Distractions, the debut album from the Brooklyn-based Acidhead coming out on November 15, is a moving opening statement. It’s an honest delivery of feelings and emotions that are often the very essence of being distracted.
The brainchild of multi instrumentalist Patrick McGee, Acidhead doesn’t say outright that it’s about a breakup but the cues from Kanye West’s 808’s & Heartbreak combined with song titles like the opening narration “Everything Got So Distant” and the album’s single “Throw Away The Time” are obvious hints.
Distractions lead single “Throw Away The Time.”
Throughout the album, distorted auto-tuned vocals and 808 beats put McGee’s influence on full display. The second single, “Love Has Me Keep On Dying,” is chock full of the aforementioned effects while the lyrical content drives the emotion forward – “Everyone’s lonely, hearing her voice late in the morning.”
While each track has strength in their own right, showcasing instrumental fluency and pulling from a variety of styles, the entire track list is cohesive and, ironically, not distracted at all. Each song sits just where it should and even as they are different in their composition, they feel like they all belong together on this album. On the fourth track, “Marciac Doney,” there’s a steadily building and lighthearted instrumental that crescendos into a hard-hitting drum and synth pad jam. Then, track five, “Hanover Rains,” features a straight up piano ballad. It’s nicely even-keeled
Lending a hand throughout the album are Andrew Forman of Goodfight, Lou Rogai of Lewis & Clarke, and the Rat Trap Pack, McGee’s avant-garde horn ensemble. The closing track “Wrongright” brings the set to it’s conclusion with a manic, guitar-duo-solo but settles down as if to say, “That was a whirlwind. I’m tired, Time to relax”
Key tracks: Hanover Rains, Throw Away The Time
You can catch Acidhead on tour in New York and Pennsylvania through mid-December. Be sure to check out Distractions when it drops on November 15.
11/22/19 – Wilkes-Barre, PA – Karl Hall – w/ Lou Rogai, Chukwu
11/27/19 – Brooklyn, NY – Knitting Factory w/ Jesse and Forever
11/30/19 – Easton, PA – Connexions Gallery w/Chukwu
12/7/19 – Beacon, NY – Quinn’s w Jesse and Forever
12/8/19 – Cambridge, MA -The Lilypad w/ Mario Fabrizio/Phillip Gollub, Wendy Eisenberg, Crylophone
12/14/19 – New York, NY – Con Artist Collective – w/Amani Fela
12/15/19 – Ruba Club – Philadelphia, PA w/ Flanafi, Cheeky
On September 7, the Greenwich Village event space (Le) Poisson Rouge was set for an intimate evening with SPAGA, a quasi-jazz project from the mind and fingers of Disco Biscuits keyboard player Aron Magner. Tables were draped with black cloths, lit by candles, and set with other accoutrements while on stage waited a baby grand piano, an upright bass on its side, and a full drum kit. Upon entering before the army of Bisco fans, the mood and setting were surprisingly sophisticated.
As The Disco Biscuits are generally known for their dance-inducing electronic music and laser beams, an open floor plan with room to move was the expectation. Alas, the performance did circumvent most expectations but lacked the confidence, or boldness, of traditional jazz stylings.
What is most interesting about SPAGA is the clear intersection between the old-fashioned and the new-age. It’s a classic trio set up with modern gadgetry intact. A synthesizer sat atop the grand piano with an assortment of foot pedals beneath, and a laptop computer was situated right next to the bench. The upright bass ran through a full effects pedalboard beside a rock drum kit. Throughout the course of the 90-minute set, all of the above were put to good use.
While the bulk of the night’s music was pulled from the recently released album (SPAGA, out now via AM Records) the opener was a non-album number, appropriately titled “For The Table.” This set the tone for the rest of the night’s offerings as it featured a tantalizing hook to anchor the more loosely fastened sections of improvisation. A major highlight right off the bat was drummer Matt Scaranos’ incredible ownership of the kit. As the keys and bassist Jason Fratacelli repeated the songs melodic content, Scarano displayed an impressive command over every little detail on top of, inside, and outside the beat. The songs that followed like the albums opener “Creed” and “Resurrection” both find their strength in their composition, giving the listener moments to mellow in ambiance and elate with blistering rhythms.
SPAGA did cover a wide spectrum on Saturday. “Resurrection” sits on a hip-hop beat, while a totally unique take on Led Zeppelin’s “Black Dog” seemed to be just a tease at first, eventually playing out as the full song. Improvisation was there, but it didn’t feel so much like it was in a jazzy conversationalist sense. Instead, it seems SPAGA has taken to sticking with the jam-band formula of creating a pocket, building a steady groove to fill it, and elevating the energy to a peak.
Magner took to the microphone to comment that SPAGA is a project grown from wanting to reconnect with and explore an instrument that he was properly trained on but spent a long time away from, the acoustic piano. While there isn’t much comparison between SPAGA’s piano-laden presentations and The Disco Biscuits electronically driven material, they certainly feel like they could have been made in the same kitchen. There’s different ingredients, but similar flavors.
All in all, SPAGA is a unique interpretation through a time-tested setup. There are moments of familiarity laced throughout a set that is, for the most part, completely separated from what you normally would hear from Magner and Co. SPAGA will be at Resonance Music Festival in Slippery Rock, PA ON September 19 and can be heard on all streaming platforms now.
Setlist: For The Table, Creed, Resurrection, Black Dog, Dig*, Colors, Four Angels, Good Old Days, Bird
*Temporary song name. Magner stated that it’s currently untitled and being decided on social media by fans.
Karl Denson’s Tiny Universe brought their brand of optimistic funk to White Eagle Hall in Jersey City on July 31 for an enthusiastic Wednesday night crowd. With them for an opening set of reggae and saxophone showmanship was DeLa and Steady Rock Easy. DeLa is the saxophone player for Slightly Stoopid, the San Diego reggae outfit with which Karl Denson has recorded and performed with as a sought after horn player himself. And I must say… Karl Denson is a hell of a bandleader!
Seriously, this guy is relentlessly generous. When you share the stage with some of the top-notch talent in the music business, there’s plenty of room to share in the groove.
DeLa and Steady Rock Easy
Pulling from a selection of bouyant reggae beats from his latest studio effort Opening Night, on which Denson is a guest musician, DeLa and Steady Rock Easy provided a straight up and joyful delivery. DeLa’s chops are seasoned, and tasteful, greasing the wheels for the ride Karl Denson and Co. were about to venture on. For the finale of the opening set, DeLa spoke, “If Karl Denson is in the house, we’d like to get him up here…. Oh I guess he is here!” Denson then came out for a collaborative saxophone duo to close out the Steady Rock set.
Karl Denson’s Tiny Universe
The most glaringly obvious thing about Karl Denson is his humility. Tiny Universe is widely regarded as one of the most talented and lively acts on the planet and, in addition to being a founding member of Greyboy Allstars, Denson was tapped by legendary rockers The Rolling Stones in 2014 as their touring saxophone player. In fact, the Stones played Metlife Stadium just one day after this gig. That’s quite a resume’ already, not even counting his impressive list of studio sessions and sit-ins. All of this, suffice to say, is enough to fluff anyone’s ego. Despite that, it seems that Karl Denson keeps a tighter grasp on his own humbleness than he does on his instruments. He grins and dances on stage with a tambourine as much as he fires on all cylinders with his saxophone or flute.
Gnomes and Badgers (out now via Seven Spheres Records) is Karl Denson’s commentary on today’s political atmosphere. A handful of the songs from that album made their way into Wednesday nights set, like “What If You Knew,” “Gossip” and “Can We Trade.” Each track is toe-tapping, no matter the pace, and laced with positivity. It’s uplifting that there is so much music being created right now that is built on optimism as opposed to avoiding hope for the future, given the state of affairs around the world.
Karl Denson shakes the tambourine during “Under My Thumb”
There were also some throwbacks. “New Ammo,” from the album of the same name, is a racer. There’s also the Rolling Stones cover “Under my Thumb,” which abandons the lyrics in favor of harmonized horn lines of the vocal melody instead. Throughout all of it, Denson took a lot of opportunities to point, glance, and shift towards other members of the band as if to say, “You take a solo! Now you take a solo!” Again, hell of a band leader.
The closer, “Time to Pray,” was a fresh reminder that none of us are in a competition. Each member of the Tiny Universe team was shining bright and grinning in delight, reveling in each other’s stamina. The lyrics “Kneelin, kneelin, there is no other way / You think it’s time to win, I think it’s time to pray” gives weight to this idea; it’s not about being right, it’s about sharing in hope for a more positive and optimistic future. A blazing guitar solo, plenty of flute action, an up-tempo beat to drive the dancing festivities, and a huge, rising organ build up drove it all home on a high note.
Karl Denson’s Tiny Universe
Karl Denson’s Tiny Universe is on tour through the end of August and takes on a Fall Tour from September through November.
Setlist via guitarist Dj Williams:
Catching Sparks, Everybody Knows That, Satisfied, Gossip, What If You Knew, Rich Man’s Welfare, I’m Your Biggest Fan, Can We Trade?, Under My Thumb, New Ammo, Time to Pray.
On an otherwise status quo Monday night in New York City, Black Pumas waited patiently in the shadows, ready to unleash their new take on familiar sounds to a curious and anticipatory sold out audience at the Mercury Lounge. Feeding off the energy surrounding their eponymous debut album, the sextet from Austin, Texas brought the heat with them.
Just before doors opened at 6:30 p.m., a line of eager listeners began to form, buzzing with hype. “Have you listened to the album yet?” one woman quipped in excitement. “I’ve heard a lot about this,” spoke another. And when the doors opened, the bar became flooded. By 7:30, halfway through the opening band’s set, the performance room was packed from front to back.
Boston blues band GA-20. Photo by Jamie Huenefeld
Initially booked as a solo performance for the headliners, Boston-based blues band GA-20 was tapped at the last minute for an opening set. Also newly formed at just over a year old, GA-20 is heavily influenced by traditional blues, R&B, and rock and roll from the late ’50s to early ’60s. Guitarist Matthew Stubbs spent a decade as the guitarist for blues legend Charlie Musselwhite and was able to connect with fellow guitarist Pat Faherty over their mutual love of influences at the time like Buddy Guy, Earl Hooker, and Otis Rush.
Armed with classic guitars of the era, a Harmony Stratatone and a mid-sixties Silvertone, the trio passionately conveyed their translation of a nostalgic genre. Setting the mood with a cover of the Clifton Chenier classic “My Soul,” Stubbs’ bigsby tremolo work and Faherty’s raw vocals sounded as if they were coming straight off of a 45. Through their 12 song, hour-long set, GA-20 showcased a truly honest, modern interpretation of a sound that’s become scarce with originals like “Dry Run,” “One Night Man,” and “Happy Today.” With a touch of rockabilly, a taste of doo-wop, and a wave of surf rock, each song was short, to the point, and authentic. Be on the lookout for a new album due in October.
Black Pumas. Photo by Jamie Huenefeld
As the band broke down and the house music went up, a black puma statue was revealed at the front of the stage. The crowd shuffled in elation, moving closer to the front as still more people made their way in from the bar.
Starting as studio takes and demos from guitarist/producer Adrian Quesada of Grupo Fantasma, Black Pumas has evolved into a full fledged neo-soul project, steadily rising as a must-see over the course of the past year. As the band settled behind their respective instruments and mics, the announcer remarked, “Please put your cell phones in your pockets and let’s stay in the moment together.”
Adrian Quesada of Black Pumas. Photo by Jamie Huenefeld
The opening intro and ensuing “Next To You,” one of the few numbers not found on the album but still part of their impressive repertoire, provided for a loose kick-off to set the groove in place. Next was “Colors,” which is creeping up as the band’s most listened to track, just behind the single “Black Moon Rising.”
Singer Eric Burton’s vocals call back to another era. The slow but steady tempo and easy swing feel of most of this music is reminiscent of Bobby “Blue” Bland’s “Ain’t No Love” while Burton’s fearless falsetto evoke the same emotion heard from the likes of Curtis Mayfield. The name Black Pumas, combined with lyrics about love and emotion (“If you’re in pain babe call the doctor / Don’t be afraid to say I need you” – from Fire) hint at the Civil Rights Era in which Mayfield and Sam Cooke were so vigorously immersed.
Eric Burton of Black Pumas. Photo by Jamie Huenefeld
In many ways, Quesada and Burton may be the rightful heirs to the kings of soul. The music itself is captivating, well executed, and certainly was able to bring a small room of fans together in a celebratory fashion. But Burton was majestic in the way he was able to harness the energy, absorb it, and redistribute it back to them. At various points of the show, the crowd swayed back and forth in unison and Burton would pause from his singing and encourage everyone to continue the motion while reaching to the person beside them in acceptance.
“Know You Better” was a stand out. Clearly a love song, in the room and context of the night, it could be interpreted as a heartfelt plea emboldening the listener to love their neighbor and strengthen the bonds of togetherness that were so important during the ’60s and ’70s. Those bonds are equally as important during these divisive times, which is why this music and the band that has created it feels so special.
Black Pumas engage the crowd at Mercury Lounge. Photo by Jamie Huenefeld
Clocking in just shy of exactly one hour, Black Pumas gave a performance that felt totally free of time. Other takes from the album like “Stay Gold” and “Oct 33,” a touching and poignant acoustic ballad, filled the middle of the set. Each song provided ample opportunity for the rest of the band, including backup singers, keys, and a straightforward rhythm section, to showcase their locked-in capabilities. With about 5 minutes to spare, they busted out with a hot take on The Beatles’ “Eleanor Rigby,” complete with a total funk makeover.
Eric Burton of Black Pumas dances with an audience member on the dance floor at Mercury Lounge. Photo by Jamie Huenefeld
Ferociously confident, aggressively soulful, and astoundingly energetic, Black Pumas should be on your radar. They’ll be back in New York City at the Brooklyn Bowl on September 30 as they jaunt around the country in the fall before a European tour in November. Don’t miss it.
NYC- Thanks for coming out last night! Our show at @brooklynbowl in September will be our last NYC show for the year, so make sure to get tickets to see us again soon! https://t.co/JhILId58zk
World renowned jazz/funk saxophonist Karl Denson is set to bring his 7-piece Tiny Universe to the historic White Eagle Hall in Jersey City on Wednesday, July 31. Tickets are available here via Eventbrite.
Karl Denson is a founding member of the seminal funk band, The Greyboy Allstars, as well as the touring saxophonist with The Rolling Stones. The spirit and energy of KDTU is hard to contain as it’s stacked with top talent including Greyboy Allstars members Zak Najor on drums, bassist Chris Stillwell, and Crush Effects keyboardist David Veith. Rounding out the touring lineup are also guitarist DJ Williams, trumpeter Chris Littlefield, and lap steel/slide guitarist Seth Freeman.
With unparalleled chops and an eclectic mix of musical influence from Prince to the White Stripes (covers of both can be heard on tour), it’s no wonder Denson has been sought to record with acts such as Lenny Kravitz and Slightly Stoopid.
Touring in support of the recent release Gnomes and Badgers (out now via Seven Spheres Records), KDTU is making their way across the country all the way through the fall. For more ticket information and tour dates, visit Karl Denson’s Tiny Universe.
On Thursday July 25, three bands from Denver, Colorado descended on Port Chester, New York for a night of musical magic at Garcia’s, the bar adjacent the famed Capitol Theatre with Cycles, The Jauntee, and Magic Beans who have all had an extremely successful year, riding the waves of headlining sets at festivals throughout the summer, recent album releases, and upcoming releases.
Before the music began, I had the opportunity to sit with Chris Duffy (bass, Magic Beans) and Caton Sollenberger (guitar, The Jauntee) about their feelings playing together, influences, and plans for the future.
Tom Dillon: Being that you’re all from Colorado, can you comment on what it feels like to be playing together out east?
Chris Duffy: It feels really relaxed. Cycles, they’re good friends from Denver. We played Baltimore together last night and will be at Peach Festival tomorrow. Jauntee just moved to Denver last year and we all sort of share a fan base. It’s a good vibe, there’s more conversation in the green room.
Caton Sollenberger: (Laughs) Yeah, it’s cool to be in this “family” setting. All three of us played Beanstalk last year and we’ve all been able to help each other out. We (Jauntee) did five weeks out east in the spring and it feels great to be in this kind of a homecoming. This is our fourth time at Garcia’s so it’s good to be here.
Scott Ferber of The Jauntee
TD: Speaking of Beanstalk, this was the 7th year for the festival, how was that?
CD: Ah man, it was awesome! (Tucker McClung of Cycles chimes in “Favorite Beanstalk so far!) Yeah it was incredible. Each year it feels more dialed in, the crew just gets tighter and tighter.
CS: Unfortunately we missed Beanstalk this year, but just moving to Colorado was a big thing for us. We started going out west a while ago, which always seemed impossible from Boston, so we feel like we have a good home base out there. The scene is really welcoming.
TD: It’s been a great year for the Beans between the 7th year of Beanstalk, opening for the Disco Biscuits, and debuting at Red Rocks. What are your thoughts on the space you’ve carved out for yourselves in the jam band scene?
CD: Well, we are pretty aware of our influences. There is so much good production happening right now in neo-soul and hip-hop – which we listen to a lot of, so we try to show that through the jam band lens. We like to see how the jam band crowd will react to different sounds and influences and we’ve been pleasantly surprised at how much people are grabbing onto the more heartfelt singing and songs. Those are some of our most streamed songs, the ones that are more songwriting heavy.
Scott Haschey of Magic Beans
TD: You seem to take a more rhythm-based approach to improvisation, is that intentional?
CD: We try to interpret our influences and not just copy them. We have a lot of peaking guitar solo jams like a lot of jam bands but that doesn’t really satisfy all our desires creatively. Scott (Haschey, guitar) really values good songwriting and puts a lot of thought into arrangement, lyrics, and digging deep into human emotion as opposed to singing about some fabled jam band monkey in a tree – even though we love that stuff too.
TD: So what’s next and what are you looking forward to?
CS: Jauntee has a live compilation coming out with takes from our last New England run. It’s going to be called Jaunts Of Our Lives. We picked the best stuff that we liked and mixed it all down. There won’t be any print but it’s all high quality and will be out on streaming and on Bandcamp as a pay-what-you-want deal. It should be coming out real soon, like any day. To be honest it might even already be out!
CD: Well, we just released Off Leash and are really happy with the way the album came out. We were able to inject a lot of different styles so there’s something for everyone but we feel like we’ve barely scratched the surface of accessing our inner producers as far as using other sounds – drum machines or samples on stage. We just keep pressing on. We’ve talked about getting together and releasing maybe a hip-hop EP or a remix or dance thing, but you might hear us swing into a more acoustic or Americana sound also.
Cycles
First up was the eclectic trio Cycles, comprised of guitarist/loop-master Patrick Harvey, bassist Tucker McClung, and newcomer drummer Colin O’Brien in his fifth official gig with the band. Cycles are completely unique in their sound and approach, blending genres from rock to soul into a mix of progressive power.
Through their opening hour set, the rhythm section was relentless. Offering a batch of material that can also be found on their recent live release Selections, Vol. 1, the trio covered all their bases. From the opening instrumental “Strife” and the bouncing “Be Yourself” to the more delicate “Everything Must Go,” the mood shifted but the sound was consistently huge. This is in large part due to Harvey’s control over his gear. While his guitar playing is ferocious, his use of a looper is equally as impressive. As he layers swells over chords, he creates massive sonic landscapes that reverberate through every corner of the room. He has mastered the art of painting with sound and it seems to be something he has taken hold of as totally his own.
The Jauntee
After a speedy equipment swap, The Jauntee got straight into some easy-going funk with “When The Love Is.” With tasteful riffs and well-placed transitions from section to section, The Jauntee is one of the few bands on the scene who explores free improvisation to a level where they begin to touch on what a band like Phish was doing or has done.
Adding the first sounds of piano and organ to the night, The Jauntee carried the groove steadily throughout their set. Their uplifting content is explicitly demonstrated in “Way To Grow” as the lyrics reference, “Feel good music to let your spirit free.” The progressive number “Flutterby” is an impressive run through ascending melodies, quickly moving scale patterns, and was executed flawlessly. It’s obvious that this group has been together for a while and the members are comfortable together. The jams are patient and poised. They take the time to really settle in, letting the crowd feel the beat, giving the music room to breathe, allowing it to grow by feeding off the moment. This was most honestly exemplified in the second half of the set during “Dirty Job” as the band slowly raised the energy level from foot-tapping funk, building anticipation through a series of tense syncopations, to a final release of sustained guitar under a canvas of organ.
Magic Beans
It’s easy to see why Magic Beans has steadily, and quickly, built momentum as a band to see. Though they live some 2,000 miles away, fans showed up in force to watch them in Port Chester. One fan even thanked Chris Duffy for putting on such a good show the night before in Baltimore.
The Beans are locked in to their feel-good sound. It’s music that’s meant to not only make you dance, but make you feel good about it. Kicking things off with the party-funk single “Feed The Beast” from their newest album Off Leash, the band exhibited that they came prepared to lay it down. Keyboardist Casey Russell kept a wide smile all throughout the affirmative “Always Cool” off of 2017’s Common Mind. Two songs in and raving with jubilance, guitarist Scott Haschey broke a string and didn’t miss a single note. While he stepped off to re-string, the rest of the band wasn’t going to wait up. After a short filler with Casey on lead vocals and a impassioned organ solo, the rest of the set was indeed magical.
Casey Russell of Magic Beans
With just 6 songs on their setlist, Magic Beans intertwined all styles, incorporating a variety of sounds from their respective toolkits during an hour and fifteen minutes. Lush organ, euphonic synthesizer, filtered bass, drum samples under tight beats, and vibrant, rich guitar tones were all on full display. A touch of each was compiled into the finale “Contraband,” another track from Off Leash, bringing this night of magical music to it’s conclusion.
Off Leash is available on all streaming platforms now and Magic Beans can be seen in the Northeast once again on their soon-to-be announced Fall Tour.
Some say that time is an illusion, a human construct, a shimmer in the otherwise bright light of life. The passage of time, however, is a certainty, leaving its trace strewn throughout the landscape and in between the years as they come and go. After a one-year hiatus, preceded by a decade of non-stop creativity, the jam scene powerhouse quartet Dopapod has set May 24 as the day to unveil to the world their interpretation of this concept, ironically immortalized via their latest album, Emit Time.
Dopapod has always had a knack for tricking time. Odd time signatures, overlapping melodic content, and live improvisation that extends the length of their songs beyond their studio counterparts mark the bulk of their compositions. Their palindromic album titles wink to the infinite nature of time and they’ve broken the rules in the past by performing intricate works in reverse. This new collection is a true emission of time, containing never-before-heard songs among others that have been in the live rotation for a few years. As many creative people will tell you, true artists must have the ability and see the necessity to keep pushing forward, to embrace the inevitability of growth and change. This band has taken strands of their DNA and weaved them into works that feel fresh. They are unfamiliar in their display yet familiar to the Dopapod formula of rock solid rhythms,
The album opens with a lone pulsating organ that bursts wide open into a deep-pocket funk beat with a chomping guitar riff. “Numbers Need Humans” is a testament to the “live in the moment” attitude that energizes so much of the progressive jam scene. As was proven with the first song in the second set at the band’s recent Capitol Theatre reunion gig, this track is a great opener, prepping listeners by reminding them, “Time is all we have / So let’s have a good time.” Placed before a tightly executed guitar solo, the lyrics operate as a thematic entrance for the topic at hand through the rest of the album. “Tick tock, hands move around the clock / On the dot, that’s when time stops.”
Following in the order of when it was released as a single, “Test of Time” comes second. This 7-minute, multi-section, progressive number is evidence that the layers time has piled onto this group are beginning to show signs of evolution. Guitarist Rob Compa leads the way, singing through a “gateway to another time.” Next to a familiar synth hook, sure to cue Eli’s signature head-bop, there is a rocking chorus and expressive singing, something that has made more and more of an appearance in Dopapod music on the last few albums and certainly on this one.
“23 Forever” gives bassist Chuck Jones a turn on lead vocals, bringing his sense of humor to a memorable and extremely catchy chorus. This song feels like the band is revisiting a funny memory and having a good laugh about it. Another new song, “Live In The Dream” offers a consistent mid-tempo groove that gets progressively aggressive leading up to its guitar solo crescendo. A descending vocal round, “..live in the dream, live in the dream, live in the dream,” leads the song down to a decisive close.
For the most part, this collection of songs is the most thematic that Dopapod has released as an album. As mentioned by Eli in the bands press release for Emit Time, “Interestingly, we had been developing a semi-concept album about time and time travel before the hiatus.” In combination with the feelings from that hiatus, a new album about time and time travel feels pretty appropriate.
Still leaving room for some road tested material, “Superbowl” and “Weedie” give the album a taste of the past. “Superbowl,” a song debuted in 2016, slows up the pace but is a well-crafted atmospheric blend of synthesizer, orchestral strings, and resounding guitar. From there, “Weedie” hits with a guitar-heavy rock riff. Again, the lyrical content refers to the mindful present-living ethos, “We have our ups and downs / But life is lived in the now.”
“Landmines” is another debut that starts to bring the album down on its two-song final descent. The bulk of this song is based on a down-tempo 16th note groove, accentuated by a tinge of spy-guitar reminiscent of something to be found in a classic James Bond film. The mid-section, however, creates a distinct change with a straightforward rock progression and brief organ solo. As it peaks, the main theme is called back as Rob plays passionately with a slide. The final track, “Whale (I Am),” is a beautifully executed landing that pairs a drifting and uncluttered tone with delicate keyboard lines and airy vocals.
Though the album seems short in length at 8 songs, it clocks in around 45 minutes in total. It does unload a powerful punch with its production and covers a lot of ground, but it still feels like there is room to tag on one or two more tracks. “Superbowl” begins to feel a tad drawn out at the end and the album’s finale might benefit from a more energetic closing jam. Dopapod fans are a hungry bunch and when you’re as creative as these guys, new songs are always welcomed.
Dopapod has executed their return well. They have managed to keep their fan base interested and committed for an entire year, without playing a single show, just by promising to come back. They made good on that promise, they have fresh material to present, and are keeping their appearances this summer to a unique minimum. The focus on ideas relating to time make this a relatable and inspiring listen. The band does a great job of exploring creative opportunities here, testing the potential of their inventive approach to music by applying it in new ways, taking them in new directions.
Key Tracks: “Numbers Need Humans,” “Live In The Dream” and “Weedie.”
“We’re having sooooooo much friggin’ fun on this little run of shows!” quipped Marco Benevento in an Instagram post on the afternoon of May 3. Later that night, the sentiment became overtly obvious as Benevento and Co. brought their colorfully energetic mix of pop and rock to Jersey City. White Eagle Hall, an historic venue is situated in the Village neighborhood of downtown Jersey City, welcomed every note as if it knew Marco came home to play.
Providing a short opening set was New York City native Andrew Fox, a solo singer/producer with a small assembly of toys and knobs but a large sweeping psychedelic soul. Warming up the Jersey crowd with a selection of songs from his recently debuted EP Shock by Shock, Fox sang passionately over a mix of deep bumping bass and sinking synthesizer leads. The live performance of these tracks varies slightly as Fox mixes, filters, and plays keys. A stand out was the funky “John / Candy,” featuring a pop laced guitar riff and chopping snare claps.
In a nod to the oh so obvious theme of welcoming that encompasses Benevento and crew, Fox mentioned that the two had in fact only first met in person just prior to the show. It was just a few weeks ago that Benevento reached out to Fox via the internet and asked him to tag along for a few shows. This speaks volumes to Marco’s openness to opportunity and appreciation.
After a short break, the headliners appeared to an uproarious applause and took a moment to settle in before jumping right into “Free Us All.” Immediately, the rainbow lights began to blanket the room as the crowd swayed in delight. The trio continued on through a mix of old tunes like “All The Other Dreams,” “Greenpoint,” and “Dropkick.” Still, there was room for a new song debut and announcement that a to-be-titled album is on the way, due out in September.
Dressed in silver sequin jackets and white tees reading “We’re using time for fun” (a song committed to tape on 2007’s Live At Tonic) the trio of Benevento, David Butler and Karina Rykman held on to their smiles as much they did the groove for 2 hours straight. There is an incredible enthusiasm in this group that creates an energy so palpable it’s hard to not participate in the celebration. Marco takes every opportunity available to thank the audience, thank his bandmates, and relish in the feel-good momentum that makes their performances uniquely positive.
The mid-section of the set brought more from the recent The Story of Fred Short record with the zany “I Can’t See The Light,” a soaring “Stay In Line,” and the bouncy “Walking With Tyrone.” Benevento jumped back and forth between center stage to dance around and sing and then again to his piano rig just in time to walk up and down a solo.
Just after Rykman removed her jacket, but not the smile, Benevento made banter by recalling a previous show where the crowd roared for 10 minutes when he announced the bassist by name. The audience took this obvious cue and cheered ever more loudly as Marco clapped and yelled “KARINAAA” into the mic. It was a cheerful moment that shined a happily embarrassing spotlight on the youngest band member just before she took a distortedly delayed bass solo. This paved the way for the crowd-pleasing cover of the Butthole Surfers 90’s hit “Pepper,” led by Rykman on vocals.
As is with most musicians, this band and Benevento, especially as the songwriter, gets as much out of sharing in the music as they do playing it. This was evident through the entire set but was most clear when the trio “answered the call” to play “The Real Morning Party,” an infectious pop number that had the entire crowd gleefully singing along to the melodic hook. As the audience bounced up and down in enjoyment, it was hard to tell whether the ground was shaking because of the dancing or because of the powerful rhythm section and soulful jamming.
After one last thank you, the party was brought to a close with the aptly titled finale “At The Show.” Members of the audience were still humming the vocal melody as the three band mates took their final bow at center stage.
Marco Benevento tour continues on May 10 in Washington D.C. with Andrew Fox.
*Setlist was not written down and songs were being called out by Marco. The following list was provided by management:
Free Us All, All The Other Dreams, Solid Gold, Dropkick, Greenpoint, Send Me On A Rocket, Walking With Tyrone, Live a Certain Life, Stay In Line, I Can’t See The Light, Follow The Arrow, Pepper, Witches of Ulster, The Real Morning Party, Oh Baby Can’t You See, At The Show
Beginning tomorrow, keyboard maestro, Marco Benevento, will kick off a string of 10 summer tour dates with room for more to be added along the way. The experimental rock and jazz pianist will play two dates before hitting White Eagle Hall in Jersey City on Friday, May 3, where NYS Music will be there to catch the set in full review.
Armed with the rhythm section of Karina Rykman on bass, drummer David Butler, and a smile from ear to ear, every one of the trio’s gigs is a celebratory event. With appearances already booked at Mountain Jam and Levitate Music and Arts Festival, Benevento’s summer is sure to be as colorful as the stained striped suits he likes to wear on stage.
A taste of live Benevento
Ahead of the first release under his birth-name, New York City native Andrew Fox has been enlisted to bring his soulful psych-pop blend to both the Jersey City and Washington D.C. dates as the opening act. Be sure to check out Shock By Shock, on streaming platforms now.
Andrew Fox Debut Shock by ShockMarco Benevento
Tour Dates:
May 1 – Wilkes-Barre, PA – River Street Jazz Cafe May 2 – Ardmore, PA – The Ardmore Music Hall May 3 – Jersey City, NJ – White Eagle Hall w/ Andrew Fox May 4 – Greenfield, MA – Hawks & Reed Performing Arts Center May 10 – Washington, DC – Pearl Street Warehouse w/ Andrew Fox May 11 – Harrisburg, PA – The Abbey (Free) June 13 – Bethel, NY – Mountain Jam June 26 – Brooklyn, NY – Industry City July 13 – Marshfield, MA – Levitate Music & Arts Festival August 7 – Big Indian, NY – Full Moon Resort
Last night Trey Anastasio brought his newest project, the emotionally charged Ghosts of the Forest, to New York City for the first of a two night run at the United Palace Theatre. A departure from the improvisational jam routine, GOTF provided a set of incredible honesty and vulnerability. Apart from the music, this project stands-out as beautifully intimate and something uniquely special.
Six shows into their one-off tour, the group of frequent collaborators (members of Phish, TAB and the fresh voice of Celisse Henderson) have played the same setlist every night. Opting for one single set, the sextet unrelentingly weaved through all the highs and lows with precision.
As the crowd funneled in, the ambient house music set the mood, giving everyone time to settle into the wonderfully-detailed 3,000 capacity room. If you’ve been paying attention, by now you know that the music of GOTF has all been derived from the passing of Trey’s childhood friend Chris Cottrell. The 90-year-old opera house provided a perfect setting for this music. The poignant to-the-point lyrics, gorgeous layers of soothing vocal melodies and soaring guitar solos filled air with sentimental, and sublime energy.
The title track “Ghosts of the Forest,” which served as the opening song, is an ethereal walk through an odd-time signature – a reflection of what it’s like trying to understand permanent loss. Going on themes of confusion and searching, there is no nonsense here; “I’m drowning in my own mind, I’m drowning in thoughts, I’m drowning in memories.” These personal revelations continue through “Drift While You’re Sleeping” and “Friend,” a touching gospel ballad expressing the difficulties of making, and losing, friendship.
When new music is released, fans love and look forward to hearing how studio music will translate into the live setting. As the album had not yet been released before the first 5 dates, nobody knew what to expect. Yesterday however, the studio material was revealed and finally gave a taste to the masses. Still, two-plus hours gave plenty of time for extras. The first non-album song, “Sightless Escape,” was fourth up, but the first to feel like a potential jam-vehicle. Featuring a surf-rock tinged riff and a loose mid-section groove, you know things are picking up when Trey lets loose with the whammy pedal. A short, but soulful vocal solo from Celisse was an amazing touch.
Trey and his team, including Stop Making Sense production designer, Abigail Holmes, have done an excellent job of blending various elements of this production to evoke and portray the feelings one might experience when losing someone they love. The stage was fascinating, featuring constantly changing graphics displayed on 10′ vertical LED screens situated between three large panels of swirling three-dimensional triangles. At some points, the backdrop really looked like ghosts in a forest.
The setlist was up-and-down, light and dark, upset yet glad. At times the crowd would sit, during “In Long Lines,” a heartfelt acoustic passage where Trey is clearly singing about real memories he had with his friend. “I lit your cigarette, your hand was touching mine.” As Trey mentioned in a recent Rolling Stone interview, Chris smoked up until the day he passed. In another song, the crowd was bouncing, laughing with the band as they smiled and danced through “The Green Truth,” an uptempo classic rock number featuring vast interplay between guitar and vocals, on the refrain “take it as it comes.”
In a dare-worded curveball moment, Trey sat down his guitar completely for “Mint Siren Dream” and sang over a soft shuffle from Fishman, on top of descending leads from the milkman on keys, Ray Paczkowski. Another obviously special moment, as last year Ray had a brain tumor scare, right around the same time Chris Cottrell was in his final months. Allowing Ray to shine felt like a reminder that these unpredictable episodes in life can be celebrated as much as they are to be mourned in.
Recently Trey commented on Sirius XM that Chris loved it when he ripped on guitar. This was undeniable through the entire set, but spoke most loudly on the racer “Ruby Waves” and “About To Run,” which featured a colorful silhouette on the LED’s during its peaking solo.
It was not painfully obvious, that a man in mourning wrote this music. Though, songs like the all acoustic “Brief Time” point out the inevitable, most of it is uplifting. These songs are an expression of an infinite and all-encompassing love. They are an honor to friendship and experience. The set ended the same way it began, with the piano melody of “Ghosts Of The Forest” as each member walked off stage one by one. It was a surreal call back to the beginning, perfectly encapsulating the circle of life. In his final words, Trey thanked the crowd on behalf of the entire band. It was so heartfelt and really showed that they were there for him as much as he was there for them “dancing beneath a sea of stars.”
Stay tuned with NYS as GOTF is back at United Palace tonight for round two. Download audio of tonights set via LivePhish.
SETLIST: Ghosts of the Forest, Drift While You’re Sleeping, Friend, Sightless Escape, Halfway Home > If Again, In Long Lines, There’s a Path Above, About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2 > Mint Siren Dream, Stumble Into Flight, Ruby Waves,Shadows Thrown By Fire, Wider, A Life Beyond The Dream, In This Bubble > Beneath a Sea of Stars Part 3 (blue).
