Founded in 2006, CAPITAL Zen is known for their innovative riffs and challenging compositions. Having a wide array of inspiration, the band has always provided soul rocking, thought provoking and body grooving jams for their fans. The new album, Grandpa Don’t Disco is no different.
Recording of the Grandpa Don’t Disco album began in 2014 with members Terry Scoville (Guitar & Vox),
Tony Leonbruno (Bass & Vox), and Ryemachine Richard Wylie (Drums). The tracks were later completed and recorded with Max Garrett (Trombone & Guitar) and Scott Hannay (Keyboard). The brand new, previously-unreleased CAPITAL Zen album is available now on Apple Music, Spotify, and CDBaby. Previous albums to revisit by the Zen crew include the debut self-titled album CAPITAL Zen (2009), Fancy Balloon Animals (2011) and Party Booby Trap (2013).
I, for one, am delighted at the resurgence of new wave music. Growing up in the 80’s, synth music was everywhere – top 40 radio, movie soundtracks, and record shops. I’ve spent years as a faithful listener of WBER’s New Wave Wednesday show, waiting for the new generation to bring it back. The resurgence of the genre means having new tracks to listen to, with fresh modern takes.
Monte Vayo’s new EP Count Me Out is a brilliant little gem, clocking in at under ten minutes. The three-song collection leads with the title track “Count Me Out.” Monte Vayo paints a light and airy soundscape with minimal lyrics, which is a theme that carries throughout the entire EP. It is clear the artist is paying homage to the classics of the heyday of new wave, while at the same time adding contemporary elements for a more ambient sound. It’s the kind of thing I like to hear at an upscale coffee shop or have spun by the DJ at my favorite art gallery.
While the song’s overall tone is breezy, it also showcase’s Monte Vayo’s innate sense of rhythm. It’s hard to sit still while listening to the undulating beats accompanying the melody. So dedicated was Monte Vayo to creating an authentic sound that he purchased some decades-old drum machines in order to compose and record these songs.
As “Count Me Out” gives way to “Why” and the final song “Find A Way,” it becomes obvious that Monte Vayo is someone who shouldn’t be counted out. His work would fit in just as easily on a mix tape with Pet Shop Boys, Joy Division, and OMD as it would on a Spotify playlist with modern synthwave acts like Electric Youth, Home, and Humble Braggers.
Bethel Woods Center for the Arts will be the home of the Bethel Woods Music and Culture Festival Aug. 16-18. The Sullivan County venue is the site of the original festival produced by Michael Lang in 1969 which drew an estimated 400,000 people to the secluded Catskills town.
Music acts have not been announced, but the weekend is being billed as a pan-generational event that will feature live music from prominent and up and coming talents and TED-style talks from leading futurists and technology experts.
In December of 2017, Bethel Woods was awarded nearly $700,000 through the New York State Regional Economic Development Council to be used towards a 50th anniversary celebration.
As the stewards of this historic site, we remain committed to preserving this rich history and spirit, and to educating and inspiring new generations to contribute positively to the world through music, culture, and community.
– Darlene Fedun, CEO, Bethel Woods Center for the Arts
Michael Lang, who produced the original Woodstock as well as the ensuing anniversary concerts in 1994 in Saugerties and 1999 in Rome, has hinted at plans to put together his own commemoration of the historic festival though no details have yet emerged. He will not be involved with the Bethel event, which is being presented by Live Nation Concerts and INVNT, a branding and live storytelling agency.
If there’s anything I’ve learned about Boy Jr., it’s to expect the unexpected. Rochester native Erica Lubman has been experimenting with music since childhood, combining her love for garage rock and indie pop with a flair for dramatic fashion. She’s equally likely to turn up on stage in a retro matching tracksuit as a leather skirt and torn T-shirt. As with her wardrobe, she shows off a wide range of songs in her repertoire – from punk to grunge.
Boy Jr.’s latest release “Anyway” shows her ability to continue to stretch and grow in innovative ways. “Anyway” pairs guitar-driven rock with spunky girl power (think Cage The Elephant meets Caroline Rose). Give it a spin!
Go to Spotify to hear more by Boy Jr. and follow on Facebook for upcoming shows.
Jamestown four-piece fusion group Cold Lazarus have recently released the video for “Butterflies.” Filmed in various locations in Western New York – including Ripley Beach on Lake Erie, downtown Jamestown and Nietzsche’s in Buffalo – over a period of about two months, the video was directed by Jamestown-based filmmaker Nigel Eastman, who was assisted by his director of photography, John Brown.
“Butterflies” first appeared on Cold Lazarus‘ debut EP All Alone in February 2017, and was re-recorded for inclusion on the band’s self-titled full-length debut album, released in January 2018. Stream their music on Spotify and Apple Music.
Although they’ve gone their separate ways, Oneonta’s Space Carnival have shared video from their late night Wormtown Festival set from September 15. The combination of “Pleasure in Sin” -> “2001” -> “Moon Boots” come from Space Carnival’s first Wormtown show and the late night set after Lettuce was a packed cabin for the duration of their two and a half hour set. One of the final Space Carnival shows, guitarist Jeremy Kraus said “We went into it with zero rules and no plans for anything, as we always did.”
A weekend of walkin in the finest jamgrass around was made possible by the debut appearance in Vermont over December 14-16 at Stratton Mountain. WinterWonderGrass, now in its 7th year, has held events in Colorado and California since 2012, with founder Scott Stoughton and his team creating a musical village with a welcoming vibe at all turns.
Stratton was as idyllic a setting out east as WinterWonderGrass could have asked for. Located in south-central Vermont, the mountain is tucked away and has sprawling condos and chalets, a village that practically transports you to the Alps and world class skiing. This weekend added in 8 hours of bluegrass daily, with artists from across the country making the inaugural WinterWonderGrass at Stratton a rousing success.
Scott spoke to Jambase earlier this month about the inception of the WinterWonderGrass: “The original idea for WinterWonderGrass came together because I saw a lot of different music festivals happening,” Stoughton explained. “I saw the beer culture expanding. I was also living in a mountain town at the time, and I saw corporatization of mountain communities, influx of people, everything was branded, and it wasn’t feeling right. It wasn’t authentic.”
The result of Scott’s strive for authenticity is a music village that could be found at any ski mountain – after a run down the slopes, take off your skis and head over to the sound of banjos, mandolins and dobros and take a break with a cold one (or some hot coffee, cocoa or yerba mate). Walking into the venue each day, you feel like a member of a larger family, one that is smiling, laughing and dancing, and most of all, welcoming and friendly to all.
Friday kicked off with multiple sets from Pappy & Friends, Beg, Steal or Borrow, Fruition, Horseshoes & Hand Grenades, Pickin’ on the Dead and Vermont’s own Saints & Liars. With the three tent stages all close to each other, catching all three was as simple as strolling 50 feet away for a taste of something new. Headliners Jeff Austin Band and The Infamous Stringdusters had the crowd looking forward to the next two days, with powerhouse sets from both. Jeff Austin led a Yonder-style band with a set of speedy jammed out bluegrass originals and covers, capping the set with crowd favorite “Sideshow Blues,” while Stringdusters took spins on Phish’s “Possum” and “Bathtub Gin,” and invited up artist-at-large Bridget Law for Aretha Franklin’s “Respect.” Late night sets featured more from Saints & Liars and Horseshoes & Hand Grenades, as well as John Stickley Trio and Beg, Borrow or Steal.
On December 6, Rubblebucket brought their tour through Lucky Strike in Albany in support of their new album, Sun Machine. The duo in Kalmia Traver and Alex Toth are keeping the Rubblebucket name alive after a long, tough road. Sun Machine is an album that literally follows their own struggles as an on and off couple and keeping their personal issues aside as they continue to work together. The songs are incredibly powerful and make for what is being considered quite the theatrical performance.
And The Kids from Northampton, MA opened the show. They’ve been on tour together a few times now as Kalmia and Alex have become close with the members, even having the “Kids” come out on stage with them for a couple songs. Rubblebucket backs themselves with an incredible touring band that changes from time to time but generally stays the same. Mixing their old classics like “Came Out of a Lady” and new ones like “Party Like Your Heart Hurts,” the band puts on an incredible production with shadow screens and, at one point, literally bringing the crowd to its knees and crowd surfing over them while playing their horns.
Rubblebucket just announced their spring tour, coming back through New York in late January and mid-March before heading west.
There is no shortage of after shows to hit up when Phish come to NYC for their New Years Eve run, and for those feeling the pinch of the holidays in the Big Apple, Sounds Good To Steve and the Offside Tavern have you covered.
On December 28th and 29th, FREE after shows will get started at 11pm and stretch until to 3am, with the music going late and live painting both nights. Not far from Madison Square Garden, Offside Tavern is located at 137 w 14th Street between 7th avenue and Avenue of the Americas.
On Friday the 28th, The Mike O’Donnell Band will be playing all night with live painting by James McNulty of The Uncommon Culture. For this new project, guitarist Mike O’Donnell called on some friends from various Long Island based bands and things took off. Michael Mirino, who plays bass with O’Donnell in the band Sofus is joined by Ben Pinnola from the band GeoTribe on keys. Julian Sarabia Maultsby from Medicine Fish teams up with Danny Roman for duel drumming and percussion duties. O’Donnell and Roman also play together in the up and coming band and winners of the 2018 Long Island Blues Challenge, Carrie and the Cats.
Sunday, December 30thfinds Brooklyn based Jazzjam band International Orange (iO) teaming up with rising ragers, Ronald Reggae for a long long crazy crazy night. Featuring former members of the Mike Gordon and Steve Kimock bands, and a current member of Peter Apfelbaum’s NY Hieroglyphics, iO pulls some serious grooves out of their deep pockets.
Speaking of groove, sitting in with iO will be some special friends from the Easy Star All-Stars. If that’s not enough, undoubtedly still riding the high from jamming with Twiddle front man Mihali during one of their back to back Twiddle pre-shows at Garcia’s, you can count on the energy from Ronald Reggae to keep you going late. The bands provide the tunes, live painter GalaxyGus creates the eye candy and all you need to do is stroll on in.
Tickets are not on sale because these shows are FREE! Stop down after Phish and spend the night boogieing down on Friday the 28th and Sunday the 30th!
“Petty Grass is bluegrass versions of Tom Petty hits. Sing-alongs that some people didn’t even know they knew. Tom Petty songs are like that and Petty Grass celebrates this.” ~ Keller Williams
Keller Williams and the Hillbenders performed Keller’s latest project, Petty Grass, at a new venue in Jersey City, NJ, White Eagle Hall. The recently renovated and restored historic theater has been “outfitted with the latest sound technology” and has two hand-crafted stained glass skylights.
Williams began the concept in 2015, for a local S.P.C.A benefit. After Petty’s recent death, Williams decided to take the concept on the road and add a band. The Hillbender’s couldn’t be a more perfect choice to fill this role.
The Hillbenders, a talented bluegrass band from Springfield, MO, are experienced with translating rock and roll into bluegrass and are the perfect compliment to Williams. They released a bluegrass version of The Who’s Tommy called Tommy: A Bluegrass Opryin 2015.
The show was indeed a big audience sing-a-long, with the crowd participation increasing during each song. Tom Petty had many fun loving hits. William’s sing-a-long version, combined with the Hillbender’s picking intensity, successfully showcases this. The band often came together as a group on stage, demonstrating their exemplary skills as a bluegrass band.
Notable songs included “Refugee,” the extended jam combined elements of William’s Grateful Dead roots with the Hillbender’s penchant for picking. “Even the Losers” had a great texture from the mandolin by Nolan Lawrence. “Last Dance With Mary Jane” was meant to be a bluegrass sing-a-long. “Running Down a Dream” has a harmonious melody from Gary Rea on guitar and Chad Graves on dobro.
I, for one, am delighted at the resurgence of new wave music. Growing up in the 80’s, 
