Category: Western NY

  • New York Hip Hop: A Year in Review

    As the proprietor of hip hop, New York, carries certain expectations from the genres’ emcees. Take for instance that within the last half-decade alone we’ve seen top 10 records like “Hot N****,” “OOOUUU,” “All The Way Up” and “Dior” become staples of each respective summer. The inhabitants themselves walk around with a certain hubris, knowing that their fashion, demeanor and dialect is a valuable commodity within pop culture. With rap artists being a reflection of New York’s current state, there was bound to be an equal amount of historic moments and tragedy. As such, we take a look at the major events from 2020.

    Hip Hop Review
    Young Artists Stake Their Claim

    As cities like Atlanta and Memphis continue their surge within the genre, it is of importance that established young artists from New York continue their ascension, to keep pace with their counterparts. A Boogie Wit Da Hoodie kept himself relevant with the release of his much-anticipated Artist 2.0 album. Pop Smoke (before his tragic death) continued his meteoric 2019 with a strong sequel to his breakout mixtape, Meet the Woo 2. Dave East dropped a tertiary edition to his Karma mixtape series and Brooklyn continued to make waves with projects from J.I the Prince of N.Y., Fivio Foreign, Sheff G, 22Gz, Curly Savv, Rah Swish and the surging Bizzy Banks

    Veteran Emcees Still Have Something to Say

    Hip Hop is the culture of the youth. It always has been and always will be. Yet, many prominent veterans reminded fans that they still have stories worth listening to. Juelz Santana battled through turbulent times to release his #FREESANTANAmixtape, Jadakiss released a solid effort with, Ignatiius, M.O.P’s own Billy Danze dropped The Listening Session, KRS-One and Public Enemy dropped protest anthems. Twenty-twenty also saw the return of Nas, whose King’s Disease album showed an exceptional ability to blend his old school style with newer melodies. 

    Pop Smoke’s Death

    In a year that saw one celebrity after the other pass away tragically, New York felt their fair share of grief. On February 19, 2020 New York’s latest rising superstar, Pop Smoke, was fatally shot at a Los Angeles home in a botched robbery attempt. His death came a week after the release of his Meet the Woo 2 mixtape. His death was followed by outpouring support from fans and industry peers, including his music rising atop the charts. 

    The Kids from Buffalo 

    Building upon their established buzz, the trio known as Griselda — Westside Gunn, Conway The Machine and Benny the Butcher – continued their takeover as the faces of New York hip hop. The Buffalo natives brought some much-needed attention to upstate New York. 

    I know people in Buffalo that have never been to New York City in they life and they 30 years old. So, we come from one of them type of cities, that kind of mentality.

    Westside Gunn – The Ringer.

    Known for their gritty-hard hitting tales of the street life, the group kept themselves ablaze with multiple releases from each member throughout 2020. Westside Gunn kicked things off with his April release of, Pray for Paris, followed by Flygod Is an Awesome God 2 and his self-proclaimed retirement album, WHO MADE THE SUNSHINE. Benny The Butcher released his much-anticipated Burden of Proof record, while Conway the Machine’s From a King to A God rounded up a strong year for the upstate rappers. Their influence not only stems from their music, but also in the way they market themselves. That mentality perhaps comes from their head honcho, Westside Gunn.

    I never considered myself really a rapper, I just curate. I love putting different people together and just painting a certain picture..

    Westside Gunn
    Hip Hop Review
    Shoot For the Stars Aim For The Moon

    Despite his life coming to a tragic end, Pop Smoke’s musical momentum didn’t waiver, with his popularity in fact rising. His debut studio album was announced with 50 Cent as executive producer. The star-studded album became the record of the summer, with all 19 tracks simultaneously charting on the Billboard 100, eventually reaching platinum status.

    Listening to Pop come into his own as an artist was a bittersweet feeling. Despite the commercial success of the album, many songs consisted of either duplicated or unfinished verses. Yet, his ability to melodize on records like “Something Special” and “Backseat” combined with his already strong delivery on his grittier records made him a rarity in the drill rap genre. In fact, he had long surpassed the label of “drill rapper” and was blossoming into a superstar whose charisma would have made hip hop just the tip of his monetary exploits.

    Alas, that future was not meant to be. Instead, Pop Smoke’s music, exploits and legacy will be passed down from generation-to-generation where he’ll eventually become a fabled and mythical figure. In due time, the sorrow from his passing will turn into nostalgia, where we’ll remember 2020 as the year Pop Smoke ruled the airwaves. 

  • Hearing Aide: The Painted Birds “Under the Wing”

    The Painted Birds, a quartet out of Rochester is led by singer songwriter Alex Fortier (Juicy Connotation, i. am. tru. starr.), The band was created to surpass borders between influences, creating stories and sounds with both depth and clarity. The group features drummer/percussionist Chris Palace (Juicy Connotation. Dream Float, Funklopian Tubes, Siena Facciolo) guitarist Will Schantz (P.V Nunes Band, Archive Ravens, Red Hot & Blue Band) and bassist Robert McPartland (Charlie Hayley and the Band, Ryan Benthall).

    The Painted Birds

    In the spirit of diverse sound and personality, their influences come from a variety of disciplines and genres, including artists like Paul Simon, Billy Joel, and The Band; folk crossovers like Joni Mitchell, Neil Young and Bob Dylan; funk and soul artists like The Meters, TAUK, and Donny Hathaway and even contemporary jazz projects like The Bad Plus, Yussef Kamal and Weather report. All of which can be heard in their 10 track album titled Under The Wing released in November, 2020.

    The four piece band stretch out on the entire album mixing in their influences with their own voice led by Fortier’s season changing lyrics. Sounds like it could have been recorded at “Big Pink” in West Saugerties, NY. There is even a stand out saxophone solo on “Square Cars” by saxophone player Sam Schachter. Peaches are deciduous fruit trees that enter into dormancy during the Winter. During dormancy trees are quite resistant to the deleterious effect of freezing temperatures. After this period of rest and temperatures begin to warm, peach trees become more physiologically active. This album does just that with its nod to the changing four season landscape in which it was written in. “Midnight by the Woodline” brings you outside an old camper on a quiet New York summer night. Fortier’s lyrics even cross the great divide in the track “(She’s Got) Colorado Whispers”

    Overall the band helps create comfort music for the cold winter ahead. Keep an eye out in the Finger Lake region for a possible socially distant concert at one of the various wineries that the band live near to hopefully perform these tracks live for you!

    Key Tracks: Square Cars, No Peaches:(Late Frost), Under The Wing

    Listen to the full album here.

  • GrassRoots Festival Launches Save Your Roots Campaign and Live-Stream

    The GrassRoots Festival of Music & Dance launches its Save Your Roots campaign and live-stream benefit at the State Theater in Ithaca, NY on December 19, at 7 PM EST. The campaign hopes to raise $100,000 to prepare for the 2021 festival season. 

    Like almost all festivals around the world this year the GrassRoots Festivals were forced to cancel their annual festivals due to COVID-19. The GrassRoots Festival started back in 1991 and sought to inspire positive change in communities through the communal celebration of world music, art and dance. It all started as a sold out, one night, benefit to raise money for the fight against AIDS at the historic State Theatre in Ithaca, NY. It has since evolved into three, separate annual four-day -vents in Trumansburg, NY, Shakori Hills, NC and Miami, FL. 

    The GrassRoots Festival is a 501(c)3 non-profit organization. They, unlike some larger festivals, don’t have large pools of corporate sponsors. One of the reasons GrassRoots strays away from large corporate sponsors, is they want to keep their festival an authentic experience for participants and free from the boundaries of corporate influence. Though, the festival’s livelihood is in danger due to the lack of income in the 2020 year due to COVID-19. Their solution to trying to help the festival survive and thrive is by launching the Save Our Roots campaign. 

    The campaign has a goal of raising $100,000 that will culminate with a special live streamed event from the State Theatre in Ithaca, NY on December 19, 2020 at 7 PM EST.

    Each donation or ticket purchased through the campaign will help ensure that the GrassRoots Festival Organization stays afloat. Currently the campaign is 61% funded with $61,421 and 17 days remaining to donate. So far, 375 people have donated to the cause.

    People who donate $50 will receive a custom GrassRoots Festival T-shirt. One hundred dollar donations will receive their name on a GrassRoots Festival commemorative tree. Those who donate $1,000 will receive ten, four-day passes to any grassroots festival of their choice. People who donate $2,000 will receive  ten,  four-day passes to any grassroots festival of their choice plus two all access dream team lanyards. People can also donate a custom amount. Donations can be made here.

    The live-stream benefit is being hosted by Yes Darling (Ryan Montbleau & Hayley Jane) and features live performances by the GrassRoots All-Stars, Jeb & Tara of Donna the Buffalo, Driftwood, Richie & Rosie and appearances from Jim Lauderdale, Preston & Keith Frank, Keith Secola, Dirk Powell, Cortadito, Fabi World Music & more. The live-stream has a suggested donation of $10. Tickets can be bought here.

    For more information of on the GrassRoots Festival of Music & Dance and its Save Your Roots campaign and live-stream benefit visit their website.

  • This Darkness has got to Give: The State of Venues Across New York

    Back in June, photographers working with NYS Music, with no live music to shoot, began looking at the venues we hold so dear. These independent music venues across New York State are in a battle for survival with the COVID-19 pandemic still not waning and relief held up in Congress.

    Over the summer and fall we saw venues closed for the foreseeable future, including The Jazz Standard in Manhattan. Venues are rallying their supporters to help as best they can at this time, including The Palace Theatre in Albany offering up a stream of moe. on Friday, December 11.

    Shea's new york venues

    Venues in New York and beyond are stuck in limbo, but they aren’t gone – not for good – so long as we can find resolution and relief at the state and national levels. The Heroes Act has passed in the House of Representatives, and there is still a chance for a relief bill to be passed before the end of December.

    With the winter setting in, venues will continue to go virtual for live performances, waiting for the time that we can bid this great pause farewell and welcome crowds back.

    We start this month’s photo gallery series in Central New York at The Stanley Theatre. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.

    Utica – photo courtesy of The Stanley Theatre

    New York City – photos by Joseph Buscarello

    Ithaca – photo by Casey Martin

    In honor of one of The State Theatre’s favorite volunteer ushers of over 20 years, Penny Turco

    Manhattan – photos by Steve Malinski

    Saranac Lake – photo by Neil Sedlak

    waterhole Venues New York

    Buffalo – photos by Derek Hosken

    Port Chester – photos by Chad Anderson

    Plattsburgh – photos by Jerry Cadieux

    Albany – photos by Zach Culver

    The Hudson Valley – photos by Mickey Deneher

    Long Island – photos by Rob Tellerman

    Venues New York
    Venues New York
  • Non-for-Profit Venues in Upstate New York Call for Aid With #lightsUPstateNY Initiative

    Non-for-profit venues across upstate New York call for aid from Governor Cuomo and their state elected leaders during the COVID-19 crisis. They are calling for aid through their #lightsUPstateNY initiative, trying to bring light to the hardships these performing arts centers are facing. 

    #lightsUPstateNY
    Bardavon interior photo by Tim Lee.

    According to Chris Silva, Executive Director at
    Bardavon 1869 Opera House, the new protocols, requirements and re-staffing caused by COVID-19 will require not only time and capital, but every month these closures continue the costs of these eleven venues add up to a collective $1,500,000 dollars, with no significant revenue to offset it. This is a huge amount of money to these smaller local economies. These venues hope to bring light to the reality of their dim situation, as many venues across the United States are pledged with Save Our Stages campaign.

    The venues involved call for aid with the #lightsUPstateNY initiative are: The Bardavon in Poughkeepsie, UPAC in Kingston, Shea’s Performing Arts Center in Buffalo, RBTL’s Auditorium Theatre in Rochester, Smith Center for the Arts in Geneva, Landmark Theatre in Syracuse, Stanley Theatre in Utica, Proctors Collaborative in Schenectady, Palace Theatre in Albany, State Theatre in Ithaca, and the Clemens Center in Elmira. 

    These venues estimate the cost to reopen themselves, if a spring 2021 opening is possible, will be at least 15 million dollars – more if the “pause” caused by COVID-19 continues. As a group they bring over 250 million of collective, local economic impact to Upstate each year, which has come to an abrupt halt. 

    Silva explained the reasoning behind the union of #lightsUPstateNY initiative saying, “The large theatres of Upstate so often share similar realities. As we think about our restarts sometime in 2021, we decided to come together to speak with one voice about our needs and challenges as we get back to being at the heart of our cities and communities.”

    #lightsUPstateNY

    All of the venues involved  operate as 501(c)3 non-profit organizations – committed to serving their communities – and have worked together to create a network across Upstate for bands and theatrical performances to take place. They do this by offering a variety of live entertainment for all audiences, including concerts, comedy, dramatic and family events, as well as offer a mixed-use space for local performing groups, graduations, recitals and other presentations. 

    The hope of #lightsUPstateNY is to bring awareness to the dire need these venues are experiencing, while also calling on Governor Cuomo and their state elected leaders for aid. 

  • The State Theatre of Ithaca Wraps up their ‘Save Your Seat’ Campaign

    The State Theatre of Ithaca announced it’s ‘Save Your Seat’ campaign as a way for the community to help keep the Ithaca staple afloat during the COVID-19 pandemic. The ‘Save Your Seat’ campaign was announced on November 10, 2020 and will continue to run until all 16,000 seats are sold which happened on January 5, 2021. 

    The State Theatre of Ithaca was built back in 1915 and has been an entertainment staple of Ithaca, NY since 1928 and has served as one of the most significant venues for performing arts in the Finger Lakes region. Their  mission is to enhance the cultural life of Ithaca and the Finger Lakes by preserving, operating and promoting the historic State Theatre as an active venue for national, international and community performances and programming according to their website. 

    How the ‘Save Your Seat’ campaign worked is that people donated $100 per seat and will get a personalized plaque affixed to a seat in their honor. This campaign will offer a visible way to commemorate their support of this vital arts venue.  

    Executive Director Doug Levine of the State Theatre explains that, “Without show revenue to help sustain this facility, we are looking at a deficit close to $160,000 for this fiscal year. The State Theatre of Ithaca seats 1,600 people. If 1,600 of our amazing supporters and patrons bought at least 1 seat for $100 each, that would help us close the gap that the pandemic has created.  Our goal is to sell out the Theatre, just like we have so many times in the past.”   

    All proceeds raised from the ‘Save Your Seat fundraising campaign and benefit concert will help sustain the not-for-profit State Theatre of Ithaca. The aide will help the theatre remain at the center of Central New York’s performing arts scene while their doors remain closed. For more information visit the the State Theater’s website here.

    Updates made on 1/7/2021: The State Theatre of Ithaca announced on 1/5/2021 that all 1,600 seats within the Theatre have been “saved,” as part of their “Save Your Seat” campaign. The campaign has helped close the budget gap the Coronavirus shutdown has created for the Ithaca staple.

  • David Jonathan and Inner City Bedlam debut with “No Collusion” Remix

    “No Collusion,” a remix from Buffalo’s David Jonathan & The Inner City Bedlam, featuring Chuckie Campbell, is the first single off 400, a project commemorating the 400 year anniversary of the TransAtlantic Slave Trade. The accompanying music video is directed by Alex Roje Felix of Earthbound Films. 

    Inner City Bedlam have a stated mission to break the boundaries holding back the inner cities of every city in the nation, to destroy racist ideology while providing the soundtrack to the inner city, and seek to change the face of American culture by providing outlets to educate the world about black culture through music.

    David Jonathan and the Inner City Bedlam create an expansive and kaleidoscopic sound, formulated around their love of jazz-inspired melodies and warmly sophisticated rhythms. In teaming up with Chuckie Campbell, they release a stunning remix version of “No Collusion,” which stands out for its modern, organic sound that is polished but not overproduced.

    inner city bedlam

    In addition to the edgy performance value, quality production and a balanced mix makes for a lively and stark sonic approach. Many subtle nuances are found in “No Collusion,” which adds to the richness of the track when taken together.

    Collaborating on “No Collusion” is Chuckie Campbell, an American recording artist, poet, fiction writer, editor, publisher, and educator who has been named Best Hip Hop Artist by All WNY Music Awards and ArtVoice Awards. Campbell performs with The Black Den, a six-piece live approach to hip hop filled with fluid instrumentation, lush musical arrangements, and heartfelt poetic lyrics.

  • The Grateful Dead Take A Step Back To Rochester: November 21, 1978

    Western New York has always provided safe haven for the Grateful Dead and among their more popular stops in the region is Rochester, specifically the War Memorial. The band would play 15 known gigs in the Flower City during their historic touring career. Ten of them would be in this building. Unfortunately, the later part of this 1978 tour had to be cut short due to an ailing Jerry Garcia. But there were certainly heaters to be had before then, this show among them.

    After an opening roar of electric guitars, the show begins in earnest with “Promised Land,” a popular Chuck Berry cover. Keith Godchaux plays some inspired keys on this one behind the guitar play and makes his presence felt early. Afterwards comes the first of three “Take A Step Back” announcements from Bob Weir, looking out for the “bug-eyed” folks in the front row. Once that’s accomplished, the instrumental into of “They Love Each Other” kicks in with Jerry Garcia manning the vocals. Unfortunately, some feedback issues mar this one a little bit early on. It’s salvaged though with a delightful Garcia solo and the continued strong play of Godchaux on keys.

    Following an extended tuning break, the band bursts into “Cassidy,” with Donna Jean Godchaux now added to the vocal mix. It’s is a tidy yet superb version with the whole band in full synchronicity. This lays the foundation that’s topped with another poignant Garcia solo.

    Grateful Dead Rochester

    Choosing not to run with this momentum, another tuning break follows which seems to fuel the rabid audience even further. Out of this, “Dire Wolf” rears its head. Garcia’s vocals seem to improve a little on this one from earlier in the show before he infuses it with his traditional guitar licks.

    Then comes round two of “Take A Step Back.” This time Weir’s pleas for the people on the floor to move back as much as they can is accompanied by a spattering of “Finiculi Finicula” from the band. Afterwards, Weir stays on the mic for lead vocals and leads the band through their Western classic, “Me And My Uncle.” They waste literally no time at its conclusion before launching into a raging “Big River,” thanks to an ultra-seamless transition they’ve perfected for these songs.

    Things then slow down a bit with the relaxed pace of the “Row Jimmy” that follows. Jerry and Donna Jean’s vocals eventually merge nicely in this delicate yet fairly straight forward version. Afterwards, it’s Weir’s turn once again as he leads the Dead through “New Minglewood Blues.” Believe it or not, the five-show gap between its last performance was actually a fairly large one for this first set standard. Another opening set regular, “Loser,” follows before one last notable segue closes things out. A raucous “Jack Straw” that’s fueled by some blistering Garcia-supplied guitar licks towards the end. Before the last “wine” is even finished being sung, “Deal” starts up instantly. This concludes a first set that’s fairly standard in terms of song selection, but executed to near perfection.

    Grateful Dead Rochester

    The second set begins with one last plea from Weir to everyone on the floor to move back as much as possible. Then the Dead are off and running with “Bertha.” This longtime first set staple had now shifted to a regular spot in the second one in 1978. Starting with this tour and well into 1979, it was featured in the second set each time. And it was followed every time by a cover of The Rascals’ “Good Lovin’.” Tonight would be no different. While it may not have the same cachet as other traditional song pairings, “Bertha” > “Good Lovin’” was a verified couple from the middle of 1977 until late 1979, appearing next to each other every time played.

    Jerry Garcia then leads the group through “Stagger Lee,” a cover of a traditional folk song about the murder of Billy Lyons by “Stag” Lee Shelton in 1985. Lloyd Price would later find fame with it thanks to his 1959 recording that topped the charts. After this rather atypical beginning to the second set, things begin to take a more familiar turn. “Estimated Prophet” sees Weir’s wailing vocals paired with Donna Jean’s harmonies that give it a nice touch. But the highlight is the tail end that sees Garcia gradually escalate a mesmerizing sequence through his guitar’s signature tone for this song. Bassist Phil Lesh is also heavily involved as the jam progresses.

    Then, somewhat suddenly, Garcia pivots and begins strumming the opening rhythms to “Eyes Of The World.” This version is vintage 1978, with Garcia again taking lead and navigating the rest of the band through this beautifully crisp and funky rendition.

    Grateful Dead Rochester

    As the “Eyes” jam slowly peters out, The Rhythm Devils then take things over. Drummers Bill Kreutzmann and Mickey Hart get their moment in the sun with an all out 10-minute percussive assault in the traditional “Drums” section. The ecstatic War Memorial crowd and their approval can be heard loudly throughout.

    After a brief “Space” section, the beginning of “Not Fade Away” starts in almost comical fashion with Garcia coming in extremely late on the beginning vocal section. It gets cleaned up nicely though and eventually stretches out into a full-fledged jam that melodiously stretches well past the ten-minute mark. Weir’s frenetic rhythm guitar play back Garcia wonderfully before the jam devolves into a slower pace and “Black Peter” appears. This, too, extends nicely with a patient and deliberate pace that’s peppered with more brilliant Garcia guitar fills.

    The show maintains its vague theme of some odd song placements with a “Truckin’” that closes out the second set. The Rochester crowd once again noticeably voices their approval after the “New York’s got the ways and means” line as well as the nod to Buffalo.

    In true Chuck Berry “bookending” fashion, the show ends with another cover of his, a quick romp through “Johnny B. Goode.” This puts the finishing touches on the fourth of ten overall shows the Grateful Dead played at the Rochester War Memorial.

    Grateful Dead – War Memorial, Rochester, NY 11/21/78

    I: Promised Land, They Love Each Other, Cassidy, Dire Wolf, Me & My Uncle> Big River, Row Jimmy, Minglewood Blues, Loser, Jack Straw, Deal
    II: Bertha> Good Lovin’, Stagger Lee, Estimated Prophet> Eyes Of The World> Drums> Space> Not Fade Away> Black Peter> Truckin’
    E: Johnny B. Goode

    Grateful Dead Rochester

  • Taking Meds to Make Their Audiotree Live Debut December 4

    The members of Taking Meds are looking forward to taking a trip out to Chicago at the beginning of December to perform on Audiotree Live. 

    The NYC-based indie punk band had to cut a cross-country tour short this spring when COVID hit. Shows started getting cancelled while they were on the road. “On the fourth day we were in Georgia, and 50% of the shows had cancelled,” Taking Meds frontman Skylar Sarkis told NYS Music. “We decided to head home.” 

    Eight months, an EP, and a music video later, and they’re excited to finally be hitting the road again. While they’ve been actively working, they haven’t been able to play some of their new songs in front of an audience since March.

    Taking meds

    “Everyone’s missing live music,” continued Sarkis. Most venues have not reopened since the start of the pandemic, due to contagion risk at gatherings. “Audiotree has a COVID-friendly way of continuing to do what they’re doing, and I think being able to access high-quality studio sessions online is really key for everybody right now.”

    This will be Taking Meds’ debut on Audiotree. What started as an artist discovery platform has continued this tradition by continuing to work with emerging independent artists and artists on indie labels. The recorded sessions are just one facet of Audiotree’s footprint in the music industry, but they have become a cornerstone in the international music scene over the past decade. 

    Tune into Audiotree on Friday, December 4 at 4PM CT (5PM EST) for the Taking Meds performance. Viewers will be treated to a few songs off the band’s new EP The Meds You Deserve, released in July on Smartpunk and Near Mint. Sarkis added that they plan on debuting a new song from their next LP, which they just finished recording with Kurt Ballou at GodCity in Massachusetts.

    Taking Meds is comprised of Sarkis on vocals and guitar, Ben Kotin on guitar and vocals, Jon “Steel Wolf” Markson on bass and vocals, and Alex Salter on drums. They don’t all live in the same city. It’s an occasion when they are able to gather at the studio, or go out on the road together, or shoot a music video. 

    Earlier this year, they got to meet up with director Luke LeCount to make a video for one of the songs on The Meds You Deserve, “Sucks To Be Me.” It features Sarkis as his narcissistic alter-ego, firing band members as he tries to impress some sleazy A&R types. He can be seen playing out this persona in a series of off-the-cuff low-budget promotional videos on the Taking Meds YouTube channel. 

    Leading up to the tour, they released a series of humorous videos about packing for tour, filmed by their manager/agent Alex Martin and featuring Sarkis trying to pack merch, gear, his cat, and pictures of Michael Stipe of REM. While Sarkis cites REM, Fugazi, and other bands from that era as band influences, their angular sound is impossible to pigeon-hole as any one genre.

    “We’re just trying to write whatever we want,” explained Sarkis. “Lately that’s coming out sounding like it’s pretty squarely influenced by early 90s stuff. I’m trying to make songs that I would want to listen to.” 

    Other people are digging their sound, too. Most fans have discovered them through word of mouth or by catching a live show. “My experience with this band is that there’s not a lot of hype. We get fans when we’re on tour and they stick around. It’s cool to build a fanbase that’s loyal.”

    Their recent EP The Meds You Deserve, and their full length albums My Life As A Bro and I Hate Me are available for purchase digitally. At the time of press, there are a handful of copies of The Meds You Deserve and I Hate Me on vinyl at Near Mint

    Follow Taking Meds on Facebook, Instagram, and Twitter to stay on top of news and content. 

  • 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
    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