NYS Music 202​1

Author: Hattie Lindert

  • Hearing Aide: Anthony Casuccio Returns with ‘Emotional Lockdown’ EP

    Buffalo-area native Anthony Casuccio has returned with his first solo effort in over 20 years, Emotional Lockdown. Created last year during COVID-19 lockdown, Casuccio said he used music as an outlet to deal with isolation, composing over a dozen songs that became the six-track album. He plans to include some of the additional tracks in live DJ sets.  

    Casuccio, a guitarist and veteran Grammy-winning producer, has gained accolades for remastering albums for icons like Johnny Cash, Roy Orbison and Tony Bennett. But he took a new turn with his latest project, opting for EDM-infused pop with flourishes of 80s rock. The music merges classic pop vocals with experimental synths, feeling from many eras at once.  

    Photo via Anthony Casuccio

    Casuccio combines an acoustic sound with diverse and genre-spanning dance beats. Something about the tone gives the music the feel of coming from your childhood. In fact, this could be widely applicable, as the music feels simultaneously from many different eras at the same time. Opening track “Love is the Answer” could easily soundtrack a Hands Across America ad. “My Destiny” with vocalist Laura Aiisha transports you to a 70s rave, practically conjuring the glitter and silk chiffon. And the penultimate track “I’m Free” brings to mind the Y2K energy of early Daft Punk and Darude’s “Sandstorm.” 

    Though he experiments with his favorite elements of many different genres, sometimes Casuccio relies too heavily on the constraints of radio pop. Beats-machine lines weaken the sound, and the vocal production often feels disjointed from Casuccio’s instrumentals. Casuccio has not yet mastered the immersive and feral nature of today’s electronic music. Yet his take still feels unique and new, if rough around the edges. 

    Casuccio’s taste for combining unusual elements from across pop eras can pay off. When his music leans into a more experimental and heady approach, exciting things happen. Electronic yet retro influences on songs like “Not Alone” bring to mind indie-pop auteur Alex Cameron. The songs’ standout guitar solo, which leads into the beat falling to pieces before disappearing, was a favorite moment on the album. “Not Alone”’s lyrics repeatedly question: “I’m on my own/ I hope I’ve grown.” Over the devolving beat, the track feels the most personal, and also the most arresting, of the entire project. 

    Though the focus is Casuccio’s production, he recorded his own vocals and recruited others to contribute. For “Love is the Answer,” Casuccio recruited veteran vocalist Cynthia Moore, who toured and recorded for 16 years with James Brown. Two songs also feature Buffalo-based singer Laura Aiisha, whose dreamy vocals on “My Destiny” elevate the pulsating disco track.  

    Final track “I Am Drowning” is the most modern pop hit on the project. The track features singer Maddie Radwan, a former student of Casuccio’s. Her raw vocals match pop’s current moment, dominated by artists like Billie Eilish and Willow Smith. The charming collaboration flows nicely and comes in at a chart-appropriate 3 minutes 34 seconds. But some of Casuccio’s production still feels unexpected and experimental, and the influences of a younger student are clear. 

    For all the ways in which COVID-19 crippled the music world, a bright spot was the wave of exploration and creativity that came from isolation. Artists across genres, cooped up, released experimental, raw work that will stand out for a long time. Cassuccio’s choice to experiment with a new sound and explore the bounds of his musicality shines through. Though the EP can falter, Casuccio’s taste for combining unique elements of dance music across time leaves the ear curious.  One can only hope he will continue to use his skill with production to continue to explore what pop and EDM have to offer. 

    Key Tracks: Not Alone, I’m Free, I Am Drowning

  • Meet Stella Prince, The Hudson Valley Songwriter With A Voice Beyond Her Years

    At only 17, Hudson Valley singer-songwriter Stella Prince has a voice and sensibility well beyond her years. Her eerie soprano simultaneously evokes Americana and traditional choral music. But her raw lyrics, which evoke the anxiety and open-heartedness of Gen Z with a rare clarity, even further reflect an old-soul songwriter. After a new single and many solo shows, Prince is looking to take a lifelong dream to the next level. 

    Photo Credit: Lily Prince

    “Ever since I was like 4 I had it in my head that I wanted to be a famous singer,” Prince said. “But I feel like during the pandemic I really just realized that this was meant to be, and it really started growing incredibly quickly.”

    Prince has released three new singles this year, each more arresting than the last. Though the  unassuming honesty and plucked guitar evoke idols of her own like Taylor Swift, her more unconventional tastes shine through as well. As a pre-teen, Prince hosted her own radio show where she primarily played tunes from the ‘30s and ‘40s. She’d grown up with the genre, and liked the idea of playing something unique. Furthermore, she already respected the era’s influence on her, and wanted to share it. 

    “I was just drawn to it,” Prince said. “It taught me so much about music.” 

    Sharing something deeply personal is inherent in Prince’s musical philosophy. Prince describes her goal as bringing “an authentic, acoustic sound back to contemporary music.” Stella Prince believes making something timeless and catchy, that diverse audiences can relate to, doesn’t have to mean sacrificing the words in your heart. 

    The urgency of Prince’s lyrics is nearly palpable in her singular voice, which effortlessly recalls the measured melodies of classic folk. Even on the highest notes, Prince’s voice holds a softness and lightness. Over careful and striking guitar lines, she all but lulls you into a trance. It’s a unique and memorable sound thats led her to critical acclaim.  

    Prince’s first live show, at the iconic Bluebird Cafe in Nashville in early 2020, left her both elated and intimidated. She dropped her guitar onstage, breaking all of the strings. But she thought fast, used the house guitar, and continued to perform. The “traumatizing” experience is far behind her now, and these days Prince’s biggest dream is to play a stadium someday. But Prince said she ultimately gained something from the early mishap. 

    “You have to learn when you’re performing that all of these things can go wrong,” she said. “There’s so many things that can go wrong, and you just have to deal with it.”

    Photo Credit: Lily Prince

    Since gaining her associates degree at 16, Prince has split her time between Nashville and Los Angeles. Prince credits her parents’ support with keeping her sane as she travels more and more for her career. COVID-19-withstanding, Prince has maintained a growing and consistent touring schedule around the East Coast since her graduation. Still a minor, she always travels with her parents. Prince said she’s grateful they’re fellow artists: her father is a writer, and her mother a painter. 

    “I think their work ethic really inspired me growing up,” she said. “They worked all day on their art, and I saw that from a really young age.” 

    Despite her newness in the studio, Prince has already begun solidifying her own tastes into a style. She got a taste for producing with her last single “The Rain Might Fall,” and hopes to continue honing that skill, and control over her sound, in the future. 

    In the track, over a twinkling and methodic melody, Prince grapples candidly with the confusion and turmoil of adolescence. “The Rain Might Fall” finds her unsure of what’s coming next and where she’s going, but aware she must go. Singing “I’ve been staring at the ocean/ mesmerized by motion/wondering why,” Stella Prince effortlessly captures the moment you realize just how big and mysterious the world can be.

    “I think, you know, in terms of songwriting I really knew exactly what I wanted to say,” she said of developing the track. “Because I think the song for me really just talks about what its like to not know.”

    It’s here that Prince’s young age comes through in an arresting way. Her existentially questioning, and sometimes painful, lyrics poignantly reflect the specific anxieties of Gen-Z’ers. Her peers around the world face an uncertain future and rapid change, in a way that feels both collective and personal. 

    On the spare “Scared,” Prince faces that uncertainty head on, as bravely as she did years ago with a broken guitar at the Bluebird Cafe. She sings: “In the end I really have to trust myself/ Once again I can’t wait for someone else/ To fill my dreams, I’m scared it seems/ Its up to me.” The lyric beautifully captures the moment of anxiety right before you do something big, on your own. With confidence and grace, Prince seems well on her way to filling those dreams herself. 

    For more on Stella Prince, visit her website,

  • Bushwick Film Festival Returns for 14th Year

    The Bushwick Film Festival (BFF) makes its return to Brooklyn at the end of October, holding virtual screenings and in-person events from October 20-24. The 14th annual festival will be kicking off with an opening night reception at lounge/ restaurant, Lot 45. 

    The Bushwick Film Festival returns October 20th

    The indie film series will also feature a combination of virtual streaming events, live screenings, Q&A panels and hands-on workshops. The festival attracts over 3500 attendees annually, and more than 1500 film submissions from around the world. This year, BFF made changes to their standard submission guidelines by accepting both screenplays and Non-Fungible Token (NFT) videos. 

    Every year our program is dynamic, but what makes this year so special is the renewed enthusiasm and appreciation for personal interactions,

    BFF founder and CEO Kweighbaye Kotee said in a press release.

    Our hybrid model still has limitations, but gives us hope for the future. The stories we share always offer us the ability to see ourselves in ways we hadn’t imagined before, and we look forward to the incredible lineup this year. 

    That lineup consists of over 135 films from 27 different countries. Though all films will be available online, BFF partnered with Brooklyn’s Regal Cinemas for a full-day, in-person screening on October 23. The festival is dedicated to highlighting diverse stories and underrepresented storytellers, reflecting Brookyn’s cultural diversity and artistic vibrance. 

    The Films

    Many films on this year’s schedule grapple with navigating poverty, oppression and identity. BFF will show the acclaimed Women is Losers, directed by Lissette Feliciano and starring Lorenza Izzo and the breakout star of Marvel’s Shang-Chi and the Legend of the Ten Rings, Simu Liu. The film follows Izzo as a Catholic schoolgirl fighting poverty and working to build an unprecedented future for herself in 1960’s San-Francisco. Americanized, directed by Erica Eng, follows high school student Eng who, growing up immersed in Oakland’s hip-hop culture, struggles to understand her Chinese-American identity and “tries to find a sense of belonging within two worlds that don’t accept her.”  And in Finesse, directed by Vincent Martell, three Chicago roommates “struggle to survive capitalism and find intimacy,” eventually questioning their relationships after a psychedelic experience. 

    The Documentaries

    In addition to original screenplays, the festival will feature a selection of documentaries as well. Contributions include Bangla Surf Girls, a documentary directed by Elizabeth D. Costa following three Bangledashi girls as they join a surf club, navigate family pressure and ultimately come of age. The Last Out, directed by Michael Gassert and Sami Khan, tells a parallel story of seeking more from life. The film follows three Cuban baseball players risking everything to train for their Major League dreams. Released in 2020, the film won Gassert and Khan multiple awards and nominations. The Last Out also received a nomination for Best Documentary Feature at the 2020 Tribeca Film Festival.  

    The Events

    Though the official schedule has not been announced, BFF will host filmmaker Q&A’s every night at 7pm, beginning October 20. Festival attendees will also have opportunities to network with industry professionals at an event at Circa Brewing Co. on October 24. For those participating in the festival online, special events are still accessible. A Movie Industry Conference will be held virtually on October 24th,. Panelists include Emmy-nominated producer Mynette Louie and the editor of HBO’s Scenes from a Marriage, Yael Hersonski, among others.. 

    To cap off the week of festivities, BFF will send approximately ten featured films home with awards. Categories include Best Feature (Narrative and Documentary), Best Series, and Best Short (Narrative or Documentary.) 

    Tickets to the Bushwick Film Festival, and a full list of films, are available here.

  • Trey Anastasio Band Bring New Life To Classics At Radio City Music Hall

    Trey Anastasio Band officially closed out their fall tour with back-to-back shows at Radio City Music Hall over Saturday, October 2nd and Sunday October 3rd. It was the group’s first performance at the legendary venue since 2018’s ” A Concert for Island Relief,” where TAB teamed up with Dave Matthews Band and more to raise money for hurricane relief efforts in Puerto Rico.

    trey anastasio radio city
    photo by Rene Heumer

    This year’s Radio City shows arrived during a similarly turbulent time for both the world and Trey Anastasio Band. Despite the band’ precautions, the lineup was drastically affected by COVID – 19. First came the loss of Jennifer Hartswick to a mild case of the virus, which put the rest of the brass section in quarantine. Then, shortly before a Columbus, Ohio show, Russ Lawton tested positive as well. Thus, on Saturday night, TAB performed as a five piece, with Jon Fishman again stepping in for Lawton.

    As Ray Paczkowski put it:

    We thought about it like, half the band is TAB, half the band is Phish. And we want it to sound like something that isn’t quite either.

    Though powerhouses like Hartswick and Russ Lawton were impossible not to miss, the tapered-down nature of the band allowed TAB the freedom to improvise. The set stayed playful and experimental throughout, and Jon Fishman’s presence behind the drum kit felt familiar while adding a layer of mystery. 

    Furthermore, a smaller band gave newer members an opportunity to shine. Bassist Dezron Douglas joined the band this fall with enormous shoes to fill after the tragic loss of Tony Markellis. Markellis, who joined Trey’s earliest solo project in 1998, was a force of nature and a steady heartbeat within the band. Though Markellis remains one-of-a-kind, Douglas’ jazz roots and dexterous abilities add a new element to TAB. Reportedly, Russ Lawton specifically requested working with Douglas as the band sought a new bassist for this tour. 

    https://www.youtube.com/watch?v=KklDY5VjUkI

    Douglas, who studied at the Hartford Conservatory of Music with Hartswick, brings the life and freedom of jazz to his masterful electric bass work. A classically trained double-bassist who first heard Phish in high school, he embodies the timeless quality of TAB’s music. No matter how many times TAB has performed a song, it never feels the same. Their music, like their ensemble, grows and changes as the years go on. 

    With their rendition of “Mr. Completely” thoroughly embodying their ability to rejuvenate old classics. Highlights included Douglas’ perfect syncopation on bass to Cyro Baptista’s insane percussion break, where he built a beat out of bird calls as the rest of the band went silent. The energy in the audience marked a TAB show at its very best; fans of all ages focused on letting a rhythm take them, dancing their hearts out together. For some 20-odd minutes, the harmony rang throughout the audience.

    Despite setbacks along the road and the constraints of touring during COVID-19, the TAB live experience was fully intact at Radio City. After their hiatus from the venue, TAB offered a little bit of everything, from a heartwrenching Paczkowski/Anastasio duet of “Shade” to crowd favorite “Twist.” The packed house got a joyous and poignant set that honored those missing and welcomed new (and familiar) faces back again. As Paczkowski said, the goal was to create something a little TAB, a little Phish, but also new and singular. By the time TAB landed on classic closer “First Tube,” the crowd dancing madly in the aisles, it was clear that job was done. 

    Setlist via Phish.net

    Trey Anastasio Band – Radio City Music Hall, New York City – Sunday, October 3, 2021

    Set 1: 46 Days, Tube, In Rounds, Gotta Jibboo, Cayman Review > Blaze On

    Set 2: Party Time > Ghost > Mr. Completely, Shade > Twist

    Encore: When the Words Go Away*, Theme From the Bottom*, More*, First Tube

    * = Trey Anastasio solo acoustic

    Sunday review by Matt Romano

    The final evening of Trey Anastasio Band’s 2021 tour was a Sunday to remember. The revolving cast of musicians included Trey Anastasio and Jon Fishman’s first time together on the infamous stage at Radio City since Spring of 2000. It’s important to understand the level of composition versus improvisation Trey’s music takes on for whomever joins him on stage. Keyboardist Ray Packzkowski, percussionist Cyro Baptista and bassist Dezron Douglas were all the right cats to join in the moment at Rockefeller. 

    A nod to the NYC subways helped the show open with “Get Back on the Train.” Having Cyro add another layer of percussion to Fishman’s grooves all night was reminiscent of Phish’s Halloween’s shows in Atlantic City 2010 with Giovanni Hidalgo and Atlanta 1996 with Karl Perrazo. Dezron Douglas’ bottom end locked in with them served up the funkiest “Moma Dance” to date that clocked in over 20 minutes. “Undermind” also included heavy drum grooves with Jon and Cyro exploring all of the skins in front of them. “Ocelot,” “Set Your Soul Free” and a chilling set closing “Dark and Down” helped wrap up a complete jam heavy 6-song set. 

    The second set opened the Art Deco venue with Tony Markellis’ infamous bass line to “Sand” This ensemble really had all three mezzanines grooving immediately. Paczkowski’s rig sounded as if it was coming from Radio City’s organ in the main theatre, the largest instrument ever built by the Wurlitzer company. “Everything’s Right” served up the longest layer of improvisation clocking in at over 35 minutes of sound stretching out to the grand foyer. Ups, downs, ins and outs… it was hair raising. Trey returned to his Upper West Side abode for “Lonely Trip” and never “Never Left Home,” recorded solo during his NYC quarantine. Dezron Douglas’ bass line sounds like jelly jam to Trey’s lyrics on this. “Oh, I’ll never be halted, I always shall roam. Oh, scaling the cliffs and enjoying the view” The band then closed the show with a dark and extended “Carini.”

    The encore was full of special dedications and moments to TAB members current and past. Trey let the crowd know that members Russ Lawton, Jennifer Hartswick, Natalie Cressman, Coachema Gastelum and James Casey were all in good health and on the mend despite their absence. A soul Sunday nod to Markellis was sent out to the theater as well. Trey appropriately performed “Strange Design” and “Backwards Down the Number Line” on the acoustic guitar to reference all these friends as part of the tour’s ever changing ride. 

    He then invited special guest James Casey to the stage in hand with alto soprano sax for backing vocals on the last three songs. “Evolve” “Rise/Come Together” and “Life Beyond a Dream” Casey’s sax blew like Branford under the great proscenium arch that sits above the stage. All three songs’ message is saturated in positivity and optimism towards whatever life can throw at you. Love is the message here. “We’re all looking for a little more love to shine a light and lift us up,” “Don’t give up hope. Keep on dreaming.” 

    Setlist via Phish.net

    Trey Anastasio Band – Radio City Music Hall, New York City – Sunday, October 3, 2021

    Set 1: Back on the Train > The Moma Dance, Undermind > Ocelot, Set Your Soul Free, Dark and Down

    Set 2: Sand, Everything’s Right, Lonely Trip, I Never Left Home > Carini

    Encore: Strange Design [1], Backwards Down the Number Line[1], Evolve [2], Rise/Come Together [3], A Life Beyond The Dream[3]
    [1] Trey solo acoustic.
    [2] With James Casey on saxophone.
    [3] With James Casey on additional vocals and saxophone.

  • Slothrust Announce Additional Tourdates with stop at Hammerstein Ballroom, Share New Music Video

    Alt-rock group Slothrust have announced the first leg of their 2022 headlining tour, adding to their Fall 2021 tourdates with Manchester Orchestra. Fans on the West Coast are in luck, as the first seven dates will span across California, Oregon and Washington. The tour kicks off on March 17th at the Soda Bar in San Diego. 

    slothrust tour

    The tour announcement comes on the heels of Slothrust’s most recent album Parallel Timeline, released earlier this month through Dangerbird Records. Bandleader Leah Wellbaum’s haunting, breathy alto grounds the dreamy record. Wellbaum said she sought to connect with her inner child through the writing process, centering herself in an ethos of freedom and uncensored catharsis. This vision is apparent through her vocal experimentation and the new, expansive production techniques the band uses. Even the records promotional imagery of bright inverted rainbows, reflects “a gateway to exploring the illusory things we see and experience in everyday life.” 

    Building on the theme of illusion, Slothrust also dropped a surreal new music video for track “Waiting.” Using the iconography of mandalas, Wellbaum moves through an uncertain and hazy world. Some of the imagery is notably childlike: clear balloons and bushels of fruit. Wellbaum grounds herself in the environment by brushing against plants or holding tight to her guitar.

    The refrain calls out “Set me free/ I’ve been waiting passively/ I’m not scared/ I’ve never been so prepared.” In other words, Slothrust and Wellbaum are ready to explore their own musical liminal state. After all, Wellbaum characterizes herself as a “strong believer that nothing is quite as it seems, and that a greater reality exists beyond what the human eye can see.” 

    Fans too eager to wait (or too broke to make it to California) for their headlining tour need not fret. That is to say, Slothrust have many upcoming shows supporting Manchester Orchestra and Foxing. The band will arrive in the New York area on October 21st, playing the Hammerstein Ballroom in New York City. After that, they’ll move south for Birmingham and Atlanta shows.

    Slothrust 2021 Tour Dates w/Manchester Orchestra:

    10/5 – Dallas, TX @ Gas Monkey Bar N’ Grill

    10/6 – Houston, TX @ White Oak Music Hall

    10/8 – Lake Buena Vista, FL @ House of Blues

    10/9 – Fort Lauderdale, FL @ Revolution Live

    10/10 – St. Petersburg, FL @ Jannus Live

    10/12 – Charlotte, NC @ The Fillmore Charlotte

    10/13 – Richmond, VA @ The National

    10/15 – Philadelphia, PA @ The Fillmore

    10/16 – Baltimore, MD @ Rams Head Live!

    10/18 – Boston, MA @ House of Blues

    10/19 – Portland, ME @ State Theatre

    10/21 – New York, NY @ Hammerstein Ballroom

    11/16 – Louisville, KY @ Mercury Ballroom

    11/17 – Nashville, TN @ Ryman Auditorium

    11/18 – Birmingham, AL @ Alabama Theatre

    11/19 – Atlanta, GA @ Fox Theatre

    Slothrust 2022 Headline Tour Dates:

    3/17 – San Diego, CA @ Soda Bar

    3/18 – Los Angeles, CA @ Lodge Room

    3/19 – San Francisco, CA @ Independent

    3/20 – Sacramento, CA @ Holy Diver

    3/25 – Portland, OR @ Revolution Hall

    3/26 – Seattle, WA @ Crocodile

    3/27 – Bend, OR @ Volcanic Theatre Pub

  • Cayuga Chamber Orchestra Kicks off 45th Season

    The Cayuga Chamber Orchestra in Ithaca are welcoming a 45th season. This year, the orchestra promises a diverse lineup, acclaimed soloists, and above all, “uplifting, thought-provoking, and inspirational” programming. 

    The season kicked off on Sunday, September 26th with a Chamber Music Series program of string classics. The intimate performance at First Unitarian Church in Ithaca featured three diverse pieces. The first two selections highlighted Taileferre, a trailblazing French female composer, and George Walker, the first Black composer to win a Pulitzer prize. The program closed with a performance of Brahms’ “String Sextet No. 2 in G Major.” The composers’ youthful vision connects them: all three composers were in their mid-20s when writing these symphonies.

    cayuga chamber orchestra

    Standout performers this season include violinist and concertmaster Christina Bouey. Bouey will perform a Beethoven solo at CCO’s next offering, a rendition of “Beethoven’s Fifth” scheduled for October 23rd. Ithaca College will host the event. This season will also feature a performance of Rodrigo from Jordan Dodson, who has been called “one of the top young guitarists of his generation.” Dodson will play at Ithaca College as well, on Saturday, November 20th.  

    cayuga chamber orchestra

    Beyond professional performances, the Cayuga Chamber Orchestra also boasts a vibrant youth orchestra. The CCYO just began rehearsals in step with the new season. The program offers kids exposure to a new level of play, as former member Connor Furman detailed in the orchestra’s latest newsletter. Furman, who now sits principal his college orchestra, explained the joy of having access to symphony music in a small community. 

    I came from a very small high school…we didn’t have a marching band, and there was no orchestra, so going from an extremely small band, to a full symphonic orchestra was really a completely new experience. And I loved it! I got to play things I knew I would never play at my high school.

    Connor Furman

    The Youth Orchestra will have their first performance of the season in a winter showcase on January 8th, 2022. But those with young children who may not be ready for their own sheet music need not fear. The CCO offers an immersive Family Concert Series as well, kicking off on November 18th. The program combines live music, narrated children’s books, and opportunities for tots to try new instruments with the help of CCO musicians. Moreover, the event is free of admission. 

    For further details on CCO’s upcoming calendar, and to purchase tickets to any and all events, visit the CCO website.

    https://www.youtube.com/watch?v=LnnGiBl9V8c

  • TAUK Reveal Cinematic New Album ‘Chaos Companion’

    TAUK have released their long-awaited, seventh full-length studio album Chaos Companion. The electro-prog quartet, based in Long Island, blur the lines between jam music and futuristic electro, creating an infectious blend that doesn’t let up. Their instrumental soundscapes are transportive, and you’re going to want to visit the rock Shangri-La to which they’re inviting you. 

    TAUK makes music that feels high-speed without forgoing the smoothness of a steady groove. This sublime combination gives the album an overtly cinematic quality; every song could be its own unique score. “Lonely Robot” sounds like the soundtrack to a dreamy video game car chase. Fittingly, the song received additional production from respected film composer Tyler Bates who worked on the soundtracks to John Wick and Guardians of the Galaxy. And “Dormammu,” which features The Shady Horns, could be the soundtrack to a dramatic final fight sequence fought with glowing swords. TAUK’s lack of lyrics allows their music to focus on building a soundscape, and unequivocally transporting the listener into their corner of space.  

    TAUK bassist Charlie Dolan, guitarist Matt Jalbert and keyboardist Alric “A.C.” Carter began playing together as middle schoolers. Isaac Teel eventually completed the quartet on the drums in 2012, forming the groups current iteration. TAUK recorded Chaos Companion at their newly completed studio on native Long Island. 

    “Everyones got a chaos companion, something that keeps you grounded amidst all of the madness,” Dolan said of the album title. “For us, it was the music.” 

    A chaos companion feels like a fitting image in the midst of post-quarantine confusion. TAUK, accustomed to a relentless touring schedule and festival slots at the likes of Bonnaroo and Electric Forest, were forced off the road in 2020 due to COVID-19. Unable to perform, the band explored their creative endeavors independently.  Carter and Jalbert began exploring the possibilities of production softwares like Logic, leading them to enter the studio with some of TAUK’s most fully-realized demos yet. Their preparedness, however, didn’t hinder the band from capturing the improvisational quality that infuses these tracks with excitement. In fact, much of what would become the final cut of Chaos Companion was recorded live in the studio. 

    “Being an instrumental band already comes with a lot of freedom,” Carter said. “Having all that time away from the road really allowed each of us to experiment and explore in our own ways. It opened up whole new palettes for us to paint with.” 

    The exploration Carter speaks of leads TAUK to some truly astounding genre mashups. This album sounds like a film score, but it’s often hard to put one’s finger on what film. In short, each song is it’s own vignette, existing in the same landscape but telling a different story. Album standout “The Let Out,” which incorporates a grimy guitar riff, feels like the music you’d hear in an elevator headed straight to hell. Starting off with the same dreamy synths and electric guitar TAUK specializes in, they end up offering something totally new.

    “Technodrome” opens with a distorted female voice stating, “This is not something you can just run from. Yesterday has evaporated.” The song provides TAUK’s trademark exultant mix of jam guitar and electro staples, but refuses traditional genre constraints. The opening statement feels fitting in that way; music is changing, TAUK is changing, and instead of hiding from that they may as well embrace the future. 

    TAUK are currently on tour supporting the album, with an upcoming Brooklyn show October 2. For full dates and to purchase tickets, visit https://www.taukband.com/shows/.

    Listen to the full Chaos Companion album below:

    Standout Tracks:

    Dormammu ft. The Shady Horns

    The Let Out

    Lonely Robot

  • Faye Webster Brings Peace and Pedal Steel to Higher Ground

    Atlanta singer Faye Webster brought her I Know I’m Dangerous Haha tour to Burlington, VT on Friday, playing Higher Ground’s Showcase Lounge. The Atlanta singer/songwriter released her album I Know I’m Funny Haha in June to critical acclaim. 

    Accompanying Faye Webster on the tour, and putting meaning to the tour name, are Atlanta rap duo Danger Incorporated. The pair, composed of Boothlord and Louie Duffelbags, got the crowd hyped with heavy-beats hits like “Diamonds.”

    faye webster

    Though Danger Incorporated and Faye Webster couldn’t belong to more different genres, their opening set felt fitting. Their mournful, introspective trap proved an apt opener for Webster’s melancholy country. When Boothlord, Webster’s partner, hops on an electric guitar, you can see why they may get along on. And from his DJ table, the perpetually stoic Louie Duffelbags’ reverberating beats made the small venue feel enormous. 

    “This next one’s an emotional banger, so beware,” Duffelbags warned before one song. But “emotional banger” could describe their entire repertoire: music for the lonely drive home from the club, when the bass still reverberates in your ears but bleakness starts to filter in.  Their latest single “Shut the F**k Up :,)” is a slow, thundering anthem with a simple message: leave me alone. Danger Incorporated’s whispered tones match, in their own emo-trapper way, the laidback, woozy delivery that makes Faye Webster’s music so special. 

    faye webster

    Before Faye Webster took the stage, a resounding chorus of “ha-ha’s” played from the speakers; different voices, different intonations, but the same haunting laugh. Illuminated by bright red circles reading “haha” that also emblazon her latest album’s cover, Webster played a stunning set to an enraptured crowd. From more upbeat anthems like “Cheers” to the breezy bossa-nova of “Kind Of,” the set flowed into one river of emotion and light drums. 

    The emotional depth and sense of wisdom in Faye Webster’s music makes it easy to forget she’s only 23. Her exceedingly casual onstage persona evokes youth. Interacting with the audience, she alternates between avoiding attention and extending audience conversation for moments. When a fan called out that they love her, she laughed shyly and mumbled, “That’s sick.”  But when an audience member called out, “What’s that guy playing?” referring to Matt “Pistol” Stoessel expertly playing a pedal-steel guitar, Webster became noticeably excited by the question. She called for the crowd to make a pathway for the curious viewer. 

    faye webster

    “Can you see it yet?” Webster called out, as Stoessel and bassist Noor Khan continued to lay down a groove. “It’s a pedal steel. It’s fucking sick.” 

    This old-soul, young-spirit quality is exactly what makes Webster’s heart-achey alt-country feel so arresting. Her fascination with old-school country instruments, mixed with a taste for the soul-bearing lyricism of R&B, creates something totally new. At what other show could an emo-trap duo open for a band with a pedal-steel, and flow seamlessly together? This is music for a new generation. 

    faye webster

    As melancholy as the material she works with is, Faye Webster’s performance felt anything but sad. In fact, her singular, wavering voice and that mesmerizing pedal steel felt like a warm embrace. Webster is a friend who may not know you well but knows exactly what you’re going through. 

    “I’ve been getting really good at taking care of myself these past few years,” Webster said at one point to thundering applause. And that night in Burlington, self-care was the name of the game. From Webster’s constant onstage hydration to the brimming tears in audience members eyes, clutching each other to especially emotional tracks like “A Stranger” or beloved older track “Jonny,” the set was restorative. If Webster’s dazzling latest album came from an effort to care for herself better, her performance offered that care to the crowd. 

    Faye Webster’s East Coast tour will continue with an upcoming New York set at Governor’s Ball on September 26. Watch her latest music video, for “Overslept” with mei ehara, below: 

  • Gogol Bordello Bring The Immigrant Punk Party to Burlington

    Gogol Bordello, the legendary gypsy-punk collective known for their high-energy shows and genre-bending music, touched down in Vermont on Wednesday, performing at Higher Ground in Burlington, VT. 

    The show replaced a Montreal tour date that was rescheduled due to shifting COVID regulations. But Gogol Bordello has a long history in the Burlington area. Frontman Eugene Hutz moved to the area with his family when they first came to the states, as political refugees from Ukraine in 1992. Already an avid guitarist, Hutz formed popular local punk band The Fags before eventually moving to New York, where he would form Gogol Bordello in 1999. 

    The anticipation among the crowd at Higher Ground matched that long, storied history. Concertgoers of all ages mulled around the venue, often greeting each other with a smile and asking “you ready?” A worthy question– it’s hard to be fully ready for the kind of breakneck, immersive experience that is a Gogol Bordello show. 

    Nu Folk Rebel Alliance, a duo of Gogol Bordello member Pedro Erazo and guitarist Leo Minimum Tek, opened the show. A frequent associate of Gogol Bordello, Nu Folk Rebel Alliance shares their passion for blending global folkloric traditions with a punk rock twist. Pedro Erazo proves a charismatic presence, as arresting on vocals and percussion as in front of a DJ table. An electro-influence cover of “Working Class Hero” cemented the band’s power-to-the-people message, along with original “Fronteras,” an immigration anthem which Erazo addressed to “our brothers and sisters at the border.” Fronteras features a spaghetti-western guitar riff over heavy bass, nimbly blending the old with the new. The song bitingly addresses those who “wash their hands with corruption/ Making our lives miserable/ Miseducating our hoods.” Sung in Spanish and English, “Fronteras” urges immigrants of all nations to rise up in international solidarity and fury. 

    The humming Romani melodies signaling Gogol Bordello’s entrance began echoing before the group even stepped on stage, mesmerizing the crowd. The longer it lasted, the more voices in the audience called for them: “We want you!” A security guard tapped me, warning “you might want to be ready to get out of the way. Just in case there’s crowd surfers.” What exactly was I in for? 

    What I was in for, it turned out, was a rousing, electric and moving performance; a “gypsy punky party,” as Eugene Hutz declared. Once they began performing it proved impossible to look away. Their musical capability is astounding; just drums, violin and an acoustic guitar can give the impression of the center of a thunderstorm. Each song seems to feature a new instrument offering the perfect final tough; bongos, or bells, or an enormous marching bass drum. 

    The band’s unity, creativity and technical skill make thundering tracks like “Wonderlust King” and “Immigraniada” feel stadium-worthy. But the close environment of a club offered Gogol Bordello an opportunity to highlight their other grand talent: engaging an audience. Hopping from platform to platform and teetering at the edge of the stage, the band treats the stage like a playground and encourages the audience to adopt the same mentality. Many times, Hutz spun his hands as the crowd energy grew and grew, literally stirring the pot. 

    What felt most revolutionary about the performance was its embodiment of the Gogol Bordello’s mission: breaking boundaries, emphasizing global solidarity, and rejecting the norm. Even the band itself was somewhat shifted; Gogol Bordello announced on Tuesday members Ashley Tobias and Boris Pelekh had tested positive for COVID-19 and were quarantining. Leo Minimum Tek stood in for Pelekh with the rousing support of Hutz, whose unfettered, wiley joy seems utterly unsinkable. Waltzing across the stage in an open, tasseled bolero jacket, twirling his guitar as casually as the bottle of Brazilian rum he brought onstage, Hutz couldn’t be less bothered. His demeanor of carelessness seemed to say: Hey, the world is fucked, but we can have fun with it, together. The emotion is as intoxicating as their breathless musical pace. 

    Furthermore, crowd participation isn’t optional with Gogol Bordell. Hutz’s gutterall yells and ad-libs always include a microphone to the crowd, and occasionally a tease to get louder. But the chaos of their music never loses you, as the mind-boggling technique kill violinist Sergey Ryabtsev specifically catches you and doesn’t let go. His mesmerizing violin brings to mind a lived-out version of The Devil Went Down To Georgia, the classic tune where a musician plays for his life. Ryabtsev could surely beat the devil at this game, even in his own territory. 

    The band came out for a lengthy, rowdy encore after an hour-long set, performing classics like “Start Wearing Purple,” and new track “Roaring 2020s.” As wild moshing continued in the pit, a couple on the edge of the crowd waltzed together, twirling furiously. No one wanted the party to end. 

    However, all parties must end, and before they headed offstage Gogol Bordello stood together, extending their arms to the crowd. Though they had been the ones to bring their wild breed of freedom, we had all shared in the moment, and they thanked us. Hutz left the audience with a final, affecting message: “Don’t believe the hype, don’t believe the anti-hype. Stay fucking centered.” 

    Bob Marley’s “Redemption Song,” played as the crowd trickled back out into the night. Whatever had been released in that theater left, in its place, a free and easy feeling; the performance had captured the angst, energy and possibly fleeting joy of this moment in time. When Gogol Bordello say they ‘confront the jaded and the irony-deseased,” they mean it. Their inspiring message of international-mindedness, righteous fury and pure fun is enough to leave the most jaded of souls with hope for the future. That is, a future with lightning rods like Gogol Bordello in it.

  • Organ Fairchild Release Long-Awaited Debut Album “Brewed In Buffalo”

    New York jam/groove trio Organ Fairchild today release their debut album Brewed In Buffalo. The trio consists of Joe Bellanti on keys, Corey Kertzie on drums and Dave Ruch on guitar. The three lifelong musicians have played together in cover band Wild Knights since 1983, but only began writing and performing originals in 2019. 

    organ fairchild Brewed In Buffalo

    The album offers a classic jam sound, begging to be heard at an outdoor venue with plenty of space to dance. The trio operates like a well-oiled machine, maintaining steady grooves while deferring to each other with communicative solos. On opening track “Amateur Night at the Apollo,” Bellanti’s organ and Ruch’s guitar quite literally feel in conversation with each other, steadied by Kertzie’s masterful rhythms. Although none of the tracks have lyrics, in its best moments, this album speaks. 

    What stands out most about Organ Fairchild is their fascination with building a melody from the ground up. Building melodies with this in mind creates an immersive experience; Organ Fairchild’s music is as easy to fall into as it is to snap out of. The thick, whirring hum of Bellanti’s organ is essential in building Organ Fairchild’s musical environment, and especially hypnotic on longer tracks. 

    The album mainly follows traditional jam/groove patterns, displaying the trio’s mastery of their craft. But tracks like album highlight “Bailar” step outside of the mold, proving Organ Fairchild best find their footing in experimentation. “Bailar,” anchored by a breathless Latin percussion line, is pure fun and movement.The beginning of the track boasts a guitar solo from Ruch that would drop Santana’s jaw; the climactic end brings the maniacal riffs of Funkadelic to mind. The extensive influences that come from the trio’s years of cover experience convalesce here into a beautiful crescendo. The song runs through your body like a shock. 

    Album closer “Dylan St. James” takes a lighter approach, employing the eye-on-the-sky warmth of Tom Petty’s music. Of all the tracks, Dylan St. James feels the most listenable in daily life; on a long car ride at sunset, or a particularly introspective moment where headphones drown out the rest. If the album speaks without words, this track represents a central mantra; keep moving, keep trying, keep finding joy in the little moments. Uplifting, mournful and downright fun in equal measures, Organ Fairchild leaves the listener with their head held high, looking onwards and upwards.  

    Organ Fairchild also won this year’s NYS Music March Madness, voted #1 out of 64 bands in the annual friendly competition.

    Organ Fairchild will perform songs from Brewed In Buffalo live at upstate New York’s Borderlands Festival, to be held September 18th and 19th. Watch a live performance of album single “Get The Scotch Out” below: