NYS Music 20​18

Author: Chuck DeFilippo

  • Best Of NYS 2018: Might Never Leave

    New York Only. That’s right – this all access pass explores the thriving music sub-cultures of New York State. We are submerged in, arguably, the most musically-rich and booming areas. It would only be appropriate to cap the Best Of series with a full fledged anthem – waving our NYS-Flag, with immense pride. These highlights hardly encompass our staff’s passion for all things music, because like our readers, we too are musicians and music-junkies, through and through. Strap-in for this wild Trip-acid-visor tour of our states thriving music towns and venues – along with the bands who invigorate them with sound.

    Keep rocking out, exploring music and loving one-another this holiday season. Make sure to catch up with all of the Best Of series – and from our family to yours, thank you for supporting New York State Music.

    BUFFALO

    From Eminem’s “Without Me,” (two Buffalo gals go round the outside) to the longest-serving music venue, Nietzsche’s. Buffalo is home to a plethora of venues including hot-spots; Sportsmen’s Tavern, Town Ballroom, Colored Musicians Club, various boutique concert-series and Buffalo Musicians Hall Of Fame. The city is packed with music – from classical to jazz and, of course, our free-wheeling mashup jam-bands featured on this series. Buffalo is thriving.

    In 2018, Buffalo has seen anyone from John Medeski’s Mad Skillet, Tauk and Turkuaz to Everyone Orchestra and Funktional Flow. Buffalo hosts the boutique Cobblestone Live Festival isolated to bars and venues neighbouring Illinois and Columbia street, which was seen on our Best Of Festivals edition, yesterday.

    Buffalo Iron Works

    One vote shy from winning the best of crown for New York State’s favorite music venue, Buffalo Iron Works is a must visit. If you stumble upon it for a quite lunch or attack the stage for a weekend of live music, you will not be disappointed.  The venue was voted ‘Best in Buffalo’ last year by Buffalo Spree Awards. Iron Works is closing out the year with future dates featuring Canada’s After Funk – for a hyped James Brown Tribute, Buffalo Afrobeat Orchestra, Kung Fu and Doyle (ex-Misfits guitarist). The Venue is walking distance from the Key Bank Center, Lockhouse Distillery, Canalside and the metro station.

    ALBANY

    Albany packs a powerful punch. The state’s capitol is blooming with rich culture, which means, a vibrant music community. Music is the power to manipulate and supersede time, but with greater feeling. As one of the original thirteen colonies there is no telling the vast musical exchange throughout the centuries. Each moment is captured by sound and song, which our contemporary world must pay homage to. Just look at all of the great bands pouring out of Albany. The Low Beat, Jupiter Hall, The Hallow Bar + Kitchen and The Egg are just some of the spectacular venues that twine music throughout the city.

    The Palace Theatre

     The Palace Theatre was voted Best Music Venue in all of New York State for 2018 by NYS staff. As the name implies, the Palace meets and exceeds all of your expectations. The 1930’s built venue was originally a movie theatre and is now run by the city as a non-profit for music, plays, educational events and more. It is the beating heart. Plus, you can’t help but drool when you see your favorite band up in lights, spread across the breathtaking marquee. From Umphrey’s McGee to The Disco Biscuits, the Palace Theatre transforms the concert phenomenon. It blends popular music with the vast architecture and warm arms of the city.

    The Capitol Theatre – Port Chester

    Despite Port Chester having few votes for best music town, it’s evident the ones whom cast, placed their ballots for one reason: Capitol Theatre. Wedged between the southern tip of New York, Long Island, Connecticut and Northern Jersey, it is a jam-band magnet. The thriving seaport transforms when doors open and dead-heads roll into Garcia’s for a pre-celebratory drink. Shall we go? The Capitol Theatre is your gateway.

    If you live within an hour of The Cap, consider yourself spoiled. Built in 1926, the Capitol Theatre began hosting Vaudeville shows and movies – long preceding its reputation as one of the best music venues. Since, music’s biggest names have paved way for the Capitol’s concrete-esteem: Bob Dylan, The Grateful Dead, BB King, The Rolling Stones, Janis Joplin, Pink Floyd and Phil Lesh, among others. True legends – exceeding expectations and musicianship.

    There was no common-weight for Best Shows Across The State  – lets be honest, you’re lying if you have only one best show. It’s impossible. The list had only one thing in common, New York State. The year has surpassed our expectations, but at least we now know where to find them in 2019. Buffalo, Buffalo Iron Works, Albany,  Palace Theatre and the Capitol Theatre are at the backbone of the best music around.

  • Best Of NYS 2018: Sickest Festivals Around

    Festivals hold a special place in our hearts. Whether we are in New York State or half-way across the country these short stints become our musical oasis. Waking up to the picture-esque backdrops of New York State’s foliage and mountaintops are breathtaking. Birds, nature or pure silence sooth, as the night’s jam-rooms pushed the limits of dawn. When night falls, we are oversaturated with the Best Bands Of NYS. It’s as if the landscape acts as a stimuli for the improvisation and energy with each performance. For newbies, just go – sometimes the smallest of festivals have the most to offer. Like yesterday’s Best Albums Of NYS, it opens a world of discovery.

    Kung Fu at Music Festival

    New York’s best voted festival of 2018 – by a landslide. In its eighth year, the festival drew 5,000 fans into the hidden farm-land in Stephentown, NY made its mark as one of the most versatile, yet secluded, festival experiences New York State has to offer, said NYS Staff in our full 2018 recap.

    This year Brooklyn’s Cousin Earth performed tracks off their 2018 release Human Music – whom made an appearance in the Best Of votes. Top-dogs Aqueous swept the mainstage (side b) as well as other Best Of mentioned artist, including Space Bacon, Escaper, and Turkuaz. With such a diverse bill there is simply no room for disappointment. The quaint size of Disc Jam is just right – big enough to get lost, small enough to seeing familiar faces and musicians alike.

    It is in close proximity to major cities like Boston, Providence, Hartford, NYC and Albany and is an excellent choice to get a full fledged festival experience, but on an intimate scale. When you’re not surfing stage to stage there are two disc golf tournaments as well as other art, food, yoga. The jaw-dropping 700 acre farm is the perfect place to echo all the best artist we’ve come to love. With live-stock visible from the festival site, it is a pure outdoors music getaway.

    Discovery: New York’s Top Festivals

    Night Lights

    Mountain Jam

    From Tom Petty and the Heartbreakers with special guest Marty Stuart to Steve Miller Band with Peter Frampton, what more could you ask for. The Hunter Mountain festival is the perfect size and proximity for your first festival experience, but one thing is for sure – it definitely won’t be the last. The 13th annual festival continually proves itself as a festival veteran with show-stopping talent tucked discretely in the midst for the Catskills.

    Cobblestone Live

    Brooklyn Comes Alive

    While Brooklyn Comes Alive boast an incredible lineup and close proximity of three venues within six-blocks, it felt impossible to peel yourself away from the magic on-stage. The fourth annual festival was a near sold out success, featuring the booming and vibrant artist twined throughout the city. It is a place veterans will return and newcomers merge in their proving grounds. In the end, it is – and always was – about the music. Who knows what 2019 will bring, but beware: the streets of Brooklyn are alive.

    Rochester International Jazz Festival

    Best Out-of-State Festival

    Peach Festival

    Peach festival in Scranton, PA was a hands down win for our staff pick – again. The Allman Brothers Band founded-festival compounds with each passing year, since its inception in 2012. The daunting lineup of Gov’t Mule, Phil Lesh, Joe Russo’s Almost Dead, Umphrey’s McGee, Moe. and Pigeons Playing Ping Pong is pure bliss for jam-band junkies. The peaks and valleys of Montage Mountain Ski Resort funnels all walks of life to Peach Festival for the four day event. With the passing of Gregg Allman and  Butch Trucks still fresh in Peach-goer’s hearts, the thriving community has become even more heartfelt. Allman Brothers co-founder Dickey Betts tugged on our heartstrings, while Marcus King tipped his hat with “Dreams” during this years event.

    With seven months to go, we are even more anxious with names like  Phil Lesh & Friends, Warren Haynes, John Scofield, Joe Russo, Trey Anastasio, Marcus King Band and moe. already secured on the 2019 lineup. They keep coming back – and so do we. See you July 25-28.

    Moreover, productions of this caliber set precedent for festival culture. Water filling stations, health and sustainability events and a potent outray of positivity are norm. A force is so strong – it is felt. Even the lone-traveler gets sucked into a world that instantly becomes home.

    Discovery: Fests Are The Best

    Hulaween – Live Oak, FL – Since 2013 – Attendance 20-25,000 capacity

    https://youtu.be/OUE_I8ZOZuY

    LOCKN’ – Arrington, VA – Since 2013 – Attendance 25,000

    Bonnaroo – Manchester, TN – Since 2002 – Attendance 80,000+

    Newport Folk Festival – Newport, RI – Since 1959 – Attendance 10,000 capacity

    Please stay tuned tomorrow, where we recap New York’s best music towns and venues.

  • Best Of NYS 2018: You Have To Hear These Albums

    Rule number one – turn off your shuffle. In today’s society we are overstimulated and the idea of an album, top to bottom, is fleeting. As we break into day two, the soundscapes of song become more vibrant when articulated within the peaks and valleys of an album. These highs and lows shape the story – Let the tellings of New York’s finest and booming bands be heard.

    Put on your headphones (seriously, isolation is key). Listen, close your eyes and don’t open them until there is complete silence, when the final chords have fleeted. Let your mind reel as you discover the best albums of 2018.

    HINT: Be on the lookout for ‘Discovery’ sections featuring other NYS staff votes for Best Of. There are so many great bands we simply can’t pick them all!

    Best Album By A New York Artist

    Aqueous – Color Wheel

    Not only was Aqueous’ Color Wheel voted Best Album By A New York Artist, but was inches away from claiming the title of Best Album Overall. They have been banned from yesterday’s series of Best Under Rated as they owned that title two years running. The Buffalo based craze captured NYS fans and staff, without question.

    There’s a certain continuity to this entire album, and it unfolds in a way that makes the track order important for the experience – there’s an underlying narrative happening throughout the lyrics and themes, and the overarching theme of the story is a strong sense of optimism through the struggle of the realities of life – Guitarist Mike Gantzer

    So try that thing with your headphones. We will let the art speak for itself – and check out “Weight Of The World” featuring Turkuaz’s horn section.

    Turkuaz – ‘Life In The City’

    More vibrant than a rainbow, each track is crowded with intensity and expressionism. Life In The City paints the aura of a mundane, overstimulated world and bespatters the canvas with electro-funk graffiti. It’s infectious, luring ghost-walkers in from the darkest alleys. Once the nine-piece powerhouse entraps your mind, life as you know it, will cease to exist.

    The title track, “Life In The City,” is familiar like walking. Weighted four-on-the-floor kick drum echoes the mass of worn shoes. Every step brings a new impetus. The overtones and decay of the drums juxtapose reality as they ring out through a suspended chorus. “Life In The City portrays a dark and dystopian future, or current city environment, full of over stimulus,” said guitar/vocalist Dave Brandwein. “It gets harder and harder to appreciate life. Blind in the spotlight and caught up in the hustle and bustle of the city. We want it to feel that way in our songs.”

    Collectively the album is a constant echo of life. From a willingness to try and “just letting it come out”, themes arose, like the reoccurring ‘city noises’ throughout the record.

    Discovery: Albums On Repeat  

    Catch up with the BEST BANDS OF 2018 because you’re already behind. It’s only day two and an earful of music is stuck on replay! Witty Tarbox, voted one of the most under rated bands along with, Escaper, Intent To Sell and Groovestick, all had votes for best album by a New York Artist.

    Best Album Overall

    Sister Sparrow  – ‘Gold’

    The glimmer of Gold  has caught our eyes. The overanxious wait for another Dirty Bird release had us on edge. In the past three years we have been deprived of the nitty-gritty funk powerhouse and soulful horn section that is Sister Sparrow & The Dirty Birds. While Gold is everything we want, with that iconic bird edge, this record is a spotlight on the undeniable front-woman Arleigh Kincheloe, a.k.a Sister Sparrow.

    “As an artist, we have to evolve. If we stay the same, then we’re going backwards,” said Kincheloe in an interview with NYS. This razors edge has captivated fans – a blend between modern-pop shimmer, electronic accents and that Dirty Bird flare.  “I always wanted to try too marry modern sounds, hip hops elements, soul and funk stuff that I love. I have a whole Spotify playlist that was my soundscape for this: The Staples, Aretha Franklin, The Pointer Sisters, Bill Withers, Paul Simon, Joe Cocker – a very ’70s vibe. But I tried to add the modern techniques and drum sounds,”  Said Kincheloe. Stop reading. Go Listen.

    Discovery: Why Not Listen To Them All?

    John Medeski’s Mad Skillet

    Lizzie & The Makers – ‘Meanwhile’

    Roan Yellowthorn – ‘Inigo’

    Leon Bridges – ‘Good Thing’

    Mikaela Davis – ‘Delivery’

  • Best Of NYS 2018: New Bands On The Block

    Its that time of the year again. We have been blessed with so much great music throughout 2018 and it will be impossible to cover it all. Stay tuned throughout the next few days as we delve into some of the best bands, albums, festivals and towns in New York State – and beyond. These picks have been curated from our wonderful staff to expose you the vast talent of musicians that pass you on the streets and dwell in your neighbouring towns. Each day will introduce new music for you to listen to, but for now – the good stuff – THE BANDS.

    Best Under the Radar band from New York

    Witty Tarbox

    The Buffalo=bred indie-surf ensemble will celebrate their two year anniversary on New Year’s Day. Their first EP The Adventures Of Schmitty: Issue #1 V. Rare puts an edgy twist on Upstate’s jam-band culture. Listening to “Schmitty & Bags” will open up an electrified rabbit hole, riddled with screaming guitar, thunderous toms and over-the-bar groves. Witty Tarbox is multifaceted, dumping all your musical inspiration into a blender where none of the flavors get lost. Instead, they have their own layered place in the mix, complemented by unorthodox instrumentation. Crack one open and find out for yourself.

    Escaper

    After discovering Brooklyn’s Escaper, you will be gridlocked centerstage wondering: What the hell just happened? Escaper released their second studio-album this year, Edge Detection, that detonates musical genres and resonates through the shrapnel. They are the explosion – a mess of sounds that shouldn’t fit together, but they do. It’s exhilarating. Ironically, there’s no escaping. From smooth jazz-saxophone to a vortex of organ, arena-rock guitar and metal-esque drum fills, Escaper delivers. Edge Detection captures their free-form performances and jam roots that make you almost-obligated to the live experience. Escaper has only been around for a few years, but have shared the stage with John Fishman (Phish), Galactic and Aqueous and are taking New York State by storm.

    Best Under The Radar Bands: Discovery

    Cold Lazarus: Reggae-infused intellifunk jam rock – Jamestown, NY – Est. 2017

    The Goodnight Darlings: Indie-pop rock – New York, NY

    Dirty Blanket: Dirty string-slingin’ bluegrass – Finger Lakes Region

    Groovestick: Powerhouse funk trio – Albany, NY

    Intent To Sell: Hip-Hop/Rock – Buffalo, NY

    Rootbrew: World-beat infused americana – Rosendale, NY

    Mike Powell (& The Black River): Renegade-Folk Songwriter – West Carthage, NY

    Space Bacon: Jamtronica rock quartet – Brooklyn, NY

    Wuriliday: Soul-funk goodness – Albany, NY – Est.  2017

    Best Band EVERYONE Should Be Listening To

    Phish

    Like them, or not, Phish remains a staple in the world of jam-band music. It is expected that they swept the competition for Best Of. It’s the simple fact that: they have done it before. From books, boxsets and fanclubs, the sea of Phish is endless. Start swimming.

    For you newbies, swing on over to your local Ben & Jerry’s and pick up a pint of “Phish Food,” and indulge. Again: it’s been done before (hint hint). Go to LivePhish.com and listen to every live performance with a click. Your marshmallow-fudge covered lips will grin when you realize who that cutting-edge band got the idea from or when you recognize that solo-lick, jamming in your parents basement.

    “The intention that this band is so great at, is to stop thinking,” said Mike Gordon. It is the reason Phish was, and still is, the example in jam-band culture. They remain at the top because they are captivating and, in-truth, one could argue that it is you, the Phans, who are propelling their motion. “When we feel a surge, we surge, it happens all the time. Thunder will happen or lightning and I’ll hear the crowd go Wahhhh. Then we just ramp up,” said Trey Anastasio.

    Phish is set out to do another New Year’s Eve run at Madison Square Garden starting on December 28. Phish made their debut at Madison Square Garden in 1994. The four-day run sold out, expectedly so, and will mark 60 Phish performances at The Garden as we break into 2019.  Catch more details on Today’s (Monday) SiriusXM ‘Ask Trey’ on Phish Radio, Channel 29.

    Best Live Cover or Tribute Performance

    Pink Talking Fish

    Founder and bassist, Eric Gould came up with the idea of a fusion tribute to three of his most beloved bands: Pink Floyd, The Talking Heads and Phish. The intent is to “heighten people’s passion for music by creating something fresh.”  Collectively, the musicians of Pink Talking Fish are equally inspired by these crossroads, as are their fans.

    “If you enjoy the adventure of music, this is its epitome” said Gould. Pink Talking Fish embarks on a musical journey filled with rhythms you already know and love.

    In their rendition of Phish’s “Makisupa Policeman,” PTF incorporates Pink Floyd’s “Brain Damage” without straying from Phish’s Reggae feel. The band is further driven by the concept of setlists. Gould has always been intrigued by the construction of sets and how they influence the audience. Setlists are “musical candy to read on paper. And people are salivating over it.”


    Setlist: Speak To Me, Breathe, Down With Disease, On The Run, Thank You For Sending Me An Angel, Time, Mike’s Song, *Great Gig In The Sky, Weekapaug Grove, ^Money, ^*Take Me To The River, ^*Us & Them,  ^*Any Colour You Like, Ghost, Down With Disease Reprise, Once In A Lifetime, Brain Damage, Eclipse

    Encore: 18 ^*Julius
    * w/ Elise Testone on Vocals, ^ w/ Matt Wayne on Sax

  • Waddy Wachtel and The Immediate Family At The Iridium

    “Waddy (Wachtel) is an amazing guy to play with. He knows what you’re hearing before you do and can play anything. I envy him quite honestly.” – Keith Richards

    Robert “Waddy” Wachtel became infatuated with the guitar, idle in front of his TV screen at five years old. “I was just mesmerized. My mother said: that is a guitar – and that was it for me,” reminisced Wachtel. Now, over six decades later, the Queens-born guitarist is exuberant to bring forth The Immediate Family – a supergroup of session players for the Legends in Sessions series at The Iridium in NYC November 26-28.

    waddy wachtelFor Legends In Sessions, this is the first time these musicians take the spotlight. The Immediate Family includes: guitarist Danny Kortchmar, who has played, produced and written for Don Henley and Jackson Browne; Steve Postelli, who worked with David Crosby and Dave Koz; and rhythm section, Leland Sklar on bass and Russ Kunkel on drums, who collectively played on 5,000 records, from Willie Nelson and George Strait to Phil Collins, James Taylor and Reba McEntire.

    “One day I was driving my beat up ‘57 Chevy to Studio Instrument Rentals. Out of the driveway comes another ‘57 Chevy. The car stops and the driver ask ‘hey, are you Waddy?’ It was Russ Kunkel,” said Waddy. “Next thing I know, I get a call to play with Kortchmar on a reggae session and we were brothers instantly.”

    When The Family gets together, it’s something special. “It’s a hit or miss situation because we cannot be together as much as we want,” said Wachtel. The band is writing a mass of new material and recording within the slightest breaths in scheduling. They just got back from a stint in Japan earlier this year. The weeks’ worth of performances are in process of being mixed for a live album release.

    Legends of this caliber dwell in the shadows. Waddy has backed giants in the industry like Linda Ronstadt, Keith Richards, Warren Zevon, Stevie Nicks, Bon Jovi, and Iggy Pop – a roster that daunts his credits as co-writer and guitarist on Zevon’s “Werewolves Of London.” Wachtel performed on Zevon’s first two albums, co-wrote “Things to Do in Denver When You’re Dead” and co-wrote Stevie Nicks’ “Annabel Lee” and “I Don’t Care.” For all the new-age listeners, Wachtel also appeared on the 2010 Grammys backing Taylor Swift on guitar. If you don’t believe me, “just look at your parents record collection.”

    waddy wachtelThe three-night Iridum showing will be something to behold – fans will be mesmerized like Waddy was at the first glance of that guitar. “We are all looking towards the next recording we can do together. We have a lot of new material being collected, which I think people will dig,” said Wachtel.

    “It comes from all different directions. You’re gonna love everything you write, but that doesn’t mean it is good. You have to stick to a goal about how you write a hit song and make a discerning decision,” said Wachtel. Waddy is working on a “Beatles meets The Supremes type of song,” which he wrote years back. The melody was confident, but lacked meaningful lyrics. With the help of Kortchmar, the track “One More Time Or Two” now sings and reads something beautiful.

    “We came up in a perfect time in Los Angeles. It was an American Liverpool. The creative juices that were flowing, warmth and camaraderie between everybody musically was unlike anything I have ever experienced,” said Wachtel. “You would be in a session – suddenly Don and Glen from The Eagles would come on by and ask if we needed anything.”

    waddy wachtelWhen working on “Excitable Boy,” Waddy wanted a Beach-Boy-esque background harmony. He simply called up Linda Ronstadt and Jennifer Warnes and they came right down to the studio. This willing and vibrant community inspired Waddy to become a dedicated studio musician.

    Waddy is always working towards something greater. He once said, “If I didn’t learn something new musical daily, it wasn’t a good day,” an ideology that makes the guitarist humble and hungry to evolve.

    As a kid Wachtel began taking lessons with one of the jazz greats, Sal Salvatore. “He took a liking to me,” said Wachtel. “He would take me downstairs to this little Italian restaurant after the lesson – it looked just like the restaurant Michael Corleone killed the criminal in from The Godfather [laughs] – Then we would go back upstairs after dinner and he would make me play melody. He crammed a lot of guitar knowledge in my head,” said Waddy. “It was just fantastic.”

    When working with Warren Zevon, “right away we we didn’t get along, but everyone knew there was a very strong, musical, person behind those glasses,” said Wachtel. “We always agreed on certain things like The Rolling Stones. It was a wild and amazing ride.” Next thing you know we were on tour and The Everly Brothers were singing in our hotel room. “It was god-like you could say, something close to heaven.”

    For the Iridium dates, “It is fantastic to finally be together again as US instead of backing up Linda or Phil,” said Waddy Wachtel. The Immediate Family will be playing three consecutive nights starting on Monday. The magnitude of musicianship is unfathomable. Waddy’s uptaking alone was remarkable. Stay tuned to catch the final run for Legends In Sessions with Steve Lukather and Bill Evans’ Toxic Monkey, playing six nights, December 4-9.

  • Medeski’s Mad Skillet Buffet At Cohoes Music Hall

    John Medeski’s Mad Skillet is a hot-sizzling mashup, made from the potent ingredients flavoring New Orleans. Jazz, funk and Nola-inspired spontaneity root the quartet in their self-titled debut album, released last Friday. It was recorded in a Depression-era church which parallels the Mississippi (Living Room). It’s all the spices that you didn’t expect, but, when stirred, create something magical.

    The record opens a “vast musical universe with limitless potential,” said Medeski. Bred from Jazz & Heritage Festival late night sets, the group is fired up to explore endless possibilities at Cohoes Music Hall on Wednesday, November 14.

    Dirty Dozen Brass Band sousaphonist, Kirk Joseph, grooves, period. The low-end authentic brass drives and anchors the soundscape as it drifts. Nola-born drummer, Terence Higgins, leaves it all on the record with streetbeat syncopation and second line-flare that consumes the gaps between each melody. Brooklyn’s Will Bernard transforms the second-line funk band into a psychedelic rock-arena jam session. Medeski seasons the skillet with his fingertips – zesty organ and raw keyboard asides are every bit infectious as they are iconically Medeski.

    Photo: Marc Pagani

    “We love the record,” said Medeski, who was listening to it in the van as we began our interview. “There’s a certain chemistry with the group. We’ve played together in New Orleans, recorded there and wrote a few songs spontaneously in the studio. It turned into an instant band.”

    Mad Skillet’s fusion can be heard in studio-shed tracks like “Tuna In A Can” and “Psychedelic Rhino.” Higgins opens on the snare and rim, singing out a spunky bass-line. Feeling from the soul sprawls outward into musical expression as Joseph takes the pickup, mirroring Higgins’ lips. Bernard follows and Medeski explores the spectrum of obscure keys. The track is smooth and eerie, yet at its quietest levels, you can’t help but to dance. Bernard is featured in a gritty overdriving solo.

    “Psychedelic Rhino” is a free-form experiential dish that seamlessly converges. The blind-cook stirs aimlessly, relying on only feel and taste. Steady sousaphone and sporadic drums are explosively dynamic. Medeski’s galactic keyboards diverge the track into an ambient, mind-taxing, brew.  “Psychedelic Rhino” is a 10-minute journey testing the Skillet’s endless reach.

    “On ‘Psychedelic Rhino’ we just started playing, listening and creating. Music is its own language [When you add lyrics you tell people how to think]. To be able to use notes and rhythms in this way is beyond words. Like mathematics – it’s a really powerful thing,” said Medeski.

    “The Heart Of Soul” is a driving song-structured tune with distinct melody, keyboard comps and slide guitar, in honor of Medeski Martin and Wood’s late booking agent, Chip Hooper. Medeski also contributed “Invincible Bubble” and “Piri Piri.” Bernard takes regin on his tracks “A Man About Town” and “Little Miss Piggy.” Joseph pulls from desert vistas and Ennio Morricone sores on the eclectic and spirited “Adele.” The collaboration exists like itemized palates on your tongue; each song flavors the record and the musicians within each melody follow, suit-to-taste. All nine tracks are overwhelming – hard to consume all on one plate.

    Medeski’s Mad Skillet is all about this spontaneity. Live, their musical potential is limitless. “Everyone in the band is a great musician, composer and improviser. The band can travel in whichever direction depending on the night. Being in the moment and having the tools to turn that moment into musical expression is magical – who knows what will happen,” added Medeski.

    Mad Skillet has just set out on a tour that will spill over into April 2019. For Cohoes, all the material will be fresh in the quartet’s mind – ready to excite and reinterpret the music in real time. “We want to make people feel good and open their hearts up . And help them get on with their lives in a new way,” said Medeski. The all ages show will kick off at 8pm (doors 7pm) at 58 Remsen Street – Cohoes, NY.

    Read the full NYS Music Hearing Aide HERE

  • Wurliday: A Whirlwind of Funk to play Hollow Bar Albany

    Albany’s Wurliday will fill The Hollow Bar in downtown Albany on Saturday, November 10, for the final release of a two part EP-series, Bedtime Blazer.

    Bedtime Blazer Vol. II is a more-produced studio effort, where core bandmates come together in full fruition. In comparison to the 2017 EP, the six-track response takes a risky and adventurous leap. The music pushes and pulls constantly around soulful lyrics and enticing melody.

    “The idea behind Bedtime Blazer Vol. II was collaboration; taking a Steely Dan approach and making a record featuring special guests,” said bandleader/songwriter Justin Henricks (Beau Sasser’s Escape Plan/The Chronicles). “From the moment we step on stage I become another piece of the puzzle, but it has been really cool to see the band transform into something we can take on the road. In the grand scheme, we all do our thing and I am just there to drive the ship.”

    The opening track “Mill House” is infectious; Wurliday’s energy cannot be concealed. A guitar slide-in and hi-hat backbeat leaves the music weighted in your chest – juxtaposed to airy funk-guitar licks and spunky bass, as the full band takes force. The sound is refined and booms throughout your body. Synth spurts and complementing pads color higher frequencies, while drums texture the groove with up-beat ride bell and hi-hat splashes.

    “For the first record, the band was all playing in a live room together, right to tape. It was raw with track bleed,” said Henricks. “I was excited to embrace the studio in Vol 2. We really used the recording process to our advantage – for a more isolated, more produced, sound. We got deep into synth parts, layering guitars, strings and vocal harmonies.”

    Despite the synthetic creation, Bedtime Blazer Vol. II captures the essence of Wurliday live, wholeheartedly. The evolution of Vol. II is a realtime sight-window into Henrick’s effort with his new adventure. Each song brings a new vision, panning-out on the bands’ boundless limits.

    “Give It Up” is a tight-driving funk-rock track, spotlighting Girl Blue’s (Arielle O’Keefe) soaring vocals. Whereas, “Who Are You Anyways” is vibey – complemented with a pocket-sealed shuffle on drums. Girl Blue’s voice stands firm in the track at intimate and forte levels, while the rhythm section floats with the tide. Both songs were co-written by O’Keefe and Henricks, in addition to “Mill House” and “Take Me There.”

    “Clyde,” which was nothing more than an interlude track, morphed into one of Henrick’s favorites. It features master-talkbox and multi-instrumentalist Steveland Swatkins, who is relentless. “We had a little riff at the studio and I didn’t think much of it,” said Henricks. “I asked Steve if he was down and it just came together organically.”

    The collective of Bedtime Blazer Vol. II does not stop there. Both parts of Bedtime Blazer were recorded with Alan Evans at Iron Wax Studio in Millers Falls, MA. Vocals were recorded in a ‘dope attic studio,’ where Henricks used to live and Keyboards were tracked with Paulie Phillipone (West End Blend) at Funkhaus Nebularium in Hartford, CT. “We spent several long days tracking keyboards and live guitars, as he [Paulie], likes to do,” added Henricks. The Jazz-Funk group takes on Pop-Punk influence from longtime friend and State Champs frontman, Derek Discano, who has producing credits on the record. Henricks coins him as a ghostwriter. “It takes a village, man.”

    “The strengths in our band hinge on sticking true to the art of songwriting and having a really strong chorus’. There is depth and meaning in our lyrics that will get you dancing,” said Henricks. “Of all the songs we know and love, you could sing one back to someone immediately if asked to – because they have strong melody and lyrical content. We bridge that gap. It’s music we can all eat and get behind; while creating, being innovative and making something you can believe in – all at the same time.”

    Bedtime Blazer Vol. II was released this past Friday in-junction with a show at Arch Street Tavern in Hartford, CT; tying in Henricks’ roots as a Hartt School music graduate. A second show followed in New Haven, CT at Pacific Standard Tavern which was a mass of wind. This trifecta of shows roots Wurliday in the musical ecosystems to which they were born, and will take it all home for their Albany show next weekend.

  • Brass Phantoms: From Dublin to Dub at Mondo.NYC

    An electro-indie rock storm is brewing three thousand miles away. Dublin’s Brass Phantoms are electrifying and edgy. The five-piece band fuses punk rock attitude with a cinematic wall of sound that reverberates in its aftermath. Their refreshing approach on the indie scene has granted wide acclaim in Ireland and London, from Clash Magazine, The Metro and BBC Radio 6 to their music being featured on UEFA Championships League.

    Brass Phantoms will play an exclusive date for their second appearance at MONDO Festival in New York City. The storm spreads to Niagara in NYC’s East Village on October 2 with The Chordaes, Jay Karnell, Nikmoody and Toronto’s Casper Skulls.

    Brass Phantoms“The flight to New York will be eight hours of The War On Drugs,” said guitarist Greg Whelan. “To play as an Irish band in NYC is amazing. We just love doing this.”

    In the last two years, Brass Phantoms released a handful of catchy singles that encompass a mass of indie influence, along with booming dance-disco beats. “City of Wolves” hits like an unexpected whirlwind. An isolated drum-groove intro against the monochromatic bassline is unassuming, until the band explodes into the hook. With each change, overtones fill the sky. Electric guitar motifs shimmer as you float across the dancefloor.

    “A lot of guitar music automatically gets classified as The Strokes” said Whelan. “It is not offensive to be compared, but it makes it that much harder to stand out.” 

    Determined to rise out of these pitfalls, Brass Phantoms released “Disciples” which delves deeper and darker into Brass Phantoms. “Disciples” opens a bigger array of sound for the band, reminiscent of The Killers, with arena rock choruses.

    Their fusion of electronic beats and newly added synth has changed Brass Phantoms direction. With all the new music coming out of Dublin right now electronic music is faster, and keeps you relevant, explained Whelan. “It forces you to get out of the comfort zone. Bands like us, who are essentially rock, need to try new things”. Female synth player, Colleen Heavey, has been around for most of Brass Phantoms’ live gigs at home. “Her vocal harmonies are much better than the shit I can do. She keeps us in chek most of the time [laughs].”

    Brass Phantoms are geared up to release a 4-track EP early in 2019 and will leak two of the songs in November of this year. “There’s a lot of traction right now,” added Whelan. The new EP will have a different production with more layered guitars. “There’s not a single formula to write a song. It gives things a different feel live and that is important.” Furthermore, Brass Phantoms have performed their last few gigs in Dublin acoustic, which may result in a second 2019 release.

    “We are excited to see other bands, such as Casper Skulls,” said Whelan “Come down and stick around. Brass Phantoms will show you how real Irishmen drink.” The band is also excited to check out Yumi Zouma, who will be playing in Brooklyn later in the week.

  • Hearing Aide: The Lionfish ‘You Won’t Keep Me Down’

    Fairfield University bred rockers, The Lionfish, sting. Their second studio release, You Won’t Keep Me Down, is as colorful as the marine fish itself. It’s packed stout with driving rock, intimate blues-ballads and sounds that delineate genres. The Lionfish cannot be defined, nor contained. You Won’t Keep Me Down sounds more like a greatest-hits rock party than anything else.

    the lionfish

    The Lionfish will be debuting You Won’t Keep Me Down Friday September 28 at Peaches Southern Pub & Juke Joint from 9:30 pm to 12:30 pm. The beauty and purity of the record will be preserved, performed in its entirety, amidst a non-stop three-hour set.

    “Our origins are not based on a pop single,” said frontman, Robby Schwartz. “We are all raised and influenced on the idea of an album as a whole.”

    The album’s title track “You Won’t Keep Me Down” is a full-fledged swamp tune. Heavy drums hold the band steady, as screaming guitar licks respond to Schwartz’s vocal chants. Each instrument speaks; arpeggiated keys, guitar and bass all crash into the bridge. Their energy is sharp and venom-like. Your feet won’t have a choice. Go ahead and try.

    “The album speaks to a voice in favor of loving your neighbor, instead of building walls. ‘You Won’t Keep Me Down’ was one of the first songs written. It is anthemic in its own way,” said Schwartz.

    “Dogs of Quito” is a more poetic take on rock n’ roll. Schwartz had been writing most of the songs while in Ecuador, volunteer teaching, as “a release from the normal working world.” Inspired by authentic Quito graffiti,  the tune has a recurring theme of Without Love Nothing. The desolate streets can be heard in Schwartz’s distinct ‘howls’ throughout the driving chorus.

    The dogs of Quito are howling / In a fight like there’s no tomorrow / The rest of the world is watching / In a trance of pain and sorrow.

    The Lionfish get intimate with “She Lifts Me Up.” The track is jazzy and soulful, opening with finger-snaps and backed by powerful female harmonies. Schwartz’s keys take off. The dynamic change reveals the subtle articulation of each instrument. “She Lifts Me Up” was also featured as  a NPR fan favorite, submitted as a Tiny Desk entry.

    Acoustic guitar sets the mood for “The Last Town,” with a southern air that makes the listener sway with the breeze. “The first five tunes are my favorite,” said Schwartz. “There were times on the record when I was writing from an outsider perspective.” However, “Some of the tracks date as far back as high school.”

    Other tracks stand out, such as “The Wall,” which features Schwartz on solo piano. “Love (Sin Amor, Nada),” becomes otherworldly, with clave ostinatos and a variety of percussion. “Untitled Blues,” concludes the twelve-track record, with a nine minute anthem of nonstop soul.

    “I think this show at Peaches will be a great opportunity for us to show off how proud we are. We are playing the album in its entirety, along with a bunch of covers. It will be interesting to play it live as a four-piece,” featuring core band members Chris Finelli (guitar), Mark Schwartz (bass/guitar/vocals), Robby Schwartz (keys/bass/trombone/vocals) and DJ Horstmann (drums).

    Key Tracks: You Won’t Keep Me Down, Dogs of Quito, Untitled Blues.

  • Hearing Aide: Turkuaz ‘Life In The City’

    Brooklyn’s own, Turkuaz, has released their fifth full-length studio album Life In The City. With a soundscape more vibrant than a rainbow, each track is crowded with intensity and expressionism. Life In The City paints the aura of a mundane, overstimulated world and bespatters the canvas with electro-funk graffiti. It’s infectious, luring ghost-walkers in from the darkest alleys. Once the nine-piece powerhouse entraps your mind, life as you know it, will cease to exist.

    Turkuaz Life In The City

    The title track, “Life In The City,” sets the stride with heavy isolated synths and layered upbeat guitar.  The pulse is familiar, like walking. Weighted four-on-the-floor kick drum echoes the mass of worn shoes, marching without question. Every step brings a new impetus. The overtones and decay of the drums juxtapose reality as they ring out through a suspended chorus. Choir-esque harmonies, punchy horn lines and random hi-hat splashes seem chaotic, but become increasingly cohesive

    “Life In The City  portrays a dark and dystopian future, or current city environment, full of over stimulus,” said guitar/vocalist Dave Brandwein. “It gets harder and harder to appreciate life. Blind in the spotlight and caught up in the hustle and bustle of the city. We want it to feel that way in our songs.”

    Collectively the album is a constant echo of life. From a willingness to try and “just letting it come out”, themes arose, like the reoccurring ‘city noises’ throughout the record. “Make You Famous” is full of funky-energy, bells and ambient percussion. Freeform keyboard leads squawk, reminiscent of Hancock’s Head Hunters. “The Question” becomes more airy and soulful, with predominant female vocals, but as it fades away, synth taunts us with a motif from the title track.

    Life In The City is the most elaborate Turkuaz collaboration to date, according to Brandwein. “If I Ever Fall Asleep,” was co-written with Baritone Saxophonist, Josh Schwartz, with driving energy. The record was co-produced by Jason ‘Jacko’ Randall of More Sound Studios in Syracuse, Rob O’Block of Nashville and Dave Brandwein in the band’s “home-base,” Galaxy Smith Studios in Brooklyn. Moreover, Jerry Harrison of Talking Heads produced “If I Ever Fall Asleep” at The Bunker Studios. “It definitely doesn’t hurt when an inspiration of the band, like Jerry, is on your side,” Brandwein confessed.

    In comparison to the daunting 24-track Digitonium, this release was boiled down to nine tracks. “All of those nine songs, I stand strongly behind,” said Brandwein. “ We actually recorded 20 songs. We will be trickling out material little by little, which is exciting.” Turkuaz will debut the new record on a upstate New York run in early October at The Westcott Theater in Syracuse, Town Ballroom in Buffalo and Putnam Den in Saratoga with Butcher Brown. The band is excited to make their first appearance at The Capitol Theatre in Port Chester with Cory Henry & the Funk Apostles on October 19.  

    “We’re drawing from an eclectic pool of music,” said Brandwein. For newcomers, check out Turkuaz’s latest in-studio video. “I think that song combines a lot of things into one. You can see our energy. It’s got the full package.”

    Key Tracks: Life In The City, Make You Famous, Lady Lovely

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