Alternative rock band from New York City, Black Suit Youth, released their new environmental anthem “The World Is Almost Over,” on October 30. The release date for their upcoming 5th LP, The World is Almost Over, is set for 2021 and will feature the newly released single.
Black Suit Youth blends a combination of punk rock, classic rock and indie rock into their music. The four-person group includes Bryan Maher (vocals/guitar), Fed Canalos (guitar), Juan Orellana (bass), and Ray Mazza (drums). The group’s original name started out as The New York Dynamite in 2004. In 2007, the band changed their name and released their debut album Our Future is History.
A song they eventually scrapped called “A Black Suit For My Youth” inspired the group’s name change. Since their formation, they have has released seven projects and had 10 different members throughout the group’s tenure. The band has amassed various touring experiences including opening up for acts such as Story of the Year, Alien Ant Farm, The Undead, and more. Following their 2017 release of their LP False South, Black Suit Youth looks to lean toward a new musical direction while maintaining their usual punk rock style.
The song is about the reality that we all see, but often ignore things while we deal with our immediate troubles. At some point, the bigger picture is going to become too big to ignore and it may already be too late to do anything about it. History is happening all around us and it gave us the opportunity to film in a desolate, boarded up Times Square, something you’d normally only see in a post-apocalyptic movie.
In 2016, they signed to 59 X Records and released FalseSouth in 2017. Black Suit Youth single The World Is Almost Over will be their second project released under the label.
When we were young they said our future would be so bright we’d have to wear shades Well there weren’t completely wrong It’s gonna be so hot we’re gonna melt in our graves Now we’re lost inside a mindless paper chase As the oxygen is leaking into space Yeah the worlds almost over Throw a life preserver to a drowning polar bear Yeah the worlds almost over So have another drink cuz no one cares The ocean is the first casualty Of our never ending worship of the GDP So what is left for you and me? When all the fresh water is owned by corporate entities I’m sorry to say but things are looking bleak It’s the new dark ages so pop off a few more tweets Newsflash we’re all gonna die poor As the refugees from the countries we destroy are knocking at our door We don’t ever take any blame It’s always some Boogieman We’re too afraid of change Yeah we’re dead and gone We’re living on krypton We pretend it isn’t true Yeah we’re dead and gone Hallelujah it’s the great beyond Ces la vie and bye bye baby blue
If the Grateful Dead had an East Coast base outside of New York City, odds are it would be at The Capitol Theater in Port Chester. By November of 1970, the Dead had already done two previous runs at The Cap earlier in the year. This would be the third one and the show they would play here this year. This would be no typical show though. Tonight, they would be joined by fellow West Coast troubadours the New Riders of the Purple Sage. Along with a full acoustic opening set, the last Capitol Theater show of the year certainly leaves a mark.
A knowledgeable crowd greets the show opening “Dire Wolf” with approval. The second verse seems to trip Garcia up a little but he makes up for it with a bit of an extended instrumental bridge. A true acoustic and relaxed version of “I Know You Rider” follows. This one is played on its own, with no “China Cat Sunflower” lead in, and at about half its typical speed, if not slower. Garcia takes the helm on vocals and leads the rest of the band through a really interesting take on this Dead staple that has the audience clapping along in time at parts.
Bob Weir then takes the lead on vocals and leads the group through the relatively new-at-the-time “Dark Hollow,” which debuted earlier in the year at New York City’s Fillmore East. After some bizarre group banter about Godzilla, it’s Garcia’s turn once again for “Rosalie McFall.” This was another new number at the time, also debuted only months earlier at the Fillmore East. The band does their best to steer around some feedback issues for this little bluegrass jaunt that’s ideal for an acoustic set.
The (new) hits keep coming, courtesy of Weir-led “El Paso,” only the seventh one ever. Performances number five and six took place the prior two evenings at The Capitol Theater. Afterwards, Pigpen finally gets a chance to lead and sings the last ever performance of the American Beauty gem “Operator.” Short harp solo – short time left with band? Another Beauty cut, “Ripple,” follows this, with the audience instantly engaged. And it would be a Beauty trilogy with the acoustic “Friend of the Devil” that followed. It certainly made sense from a promotional standpoint. The seminal Grateful Dead album was released exactly one week ago. It would later peak at No. 30 on Billboard’s Pop Albums chart.
A boisterous cover of The Everly Brothers’ “Wake Up Little Susie” then follows, with even more additional audience “percussion.” It’s the last time the Dead would ever play this one in a live setting. The opening acoustic set then comes to a close with another Dead classic that was still a relatively new song at the time, “Uncle John’s Band.” This officially has the Capitol Theater crown whipped up into a frenzy before Garcia mentions they’ll be back shortly with the New Riders.
For the second set, the New Riders of the Purple Sage delivered their unique brand of acid-washed country and rock tunes. At this point in time, Garcia and Mickey Hart are still involved in the band along with its co-founders David Nelson and John “Marmaduke” Dawson. Jerry plays the pedal steel guitar throughout and adds some beautiful interludes on “All I Ever Wanted.” “Fair Chance To Know” also has a “Teach The Children Well” feel to it, likely due to the aforementioned pedal steel and the same man playing it on each. “Cecilia,” though not the Simon & Garfunkel cover, features some legitimate yodeling. But the set does end with a cover, a rollicking take on The Rolling Stones’ “Honkey Tonk Women.” It’s a lively set that adds a totally different dimension to a Grateful Dead show and certainly worth a listen.
Afterwards, the Dead come out swinging with a “Morning Dew” third set opener. They slowly glide through the composed section to an appreciative Cap crowd with Garcia’s dynamic vocals seeing it through. It’s a wonderfully patient and patiently evolving “Dew.” After things settled dow a bit, Weir takes over for a run through of “Me and My Uncle.”
This is followed by the one and only live performance of “Mystery Train” with Garcia on vocals, resembling a NRPS song in nature. Then it’s right back to an early cover of Chuck Berry’s “Around and Around,” the first time the Dead would play this longtime crowd pleaser. More rarities would ensue with “New Orleans,” only the second of four ever played. Still led by Weir on vocals, this ambles into “Searchin’,” the first of the only two ever played, with Pigpen reassuming vocal lead duties.
A Bob Dylan cover on the back end of this elicits yet another positive crowd reaction and the Northern California troubadours are off and running again with “It’s All Over Now, Baby Blue,” with Garcia, once again, re-establishing lead vocal duties. Dylan covers were certainly no stranger to the band at this point. But this would be the last “Baby Blue” performed in nearly 20 years.
“Casey Jones” with yet another Cap Theater clap-a-long follows, another song tested earlier the last few nights. Speaking of “new” songs, the Dead would then roll out a song that would soon become synonymous with second sets, “Truckin’.” This Dead staple had only been debuted a few months earlier at the Fillmore West in San Francisco. This was another one the band decdided to “test run” the previous few nights at The Cap. It’s safe to say, by Sunday, they had this instant classic worked out.
The instant the fledgling “Truckin’” comes to a close, the longtime Dead classic “Dark Star” wastes no time in starting up. It would also return at their next show at the fabled Port Chester venue, 2/18/71. This one gets way dark and spooky, rewarding the folks that have stuck around for this long for some visual and aural trickery.
“The Main Ten,” is an incredible look at an instrumental version of the early renderings of a Grateful Dead classic. It’s a primordial and slower version of “Playin’ In The Band” before it ever came to fruition. This would be the last ever “beta” version of it before it would fully bloom into the first official PITB ever at this very same venue slightly more than three months later in February of 1971.
Amazingly, this seems to trigger a particularly early closing sequence. An early drums fakeout segues into “Not Fade Away” and the Port Chester crowd is alive. After some impressive interplay, the jam soon lends itself to NFA’s running mate, “Goin’ Down The Road Feelin’ Bad,” another new song at the time that was just starting to develop as a show closer. Eventually, this steers itself back into “Not Fade Away,” and a close to this thunderous late second set sequence.
One last abbreviated “Drums” sequence leads to the last song and de facto closer this evening, a rendition of The Rascals’ “Good Lovin’” that sees Pigpen get one last chance to lead an ecstatic Capitol Theater crowd through one last cover. Another “Drums” sequence serves as one last percussive explosion before “Good Lovin’” eventually rounds back into form, capping off the last Grateful Dead show in Port Chester for 1971.
Grateful Dead w/ New Riders of the Purple Sage Capitol Theater – Port Chester, NY 11/8/70
Set 1: Dire Wolf, I Know You Rider, Dark Hollow, Rosalie McFall, El Paso, Operator, Ripple, Friend Of The Devil, Wake Up Little Susie, Uncle John’s Band
Set 2: Six Days On The Road, Superman, Whatcha Gonna Do, Glendale Train, All I Ever Wanted, Fair Chance To Know, Portland Woman, Cecilia, Truck Drivin’ Man, Last Lonely Eagle, Louisiana Lady, Honky Tonk Women
Set 3: Morning Dew, Me And My Uncle, Mystery Train > My Babe, Around And Around, New Orleans > Searchin’, It’s All Over Now, Baby Blue, Casey Jones, Truckin’ > Dark Star > Dancing In The Street, Drums > Not Fade Away > Goin’ Down The Road Feelin’ Bad > Not Fade Away > Drums > Good Lovin’ > Drums > Good Lovin’
Foo Fighters were the musical guest for the first post-election Saturday Night Live last night, which was also the record sixth consecutive show for the NBC late night institution.
With comedian Dave Chappelle returning for the second time, the first since November 12, 2016, which was also a post-election show but one that had a much more somber tone to it. The tone for the election results this past week would be set by the master comedian, who offered up a lengthy, thought provoking, and hilarious intro monologue.
Foo Fighters have performed seven times prior on Saturday Night Live, and just before the show announced via Pitchfork that they are releasing a new album, Medicine at Midnight, due out February 5, 2021. They performed “Shame, Shame,” a slow rocker that stands out as different than past Foo Fighters songs. Guitarist Chris Shiflett told The Brag, “It’s definitely a little different than anything we’ve ever done before and it’s a little bit different than anything else on the record, although the record has a lot of songs that are, you know, groove-based like this one is.”
https://www.youtube.com/watch?v=Dh_vJ-E337g
For their second song of the night, Foo Fighters went back to their 2002 release One by One for a fitting “Times Like These.” The true-to-the-moment version, with lyrics that are nearly two decades old hold true in the wake of a monumental election, with Dave Grohl notably repeating with increasing emotion, “It’s times like these you learn to live again.”
I—I’m a one-way motorway I’m the road that drives away Follows you back home
I—I’m a street light shining I’m a white light blinding bright Burning off and on
It’s times like these you learn to live again It’s times like these you give and give again It’s times like these you learn to love again It’s times like these time and time again
I—I’m a new day rising I’m a brand new sky To hang the stars upon tonight
But I—I’m a little divided Do I stay or run away And leave it all behind?
The first musical moment of the show, however, came in the cold open, featuring Alec Baldwin’s President Trump, finding the lame duck sitting down at a piano to sing a sad version of The Village People’s “Y.M.C.A.” The musical moment was a nod to the first post-election show in November 2016 that had Kate McKinnon’s Hillary Clinton singing an emotional version of Leonard Cohen’s “Hallelujah,” with Baldwin even saying a line similar to McKinnon’s, “I will never give up, and neither should you.” However, this time the performance by the losing candidate was met with laughs from the audience, and not a somber reception followed by ecstatic applause as was the case in 2016. Jim Carrey’s Joe Biden and Maya Rudolph’s Kamala Harris also closed out their celebration dancing to “Lose Yo Job” as the open wrapped up.
Phish had not yet started their Fall 1997 tour, one that would be dubbed “Phish Destroys America,” yet they were already debuting new tunes for fans. On November 7, 1997, Phish performed on Late Night with Conan O’Brien, giving fans a first taste of “Farmhouse,” despite being there to promote the just-released live compilation Slip Stitch and Pass, before heading west a week later to kick off their Fall Tour in Las Vegas, NV.
As Glide Magazine points out, Phish was not prone giving names to their tours, but Fall 1997 quickly earned the “Phish Destroys America” moniker by fans, thanks to a controversial Ames Design tour poster used to advertise the tour opener at Thomas and Mack Center, althought the title fits the tour perfectly.
The performance on Late Night featured a stand alone version of “Farmhouse,” a song that lent its name to their May 2000 studio album. The mild reggae vibe brings to mind Bob Marley’s “No Woman, No Cry” and could be found in Phish’s regular rotation beginning in the summer of 1999. Guitarist Trey Anastasio can be seen enjoying the guitar solo thoroughly during the more than four and a half minute version of the song.
Following the performance of “Farmhouse” and Conan coming over to introduce and thank the band, O’Brien said “Take it away guys,” and Phish quickly moved into the intro to “Mike’s Song,” as they might do in live performances, much to the glee of lucky fans in the audience.
Phish would return to Late Night with Conan O’Brien once more on June 27, 2000 to perform “Get Back on the Train,” which would also be featured on the band’s ninth studio album, Farmhouse.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Slaughterhouse Chorus, Trampoline Jetstream and more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
… In the Name of Progress is the first Slaughterhouse Chorus recording to a music collective, Built4BBQ. Albany audio extraordinaire Ryan Slowey tracked the band live in vocalist Chris Jordan’s rural Rensselear County cabin, resulting in a lean and mean collection that fully represents their on-stage energy and lyric-driven songwriting. While the band’s previous recordings occasionally incorporated an “Honorary Chorus” of auxiliary instrumentation ranging from banjos to horn sections, … In the Name of Progress relies entirely on two electric guitars, bass, drums, and vocals – with the notable exception of one high-lonesome bluegrass harmony section provided by John “Henry’s Rifle” Pipino and Dan Wilson of Kimono Dragons and the Rechorduroys.
From the opening garage-punk ripper “Greenplates” to the ZZ Top thump of “Used Tombstones”, from the signature country-punk barnburning of “Hambone” and “Pedestrians” to the cathartic dirge of closing track “Wellsville”, … In the Name of Progress finds The Slaughterhouse Chorus stretching their sound into narrative songs that unfold like short stories set to boot-stomping sing-alongs. Simultaneously pared down to basics and more expansive than anything else they’ve recorded, it’s a fitting swan song for a band that’s spent ten years doing things their own weird way.”
As for what’s happening now, even with The Slaughterhouse Chorus coming to an end, the band never really stopped getting together to write and record new music. Weekly basement practices due to COVID precautions were put on hold, and later moved to Chris’ socially distanced garage and started working on fleshing out a batch of Chet Atkins/Jerry Reed style acoustic guitar ideas he’d been kicking around for years that never really fit in with Slaughterhouse. This evolved into a project they’re calling Timing. It has a lot of the country/Americana side of Slaughterhouse, but much more weirdness and much less punk rock.
Utica’s Trampoline Jetstream will also be featured on this week’s EQXposure, with Pearson spinning their song “Jerry.”
The four person indie rock band began to record “Jerry” in Utica two years ago. Before they could finish, vocalist Nick Vanderwood suffered an injury that left him unable to sing. The band put the project on hold until February 2020, just before the COVID epidemic put everything on pause. Trampoline Jetstream had finished recording, but had to delay production and gigs further. Read more on Trampoline Jetstream here.
It was the night after Halloween in Sussex, NJ. All who dared to traverse the wind and rain were met with a field of mud and fans. Twiddle got New Jersey Slipping’ brought the heat to their last drive-in show, this past Sunday November 1 at the Sussex County Fairgrounds. This show featured high energy and dynamic jams throughout both sets. Highlights included a monstrous Gatsby The Great > Slippin’ In The Kitchen > Gatsby The Great in the first set, an incredible Cabbage Face in the second set, and a roaring Juggernaut encore.
Twiddle at the Sussex Fairgrounds Drive In
The line of cars leading up to the show looked intimidating, but cars were being moved to their spots quickly and with ease. Social distancing was enforced and masks were widespread, minimal panic. Goes to show that live music events, even though reminiscent of a futuristic, dystopian, post apocalyptic scenario… can be done safely and successfully.
Lights by Herm Lights
It was raining all day and some at the show. After the sun went down it felt freezing. During a wet, cold night like this it’s vital that the band ‘bring the heat’ to get the crowd moving. In a situation like that, if the music is slow and not captivating people will leave because it’s uncomfortable to stand outside. But if it’s thumping and everyone’s dancing, you bet they’re going to stay.
Ryan Dempsey takes a rare keytar solo
Twiddle brought it. Dynamic, bass heavy, shredding, face melting goodness, no kumbaya sing songy b.s… Okay maybe one “When it Rains It Pours,” but that one’s so catchy and appropriate for the night that we’ll let it slide.
We’re not in Vermont anymore
The first set started out with Polluted Beauty, some positivity to lift the spirits and get the crowd going. Then the monstrous Gatsby The Great >Slippin’ In The Kitchen > Gatsby The Great which took up most of the first set, weaving in and out of intricate grooves. “Syncopated Healing” closed up the killer first set.
Mihali x3
Set two featured the popular “When It Rains It Pours,” a monstrous “Cabbage Face,” and “Frankenfoote” to close up the set. Set two featured a wider variety of songs and grooves. Ryan Dempsey took a key-tar solo, got up on his chair to play with his foot, and threw a pumpkin at the crowd which masterfully bounced on the rail and missed anyone around.
Brook Jordan shining
Twiddle put on an incredible show; their fans were screaming for more. They return with a hard rocking “Juggernaut” encore to close up the show.
Twiddle New Jersey “Juggernaut” encore
My car neighbors mentioned they’ve seen Twiddle twice before and it got me thinking: I’ve been spoiled to see and shoot this band all around the states for over five years now. And I must say that I’ve always like the band, but after this show I think I’m a true fan.
You gotta like apples, man
Twiddle at Sussex County Fairgrounds 11/1/20
Set 1:
Polluted Beauty
Gatsby The Great >Slippin’ In The Kitchen > Gatsby The Great
In honor of hip hop icon The Notorious B.I.G.’s induction into the Rock Hall of Fame, Pepsi released the remastered version to his one-of-a-kind Pepsi freestyle from 1997. The brand-new audio sparked online conversation about whether or not it was meant to be an ad. Nonetheless, the marketing tool was a success and brought attention to the fallen legend’s upcoming ordainment into the Rock Hall.
Furthermore, Pepsi have doubled down on their celebration of the “Juicy” rapper with a newly announced “BIG Pepsi Freestyle Challenge.” Partnering with flagship New York radio station, Hot 97 — where B.I.G.’s original freestyle was recorded – Aspiring recording artists will have an opportunity to showcase their lyrical prowess with the ability to earn numerous prizes in the process. Using a beat provided on Hot 97’s website, entrants are to deliver their best freestyles mentioning Pepsi along with posting it on their social media outlets using the hashtags #BIGPepsiFreestyle & #Hot97Contest. A winner will be named a Champion plus four free nights of studio recording time and one week of digital market on Hot 97. Freestyles must be submitted by Friday, November 6 at 11:59 p.m., while official contest rules can be found here.
NEW YORK – JULY 23: Rappers Tupac Shakur, The Notorious B.I.G. aka Biggie Smalls (Christoper Wallace) and Puff Daddy (sean Combes) perform onstage at the Palladium on July 23, 1993 in New York, New York. (Photo by Al Pereira/Michael Ochs Archives/Getty Images)
Known for his mind-blowing freestyling, songwriting, intricate rhyme schemes and off-the-cuff delivery, The Notorious B.I.G.’s Rock Hall of Fame indication comes as no surprise. He will headline the 35thannual class of Rock Hall inducteeswith the likes of Whitney Houston, Nine Inch Nails, The Doobie Brothers, amongst others. With a short career spanning only four years (he debuted in 1993 and was shot and killed in 1997), The Notorious B.I.G was able to transcend pop culture with his debut LP, Ready to Die, along with his posthumous diamond double-disc album, Life After Death. With hit records such as “Juicy,” “Hypnotize,” “Mo Money Mo Problems,” the Brooklyn bred emcee set a standard for lyrical competence combined with stylish bravado, leaving many following in his footsteps.
Greenwich duo Phantogram played their hit song “When I’m Small” for the new artist den series, Live From My Den. Recorded live on Friday, the performance was released on Wednesday, November 4.
The performance was filmed from Harmonie West, frontwoman Sarah Barthel’s home studio in Los Angeles. They named the studio after frontman Josh Carter’s family’s upstate New York barn, Harmony Lodge, where they wrote their early music. Barthel and Carter originally performed under the name Charlie Everywhere, but changed it to Phantogram in 2009.
“When I’m Small” first appeared on Phantogram’s 2010 debut album, Eyelid Movies. The song is told from the perspective of a woman in an abusive relationship. While undeniably pop, “When I’m Small” is still dark and haunting, with cryptic and ominous lyrics: “Lucy’s underground, she’s never coming back.” Back in 2014, Phantogram told NBHAP that the line was a nod to the Beatles’ “Lucy in the Sky with Diamonds,” but wanted to keep its meaning ambiguous. That year, they appeared on the Flaming Lips’ Sgt. Pepper’s Lonely Hearts Club Band cover album, With a Little Help from My Fwends.
Phantogram has released four albums total. Their newest LP, Ceremony, was released on March 6, 2020. The lead single, “Into Happiness,” peaked at number 21 on the Billboard Alternative Songs chart. In 2012, they collaborated with rapper Big Boi (OutKast) on two songs from his second solo album Vicious Lies and Dangerous Rumors. They went on to form a trio, known as Big Grams, and released an EP of the same name in 2015. Phantogram’s music has also appeared on the original motion picture soundtrack for The Hunger Games: Catching Fire.
A flyer for The Dirty Pennies show in March still hangs in the window of Rochester‘s Bug Jar. The venue has been a touchstone for this rust belt garage rock band. Shortly after venues like Bug Jar shut down, the band released a single “I’m Your Man.” Today, they premiere the lyric video for the song.
The gritty song features staple driving guitar riffs that the band is known and loved for. But it also showcases the skills of their drummer, who goes all out on the fills. It’s a more aggressive song than the rest of groups catalog, fueled by the times in which we are living.
The video gives fans an opportunity to follow along to the lyrics. Learn those words, because when live music resumes and The Dirty Pennies can play live, this is an anthem we’ll want to sing along to.
Formed in Rochester, the group includes Ryan Klem on vocals and guitar and Lucas Howe on drums. Bassist Joe Mungo joined the band in 2015. The trio self-released their debut album Kick Out The Rocks in 2018, and an EP entitled EP in 2019. “I’m Your Man” is one of three singles they have released this year. Learn more about the band in their interview with NYS Music.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Albany’s Stellar Young!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
EQXposure host Pearson came across Stellar Young’s song “Old Roots” and was struck by how the character in the voice, the feel of a waltz, and the urgency in the performance gave the song a desperate and anthemic quality. This track pulled Pearson in and when he learned their EP And Turned to Ash was part of a trilogy, he wanted to dig in further.
On Sunday, November 1, Pearson will play the entire And Turned to Ash EP, and over the next few weeks he will feature the other two EPs. Playing a full artists release on a radio station in this climate is a departure from the norm, but Pearson couldn’t think of a better time to start doing this.
Stellar Young’s And Turned to Ash is an awesome record to share because it weaves through a narrative of the PAST. That nostalgic, raw emotional pondering is evident in the treatment of the songs and the how the band orchestrates the presentation with bass, drums, layers of human harmony, guitars, and lingering tone beds – it’s rather well made album too. So put on some headphones and let’s go on a journey together. From the radio to your soul.
A captivating blend of atmospheric indie-rock and upbeat post-punk, Stellar Young features John Glenn (vocals/keys), Erik Flora (guitar/vocals), Kyle Hatch (guitar), Dave Parker (producer), and Tim Brosnan (drums). Together the members work to create the most accurate portrayal of key moments in life that everyone understands, but often can’t explain.
