NYS Music 20​18

Category: Genres

  • Interview: Getting to Know Carpool

    This summer, NYS Music premiered the song “Idaho” from Carpool’s debut album. I Think Everyone’s A Cop came out on September 13. The Western NY alternative rock band’s songs contain catchy hooks, emotionally-charged lyrics, mathy riffs, and plenty of guitar pedal effects.

    Carpool weaves together elements from various alt rock sub-genres, which gives them broad appeal. Over the past few years, they’ve opened for a diverse array of national touring acts like Microwave (alternative rock), Tiny Moving Parts (math rock), Roswell Kid (pop punk), and Fossil Youth (Midwest emo).

    Carpool is made of Rochester natives Chris Colasanto (lead vocals/guitar), Blake Weissinger (bass/vocals), Tommy Eckerson (guitar/vocals), and Juan Ortiz (drums). NYS Music sat down with Colasanto to talk about gear, the album, and the Buffalo scene.

    Paula Cummings: Why the name Carpool?

    Chris Colasanto: We originally started as Eyes Wide Shut. It sounded pretentious. So we changed the name to Carpool. It’s about hanging out and sharing good times with your buddies. We actually released an EP, Absolute Loss, under Eyes Wide Shut. It was more straight shoegaze. Carpool is more punky-emo. It’s cutesy – punk, but fun.

    PC: Was this your first time in the studio?

    CC: This was the first time going into a legit studio. We banged it out in four days, 12-hour long days. It’s different from what we used to do. Sometimes we were recording in a bathroom on someone’s computer using Audacity or GarageBand.

    PC: Why did you go with the studio you chose?

    CC: We went with RJ DeMarco at Skyway Studios. Our friends in Ghostpool dropped an EP and we absolutely loved it. We messaged them, and they said to go to RJ. We weren’t pressured, but it felt like everyone was lighting a fire under our asses do our best. We fell in love with Buffalo. It’s why we decided to move here. We visited before, but this was different. We now live in the house we stayed at while we were recording. Everything fell into place nicely.

    PC: What’s the Buffalo scene like?

    CC: Everyone in Buffalo comes out to shows – they go hardcore and support the scene. The demographic is all over. Our last show was at Milkie’s and there were kids, parents, grandparents.

    PC: Tell me about the album.

    CC: We started writing a year ago. The whole thing is about complacency, substance abuse and relationships – like you’re stuck in a stagnant state of molasses.

    PC: I like that, “a stagnant state of molasses.” Your lyrics have interesting ways of turning a phrase.

    CC: We were very conscious of the lyrics this time. We wanted to write songs that everyone likes, that everyone can dance to, but the undertone has more to it. Some of the lyrics are very tongue-in-cheek and quirky. I feel it’s relatable because of those quirks. It’s honest, maybe a little too honest at times.

    PC: Tell me about the gear you used in the studio to create your sound.

    CC: Me and Tommy used my Roland JC120 amp from 1983. It’s awesome, it’s my baby. We used my pedal set-up, primarily Adventure Audio pedals (they’re from Rochester), and Electro-Harmonix and EarthQuaker Devices. Sometimes I get pretty obnoxious with the pedal effects, but it’s fun. Tommy added a BigSky Reverb that added layers and depth – a lot of wet noise. Blake used his Jazz Bass, and he used my Adventure Audio Pedals. It ripped. And we have Juan Ortiz on drums – he’s the man, amazing as always.

    PC: Final question… What would you each sing if you were on Carpool Karaoke?

    CC: Me and Blake would do a duet of “Picture” by Sheryl Crow and Kid Rock. Tommy would do trap rap – “Gucci Gang.” And Juan would do a full 21 Pilots album.

    Purchase I Think Everyone’s A Cop digitally on Bandcamp. Physical copies will be available soon through Syracuse indie label Nothing Feels Good Records. Catch Carpool at Mohawk Place on October 13 with Culture Abuse, Gouge Away, Worse Things, and GOA, or on November 8 with Taking Meds, Teenage Halloween, and Movershaker. Follow on Facebook, Twitter and Instagram for upcoming shows and news.

  • Funktional Flow Launches Search for Drummer

    Funk/Rock/Reggae/Jam outfit Funktional Flow is launching a nationwide search for a drummer.

    The search begins a month after the departure of Ryan James Acanfora behind the kit.  Former Aqueous drummer Ryan Nogle has been covering duties for Funktional Flow while the band searches for the right fit.

    Exclusive to NYS Music, Flow noted that they are looking for something more than just a great musician. “Obviously being a great musician is important, but we here at Flow truly consider ourselves a family.  We function on the values of hard work, creativity and mutual respect and are looking for someone who reflects these qualities.”

    Hailing from Buffalo, Funktional Flow is known as a versatile five piece that fuses elements of rock, funk and reggae.  Featured in Relix magazine’s “On The Rise” and with a host of regional accolades, Funktional Flow has become one of Western New York’s most prominent original bands. Recent local awards for the band include Best Original Alternative Band (Buffalo Night Life) in 2016 & 2017 and the Album of the Year Award from Artvoice Magazine for their 2016 release Time Will Tell.

    Funktional Flow has become a staple of the Western New York jam scene, including their own festival Flowfest, now coming into its fourth year. Flow has opened in support of major touring artists including The Wailers, Warren Haynes, Rusted Root, Railroad Earth, Sublime with Rome, Twiddle, Papadosio, Aqueous, Dopapod, Eric Krasno Band, Snarky Puppy and Turkuaz.

    The band has also enjoyed festival appearances at Disc Jam Music Festival, Catskill Chill Music Festival, Night Lights Music Festival, The Great Blue Heron, and Cobblestone Live among others.

    Interested musicians should inquire via e-mail to funktionalflow@yahoo.com.  The band requests inquiries include a brief musical bio and either video or audio samples.

    Funktional Flow features Jeffrey Kuebler (Guitar & Vocals), Ben Whelan (Bass), Joey Lewis (Guitar & Vocals), and Matthew Lester (Keys, Sax & Vocals).

  • Phallbany: Get Phishy in Albany as Fall Tour Kicks Off!

    A 48-hour, tie dye wave will splash over downtown Albany just in time for Phish’s back-to-back opening Fall Tour gigs. The famed jam quartet’s October 16 and 17 shows will appropriately notch their 16th and 17th shows ever played in the state capital of ‘Phallbany’ and the buzzing city is chock-full of opportunities to celebrate the mid-week shakedown while quickly exploring historic and artistic surroundings. NYS Music is here to give you the rundown on all things Phish, including helpful navigation tips and how to make your mid-week visit to Albany as smooth as possible.

    No strangers to the Times Union Center, some notable moments have come out of their many meetings with the 28-year old Albany venue. Over the years, Phish entertained crowds in some cozier quarters just around the corner at the Palace Theatre.

    With Albany’s extensive history of Phish, we went to IHOZ – the International House of ZZYZX and looked up some stats from all past shows in NY’s capital, aside from Pauly’s Hotel in 1989 where there is no known setlist.

    October 16th marks the first ever Tuesday show. In the last five shows there have been four debuts: Windora Bug and Mellow Mood (2000) and Golden Age and Tomorrow’s Song (2009). Given the frequency of songs below, “You Enjoy Myself” is quite a safe bet, as are “Bouncing Around the Room” and “Guyute,” and while “Jam” isn’t a song, that much is guaranteed over the two nights.

    Phish has yet to play “Divided Sky” in Albany, and we have yet to have a proper “Mike’s” -> “I Am Hydrogen” > “Weekapaug Groove,” with the H2 never showing up in the Capital District.

    Most commonly played since 1992, “You Enjoy Myself” holds the heavyweight title with a total of seven plays, while “Bouncing Around the Room,” “Guyute” and “Jam” come in second at five plays. “Also Sprach Zarathustra,” “Chalk Dust Torture,” “Ghost,” “Good Times Bad Times,” “Harry Hood,” “Maze,” “NICU,” “Possum,” “Prince Caspian,” “Sparkle,” and “Stash” tie at four performances each.

    Tuesday, October 16:

    Pre Shows: If you’re looking to get the party started early, join The Deadbeats around the corner from the venue at town-favorite gastropub, City Beer Hall. They’ll get you bouncin’ round the room from 5PM-8PM before Phish takes over.

    10/16 Afterparty:  Dynamic Albany outfit Wurliday will host a Phunk Night at Parish Public House, just one block away from the show! The Phish after party will be hosted by Albany’s own Wurliday, featuring Natalie Cressman (Trey Anastasio Band), Chris Bullock (Snarky Puppy),Beau Sasser (Kung Fu), Adrian Tramontano (Kung Fu), Chris DeAngelis (Kung Fu), Justin Henricks (Wurliday) and Ilana J. Morris (Wurliday).

    Wednesday October 17:

    Phish Pre-Show Yoga Jam: Phans are generally all about the love and light, which means many of them crossover as yogis. Two of Albany’s newest ventures, Lark Street Yoga and Lark Hall are teaming up with Heartspace Yoga and Healing Arts for a for two hour, donation based yoga event. “Sharin’ in the Groove” proceeds will benefit the Waterwheel Foundation and the phun vinyasa class will be set to live phish tunes and taught by John Smrtic, E-YRT, JD from Heartspace. When sacred movement, jammin’ music, elevated intention, and connection to the spirit through breath comes together in ceremony and celebration, the potential exists to step into the groove. Book your spot from 12:30AM-1:30PM for $25 and check out Albany’s latest phan-friendly yoga studio and music hall.

    Peakin’ at the Knick:  Acting as the mullet of Wednesday’s activities, PEAK Builders Network will keep business in the front of the mind and partying safely tucked in the back. The conference filled with networking and mutual love of music will take place at the Hampton Inn, five guest speakers will share stories of their personal business and career empires and what goals they’re working towards next. The interactive conference encourages attendees to join the conversation and bounce YOUR ideas around the room with like-minded business professionals. Goodie bags, light snacks and a free drink await your 1PM arrival.

    Pre Show: Starting at 5pm, the Left Ear trio keeps the second day momentum rolling for a jazzy pre-show get down at City Beer Hall.

    Post show: Funky Albany ensemble Hartley’s Encore will bring it on back to City Beer Hall for a night sponsored by Fiddlehead Brewing Company while Pearl Street Pub hosts Tweed, Desolation Angels and McZwang for $10.

    Phish Food: Albany is buzzing with local restaurants at your disposal, spanning all types of cuisine, diets and cravings. For a morning wake up call and your AM fix of coffee and donuts, stumble over to Cider Belly Doughnuts for some of the most delicious and creative flavors imaginable.

    If you believe Herbivores ate well cause their food didn’t ever run, then you might want to check out Berben and Wolff’s and Healthy on Lark, both serving up tasty vegan meals to the public on Lark Street. For the carnivores ready for a meatstick and a beer to help wash it down after, look no further than Albany Pump Station, a brewery that boasts hearty meals and tasty craft beers. The Hollow and Ama Cocina each have a wide array of American and Mexican fare respectively, adding to the downtown Albany hustle and bustle with their energetic atmospheres and love for live music.

    Honorable mentions go to Steuben Street Cafe, with grab-n-go, delicious smoothies and sandwiches just down the road from the venue. For classic late-night, greasy grub, Pizzeria Sapienza usually stays open for a quick slice while crowds are flooding out of the arena.

    Parking tips: Don’t be a slave to the traffic light and be sure to consider your parking game plan beforehand. Aside from fighting for competitive street parking, garages are sprinkled throughout downtown Albany with fluctuating event pricing. If you’re lucky enough to snag a spot, there’s a parking garage attached to TUCenter with entrances on both Market Street and Beaver Street for a price. Throughout the downtown blocks you’ll stumble across Riverfront Garage, Green-Hudson Garage and Osborne Street Garage that are all reasonable parking options for the weekend. And of course, Albany has Uber and Lyft for access to downtown from your hotel.

    In its most natural habitat, Albany is thriving in its own glimmer of a golden age with up and coming professionals, passing artists and growing businesses. Add phans funneling down Pearl Street into the TUC like quicksand and we’ve got quite the mid-week renaissance to look forward to in six short days. The countdown continues…

  • Hearing Aide: Doug Berns Band ‘Outlier’

    Doug Berns Band release debut albumBrooklyn trio, the Doug Berns Band, are quietly meshing together key elements of rock to create a sound that is both accessible and flashy. The group is fronted by bassist, singer and songwriter Doug Berns (EMEFE, The YeahTones), and features Sean Salant (AwakenTheShadow, Nova Lantern) on guitar and Coleman Bartels on drums. The group is releasing their debut album, Outlier, on October 18th, the same night as their release party at Rockwood Music Hall in NYC. In light of the upcoming release, NYS Music had the pleasure of checking the album out early. At the bottom of this review, the group is premiering their newest music video for their single, “Outlier”, the title track of the album. The nine track album is high octane from start to finish. It meshes the stylings of heavier groups like Metallica, lighter grunge like Alice in Chains, and an element of prog rock with soaring vocals and ripping guitar solos. The group demonstrates their technical ability in a slew of tight performances that highlight each member’s grasp on their intended sound.

    While the Doug Berns Band describes themselves as impressionistic rockers, it is tough to label them in this way. The album doesn’t take too many risks in terms of mood and timbre, but rather leans on catchy instrumental hooks and sticky vocal lines laid over heavy, well-executed instrumentals. Berns’ vocals float over top of thick distorted guitars in a way similar to how LaBrie’s (Dream Theater) vocals are the cherry on top of his band’s instrumental as opposed to being the main focal point. In the second track, “It Gets To You”, Berns shows off his falsetto, and establishes his presence in the mix without standing out too much. The melody is written well, and does a good job of leaving room for the guitar to fill space between phrases. This is especially potent in the fifth song “Mainline”, where the lyrics drive the narrative a bit more and the guitar provides great support to the song as a whole instead of pushing to stand out.

    The bass’ presence in the album deserves a big shout out, as Berns keeps a solid foundation when needed and doubles up with the guitar to add weight to certain lines. The guitar often runs off on its own to great success. The blazing and technically proficient solos are a big stand out. While Salant’s guitar is coated in dirt more often than not, there are a few points (namely in “Hell”) where the clean tones stand out just as much as the gritty lead tones- a nod to Salant’s ability to navigate modes within a key and color the solos so they stand out melodically from the rest of the backing instrumentals. The eighth song, “Ready Player One” features a specifically heavy solo, and covers a ton of harmonic ground. The drums remain pretty true to the genre and breathe an air of familiarity into each song. This might entail keeping the pulse while the guitar plays more complex rhythmic, palm muted riffs (like in the second track “It Gets To You”) or just holding the line on the odd-time parts of songs (like in “Meet Me”). This isn’t to take away the energy Bartels adds with his lightning fills. He shows flashes of his chops, but tends more frequently towards servicing the song as a whole which adds to the flow of the entire work.

    This album offers a good look at a band who is taking pieces from their predecessors and melding them to create a unique amalgamation of elements. In a way, this is impressionistic in itself without having to reach too far into the avant-garde. While the instrumentations are more traditional, the compositions and well-crafted structures allow the band to show their experimental side and give the listener some music theory fodder. Outlier is an accessible and exciting listen, a nice treat to hear for fans of heavier rock.

    Key Tracks: Outlier, Mainline, Ready Player One

  • Turkuaz Put Putnam In Its Place

    It’s always going to be a fun night when a band sells out a show. It’s going to be even better when that band is Brooklyn’s own, Turkuaz as the funk power house came to Putnam Place in Saratoga Springs on Saturday, October 6. Butcher Brown opened the show with a very groovy set with lots of peaks and valleys. They’ll be starting off each night of Turkuaz’s tour this month. Make sure to get there early and check them out.

    This show was truly one for the fans. With a rare “Gremlins” opener, the band played a slew of incredible classics from their beginnings to start their extra long single set. The energy was peaking for what seemed like the entire show, and with a back to back “Everyone’s a Winner” and “Life in the City,” you could only hope the night would never end. The balance of all the instruments, all the harmonies, all the raw power came together to finish the night with an energetic “Monkey Fingers.”

    You can catch the band around the country for the next couple months. They are down south this week before coming back up to Northampton MA, Providence RI, and a finishing their northeast run with a huge show at the Capitol Theatre in Port Chester. They will also be sharing the stage with tons of amazing talent, such as Cory Henry & the Funk Apostles, Lettuce, and Rubblebucket.

  • Longwave release “Stay With Me,” first single in 10 years

    While their new album is still under wraps, LongWave has “Stay With Me,” the first single from the NY rockers in ten years. Longwave formed in Brooklyn at the dawn of the New York indie rock resurgence in 1999 and signed with RCA Records where it released the Dave Fridmann-produced (Mercury Rev, Flaming Lips) The Strangest Things, who also produced the EP Life Of The Party. The band has toured throughout the world sharing billing domestically and overseas with their friends The Strokes, as well as The National, The Vines, The Doves, bloc party, Blue October, and Kasabian among others.

    The band will embark on a Fall Tour supporting Blue October, kicking off in Royal Oak, MI on October 11th. They’ve also launched a Pledge Music campaign to coincide with the upcoming tour and album release.

    Tour Dates
    (headlining)
    11.17 – New York City, NY @ Bowery Ballroom

    (with Blue October)
    10.11 – Royal Oak, MI @ Royal Oak Music Theatre
    10.12 – St. Louis, MO @ The Pageant
    10.13 – Milwaukee, WI @ The Rave / Eagles Club
    10.14 – Indianapolis, IN @ Egyptian Room
    10.17 – Fayetteville, AR @ George’s Majestic Room
    10.18 – Memphis, TN @ New Daisy Theatre
    10.19 – Tulsa, OK @ Brady Theatre
    10.20 – Dallas, TX @ The Pavilion at Toyota Music Factory
    10.21 – San Antonio, TX @ Aztec Theatre

  • Behind the Gear: Ryan “ShwizZ” Liatsis

    Ryan “ShwizZ” Liatsis is the guitarist and frontman of the power rock trio ShwizZ. A well-respected group in the scene, ShwizZ is a 3 member group who are incredible at their respective instruments, and perform a wide range of progressive rock music. Ryan uses a fairly unique rig compared to other players on the scene, using a digital modeling pedalboard rather than analog pedals, and utilizing a MIDI-trigger board to play chords for added textures during his songs. Check out ShwizZ’s performance from Disc Jam this past June, footage courtesy of mkDevo.

    Ryan Liatsis
    Photo Benny Rodriguez

    Guitar: Music Man EVH Wolfgang Special
    Amp Head: Mesa/Boogie Express 5:50 Plus Cab: Mesa/Boogie Widebody 1×12 Pedalboard HeadRush Pedalboard w/ Boss Expression Pedal Keith McMillan Instruments SoftStep 2
    Keyboard Korg Krome Music Workstation w/ sustain pedal

    Jared Lindquist: Why do you put your amp head under your cabinet?

    Ryan Liatsis: This just made the most logical sense when I got the amp, though I do like to think of it as my signature move! I like when the speaker is as close to ear level as possible so you can hear what is actually being captured by the mic and therefore EQ better for the stage. That and for my particular amp (Mesa Express 5:50) the head was heavier than the cab, so it just felt right to put the heavier piece on the bottom.

    Ryan Liatsis

    JL: When did you make the switch to the modeling pedalboard?

    RL: Very recently! It’s been about 2 months with the modeler and I’m a big fan. I’m currently using the Headrush FX pedalboard. I am completely happy with the tone of the overdrives and distortions as that is extremely important to me. The switch over to the modeler has just made life easy on stage with being able to switch patches with one button and digital storage. Having a gate on the input and EQ section on the master output is extremely helpful too. The best method I’ve found is to get rid of all the speaker cabinet models on your patches. I just use the FX and occasionally the amp head models right in to the front of my amp. I haven’t tried it using the xlr outs to a PA speaker, though I imagine that’s where the speaker cabs would come in handy. This past year has seen a huge leap with amp modeler technology and I wouldn’t be surprised to see more and more pro players using them.

    Ryan Liatsis

    JL: Did you model the effects after your analog pedals?

    RL: I tried as best as I could, though I wasn’t exactly going for that. I think that every piece of gear just has its own flavor and you should put that to use. So instead of trying to recreate my boutique analog pedals, I decided to just see if I could get tones I like and was comfortable with out of the Headrush. Which, much to my surprise, I did! It seems about every 2-3 years I decide I want to change my tone to better fit my needs. I’m sure some new product will catch my eye a few years from now and I’ll adapt to what it has to offer. It’s a lifelong quest and I don’t think there’s an end, just a journey of different sounds and tones. Tone has a lot to do with creating your signature, but more importantly it’s your fingers and note choices. And as I mentioned I’m just a big fan of having different tones for different songs. The good thing about this current amp modeler I’m using is it has an fx loop, so I can insert any of my analog pedals in to the chain of each patch if I really wanted to.

    JL: What are some of your favorite pedal combinations?

    RL: Well, I am all about mixing overdrives and distortions…and now amp models. I use delay, but not much unless the song calls for it. I barely use modulation like phaser and chorus and also rarely use reverb unless for some ethereal washy effects. On my analog board I had 6 different overdrives, just for different flavors. I found I was getting bored of just having 2 overdrive sounds. One of my favorite combos is the Vox Trike Fuzz and the T-Rex Tone Bug. Putting the Fuzz first gives it quite a quality. You can hear what I mean on the guitar solo of the ShwizZ track “Hog Thai.”

    JL: What’s going through your mind when you’re deciding which effects to use?

    RL: Well, the options are limitless with effects these days. So just like with writing, deciding on a tone is really about what sparks your emotion and hits your ear in that special way. But to give you a theoretical answer, a big part of my decision is the type of tune we’re playing. If it’s agreed we’re going for a certain vibe or sound, I’ll cater to that style. Such as if we say this part of the tune should be like a 70’s disco feel, I’ll probably be using some phaser with a clean Fender-ish type sound. Overall, I don’t go crazy on the effects, I find the simpler the better most of the time.

    Ryan Liatsis

    JL: Who are some of your inspirations as a player?

    RL: Too many to name! So I’m going to go with my top 5. Frank Zappa – need I say more? Chick Corea – I was introduced to Chick’s music at a young age and it inspired me to learn jazz and fusion. Specifically, the later electric band stuff always blew me away. He was always one of those music god’s to me who could just play whatever line came in to his head at that moment with no hesitation. Sill on a quest for that level like the rest of us. Frank Gambale – My drummer buddy introduced me to Gambale when I was about 20 and my mouth hit the floor. How can somebody get away with playing bebop lines that fast with sweep picking and overdrive!! Steve Khan – I studied with Steve for 2 years. He’s probably one of the most underrated and unknown guitarists on the planet and he’s played with all the greats and been on tons of studio recordings. His chordal work puts most to shame which struck something in me. I love the chordal movement aspect of guitar and keyboard and it’s something I don’t see enough of unfortunately in today’s music. Slash – Yes it’s true, I was obsessed with Slash from age 16-18! I just wanted to be him, the playing, the image, he was the whole package. I transcribed a lot of his solos when I was younger, my favorite of all time being the ending solo on Paradise City, complete shreddage!

    JL: Who are some of your favorite contemporaries on the scene?

    RL: Kung Fu is my all time favorite of our scene, if you can call the rest of us contemporaries because they basically blow everyone out of the water! Dopapod, Mungion, The Southern Belle’s and The Fritz. My ears always tend to get caught by those bands who have their own unique style. There’s so many bands out there, great bands even, but some bands just have their own sound and you know it’s them playing instantly, which is the most important thing to me.

    JL: You’re one of the only guitarists I’ve seen that uses a MIDI-trigger board to play chord samples live, what inspired you to start doing that?

    RL: Well, necessity really. A power trio can be a thing of beauty. BUT, I’m very much in to chordal structure and movement and I always thought drums, bass, guitar and keys was the perfect instrumentation for my tastes. The thing about ShwizZ is that I play loud and sometimes very heavily distorted guitar sounds, so playing chord melody doesn’t quite give the effect desired. After our keys player and second guitarist left I said…well just how the hell am I gonna do this?! I didn’t want to play to a click or with backing tracks, so I thought, what if I can just do what some organ players and even bass players do with their feet using pedals, except polyphonic. It took a bit of cash and a lot of experimentation with different pedals and pieces of gear until I came across a handy dandy app that could do it all and be controlled by a simple trigger pedal that connected with a USB cable. I would simply record each chord I needed for that particular part or song and could save each song file as their own entity. It adds a little more switching of sounds between songs but it’s worth it to have the phantom 4th member laying down that bed of chords. Below is a link to a video I made that goes in to a bit more depth on how the system works.

  • Candy Ambulance released music video for “Spray”

    Grunge-punk trio Candy Ambulance dropped a new and intense music video for their “Spray,” the title track off the band’s EP Spray released earlier this year. The fast-paced and delightfully quirky tune explores the fixation of mania and anxiety, in a frenzied and wild ride with raw, energetic and wildly unabashed visual cut.

    Vocalist Caitlin Barker shared, “Choosing “Spray” for the first video off our latest EP was a no-brainer. I was very agitated when I wrote the song. I started to see the narrative play out in my mind every time we rehearsed it; a sweaty drink glass, rubber dish gloves, smoking at the record player. It felt like a song I could see.” The band said their aim is to “make the viewer itch a little,” with a montage of scenarios throughout.

    Formed in the summer of 2014, Albany-based and grunge-influenced Candy Ambulance is Caitlin Barker, Jesse Bolduc & Jon Cantiello. Lifelong friends and musical mates Bolduc & Cantiello rescued Barker from a wealthy engagement prospect and whisked her away to the land of DIY punk. Poppy melodies, dynamic vocal changes and half naked live shows have solidified this rock trio as always entertaining, unabashed fun.

    With a delicious blend of gritty grunge and punk-rock hooks, Candy Ambulance continue to hone their sound into an irresistible mix, and building their name with intense, antic-filled live shows. They opened for PVRIS in May, and have performed alongside acts such as Screaming Females, Speedy Ortiz, Daddy Issues, and Dorothy.

    Spray is available on Bandcamp, Spotify, iTunes and all major digital retailers. Candy Ambulance continue to tour with upcoming eastern and midwest U.S. shows, and are in the process of writing and recording new material this winter.

    Catch Candy Ambulance on Saturday, October 13 at The Low Beat in Albany, NY.

  • Hearing Aide: Idle Bloom ‘Flood the Dial’

    Idle Bloom

    Based out of Nashville, TN, Idle Bloom is an indie-rock quartet whose name has been popping up since their first release, Little Deaths in 2017. Since then, the group has covered ground from Tennessee to Chicago, and now they’re taking the larger NY area with their most recent tour. On top of touring more seriously, the band also sounds more matured in their most recent release, Flood the Dial. They build on their prowess for creating uniquely structured songs and excel in experimenting with so many facets of how a guitar can function in a song. Big power chords and traditional rock-guitar stylings still pop up in the album, but not nearly as much as the arpeggiated chordal interplay between two jangly guitars that breathe an air of dream-pop into each track. This experimentation mixed with familiarity pays off in a big way for the band, as they create a musically consistent album that doesn’t lose its luster with each passing song. Olivia Scibelli’s melodic style of crooning places her voice in the spotlight for much of the album, with hers and Gavin Schriver’s guitars taking over in the spaces between vocal lines. These voices float over top of a strong foundation created by Katie Banyay’s steady bass, and a rocket drummer, Weston Sparks, who’s use and placement of fills adds density to the mix. Idle Bloom successfully takes cues from noisier rock groups like Dinosaur Jr. and Pixies, and meshes them with the more pop-sensible songs from groups like Tigers Jaw and Crying.

    Idle Bloom does a really good job of not only maintaining a consistently unique sound through the album, but also build the energy throughout. The first track, “Wasted Time”, offers some jangly guitar interplay mixed in stereo to cover space as it immediately becomes clear that the group is adept at writing more mellowed out songs without sacrificing variety. Sparks keeps a heavier pulse with huge cymbal rides and a specifically thick sounding set of toms. While maintaining its teeth, the song has a nice flow and hook. It doesn’t amp up the energy to 11, leaving room for later on. The build continues through the next few tracks, giving more in terms of stacked harmonies and counterpoint guitars. The bass stays in the pocket and supplements the kick drum really well.

    The third song, “Sleeping In” even introduces a synth that carries over into more songs, and acts as a good transitional voice between songs. It’s hard not to notice how well Scibellie’s lyrics come across not only in flow but also in content. “Sleeping In” emotes a feeling of depression, steeped in the musings of a millennial coming to terms with the current state of the world and opting to keep trying as opposed to sleeping forever. The following track “Exposure” reflects on the heavier topic of sexual abuse/assault and cover-ups- commentary on an age old issue brought to light in modern times. The song is juxtaposed with the bubblier backing track, giving the narrator an edge of empowerment in their situation despite the seriousness of the topic.

    In the ninth track, “Empath”, Banyay and Sparks link up to create a punchy, exciting rhythm part that the guitars are able to accentuate with chucked funk chords and short harmonized lead lines. The melody, namely guitars and vocals, do a good job here of only coming forward when needed. The Steely Dan styled guitar duo on this and the sixth song, “Rewired”, came as pleasant surprises and showcase the versatility of the band. It felt like the band took the kind of American Football/Midwest emo guitar voicings and jazzed them up. This speaks to their ability to color thematically similar songs in a way that differentiates them and adds upon each of the prior tracks.

    The final song, “Contact”, acts as a great closer and culminates with just about every element that made the album such a fun listen. The post-rock experimentation of guitar tones and their function, the harmonized vocals, and a really punchy drum line all trade off the center stage. This is the most dynamic song on the album, and likely the most melodically colorful. From top to bottom, Flood the Dial is an exciting listen. Idle Bloom will be going on tour this fall, making stops at a few NYS locations. Check them out in a city near you, and be sure to stream the album here!

    Key Tracks: Contact, Empath, Wasted Time

    Upcoming Shows:

    October 5th – Ypsilanti, MI @ The Late Station

    October 6th – Cleveland, OH @ @ Happy Dog

    October 7 – Rochester, NY @ Bug Jar

    October 8th – Saratoga Springs, NY @ Desperate Annie’s

    October 10th – Brooklyn, NY @ Secret Project Robot

    October 11th – Philadelphia, PA @ No Face Studios

    October 12th – Baltimore, MD @ The Undercroft

    October 13th – Raleigh, NC @ The Wicked Witch

    October 14th – Johnson City, TN @ The Hideaway

  • Formula 5, Swimmer Team Up for Birthday Bash at The Hollow

    Downtown Albany celebrated in style on Saturday, September 29, with two birthdays and a first-time performance at The Hollow Bar + Kitchen. Formula 5 hosted the night, as the Upstate NY group helped close out one member’s birthday while ringing in another during an appropriate hometown throwdown. Warming things up for the night ahead was a new-to-Albany band, Swimmer.

    Founded in the depths of rickety Plymouth State University basements in 2013, the funky, improvisational quartet has grown with the seasons and emerged on the scene as quite a contender in their genre. The Burlington, VT musicians have been able to corral flocks of fans from their shared bills with top tier performers like Dopapod and Pigeons Playing Ping Pong. Adding Formula 5 to the mix, it only made sense that Albany and it’s strapping live music scene was their next destination to become acquainted with.

    Formula 5 SwimmerAiming to set themselves apart from every other jam-band to emerge from the hippy depths of Vermont, Cotter Ellis (drums), Matt Dolliver (keys/sax), Joe Agnello (guitar) and Jack Vignone (bass) tapped into their truly zany nature, showing off their musical chops and refreshing individuality. It was their tasty covers of Frank Zappa’s “Son of Orange County” >”Trouble Every Day” that found all patrons swiveled in their barstools and cheering on foot, asking their neighbors what band was playing.

    Ready to bring the high-energy festivities to the stage, birthday boy Matt Richards (keys) along with Joe David (guitar) and James Woods (bass) brought their “Widespread’s Dead” covers to their NY fans. Their latest tour boasts an assortment of tracks from the well-loved artists Widespread Panic and Grateful Dead, with Formula 5 originals interwoven throughout the set.

    Richards kicked off the night manning the mic for F5’s own “Bird Song” before tossing in an array of anticipated covers. Although Grateful Dead cover bands certainly aren’t lacking, you can’t help but smile and sing along whenever a Dead tune begins. Once Davis sang the opening notes of the Dead’s “Tennessee Jed,” there was nothing left for anyone to do but smile, smile, smile. Widespread Panic’s “Coconuts” acted as the fan-favorite pinnacle of the night as it was sandwiched between “Tennessee Jed” and a soothing take on “Terrapin Station.”

    Normally celebrating the day after Thanksgiving at The Hollow, Formula 5 took the time to address the crowd for an announcement that their Black Friday gig would make the jump over to The Palace Theatre. On Friday, November 23 the quarter will support the Disco Biscuits during their two-night Albany run.

    Swimmer Setlist: Murphy’s Law, Do it Myself > Son of Orange County* > Trouble Every Day*Jig -> Hyperbole, Curious Spaniard, Cornwallis *zappa cover

    Formula 5 Setlist: Bird Song^-> Blue-> Bird Song^, Greta~-> Booher’s Pass, Tennessee Jed^ Coconuts~ Terrapin Station^ Nu-Gen*-> In The Sand-> Gettin’ Tough Again, Hot Box, Love Tractor~

    ^ Grateful Dead
    ~ Widespread Panic
    * Unfinished