NYS Music 20​19

Author: Paula Cummings

  • Hearing Aide: Baby FuzZ ‘Plastic Paradise’

    Listening to Baby FuzZ’s Plastic Paradise is like playing a game of musical hopscotch – you’re skipping from alt-rock to indie pop to EDM. The influences that inspired the music on this album range from 70’s glam to 2000’s emo, and touches on everything in between. Spectacular hooks and danceable rhythms are he golden threads that hold it all together.

    Baby FuzZ has seemed to come out of nowhere, but founder and frontman Sterling Fox has paid his dues in spades. He spent years working primarily behind the scenes as a songwriter, studio musician, and producer, working with some of the biggest names in the music industry. After years of supporting other musicians, he’s pouring his heart and soul into his own musical project.

    Plastic Paradise opens with an emo anthem entitled “Burial,” then switches gears to the electro-pop number “Disneyland.” From there, it delves into a shoegaze ambiance of “Andy Warhol” and the slow ballad “I’m Still Holding Out For You.” The lyrics so far are playful and roguish. In “Disneyland,” Fox sings: “I don’t want to be your prom date. I don’t wanna take you home to meet my famz. I just wanna be a player, and ride the rides like it’s Disneyland.”

    Perhaps the most poignant and honest song on the album comes about halfway through. “Cig” is a song of love and loss about someone who “drove off into the sunset, drinking pinot, singing ‘Livin’ on a Prayer.’” The sentimental reminiscence about what was and what could have been concludes; “in the end we all burn out like cigarettes.”

    On the B side, “Drip Drop” is about love and loss too, but is built on a foundation of rock n’ roll, channeling some Elvis and Jerry Lee Lewis vibes. “Mr. Blu” is an alternative take on a lounge song, where crooning vocals meet swimmy guitar effects. There are a couple more electronic songs on this side too, for good measure.

    The album ends with the piano-driven dark ballad “Shadowland.” It feels like a reflection on the cost of being a professional entertainer, with its references to people cheering for tragic anthem, and the open road becoming the highway to Elysium. But yet, he forges on. “I was raised in plastic paradise and I’m still here, deep in Shadowland.”

    Plastic Paradise is a showcase of Fox’s skill as a songwriter and performer. He’s comfortable. With a variety of styles and subject matter – in fact, he’s able to pull them off with panache.

    It’s fitting that this romp through a sonic candy-land comes in bubble-gum-pink vinyl. If you enjoy the music, be sure to check out the series of music videos that accompany the songs featuring a cast of characters including puppets, a magician, and a karaoke king. Each video is like a mini art-student film which delves further into the storyline of the song.

    Plastic Paradise was created with a host of collaborators in addition to band members. With two exceptions, the songs were written, or co-written by, Sterling Fox (aka Brandon Lowry). They were mixed by Chris Connors, and mastered by Emily Lazar and Pete Lyman. Album Art was created by Kristin Eichenberg and Merideth Truax, with Album Design by Ashley Pawlak.

    It’s available now to purchase and stream on all major music platforms. Visit Baby FuzZ online, where you’ll find their store, stocked with music, merch, sheet music, and even a comic book about the band’s origin.

    Key Tracks: Disneyland, Cig, Shadowland

  • Chelsea Music Festival 10th Anniversary will Pay Homage to Composer Clara Schumann

    Chelsea Music Festival announced the theme of this year’s program: “10th Season | 200° due Clara.” The festival in NYC’s Chelsea district takes place from June 6-15, and will feature performances by The Clara Schumann Ten, a distinguished group of female composers, whose inspiration is drawn from visual art, poetry, and letters and text from Clara Schumann’s life.

    Clara Schumann

    With additional venues and new partnerships, this anniversary season will be one you won’t want to miss. A full line-up, including the homage to Composer Clara Schumann, is available at the festival’s website here. Tickets are on sale now.

    Hailed by The New York Times as a “gem of a series,” the Chelsea Music Festival exists to celebrate great music by bringing together world-leading musicians and exciting newcomers to the international stage. Inspired by its Chelsea roots, the Festival seeks to reflect the creativity gathered in one of New York City’s most dynamic neighborhoods by presenting site-specific programs that span musical genres ranging from classical to contemporary to jazz. With an emphasis on Festival-commissioned works, community outreach, and education, the Festival also exists to create a gateway to music through the exploration and interplay of art forms – specifically the musical, visual and culinary – alongside an intimate and thrilling Festival experience shared by artists and concert-goers alike.

  • Hearing Aide: Vacation Daze ‘The Upswing’

    If you’re ready to step off the beaten path of musical genres, let Vacation Daze be your tour guide. The Rochester band’s latest release, The Upswing, leads the listener on a voyage through a fusion of sounds, to a place where the lines between pop, jazz, and prog rock blur seamlessly. Your destination? An exotic clime brimming over with effervescent sonic euphoria.

    Vacation Daze

    The Upswing starts with a twinkly, jazzy composition, over which vocalist Ian Egling sings about not conforming to norms and expectations. “I am no one’s open tab,” he declares early on in the song. The album then meanders through aural explorations, soaring to the heights of alt pop in “Faberge” and delving deep into some funky soul in the jam “It’s a Comet.”

    The dreamy guitar notes opening of “Tin Can Telephone” set the tone for the nostalgic verses about first love. “But I still see you in my dreams sometimes like some ticky-tacky tin can phone / Strung up high from the window pane of a future that I’d never know.”

    At about this point, it becomes apparent that this is not only a journey of sound, but also a spiritual foray, a vantage point from which to see the past but also turn to what’s on the horizon. In “Magic Mirror,” Egling sings about how easy things were in the beginning, “Then it’s one thing leads to another / And it becomes the common cure that ails you / Do you want to know who you are?”

    When you’re ready to take a sabbatical from the norm, seek out The Upswing by Vacation Daze on Bandcamp and Spotify. The album was recorded at Rochester’s Wicked Squid Studios, with Vacation Daze album art by Kitty Box Press.


  • Woodstock 50: A Big Mess

    In the latest turn of events, the state Supreme Court of New York has ruled that former Woodstock 50 investor Dentsu does not have the power to cancel the festival. The financial partner withdrew funding on April 29 and announced the cancellation of the event. Woodstock 50 organizers turned to state Supreme Court last week for a resolution, demanding that Dentsu return the $18 million and continue to work on the festival. Manhattan Judge Barry Osrager ruled that an ex-investor lacks authority to cancel an event, but declined to order the funds to be returned to the festival. In short, this has become a big mess.

    Woodstock 50 A Big Mess

    During the Relix Live Music Conference at Brooklyn Bowl on Wednesday, May 15, a panel moderated by David Fricke led to a discussion on Woodstock 50. During ‘Case Study: The Bowery Presents’ with John Moore, Jim Glancy, Rolling Stone’s David Fricke brought up AEG deciding to not getting involved in Woodstock 50. Fricke noted “there is no indication this thing (Woodstock 50) can be saved,” which led John Moore to confirm they are “not involved in any discussions with Woodstock 50.” Jim Glancy expanded on that, saying “We had zero interest in April to salvage an event in August. I have no idea how it plays out but it’s a big mess,’ later adding, “It doesn’t feel thought out.”

    Woodstock 50, an anniversary event planned to commemorate the iconic 1969 festival in Bethel, is planned for August in Watkins Glen. Festival organizers remain optimistic, despite lacking funds and a mass gathering permit.

  • SummerStage Announces 2019 Lineup, Commits to 50/50 Gender Balance

    NYC’s City Parks Foundation has announced its participation in PRS Foundation’s International Keychange pledge by presenting Summerstage 2019 lineup that features a 50:50 gender balance.  The female-run festival has planned an informational panel on Aug. 4 entitled “Why Aren’t There More Women on Festival Stages?” before Grammy-winning jazz songstress Corinne Bailey Rae takes the newly-renovated stage at 7 p.m. in Central Park.  Opening night for the city-wide festival includes a performance by singer-songwriter Emily King at Central Park on June 1.

    In addition to a focus on gender balance, the festival celebrates diversity with two Central Park shows during Pride Month: bounce icon Big Freedia on June 13 and drag ballet troupe Les Ballets Trockadero de Monte Carlo on June 19.

    The festival will also be honoring musical milestones, such as the 100th birthday of revered choreographer Merce Cunningham with a dance showcase on July 17 in Central Park and the 50th anniversary of the Harlem Cultural Festival – Black Woodstock – with a showcase of jazz and hip hop luminaries at the original festival site in Marcus Garvey Park on August 17.

    Notable headliners this year also include The B-52’s, George Clinton, and The Wailers. For details on the full lineup, visit the SummerStage website.

  • Capitol Region Teen Makes American Idol Finals

    Capitol Region Teen Madison VanDenburg had made it to the final three contestants on Season 17 of American Idol. The high school student from Cohoes tried out for the show last fall in Buffalo. At last Sunday’s Hero Tribute, VanDenburg performed Pink’s “What About Us,” Elton John’s “Your Song,” and Adele’s “Make You Feel My Love.”

    Tune in to the Season Finale on Sunday, May 19 when VanDenburg faces off against Laine Hardy and Alejandro Aranda. The three-hour long event starts at 8 p.m. on ABC, and will include performances by legendary artists, as well as performances by the finalists.

    https://www.youtube.com/watch?v=PczTRD2NHng

  • Free ‘Ears & Beers’ Workshop to Open Up Conversation about Hearing Conservation

    Horton, board certified audiologist at Rochester Hearing & Speech Center, will be offering an interactive workshop Ears & Beers at Three Heads Brewing. The free affair takes place on Sunday, May 19 at 1 p.m. Attendees can meet with Horton and his colleagues to obtain a free hearing screening, discounted earplugs, and ear mold impressions for ordering custom ear plugs.

    “This is an important conversation to have,” says audiologist and musician Dr. Greg Horton. “Knowledge is power: educating and empowering musicians to take ownership of their hearing wellness and incorporate hearing into their annual health care routine.”

    “This event is geared towards musicians and people who work in and around music industry – bartenders, security, photographers, and promoters. We’ll cover the science of sound, how prolonged noise exposure can affect our hearing, and how people can protect themselves.”

    While most industries are regulated by oversight agencies which promote and enforce workplace safety, the music industry remains unregulated. What’s more, hearing conservation something that most people are uncomfortable talking about, or acting upon. Horton said that people often wait years after suspecting hearing loss to do something about it.

    Compounding these barriers is the lack of expertise in audiology for those in the music industry. There are only a handful of audiologists in the country who work exclusively with musicians. Horton studied under a couple of these experts when he was earning his doctorate in audiology at Northwestern University.

    “Working with musicians is different than garden-variety audiology,” Horton says. He adds that while most audiologists love working with musicians, when polled, the majority of them say they need more training in this area.

    Professional musicians invest their time in practicing and their money in equipment, but few make the effort to protect their most valuable asset – their hearing. Horton draws a comparison to a professional athlete being assessed by doctors for peak performance. “Why as a musician, wouldn’t you do the same thing?” Asks Horton.

    Few people in the music industry receive annual screenings to monitor changes in hearing. Hearing screenings are usually covered by health insurance, but those who are under-insured or uninsured can look for free screenings at places like health fairs and festivals.

    “Most musicians experience just generic foam earplugs, which are not designed to sound good. People don’t realize there are plugs that can maintain the fidelity of the music, with the ability to keep you at safe exposure.” This is an area where the proverbial ounce of prevention is worth a pound of cure. “People don’t want to spend $200 on a pair of custom ear plugs, but it sure beats $6,000 on hearing aids.”

    Protection goes beyond wearing hearing protection. It’s about awareness of dosage of noise exposure. That dosage can be reduced with things as simple as adjustments to stage plots and the position and distance from sound-emitting equipment.

    “I’ll be dispelling some myths. Like ‘Oh, I don’t play in a metal band, so I don’t need to worry about hearing loss.’ Volume doesn’t discriminate. It all comes down to dosage,” Horton explains. “Think about the violin player that’s been classically trained, putting hundreds upon hundreds hours into playing. A violin by itself may not be loud, but it’s pretty close to your ear, and if you’re someone who’s practicing 6 to 8 hours a day, you’re at risk.”

    As a life-long music lover and musician, hearing conservation is a subject Horton is passionate about. If you’ve ever seen Horton’s band Periodic Table of Elephants, you’ll recognize him as the one passing out complimentary ear plugs to members of the audience.

    This event is made possible with sponsorship from Three Heads Brewing and Rochester Hearing & Speech.

    Three Heads Brewing on Atlantic Avenue is a hot spot for live music and home to a popular Thursday night musician residency. You can find more details and RSVP for this free event here.

    Rochester Hearing & Speech a non-profit organization serving the region for the past 97 years. Their offices are conveniently located throughout Monroe County in Brighton, Greece, and Webster. For more information about this event or to schedule an appointment, email ghorton@rhsc.org.

    Poster design by Ben Frazier

  • New York Guitar Festival Kicks Off With Tribute to Memphis Minnie

    The 20th annual New York Guitar Festival has a long-standing tradition of paying homage to the cultural impact and musical legacies of iconic guitar players. This year, the festival opens with a tribute to influential blues artist, Memphis Minnie. This free outdoor event takes place Saturday, June 1 at 7 pm at Brookfield Place’s Waterfront Plaza in lower Manhattan.

    The concert will feature musicians across an array of genres, and will include: Marc Ribot, Rafiq Bhatia, Rachael & Vilray (featuring Lake Street Dive’s Rachael Price), Nicole Atkins, Binky Griptite, Kaia Kater, Jontavious Willis, Toshi Reagon, Brandon Ross, Amythyst Kiah, Alsarah and the Nubatones, Brandee Younger, Abdoulaye Alhassane Toure, Banning Eyre, and, Grammy Award-winners, Vernon Reid and Fantastic Negrito.

    Elegant, stylish and tough as shoe leather, she epitomized everything the world loves about America’s most enduring folk music.

    Banning Eyre

    Memphis Minnie was a gifted Delta Blues guitarist who was one of the first to use electric. She pioneered a sound that influenced generations of music to come, including Muddy Waters, Willie Dixon, The Rolling Stones, and Cream. Her song “When The Levee Breaks,” written about the Great Mississippi Flood of 1927 was later covered by Led Zeppelin.

    Additional 20th Anniversary New York Guitar Festival events will be announced soon.  Stay up to date at www.newyorkguitarfestival.org

  • Hearing Aide: Chromaticam ‘Chromaticam’

    Once upon a time in Rochester, some teenagers started a ska band. Then they evolved into a rock band. Their third iteration was the pop punk band, Lighters. Two years ago, they went on hiatus. Fans have held their breath, waiting to for their next project. That day has finally come.

    Chromaticam is not ska. It’s not rock n roll. It’s not punk. Band members Matthias Galley and Will Westveer have veered off the beaten path. They’ve thrown out the idea of fitting their sound into the confines of a single genre. They also threw out the idea of adding lyrics.

    Chromaticam

    In an age when we are barraged with verbal clutter, instrumental music has become the calm inside the storm, a refuge for the weary listener. “Aqueduct” is a perfect example of this. In this opening track off the eponymous EP, rhythm and melody intertwine languidly over a backdrop of droning synth, giving it an ambient feeling. It has a transcendent quality which teeters on the verge of psychedelia.

    The sense of harmony in “Aqueduct” is contrasted by one of discordance in “Withering.” Instead of spacious expanses of sound, the notes follow a dissonant chord progression. The song is made even more anxiety-inducing by the addition of sound clips of an ominous tenor voice.

    While there are no lyrics, speech samples are abundant in the remaining tracks. “Sore” is an edgy tune that contains lines ripped from the financial crisis of 2008. “Snow Flurries” is a funky jam that features clips from a winter weather forecast. In “Yellow Tent” a rat-a-tat drum and trombone set a ceremonial tone, heralding in snippets of a political speech.

    Chromaticam draws influence from alternative, synthwave, and indie rock, giving them broad appeal. But don’t try to box them into any one category. Throw away those preconceived notions about genre. Chromaticam defies definition.

    Key Tracks: Aqueduct, Sore, Snow Flurries

  • Woodstock Ticket Sales Delayed

    Hold on to your ticket money, folks. You won’t be able to buy passes for Woodstock this Monday. The sale date was scheduled to coincide with Earth Day, April 22. But for undisclosed reasons, that date is being delayed.

    Woodstock Ticket Sales

    Everyone is waiting on an official public announcement, but Billboard reports that an email went out to agents on Friday, April 19 alerting them of the postponement.

    Earlier today, talent manager Amanda Phelan with Woodstock 50 talent-buyer Danny Wimmer Presents sent an email to agents representing acts at the concert in Watkins Glen, New York, explaining, “There is currently a hold on the Woodstock 50 on-sale date. We are waiting on an official press statement from Woodstock 50 regarding updated announce, ticket pricing, and overall festival information. We will get this information to you as soon as we receive it.”

    – from Billboard

    The event is scheduled for August 16-18 at Watkins Glen. Top-name acts are slated to play. The Killers, Imagine Dragons, Jay-Z, Robert Plant, Dead and Company, John Fogerty and Santana are among an impressive array of headliners.

    Information about Woodstock 50 is available on their website, or you can follow on Facebook and Twitter for updates. NYS Music will continue to provide ongoing coverage of Woodstock 50 as events unfold.