Category: Reviews

  • Biscuits Bring the Heat to NYC for annual New Year’s Run

    Trance-fusion pioneers, The Disco Biscuits, laid down some serious jamtronica heat at NYC’s PlayStation Theatre on Saturday during their annual New Year’s run. PlayStation Theatre is closing permanently at the conclusion of this run, and the Biscuits are ensuring the venue goes out with a bang. The Disco Biscuits members include Allen Aucoin (drums), Marc Brownstein (bass), Jon Gutwillig (guitar), and Aron Magner (synthesizers).

    Saturday’s first set included a delicious “Munchkin Invasion” jam sandwich, filled with an inverted “The Great Abyss.” The second set intensified with jam vehicles “Caterpillar” and “Spraypaint” seguing into a fresh and dirty “Tractorbeam Jam,” and then right back into both.

    Tickets are still available for the two remaining nights of this soon to be legendary run at this link. FOMO can truly be damned because the band is webcasting this historic run as well. Head over to their Youtube page for more details.

    Set One: King Of The World> Munchkin Invasion> The Great Abyss*> Story Of The World> Freebis Slinky> Munchkin Invasion

    Set Two: Caterpillar> Spraypaint> Humuhumunukunukuapua’a**> Tractorbeam Jam> Caterpillar, Air Song> Spraypaint

    Encore: Bazaar Escape

    * inverted version

    ** unfinished

  • Medeski, Martin, Metzger and Cline Kick Off Phish After Party Season at Sony Hall

    Just as Phishmas at YEMSG got underway last night, so too did after party season. Night one’s offerings were numerous, highlighted by the one-off supergroup of John Medeski (keys), Billy Martin (drums), Scott Metzger (guitar, Joe Russo’s Almost Dead), and Nels Cline (guitar, Wilco) at Sony Hall. Not to discount the draws of Metzger and Cline, but MMW’s acid jazz has been intertwined with the Phish scene since 1995 and this highly anticipated show would eventually sell out in the hours before its 1:00 am start, leaving many fans outside on the sidewalk. 

    Medeski Martin Metzger Cline

    Sony Hall occupies the footprint of The Diamond Horseshoe, a celebrated and historic Times Square dinner theater with a standing room capacity of 1,000. The room is trimmed with gold paint, coffered ceilings and a disco ball, and lounge seating around the perimeter, lending to its historic feel. The room sounded great, although overcrowding was a serious deterrent for many. 

    Medeski, Cline, Metzger, and Martin were arranged audience left to right respectively, and began their two hour improvisational journey just before 1:00 a.m. Medeski would contribute the evening’s bass lines on his keys, as he and Martin provided the anchoring rhythm section for guitarists Cline and Metzger to explore in, on, and around. There were gorgeous moments of Metzger shred amidst a backdrop of effects heavy psychedelic exploration from Cline. The tempo was deliberate and purposeful and, coupled with the intense crowding, didn’t create much of a dancing atmosphere. At times the music felt almost transcendent, as Medeski and Martin created an ambient space for guitarists Metzger and Cline to play, their guitar work totally dictated by the tempo and beat of the drums and keys.

    These musicians clearly enjoyed playing with one another as they treated those who braved the crowds and the late hours to a two hour set of improvisation that ended at 3:00 a.m. Sony Hall will host after shows on nights two and three as well, with Star Kitchen on 12/29 and Ghost Note plays Prince on 12/30.

  • Runaway Gin delivered Evil Phish to the Knitting Factory

    Charleston, SC’s Runaway Gin delivered their “Evil Phish” covers to the Knitting Factory in Brooklyn, NY on December 26, to a crowd excited for the upcoming Phish run at Madison Square Garden. Led by Dentist and guitarist Andy Greenburg, the funky jams hit for two delicious sets.

    Space Junk is Forever opened the evening with vintage instruments and their self-described “simple melodies, stirring harmonic language, and frequent key and meter changes into impressionistic, aptly titled tunes.”

    Notable covers by Runaway Gin included “Punch You In the Eye,” “Stash” and “David Bowie.” “Bowie” had excellent guitar work by Greenburg, and the crowd was loving the jam in “Stash.”

    Runaway Gin is on tour this winter, with more doses of “Evil Phish.” Visit their tour page here.

  • In Focus: Goosemas at Wall Street Theater

    If one band is on the lips of live music fans around the Northeast, it’s Goose. And for good reason – the group has had a break out year, with an instantly memorable Peach Festival set, a Fall Tour that saw them sell out and upgrade venues left and right, and now have sold out the Wall Street Theater in Norwalk, CT for their sixth annual Goosemas year-end, hometown show.

    In addition to bringing in over 300 pounds of food for Open Doors shelter in Norwalk, Goose performed two sets – The Ghost of Goosemas Past, and The Ghost of Goosemas Future. The ‘Past’ set featured The Band’s “Christmas Must Be” to open the night, original Goose guitarist Peter Castaldi joining for “Gringo,” Trans-Siberian Orchestra’s “Carol of the Bells” and a set closing “Linus and Lucy” seen below.

    The ‘Future’ set was bookended by fan favorite “Wysteria Lane,” followed by a debut of Robert Johnson’s “Sweet Home Chicago,” made famous by The Blues Brothers. Debuts of “Arrow” and “Honey Bee” were surrounded by songs released earlier this year, “White Lights” and “Creatures.” An improv heavy jam on The Beatles “Tomorrow Never Knows” was dark and went deep, prompting a few nearby to ask “Is this still ‘Creatures’?” The venue had loyal fans packing every inch of the venue until past 1 AM, and energy flowing from eveyone touched by the magic of Goosemas.

    Opening the night was TalkPeck Soundsystem, featuring a combination of covers of Talking Heads, Vulfpeck and LCD Soundsystem, all of which were knocked out of the park to warm up the crowd, and then some.

    goosemas wall street theater

    Goosemas, Wall Street Theater, Norwalk, CT

    Set 1: Christmas Must Be, Tumble, Gringo, All I Need, Carol of the Bells, Rosewood Heart, Christmas Wrapping, Yeti, Linus and Lucy

    Set 2: Wysteria Lane, Sweet Home Chicago*, Arrow*, White Lights, Honey Bee*, Slow Ready, Creatures, Tomorrow Never Knows Jam, Your Ocean, Wysteria Lane

    *debut

  • Daughters Headline Industrial Triple Bill at Brooklyn Steel

    This past Thursday night, Brooklyn was treated to an incredible metalcore/industrial triple bill: Daughters, HEALTH and Show Me The Body. Both HEALTH and Show Me The Body are still supporting new releases from earlier this year (Vol. 4 :: Slaves of Fear and Dog Whistle, respectively) and Daughters is still going strong behind their excellent and genre-defining release You Won’t Get What You Want from late 2018.

    Daughters at Brooklyn Steel – Photo: Joseph Buscarello

    Show Me The Body was up first and the room was already packed to see the group open the night. Frontman Julian Cashwan Pratt had an intense level of energy on stage – violently throwing his body back and forth all while playing hardcore riffs on a heavily distorted banjo. Several friends of the band came on stage for brief guest vocals, and subsequently stage dove into the pit to amp up the crowd even more.

    Next up was electronic-infused industrial rock greats HEALTH. Their intoxicating bass and melodic vocals were a sharp contrast to openers SMTB, but fit so nicely in the middle of the triple bill. Their latest release, Vol. 4 :: Slaves of Fear, sees the band soundtracking an industrial rock dance club, reminiscent of where Neo met Trinity in The Matrix. They present a stripped back stage with blinding, beat-synced strobes that overwhelm your senses regardless of where you are in the room.

    Daughters have been looked up to in the metalcore, industrial rock cloud ever since their debut in 2003. But in 2010, their self-titled LP made a firm statement as one of the best records in the genre, only to see the band then break up and go on a long hiatus. They briefly reunited in 2013 for a one-off show, but it would not be until 2018 that the band returned with the excellent You Won’t Get What You Want. This record is essentially the soundtrack to your worst nightmares. With shrill, spine-tingling guitar riffs; despondent, brutal lyrics; and a relentless flow from start to finish, the record taxes your emotions no matter how many times you’ve heard it. The rare slow down on the album comes from the track “Less Sex.” The song opens with a funky bass groove, but the high pitched guitar riff and haunting, repetitious monologue conveys a hopeless feeling for the listener.

    Alexis Marshall of Daughters at Brooklyn Steel – Photo: Joseph Buscarello

    Frontman Alexis Marshall has a stage presence that truly conveys the tortured sentiment of the record. Several times during the show he would appear to choke himself with his microphone chord, his fist (or the fist of a lucky(?) audience member) or his clothing. His facial expression would convey the darkest emotions of the human mind and he would frequently jump down to the audience to mosh and engage with the energetic fans. As dark as Daughters’ music is, the connection between the band and those listening cannot be understated.

    Daughters at Brooklyn Steel – Photo: Joseph Buscarello

    The show at Brooklyn Steel was one of the last of the combined tour, which wrapped up on December 21 at a sold out show at Paradise Rock Club in Boston. HEALTH have shows in Europe next April while Show Me The Body play New Year’s Eve at the newly opened NYC venue The Dance.

    This iteration of the Daughters lineup seems to have a deep connection on stage, and they deliver an intoxicating performance. This was my second time seeing them on this tour cycle and the presentation of YWGWYW somehow got substantially better the second time around. Hopefully we see more from the group in the near future!

  • Best of NYS 2019: Albums of the Year

    NYS Music’s annual rundown of the best and brightest that 2019 had to offer musically rolls on with our selections of the best albums of the year. The staff has spoken and selected the best album release for both national recording acts and those who call New York home. The results ended up producing a well known name in the jam community whose latest release shines and a band well known and revered in the rock scene that just returned to touring after a long layoff. And if you missed our earlier selections for 2019’s best “under the radar” bands, go here and catch up.

    Album of the year – NY edition

    The one name that seemed to pop up more than any other in our NY poll belonged to a Mr. Marco Benevento. His new release Let it Slide has been received with much acclaim and highlights the keyboard extraordinaire’s signature sound. In a departure from his other solo album releases (this is his sixth one to date), Benevento handed the keys for this one over to an outside producer in Leon Michels and the two Hudson Valley residents collaborated to make a record that’s both complex and an easy listen, combining elements of rock, jazz and funk.

    With a host of tracks that feature poignant piano fills and simple yet effective rhythms, Let it Slide has received its fair share of critical acclaim. Rolling Stone praised “the textures and colors available in his keyboards and arsenal of manipulated pedals and effects,” along with his “deceptively rich, catchy melodies and straight-ahead grooves.” The album, as a whole, does a superb job of putting the music first and foremost with vocals and effects that compliment it.

    Some of the more interesting tracks on the album are the strictly instrumental ones dubbed “Graffiano” that are brief piano interludes placed between the more traditional three or four-minute tracks. Although they are short in length, it gives an insight to level of creativity Benevento brings to his music. “The piano sound at one point didn’t feel right, so when no one was looking, I put some gaff tape on the strings to mute it,” says Benevento. “Everybody loved it and started calling it the Gaffiano. They’d say, ‘Go play something that sounds like Sun Ra meets Keith Jarrett on the Gaffiano,’ and I’d make up these crazy pieces on the spot.”

    Between this and tracks with insightful vocals like “Lorraine” that deals with loss and change and “Solid Gold” which explores tenets of friendship, Let it Slide flows beautifully from start to finish, never getting too high or too low in mood or tempo. And between the initial tracking done at Diamond Mine in Queens with mastering and overdubs being taken care of in Upstate NY, it’s an ideal selection for our NY Album of the Year.

    Album of the Year – National

    For the non-New York Album of the Year, one seemed to rise above all the others. And it’s from a band that just made their triumphant return to touring to support it. Released in August, Tool’s Fear Inoculum is the group’s fifth studio album and their first one in nearly thirteen years. It features the signature Tool sound of pulsating, driving rock grooves with ethereal vocals supplemented by front man Maynard James Keenan. The album is the product of many years of work with setbacks and injuries to band members laced in between. In retrospect, Keenan recounted that the band constantly second-guessing themselves was a reason for the album taking so long, and that he believes the version of the album the band had going eight years ago in 2011 would have been “fantastic” too. But it still gets the job done in terms of bringing the intense sounds and feelings of a Tool show to your living room.

    Not your typical hard rock band, Tool features several tracks on this album that stretch past the 10-minute mark, showcasing the band’s ability to find a groove and explore from within. The album as a whole has a runtime of 80 minutes – the maximum length for any CD. The concept of seven is a recurring theme of the album both musically and conceptually; guitar riffs were written in unusual time signatures related to the number seven, while Keenan introduced ideas related to seven as well. This is highlighted with the song “7empest,” a 15-minute rock exodus that’s the longest on the album.

    The album also explores the concept of growing “older and wiser”. Keenan explained that the album covers the idea of “embracing where we are right now, acknowledging where we’ve come from and some of the things we’ve gone through.” They must be doing something right because the album debuted atop the Billboard 200 in September and has reached almost 250,000 album sales. It seems to have been well worth the wait and a recent successful tour in North America helped solidify this. But you don’t have to take our word for it. Take a listen below to the entire and listen for yourself.

  • Swinging into SPAC for an Evening of Dance

    It’s not every day you get an education and a show in one sitting, much less for free. But Saratoga Performing Arts Center (SPAC) is full of surprises — that’s because they love their proud little city. That much was obvious on Thursday, December 12, when I set foot onto the glorious ballroom floor at the Hall of Springs for Winter of 2019’s Freihofer’s “Live at the Jazz Bar: Swing Night.”

    Chris Shiley, SPAC’s Senior Director of Artistic Planning, said this is their third winter doing Live at the Jazz Bar nights. Winter’s evenings are seldom. In the summertime, however, Live at the Jazz Bar happens once a month, typically rotating themes from swing, Latin, and ballroom dances, all of which are preceded with a lesson. Winter Jazz Bar nights are geared toward getting the greater Saratoga community out to have a good time and raise awareness of SPAC’s upcoming activities.

    SPAC Evening of Dance

    The Hall of Springs boasts 38-foot ceilings, from which hung three
    crystal chandeliers that twinkled from the gold and red lights shooting up the sides of the Tuscan columns from projectors. Annie and the Hedonists, a tight band of five specializing in swing and blues of the ’20s, ‘30s, and ‘40s, had a modest setup on the floor’s center. Around it, dancers young and old gathered for pre-performance dance lessons lead by Tango Fusion Dance Studio’s Johnny Martinez and Diane Lachtrupp.

    Martinez began the session by teaching each individual the triple step. It was simple enough: 1-2-3 tiny steps to the right, 1-2-3 steps left, then a rock on your right foot, and repeat. It was time to grab a partner. I faded into the background, knowing I had come alone. But assistant Jennifer Emmons beckoned me to return to the floor and take her hand. I complied, but flushed red, convinced that I would literally be stepping on her toes.

    SPAC Evening of Dance

    I did not. Jen was a very good teacher. She had been training to instruct at the studio after having spent five years as a dedicated swing dancer. Apart from my occasional misstep, Jen taught me how to keep up with her. By the end of the lesson, we were effortlessly scuttling one direction, then another, then spinning apart and coming back together.

    “Dancing is like a language,” she told me—a motto of the studio, I later learned from Diane Lachtrupp. “Once you learn, you can dance with anyone.” The follower, usually a woman, needs to listen to the leader (usually a man, though in this case, I was following Jen’s lead) so that the conversation can keep going.

    SPAC Evening of Dance

    The lesson was over and the band began to play. The songs performed by Annie and the Hedonists were a perfect compliment to what the room just learned. Dancers in pairs bounded about the floor, swinging in and out and back and forth. The band kept the crowd guessing as they jumped from classics like “Blue Light Boogie” to “Walk Right In, Walk Right Out;” then to “I’ve Got My Love To Keep Me Warm,” each tune matched the energy in the room.

    Lead vocalist Annie Rosen was complimented by guitarist Jonny Rosen, bassist Don Young, and Peter Davis on keyboard and saxophone. No feet hid underneath tablecloths. Even those who weren’t dancing stood and bobbed their heads to the catchy tunes. A favorite of Annie and the Hedonists is to interpret the music of early female jazz vocalists such as Billie Holiday and Ella Fitzgerald, both of whom were represented beautifully by the passion in Annie Rosen’s voice during the performance.

    The next Freihofer’s Night at the Jazz Bar has yet to be scheduled. But Mr.
    Shiley has assured that SPAC will be scheduling it once they finish out 2019. For more information on events at SPAC, please join their mailing list. For more information on Tango Fusion Dance Studio events, email stepdl@aol.com. To learn more about Annie and the Hedonists visit their website.

    Review and photos by Jenn March

  • Jam for Tots shows across New York State collect hundreds of toys

    Story and photos by Alex Ehmann

    On Saturday, December 14, a healthy crowd of Santas, Deadheads and the Saratoga jam scene flocked to Putnam Place in Saratoga Springs for a evening of giving and fun. For the 14th year in a row, David Brayman held his annual Jam for Tots charity get together, which by all accounts was a huge success. The event had music featuring The Deadbeats, who played a flowing set of Grateful Dead classics, followed by Annie in the Water, whose high energy set kept the crowd wanting more. At least a hundred toys were donated, along with many specialty items that were generously given to be raffled off.

    The hottest raffle of the night was a pair of VIP tickets to the 2020 Adirondack Independence Music Festival, which went for well above listed value. Other items included tickets donated by 102.7 WEQX for the Winter Wondergrass Festival in Vermont next April, as well as Grateful Dead merchandise such as finely crafted wooden pieces, tie dyes, hats, pins, and patches. All proceeds from the event benefitted Things of My Very Own, a non-profit charity in Schenectady, whose focus is on providing essential items for children and families in need.

    The Putnam Place Jam for Tots show was just one of 15 held around New York State this holiday season. NYS Music proudly promotes these events to give back to local communities to those most in need. Special thanks to the Toys for Tots chapters across the state for their support, as well as the bands, promoters and fans who made these shows a huge success.

    Saratoga Jam for Tots – Putnam Place

    Don’t miss the final Jam for Tots shows of the season!

    Dec 20 PA Line “Chrismukkah Show” w/ Special Guests – Buffalo Iron Works, Buffalo

    Dec 26 Runaway Gin – Knitting Factory, Brooklyn

    Dec 28 Tim Herron Corporation – Funk n Waffles, Syracuse

    Rochester Jam for Tots – Flour City Station

    Rome Jam for Tots – Copper City Brewing Company

    Tannersville Jam for Tots – Hilltop Bar and Grill

    Athens Jam for Tots – The Stewart House

    Poughkeepsie Jam for Tots – The Chance

  • Manic Kat Records Celebrates 5th Anniversary with Festival

    Along the banks of the Hudson River, new music is flourishing. New York towns like Beacon, Kingston and Woodstock are emerging as musical meccas. Last weekend, Nyack joined this burgeoning trend when it served as the location for Manic Kat Records’ 5th anniversary festival. This two-day event, held at Olive’s, served as an opportunity for Manic Kat to showcase their stable of artists.  With a mantra of “Real Punk. Real Attitude,” the music ran the gamut from Metal to Ska, Pop Punk to Rock and Roll.

    Cult Classic

    The spectrum of talent possessed by the label was on full display over the two days. Local favorites Cult Classic and Philly’s A Likely Story joined Bay Area pop punkers Neverlyn and Central California’s For the Record as part of a 15-act smorgasbord of music. Keeping things running smoothly, Suicide Girl, Paijee Suicide, presided as host of the festival lending her charm to the merriment.

    Neverlyn

    Rockland County-based, location hasn’t limited Manic Kat’s reach when searching for talent to fit their brand. Having acts now hitting Billboard Magazine’s Hard Rock Album Sales and Heatseekers Album charts, be looking for bigger and better things to come from this Pomona, NY label as their roster grows. The tide on the Hudson may ebb and flow, but one constant is that Manic Kat Records is Real Punk, Real Attitude and Real Music. 

    A Likely Story
  • The Brother Brothers are Double the Fun at Arbor Loft

    Adam and David Moss are identical twins. But don’t talk to them about that, they’ve heard all the twin jokes and comments and they’re sick of it. Though since they commented in jest about the Rochester weather, a subject us locals have heard every angle on, they’ll have to forgive us for dabbling in some twin talk here.

    The brothers Moss make up the folk duo under the clever moniker The Brother Brothers. They were in town last week at the Arbor Loft as the latest artist brought in by Honest Folk. The two played a two-set, two-hour show that turned out to be both a night of folk songs and a bit of comedy too.

    The show was filled with characters, like the “Ocean’s Daughter,” the “Notary Public,” “The Gambler,” “Mary Ann,” and “Frankie,” as well as places like their hometown “Cairo, IL,” “Colorado,” and Peter Rowan’s “Angel Island.” Person, place or thing, it all came to life through Adam and David’s impossibly perfect harmonies. It was almost as if they were harmonizing as one person, no studio trickery required. Add in some exquisite playing on guitar, fiddle and cello and The Brother Brothers present a uniquely tight nugget of acoustic music mastery. The setlist drew from their debut EP (2017’s Tugboats) and LP (2018’s Some People I Know), and also included a few brand new tunes that should see a release some time next year.

    The inter-song banter was almost as entertaining as their playing and song craft. Playing off each other, and at times the crowd, some seemed more rehearsed while most were clearly off the cuff. Subjects ran the gamut from global warming, flat eartherism, the dearth of good Hanukah music, and running sound at concerts.

    For the encore, the pair came back for their brotherly take on Dolly Parton’s “I Will Always Love You” that was the perfect capstone to a lovely evening.

    Upon hearing the announcement of the next Honest Folk show, the brothers seemed outright jealous of Rochester’s opportunity to see JUNO award winner William Prince, a folk singer from Winnipeg. He’ll be taking the stage January 13 at Good Luck. Tickets are on sale now. Also just announced is the great Joe Pug who will be at Good Luck on February 17.