Miles Francis captivated their late-night audience on Wednesday, October 6, at Baby’s All Right. Originally set to perform at 10 p.m., scheduling delays led to a slightly later start to the already late-night show. Despite the wait, the audience at Baby’s All Right was buzzing.
The New York City native lived up to their reputation as one of the best-kept secrets of the local music scene. The show began with Francis walking through the crowd and jumping on stage enveloped in a silver morph suit. An intrigued audience watched as Francis acted out hurriedly ending a phone call.
After quickly unzipping their morph suit, Francis and their supporting band jumped into an energetic opening number. Francis performed a carefully curated mix of their discography, making sure to perform their two latest releases, “Service” and “Popular.” With their effortless dancing and humorous stories rounding out the set, it’s clear that the stage is a second home for Francis.
Miles Francis is currently working on their debut album, set to release in late 2021. Listen to his latest single, “Popular” here.
Fans of the legendary rock photographer Jim Marshall will soon be able to view highlights of his storied career on film, thanks to an upcoming free screening of Show Me Picture: The Story of Jim Marshall hosted by The National Arts Club. The screening will take place on Tuesday, October 19 at the NAC and will be followed by a panel discussion on the infamous photographer’s life and work.
A child of immigrants living a life battling inner demons, Jim Marshall fought his way to become one of the most trusted mavericks behind a lens throughout the 1960s. His passion for capturing the decisive moment resulted in some of the most iconic images in music history from Bob Dylan and The Rolling Stones to Johnny Cash, Janis Joplin and Miles Davis. Throughout his groundbreaking career, Marshall has crossed boundaries to document many of the extraordinary social movements of the time.
After the film screening, Amelia Davis photographer, executive producer and owner of Jim Marshall Photography LLC; Jeff L. Rosenheim, the Joyce F. Menschel Curator in Charge in the Department of Photographs at the Metropolitan Museum of Art; and Michelle Margetts, journalist and narrator of the film, will discuss Marshall and his work.
Founded in 1898, The National Arts Club is a 501(c)(3) nonprofit with a mission to stimulate, foster, and promote public interest in the arts and to educate the American people in the fine arts. Annually, the Club offers more than 150 free programs to the public, including exhibitions, theatrical and musical performances, lectures and readings, attracting an audience of over 25,000 members and guests.
Registration for this free screening can be done at the event website here.
WHEN
Tuesday, October 19, 6:00 PM
WHERE
The National Arts Club, 15 Gramercy Park South, New York, NY
Alternative-rock band Acid Dad made a stop in Rochester at Bug Jar on Tuesday, October 5, as part of their Fall 2021 tour. Many avid fans gathered in the well-renowned venue to see the group perform.
Photo Credit: Maddie McCafferty
The rock-n’-roll fanatics The Ginger Faye Bakers opened up the show with their head banging tunes. The trio paid homage to heavy metal in their setwhile incorporating a modern sound. Acid Dad later took over the stage by opening with the song “Drone.” The group consists of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer Trevor Mustoe. Zoltán Sindhu played alongside them as well. Immediately, the audience transcended into their psychedelic ambience. With the addition of their trippy visuals, they lived up to their enthralling band name.
Photo Credit: Maddie McCafferty
The Bushwick natives played several of their most popular hits off their latest album Take It From The Dead, some of which includes “BBQ,” “She Only Eats Organic,” and “Searchin.” The Bug Jar’s kaleidoscopic atmosphere meshed perfectly with Acid Dad’s set. The fresh sound from the group rippled through the underground setting giving fans a great fall show.
Photo Credit: Maddie McCafferty
A year ago, Acid Dad spent time independently producing all their own music and art. From building a new studio space to even building their own guitars, this band has continued to fiercely go after their desires. This tour is the start of a new era for Acid Dad.
Photo Credit: Maddie McCafferty
Make sure to check out upcoming shows at the Bug Jar. The Four Horsemen perform on October 14 and The Shivas do on October 15. Tickets are available here.
Photo Credit: Maddie McCafferty
Acid Dad – Bug Jar, Rochester – October 5, 2021
Setlist: Drone, Bada Bing, RC Driver, BBQ, Searchin’, Living With a Creature, She Only Eats Organic, Dissin’, Get Me, Don’t Get Taken, Die Hard, Mr. Major, Djembe
The Tedeschi Trucks Band continued their fall residency tour at the Beacon Theater on Wednesday making it their 43rd Show at the historic venue. Special guests Jorma Kaukonen and Marcus King sat in with the full 12-piece band on their material and incredible covers by great blues artists.
TTB opened their set with a spectacular cover of The Lovin Spoonful’s “Darling Be Home Soon.” After that, they performed “Signs, High Times” off their most recent album with Mike Mattison and Susan trading lead vocals. Derek stepped in with an incredible guitar solo that left the crowd awestruck.
Another highlight of the night was a cover of The Allman Brothers Band “Don’t Keep Me Wonderin” with Gabe Dixon on lead vocals. Once again Derek’s guitar playing was masterful and left me with chills. For me it’s a bit nostalgic to see an Allman Brothers tune played at this historic venue where so many legendary ABB shows have taken place.
After the band performed “Hear Me” and “Do I Look Worried” they brought back Jorma to the stage for two more songs. The first was a Bob Dylan cover of “Don’t Think Twice, It’s Alright” with Derek trading guitar licks with Jorma who I’m sure is one of his heroes based on the expression he had on his face. The next song they performed was another cover, this time of Charles Segar’s “Key to the Highway.” Once again, Mike Mattison stepped up with extraordinary vocals while Jorma and Susan traded licks and Derek closed the tune with his renowned slide guitar. Jorma got a much deserved standing ovation as he left the stage.
Rising star Marcus King made a surprise appearance for a blues heavy performance of Sleepy John Estes’ “Leaving Trunk,” also featuring Mattison on vocals. King also stuck around to perform a cover of Rahsaan Roland Kirk’s “Volunteered Slavery,” a tune originally recorded in 1968. Marcus also received a huge ovation from the sold out crowd at the conclusion of the song.
To end this incredible evening, the band pulled out a cover of George Harrison’s “Isnt It a Pity” and a Derek Trucks Band Cover of “Get What You Deserve.” There are still two more Tedeschi Trucks Band Beacon shows left on this run, but TTB has shows scheduled through 2022. You can see the complete list of upcoming shows here.
Setlist: Darling Be Home Soon (The Lovin Spoonful), Signs, High Times, High and Mighty, It’s So Heavy, I Know (Derek Trucks Band), Right On Time, Don’t Keep Me Wondering (The Allman Brothers Band), Hear Me, Do I Look Worried, Don’t Think Twice, It’s Alright (Bob Dylan)(with Jorma), Key to the Highway (Charles Segar)(with Jorma), Midnight in Harlem, Leaving Trunk (Sleepy John Estes)(with Marcus King), Volunteered Slavery (Rahsaan Roland Kirk)(with Marcus King), Bound For Glory, Isn’t It a Pity (George Harrison), Get What You Deserve (Derek Trucks Band)
Trombone Shorty and Orleans Avenue put on two soul crushing shows at the brand new 500-person capacity Brooklyn Made stage to start this week. The club just opened on September 30 and this was the band’s third and most intimate New York show this year, having performed in Rochester at Manhattan Square Park in August and Brooklyn’s Prospect Park in September.
photo by Russell Mangicaro III
New Orleans legend Tony Hall told NYS Music in August about Troy Andrews. “We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.”
The Orleans Avenue Band – guitarists Pete Murano and Joshua Connelly, sax-men Dan Osteicher and BK Jackson, drummer Joey Peebles and bassist Mike Ballard, and vocalist Tracci Lee – all took center stage at Brooklyn Made on top of the speakers throughout the show. They made the new Bushwick club feel like the historic Tipitinas in New Orleans.
Shorty opened the show asking for assistance in getting his heart back on “Where it At?” “I tried to find you, baby, did my best, But love don’t come with any GPS.” They brought it from the East River to the Mississippi with a Meters cover of “It Ain’t No Use” and Allen Toussaint’s “On Your Way Down.” Trust me when I tell you their approach on these tunes was truly an explosive expression on funk classics. The Shorty original “The Craziest Thing” is another call out to the lovers in the crowd. “Ask me to bring you the moon, I’ll put the sky in your room, I’ll die trying.” The highlight of the night occurred during the Ernie K. Doe New Orleans classic “Here Come the Girls.”
photo by Russell Mangicaro III
Mid-groove on “Uncle Potato Chip,” sax player Dan O took the song to another galaxy and back on baritone before the closing verse. “Fire on the Bayou” helped keep the Cajun sounds sizzling.
Trombone Shorty first took the stage at four years old with Bo Diddley at the 1990 New Orleans Jazzfest. 31 years later he was bouncing his solos off all the other band members like a true front man. It also came as no surprise that sax player BK Jackson used to play with Prince. Joey Peebles took his only break of neo soul drum beats for the night, with Mike Ballard and Shorty sharing syncopated bass and trumpet solos on stage that took you back to Birdland.
Vocalist Tracci Lee’s backing soul helped bring every song full circle exchanging tambourines throughout. Guitarists Joshua Connelly and Pete Murano electricity was directly plugged into your head on the Brooklyn Made stage. Tuesday night’s show had a Red Hot Chili Peppers musical intro as a nod to his tour with the group in 2016 opening for them at Madison Square Garden and Buffalo’s KeyBank Center. He brought the crowd back to his first record Backatown with the track “Suburbia.”
Ray Charles’ classic “I Got A Woman” on Tuesday night was a standout as well. In true New Orleans fashion, they closed both nights with Shorty’s “Hurricane Season” mixed with “When the Saints Go Marching In” that sent the crowd strutting back into the Bushwick scene.
A Monday and Tuesday night with Trombone Shorty at Brooklyn Made like this really made his tune “Long Weekend” resonate – “Cause you never know what could happen on a long weekеnd…” Trombone Shorty and Orleans Avenue head back to New Orleans on Monday, October 11 for his first ever “Shorty Fest.”
Albany Symphony Music Director David Alan Miller will return to the Palace Theatre stage on Saturday, October 9 for the start of Miller’s 30th Anniversary Season. The program features Ludwig van Beethoven’s beloved Symphony No. 3, “Eroica,” as well as JeanSibelius’ Lemminkäinen Suite, and Coincident Dances, by composer Jessie Montgomery.
Patrons are welcomed back to Albany Symphony performances for the first time since Spring 2020, with extra precautions in place for everyone’s health and safety, in response to the ongoing COVID-19 pandemic. The concert, along with all Albany Symphony subscription concerts this season, is also being streamed live online to increase access for patrons who cannot attend in person or live too far away to come to the concert hall. Tickets, including live stream access, start at $20 and are available at albanysymphony.com.
We are so thrilled to gather again, and to be able to make beautiful music with and for our patrons and friends here in the Capital Region and beyond .This season is a special one for us. The musicians and I can’t wait to share this program celebrating heroism, community, and the healing power of great music with you.
David Alan Miller
The opening night program will include Beethoven’s “Eroica,” a symphony that launched the “heroic” middle period of the composer’s career and pushed the boundaries of the symphony form. Sibelius’ “Lemminkäinen Suite” brings Finnish folktales of the eponymous hero from the Kalevala to life in vivid musical vignettes. “CoincidentDances” by Jessie Montgomery, who is a frequent Albany Symphony collaborator, and draws from her life experiences in thoughtful and captivating ways.
Coincident Dances is inspired by the sounds found in New York’s various cultures, capturing the frenetic energy and multicultural aural palette one hears even in a short walk through a New York City neighborhood. The work is a fusion of several different sound-worlds: English consort, samba, mbira dance music from Ghana, swing, and techno.
Jessie Montgomery
Ahead of the Albany Symphony’s return this week, Conductor and Music Director of the Albany Symphony Orchestra, David Alan Miller, spoke with NYS Music about the upcoming season, the story behind his musical selections, and what he loves about Upstate New York.
Pete Mason: You were music director for the New York Youth Symphony in the mid 1980s. How do you recall the transition from the LA Philharmonic to New York?
David Alan Miller: The transition to the Capital Region was easy; we’d always wanted to come “back east” after our 5 years in L.A. We felt a little trepidation because there were so many fabulous restaurants serving foods from around the world in L.A. But we discovered that there was at least one excellent restaurant serving each cuisine here, and that was all we needed.
PM: The program for the 30th season celebrates heroism, community and the healing power of music. Where did these themes arise from, and what music represents each of those themes?
DAM: We wanted to design a season to celebrate all the things live music can do, the things we’ve missed so much during the pandemic. So, we programmed lots of the most iconic works of the repertoire, from Beethoven’s “Eroica” on the first concert to Brahms, Tchaikovsky, Mozart, Gershwin, etc. on our subsequent concerts. In addition, we included works by our favorite living composers, and lots of passionate, brilliant solo artists. Everyone is hungering for comfort and spiritual uplift after the difficult 18 months we’ve experienced, and we hope our concerts can give that.
PM: In addition to conducting the ASO, you are also Artistic Advisor for the Little Orchestra Society in NYC, as well as Artistic Director for the world music festival “New Paths in Music” from 2006-2012. How did you first begin working with these groups?
DAM: I was asked to conduct some of the Little Orchestra Society’s concert about 6 years ago, and have been doing so ever since. L.O.S. is an amazing institution which normally runs 900 in-class workshops each year, teaching elementary students how to compose music, as well as presenting marvelous family concerts throughout the season.
PM: The American Music Festival celebrates up and coming conductors. How do these conductors arrive on your radar, and how do you go about curating this event each year?
DAM: Composers. I have a wide network of composer friends, professors, industry professionals, etc, who are always keeping me updated on the most interesting composers coming out of graduate programs and working around the country. Each festival is curated around a theme. This year it’s “Trailblaze,” a festival celebrating our new 750-mile-long Empire State Trail connecting communities across New York State. I’ve commissioned a whole bunch of composers to create new works inspired by aspects of the trail, our history, communities, the natural world. It’s going to be amazing!
PM: You’ve live in Slingerlands, and presumably have lived in Upstate NY for many years. What are some of your favorite non-music getaways within New York State?
DAM: I love all aspects of Upstate NY. I’m an avid amateur cyclist, so I’ve been riding the Empire State Trail recently, discovering areas I’d neve known existed, beautiful places like the trail connecting Troy through Kinderhook to Hudson. I’ve done a little riding down around New Paltz and Hopewell Junction, and am eager to explore that part of the Trail more fully. My ambition is eventually to ride virtually the whole Trail, from Buffalo to NYC at least.
PM: Do you have any favorite music venues, state-wide or world-wide, that you have enjoyed conducting or seeing performances at?
DAM: Well, I always get goosebumps when we play at the Troy Savings Bank Music Hall, which is defintiely one of the greatest acoustical spaces for live music in the world. I’m also partial to the Hollywood Bowl and Carnegie Hall, the two venues where I essentially “grew up” musically. I conducted three concerts annually at Carnegie when I led the New York Youth Symphony, and conducted many, many concerts at the Hollywood Bowl when I was the Associate Conductor there. I also love all our spaces here in the Capital Region: EMPAC, the Palace, and all the others. We are so lucky to have so many great venues for live music!
The Albany Symphony has adopted health and safety protocols for the wellbeing of all patrons, musicians, and staff in accordance with local guidelines and in coordination with partner venues. From now until the end of November 2021, patrons are required to present proof of full COVID-19 vaccination and matching ID upon arrival, or, alternatively, proof of a negative COVID-19 PCR test result taken within 48 hours of the event. Patrons are required to wear masks while indoors, regardless of vaccination status. These measures are implemented for the safety of patrons and may be extended or amended at any time if guidance or regulations change.
Opposites come together for a harmonious result on the first collab album between classical music composer, Michael Vincent Waller (MVW) and multi-platinum hip-hop producer, Lex Luger. Together, the duo combine to release a one-of-a-kind project. The 8-song LP sees them explore a sub-genre that has yet to be saturated and could possibly be the foundation for a brand-new wave of innovation.
The combination of course is the fusion between elements of classical and trap music where the former, which is considered formal, traditional and tedious, meets the laid-back, seemingly careless and braggadocious sub-genre of trap music.
I want to take the same attention to detail associated with classical and chamber music and apply it to one of the most viable, listenable, and casual genres, i.e. trap. It’s got freshness and energy, but there are a whole bunch of nuances and details you don’t typically hear in modern rap. I’m trying to take the best of both worlds.
MVW
Hailing from Staten Island, MVW has always been a hip-hop enthusiast and he developed a passion for classic hip-hop such as Wu Tang Clan, The Notorious B.I.G. and A Tribe Called Quest. As a classical composer, his music filled venues such as Carnegie Hall, ISSUE Project Room, Rouleee and Palais de Tokyo Museum. At the same time, he often listened to Biggie and Wu Tang for inspiration while composing.
When he began making his foray into the world of hip hop, he recruited Lex Luger to play his counterpart. Although the “Round Of Applause” producer is diversified in his own right, his production still contains trap elements (such as his distinctive snare drum and ihats) that make his presence on CLASSIC$ invaluable.
Working on this project was definitely a little challenging. Being in a comfortable zone is cool, but nothing ever grows there. That being said, working on this project helped me try new things and ultimately, I feel like it just made me a better producer.
Lex Lugor
The album is curated with artists that not only correspond with the suis generis blend of styles but thrive on it. Jamaican artist, Shanique Marie, brings much-needed energy. Southern Songstress, Jaydonclover — whom MVW discovered from a WIRE Magazine review — is featured on three of the tracks and since the classical instrumentation already perpetuates a solemn feel, her soulful croons become one with the music. Trap connoisseurs Duke Deuce and Lil Gotit also make appearances, while Good Music artist, Valee — who is featured throughout the album — is the missing link that connects everything, effortlessly riding each beat as he maintains the California cool of a long beach surfer with each luxurious idiom he drops.
I’ve been composing for 15 years, but I’ve been listening to hip-hop for 20 years. Somehow, they inform each other in my head. This project was a long-time brewing. I’m coming full circle
Keep your calendars open for the new album from Brooklyn’s Surfbort, Keep On Truckin’, due out October 11. This release will be a little different from their others seeing as though now they have launched a partnership between legendary producer, composer and philanthropist, Linda Perry and SoundCloud/Repost. The band will be will be hosting a pre-save give away contest where three lucky fans who pre-save the album will be sent a care package.
If you have been following them, you’ll know that the band just released the music video for their latest single “FML” with someone you might know from Saturday Night Live. Aside form Fred Armisen’s glowing review he is also featured in their music video — just as how Fred Armisen in real life walks around doing good deeds, in the music video he then transforms into each member of the band, saving them from their extreme depression. Isn’t that what all comedians do?
Although Surfbort is a Brooklyn based punk band, their fan base rocks from coast to coast. Surfbort is accepting to all while radiating love and friendship. Their live concerts are incomparable, a punk environment with visceral guitar-shredding.
They are everything I want a band to be. I love their music, both on record and performed live. Just the right amount of chaos. And their sense of aesthetics is amazing to see. I am excited that they even exist. I love SURFBORT!
Fred Armisen
After speaking with lead singer Dani Miller, he comes to explain the “FML” single as an inside look on crippling depression. Suicide is one of the leading causes of death in this country and often goes unnoticed. That is, suicide ideation is extremely common, even amongst the band members of Surfbort. This pandemic has severed many’s mental health leaving people suffering and feeling alone. Miller encourages people to hold on and preaches the importance of reaching out to loved ones. He opened up on being an artist and drug addict/alcoholic while being bipolar, his past was filled with suicidal ideation. Even his aunt fell victim of suicide and not a day passes where he wishes that he could go back in time.
Fred Armisen poses as a hero in the music video, changing band mates perspective on life which he wishes Fred could be for his aunt. Fred radiates electric positive healing energy that he even missed a premier, rather transforming into each band member and even becoming Miller’s twin, complete with classic makeup while learning all the lyrics and instruments acting as an understudy. We all need a super hero or a strong support system to get us through tough times like these and countless other obstacles we may face and Surfbort only hopes that they can provide the support or encouragement to lean on our loved ones in our times of need.
Surfbort will be playing new music from their forthcoming album at the below upcoming tour dates, as the band tours across the US in Fall 2021.
Upcoming Tour Dates w/ Starcrawler Oct 17th Eugene, OR Sessions Music Hall Oct 19th Sacramento, CA Harlow’s Oct 20th Berkeley, CA The UC Theatre Oct 21st Los Angeles, CA The Regent Theater Oct 22nd San Diego, CA Brick By Brick Oct 23rd Tucson, AZ 191 Toole Oct 25th Dallas, TX Granada Theater
Special Events Oct 27th San Diego, CA Casbah event for DC Shoes
Upcoming Tour Date w/ The Garden Nov 4th Santa Ana, CA Observatory Nov 5th San Luis Obispo, CA Fremont Theater Nov 6th Felton, CA Felton Music Hall Nov 7th San Francisco, CA Great American Music Hall Nov 9th Portland, Oregon Hawthorne Theater Nov 10th Seattle, WA The Crocodile Nov 11th Boise, ID The Shredder Nov 12th Salt Lake City, UT The Loading Dock Nov 14th Denver, CO Marquis Theater
Upcoming Solo Shows Nov 15th Fort Collins, CO The Coast
While I was driving up Route 17 to attend the Chris Stapleton “All American Road Show” at Bethel Woods, the rain was coming down like cats and dogs and squirrels and rabbits. With my windshield wipers on high, I started thinking of August 1969. Back then the heavens had opened up on a little music event at this same location. Maybe this was a good sign.
Chris Stapleton
The “Road Show “, which started in July, has been fluid with its opening acts. On this night Kendal Marvel, a gray bearded Honky Tonker, greeted the early attendees. He and his band delivered a short and driving set. “Low Down and Lonesome” had you moving your feet while “Gypsy Woman” took it down a notch reflecting on a transient love.
Kendal Marvel
Grammy nominated Margo Price followed. Price reached out to all in the house and took control of the stage. As she moved seamlessly between vocals, guitar, and percussion, Margo maneuvered from one end of the stage to the other in her knee-high black suede boots. Price’s set included “Tennessee Song” from Midwest Farmer’s Daughter and a cover of Leslie Gore’s “You Don’t Own Me.” Backed by a full band, including a three-guitar army and pedal steel, her execution was top notch reinforcing her well-deserved musical status.
Margo Price
Stepping out from the wings with a flashlight directing his path, Chris Stapleton centered himself on a dark stage. A man and his guitar. Then, a single spotlight illuminated him from behind setting the tone for his set. This was not about him, but about the music.
Stapleton opened with “Whiskey and You,” a raw look at the struggles of the heart. His full band then joined him on an elaborately constructed stage, which was not pretentious but built to enhance the journey. To his left and lending vocals, was Stapleton’s wife, Morgane. Randomly through the show, she would snuggle up close to Chris and caress the tall Kentuckian’s beard bringing about a joyful glow.
No BS. No fireworks. Just Chris Stapleton and his songs.
The two-hour set maneuvered through Stapleton’s catalog, and included songs from his 2020 Starting Over album.There was not a lot of banter from the singer songwriter enabling each song to resonate fully before the next began. Throughout the night a continuous flow of guitar changes and band configurations afforded each song the opportunity to shine brightly.
You could feel the depth of Chris’s deep, raspy timbre as he shared the challenges of the common man. With Stapleton’s encouragement, the house joined in on “Starting Over” giving this audience of sixteen thousand the opportunity to be one with the artist. At one point, Chris teased the crowd with a snippet of Skynyrd’s “Free Bird” before breaking into “The Devil Named Music.” Taking creative license with the iconic “Tennessee Whiskey”, Stapleton melodically introduced his band and brought the set to a close.
Chris Stapleton
The night concluded with a two-song encore. Beginning with the title cut from his debut album Traveler, citing “this was where it all began.” To close Stapleton chose “Outlaw State of Mind.” The song built up in intensity while performed. As it concluded, each musician with their instruments feeding back put them down on the stage floor and walked off. Sending the music into the ethos.
The deluge leading up to the show did not deter the sold-out audience. What they experienced was a well-constructed night of musical purpose. No BS. No fireworks. Just Chris Stapleton and his songs. Unadulterated for all to consume.
We Are Scientists have just released their seventh studio LP, Huffy, via Masterswan Records. Their first effort in three years shows the NYC based band continuing to hone their distinct brand of catchy, guitar driven indie rock. Soaked with anthemic hooks and dance floor guitar grooves, the album is an extraordinary consistent addition to the band’s catalog that will instantly win over the hearts of their long held fanbase.
Huffy Cover Art Variations
Listening through the album is meant to evoke feelings of pure fun. Much needed in our lives these days, an approach to an album like this is a welcomed change of pace. While some of the songs detail crazy scenarios (and gory endings), the delivery and presentation is all about joy and individuality. Fans who ordered physical copies of the album receive a bare cover complete with sheets of stickers featuring We Are Scientists and Huffy, plus an assortment of characters and shapes to arrange on the cover however they please. Not to mention, the vinyl edition comes in your choice of 10 colors including “earth scoop,” “seafoam spritz,” or “dog tongue.”
“You’ve Lost Your Shit” by We Are Scientists, via YouTube
The fourth (and last) single previewed from the record is lead track “You’ve Lost Your Shit.” Accompanying the song is a music video showing lead singer Keith Murray waking up in a bathtub after having some organs stolen from his body. The song opens with a driving punk guitar riff surrounded by Keith’s soaring hooks and punchy vocal style. Much of the album continues in the same fashion, including personal highlight “Fault Lines,” which consists of an infectious guitar track and easily the catchiest hook on the record. “Bought Myself a Grave” features a somewhat country vibe both in guitar style and storytelling. The records closes with another indie sing along “Behavior Unbecoming,” solidifying the record’s prominent place in the catalog.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
We Are Scientists ended a tour back in December of 2019, right before the world would abruptly change due to the pandemic. It turns out, that the songs for Huffy were already largely written and the guys would use the time in quarantine to focus on all the other aspects of producing a final product.
All of the songs for our new album, Huffy, had been written and production for the record had begun just before COVID brought the world to a quarantined standstill. Fortunately for us, that little head start meant that the record largely avoided manifesting any of the sense of gloom or claustrophobia that might have infused the music, had it been fully written and recorded under lockdown. If anything, the fact that there was nothing else we could possibly be doing beside watching full seasons of old TV shows meant that we were able to pour even more attention into the making of the record. It became a refuge, for the first few months of lockdown — escaping to our little studio sanctuary became a relief, rather than a chore. We tend to hate the tedium of the recording process — messing with microphone placement, testing out every possible snare drum tuning, etc. — but that kind of thing became somewhat more appealing in quarantine. I think it made us a little more playful in our production approach, and the result, to me, is perhaps our liveliest, most exuberant record, to date.
We Are Scientists
Once concerts started to make a comeback in New York City, We Are Scientists announced a warmup show on Elsewhere’s rooftop. Unfortunately, the show never took place as a severe thunderstorm right as doors were opening forced the show to be postponed to September. However, fans that night were treated to an excellent surprise; never allowed on the roof to begin with, the people who showed up early were told to shuffle into the empty main hall and await an appearance from the guys. A bartender came in to open the bar, and shortly after We Are Scientists came out onto an empty stage armed with an acoustic guitar, a snare drum, and three voices.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
Neither the audience, or We Are Scientists for that matter, knew what to expect from this moment, but the guys performed acoustic versions (with a chorus of backup vocalists from the half-filled room) of several of their hits as well as a couple tracks of the yet to be released Huffy. For a last-minute, impromptu performance, the fans who were there that night witnessed a truly memorable show from one of their favorite artists. The rooftop concert would eventually be made up in September, with a full blown performance, but the 20 minute show inside the empty Elsewhere Hall will stick in those fan’s minds for a long time.
We Are Scientists at Elsewhere, 8/10/21. Photo by Buscar Photo
We Are Scientists is about to kick off a lengthy European tour, beginning this Saturday in the UK. The first leg runs through early December with a second leg throughout April 2022. Check out all the tour dates HERE, along with links to order the highly customizable record as well as a slew of colorful merch. More photos from the impromptu acoustic show in the gallery below.
Key Tracks: “Fault Lines,” “Contact High,” “You’ve Lost Your Shit”
