Buffalo homies Witty Tarbox are a “jam-based ensemble of considerable versatility and dexterity, Witty Tarbox’s freewheeling sound embellishes their blues- based rock progression with elements of funk, indie, and surf rock, lending their songs a stylistic malleability and improvisational flair.” Cody Tarbox, Bryan Williams, Alex Khoury, Colin Gray and honorary fifth member Seth Bykowski join host Andy Hogan to discuss their debut EP, The Adventures of Schmitty ISSUE #1 v RARE, their upcoming album currently in the works, tour dates and more.
September 28: Funk n’ Waffles (ROC) w/ Space Junk and Cypher October 5th: Buffalo Iron Works w/ The Magic Beans October 19th: Mohawk Place (Buffalo) w/ The Tins October 27th: Thin Man Brewery (Buffalo); Forever 27 Halloween Party December 13th: The Haunt (Ithaca) w/ Strange Machines December 14th: Nietzsche’s (Buffalo) w/ Strange Machines December 15th: Funk n’ Waffles (ROC) w/ Strange Machines
PEAK combine the characteristic flair that a weathered live band brings to the table, along with the instrumental prowess and focus needed to capitalize on recording a studio album with an all-star engineer. Produced by Dave Brandwein (Turkuaz), this thirteen-track epic is aptly named Electric Bouquetfor its variety of styles and poetic narrative arc. Vocalist and guitarist Jeremy Hilliard weaves a tale of existential breakdown and regrowth of a relatable narrator. Packaged along with a stellar instrumental backdrop, this album checks the necessary boxes for a song cycle washed in arresting psychedelic musings and jams. The band consists of singer-songwriter and guitarist Jeremy Hilliard, percussionist Dale Paddyfote, bass player Eric Thachuk, and organ/keys player Otis Williams. This album offers a staple sound that PEAK can use to differentiate themselves from an ever-growing list of funk/rock bands.
Electric Bouquet highlights many aspects of the band’s dynamic approach to songwriting; from the poetic use of narrative to the transitions between songs that create the flow and feel of the album as a whole. From funk, to psychedelia, to folk, Hilliard is deft in his writing and grouping of the songs. The first track, “Barometric Pressure (Here Comes The Rain)” starts off with a heavy hand alongside a drum and bass groove akin to Bowie’s “Let’s Dance.” PEAK wears their funk influence on their sleeve for much of this album, showcasing the ability of the band to lock in on a groove and develop its melodic nuances until the song “peaks” (no pun intended), often with a grand guitar solo. Many of the tracks are built around a bit of a blank canvas that the group paints with aesthetic guitar layering, big Bonham-like drums, and new interesting rhythmic features (like the congas in track 11 “Nothing New Under the Sun”). Thachuk (bass) and Paddyfote (drums) have great chemistry throughout, matching the bass and drum parts to give each song a strong backbone while organist Williams brings color and flavor to the instrumentals, yielding room for Hilliard’s full-toned guitar solos to blast through the mix.
As the album progresses, there’s a feeling of resolve in the lyrics with an emphasis on coming to grips with the predictable yet arduous nature of life and growing up. It feels like a coming of age story, referencing passing time and transitions from night to day, while simultaneously showing present growth of the narrator. Thematically, the album stays interesting. Instrumentally, the album not only conserves its appeal throughout while taking the listener on a psychedelic funk rock adventure, but also develops and changes as the songs roll on. There’s a gradual departure from the darker and heavier type of psychedelia early on (“Win Some, Lose Some”, “On the Grind”), to a more Grateful Dead or The Band folk rock/Americana feel (“Ballad of Wiley Jones”, “Mama’s Got A Lot of Love”). I would absolutely recommend giving this album a listen. From the production, to the actual performance of each song, it was a treat to look at each one of these baker’s dozens of tunes.
Robert Walter takes his 20th Congress out of the box and gives his songs room to breathe on his latest album, Spacesuit, out today. The album takes on a sci-fi and psychedelic sound, with meandering compositions that leaves space for improvisation in the live setting. The album lifts off with “Spacesuit” and blasts off with the funky “Nerva and Dumbo,” named for a pair of experimental NASA rockets. Songs such as “13th Key” and “Chalk Giant” jump out with catchy rhythms and a range of influences intertwined.
Indulging in this album will stoke the listener’s imagination, the progressive melodies capturing your attention and taking it on a journey. Walter, reflecting on the genesis of the album says “I always wanted to make the record that I wish I found going through the record stacks. I love the idea of trying to create an imaginary film or a record from 1972 that you wish you could buy.”
Walter spoke with NYS Music ahead of a performance at Big Henry Vinyl, next to Antone’s in Austin, Texas, to discuss the influences of the album, bringing in New Orleans musicians to record on the album, and how writing and performing with Phish’s Mike Gordon has affected his songwriting.
Pete Mason: Having been a fan going back to early music festivals this century, I have always wondered – if this is the 20th Congress, what happened to the other 19?
Robert Walter: My wife was reading a book on Soviet Russia, and the 20th Congress is the most important in Soviet history, a turning point in the Communist Party when they called off their quest for world domination. I saw my band as a chance to break away from The Greyboy Allstars and take a different turn and bring in more effects to a soul jazz sound.
PM: On Spacesuit it sounds like you are creating space in songs for more improvisation.
RW: You want to give people sign posts and material to work with, but not so much that they can’t go anywhere. At times an interesting chord change or a bar or the scale can make things irregular, but you don’t want to block people in too, letting people be natural to play. Sometimes we do just play freely, but I like to have a little bit of composition in it.
PM: How did sci-fi become an influence for the album? Was this just a shift in what you’ve been doing in the studio?
RW: I always like El Topo and Holy Mountain by Alejandro Jodorowsky’s and sci-fi has always been an interest of mine and there are a surprising amount of effects in some of these soundtracks, more synth especially. I always liked the imaginativeness where you can create things with not a lot of rules and use your imagination on it. The songs don’t have to live by the rules. I wanted to get rid of the rules of a song – is this jazz or funk? – and tear it down and let the imagination flow.
PM: For this album you brought in a pair of New Orleans musicians, drummer Simon Lott and guitarist Chris Alford.
RW: I have always been sort of attracted to drummers throughout my career, having played with several drummers from New Orleans. The music can still go places but be rooted in something, especially if you’re doing something a little left of center. They have an anchor in the fundamental American rhythms, the use of clave, but I didn’t set out to hire New Orleans guys, they’re just what I liked.
PM: How has playing and writing with Mike Gordon influenced this album?
RW: It’s been five years since I recorded on Overstep, and I’ve been playing with him in Mike Gordon Band for three years. Being around him, you feel like you can be imaginative and inspiring. If something doesn’t work, he throws it out, and he’ll try every route to try to get to something interesting. He broke me out of a lot of preconceptions of how to write music. He’s so open and positive about creativity and indulging new ideas to see if it works or not. He’s fearless.
PM: There is a great deal of futuristic funk and soul on the album. What influenced your writing this time around?
RW: I have been listening to a lot of German Krautrock, a type of prog rock from the 70s. It tends to be very spare and have a lot of space in it. Kraftwerk is a big one too, and dub reggae which is kinda the same thing. I was interested in music that was subtractive, dealing with the recording and pulling things away to reveal texture. Cymande, a British funk group from the 70s, are very minimal and have simple repetitive bass lines towards this new music. I made a playlist on Spotify of music that directly influences the album.
PM: Next up for you is a performance at Brooklyn Comes Alive on September 29 with Johnny Vidacovich and Eric ‘Benny’ Bloom. What can fans expect from your set at Rough Trade?
RW: I am stoked for the Brooklyn Comes Alive set. It’s with Johnny Vidacovich who has been on two of my records so we have a lot of history. Johnny and I used to play as a duo when I lived in New Orleans. He played with Professor Longhair and James Booker, two of my favorite pianists. Bloom is incredible as well and has great ears and is super fun to be around.
Perpetual Groove brought their usual non-stop, southern style jams to Brooklyn Bowl on Saturday, September 15. Featuring Brock Butler (guitar, vocals), Adam Perry (bass, vocals), Matthew McDonald (keys, vocals), and Albert Suttle (drums), they reminded the packed house exactly why they skipped out on other awesome shows. One fan said before the show that he was skipping David Byrne for this show, and at intermission confirmed to that he had made the correct choice.
Set One: Release>GreenTea>Mayday>NaiveMelody>OutHere>GreenTea>DetoxMansion>GreenTea, PaperDolls, OnlyAlways
Set Two: AIM, Crapshoot, MOTA>Closer>RobotWaltz, StealyMan>BestOfAnything
Let’s Be Leonard has released the second video off their sophomore album Static, for the track “Channel 2.” The video features art design by Toni Nastasi and whimsically depicts the central focus as a love affair between Nick, and his mop-lover, Sally. “Channel 2” follows on the heels of “Most Days,” released earlier this summer.
The band will release one more single prior to the release of the full film. The feature will be shown at intermissions during a three-day stint at The Barrelhouse in Saratoga Springs on October 11, 12 and 13. Let’s Be Leonard will also appear in Troy at River Street Pub for Troy Night Out on September 28 with Great Mutations and Better Pills.
It was a hot night in Buffalo, the same night that Elton John was playing at Key Bank Center for his Farewell Yellow Brick Road tour. Parking was difficult since the Elton John show was a sellout, but neither the heat nor the traffic could deter people from showing strong for Funktional Flow‘s show at Iron Works. Even with a sold out event next door, the Buffalo-based group never fails to draw a crowd of eager attendees to one of their main home-base venues. As per usual, the Funktional Flow team was able to enlist the support of another great act; the Syracuse-based reggae group Root Shock. Anyone coming early was lucky enough to catch a preview of the light show for the night. The lighting at Iron Works was vamped up and prepped to go, with a spectacle of mixed colors and effects. It’s always a pleasure to catch a show here.
Root Shock opened up the night for Funktional Flow
The crowd started flowing through a few minutes into Root Shock’s set. Root Shock came off as a weathered group, utilizing all the tools present in their 6-piece outfit. Guitarist Phil Grajko and Jessica Brown traded off on vocals, while the extended rhythm section showcased their ability to create intricate reggae grooves. Their set had great transitions, giving the audience some slower songs to rock to, and some faster ones to get down. From the balcony of the venue, it was cool to see a group of dancers doing tricks with hula hoops and getting the audience moving. The band also got the crowd dancing, and even played some songs that they’ll be recording this upcoming weekend- always a treat to hear unreleased material. As Root Shock finished, it was a good idea to venture closer to the stage to get a spot near the barrier. One could overhear chatter that there was a line out the door. 11 pm came around and the crowd cheered as Funktional Flow took the stage.
The lighting was a huge highlight for this set. A backdrop of colors and textures adds so much to the atmosphere of the show, and the effects lined up well with the music the band played. You can tell that these Iron Works shows are special by how in sync the band and the sound and light crew were. Funktional Flow’s set was rock solid; their mix of flavorful reggae and funk rock works to great effect live. They also had a couple of feature percussionists for this event: Ryan Nogle on drums and Griffin Brady on auxiliary percussion. This added a lot to the groove which was simultaneously being fortified by Ben Whelan’s melodic and percussive bass lines. Joey Lewis flashed his technical prowess with scathing guitar solos and carried some of the vocal duties along with singer Jefferey Kuebler. One of the coolest parts of these Funktional Flow sets is when Jefferey and Joey lock in on a guitar riff and get a classic rock type guitar duel going. Matthew Lester provided a heap of energy as he ripped solos on the saxophone and held down the keys to round out a huge live sound. The highlight of the night was hearing their original song “Trouble” with the night’s lineup. The album version from Time Will Tell is great, but the added meat from the auxiliary percussion, on top of Nogle’s huge drum sound and lightning fills, differentiated the tune and revealed a whole different dimension of the song. That’s what these live shows are all about! Definitely catch these two bands if they come through your town and be on the lookout for their music.
Matthew Lester provides energy through his stage presence and concise solos
Ben Whelan (right) holds down the groove while Joey Lewis (middle) nails riff after riff
The variety of lighting textures added to the audience experience
Ryan Nogle and Jefferey Kuebler (right) lock in with Ben and Joey (left)
Holly Bowling stopped in for a show at Cohoes Music Hall this Sunday, September 16. Bowling, hailing from San Francisco, is well known for her solo piano transcription of the infamous 36 minute version of “Tweezer” that Phish played in Tahoe, NV in 2013. She started touring as a solo act soon after, captivating unsuspecting audiences with her soulful renditions of Phish classics. She soon expanded her act to include a vast number of Grateful Dead tunes, which can be heard on her studio release Better Left Unsung.
Bowling opened up the Sunday show with “It’s Ice,” an incredibly intricate Phish composition which she plays with ease. This segued into “McGrupp and the Watchful Hosemasters,” which featured a “China Cat Sunflower” tease in the section that is typically reserved for McConnell’s solo. Bowling was able to open up this piece as well as any multi-instrumental band could, showing her ingenuity in experimentation, even as a solo artist. She delighted the crowd when the end of “It’s Ice” emerged from deep within the depths of “McGrupp.” After this, she paused to acknowledge her gratitude for her presence here, and explained her love for the building, which was the sight where the name of her band, Ghost Light, was conjured.
The first set continued with the Grateful Dead’s “Lost Sailor” which transitioned into Phish’s “Roggae,” which was played and finished in its entirety. This was followed by a beautiful version of the Dead’s “Mountains of the Moon,” which drifted effortlessly into “Saint of Circumstance,” completing the “Lost Sailor” for any familiar Dead fans.
After a short break, Bowling came back for a nearly continuous second set. A soaring version of “Bird Song” opened the set, which flew beautifully into the first complete part of “Weather Report Suite,” including the prelude. This naturally blossomed into an uplifting rendition of “Let It Grow,” really bringing the energy up in the room.
Bowling seamlessly transitioned from this Dead heavy set into Phish’s “A Song I Heard the Ocean Sing,” which then flowed into a fun version of “Sand.” This was followed by Led Zeppelin’s “No Quarter,” which proved to be just as powerful of a song when played by one woman on a grand piano, as it is with four of the greatest rock and roll musicians of all time. Bowling then brought back the Dead by gliding into an impassioned version of “Morning Dew.” After a brief pause, Bowling closed out the set with “Swept Away,” a Phish rarity that is welcome to any diehard fan, and which fits perfectly with Bowling’s style as it reflects her ability to maintain the emotional integrity of the songs that she transcribes. To top it all off, this shifted seamlessly back into the end of “Let it Grow,” which truly completed the second set.
Upon leaving the stage, Bowling came back for an encore. “Slave to the Traffic Light” proved to be a perfect fit, with a warm, uplifting jam that would have left Page himself smiling from ear to ear. Not only was this classic composition executed with perfection, but it also included a “Let it Grow” tease, making it a unique reflection of the performance from that night.
Following this performance in Cohoes, Holly Bowling will be returning to Albany on November 14 at Jupiter Hall with her band Ghost Light.
Set 1: It’s Ice > McGrupp and the Watchful Hosemasters > It’s Ice*, Lost Sailor > Roggae, Mountains of the Moon > Saint of Circumstance Set 2: Bird Song > Weather Report Suite Prelude, Weather Report Suite Part 1 > Let It Grow > A Song I Heard the Ocean Sing > Sand > No Quarter > Morning Dew, Swept Away > Let It Grow Encore: Slave**
The soulful funk group, West End Blend, shared this week that their impressive Fall 2018 tour will be expanding across cities in the Northeast, Southeast, and Midwest. In what Sam Horan, the band’s drummer, has described as “one of our most exciting tours to date,” eager fans can expect performances including surprises such as a Secret Location TBA for Halloweekend.
This tour will mark the band’s next step to spread their unique sound as they claimed: “We’re visiting some brand new cities and we look forward to expanding that WEB family!” Tickets are on sale now and can be purchased via the band’s website.
This announcement is only the first of many plans for this upcoming fall. West End Blend prides themselves on their own vibe and flair and what better way to do that than with a live album release. Horan mentioned that they have been getting so many requests for this project because “Everyone can agree that while our studio albums sound great, they just don’t quite capture the raw energy and vibe that you see from us live.” It’s the ultimate way to provide the most authentic content possible and Live at the Waterhole will be released Oct. 5.
Recorded during a two-night long session at the Waterhole in Saranac Lake, the album sees technical contributions from GRAMMY Award-winning engineer Brendan Morawski. By building a studio-style soundboard side stage, Morawski was able to capture studio quality recordings of both evenings. This was also taken into consideration for which songs would be included on the album since the objective was to pick those which have taken on new arrangements and morphed significantly from the studio album versions. This direction the band is taking will demonstrate how they want the utmost interactive experience for the fans and how they are constantly rearranging their songs during live performances to showcase their progression as a group.
See Tour Dates and Tracklist below:
Live at the Waterhole Tracklist:
1. Attitude
2. Say Hey
3. Get By
4. I’m Time
5. Too Heavy
6. Day Dreamer
7. Is that All you got
8. The Scene
West End Blend Tour Dates:
Sept. 18 – Brooklyn Bowl – Brooklyn, NY * Sept. 19 – Buffalo Iron Works – Buffalo, NY * Sept. 20 – Funk n Waffles – Syracuse, NY *
Sept. 29 – Brighton Music Hall – Boston, MA ^
Oct. 5 – Toad’s Place – New Haven, CT #
Oct. 6 – H.O.M.E. – Portland, ME Oct. 12 – The Hollow – Albany, NY
Oct. 18 – Woodlands Tavern – Columbus, OH
Oct. 19 – Emporium – Chicago, IL
Oct. 20 – Founder’s Brewery – Grand Rapids, MI
Oct. 27 – Halloween Horror Camp – Secret Location TBA
Nov. 7 – Hofgarden – Richmond, VA
Nov. 8 – The One Stop – Asheville, NC
Nov. 16 – Pour House Music Hall – Raleigh, NC
Nov. 17 – Heist Brewing – Charlotte, NC
Nov. 24 – Riverwalk – Nashua, NH
Nov. 30 – Tropicalia – Washington DC
Dec. 7 – King’s Rook Club – Erie, PA Dec. 22 – The Haunt – Ithaca, NY @
Time to start stocking up on sunscreen and swimsuits. Phish will be returning to Mexico this February for their Riviera Maya concert vacation. With a variety of packages to choose from, family and friends alike can enjoy Mexico’s Caribbean coastline while immersing themselves in cultural foods, tequila tastings, and classic Phish performances. The four-night, all-inclusive event will be taking place February 21-23 on the gorgeous clear beaches of Barcelo Maya where fans can also be shuttled in from five other select hotel resorts.
The activities for anyone attending are seemingly endless with each resort boasting a variety of quality restaurants, upbeat bars, and lounging by the beach or pool. Off-site adventures are just as plentiful with exploring the nearby town of Tulum, magnificent barrier reefs, and breathtaking views. After long days of soaking in the sun, concertgoers will be entertained by authentic Fire Dancers, Mayan Warriors, and be catered to with complimentary drinks as they are led to the main stage on the beach for an electrifying set of Phish music.
As the unforgettable weekend concludes, you will also have an opportunity to purchase One-of-a-kind custom event merchandise. That being said, Revenge of the Return of Phish: Riviera Maya will truly be a spectacle for all attendees as well as an exotic vacation.
For more information on Phish: Riviera Maya in February 2019, visit the event website here.
Philly’s Funktronic outfit Tweed has released a wild new music video for their latest single “El Sucio Grande.” The disco-inspired tune highlights guitarist AJ DiBiase’s voice in groovy choruses, and combines with Tweed’s signature outer-space synthesizer licks and soaring guitar riffs. Add in gigantic drums, bass bombs, and a trappy ‘big-dirty-style’ breakdown, and you have a powerhouse track.
“El Sucio Grande” features modular synth from Lotus’ Jesse Miller and was produced at New Jersey’s Brooksound Studios with Jeff “Mudd” Mahajan. The video was filmed in Philadelphia and directed by Kevin Shields (of hip-hop duo Little Stranger) and portrays keyboardist Jon Tomczak and DiBiase planning a heist while Philly Vice Cops – drummer Joe Vela and bassist Dan McDonald, are on the chase. The story comes together when the band unites in their getaway van.
September 28: Funk n’ Waffles (ROC) w/ Space Junk and Cypher
