NYS Music 20​17

Tag: rock

  • Foolin’ Around with moe. at The Paramount

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

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

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

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

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

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

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

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

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

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

    Encore: Don’t Wanna Be, New York City

    moe at the paramount

  • Hearing Aide: Gordon St. ‘Gordon St.’

    From Schenectady comes Gordon St., a rock and roll band known for their unique music and diverse cover songs in concert. The band is made up of four members including Dan Noonan as the lead vocalist and bassist, Ritch Harrigan on the guitar, keyboardist Mark Bertini, and drummer Jason Nowak. The group’s upcoming debut, self-titled album will be released in its entirety on April 29.

    Gordon St. features either original tracks including two singles on their album – “Right as Rain,” a song that seemingly begins as an acoustic number right before the electric sound kicks in with an ear-pleasing groove. “King of Hearts” has the listener following the infectious sounds of the drummer throughout the piece. Another featured song, “Until We Meet Again,” had me hooked from the beginning as it starts with a stripped down vocal accompanied by the organic sounds of snapping fingers.

    Other tracks that accentuate the raw musical talent of these musicians are “Peppermint Chamber” and “The Equation,” both consisting of instrumental intros. “Paranoid Jones” is yet another example of a song with a musical outro and exciting guitar riffs, which are commonly heard in the group’s music.

    Although the band’s genre is generally classified as rock and roll, Gordon St. draws from their many influencers to create an original sound. A number of their tracks experiment with different styles of music and subtly cross over into other genres as well. Take a listen for yourselves on their album release!

    Key Tracks: Peppermint Chamber, Right as Rain, Until We Meet Again

  • Hearing Aide: Grand Gesture ‘King of Cups’

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

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

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

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

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

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

  • Fishbone Reunited at the Fairfield Theater Company

    It was an interesting night for all of those that attended the Fairfield Theater Company on March 23. Most guests were obvious die hard fans of the eclectic group. People of all different ages were dressed for the occasion, bobbed their heads to every song, mouthed out lyrics and moshed their way through the center of the floor. But those who were unaware of the strange nature of Fishbone, seemed to be unpleasantly surprised by the brash and outrageous group.  Eight band members mobbed the stage, which was just a few too many for the venue to hold – there always seemed to be a competition between instruments and voices. It didn’t seem to bother those who were familiar with the music because they were recognizable inflections, but there were times when it was hard to make out the melody being sung from horn section, which made up a third of the band.

    The group is known for their diverse musical styles and tones. They range from funky and technical ska, to bold and brash thrash. But different venues work well for different bands and genres. For example, seeing Metallica at the Blue Note wouldn’t be very fitting, nor would putting John Coltrane at Red Rocks. This is all an outsider’s point of view as well.  Again, those die hard fans were having the time of their lives. But there were many out of place patrons (ones lacking leather clothing and chains) that left early or lost interest halfway through. Fishbone was undoubtedly very talented and professional and the venue has hosted some incredible shows that were perfect for it’s size,  but they  just didn’t have the space to let Fishbone loose. There were too many sounds and tones to be shoved through their PA system, which ranged from a theremin, to a fret-less acoustic bass guitar. It felt unintelligible at times, which was only true during the heavy parts.

    It wasn’t all indeterminable noise. As stated before, Fishbone is well known for there buck-wild performance and expansive genre selection. They played a well-balanced setlist, oscillating from ska, to punk, hard rock and back over again, so it wasn’t a constant barrage of sound the entire night. Ska and reggae styled songs like “Unyielded Conditioning”  were very well done. Each instrument could be heard clearly and it was enjoyable for everyone. But songs similar to “In The Cube” a ten minute hard rock/metal track about sitting on the toilet, were musically all over the place and contained too many tone variations for the sound system to handle, especially during the heavier parts.

    Again, no one was at fault here. The Fairfield Theater Company is a fantastic venue with a huge stage, open area, and Fishbone and Rebuilder, the opening act, did their jobs and did them well. Rebuilder is a punk/ rock band out of Boston Massachusetts and gave 100 percent. Their sound was a little familiar, pulling out all the stops listeners would expect from a punk band. But it was reassuring to see that genre of music still thriving.  Fishbone gave it their absolute all as well because this is the first time all of the original members have shared a stage for sometime. But somethings aren’t meant to go together. Like pineapple on pizza – great for some people, but just not a good mix for others. And when a band is trying to make a come back like they were, they need to appeal to as many people as possible, and a more intimate venue in central Fairfield was not the place to gain a larger audience.

    This may seem like the interpretation of an older, less tolerant soul. But rest assured, loud and brash music is still fantastic to see live, but only in the proper setting. Fishbone is a group known specifically for their wild performances, but just be sure to see them in the right venue to give listener’s ears some space to enjoy the music instead of leaving them ringing.

  • The Rest in Space Tour Sells Out Clifton Park

    The Clifton Park performance on Sunday, March 5 for the Rest in Space Tour may have left fans covered in pizza and Doritos, but smiles were stretched across their faces. Pierce The Veil acted as kings for a day performing at the sold out venue alongside Falling In Reverse and Crown The Empire as they all brought the Rest in Space Tour to Upstate Concert Hall in Clifton Park.

    The show opened with metal group Crown The Empire who kicked off their set with the hit “Zero” off of their most recent album, Retrograde. Crown The Empire kept the energy up from the very start of their set, encouraging fans to crowd surf to the front of the venue. Front man Andy Velasquez tried to encourage the action by discussing their tradition of having crowd surfers at the venue.

    During their hit “The Fallout,” a fan crowd surfed to the front of the venue with two beers in hand for the band. “Is this what I think this is? This is the best day of my life,” said Velasquez as he took the beers from the fan. This was the first time that Crown The Empire played a sold out show the Clifton Park venue. Due to this, there seemed to be additional energy and joy given off by the band. The set contained an entertaining performance by Velasquez by using all areas of the stage to get fans’ attention, as well as from bassist Hayden Tree and guitarist Brandon Hoover.

    Following Crown The Empire was the rock band Falling In Reverse who initiated a food fight during their set. Fans found themselves being victims of the “Bad Girls Club” after foods like Doritos and an entire pizza were rained upon them. Besides food being thrown around during “Bad Girls Club,” the song of the night seemed to be the way the crowd reacted to “Fashionably Late.”

    When the band started “Alone,” a fight broke out in the middle of the song, and as security escorted people out of the venue, Falling In Reverse decided to start the song over again. This was Falling In Reverse’s first performance at the Clifton Park venue since their headlining show in 2012 which resulted in front man Ronnie Radke leaving mid-set due to his disapproval of actions by the audience.

    After personally kicking out fans who came to the show to protest Falling In Reverse, this was the first time in four years that the band decided to play their set at the venue. Although this led to the show starting on an odd note, by the end of the set, Radke seemed grateful for the way the crowd responded to their set. The band all bowed together, as Ronnie thanked the crowd for the performance

    When Pierce The Veil took the stage, the sold out venue became the loudest it was the entire evening. All four members took the stage exhibited intense energy which included guitarist Jaime Preciado jumping to all parts of the stage. “Do you guys like to make noise out there, Clifton Park?” said frontman Vic Fuentes as the crowd screamed back at him.

    Their set opened with fan favorite “Dive In,” off of their new album, Misadventures. A more emotional song of the night, Fuentes spoke a little before performing their first single off of their new album, “The Divine Zero.” “I was a super timid kid and I didn’t have that voice yet, I didn’t have my confidence yet,” said Fuentes. For Fuentes, music became his, “one thing” to build up his confidence. With this, he dedicated the song to everyone in the audience.

    A treat for older fans of Pierce The Veil, for their Rest in Space Tour show, the band decided to do an acoustic performance of “Stay Away From My Friends,” a song off of their second full-length album Selfish Machines, and a song not commonly done by the band live.

    Besides the songs they performed, Pierce The Veil gave an incredible performance. There were minimal errors to be heard in their live performing in comparison to their studio recording. Vocals by Fuentes were crisp, and he was able to do harsh vocals that complemented that of their recordings. The guitar by Preciado was exceptional compared to that of their recorded work. During fan favorite “Bulletproof Love,” Pierce The Veil brought one lucky fan on stage with them throughout the beginning of the song for Fuentes to serenade.  “Are you ready to cut f-cking loose on this last song?” said Fuentes as they led into their encore.

    When it came to the end of their performance, Pierce The Veil closed their set with their intense, powerhouse song, “King For A Day.” The venue felt electric with the energy from the vocal performance by Fuentes, guitar by Preciado, the bass chords by bassist Tony Perry and drumming by drummer Mike Fuentes. The Rest in Space tour concludes on March 10 in Pheonix, A.Z.

  • Hearing Aide: Crystal Fighters ‘Everything Is My Family’

    Everyone needs some feel good dance music in their life and mainstream pop doesn’t always tickle the fancy of listeners. Crystal Fighters found a way to create a cultured, unique and all around fun album to enjoy, with past albums like Cave Rave and Star of Love inspiring some good feelings. A majority of their songs were uplifting but some had a darker, more intense feeling to them. Their new album, Everything is My Family, is a bit contrary to their prior work. It has a more straightforward structure to it and many characteristics of today’s pop songs. But the groups Bosque roots and use of organic instruments from that area of Spain sets this apart from mainstream pop songs and it makes for an interesting and different take on the genre.

    The sound isn’t the only thing that’s interesting; The story behind the group’s beginnings is almost too good to be true. Group vocalist, Laure Stockley, found her deceased grandfather’s unfinished opera that he started in his last days when he was deemed insane, according to The Guardian. Earlier albums were created in an attempt to finish and recreate some parts of the unfinished play, but that vibe and character they have created has taken on a life of it’s own which now isn’t so dark and insane. It’s more uplifting and motivational and heavily based around partying and having a good time.

    Some people might think the lyrics a little corny, but deep lyrical content was never the focal point of pop/dance music. Looking past that,  listeners will find the group has a great story and inspiration behind it, along with a tasteful twist on a tired out genre.

    “Yellow Sun” is up first and it could be seen as background music for a Corona commercial, where “twentysomething’s” dance  around a makeshift bonfire under a moonlit sky. There’s a fair amount of acoustic instrumentation with hints of synthetic sounds and it makes for a good segue into the moral/ direction of the album. The following track “Good Girls” has the same feel but includes more of a synthetic sound. They’re both key tracks that prepare listeners for Crystal Fighters’ change of pace.

    “Live For You” is the only ballad on the album.  It’s a spacey and euphoric tune that’s synthetically driven but includes a plethora of unique but pleasant tones that make it intriguing and immersive. Vocalists whisper lyrics through a slightly auto-tuned tone but it’s sung over acoustic drums and acoustic guitar which gives a cool contrast.

    “Ways I Can’t Tell” is one of their less impressive songs. It was definitely created for the rave scene. It’s very predictable and has no other purpose but as a build of for a drop. The drop isn’t really that special either, but it’ll make a nice addition to a dance/ pop playlist for die hard fans of the genre.

    “All Night” is going to be hit or miss with listeners too. It’s very tribal with light touches of synthetic instrumentation but it’s very busy and polyrhythmic, meaning there’s a number of conflicting rhythms and percussion instruments. It’s what gives music that primitive or tribal sound. Fighters uses it a lot in this album but it’s very prominent in this track.

    “Fly East” is one of the most interesting songs on the album. It builds in the strangest way and at first listen is completely unpredictable. It’s the longest track on the album and it needs to be because it’s always changing direction and tone. It’s light and dark, excitable then settled and is over all just epic. The end of the song is unfortunately a let down. There’s so much time spent building up this feeling with different directions, and it lazily concludes with a fade out. At the same time, it’s hard to imagine what would be the perfect ending for the song would be.

    “Lay Low” caps off the album with a natural and uplifting tone. It consists of almost all acoustic instruments and holds a powerful message about living life to the fullest while it’s still good. The music isn’t very complex so listeners can focus on the meaningful lyrical content a little bit more. The music is still catchy and fun and it makes a perfect ending to an inspiring album.

    The album is available on multiple platforms and are coming to Brooklyn’s Music Hall of Williamsburg April 5 and 6.

    Key Tracks: Yellow Sun, Fly East, Lay Low

  • Joe Mansman and the Midnight Revival Band Bring High Energy Rock and Roll to Plattsburgh, NY

    This past Saturday, February 25, Joe Mansman and the Midnight Revival Band brought their original sound to Retro Live, a new concert venue in Plattsburgh, NY. Between original guitar solos from Alex Mansman and the leadership of front man Joe Mansman, each member perfectly complemented each other.

    joe mansmanThe band brought a fully stacked set list with them and most being originals. I found myself head banging to new riffs that felt right. To sum up Joe Mansman and the Midnight Revival Band, the only words that I can use to describe them is rock and roll. Joe Mansman brought a stage act that to me has been missing with a lot of newer bands. With songs like “Below or Above” and “Dead as it Gets,” I really felt that I was at a rock show in the late 1970’s but with fresh with new rock music. About half way through the set, the front man and keyboardist Chris Becker played a couple duets to give the show a smooth transition to a heavy ending.

    joe mansmanJoe Mansman and the Midnight Revival Band is a group that  gives people an option to let loose and bang your head. They ended the show with “Live Free or Die,” and were not afraid to bring the show off the stage. With front man Joe Mansman jumping onto a pool table and guitarist Alex Mansman hopping down to the venue floor to play heavy riffs, the group brought a show that had something for everyone.

    Setlist: Dead as it Gets, Below or Above, Born to be Wild (Steppenwolf cover), Reap and Sow, Cold Virginia Nights, Blaze of Glory (Bon Jovi cover), Hell or High Water, All Along, Den of Thieves, Mother (Danzig cover), She’s Mine, Long Rope, You’ll Never Leave Harlan Alive (Darrell Scott cover), Rock and Roll ain’t Noise Pollution(AC/DC cover), Nobody’s Sun, Boundless Grace, Too far gone, Cut out my tongue, Crowbar hotel, House of Wolves, Live Free or Die

    joe mansman

  • Prodigy Bobby Paltauf Comes to Stage One in Fairfield Connecticut

    It’s hard to be so humble and mature when talent comes so naturally to someone, but Bobby Paltauf proved in an interview it’s possible, as he is undoubtedly one of the most professional and grounded  young musicians out there.

    He’s coming to the Fairfield Theater Company‘s secondary venue, Stage One, on Saturday, March 11 and NYS Music revealed some information about the show and how he got started. Paltauf also talks about a pre-show fundraiser with organizations like Horns For Kids, along side Rock Cottage Studio as well as how a portion of the ticket sales going to Zach Staden, a man who requires stem cell therapy for a spinal chord injury.

    Dave Ostroff: What age did you pick up the guitar?

    Bobby Paltauf: Around 7, I’ve been playing for about 10 years now. Started right on a Strat too, it’s a huge guitar. My dad used to play a lot and he had an acoustic and Strat and I dove right into those.

    DO: Did your dad tempt you to play?

    BP: It was always more of my doing. My dad always played great music. When I was a kid we would just rock out to Led Zeppelin. He played one Zeppelin song and it just intrigued me. I picked up his guitar one day and I tried to learn it.

    DO: Did you ever get stumped and need that extra push to keep learning?

    BP: Definitely. It was hard especially when you have those baby fingers. There were songs that I wanted to learn, a lot of Led Zeppelin stuff. It was about a year, year and a half where I was kind of getting it… and then it just clicked.

    DO: When did you get together with the people you put the album out with?

    BP: 2013. I started going to BRYAC. They had a funk night and there, someone told me about this bass player and drummer and we met in their basement and we just clicked right away. We added a keyboard player that we knew and then we put together that record.

    DO: You guys sound fantastic. One of my favorites is Atmosphere. Talk us through the creative process of that song.

    BP: When I first met with the drummer Kaitlyn, and the bass player Miles, we jammed on a funk tune and directly after, Miles started playing some diminished line, and we wrote the tune right there on the spot. It was the first or second time we met. We molded it out every night that we were on tour and it just came to be the song.

    DO: What would you define the album is in terms of genre?

    BP: A lot of it is instrumental, it’s funky with a little bit of jazz influence, so I would just call it a funk rock album.

    DO: A lot of the music, as you said is instrumental, but in some songs you sing. Did you want to stay more instrumental because that’s your strong suit?

    BP: At the time we put out the record I was only 14 and at the point your voice is changing every couple of months. At that point my voice wasn’t my strong suit and I was more engulfed in the guitar, so I just wanted to make that album based around instrumental stuff. I wanted to let my voice develop more. That’s actually what I’ve been doing for the past year/ two years now is writing lyrical based music. The next record is going to be a complete twist, all lyrical stuff.

    DO: Led Zeppelin was your muse for your guitar work. Do you pull any inspiration from famous vocalists?

    BP: Back then I was focused on guitarists. But in the past couple years I’ve been getting into folk singers like Bob Dylan. I like his less technical approach, just singing from your soul. I’ve been working on my own, which will be on the new album.

    DO: Is there an expected date for the album drop?

    BP: Mostly likely early May.

    DO: Compared to Lost and Found, are we going to see a similar genre? Striving for something new?

    BP: I’m definitely going to go for more of a rock and roll feel, going back to the music I really fell in love with years ago. It’ll definitely be more rock based, there will be tracks that go off a little bit and jam with a little bit of funk thrown in. Also some more lyrically developed idea.

    DO: You’re show at the FTC is coming up in March, are we going to see anything from the new album?

    BP: We’re actually going to play the entire new album. We might throw in some stuff from lost and found, but it’ll almost all be new stuff.

    DO: You got to sit in with Buddy Guy among other famous musicians. How did you get that gig and what was it like?

    BP: I played with him at the Ridgefield playhouse and my aunt who works there set me up with him. I didn’t really know who he was. I was more into the rock stuff, but I started to check him out and thought, “I need to see this guy he’s a legend!” She ended up getting me to meet him before the show, he had me play a little bit in front of him, he said, “Stand over here by the side stage and I’ll call you up for a song. It was just so incredible and surreal.

    DO: Was that the most memorable sit in with an artist?

    BP: Buddy Guy was probably the big one. The other one at Catskill Chill when I sat in for The Meters with Paige from Phish. That one was incredible. I was around 14 for that one. I happened to be a in a Meters phase too. It was incredible to play with George and Leo.

    DO: Did any of these big names say or do anything that will stick with you for the years to come?

    BP: I’ve seen Buddy Guy so many times after that. You see he brings so much energy to the shows. It shows that it’s all about the music, but you need to keep people engaged, especially nowadays. The Meters show was a fun jam for jam lovers, but the Buddy Guy one stuck with me. You need to keep the crowd engaged. He walks around the stage, into the crowd and up into the balcony. He has a lot of fun with it.

    DO: You’re playing with Grayson Hughs at the FTC, have you talked to him? Know him at all?

    BP: I’m actually in his band too. He called me up a few years ago, I had no idea who he was. He got my number from a girl in my school who was family friends with him. He’s this legendary soul singer from the 80’s who fell out but is making a come back with a few albums.  He happens to be from Danbury and he tried to put together a band, he found me, a drummer and bass player and we’ve been rehearsing for about a year and a half. We thought about the idea of merging the two bands at a bigger venue- Stage One in Fairfield.

    DO: So your group is going to open first, and then you’ll combine together for the second set?

    BP: We’ll do a little over an hour and then change over and he’ll do about 90 minutes with us.

    DO: Do you guys plan on heading over to NYC anytime soon?

    BP: We plan on doing a bigger run when the album drops. We loved playing New York City, and hopefully try to get a nice run together for the early summer.

    DO: Any other info regarding your upcoming FTC show?

    BP: Before the show we are going to have a bunch of local organizations and causes setup in the art gallery at FTC StageOne to promote what they do and to raise donations.  There will be a table for Zach Standen setup where they will be collecting donations for medical funds, stem cell therapy, and more (as well as a portion of the ticket proceeds will be also going to him).  Rock Cottage Studio will have a setup to spread Horns For Kids, which gives instruments to underprivileged kids who can’t afford them. There will be many other things set up at doors before the show and we will also have merch and cd’s.

  • Hearing Aide: The Bowling Alley Sound ‘The Bowling Alley Sound EP’

    On Friday, February 24, New Jersey’s own The Bowling Alley Sound will release their self-titled EP on their label 46 West. Their sophomore release brings musical and physical growth, as the original 4-piece has now transformed into a quintet with the addition of bassist and album cover artist, Andrew Capuano.

    The post-rock follow up to their 2014 debut, Metaphysical You, begins with the most energetic release of the four-track list, “Henry and Clark.” Well-known bands in the post-rock genre such as Explosions in the Sky and Mogwai can be heard echoed in their opening song as EP producer and guitarist, Mike Basil, kicks it off with a soft and subtle rift. Nick Looney’s drum playing anchors the song in place until the final section finds Issac Rubins’ violin eerily bringing the song to an end.

    “Night Flight” recreated the rich and repetitive textures heard in the first track, but much like the song title, the listener is reminded of dreams about flying. While the song will not make you want to get up and dance, or get up at all really, it would fit well at a yoga studio, meditation session, or music score of a Planet Earth episode.

    During the final two tracks, they inject muffled crowd noise to bring the listening audience together as one with the band. The group attempts vocals for the first time during the closing track, “The Conversation Of The Street Lights Will Pass As Quickly As Our Words,” a title almost as long as the EP itself. The post-rock vocal approach is very different from the typical verse-chorus structure found in many other rock genres, and The Bowling Alley Sound stay true to form using soft, spoken words to poetically describe a 2017 New Year’s resolution. While I would have liked to hear more trumpet textures from Danny Molloy, the final track sends the listener off in a tranquil and serene mood.

    The digital-only release of The Bowling Alley Sound will be available on all major platforms and can be pre-ordered now for only $1 (US currency).

    Key Tracks: Henry and Clark, The Conversation Of The Street Lights Will Pass As Quickly As Our Words

  • Geoff Tate Says Money Would Be Only Reason for a Queensryche Reunion

    In a recent Blabbermouth report, former Queensryche frontman, Geoff Tate, discussed with the “Noize In The Attic” radio show, whether he thinks a reconciliation could happen in the future, and reunite with original Queensryche lineup someday down the road.

    Tate’s response when asked if a possible Queensryche reunion possibly happening:

    I suppose so. I suppose that if everybody got in a room…The only reason to get together is for the money. That’s the only reason. So, if everybody really needed money and wanted to get together and bury the hatchet, so to speak, and sit in one room and say [mocking tears] ‘Gosh, I’m really sorry I treated you that way.’ You know, maybe then we could work toward some sort of resolution, but I haven’t seen any attempt by anybody to do that. So I’m holding out…holding my breath. [But] I’d never say never. I might get to a point where I really need the money. It’s nice to have that little back-up plan.

    In a past interview with The Metal Gods Meltdown, Tate described his time with the band as a business more than a brother hood. He stated:

    We weren’t really friends, you know – we were business associates. We had a wonderful entity that we shared called Queensryche, but it wasn’t an equal sort of partnership as far as involvement goes. You know, so there wasn’t a real camaraderie amongst everybody in the band… From my perspective and my involvement, it wasn’t an emotional sort of brotherhood kind of thing that some people might think existed. That wasn’t my reality with them.

    Tate tried suing the band over the rights to the Queensryche name in 2012. A settlement was reached between both parties in 2014, giving original band members Michael Wilton (guitar), Scott Rockenfield (drums), and Eddie Jackson (bass), the rights to the Queensryche name, while giving Tate the rights to perform live, the albums, “Operation Mindcrime,” and Operation Mindcrime II.”