Category: Regions

Cassandra Kubinski is Ready to Build on Her Versatility

Cassandra Kubinski is a “storytelling oriented, piano-driven, theatrical pop” singer/songwriter from Saratoga Springs. Her passion for music from a young age propelled her into a successful career with Billboard charting albums. Kubinski’s career has already linked her to artists like Chris Botti, the Goo Goo Dolls, and Mary Ramsey of 10,000 Maniacs. Since her 2005 debut, Kubinski’s development as an artist continues to showcase her unlocked talent waiting to be released.

Cassandra Kubinski

A Musical Introduction

Growing up, Kubinski listened to a variety of artists because of her parent’s eclectic musical taste. Billy Joel, Carole King, Jackson Browne, and Joni were all a frequent part of the Kubinski’s family’s rotation of music. Kubinski’s theatrical exposure to Bette Midler, Guys and Dolls, Barbra Streisand, and Pippen shaped her into becoming a musical storyteller. Kubinski has even garnered praise from her musical idol, Billy Joel.

“Billy Joel is embedded in my DNA. My parents were listening to his music and loving him before I was even a twinkle in their eye. His storytelling, passionate vocals, and rogue piano playing style influenced me when I decided to be a songwriter,” Kubinski said.

During a 2008 concert in New York City, Kubinski’s dream of meeting Billy Joel came true. The full-circle moment of meeting her childhood music idol is one of the most memorable and surreal moments as an artist for Kubinski. If Billy Joel is willing, Kubinski would love to add a possible collaboration to her musical resume. Kubinski’s other musical hopes include opening up for Billy Joel, Jason Mraz, and Rob Thomas on tour one day. While the pandemic canceled touring for most artists, Kubinski looks forward to having a face-to-face interaction with concert audiences again. Performing at music venues with a beautiful outdoor component like Red Rocks Amphitheatre in Colorado and Humphreys Concerts By The Bay in San Diego are at the top of her list.

The Journey

While Kubinski’s musical aspirations keep her motivated as an artist, she has already amassed a couple of well-deserved accolades. Onward charted #97 on Billboard’s Heatseekers Album chart in 2016, while Holiday Magic charted #46 on Billboard’s Heatseekers Album chart in 2017. In 2020, Kubinski has released her “Stardust,” “Back to Earth,” and “Stardust (DJ Taz Rashid Remix)” singles. “Stardust” highlights Kubinski’s “epic pop and piano sound” with the combination of positive lyrics. During the COVID-19 pandemic, Kubinski has gained a new perspective of how her songs can take on a different meaning from their initial release. “Dreams” started as a “whimsical look of a bittersweet moment of willing to let go because a better dream is coming” and now has a different significance of embracing the unpredictability of the COVID-19 pandemic.

I didn’t write “Stardust” in the pandemic I wrote it years ago. Since releasing it during the pandemic, I’ve heard from fans it was a sentiment they needed to hear to feel connected to something bigger, connected to nature, and reminded that they have power. This pandemic has made a lot of people feel very helpless and powerless. “Stardust” is about claiming and reclaiming your power. It takes on that meaning even though that’s not what I wrote it about,” Kubinski said.

Cassandra Kubinski and Tony Daniels shot the “Stardust” music video before the COVID-19 pandemic

What’s Next

Looking ahead, Kubinski is already working on a song with Hannah Grace Colin from “Dance Moms.” Her upcoming song “Eternity” with DJ Sol Rising is a follow up to “Stardust” and is set to release in early January. As fans can look forward to more music, Kubinski continues to progress as an overall artist. From the release of her first album, Hold The Sun to her latest single “Stardust,” Kubinski has honed her ability and confidence to lead as an artist with a specific creative direction in mind. “Trust your vision,” Kubinski said. “When you see something for yourself, work on it, and do it. That’s your vision for a reason and you’re the one that has to execute on that vision.”

Cassandra Kubinski

November 11, 2020
Celebrated Cuban Percussionist Cándido Camero Dies at 99

Cuban percussionist Cándido Camero passed away on Nov. 7, 2020. Camero was 99 years old and was a well known, and loved, pioneer of Afro-Cuban jazz genre. He was an innovator in conga drumming.

Cándido Camero died peacefully at his home in New York on Saturday morning according to Camero’s grandson, Julian, told NPR member station WBGO of the sad news. Despite his age Cándido Camero played music up until the very end.

Cándido Camero performs with Paquito D’Rivera at Flushing Town Hall (November 2019)

He was born in San Antonio de los Baños, near Havana, in Cuba on April, 22 1921. His parents were Caridad Guerra and Cándido Camero. He moved to New York in 1946 and was “already a well-known musician in Havana as a percussionist and also for playing the Cuban tres, a folkloric guitar. He spent eight years playing at the famed Tropicana nightclub, backing the biggest Cuban stars of the day and counted the young Mongo Santamaría among his bandmates” according to NPR’s article.

Throughout the years Cándido Camero became a well known and extraordinary pioneer of the Latin Jazz genre and played with the best of the best throughout the years. Some of the big names he performed with include Charlie Parker, Tony Bennett, Dizzy Gillespie, Tito Puente, and Machito. He is known for being one of the first percussionists to play multiple congas at the same time, with each conga tuned to a different pitch, enabling him to play not only rhythm but melodies.

His biggest mainstream track came in 1979 with his disco recordings for Salsoul. He recorded several albums for the audiophile label Chesky Records. One of these records included Inolvidable, with Graciela, which earned him a nomination at the 47th Annual Grammy Awards. He was still playing and performing live up until the end. Back in Sept. of 2019 he joined Flushing Town Hall to celebrate their season’s launch with a performance from Canadian Afro-Cuban artists Jane Bunnett & Maqueque. He then returned in November to perform with the Gathering of the Masters alongside fellow greats Paquito D’Rivera, Joanne Brackeen, Jimmy Owens, Jimmy Cobb, and Reggie Workman.

Cándido Camero will be greatly missed from the music community. We mourn his loss and send our condolences to his family and friends.

November 11, 2020
Black Suit Youth Release Environmental Anthem “The World Is Almost Over”

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.
Black Suit Youth

Read More Black Suit Youth on NYS Music

In 2016, they signed to 59 X Records and released False South in 2017. Black Suit Youth single The World Is Almost Over will be their second project released under the label.

https://www.youtube.com/watch?v=9Us6QDQb7BI&feature=youtu.be

Here is a look at the lyrics for “The World Is Almost Over” :

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

November 10, 2020
Allman Betts Band Lit up The Paramount on Nov. 10, 2019
The Allman Betts Band brought their 2019 fall tour to The Paramount on November 10, 2019. The tour was supporting their latest album, Down to the River which came out earlier in the year. The supporting acts were Joanne Shaw Taylor and and Jackson Stokes. The Allman Betts Band is Devon Allman, Duane Betts, Berry Duane Oakley, John Ginty, Johnny Stachela, R. Scott Bryan and John Lum.

Jackson Stokes, who is the first artist signed to Devon Allman’s new record label, Create Records, opened up the show with songs from his new self titled album, released on October 25, 2019. He was also the guitarist for The Devon Allman Project from 2016 to 2018. Joanne Shaw Taylor is a British blues rock guitarist and singer. Her sixth album, Reckless Heart, was released on May 17, 2019.

The Allman Betts Band set consisted of songs from their latest album including “Down to the River” and “Southern Accents,” plus a covers of Tom Petty’s “You Got Lucky.” The Allman Brothers Band “Elizabeth Reed,” “Midnight Rider” and The Grateful Dead’s “Friend of the Devil,” rounded out the bill. They also brought back Taylor for a cover of John Lee Hooker’s “Dimples” and Jackson Stokes to play on “Mahalo.” The two-hour set ended with “Long Gone” from the new album.

The Allman Betts Band @ The Paramount Theater on Huntington, Long Island, NY November 10, 2019

Setlist: All Night, Shinin’, Autumn Breeze, Down to the River, Ain’t Wastin’ Time No More, Blue Sky, You Got Lucky, Good Ol’ Days, Melodies Are Memories, Dimples*, Friend of the Devil, Mahalo^, Jessica, Down to the River.

Encore: Long Gone
* with Joanne Shaw
^ with Jackson Stokes
November 10, 2020
Orange Corner Debut “Hippie Baby” Gets Out the Cradle
Image a bastard-child bred from a strange co-mingling of iTunes libraries. A mash of genres and unforeseen turns have fused a free flowing debut single from Orange Corner, named “Hippie Baby.”

Buffalo New Yorks’ five-piece multi-genre performance band, Orange Corner, has no filter. The band leans heavily on funk, obvious trips of psychedelic rock, metal, reggae, hip-hop and electronic genes are all dispersed. It is no suprise they get lost in improvised jams, which keeps their live sets in motion, fresh and new. If you like Red Hot Chili Peppers, Incubus, Pink Floyd, Jamiroquai or Talking Heads, Orange Corner and “Hippie Baby” will quickly gain your attention.

Orange Corner “Hippie Baby” album art.

“Hippie Baby” is not for the faint of ear. It’s the epitome of a toddler running rapid, musically challenging the norms of song structure. Orange Corner’s take it or leave it approach sucks you right in as Drummer Tj “Thor” Carson creates a dynamic ploy across the toms. Seemingly out of time, “Hippie Baby” lures with swaying bass and lots of texture.

By the time the band kicks off, in the eight-plus minute track you get it, and sink into the groove. Yet, the band does play with you heart-rate as they sink back into a musical somber, filled with guitar overtones, cymbal textures, and electronic ‘spaceship’ synth.

Orange Corner takes you for ride with “Hippie Baby.” filled with an unexpected pit-stops, like Randy Pawlak’s ‘out-your-mind’ bass lick as he and Thor quest the band onward.

Upon attending an Orange Corner performance, be prepared to
endure musical movements of vast magnitude. Once it’s showtime, a fresh sonic pallet is tastily presented, and the crowd quickly becomes enthralled in an upbeat mix of soaring solos, rhythmical nuances, and downright infectious vocals.Whether it’s through dancy improvised medium or tethering originality with appropriate covers, this band has a knack for cleverly stimulating the amygdala….
Orange Corner Bio

Orange Corner’s circle has been growing through WNY grass-roots festival, Tedfest. Last year the band had 700 people pass thru the day/night, across three stages, 20+ bands, and a load of vendors.

Check out more WNY YOU NEED TO SEE BANDS Here

Meet Orange Corner:
Nathan Addenbrooke: Funk-n-soul driven vocals, rhythm guitar, percussion
Randy Pawlak: In-the-pocket, out-your-mind bass & bubbly backseat banter
Thomas Leaming: Lavish lead guitar love generator
Tj “Thor” Carson: The groove-hacking, head-banging drummer
Tommy McDonald: White keys, black keys, spaceships and synth leads
November 9, 2020
Hearing Aide: Joe Bonamassa ‘Royal Tea’

Utica’s all grown up boy wonder guitar god, Joe Bonamassa, has just unleashed another fantastic solo album, Royal Tea. Recorded at London’s iconic Abbey Road Studios. Bonamassa’s latest is a tip of the hat to his British blues rock heroes, Jeff Beck, John Mayall & The Bluesbreakers, Led Zeppelin, Cream and more. It is also as much a showcase for his increasingly progressive and mature songwriting, as is his always sizzling six-stringery.

The 10 originals here were co-written by Joe and Brit notables including former Whitesnake guitarist Bernie Marsden, ex-Cream lyricist Pete Brown and piano man Jools Holland of Squeeze fame. Bonamassa’s long-standing producer Kevin Shirley and his touring band, Anton Fig (drums), Michael Rhodes (bass) and Reese Wynans (keys), flew in for the sessions.

While Royal Tea is a nod to British blues masters, it is not at all about retreading the classics, or the simple but saintly joys of going round and round the 1-4-5 pattern. It’s an album full of songs that are firmly rooted in a blues feel, but with very progressive and surprising leanings. It’s all about the unexpected chordal turnarounds and multi-movements that span epic length, things that owe more than a bit to Brit prog acts of the ‘70s.

Bonamassa sets the tone with the album opener, “When One Door Opens.” It kicks off with baroque strings and brass that could’ve been mustered up by another true Abbey Road legend, Beatles’ producer George Martin. It’s a mournful ballad that feels a bit like Guns N’ Roses “November Rain,” until it shift into a nasty Led Zep-styled groove and then a boogie for a screaming wah-fueled solo. It solo winds down with rhythmic quote from “Beck’s Bolero,” before returning to the mournful orchestral mood for the close. A ballsy move, as this one clocks in at 7:34, making it the longest track on the album.

The title track follows. It’s another hard blues with a thick slamming groove and unexpected descending chordal turnaround, and yet another Beck-era Yardbirds’ quote in the solo. Here and everywhere on the album Joe’s guitar tones are killer, honey thick and biting. And his solos here are kept brief, always in service of the song. And why not? Joe’s got one of the world’s best employed vintage guitar collections to make these varied sounds, a virtual museum that can be viewed here.

“Why Does It Take So Long to Say Goodbye” is another of the many slow grooves here. Joe wrenches every bit of emotion out of the melody, with his guitar playing and his vocals, the latter which gets better in each passing album. This is another blues in a few epic movements over its six and a half minutes, where he complements thick power chording with sweet flourishes on his acoustic.

For a John Lee Hooker-styled boogie, with extra crunch, turn up “High Class Girl;” for a bit of Southern rock and slide, tap into “A Conversation with Alice.” On “Lonely Boy,” Joe and company go for broke, with a sprightly big band jump blues with rocking’ horn parts. Some beautiful soloing from Jools Holland and what must be flashy chromatic runs on a vintage Telecaster from Joe. This is a track that would be totally at home on a Brian Setzer album.

One of my favorites is the offbeat “Lookout Man!” This one combines another Jimmy Page-styled riff with Space Rock sound effects a la Gong/Steve Hillage, with a nasty blues harp and a chorus of female singers that sound like Ike and Tina Turner’s Ikettes. “Savannah” ends the album on an up tempo, with slamming’ country picking and a droney fiddle.

This week Royal Tea made a big splash on the charts, earning Joe Bonamassa his 24^th #1 album on the Blues Chart, an incredible feat, more than any other artist in the history of the chart! More importantly, it’s gaining Joe fans beyond the narrow blues niche. He’s #5 on Current Albums, #6 on Indie Albums, #7 in Rock and #7 in Rock charts.

Bands like Cream and Zeppelin were successful because they took to the wonderful foundation of American electric blues and did something new and different with, with each album as their careers progressed. Bonamassa deserves their level of success because he is following in their progressive and bold footsteps.

Key Tracks: When One Door Opens, Why Does It Take So Long to Say Goodbye, Lookout Man!

November 9, 2020
The Park Theater Announces First Event Since March Shutdown

After eight long months of being shut down, The Park Theater in Glens Falls is proud to announce they will open their doors. On Nov. 18 the venue with host an event; ‘Dinner & A Movie: A Beautiful Day In The Neighborhood.’

Cover art for A Beautiful Day in the Neighborhood.

The screening of the movie will be accompanied with a three-course meal by Chef Matthew J. Delos. The guests will have their choice between three entrees and two different dessert. The 2019 film is about the late Fred Rogers, aka Mr. Rogers, played by Tom Hanks and his friendship with investigative journalist, Lloyd Vogel, played by Matthew Rhys. According to a press release by the theater, the movie “tells a story of kindness, empathy, acceptance and transformation.”

The Park Theater has been an entertainment staple in Glens Falls since 1911, where the town would watch silent films and vaudeville shows. In 1935, they closed their doors until The Post-Star bought and transformed the building into a printing plant. Over the years, numerous organizations tried to maintain the building’s reputation as a performing arts center, only to really make a change in 2018 by returning to its original name, The Park Theater and Doc’s Restaurant downstairs.

For the event, doors open at 5 PM, dinner starts at 5:30 PM and the movie will begin an hour after dinner service starts. The tickets are $60 (+tax) per person and can be purchased online or call the box office at 518-792-1150. The theater recommends buying tickets sooner rather than later because seats are bound to go quickly after not having an event for so long.

Mr. Rogers inspired children and adults throughout his career. This film demonstrates the impact he had on not only viewers of his show, but also his personal relationships.

I think the best thing we can do is to let people know that each one of them is precious.
Mr. Rogers

Event Poster for The Park Theater

For more information visit The Park Theater’s website.

November 9, 2020
Foo Fighters perform new single “Shame, Shame” on SNL

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.

https://youtu.be/vJYL4Osyipc?t=367

November 8, 2020
On this day in 1997, Phish debut “Farmhouse” on Late Night with Conan O’Brien

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.

Impressively, bassist Mike Gordon flew back to Burlington after the show, joining Max Creek at Club Toast for the second half of their show that same evening. Gordon sat in for “Thank You (Falettinme Be Mice Elf Agin),” “Wild Side,” “Outside of Home,” and “Just a Rose,” as well as the encore of Warren Zevon’s “Lawyers, Guns and Money” and “What I Like About You.”

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.

November 8, 2020
Slaughterhouse Chorus, Trampoline Jetstream and more Featured on this week’s EQXposure

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.

The Slaughterhouse Chorus – ...In the Name of Progress

… 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.
<a href="https://theslaughterhousechorus.com/album/in-the-name-of-progress-2">… In the Name of Progress by The Slaughterhouse Chorus</a>
Trampoline Jetstream – “Jerry”

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.

November 7, 2020