grabbitz’s own record label, West Blood Records. The label is named after the street Grabbitz grew up on in Buffalo. Things Change is available for pre order.

    buffalo grabbitzGrabbitz has made a name for himself in his young EDM career. His remix of the Deadmau5 track “Silent Picture,” eventually led to the pair collaborating on the Deadmau5’s hit single, “Let Go,” where you can hear Grabbitz on vocals. The single peaked at No. 11 on the Billboard Hot Dance/Electronic charts, and has over 10 million views on YouTube.

    He entered the television entertainment industry, when he was called upon to provide compositions for the T.V show CSI: Cyber. His debut EP Friends, was a top 10 dance album on iTunes. His track “Here With You Now,” has over 4 million views on YouTube, and topped the Beatport Dubstep charts in 2014. Grabbitz’s follow up, Better With Time, climbed to #4 on the iTunes Dance chart. His Spotify song catalog currently has over 20 million streams combined.

    Born Nick Chiari, look for Grabbitz to show his stuff off as a live performer, as he plans to perform live shows this summer.

    Things Change Track Listing:
    1. Follow Me
    2. Don’t Let Me Go
    3. I Think That I Might Be Going Crazy
    4. Play This Game
    5. Break Me Down
    6. Pretty Little Melody
    7. Love Like That (Let You Down)
    8. Hold Steady (Better Days)
    9. Things Change
    10. I Shouldn’t Have
    11. A Tragic Interlude
    12. What I’m Going Thru

  • Lamb of God Taking Hiatus

    Metal Injection reports on a recent interview with Sixx Sense that Lamb Of God frontman Randy Blythe has stated the band will go on a hiatus following the bands summer tour. Blythe, in an recent interview, talked about needing rest from a busy last couple of years. In that time, he has dealt with being jailed in the Czech Republic for accidentally injuring a fan, leading to the fan’s death and a grueling touring cycle, in search of money after bills stemming from legal issues started to mount up.

    Lamb Of God is on tour all summer, starting in South America on June 6, at Groove in Palermo, Argentina, with Carcass and Heaven Shall Burn. July and August finishes Lamb of God’s summer run in North America, before heading on hiatus following the Aug. 20 at the Comerica Theatre, in Phoenix, AZ with Slayer and Behemoth. The tour will bring Lamb of God to Madison Square Garden on July 27 for New Yorkers wanting one more chance to see the band before the hiatus kicks in.

    Blythe stated:

    I got out of prison and immediately went on tour, because I had five lawyers and they were just hemorrhaging money like crazy. I went from jail to home to, ten days later, being at Knotfest to home for a month or two, then out on tour with Lamb of God, then back to the Czech Republic to go to trial, found not guilty, then come home, then finish up the rest of our tour and finally end in South Africa. And then we took a little time off, but there were some changes in the organization and they started writing another record and we need to make money, so it was back in the studio. And it was back on tour again for this last record, and that cycle is not gonna end until August or September of this year, I guess. So it’s just been, like, grinding, grinding, grinding. And when I’m not on the road, I’m working on writing and photography.

    [These are] things that make me happy. But it’s at a point now where it’s like, at the end of this tour cycle, it’s gonna be like, boom, it’s time to take a break for real and concentrate more on writing and being at home with the family. It’s time for me now, at the end of this… ‘Cause we got off, after I got done with the whole prison thing and then finishing that tour, we got off the road and then we started writing a new record, and then we recorded that record. And we didn’t tell anyone that we were recording — nobody knew. They thought we were just chilling at home, and then we go on tour before the record even comes out.

  • Legendary DJ to Perform On Top Of Mt Everest

    EDM Sauce reports that legendary electronic dance music DJ and producer Paul Oakenfold will add another first to his list of places that no other EDM artist, or any artist for that matter, has ever performed. Oakenfold’s next stop, on April 11, will see the British-born DJ take the long and dangerous 17,000 foot hike up Mt. Everest and perform at the highest party in the world at the mountain’s Base Camp to celebrate the 3o year anniversary of the Second Summer of Love, which was the name given to the period in the late 80’s when acid house music and rave parties were on the rise.

    When it comes to performing in unique places, Oakenfold is no stranger. Oakenfold has been the first EDM artist to ever perform at the Great Wall of China, The Hollywood Bowl, Coachella’s main stage and Madison Square Garden.

    The venture will be part of Oakenfold’s “Generations World Tour,” which will cover six continents with new visuals, music and extended sets, playing tracks from a career that has lasted over three decades. Oakenfold will perform on two turntables and two Denon SC5000’s. For fans who can’t make the trip and climb the mountain, don’t worry, Oakenfold will live stream the Mt. Everest event through EXTREME.

    Oakenfold was voted DJ Magazine’s #1 Dj in 1998 and 1999. He has produced over 100 remixes for over 100 artists throughout his career including Madonna, Britney Spears, U2, Elvis Presley, Hans Zimmer, Dirty Vegas, P.O.D., Justin Timberlake, The Cure, Natasha Bedingfield, Moby, Massive Attack, The Rolling Stones, Crystal Method, Jennifer Lopez and The Doors. Oakenfold founded the EDM record label Perfecto, in 1989, which is still going strong.