WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. NYS Music will bring you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Luminous Crush from Jamaica, VT has shared the stage with Amy Helm, opening for her band at the Paramount Theater in Rutland, VT. Their first album was produced along with Grammy-winning Nashville songwriter and producer Felix McTeigue, and their newest LP Lumina is now available at Bandcamp. This is a new song not found on either of their previous releases.
Check out this Ballston Spa band’s new album This Perfect Day at Bandcamp and Spotify. The Daily Gazette of Schenectady called it the “perfect pandemic album”. This song was inspired by a dream that singer Jen Coleman’s daughter had.
Milton Glaser, the master artist who created many of the most popular images of our times, from logos for IBM, DC Comics, UPS, Brooklyn Brewery, and ABC, to the iconic “I ♥ NY,” has passed away at 91. For we devotees of music, and especially New York State music, Glaser also holds an interesting place, as the man who inadvertently helped bring Bob Dylan and many figures of Sixties music and beyond to Woodstock.
According to Barney Hoskyns must-read history of Woodstock and its music scene, Small Town Talk, it was Glaser who we may largely have to thank for Dylan’s relocation to Woodstock.
As told in Hoskyns’ book, Manhattanite Glaser and his wife Shirley owned a second home in Woodstock since the 1950s, where they often entertained city friends, including Dylan’s famed manager Albert Grossman. It was natural for Milton Glaser to be drawn to the town since it has a history in art going back to the founding of the still-going strong Byrdcliffe, America’s first art colony in 1903.
When a large property with 60 acres of land became available in 1962 in adjacent Bearsville, for the then princely sum of $50,000, Glaser immediately thought of Grossman. As quoted by Hoskyns’, “We didn’t know a single person with $50,000 except Albert,” said Glaser. The fact that Grossman resembled a bear may have also played a role in his choice of location, according to Glaser.
Though Dylan first came to Woodstock in 1961 to stay at a cabin owned by the family of Peter Yarrow of Peter Paul and Mary, another Grossman-managed act, it was the comfort and protection of Grossman and his wife Sally that finally made him settle, as a way to escape the crazed demands of his stardom. Dylan lived in several homes in the area and was followed up by his backing band, The Band, who took up residency and created a musical workshop at the famed but decidedly humble Big Pink in West Saugerties, from whence the famed Basement Tapes emerged.
Lightnin Hopkins album cover by Milton Glaser
In time, many more would follow to become full and short-time residents including Van Morrison, Jimi Hendrix, Paul Butterfield and Janis Joplin, another Grossman-managed artist, and more recent names like David Bowie, B-52 Kate Pierson, King Crimson bassist Tony Levin, jazzers Jack DeJohnette and Pat Metheny, to name a few. Goldman went on to expand the musician attraction offerings in Woodstock by creating Bearsville Recording Studios and the soon-to-reopen Bearsville Theater.
Glaser was also famed for his poster art, creating more than 400 at his Push Pin Studios. One of his most famous was one he created for the 1967 album, Bob Dylan’s Greatest Hits. Here, he drafted a simple outline of the singer’s head, based on a black-and-white self-portrait silhouette by Marcel Duchamp, and added thick, wavy bands of color for the hair, forms he imported from Islamic art. Nearly 6 million copies made their way into homes in America, making it one of the most popular wall hangings on the bedrooms of young people in the Sixties. Glaser also produced a slew of album covers for artists including Paul Simon, Peter, Paul and Mary, Doc Watson and Townes Van Zant.
For more on Woodstock music history, pick up Barney Hoskyns’ Small Town Talk, which features a handy map to many of the former homes of the music stars. For more on Glaser and his art career, read today’s obit in the New York Times.
Sevendust announced new music for the first time since 2018 critically acclaimed album All I See Is War. The heavy metal legends released a new lyric video for their Soundgarden cover of “The Day I Tried to Live” on June 26 and is available on all streaming platforms.
Sevendust photo credit to Travis Shinn.
Sevendust decided it was time to release new music and return to the airwaves after seeing the societal changes happening around the globe. “The Day I Tried to Live” was relevant back in 1994 when it was first released by Soundgarden and is just as relevant today. The message behind the song is all about trying to learn to live a better life which is only possible for everyone if everyone is given equal opportunities to do so.
The new track was produced by Michael “Elvis” Baskette who worked on the bands latest album. The new lyric video for the song was created by Wayne Joyner who is known for his work with Dream Theater. The video features a lone figure walking down a road thinking about his life. The video also includes clips of the band throughout it.
“Soundgarden is such an important band to all of us in Sevendust and this love for them goes all the way back to when we were starting,” explains lead vocalist Lajon Witherspoon. “We discussed trying to do one of their songs and our producer Elvis suggested ‘The Day I Tried To Live.’ I would have been fine with any of those songs personally. When I first heard it, I thought the lyrics were timeless. The lyrics are about trying to experience new things and change the way you live, and we see examples of that every day with what is happening around the world. To have the chance to cover this song and release it is so special to all of us. Thank you, Chris Cornell and Soundgarden.”
The song is available for purchase here. For more information on Sevendust please visit their website.
Albany’s Young Culture is known for their pop-punk sound but they fully embrace the pop side on their new single, “I’ll Be There.” While drums and guitar are still present on the track, this song is primed for Top 40 with a boy bander-esque dance routine in the accompanying music video.
Despite the music video’s washed-out aesthetic, “I’ll Be There” sounds vibrant and ready-made for summer. Referencing another summer anthem, Bob Marley’s “Three Little Birds,” the pre-chorus goes: “Just like the song says, every little thing is gonna be alright.” Whether in relation to the pandemic, current civil unrest, or life in general, the song’s message is reassuring for many reasons. “We’re happy to put out good vibes and hope you enjoy watching it as much as we did making it,” said lead singer, Alex Magnan. Enjoy listening below.
Listen to Young Culture Here.
In addition to the new music video, Young Culture launched “I’ll Be There”-themed merchandise. Over $1,600 of the total proceeds are going to the Albany and Louisville Community Bail Funds. The shirts depicted the Bob Marley quote and an image from the music video. They are now completely sold out. “We’ve been sitting on this simple song for a while and didn’t know that putting it out right now would give it a whole new meaning for us,” Magnan told Broadway World.
Founded by school friends Magnan and Gabe Pietrafesa, with Troy Burchett joining later on, Young Culture released their label debut EP in 2019, entitled, (This Is) Heaven. The pop-punk EP reached #22 on the New Artist chart and and #53 on the Indie chart, and maintains a sizeable Spotify presence. One of the songs, “Drift,” was co-produced by Sam Guaiana, as well as Derek DiScanio of fellow pop-punk Albany band, State Champs.
On June 26, 1995, Phish performed for the third time (and second as a headliner) at Saratoga Performing Arts Center. Phish’s 1995 Summer Tour was into full swing by this point with the final 11 shows in the Northeast, four of which were in New York.
Back in 1995, reserved tickets for this performance at SPAC cost only $20. An “Acoustic Army” soundcheck with teases of “Shine” (six months and a day before “Shine” would debut on New Years Eve during “Fly Famous Mockingbird”), and Little Feat’s “Time Loves a Hero” reappeared for the first time since soundcheck on April 15, 1989.
A little Led Zeppelin could be found in “Possum” with a “Heartbreaker” tease, and in “You Enjoy Myself” containing a hint of “Immigrant Song.” The highlight of the show is surely a spacey and unfinishes “Down with Disease” that led into a monster “Free,” seen below.
The penultimate performance of The Meditations “Don’t You Want to Go?” was found in the first set, alongside a unique trio of “It’s Ice” > “Dog Faced Boy” > “Tela,” and the aforementioned “Possum.” Set 2 is a fiery one from the start, with a “Down with Disease” > “Free” that Phish.net calls “a multi-movement masterpiece.” A huge “You Enjoy Myself” (seen below) and “Sleeping Monkey” > “Rocky Top” encore are among the many highlights of this stand out show. It would take 9 years before Phish returned to SPAC, shows that stack up well against June 26, 1995. This show was released by Live Phish in 2017.
Soundcheck: Time Loves A Hero > Dog Log/Time Loves A Hero mashup, Nellie Kane, Santana Instrumental, Rocky Mountain Way
Set 1: My Friend, My Friend, Don’t You Want To Go?, Bathtub Gin, NICU > The Sloth, My Mind’s Got a Mind of its Own, It’s Ice > Dog Faced Boy > Tela > Possum
Set 2: Down with Disease [1] -> Free > Poor Heart > You Enjoy Myself, Strange Design > Run Like an Antelope
Encore: Sleeping Monkey > Rocky Top
[1] Unfinished. My Friend started with a Pomp and Circumstance March No. 1 tease from Trey. Trey teased and quoted Long Tall Glasses in Bathtub Gin. Possum contained a Heartbreaker tease and YEM contained Immigrant Song teases from Trey. Down with Disease was unfinished.
One of WNY’s tightest and most eclectic rock groups is back with a new album release on July 3. Rochester based indie rock band, Animal Sounds, has a great discography already, with early material like “Ghosts” paving the way for their first full album, Ennui. It is important to take into context how the band’s music has matured over the past few years. Layers is a whole new beast, with intricately crafted structure and infinitely danceable tunes. Animal Sounds hasn’t compromised on what’s made them an indie staple in the area while continuing to grow.
The album’s opener, “Layers,” is a great exemplification of how the band can mend and bend the genre’s they write around. The core of the song is a dance-able, Young-the-Giant-type-groove complete with wobbly keys and deft guitar work. While the hook and the vocal performance are worthy of the spotlight, the guitar parts and drum feature early on showcase how technically sound their musicianship is. The song breaks out into a New Orleans style brass section before diversifying into a chill and bouncy bridge. The drop downs in the song really make the chorus hooks shine through. One track in, and the album already makes a strong impression.
“Rollin,” the second track, hits heavy with a bluesy, Steely-Dan-style guitar lick underneath reverb-soaked vocal ooh’s. Little hints of shoegazy, early Modest-Mouse-type guitar parts play beneath the verse lyrics. The bass thrusts the song onward into an energetic chorus. Again, the musicianship is stellar as the band navigates very tonally different verses and choruses without missing a beat.
The third track of the album is really a unique sound for the group, with a mix of their essential indie, along with a more twinkly guitar background- similar to some of the tones you’d expect to find on a math-rock album. Some of the guitar parts come off as math-inspired, but they never stray from being rhythmically accessible. The bass tone on this song hits heavy and offers more thickness while the drums provide a straightforward pulse.
“Blue on Burgundy” yields a nice, solid dream-pop feel that remains energetic but gives the album a great dynamic arc. The guitar compositions and their harmonies are so well written and performed here, hitting that perfect point where the guitars meld together and sound like one single instrument. The band’s foray into more jam-type music here (as well as at various other points in the album) pays off in a big way. The solo sections never hang on too long, and what’s being played never comes off as inarticulate or ‘noodly.’
Lastly, “The Feeling” brings the album out on a heavy note. The baritone guitar licks match the bass to create a really thick sound. A theme throughout this album has to be the thickness of the low end. It lends to bouncier drums and allows the guitar and vocals to sit well. The mixing holds up really well and offers plenty of easter eggs worthy of searching for indulging numerous listens. A true dance album with wonderfully designed tones and mixes, Layers is a perfect album for summer playlists and heavy listening. Animal Sounds will be doing a live-stream show on July 3rd, to benefit a local Rochester venue, Photo City. Check out the event here, and catch Animal Sounds live on release day!
Animal Sounds is comprised of Erick Gordon (vocals), Shawn Brogan (guitar), Alex Brophy (guitar), Zach Jonas (bass), and Angel Figueroa (drums).
Brooklyn-based indie rock band, The Next Great American Novelist (aka NGAN), share their new single, “Drag,” from their upcoming sophomore record, Careless Moon. Written before the pandemic and a better-late-than never Civil Rights revolution took the main stage of society. The new single, “Drag,” works to show that there was never a comfortable or correct “normal” in life when times were “precedented,” fully working for everyone.
Songwriter Sean Cahill explains the new single, saying:
I love New York City, though, some days it feels like a dysfunctional landscape of ill-routine. Living here, you realize you’re functionally necessary but of small significance or importance within the larger enterprise. I’m immersed in a series of habits: standing in line, getting on a train, heading to work, buying coffee, buying booze… Are these choices I want to make or am I just keeping the machine going.
Cahill was on the verge of ending his The Next Great American Novelist project before it really even got off the ground. He recalls his experience saying:
I was working in life insurance, and I had a gig at some small venue in Bushwick. I almost didn’t do it because I was so depressed from my living situation and work. I knew nobody, and my girlfriend didn’t show up. I played the show solo, and I was so over everything. I just didn’t give a shit, so I was very open and honest on stage. And this guy who was super shy came up to me afterwards and was like, ‘Hey, I really like your music. I’m a sound engineer, you should come by my studio,’ and gave me his card.
That shy fan was Justin Helm, an engineer at New York’s The Cutting Room. Cahill later stopped by the studio and met the in-house producer, who happened to be Cummings. The two quickly hit it off, connecting over a love of The Beatles and Dirty Projectors. With Helm co-producing and engineering, Cummings would go on to co-produce and play onI’ll See You in the Art You Love, Cahill’s partially crowd-funded debut as The Next Great American Novelist.
It wasn’t long before the pair went from friends to true creative collaborators. As soon as Art You Love was completed, they started approaching a few dozen bedroom demos Cahill had written. Eventually, Cummings expressed a not-so-secret desire to join NGAN, and Cahill was happy to welcome him to the foil. From that moment, the band’s trajectory dramatically changed.
Cahill had never fostered a strong ambition to take his music beyond a personal escape. He’d studied classical guitar in college, but left the program when the criticism and perfection of academia began to suck the fun out of the art. Now with Cummings to play off of, Cahill was rediscovering the joys that attracted him to writing and performing in the first place. The duo have applied creative efforts outside the band as well, writing jingles for everything from Swedish Fish to dog medication.
More than ever, Cahill wanted NGAN to become a band people brought their friends to come see live. United, Cahill and Cummings set to work creating new songs that would “make sense live.” It all came together in the studio with drummer Danny Sher of Horse Torso (his outfit with Baroness bassist Nick Jost) laying down the rhythm live to tape as they built towards their new record, Careless Moon.
Careless Moon is about the relationship between romance and indifference. How it’s possible to see different concepts in the same symbol. One night, you could look at the moon and see an illuminating presence, brimming with light, offering clarity to a sky that is otherwise shrouded in darkness. The ridges of its surface appear as something familiar, a face, looking down and bringing you comfort. Other nights the moon can seem callous: an indifferent rock suspended unwillingly by gravity. You remember that the moon drifts from the earth by 3.8 cm each year, orbiting away from you as it barrels out into space. Your life changes but the moon doesn’t, each night you can find it waiting for you. When you realize that it has no attachment to you, it is frightening.
In the midst of a global pandemic, as well as coping with trials and tribulations of being a twenty something, Rochester native, Garrett Eckl of Your Name Here has released a full length album that was written and produced by himself. Graduation of the Apocalypse is Eckl’s second full length concept album, which covers topics such as relationship troubles, self worth and mental health – topics that relate to Eckl on a more personal level that compared to his prior album.
His vulnerability and advancement of his musical prowess has birthed the story of an immersive journey where two teens find themselves in the middle of an apocalyptic world that has been ravaged by an alien invasion/ virus. His use of music technologies, personal experiences and opinions on current world issues act as fuel to propel his story through highs and lows, like a true theatrical experience – something that Eckl said he really strived for on the album.
Eckl, who left his job at NASA to pursue music, recently moved to San Diego where he received bachelors in music recording technology. He has set his sights on a masters in computer music and intends to pursue academia. In an interview with NYS Music, he said recent life events pushed him to create a new album, namely his move to San Diego. His cross country move and relationship troubles have spilled onto the album, in the best way possible. He said the experience taught him that he needs to learn to let go of certain things in his life.
“The album is very cyclical in nature. The first song “Graduation Day” ends with me singing about not wanting to grow up and lose my youthfulness (“some kids live into their forties, some kids live until they’re married, some kids die on graduation day but I’m never gonna go that way”). That same verse is repeated at the end of the album in “Now I Know.” This signifies that despite everything the protagonist has been through, he still hasn’t become the jaded and boring person he feared he would become.”
The result of these revelations and life experiences is this: Sonically, this is what you get when you mix Ben Folds 5, Weezer and the play Dear Evan Hansen together. Listeners will feel an array of emotions, as one does in a play. There are tracks that are instrumentally uplifting and chipper, coupled with lyricism describing the complexity of love in relationships, like in “Graduation Day.” “Everyone Thinks You’re A Little Strange” is also a prime example of Eckl’s style – a huge sound consisting of string quartets, chanting choirs, dynamics and builds, highs and lows and stories that everyone can relate to.
But we’re also strung through songs that set the scene of how grim things are in this reality – i.e. “The Apocalypse.” This was a stand alone song that proves how Eckl is growing and learning. The song never speaks of the protagonists, says Eckl. “I wanted this album to be open to interpretation, but I wanted it to be very clear that this (song) was about the apocalypse.” In this track, Eckl is able to hold onto his style that sets him apart from others in the genre, but is able to create an intense tonal shift, all while using recognizable instrumentation and voicing that is seen throughout his other works. It’s an incredible feat and once again legitimizes this album as something that could easily be mistaken as an OST from a Broadway show.
Each song is unique and easily distinguishable. Everything sounds just as Your Name Here should sound, but each one feels like it’s own standalone story. String them together, and listeners will go on a personal, reflective journey as well as getting a taste of Eckl’s experience. It’s been exciting to run through each of the songs, and it’s been exciting to wait for each track, as Eckl has been releasing 1 song per week for the past few months. The last song of the album, set to be released July 5, is called “ Letter In A Locket”. We’ve made a playlist on Spotify of every released track, but listeners can find it on Apple Music and below via Youtube. Those who want to dive even deeper into the immersive world Eckl has created, can also look into the Alternate Reality Game (ARG) that he has made to coincide with the album. Find more information on his ARG, here.
Key Tracks: Graduation Day, Everyone Thinks You’re A Little Strange, The Apocalypse
This upcoming album will be their latest since Under the Lights which was released in 2017. The new album was recorded before the COVID-19 quarantine began, and although the band did not intend on fast tracking any songs from the album, they decided that releasing one song ahead of the rest would be a ray of light in this time of negativity and unrest. All four members of the band, who are quarantined in different parts of the country, decided unanimously to release “Good Days.”
Elliot Peck, who along with Grahame Lesh and Nathan Graham wrote the music and lyrics, says that the song’s chorus was stuck in his head even before he wrote the full tune. Peck states that his vision for the song “was of a small rustic cabin, where two people were sharing their time, and were happy enough with just each other’s company that they needed nothing else.” The image of a rustic cabin is present to the listener, as the song has a country notable feel to it. The song itself is extremely warm despite the fact that its message is somewhat somber.
“Good Days” is also about yearning. “We are a culture always in wanting,” explains Peck. Despite the fact that we always yearn for more in our present and future, “when we really think about our happiest times, it was the simplest ones, when the company of someone was all we needed.” The song is a nostalgic look on the singer’s past as they remember the “Good Days” when they were happiest.
The song’s release in our current time is coincidentally perfect as we remember the “Good Days” before everything in our world changed seemingly in the blink of an eye. Elliot says that “The tune was written and recorded before the pandemic changed everything about our current lives. It was written in a time of hugs and handshakes, communal joints and sipping van whiskey straight from the bottle, small rooms full of close friends and large festival grounds full of complete strangers, frequent flyers with rarely a home cooked meal.” The song is a perfect way to currently reminisce on the past while simultaneously looking forward to the future. Even when everything seems horrible, we can always celebrate the good days.
“Good Days” features Elliot Peck (vocals and acoustic guitar), Grahame Lesh (vocals, acoustic guitar, and 12 string guitar), Connor O’Sullivan (bass and mandolin), Nathan Graham (vocals, drums, and banjo), and Jason Crosby (piano). Lesh describes that Midnight North’s music tells their story, and that with their songs they hope to “transport you into [their] world for an hour or two.”
Midnight North is excited for the world to hear their “entire new album of fresh new music.” There is no confirmed release date for the new album, but Midnight North asks us to be patient as we wait for the album’s release ‘in the coming seasons.’
On Thursday June 25 at 8pm, heavy prog and future groove band lespecial will debut “Cheen Stream II,” featuring multi-angle video and a soundboard audio live set. Filmed at the band’s studio and music school The Music Cellar in Millerton, NY the performance will be streamed live on lespecial’s Facebook and YouTube.
“A lot of times in horror movies sequels don’t live up to the original. But the best ones expand on the lore and go deeper, introducing the makings of a franchise. I don’t know what that has to do with cheen stream II. But I do know that with the multi-angle video and soundboard audio, this will be a big step up from the first cheen stream. There will still be a level of in-studio casualness, but more bangers. Older songs we haven’t played in a while in a new setting, and some new music we’ve been working on. We’re excited to bring some music to people right now, in our home studio with some fresh production.”
Luke Bemand, bassist for lespecial
lespecial recently joined Royal Artist Group, whose roster includes DJ Logic, Ghost-Note, James Casey, Natalie Cressman and many more. If you’re looking to see lespecial live and in person, they will be performing a private drive-in show in the Glens Falls area this on Saturday, June 27. For details and information on tickets, please email claw@jamflowmgmt.com.
