NYS Music 20​18

Category: Features

  • Known to the World as “Mr. Misunderstood,” McKinley James is Playing the Guitar and Making a Name for Himself

    McKinley James, the 16-year-old, self-proclaimed “rock and roller,” was featured in Eric Church’s 2014 release Mr. Misunderstood of which he also appeared on the cover and the corresponding video.

    James has since been making himself more understood by those listening to him play the blues and good, old-fashioned rock and roll with his guitar. He just recently dropped a live EP, McKinley James Live in Nashville, and is currently on tour. He’ll come rolling into town this week to play at The Ale House in Troy on Sunday, Jan. 14, at 8 p.m. For tickets and information, go to brownpapertickets.com.

    We were able to exchange a few emails back and forth to find out what’s going in James’ life, and what people ought to know about Mr. Understood.

    Michael Hallisey: You’re a teenager in Nashville. You as a music lover, that’s got to be a wonderful place to live.

    McKinley James: Moving to Nashville was a really exciting move, there is great live music happening everywhere. Also moving here has inspired me to practice much more, everywhere you turn is an amazing guitar player.

    MH: You’re originally from Webster, NY — when did you move to Tennessee? What was that like for you?

    MJ: We moved about a year and a half ago, it was exciting. We had visited Nashville many times before we moved so my parents could figure things out like where we should live, so when we were there my dad would take me out to clubs so I could see as much live music as I could.

    MH: Your taste in music is not “normal,” and you are aware of how far-reaching your curiosity and tastes lead you. How did your appreciation in the blues develop?

    MJ: I grew up with listening to all my dad’s (Jason Smay of The Los Straitjackets) records and he’s a big fan of blues music, plus he played in lots of blues bands so I was always around it.

    MH: How much did your father play a role in your love for music?

    MJ: A lot! My younger brothers know a lot about music, too, because it’s always on at the house.

    MH: Blues music is more than just a genre — can you share with me how you feel while you listen and when you play?

    MJ: Well, that’s a tricky question. Blues music to me is the base for all the styles of music I love and play. I consider myself more of a rock and roller. I try to play what feels good, not necessarily a certain genre. In my live shows we play rock ’n’ roll and soul music, too.

    MH: Please break down for me how you wound up associated with Eric Church for “Mr. Misunderstood”?

    MJ: That’s a really long story! But, short version is, we were visiting Nashville staying with Mr. John Peets who is Mr. Church’s manager. How we got to stay there is another story, but Mr. Peets met my brothers and me while we were there, and I guess he noticed me wandering around all day in the house, outside playing my guitar, and that I was a greaser and only 13. Fast forward a few months and Mr. Church delivered his new record to Mr. Peets, and the title track “Mr. Misunderstood.” Mr. Peets said it hit him that I was that kid! Didn’t care about anything but what I was into, which is music, and for me going the opposite direction than the crowd never bothered me.

    MH: How was that experience for you, and what did you learn?

    MJ: The experience was awesome. Mr. Peet’s is one of the coolest guys I’ve met. His love for music is awesome, and he treated my family and me like we were his family. Getting to meet Mr. Church was great. He is a super nice guy, too. As is his awesome band. I’ve actually become good friends with Jeff Cease, lead guitar player in Mr. Church’s band. I learned that in the music business opportunity can happen anywhere and at anytime.

    MH: You are in the midst of a tour, do you have a record release in the works?

    MJ: We are starting to put demos together for a session later this spring.

    MH: With the old stereotype of blues being something for older men and women, what kind of reception do you get on stage?

    MJ: I think that with all music if you are true to what’s in your heart and enjoy performing, people can connect young or old. it’s the feeling that gets people, not necessarily the genre. I love some Dr. Dre songs and get as excited as when I hear Bobby Blue Bland.

    This article was originally published by The Spot 518

  • Hearing Aide: Bobby Paltauf “Why”

    Connecticut based Bobby Paltauf featuring The Package released their debut studio album Why, on Jan. 10 on Spotify and iTunes. The albums holds, “songs that will challenge the status quo, posing questions about how we live life, how we engage and communicate with each other, society, religion and politics.” The majority of the album is lyrically driven and on the lighter, easy listening side of the spectrum, which is a bit of a change from Paltauf’s prior work which was heavily influenced by rock and blues.

    What’s most impressive is that no one in this group cracks the age of 30. Lee Falco (drums) Will Bryant (keys) Bobby Paltauf (guitar/vocals) and Brandon Morrison (bass) work effortlessly together to create unique, expertly produced tracks filled with bluesy, smooth and sometimes funky sounds.

    Their opening track, “Put It Down” speaks about society’s addiction to technology, mainly our phones. Instrumentally, the track is smooth and light, a theme which transcends the majority of the album. Other songs like “Why,” “Now” and “It’s Own Way” are laid back but could use some more energy in spots. The songs are full of emotion and climaxes, but could use more power. 

    Paltauf hasn’t lost sight of what made his first studio tracks so attractive, though.  Songs like “A Day Late” and “Wasted Grooves” are undoubtedly the key tracks off the album. They’re lyrically impactful and their catchy funk tones separate them from the rest of the tracks.  They’re beaming with energy and are exactly what we’d like to hear from a young and talented group of musicians.

    Find the album on iTunes and Spotify and keep an eye out for any upcoming shows on Bobby’s Facebook page.

    Key Tracks: Day Late, Wasted Grooves, Searchin

    https://www.youtube.com/watch?v=J3tHb0rpDwQ

  • Space Carnival release video for “Queen of Cups”

    Space Carnival has released the video for “Queen of Cups,” the result of the band’s 2017 songwriting that means new material in 2018. With pop aspects and a progressive vibe, “Queen of Cups” is the result of the band’s growth and focus and an infectious tune, and was recorded at SubCat Studios in Syracuse.

    Catch Space Carnival this winter throughout New York

    Queen of Cups space carnivalJanuary 20th: 7th Annual Wintercourse, The Knitting Factory, Brooklyn (with Cousin Earth, Bella’s Bartok and Space Carnival)
    February 2nd: Olive Ridley’s, Plattsburgh (with Formula 5)
    February 3rd: The Range, Ithaca (with Formula 5)
    February 10th: The Spinning Room, Tannersville
    February 15th: Garcia’s at The Cap, Port Chester
    February 23rd: The Hollow, Albany (moe. afterparty with Floodwood)
    April 14th: The Westcott Theatre, Syracuse (with Infected Mushroom)

  • The Ominous Seapods Reunite to wish Tom Pirozzi a Happy 50th Birthday

     A Plattsburgh State undergrad once asked Max Verna to define an Ominous Seapod. “I don’t really know,” he said, providing no explanation behind the name of his band for the young reporter working on a feature for his student newspaper. “I do like the sound of it, though.”

    The Ominous Seapods, one of the most popular jam bands here in upstate New York in the 1990s, is coming back out for a two-night engagement at the Cohoes Music Hall on Friday and Saturday, Jan. 12 and 13.

    “They were a name I would always see on old show flyers amongst other names that are still big in the scene today,” said Kim Neaton, WEQX-FM radio personality. “I wasn’t familiar with them when they were active, but their name often pops up in conversation and I always would think, ‘Damn. I wish I got to catch a Seapods show!’”

    While Phish and Dave Matthews Band led the charge in a jam band culture described in 2001 as a phenomenon by the New York Times, moe., the Disco Biscuits and the Ominous Seapods pulled up the rear. At the time, both the Seapods and Disco Biscuits were signed under Hydrophonics Records, a subsidiary of Megaforce Records which itself earned success years earlier by introducing Ministry and Metallica.

    “These guys can rip,” wrote Dean Budnick, of the Seapods. The Relix Magazine editor named the group in a well-crafted Who’s Who directory of upcoming bands in his 1998 book “Jam Bands: North America’s Hottest Live Groups.” “The humor of the players often celebrates the absurd, resulting in some memorable, spontaneous interactions between each other and between band and audience. … Such as the time it hosted an eight-track release party.”

    Verna, Dana Monteith, Tom Pirozzi, Brian Mangini and Ted Marotta toured the nation, playing 200-plus gigs a year, a reputation recognized by SPIN Magazine, and appreciated by an online fanbase supported by a website at Dartmouth University affectionately called the Podnet. “We have some really loyal fans on the Podnet who have taken it upon themselves to get the word out and to spread tapes,” Tom Pirozzi told Budnick. “So we’ve walked into a bar in Iowa City where the place is just packed full of people who have heard about us, know our music and are excited to have us there.”

    At one point, the website boasted of having more than 300 subscribers, known as mutants. It was maintained by David Merrill, a Dartmouth technician nicknamed The Bourbon Cowboy. It was a place to find setlists, lyrics and pictures. In its heyday, fans could swap tapes from live shows. The internet was still in its infancy in the late ’90s. Social media and smartphones, absolute requirements for networking and navigating new landscapes, did not exist. So, most fans found out about shows by signing up to the band’s mailing list — postal, not email. (At the

    band’s height, that list contained more than 10,000 names.) Fans could also call the band’s dedicated phone line connected to an answering machine that listed upcoming show dates. The Podnet is still online, but the ’90s design suggests it hasn’t been maintained for years. Some of the mutants, including Merrill, have since moved on to Facebook.

    Pirozzi recently shared his amazement over the power of social media. He said he posted word of the Seapods upcoming Cohoes show on Facebook twice. Once on his page, and another on the Mutants’ page. A short time later, he said, the Saturday evening show was sold out.

    “It sold out in five days,” said Pirozzi. “I was surprised, actually. I knew we’d do well, and thought maybe by the day of the show we’d sell out, or be close to sold out. I didn’t expect to sell out in advance. We were all shocked by that.”

    The band opted to offer a second show on the preceding Friday, Pirozzi’s 50th birthday. (It, too, is close to selling out.) Pirozzi said he’s humbled by the response from fans, and looks forward to seeing faces he hasn’t seen in 20 years.

    “I could see on Facebook, people coming in from Colorado, from North Carolina, California,” asid Pirozzi. “I think it’s just going to be a great reunion for people I haven’t seen in years. Obviously, people I haven’t seen in 20 years. I’m looking forward to that.”

    The definition of an Ominous Seapod, initially sought by a Plattsburgh State undergrad, is less elusive today than it was nearly 30 years ago.

    “By all accounts the band and their fans know how to have a real great time,” said Neaton, who now associates herself with Guthrie Bell Productions. “And, if Greg Bell says a band knows how to party, I think the Cohoes Music Hall is perhaps in for a party unlike anything it’s seen before. It’s really cool to be part of a reunion that’s bringing so many people in from out of town to celebrate a band that meant a lot to the jam scene for so long, especially in a room as special as this.”

    This article was originally published by The Spot 518 and is the property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Rochester Indie Musician Spotlight Heading Into Fifth and Most Exciting Season Yet

    Imagine a cross between the shows Off Camera with Sam Jones and NPR’s Tiny Desk. Picture the best musicians in the local scene performing and being interviewed at neighborhood venues. And then envision yourself being part of a live audience. For music lovers in Rochester, this is a reality. Music journalist Dan Gross has devoted the past year and a half to bringing this vision to life. Rochester Indie Musician Spotlight highlights the best of the rich and diverse music scene in Rochester, which was recently voted best music town by staff in the Best of NYS Music poll.

    With an exciting lineup of guests and the support of sponsors, Rochester Indie Musician Spotlight’s “Season5” promises to be exciting. “We want to make this the biggest season yet,” Gross told NYS Music. During the off season, he lined up a slew of talented performers. To support the expansion of the program to sixteen episodes, new and returning sponsors are pledging support. One of the new partnerships has led to the creation of a spin-off series. To top it all off, a fundraising campaign this month may make it possible to to air the series on television, in addition to the web.

    Rochester’s Premiere Music Interview and Performance Series

    “Season 5” will showcase sixteen musical acts representing a variety of genres. Among the guests slated to appear are Grammy-nominated jazz saxophonist Jimmie Highsmith Jr., beloved folk band The Honey Smugglers, blues singer/pianist Hanna PK, and comedic songs by Small Signals from their Missed Connections album. This season concludes with the series’ landmark fiftieth episode.

    The majority of episodes are filmed at Bop Shop Records, an independent record shop that carries a wide array of music and specializes in fine condition vinyl. Serving the community since 1982, the shop was originally in Village Gate and is now located at 1460 Monroe Ave. It was the first sponsor of the Spotlight, a partner since the second season in mid-2016. Gross is grateful for the the shop’s owner, Tom Kohn, as the use of venue space allowed the show to expand from a straight interview program to a mixed interview and concert format.

    “To say that Bop Shop Records is the reason this show is happening is an exceptional understatement,” Gross said. “This place – a space dedicated to kindness, building a community and helping people, and great music and records regardless of genre – are the same values that the Spotlight lives by.”

    Over the previous four seasons, the show has featured some of the best of the pool of talented independent musicians with roots in Rochester. Spotlight alumni include Ben Morey & The Eyes, Lost Wax Collective, The Crooked North, Daniel Bennett Group, Talking Under Water, The Mighty High And Dry, and Tart Vandelay.

    “We really enjoyed being able to perform at Bop Shop,” said Marty LoFaso of Tart Vandelay. “The show is a great, one-of-a-kind aspect of our music scene.”

    Filling a Niche

    The longevity of Rochester Indie Musician Spotlight can be credited to both the quality of programming and the high standards established by Gross. After graduating college with a double major in Broadcasting and Music, he has found many outlets for his talents. He has bylines as a writer for the Democrat and Chronicle and Eastman School of Music. He’s on the crew of the local web show My Hometown. You can also find Gross hosting and producing the music interview podcast “Extended Harmony” for jazz record label Outside In Music and hosting a show on Jazz 90.1 on Mondays from 6-8pm.

    Gross started Rochester Indie Musician Spotlight because he wanted to find a way to combine his broadcast journalism skills with his deep appreciation for the Rochester music scene.

    “The philosophy of the show has always been to try to come at it with a journalistic approach,” said Gross. “I believe one of the reasons the show is successful is that it’s not gimmicky… The show doesn’t substitute a gimmick for meaningful material.”

    The overarching goal is to become a benchmark for musicians, providing them with not only exposure to a wider audience and a shareable video, but to be able to become a stepping stone in their career. “I want my show to get to the point where if you’ve come on, that’s a stepping point for you,” Gross said. “I want to give people that ‘Spotlight boost.’”

    “If you’re not doing it to help someone out, what’s the point?” Gross went on to explain. “That’s the difference between content and something that’s meaningful, is that it’s about people. Content is about views. But I’m trying to help people. There are people who live here who don’t understand how much live music is here, or how important Rochester is as an arts community.”

    Growing The Local Scene

    The show has grown from humble DIY beginnings with Gross conducting interviews and friend Stacey Baran on camera. Gross has operated the program on a shoestring budget, learning how to do a multitude of technical tasks himself, including audio mixing and color correcting video. He still tries to do as much as he can to contain costs. He’s deeply thankful to everyone who has helped the program to grow. From videographers Jason Thibault (producer of My Hometown) and Dallas Greene to a growing number of musicians, viewers, and sponsors.

    “This show is not possible without other people,” said Gross. In addition to connecting musicians with an audience, the show promotes local independent businesses and venues which promote the local music scene. Bernunzio Uptown Music, a shop renowned for its quality vintage instruments, has hosted some of the Spotlight shows. Rowe Photo, Video and Audio, a place where Gross has bought some of the equipment he uses to record the sessions, was also an early supporter of the Spotlight.

    Gross has been announcing new sponsors who will also be backing the program this year, including restaurant and roastery Joe Bean Coffee Roasters which features live jazz weekly and instrument sales/rental/repair shop Sound Source. There’s also a new partnership with Three Heads Brewing which launched a monthly series The Rochester Residency. The “Spotlight Spinoff” videos will highlight featured artist of the month.

    The first installment of the “Spotlight Spinoff” with this month’s resident Fran Broderick was released last week. In the debut episode, Gross and Broderick chat at the brewery about Fran’s musical background. Broderick also gives viewers insight into the plans for his sets every Thursday in January: a week doing an acoustic set, another week with his band Friday in America, the third week playing Warren Zevron’s Excitable Boy with a handful of musical guests, and releasing his new album on the final week. The interview is book-ended with some clips of Broderick playing his original songs on acoustic guitar.

    In addition to local business owners, viewers can also become patrons of the show. Donors to the Spotlight’s first crowd sourcing campaign are entitled to a variety of perks at various levels, including t-shirts, coupons or swag bags from sponsors, and being recognized in show credits.

    If the indiegogo fundraiser reaches its target of $3,500, it will enable Rochester Indie Musician Spotlight to make the leap to television. Airing on television as well as being posted to the internet will help the show reach a wider audience. “If everyone who has ever “liked” the Facebook page gave $5, we’d reach our goal,” said Gross.

    During the countdown leading up the highly anticipated “Season5,” Gross is replaying some of the episodes from the first four seasons. You can find them on Facebook at Dan Gross: Music & Journalism . Hit the follow button to get the scoop on upcoming events and new episodes.

  • Black Label Society and Corrosion of Conformity roll into Clifton Park

    Black Label Society along with Corrosion of Conformity and EyeHateGod performed at the Upstate Concert Hall Sunday, January 7. With the venue near full capacity, Zakk Wylde and his band of brothers played a high energy show pleasing fans old and new.

    Black Label SocietyBlack Label Society opened the show with the fast paced “Genocide Junkies,” following up with “Funeral Bell.” Zakk Wylde made no hesitation to melt the crowd’s faces off from the beginning all the way through the whole setlist including crowd favorites “Suicide Messiah” and “Fire it Up.” Later this month, Black Label Society’s new album “Grimmest Hits” debuts. Do not get confused. This is not a greatest hits album.

    Black Label SocietyBlack Label Society brought along Corrosion of Conformity for the tour. Fans in the area were happy to see Pepper Keenan and Corrosion of Conformity back in Clifton Park. From crowd favorites to new songs, Corrosion of Conformity had a song for everyone. They have a new album coming out January 12th called No Cross No Crown. Corrosion of Conformity got the crowd singing with “Albatross,” followed that with an introduction of the rest of the band, before ending the show with “Clean My Wounds.”

    Black Label Society

    Black Label Society Setlist: Genocide Junkies, Funeral Bell, Suffering Overdue, Bleed for Me, Heart of Darkness, Suicide Messiah, All That Once Shined,  Room of Nightmares, Low Down, Bridge to Cross, In This River, The Blessed Hellride, Fire it Up, Concrete Jungle, Stillborn

    Corrosion Of Conformity Setlist: Bottom Feeder (El que come abajo), The Luddite, Seven Days, Vote With a Bullet, Long Whip/Big America, Who’s Got the Fire, 13 Angels, Broken Man, Albatross, Clean My Wounds.

    Black Label Society

  • Hearing Aide: Umphrey’s McGee ‘it’s not us’

    Jam band is a term thrown around, generally referring to the length and frequency of improvisatory segments a band employs in their live shows. But in the higher rungs of the quasi-genre, it could also be used to describe the amount of styles and influences that are ‘jammed’ into a single concert, album, song, or even lick.

    it's not usPut on it’s not us, the latest studio output from rockers Umphrey’s McGee, and your friends will be impressed with the playlist you put together, showcasing your eclectic taste. Would you take credit, or own up to the fact that it was indeed just one band? And one album?

    The album exhibits McGee at their most dynamic and most intriguing. Celebrating their 20th anniversary in 2018, they’re still a band on the rise, tackling new ground, finding ways to innovate and improve along the way. If an album is a band’s current singular statement, this one screams, “This is us!” That certainly defies the chosen title, which they chose as a reference to their beloved fanbase. This collection of songs isn’t a new direction for the band, rather a culmination of everything that has come before, and it is most certainly “them.”

    Their previous release, Zonkey, was a virtual jukebox, with wild mashups of different popular songs. This one plays like a jukebox also, but more impressively, and more successfully encompassing entirely original material. Barroom rock (“The Silent Type”), electric dance pop (“Forks”), 80’s hair band heaviness (“Looks”) or jazzed-up funk (“Speak Up”) all find a home in this player. The infectious blues groove of the not-so-cleverly named “Whistle Kids” would sound right at home billowing up from the smoke at any Dinosaur BBQ. “Remind Me” opens in a slinky groove but switches into a blistering metal rocker, with some signature slash and burn guitar that rears its head throughout the album. It stands in immediate contrast to the ensuing “You & You Alone,” a stripped down folksy track. Though it’s not us is not an album with a finite order, It will hold up well when listening on shuffle, which is how the kids do it these days anyway. Each song stands strongly alone, and like an Umphrey’s McGee setlist, could be reordered on each listen for a unique experience every time.

    it’s not us introduces 11 new songs to the ever-expanding Umphrey’s McGee catalog in a tight 50 minute package with impeccable production value. The sound is rich, from the highest high hat to the lowest bass hit. It won’t sound this good live, even if you spring for the high-end earphone experience. And that’s how it should be, a detail that often gets overlooked by bands that value the live performance as much as this band. Nevertheless, these songs will adapt well to the live shows and find a welcome home on many setlists to come.

    Key tracks: Looks, Whistle Kids, Forks, Dark Brush

  • Photo Gallery: The Nth Power at American Beauty

    For the first of four nights of post-Phish shows at American Beauty, The Nth Power brought their soul funk to a crowd of late night party seekers on December 28. During the night, John Shannon from The Leaders of The Shift and rapper Atlas Gramz joined the Nth Power on stage for what would turn out to be one of the final shows at American Beauty.

  • Hearing Aide: Dave DiPrimo Band ‘Reflections’

    One day photographer Michael Slattery found himself chasing elusive clouds with his camera, only to find the perfect shot in his passenger side mirror. Like the artwork memorialized on its cover, Reflections by Dave DiPrimo Band grasps for things in the past, just beyond reach. It’s an album rife with ruminations and dwellings.

    At a time when many of their college-age peers are churning out angsty pop punk, Dave DiPrimo and his bandmates are composing alternative folk songs featuring soulful saxophone riffs. DiPrimo makes references to his maturity in the song “Fall Down,” with the lines “You can call me old fashioned/I prefer to be called an old soul.” Weaving in threads from influences as wide and varied as Otis Redding and The Front Bottoms, Reflections is a contemporary yet traditional tapestry of Americana.

    The title track “Know You Best” sets the nostalgic tone for the poetic, introspective collection. It’s a song about unrequited love and longing for connection. It alternates between pleading verses and a bellowing chorus. “Now” is another contemplative track, rueful oozing with melancholy. “Every day it gets a little bit colder/ every day I get a little bit older,” sings DiPrimo. The slight distortion on guitar lends a distant, dreamy effect. The melody is set to the a rat-tat-tat drum beat laid down by Reid Hoffmeier and deep rhythms from Ian Benz on bass. The saxophone played by Karis Gregory is featured prominently on the bittersweet ballad “Caroline.” The indie rock anthem “Glory Days,” wraps up the album, ending on a slightly higher note with remembrances of happy times.

    Dave DiPrimo Band recorded Reflections in a single day at The Green Room. The 9-song collection was mixed and produced by studio owner Matt Ramerman. CD’s are available at their live shows. The album can be found digitally on multiple music platforms, including Spotify and iTunes.

    Key Tracks: Know You Best, Fall Down, Now, Caroline, Glory Days

  • Kalmia Traver of Rubblebucket Dances to Her Own Beat

    We met Kalmia Traver, lead vocalist and sax player of Rubblebucket, a Brooklyn-based funk dance troop, standing in the green room on a carpet already littered with small squares of white confetti paper- a playful hint to where the night would lead.

    Her slender frame and fair skin animated by a vibrant orange and yellow poncho, paired with sparkling gold baggy shorts over black leggings. What could easily have been mistaken for her stage outfit was actually just her driving PJ’s. She would later sport a petticoat upon her shoulders, normally worn underneath a skirt to exaggerate it’s volume. She greeted us with an unassuming and innocent smile before we made our way to a couch along the back wall. The small room was cluttered with other musicians chatting, snacking and sipping on kombucha, a favorite drink of Traver and other Rubblebucket members.

    Traver’s first order of business that morning before departing Brooklyn for the Flower City? Acquiring the leaf blower they use as their confetti cannon, obviously. Then they loaded the van, hit the road and after a tumultuous interaction with the GPS, made it to Anthology an hour late but ready to start the party.

    After taking her spot on the couch to chat with us, Traver parted a grocery bag at her feet to unearth a quart of soup from a local noodle bar which she proceeded to drink straight from the container. No frills here.

    Traver’s free spirited nature made it easy to relax into playful conversation before switching gears to discuss their current projects. Since the release of their EP If U C My Enemies in early 2017, Rubblebucket has been working to complete a full length album, with the first month and a half of 2018 set aside to finish it up. Traver and Alex Toth (sax/vox) had been heavily experimenting with their solo projects, leaving less time for Rubblebucket recordings until more recently. Traver’s project Kalbells explores a softer side with whispery vocals, but a familiar quirkiness, with bells, synths and other curious sounds decorating her tunes. Toth chose to put down the trumpet and pick up a less familiar instrument for his self-titled guitar venture Tōth.

    As projects develop and evolve, musicians are constantly refining their image and identity. Rubblebucket once called themselves Rubblebucket Orchestra. As Traver was discussing the decision to condense their name, some tall guy slid into the conversation to invite the band to breakfast the next morning. The rest of her explanation spun down the drain before we could catch it as the conversation stayed on food.

    Back in November she posted an Instagram photo adoringly posing with a few Brussels sprout stalks. Both Traver and Toth share their concern for sustainable farming and other environmental issues, which they both studied in college. Now they bleed these topics into their performances, hearts set on using their music for more than just giving people a good time. Their Dec. 29 performance at Anthology also included an information table on renewable power so fans could get learnt on how to reduce their carbon footprint.

    Old harvey bruss bruss

    A post shared by Annakalmia T (@kalmiasworld) on

    When it comes to protecting their creative environment, we asked Traver about any pre-show rituals. Traver’s only anchor is selecting an outfit that will accentuate her dance moves to add visual interest on stage and put her in the right mindset for the performance. She gets her “dancespiration” from the world at large and from frequent dance excursions in her room with the help of a mirror. As any good dancer knows, a mirror is the key to methodically evolving dance skills, using the constant visual feedback to refine or exaggerate movements.

    Oh and if you were wondering why a dusting of confetti flecked the green room carpet before the show even began, Rubblebucket came equipped with an arsenal of confetti balloons for the performance. One of the big balloons unexpectedly popped in a “sad happy accident” as Traver called it, providing the sprinkle of playful floor decor for our pre-show hangout.

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