Category: Audio

  • Midlake Announce “For the Sake of Bethel Woods,” First Album Since 2013

    Midlake has announced their fifth studio album, For The Sake of Bethel Woods, and shared the first single, titled “Meanwhile…” The Texas-based band has not released new music since 2013’s Antiphon. 

    Photo by Barbara FG

    Midlake’s brand of folk-rock evokes the brooding, funk-influenced sound of groups like TV on The Radio. After the departure of original frontman Tim Smith, they threw out their past recordings and restarted as a new quintet, hurriedly releasing a new album. On Antiphon, Midlake leaned into their rock side with distorted electric guitar riffs and newly-minted frontman Eric Pulido’s Bowie-protege vocals. 

    Almost a decade later, on “Meanwhile…” the band finds a lighter touch. A swoon-worthy 60’s rhythm carved out by drummer McKenzie Smith allows the steady acoustic guitar and wavering metronome to absolutely float. Pulido’s vocals, though mournful, are softer and more whimsical than ever. 

    Pulido said the track speaks to two key points in Midlake’s history: when the band decided to go on hiatus in 2014, and when they were inspired to reconvene in 2020. 

    “Everyone had their respective experience during the uncertain time apart,” he said, “culminating in a confident and celebratory return to form.”

    Available for preorder now, For The Sake of Bethel Woods will be released on March 18th of next year. For their first time working with an outside producer, Midlake brought in the big guns, recruiting Grammy-award-winning producer John Congleton. Congleton, whose previous credits include St. Vincent and Sharon Van Etten, produced, engineered, and mixed the album at Elmwood Recording Studio in Midlake’s native Texas. 

    Though the project marks a homecoming of sorts for Midlake, the reunion is bittersweet. For The Sake of Bethel Woods’ cover art pays homage to keyboardists Jesse Chandler’s father, who passed away in 2018. 

    “For me, the picture of that kid, my dad, forever frozen in time, encapsulates what it means to be in the throes of impressionable and fleeting youth,” Chandler said,  “and all that the magic of music, peace, love, and communion bring to it, whether one knows it at the time or not. 

    Midlake has unveiled an exclusive live performance of “Bethel Woods” filmed at Dallas, TX’s Modern Electric Sound Recorders by director Rett Rogers and co-director Barbara FG and marks the second in a new multi-part series of exclusive live sessions, “Meanwhile In Texas,” with additional installments set to premiere in the coming weeks.

    Promoting For The Sake Of Bethel Woods, Midlake has also announced a series of North American Tour Dates,

    Midlake 2022 Tour Dates

    MARCH
    9 – Denton, TX – Dan’s Silverleaf
    10 – Denton, TX – Dan’s Silverleaf
    16 – Gothenburg, SW – Pustervik
    17 – Oslo, NO – Vulkan Arena
    18 – Stockholm, SW – Nalen
    20 – Copenhagen, DK – Pumpehuset
    21 – Berlin, DE – Columbia Theater
    22 – Munich, DE – Freiheizhalle
    23 – Vienna, AU – Flex
    25 – St. Gallen, CH – Palace
    26 – Maastricht, NL – Muziekgieterij
    27 – Utrecht, NL – Ronda
    29 – Hamburg, DE – Mojo Club
    31 – Groningen, NL – De Oosterpoort

    APRIL
    1 – Cologne, DE – Bürgerhaus Stollwerck
    2 – Antwerp, BE = Trix
    3 – Paris, FR – Alhambra
    5 – Brighton, UK – Chalk
    6 – London, UK – Roundhouse
    8 – Newcastle, UK – University Student’s Union
    9 – Edinburgh, UK – Assembly Rooms
    10 – Manchester, UK – Albert Hall
    11 – Dublin, IR – Vicar Street

    MAY
    8 – Nashville, TN – 3rd & Lindsley
    10 – Washington, DC – Union Stage
    11 – Philadelphia, PA – World Cafe Live (Downstairs)
    13 – Woodstock, NY – Levon Helm Studios
    14 – New York, NY – Bowery Ballroom
    16 – Pittsburgh, PA – Thunderbird Cafe & Music Hall
    17 – Louisville, KY – Headliners Music Hall
    19 – St. Louis, MO – Off Broadway
    20 – Kansas City, MO – recordBar
    21 – Oklahoma City, OK – Beer City Music Hall

  • This Week’s EQXposure Features Belle-Skinner, grape juice! And More

    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 new music from Belle-Skinner, grape juice! and many 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.

    Belle-Skinner

    Just in time for Halloween, singer-songwriter Belle-Skinner has released her love magic-themed EP, Love Spell. Each song is equal parts spooky and seductive, with siren-esque vocals and lyrics that charm and bewitch. Skinner created the concept after hearing similar songs written by her friends, and penned her own to accompany the covers. “Spellbound” follows Skinner as the target of a love spell, while the psychedelic “Love Witch” sees her as the perpetrator. Instruments like the organ and theremin set the mood perfectly, creating a haunting atmosphere.

    grape juice!

    Albany alternative rock band grape juice! released their newest single “sad songs” in July. Despite the title and some of its lyrics like “Disappointment is my forte,” it’s an upbeat power pop song in the vein of Weezer and Fountains of Wayne.

  • Revisit Derek and the Dominos ‘Live at The Fillmore East’: October 23 & 24, 1970

    This weekend marks the anniversary of some of the greatest music ever performed by Derek and the Dominos, which happened to take place at the iconic Fillmore East in New York City. Although the band does have one studio album to their credit, Live At The FIllmore East may be their crowning achievement in terms of audio recordings.

    This is an incredibly easy to listen to album, one that combines original Dominos songs and Eric Clapton tunes with a splash of cover songs mixed throughout. Derek and the Dominos was a band that, essentially, came together during the recording of George Harrison’s first solo album All Things Must Pass. And while their shelf life may have been short, thanks to this album their legacy will live on forever in a very positive way.

    Derek and the Dominos Fillmore

    The band wastes no time getting into an immediate early groove for the album-opening “Got To Get Better In A Little While.” A song that was planned for the band’s second studio album that never came to fruition, it features Clapton and Bobby Whitlock going riff for riff on guitar and piano, respectively, in a tasteful jam that stretches out to nearly 14 minutes in length. Whitlock adds some nice vocal harmonies as well as the chorus rounds back into place with the music picking up a collective head of steam.

    This first track was pulled from the opening night of music on October 23. Here’s a taste of the October 24 version that didn’t make the album cut.

    For the next number, this time drummer Jim Gordon and Whitlock kick things off on “Why Does Love Got To Be So Sad?” Eventually, Clapton gets his guitar’s wah pedal going in full force and a crisp little jam ensues before the first word is ever sung. This is the first of many songs pulled from the group’s epic Layla And Other Assorted Love Songs album that would be released just weeks later. Co-written by Clapton and Whitlock, who again adds some impeccable backup vocals, it’s another one of the longer tracks on the album thanks to a whirlwind jam that never lets off the gas pedal, ably fueled by Carl Radle on bass. After coming a to head, the band shifts the tone into a much quieter, bluesy one for several minutes before the chorus comes back around one last time. The Fillmore crowd demonstrably shows their appreciation to the Dominos after this one.

    This helps set the tone for “Key To The Highway,” a cover of an old blues standard that dates back to the 1940s. Clapton takes center stage and shows why he’s considered one of the great blues players of this generation, delivering one stinging guitar lick after another. Another Layla song, this one made it onto the album by pure happenstance. Allegedly Clapton and Duane Allman, who was prominently involved with the album’s studio recording – playing on 11 of the 14 tracks, heard the song being played in a neighboring studio and decided to play along to it. “Blues Power” slides in perfectly behind this, a song that appears on Clapton’s first solo album that Leon Russell helped write. These last two blues-heavy numbers are both taken from the October 24 recording.

    The first of this two-disc releases out first with “Have You Ever Loved A Woman,” another blues cover that found its way onto Layla. This one is even slower and “bluesier,” if that’s possible, with the tempo never going past a slow shuffle. Clapton lets both his vocals and guitar do all the singing on this one while Whitlock adds some delicate piano fills throughout. Then “Bottle Of Red Wine” wraps up the first part of the album, another rollicking, blues-infused song that Clapton navigates with ease, with Whitlock jumping on the organ for assistance now.

    Derek and the Dominos Fillmore

    The second half of this iconic albums begins with “Tell The Truth,” another Clapton-Whitlock collaboration pulled from Layla. The two essentially share lead vocals on this fun little number that ebbs and flows with emotion and soul. Once the vocals are out of the way, Clapton reverts back to rock legend mode and lays down a tremendous solo, spearheading one of the longer jams of the album. Up next is another sterling cover of a blues standard. This time it’s “Nobody Knows You When You’re Down And Out,” originally written by pianist Jimmie Cox in 1923. Clapton’s bluesy drawl is backed perfectly by Whitlock and Gordon on piano and drums, respectively.

    The Dominos then return to their own catalog with “Roll It Over.” While it wasn’t on the original Layla release, it did make its way on to the 40th Anniversary Deluxe reissue. It’s a classic rock number the sees Clapton explore a few different tones in his guitar play during a steadily progressive jam. The Fillmore crowd immediately recognizes the next song as “Presence Of The Lord,” made famous by one of Clapton’s former bands, Traffic. It’s the only Traffic tune on the album, but the Dominos do it justice as a mellow, laid back composed section gives way to a rapid, intense sequence of music before reverting back.

    The final three tracks of Derek and the Dominos: Live At The Fillmore may be one of the best three-song sequences of the album, and, naturally it contains a pair of incredible covers. The first of these is Jimi Hendrix’s “Little Wing.” Whitlock’s organ fills give this cover more than a soulful feel as both he and Clapton take care of the vocals with ease. Not one to be outdone, Clapton then delivers a few bars of a psychedelic guitar solo that serves a truly fitting homage to the great Hendrix who passed away barely a month before this performance in 1970.

    This jaw dropping cover is followed by what very well may be the best track on the album, a scintillating and exploratory “Let It Rain.” It’s the last of three singles from Clapton’s solo album and the Dominos stretch this one out and then some. Clapton and Whitlock go tit-for-tat with each screaming out, “Let It Rain” in succession towards the end of the composed section. Afterwards, all hell breaks lose starting with one more mesmerizing run by Clapton on the fretboard as the rhythm section just tries to keep up. Eventually, Clapton switches from wailing guitar mode to a heavy, funked out “wah” effect, taking the jam to another level. This eventually gives way to a Jim Gordon drum solo that goes on for well more than four minutes before the guitar finally reenters the mix. After a few more minutes of some fun Gordon and Clapton call and response interplay, the band explodes back in the chorus emphatically. It’s by far the longest track on the album, and arguably the most enjoyable as the “beautiful” Fillmore crowd (so labeled by Clapton at song’s end) would surely attest.

    The album then closes with the last cover song of the evening made famous by another one of Slowhand’s former bands. This time it’s the great Robert Johnson’s “Crossroads,” although, in fitting with the tone of the album, it’s a much slower and soulful take than the version Cream made famous. It allows for one last great Clapton guitar solo which ends the album in grand fashion and serves as the last reminder of one memorable two-night run by Derek and the Dominos at the Fillmore that took place, truly, at the height of their powers.

    This album is available to listen in its entirety on Youtube here. Also, be sure to check out the video below of all the great songs and outtakes that didn’t quite make the final cut.

    Derek and the Dominos Live at the Fillmore East – New York, NY October 23 & 24

    Disc 1

    1. Got To Get Better In A Little While
    2. Why Does Love Got To Be So Sad
    3. Key To The Highway
    4. Blues Power
    5. Have You Ever Loved A Woman
    6. Bottle Of Red Wine

    Disc 2

    1. Tell The Truth
    2. Nobody Knows You When You’re Down And Out
    3. Roll It Over
    4. Presence Of The Lord
    5. Little Wing
    6. Let It Rain
    7. Crossroads

  • The Grateful Dead Turn up the Heat at Colden Auditorium in Queens: October 10, 1970

    For as many shows in New York that the Grateful Dead have played, it’s almost amazing that there are only three of them that took place in Queens. Today marks the anniversary of the third and final one. The Grateful Dead treated a ravenous crowd at Colden Auditorium on the campus of Queens College to a show featuring songs from, perhaps, two of their most iconic albums of all time. In just a few weeks, the band would release American Beauty, taking them to an entire new level of national popularity. And with Workingman’s Dead still fresh from earlier in the year, this shows falls in a time period where the band is simply rife with creativity as they continue to from their own unique version of country-folk blended with West Coast psychedelia.

    grateful Dead queens
    Colden Auditorum

    It begins with some extended tuning, during which guitarist Bob Weir tells the crowd that “Marmaduke stayed home,” a reference to their friend from New Riders of the Purple Sage – a band that often tagged along with the Dead for New York City shows. Weir chides that, “This is the economy package.” Elements of “Truckin’” and “Deep Elem Blues” can be heard in the pre show fine-tuning and that’s exactly how the show begins. Weir leads the band on vocals for the Dead’s brand new hit “Truckin’,” a song only months old at the time. Then, after some lighting and monitor directions, Jerry Garcia takes over for a modern take on a traditional blues tune, “Deep Elem Blues.” Weir throws in some well placed harmonies at song’s end before the Dead hand the proverbial baton off to Pigpen for a typically rousing cover of Otis Redding’s “Hard to Handle.” Pig’s bluesy vocal efforts bookend a winding, exploratory jam spearheaded by Garcia on guitar.

    grateful Dead queens

    This opening sequence of Grateful Dead music has the Colden Auditorium crowd clamoring for more. The band responds in kind with “Sugar Magnolia,” another eventual classic still very much in its early stages. This is the ninth one ever performed. Garcia has the wah-effect in full gear for this one as the band rips into another brief, explosive jam after Weir deftly navigates the lyrics. The “Candyman” that follows may slow the tempo down a bit, but still serves as a first set highlight anyway with a sublime and harrowing Garcia guitar solo placed between more delicate vocal harmonies.

    This clears the way for a dynamic closing sequence to the opening set, starting with “Cryptical Envelopment,” which gets an instant vote of approval from the crowd. At its conclusion, a “Drums” immediately emerges, shining the spotlight on drummers Bill Kreutzmann and Mickey Hart who take the rapt audience on a percussive ride, in the first set no less. This immediately segues into the explosive opening of “The Other One,” with all of Colden Auditorium now clapping along in time earnestly. It winds up producing perhaps the best jam of the evening, a searing, psychedelic journey that varies in intensity before rounding back into form. The opening set then closes with another rousing cover, this time Buddy Holly’s “Not Fade Away.” The jam briefly dips its toe into “Goin’ Down The Road Feeling Bad” but no lyrics are actually sung before “Not Fade Away” resumes and caps off a whirlwind ending sequence that would later finds its place closing out second sets instead.

    grateful Dead queens

    The Dead’s second set at Colden Auditorium, after a false start of sorts, resumes with “Casey Jones,” along with more full-fledged audience participation via clapping. They follow this with a familiar cover of “Cold Rain and Snow” that gets considerable support from Pigpen on organ and Phil Lesh on bass. Bob Weir then resumes vocal lead for the dark, country western-themed “Me And My Uncle.”

    Unfortunately, there’s a significant gap in the recording due to a tape flip issue that cuts out the portion of the second set that follows. And it’s likely another one of the more memorable parts of the show as it features “Good Lovin’,” sung with natural flair from Pigpen as always, sandwiching yet another “Drums” sequence that surely went deeper than its first set predecessor.

    The recording picks up at the tail end of the “Cumberland Blues” that follows all of this. One last pre-song tuning session finally gives way to “Uncle John’s Band,” the last song of the evening. It’s fitting selection to end with another cut from their iconic Workingman’s Dead album as they, and the world, prepare themselves for the American Beauty era.

    View this show and more Grateful Dead shows from across the years in New York State with our interactive map below!

    Grateful Dead – Colden Auditorium – Queens, NY 10/10/70

    Set 1: Truckin’, Deep Elem Blues, Hard To Handle, Sugar Magnolia, Candyman, Cryptical Envelopment-> Drums-> The Other One-> Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away

    Set 2: Casey Jones, Cold Rain & Snow, Me & My Uncle, Good Lovin’-> Drums-> Good Lovin’, Minglewood Blues, Cumberland Blues, Uncle John’s Band

  • This Week’s EQXposure Features Joseph Beaty, Coyote Reverie And More

    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 new music from Joseph Beaty, Coyote Reverie and many more!

    Joseph Beaty

    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.

    Joseph Beaty

    “Kick Out The Pieces” is Adirondack musician Joseph Beaty’s latest single, ahead of his upcoming album Rust, You Can Leave Me Now. Out October 15, Rust is shaping up to be a callback to grunge and indie rock of the ‘90s. “Kick Out The Pieces” is the most menacing track yet, which says a lot next to previous singles “Still Forming” and “Thick of Things.”

    Rust, You Can Leave Me Now is the embodiment of 2020. Things in my life (in all our lives) were put in perspective and it was time to remove the negative bits. This record was my catharsis, my therapy. It is gritty, unsafe, and dark. No sense in sugar-coating it. You will hear many lyrics talk about knocking the rust out. This therapy experiment helped me arrive as a new, more focused person for 2021.

    Joseph Beaty

    Coyote Reverie

    Vermont trip-hop duo Coyote Reverie will release their debut album Imah on October 13. New song “Achilles’ Helix” has arrived just in time for Halloween, with spooky and cryptic lyrics: “I’m her shadow on the wall, I’m her echo down the hall / I’m the voices in her head, I’m the snakeskin that she shed.

  • This week’s EQXposure features The Duke Western, Lucas Garrett, Blackcat Elliot and more

    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 new music from The Duke Western, Lucas Garrett, Blackcat Elliot and many 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 Duke Western

    David Scott Rockower, also known as The Duke Western, wrote upwards of 50 songs for his album Artifiction Addiction. His single “Fences” coins multiple new verbs: “chameleonating” and “hypocripolating,” to name a few. Lyrically, the song speaks of realizing you’ve been going through the motions and promising to show up more authentically. For The Duke Western, this means choosing music as a career rather than merely a hobby. He’s taught private guitar lessons, composed scores for TV shows and worked as an audio engineer at Upstate Concert Hall. Fans of traditional pop will find the rhythm of “Fences” familiar—it’s lifted from the Andrews Sisters’ “Boogie Woogie Bugle Boy.”

    Lucas Garrett

    Known for his distinctive baritone vocals, Queensbury musician Lucas Garrett has tackled numerous genres and influences. With progressive rock, folk, classic rock, and indie under his belt, the latest addition to his arsenal is new wave. On his newest single “So Many Times,” he combines his signature guitar with a nostalgic 80s feel. Over the past few months, Garrett has performed at numerous venues in the Capital District, such as Strand Theatre, the Shirt Factory and Putnam Place.

    Blackcat Elliot

    Albany trio Blackcat Elliot’s influences are split three ways: CBGB punk, 70s power pop and 90s grunge. Bassist Fast Eddie, drummer Marky Balboa and guitarist and vocalist Gus have been performing their brand of “go-for-the-throat” garage rock for over 20 years. They released their third studio album, There Is No Good In Us in 2019:

  • Dead and Friends Dazzle at the Fillmore: September 20, 1970

    With four multi-night runs at the Fillmore East already in the books for 1970, the Grateful Dead returned to their New York City headquarters for a fifth one in September. And, once again, they would be joined by their friends in New Riders of the Purple Sage for the festivities. This would be their third run of the year here in this “Evening with the Grateful Dead” format that featured music from both bands, with the Dead playing one acoustic and one electric set of music. This show also marks the first time David Grisman played along side Jerry Garcia in a live setting for the first time. September 20 was the final night of this particular run and features, arguably, one of the better acoustic sets known to Deadheads.

    Dead Fillmore

    The opening set is accordingly introduced as “Acoustic Dead” and the band immediately launches into “Uncle John’s Band.” It’s a delightfully casual take on a Dead classic that’s harmonized nicely and sets the tone for the set. They even get some assistance from the Fillmore crowd which is gladly clapping along in time by song’s end. Jerry Garcia continues to man lead vocals on the “Deep Elem Blues” that follows, a song that would follow him around in live settings for the rest of his life. Grisman’s mandolin play blends in perfectly with the acoustic guitars, giving this one a unique feel. And with the added strings and acoustic influence provided by Grisman, a first set “Friend Of The Devil” sounds so crisp that one would think they were playing American Beauty over the PA.

    “Big Railroad Blues” features David Nelson on yet another mandolin in a fun, fast-paced version that’s like no other. It was only the third performance ever of a song the Dead would go on to play for the remainder of their playing career. This is backed up by a splendid “Dark Hollow” with Bob Weir jumping in on lead vocals. There is so much acoustic firepower on stage, Garcia actually jumps on the piano for “To Lay Me Down,” quite a rare occurrence.

    “Rosalie McFall” joins the fray afterwards, a Charlie Monroe cover and another acoustic song that would go on to be a mainstay for future Garcia acoustic performances. The remainder of the opening set has a decidedly classic Dead feel to it, beginning with “Cumberland Blues,” continuing with a riveting “New Speedway Boogie” that has a lovely little acoustic jam tied to it, and ending with the always emotional “Brokedown Palace.”

    The second set then brings along the electricity, both literally and figuratively. “Casey Jones” comes rolling down the tracks to open things before the iconic opening licks of “China Cat Sunflower” ring out loud and true. While not particularly stretched out or extended, a perfectly seamless transition into “I Know You Rider” follows, and with each verse the Grateful Dead delighting the Fillmore crowd even further. It’s cut off a bit on the recording below, but “Candyman” then cools things down a bit, courtesy of the delicate singing and customary harrowing guitar play from Garcia.

    Dead Fillmore

    This Fillmore show also features a few Dead rarities. “Big Boy Pete” is played for the only sixth time ever and the last one ever with Pigpen who finally gets some lead vocal action. It’s a quick. bluesy number that the band would dust off twice more in the future, with random unshelvings in 1978 and 1985. Perhaps inspired by the last number, or just turned up in the mix, Pigpen shines on the “Me And My Uncle” that comes next, supplying some inspired fills. Seizing the momentum, he then takes center stage and belts out one of his signature songs, “Easy Wind,” that also ably serves as one of the more extended jams of the evening.

    A still raw “Sugar Magnolia” follows, but has a fun little vocal breakdown and shows all the signs of being a Grateful Dead staple for years to come. After a quick run through of the Weir-led “Mama Tried,” the Dead go big for this particular Fillmore closing sequence, starting with a massive “Not Fade Away.” This may as well have been the “Drums” portion of the evening as drummers Bill Kreutzmann and Mickey Hart lead the charge on this one, trading percussive punches back and forth that fuel a mesmerizing sequence of improv.

    This sets the table for “Caution (Do Not Step On Tracks)” which, it could be argued, serves as the “Space” portion tonight. It’s the Dead at their finest: frenetic and psychedelic blues, powered by probing bass lines from Phil Lesh, and adorned with Pigpen riffing on vocals while feedback and other audio wizardry abound. The jam eventually devolves to only drums, bass and Pig on harmonica for a spell. Garcia then reemerges on lead guitar and the band begins to tie a bow on the second set the only way they know how – with a six-minute feedback jam. From this, the a capella “We Bid You Goodnight” emerges, serving as the de facto encore and officially closing out another memorable Grateful Dead run at the Fillmore East.

    View this show and more Grateful Dead shows from across the years in New York State with our interactive map below!

    Grateful Dead Fillmore East – New York City, NY 9/20/70

    Set 1: Uncle John’s Band, Deep Elem Blues, Friend Of The Devil, Big Railroad Blues, Dark Hallow, Ripple, To Lay Me Down, Truckin’, Rosalie McFall, Cumberland Blues, New Speedway Boogie, Brokedown Palace

    Set 2: Casey Jones, China Cat Sunflower -> I Know You Rider, Candyman, Sittin’ On Top Of The World, Big Boy Pete, Me And My Uncle, Easy Wind, Sugar Magnolia, Attics Of My Life, Mama Tried, Not Fade Away > Caution (Do Not Step On The Tracks) > Feedback Jam > And We Bid You Goodnight

  • CANVAS Unveils new Rock Anthem ‘Jealousy’

    New York-based alt rock trio CANVAS has recently released a new single titled “Jealousy.” With their soaring vocals and driving distorted guitar sound, CANVAS has been favorably compared to other rock contemporaries such as Mariana’s Trench and Muse. Living up to their experimental ways, the band melds sounds of Western-roots rock and old-school funk on this release. Lead singer Jerid Nowell’s vocals dance through steady guitars, a funky bassline and triumphant trumpets in what many fans may deem a new sound for the alt-rock trio.

    The emerging alt-rock trio consists of singer-songwriter Jerid Nowell, Billboard-charting producer/keyboardist Daniel Glavin, and drummer Jesse Rothman. Their divergent roots (influenced by bluegrass, folk, punk/metal and hip hop) have sparked a musical journey ranging from triumphant anthems to soulful ballads, and edgy fusions of alternative pop, rock and funk. When describing their creative process, the band states, “Our approach is different for every song. We are focused on bending genres and blending electronic/acoustic production to achieve an ever-evolving hybrid sound. We believe nothing is certain, including creation.”

    On writing this record, Nowell says, “Jealousy symbolizes the moment in our minds when we lose ourselves to the buried emotions that we tend to deny are there. It references the decisions we make at weak points in our lives that we know are less dignified, yet we make them anyway to regain any semblance of control.”

    CANVAS has also released “Jealousy” on YouTube that includes a full visual rundown of the lyrics which can be seen below. CANVAS has built up a loyal fan base in New York City, and their music has been streamed over 250,000 times across platforms and operate their own record label and recording studio Penthouse Studios. With their new single “Jealousy,” CANVAS lives up to their self-proclamation: Genreless, Timeless, and Relentless.

  • This Week’s EQXposure Features Paul Moody, The William Deuel Band, And More

    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 new music from Paul Moody, the William Deuel Band and many more!

    Paul moody

    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.

    Paul Moody

    Folk singer-songwriter Paul Moody is a recent Woodstock transplant from Chicago, who also performs under the name Moody Jr. His upcoming album Songs From Youth, out this October, is preceded by the contemplative, personal single “Breaking Into Cars.”

    Moody’s music is immersive and ambient, with detailed soundscapes you can almost meditate to. The best example is “All I Had Was You,” his most-played song on Spotify with almost 500K streams.

    The William Deuel Band

    Formed in Saratoga Springs in 2018, The William Deuel Band is a unique amalgamation of the Rolling Stones and Nirvana, with some country and blues thrown in for good measure. Their newest full-length effort, Moment in Time, features frontman William Deuel, drummer Chris Reed, Jr., and bassists Jason Brown and Ethan Henderson. Highlights include “Ballroom Bananas” and “Can’t Wait on Sunday.”

    The Great Pacific Garbage Patch

    “Situational Comedy” is the final track on The Great Pacific Garbage Patch’s debut album, You’ve Changed. Despite its title evoking images of Michael Scott or Leslie Knope causing hilarious hijinks at their workplace, this pop punk tune is bleak and anxious, referencing The Truman Show and a self-conscious feeling of being watched by an audience: “And it’s been a good run / I just hope that I could give the people what they want.” The Albany trio is made up of drummer Jordan Demarest, bassist Dan Haggerty and lead singer and guitarist Will Kachidurian.

    You’ve Changed by The Great Pacific Garbage Patch
  • This Week’s EQXposure Features Side-B, Justin Friello, And More

    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 new music from Side-B, Justin Friello and many more!

    Justin Friello

    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.

    Side-B

    Albany band Side-B serves some sunny folk pop with “The Mountain Song.” Its chorus ponders the age-old question: If a tree falls in the forest when no one’s around to hear it, does it make a sound? All four of the band’s members met in their early teen years, and even released their debut effort, The Low Budget Romance EP, in their senior year of high school. Their Spotify playlist, “More like Mountain Song,” reveals the track’s main inspirations, including the Beatles, Steely Dan and CCR.

    Justin Friello

    Schenectady singer-songwriter Justin Friello is a triple threat, well-versed in pop, classical and theatre. His single “The Tent,” based on a true story about a South Carolina man’s suicide, was written back in 2009. It first appeared on his 2010 album Ghosts in Command, but he decided to rerecord it after getting a positive response in Rockbridge Guitar’s 2020 Songwriters’ Contest.

    Fab the Duo

    Going against the grain in an increasingly dark and downtempo pop scene, Fab the Duo evokes early 2010s dancefloor fillers like Kesha and Teenage Dream-era Katy Perry. First performing in New York City nightlife, including the historic Stonewall Inn, the self-described two-man boy band breaks barriers performing as an interracial gay couple. Their uplifting new song “Good Distraction” sounds like the closest thing this timeline has to Lizzo’s take on One Direction:

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