Albany’s Lark Fest 2018 featured beautiful late summer weather and local acts including opener The Ryan Leddick Trio, Bendt, and Mirk who released their fourth album Sense the night before. Kimono Dragons and Victory Soul Orchestra w/ J.B., aka Dirty Moses, kept the crowd pumped for headliner The Age.
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Brooklyn Comes Alive: ‘My Life Before, Then Forever After’ with Karina Rykman
Multi-instrumentalist Marco Benevento entrusted his iconic top hat upon Karina Rykman, a fill-in bassist in her early 20’s, at the Music Hall of Williamsburg. Rykman’s mouth agape, Marco’s stare tracked dead in her eyes, sealed shut in the moment. She was in disbelief, but this three-day stint would soon end. It didn’t.
Benevento, in addition to Ween bassist Dave Dreiwitz, played instrumental roles in shaping Rykman-on-the-rise. She dove head first into a towering repertoire of Benevento tunes, learning them backwards and forwards, day-in and day-out, Rykman recalls.
“That first run with Marco was one of the most spectacular moments of my life. I thought that was my last show with them ever,” said Rykman, increasing with excitement. “It was the best time, then scaling the walls (of the Music Hall Of Williamsburg green room post set) throwing ice, tequila and limes.” The room was packed with Karina’s friends, family and teachers. Karina was home.
“Marco is committed to the vibe and always goes the extra mile,” said Rykman, as she reminisced about the pop-up record player and miles of christmas lights that decorate their oasis backstage. Night after night, the ‘Green Room Road Case’ lives on as Karina’s enthusiasm parallels her sheer musical talent.
The New York Native has a pure starvation and aestheticism for all things music. It predates her Benevento/Dreiwitz days. It is infectious, inspiring all those around her. In eighth grade, two years after quitting piano lessons, a friend placed a guitar in her lap and taught her The White Stripes’ “Seven Nation Army.”
“I remember my life before [that moment], then, forever after,” said Rykman. “I was fixated on playing all the time. That was my vibe.”
Two years after joining Benevento’s band full time, Rykman comes full circle, hosting the second set of The Jam Room at Brooklyn Comes Alive on Saturday, September 29 at Music Hall of Williamsburg. Rykman will play host, alongside Turkuaz guitarist Craig Brodhead, to an undisclosed list of phenomenal musicians and guests. The set will start at 1:45 am, merely 15-minutes after Grammy Lifetime Achievement Award winner and The Meters’ bassist George Porter Jr. ends the first installment of this unique collaboration.
The Jam will consist of 100-percent improvised music. “How do you prepare for that?,” asked Rykman. “Simply put, you don’t.” Take all the music you’ve learned, scales you’ve studied or harmonies you’ve practiced and “throw them all out the window! It is a crazy exercise of staying focused and in the moment,” added Rykman.“I’ve played with people 20-plus years older than me; musicians who have committed themselves longer than I have been alive. It’s really humbling. I’m always absorbing because they have been there. I am just delighted to be accepted.”
The female bassist will also be playing with her new project, The Karina Rykman Experiment, at BCA at Rough Trade from 5 to 6 pm. Rykman’s Trio consist of NYU friends, Chris Corsico on drums and Adam November on guitar. “The guys in my band are slaying. Crushing it onstage and off. November is a loop-master and creates a whole world of soundscapes, so there is a lot going on.”
Three is the magic number. Karina first performed in a trio with Benevento and has taken matters into her own hands. “Harmonically it’s just me and Marco, which makes me deeply, deeply focused on what he is doing. I play a lot of lead and fuzz bass too, which almost acts like a guitar sonically.” Expect no less when The Karina Rykman Experiment takes the stage.
New Yorkers, beware. Rykman deems Brooklyn Comes Alive “not for the weak of heart.” Whether she is serving as a proving ground with her own ensemble, backing Marco in pure bliss, or sneaking off to see as much new music as she can, BCA will be another one for the books.
“There’s this scene where people come out to see great improvisers improvise. It’s not for everyone, but there is something to be said to observe those who have toured their asses off and have played music for so many years.” Especially, in the Jam Room. “A collaboration brews with people that don’t perform together often, or ever!,” explains Karina. “To see someone who has put in their 10,000 hours create on the spot, is something to behold.”
Nobody knows what to expect. As the Jam Room takes flight, the motion will be from “recreational to medical, if you know what I’m saying,” said Rykman [laughs].
Inspired by the vibrant musical communities of Brooklyn and New Orleans, the event brings together more than 50 artists, allowing them to carry out passion projects, play with their musical heroes and collaborate in never-before-seen formations. Each attendee will receive a wristband that grants access to every venue and makes hopping from set to set a breeze, recreating and paying homage to the atmosphere of Jazz Fest by night, which initially inspired the festival’s concept.Past editions of Brooklyn Comes Alive have seen unforgettable cross-collaborations amongst legends and favorites like George Porter Jr., John Scofield, Johnny Vidacovich, John Medeski, Bernard Purdie, Henry Butler, Oteil Burbridge, Cyril Neville, Eric Krasno, Jon Cleary, Joe Russo, Skerik, and Marco Benevento, plus members of Umphrey’s McGee, moe., The Disco Biscuits, The String Cheese Incident, Trey Anastasio Band, Lotus, Snarky Puppy, Lettuce, Soulive, The Motet, The New Mastersounds, Break Science and more. Tributes to Herbie Hancock, Earth Wind & Fire, The Allman Brothers, Jamiroquai, and Green Day comprise just a few of the many highlights over the last three years.
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Autumn is the new Summer at first Borderland Festival
On the equinox, the border between summer and autumn, just outside Buffalo at the border between the US and Canada, emerged a brand new festival showcasing music, arts, and crafts bordering in and around roots and Americana. The first Borderland Festival was, by all measures, a huge success in its inaugural year, establishing itself as a viable extension to the Western New York festival season and an event worthy of a summer’s long anticipation.
The festival was gorgeously situated at Knox Farm State Park. Parking was on polo grounds, craft vendors were set up inside horse stables (a few of which actually housed horses), and craftsmen were scattered about, demonstrating their expertise in sheep shearing, cigar rolling, beer brewing, horseshoeing and more. Tasty local food and beverages were available via tent and truck, and a consciousness for the environment was on display with many people drinking from available reusable metal cups and volunteers assisting in proper disposal of all garbage, recyclables and compostables.
Though with non-stop quality music filling the air, there really was time for little else. Two main stages, the Grasslands Stage and the Split Rail Stage, sat mere yards apart and featured alternating sets for a continuum of music across the entire day. A short walk past the horse stables sat the Homespun stage where local talent held court, filling time as viable alternatives to the main acts. Buffalo roots bands like Folkfaces, The Observers and 10 Cent Howl kept the party rambling with down home jams and singalongs. All of the stages were within a few minutes walk and fans could easily catch some of everything with little sacrifice.
And O, the music! Sister Sparrow and the Dirty Birds gave a little preview of their forthcoming album, busting out the upbeat and catchy “Ghost” and showcasing singer Arleigh Kincheloe’s incredible vocal range on the soulful “Gold.” Montreal’s Barr Brothers made a rare appearance in the area, opening with “Come in the Water” and closing with “You Would Have to Lose Your Mind” in a set chock full of their warm and eclectic folk rock. With harps, pedal steels and 12-string guitars, it was a rich tapestry built of many strings, and even one thread which Brad Barr pulled through his guitar for a spacey sonic vibration that reverberated across the farm.
Veteran indie-rockers Dr. Dog are no strangers to Western New York and they were treated like old friends by the crowd which was dancing and singing along from note one. Decked out in matching festival sweatshirts, they treated the audience to an energetic career-spanning set, featuring classics like “The Breeze” and “That Old Black Hole” while also working in a solid chunk of their 2018 release Critical Equation. The slinky groove of “Listening In” turned heavy and dark while “Go Out Fighting” built an deep energy that reached a My Morning Jacket-style intensity level.
The Sam Bush Band showcased their unique take on traditional music, delving into Bush’s newgrass roots on the instrumental “Greenbriar” and getting funky on a fine cover of Alan Toussaint’s “Sneakin Sally Through the Alley.” There was still room for some classic bluegrass stomps with “Howling at the Moon” and “Big Rabbit” and even some social action with “Stop the Violence.” Another Canadian crossing the border for the Borderland Festival, Sam Roberts thanked the area fans for being his first American audience to take him in. Roberts and his band, with stylish guitar-heavy grooving rock, delighted the audience with fan favorites like “Brother Down” and “Mind Flood.”
The clouds persisted for most of what was a perfectly brisk first day of fall. But just as the sun was setting, the clouds parted enough for a beautiful sky filled with reds, oranges, yellows and purples to flow over the festival. It was against this backdrop that New Orleans octet The Revivalists took the stage for the final set of the evening. The crowd kept plenty in the tank and were ready to rage along as the band brought an infectious energy to the stage. Blasting horns, tight rhythms, shredding guitars and a soaring pedal steel formed a crunchy American rock sound that jammed and grooved its way through the darkening night. Autumn was officially here, but for one small corner of the world, a few thousand people were still holding on tight to the spirit of summer.
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Episode 10 of Empire State Music Podcast features Buffalo Witty Tarbox
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 -
Beauty in the Machine release Stunning Animated Video for “13 Days”
Brooklyn based electro-pop/rock group Beauty in the Machine recently released a mesmerizing animated video for their latest single “13 Days.” With dazzling vocals from Jennifer Cella, former lead vocalist of the Trans-Siberian Orchestra, and production by Monikkr, the monochromatic animation is a brilliant juxtaposition of sight and sound playing to the track’s effervescent theme.
Beauty in the Machine is Jennifer Cella and producer/DJ Monikkr, combining elements from progressive rock and bass-driven house music for a Sub Pop feel. Live performances combine drum machines, synths, vocals and captivating visuals that bring together a seductive, futuristic and immersive experience.
As former lead vocalist of Trans-Siberian Orchestra, Jennifer has headlined on some of the most prestigious stages in the world including beloved Madison Square Garden in New York City, as well as performed with various musical legends including Roger Daltrey of The Who, Joan Jett, Greg Lake of ELP and Jon Anderson of Yes. Monikkr, on the other hand, has DJed alongside some of the biggest names in dance music. As a former resident of legendary Webster Hall, you could find him opening for Skrillex, Dada Life, Bingo Players, Tommy Lee and many more. Before that, he was a live musician in rock bands Crash Theory and Colorblind and house music live act, Speakerbox. Together today, they’ve been compared to a modern version of Sneaker Pimps meets Portishead.
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Rochester Fringe Goes ‘Instrumental’
Dave Chisholm has a knack for writing and illustrating comics and a gift for making music. Last year, he released the graphic novel Instrumental along with an accompanying soundtrack that he composed. The multi-instrumentalist has a doctorate degree from Eastman School of Music, and not only wrote all the parts for the ensemble, but also performs on the trumpet himself. The members of the band also represent the characters in the graphic novel, who are also in a band. The story line centers around the moral dilemma faced by a musician who is gifted a killer trumpet. Yes, the instrument literally kills listeners.
Luckily for those of us in the audience, this is a work of fiction. Even if it weren’t, I would have taken the risk. While the soundtrack has been performed live a couple times since its release mid-2017, this was the first time it has been projected onto a screen behind the musicians. The effect was spectacular.
The novel has seven chapters, each corresponding with a track on the album. As you see the characters in the ensemble playing, you hear their instruments being played live. The characters really come to life.
One of my favorite characters, the drummer of the fictional band, has an intense practice session at the beginning of the chapter entitled Decompression, and it was such a thrill to see and hear the drum solo played live by local percussionist Matt Bevan-Perkins. Syncing video and audio is no easy task, especially when the music is being performed live. As the drummer, Bevan-Perkins deserves kudos for setting the pace for the rest of the band so that it appeared seamless to the audience when the song ended at the same time as each chapter of the book. Bevan-Perkins was a stand-in for the Instrumental band, but performs regularly in Chisholm’s other project Talking Under Water.
The protagonist of the work is a trumpet player, so the trumpet is featured prominently in the performance. Chisholm has masterfully infused musical symbolism and applied principles of music theory to create harmony and dissonance as appropriate to the story line, and carrying through golden threads of melody that tie the work neatly together. The listener is swept along as the trumpeter marches through the frustration of grinding out a gig, soars to heights of celebration, then plunges into depths of despair. All the while, Chisholm is playing the role of both musician and conductor giving visual cues to bandmates.
One of those bandmates was saxophonist Colin Gordon, who performed an absolutely stellar solo during tonight’s performance.The string section was comprised of Chris Potter on guitar and Dave Kluge on bass. On the grand piano was Matt Curlee, whose part was featured prominently in the finale.
The audience members fell completely under the spell of Instrumental, and rewarded Chisholm and the Instrumental band with a standing ovation. The line to meet the musicians afterwards lasted nearly as long as the performance itself. If you missed the show, the graphic novel and soundtrack are both available on Amazon. Visit Dave Chisholm’s website for more information about his comics and music.
This event was one of more than 500 events that have been slated for this year’s KeyBank Rochester Fringe Festival. The state’s largest multimedia festival runs through Saturday, September 22. A comprehensive list of events can be found at the Rochester Fringe website rochesterfringe.com. Stay tuned to NYS Music for continuing coverage.
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Hearing Aide: PEAK ‘Electric Bouquet’
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 Bouquet for 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.
Key Tracks: Barometric Pressure (Here Comes The Rain), Ride Through the Night, Feel Like Moving
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Robert Walter discusses his new album ‘Spacesuit,’ performing with Mike Gordon and more
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.
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Premiere: Backseat Bullets “Bonnie Meets Clyde”
Albany’s Backseat Bullets consider themselves the noisiest band from the Capital District and that moniker is on the spot on “Bonnie Meets Clyde,” the latest single from the shoe gaze trio that combines grunge, punk and emo-pop with ease.
Geddies says of the track: “‘Bonnie Meets Clyde’ was one of four or five songs I had written and taken real Lo-fi crappy recordings of in my dorm room spring semester of my freshman year. It was the result of the convergence between a bunch of new artists and musical styles I had been getting into, some pretty obscure and interesting stuff. For the longest time the melody and later, the lyrics (mainly about all the antics love inspires), of the song played as a soundtrack for my life, something I would whistle or hum to myself on the way to class. After classes ended for Jeremy (Lopez) and I and we were back home for the summer practicing for the string of shows and small weekend tours we had coming up we would work on the song here and there but it was never something that took the spotlight.
We finally had it written the way we wanted and had gotten the chance to play it only at one or two shows towards the end of summer. A week before Jeremy left for school I remember coming to him asking “Hey let’s record this” with the intention to release it while we were away. I guess the whole thing was just pretty impulsive, we got it all recorded in a day and sent out to be further mixed and mastered later that week. It really proved to me how much important the shared importance of music and DIY ethos are between Jeremy and I. The whole mentality I had the entire time was just to use the little time we had available to us (we both had pretty intense work and personal schedules at the time ) to make a song that in the end both of us were pretty proud of.”
Lopez says of the track: “This one was pretty special because I knew it was going to be the last song we would track together as a while. It was almost like a wake up call for me to be honest with myself and admit the fact that summer is over and Zac and I will be apart for a while. With my Behringer 4 input audio interface and 4 Pyle (SM57 clones), we tracked the guitar and drums in one take which was surprising because we never do that. Our friend Matt Spinner (The Northway) was kind enough to mix and master this basement recording of ours in due time for its release. We’re proud of it and hope ya’ll enjoy it too!”
The Backseat Bullets (BSB) have a true “do it yourself attitude” and have quickly become game changers in the Albany music scene. Starting with their humble beginnings in a barn outside of the city to working their way into some of the most iconic and nationally recognizable venues in the scene. Hopeful to reinvent the old stereotype of a three piece punk band, The Backseat Bullets have roots in hardcore punk as well as modern dream pop and shoegaze music all wrapped up and delivered in a charming, mass appealing way that has caught the attention of music lovers far and wide. With recent releases including their debut EP Give You The Moon, and their most recent self produced single “Suede,” the band has announced they are currently recording a second EP that is promised to be full of 1990s grunge/emo era hooks and singable choruses.
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Photo Gallery: Perpetual Groove at Brooklyn Bowl
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