NYS Music 20​19

Category: Alternative/Indie

  • 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

  • Dancing in a Hurricane: Brandi Carlile Acoustic Set at Shelburne Museum

    Rising to increased popularity with her recent Grammy win, Brandi Carlile has been selling out acoustic shows up and down the east coast this spring.  Saturday’s show at the Shelburne Museum in Vermont was no exception.  Hundreds of fans filled the open-air amphitheater, ignoring the forecasted weather warnings of lightning storms and surrounding the stage as the technicians brushed sheets of water off the rubber stage.

    Brandi Carlile Acoustic
    Photo by Jim Gilbert

    Brandi and the twins would inevitably have to cancel this concert after performing a mere three acoustic songs due to safety concerns. But frankly, their performance, while uplifting and inspiring as always, was only half of this concert experience.  The mood of the fans, drenched in rain and mud, huddled in the cold for hours, was brighter than any sunshine hiding behind the clouds. Strangers at 6 pm when the gates opened, the fans quickly bonded, sharing ponchos with strangers, supporting children so they had space to dance, and even covering our concert photographer with an umbrella to protect his gear.

    Brandy Clark, the sultry country opener who crooned about divorce, breaking stereotypes of “good girls,” and even smoking weed, was a well thought out choice for the Brandi Carlile fans. Ms. Clark’s real-speak poetry and sexy voice quieted the shivering fans, her music temporarily distracting them from their discomfort. She appeared completely unmoved by the rains that came in sideways toward her while singing. Her voice was a balance between graceful beauty and gritty truths, leading this writer to check her out immediately after on Spotify to hear more.

    Between sets, fans began to worry about the weather. It appeared to be worsening, and while the concert was advertised “rain or shine,” there was awareness that the electrical equipment on stage was drenched by the soaking deluge.

    Photo by Jim Gilbert

    But Brandi and the twins didn’t disappoint. They took the stage with acoustic guitars and stomped wooden boxes for percussion, as plastic covering protected the drums. Starting with “Follow,” Brandi thanked the fans for staying in the pouring cold rain. She remarked, “This is simply amazing to see everyone here.”

    And everyone did seem to be there. The fans were overflowing the venue, filling every open grassy area (and the muddy ones too). The trio shifted the song list to accommodate their acoustic sound, bringing great joy to fans who are familiar with older Brandi Carlile albums.

    But sadly after the third song, Brandi announced lightning strikes were too close, and the concert would have to be cancelled. The stage was quickly cleared, and fans ran out through hurricane like rains and winds to safely evacuate the space.

    Brandi Carlile Acoustic
    Photo by Jim Gilbert

    Shorter than expected, but as authentically Brandi Carlile an experience as one might hope for, Shelburne Museum offered a perfect setting for kindness, acoustic music, poetry, and even some dancing in a hurricane. Brandi Carlile concerts – even when cut short – are worth braving any storm.

    Note: Higher Ground Music announced that ticket holders will receive refunds. Tickets purchased online through Ticketfly will be refunded automatically; otherwise, fans need to visit their point of purchase for the refund.

    Brandi Carlile Acoustic
    Photo by Jim Gilbert

  • In Focus: MGMT Dazzle Capitol Theatre with Their Tricks

    MGMT & Warpaint recently performed at The Capitol Theatre. MGMT played an intimate and fun set with hits such as “Kids,” “Time To Pretend,” “Brian Eno,” and “Electric Feel” sprinkled within some of their newer material from their newest album Little Dark Age.

  • Levitt AMP Concert Series Announced in Utica

    The City of Utica has been awarded a Levitt AMP concert series for the fourth consecutive year. The ten week free concert series will take place in Kopernik Park in Oneida Square on Monday nights beginning June 24 and continuing through Aug. 26.

    levitt amp

    The Levitt Foundation awards matching $25,000 grants to non-profits in select small to mid-size cities across the U.S. each year, creating a network of live music in underused spaces across the country. Eighteen cities have been selected to host the Levitt AMP series. This year, the Community Foundation provided a $25,000 match to help fund the series in Utica.

    This year’s Utica Monday Night shows include a wide range of artists; from young Hendrix-influenced guitar phenom Brandon “Taz” Niederauer to the Grammy winning Rebirth Brass Band from New Orleans. Other artists include Paa Kow, a native of Ghana who combines the rhythms of West Africa with jazz to provide listeners a unique percussive sound, and La Misa Negra, a seven piece Afro-Latin collective from Oakland, CA that incorporates elements of hip-hop, metal, Caribbean and African poly rhythms.


    Brandon “Taz” Niederauer

    Each show will feature a local opening artist beginning at 6 p.m. See the complete schedule below. For more information about the artists performing, visit the Levitt AMP Utica website here.

    June 24 – The Claudettes with the Fabulous Mojos

    July 1 – Paa Kow with Annie in the Water

    July 8 – Sons of Mystro with Nick & Jay

    July 15 – Adam Ezra Group with Poor Tim Band

    July 22 – Boulevards with Lillie Ruth

    July 29 – Brandon “Taz” Niederauer with Merseyside 5

    Aug. 5 – Rebirth Brass Band with D’Funk’D

    Aug. 12 – Kaleta & Super Yamba Band with Ladies of Soul and Their Gentlemen

    Aug. 19 – Angela Myer with Grit & Grace

    Aug. 26 – La Misa Negra with Grupo Pagan

    La Misa Negra
    Paa Kow

  • Hearing Aide: Maybird ‘Things I Remember From Earth’

    Things I Remember From Earth

    Josh and Adam Netsky have been mainstays on the Rochester music scene for the past decade at least. Older brother Josh was writing songs beyond his years, while Adam brought the songs to life both on stage, playing drums, and on screen, crafting accompanying videos. Their creative teamwork reached a new high in 2012 with a song-cycle and experimental documentary about the ghost town of Centralia, PA.

    Part of being a great bandleader is crafting the songs. The other part is putting together the right parts to bring your visions to life. The Netsky’s pulled off a bit of a coup, scoring arguably the two best and most versatile guitarists in Rochester: Sam Snyder (Overhand Sam, Anamon) and Kurt Johnson (Moho Collective, Wallboards). Together they became Maybird, providing a more consistent outlet for their output. The band flourished on the Rochester scene and in 2016 they signed to Danger Mouse’s 30th Century Records, on which they’ve released two EPs, Turning Into Water and Unravelling.

    On Things I Remember From Earth, their debut LP for 30th Century, releasing Friday, the band’s sound takes a huge leap forward. With major label backing and national tours with acts like Portugal. The Man under their belt, the Netsky’s creative visions are finally reaching their full potential.

    The title, “Things I Remember From Earth,” was taken from Kurt Vonnegut’s “The Sirens of Titan,” as were the themes of many of the songs. “Human purpose, holding on to memories, and losing control of your mind/memory are all themes in the book that found a place on the album.” Josh Netsky explains.

    No longer encumbered by the what-ifs of a shoestring budget, colorful sounds explode from the record like tubes of paint being smashed with a hammer. The opening track “In Technicolor (for the first time),” sets it all up perfectly: “If you mix the colors in your eyes / darkened tears will fall / into vivid seas and multiply.”

    From the driving march of “To You,” to the slinky grooving “Gonna Lose Your Mind,” to the 80’s style bright pop of “Montreal,” track after track, colors are added and the vision becomes more complete and more impressive.

    The band might consist three guitarists and a drummer, but they pushed the studio to the limit, layering sounds upon sounds for a complete sonic scrub that leaves no stone unturned: A perfectly placed horn track, catchy backing vocals, an eerie whistle, a burst of piano, a humming organ, alien bubbles and wails from outer space, not to mention, all of that glorious guitar. A bevy of beautiful and unique choices color the edges of the psychedelic pop songs throughout. Don’t fret about the how’s and who’s, close your eyes and let the grooves wash over you.

    “When you feel it / for the first time / in spectacular color.”

    How will it sound from the stage? Find out at their record release show this Friday, May 3 at Radio Social where they’ll be playing the album front to back. It’s a free show and Maybird will share the stage with Mikaela Davis, Cammy Enaharo and August West.

    Key tracks: Gonna Lose Your Mind, Don’t Keep Me Around, When I Find My Out of the Circle

  • Girlpool Goes from Chaos To Calm at Bowery Ballroom

    Girlpool played to a devoted audience at New York City’s Bowery Ballroom on April 25, rounding out a tour supported by Australian rising star, Hatchie with show opener, Gemma. Supporting the release of 2019’s What Chaos is Imaginary, the show displayed the dynamic range of genre across Girlpool’s records, along with the duo’s knack to look at home on any stage, and make it their own.

    Waiving an introduction, the duo, supported by a second guitar, drums and keyboard, dove into “Lucy’s” from What Chaos is Imaginary. The slow, pounding pace driven by full, distorted guitar and an alternating kick and snare quickly enveloped the room, bringing people closer to the stage.

    Girlpool began as two teenagers funneling their vulnerabilities and existential quandaries into a piece of pure, self-expression, which became 2015’s Before the World Was Big. Since then, the duo has blossomed with expanding musical sophistication as Cleo Tucker and Harmony Tividad have gotten a little older, and a little more grounded in perspective. Changes and self-realization are included in that journey, including Tucker’s coming out as trans in 2017.

    Photograph By Jazmin Beltran

    For a band which started as two people playing instruments together with an ambiguous, co-lead syntax and relying on harmonies shouted over each other or shared in a whisper, Tucker’s now-deeper voice has found a new space to sit among the vocal mix. Rocking into “Hire,” Tucker shouts into the mic, their voice unbounded, cracking and passionate.

    The set traversed the different styles across Girlpool’s albums. Returning to 2017’s Powerplant, the band teetered on a punk-inspired shoegaze, in the space where The Cranberries and The Breeders dwell. “It Gets More Blue” featured grunge-y bass lines and monotone vocals sang in unison, breaking out of the self-imposed trance during the louder, punchier moments.

    Photograph By Jazmin Beltran

    Tucker and Tividad’s energy ebbed and flowed with the tone of song. Balancing Tividad’s often cooing, softly delivered lines, Tucker was often moving about the stage, always looking to be on the verge of vocally exploding with angst or excitement. Often checking in with one another on stage via smiles during songs or stage banter, the deep friendship the two have with each other enriched the experience. Even in front of an audience, the two looked as if they were just messing around with each other in their living room, experiencing the joy of musical connection for the first time.

    Touring with Girlpool and developing a large fanbase of her own, Australian-based Hatchie supported the show with her signature blend of dream-pop and shoegaze. She’s drawn from genre-definers like the Cocteau Twins and has since joined a talented pool of female-led indie groups including Snail Mail, Soccer Mommy, and of course, Girlpool. Deserving a mention is show opener and Brooklyn-based electro-soul group, Gemma. Helmed by Ava Luna’s Felicia Douglass along with guitarist Erik Gundel, the group delivered genre-bending dance energy reminiscent of The Talking Heads.

    Ending with an encore including a couple of crowd favorites, fans left the venue repeating a favorite line from Before the World Was Big’s “Chinatown”: “Do you feel restless when you realize you’re alive?” As they play stages of all sizes, Girlpool is always able to make it seem as if you’re a guest in their home, listening to music and laughing at their stories. This tour will continue in New Jersey as it moves southwest and ends in Europe. See them at a venue near you.

    *All photographs taken by Jazmin Beltran

  • 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

  • Hearing Aide: Izzy Heltai ‘Only Yesterday’

    Only Yesterday, the new EP from Izzy Heltai, dropped April 19 on all streaming platforms. It feels nostalgic to his old work with more adult gut-punching overtones that make Only Yesterday something any indie-folk lover should check out.

    Izzy Heltai Only Yesterday
    Izzy Heltai captured by Emma Kate Rothenberg-Ware.

    The four song  EP starts with Helai’s single, “Marching Song,” which Heltai says was very much about being in a low point of his depression and not having much self worth in himself. The songs starts with some slow strumming acoustic guitar and slowly, he starts to sing. A piano joins, just slightly, and then completely adds itself as the chorus starts. Heltai sings: “On and on a marching song gets sung inside my head. I’m walking out the door now. It feels like only yesterday I learned I could be here. Now here I go leaving.”

    Then, just after the chorus ends, a trumpet adds itself to the mix. “Marching Song” sits in the stomach of the listener and they can’t help, but empathise with Heltai feeling like “He’s drowning and dragging you down and if he says nothing you’ll stay on dry land.” It’s the feeling that someone will be better off without you – a hard thing to admit to oneself let alone sing out to the rest of the world.

    The second song on the EP is called, “Common Sense,” and it starts with acoustic guitar and violin. It’s about thinking someone was the love of your life, but realizing, maybe you didn’t know them the way you thought. It’s a fabricated idea in your head. This is an emotion many have felt, but few are able to express in a way that’ll get across to the listener, the way Heltai does. It’s a feeling of nostalgia for someone that you realize, might not even really be for them, but for the idea of them.

    “Stuck in Stone” follows the classic Heltai format starting with an acoustic guitar intro. Accompanied with an array of different instruments, percussive guitar works as a satisfying pause to the song. The song revolves around having your mind made up, but your body being “Stuck in Stone,” physically not being able to make yourself do what you’ve decided. As most of Heltai’s songs, it is a relatable feeling. Heltai puts his remarkable twists to make a familiar story one-of-a-kind with his unique word choices.

    Izzy Heltai Only Yesterday
    Izzy Heltai captured by Emma Kate Rothenberg-Ware.

    Only Yesterday ends with “Mountain,” which switches up Heltai’s normal format. The song flows from present to past with Heltai’s current feelings on himself and love to things he’s experienced. His mother told him he couldn’t have candles in his room. He would burn the house down. Trumpet returns, adding a layer to the instrumental parts of the song, that resolve with an “ah” feeling for the listener.

    The 16-minute long EP feels so much longer than that with its catchy choruses to its insightful words. Heltai is definitely someone too look out for in the indie-folk scene. Heltai is currently on tour and has dates across the United States from now until August. For more information visit his website.

  • Hearing Aide: Doom Boys ‘All I See Is Doom’

    Doom Boys are a new three piece band from Upstate New York with a brand new EP titled, All I See Is Doom. The five-song record was released April 19, and is available on CD and streaming services. The band consists of Zach Collins (Same Blood Folk, Son Bully) on lead vocals and guitar, Alex Lavon (Rabbit In The Rye, Byclops) on bass guitar and Blaze DiStefano on drums.

    Doom Boys formed after New York City studio musician, DiStefano, relocated Upstate and the trio began recording in his home studio. This EP delves deep into the human psyche and struggle of a cynical world, lyrically. Collin’s writing is very timely, and although dark, it has elements of hope in notion that we are all in this together. One can tell that over the two years the group has been playing together, they have become very tight. The title track, “All I See Is Doom,” is a raucous journey of heavy blues, straight rock-and-roll, and an element of intense garage fuzz. All three band members have been playing professionally for over a decade and the mix on this EP is exquisite. Each player clearly celebrates the talent of one another and it comes through in this superb recording.

    Blaze DiStefano, Zach Collins, Alex Lavon

    All I See Is Doom rips through each track with incredible lyrics and a synergy in the sound, that builds and crescendos in a wave of hits that will rock you down to your core. If you are a fan of The Black Keys, The White Stripes or old school blues musicians, this record will be right up your alley. The Doom Boys have produced an excellent first EP and have a bright future with this bold and loud new sound. Up until the surprise ending, as they take a shot at themselves, “All I See Is Doom” creates a unique and fresh identity, and then-some.

    Key Tracks: All I See Is Doom, All My Heroes, Teeth

  • Hearing Aide: Katie Louise ‘Unleash’

    When I first interviewed Katie Louise, it was hard to wrap my brain around her talent. A classically trained pianist who is now trying to break into the pop scene? How is that even possible?

    Well, she proved it’s possible. She’s even proved it’s not only a formidable attempt, it’s a smash hit.

    The seven song EP, Unleash, released March 15. Louise and her team kicked off the new album with a show at Jupiter Hall.

    Katie Louise Unleash

    Before I heard the full EP, I spoke with Louise. I had listened to two songs before the interview. Even then, I knew she was onto something special. The sultry “Imprisoned in Paradise” is slow, but poignant and powerful. I could feel her emotion throughout the song, and could identify with her rhetorical opener (Why would I want to sit all day and stare at only black and white?). Louise’s ability to speak about how she can see things and feel things, that those around her do not understand, is phenomenal. I felt her pain. “Imprisoned in Paradise” is truly one of my favorites on the EP, which is hard to believe because I’m a die-hard rock ‘n’ roll, go as fast as you can music fan.

    spotify:album:6JAdwa5YmQtd4fjh60xXp2

    Another true highlight is “Broken,” which Louise told me was one of the first songs she wrote. Another sultry, breathy ballad, Louise is able to use language as a medium to communicate the pain and sorrow the song is based on. A gentle piano melody supports her gentle, but strong voice: “I need you to hear me before we’re fighting because I don’t want to lose you / but I can’t do this without you / I need you to love me when I’m not broken.”

    This is by far the strongest lyric in the song written by Louise, with her vocals bringing you to the scene of her pain, with a front row seat to watch it all unfold. I felt this lyric; I was able to relate my own emotional journey and feel the exact same pain. As the song picks up, the song becomes a little faster and is complimented with a drum beat that brings the element of pop into the forefront.

    Louise talked about how this EP was a work of “baggage,” as she used some of the harder parts of her childhood and earlier life as a vehicle for her songwriting. Each song demonstrates a different part of her journey, with “Damn Good” bringing a danceable beat and feel-good lyrics (I ain’t gonna lie/ life is pretty damn good/ and I’m sure as hell proud of it) to an album of raw pain and redemption. The guitar solo also gives rock listeners, like myself, something to latch onto, making sure almost any listener has something they like within the brief EP.

    Louise’s piano skills are not lost in this album. The solo in “Unleash” gives you just a taste of what she is capable of. I truly felt an old soul in this solo, as if I’ve heard this a million times, yet not heard it at all. Louise uses her impressive talent to introduce you to the world of piano in a way you might have never seen it before. As she’s clearly demonstrated, piano doesn’t have to be classical; it can be the melody and co-star of a modern pop album.

    If I had to pick only one song from this album, it would be “You Can’t Talk To A Woman Like That.” A female empowerment anthem about what women want in a relationship and the bouncy beat will have you singing along with your sunglasses on, and windows down, as you drive home. The lyrics will have you singing for days (trust me, I sang it on loop for almost a week), while subconsciously thinking about what a woman should, or should not, demand in her life. The lyrics (You call it feminist/ I call it common sense/ and maybe baby you should get some of it) gives the listener an insight of the woman Louise is; you understand she’s here to fight for the respect, platform and place she rightfully deserves in the music industry, and for that matter, life in general.

    Overall, Katie Louise has made a formidable splash into the scene with her first EP. I’m already a huge fan.

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com

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