Bands largely based in Chautauqua and Erie County show up on a bi-weekly basis to take the stage at the Main Street Studios venue in Fredonia. Initially making cassettes for local bands, Foxhead Record Company rented out the building.
Foxhead record company logo
Follow the closure of the North Pole Strip Club (NPSC) house venue on Main Street, Felix Kellogg, Jake King and Liam Powers, the founders of the Foxhead label, talked with the owner of the space about their idea of launching DIY-shows. “Since we got to Fredonia, there was always live music going on”, explained King, “and it was always upperclassmen running it”.
(Credit: foxheadrecordco Instagram)
He pointed out there being a need for people to organize shows and Liam Powers also added in a prior lack of places for shows to happen, following the the North Pole Strip Club closing. The recognition of a need for performance outlets in town led to the transition of the company from focusing on making cassettes for bands to extending their business, bringing live concerts at one of the most popular venues in Fredonia.
Listen to Jake, Liam and Felix discuss more about the formation of their record company, the Fredonia music scene, and more in an exclusive interview below.
Interview with founders of Foxhead Record Company:
https://youtu.be/EG0mNXaG9Hw
A Fredonia-based artist, under the moniker Soup Kale and lead singer of the alternative band Karrot Kake, who performed at Main Street Studios on Saturday, 10/15, commented on the shift in the Fredonia music scene. In an interview below, he described a lot of jam bands being active in the area, along with reggae sounds being notable several years ago, before pop-punk more recently turned into the predominant element integrated in the scene.
Interview with Karrot Kake band musician Soup Kale:
https://youtu.be/t0kZki2MBDI
Interview with musician Soup Kale of Karrot Kake band
SAINT BLIND, real name Aaron, is another artist part of the line-up who performed at Main Street on the night of 10/15. He described working with many people involved in the Fredonia music scene, having joined multiple bands, including one with Jake King of Foxhead when he was in his teenage years, as well as composing a group known as the Blind Orchestra. The alternative/indie rock and synth-pop artist details more of his musical involvement and both upcoming and released works of his in an interview below.
Interview with musical artist SAINT BLIND:
https://youtu.be/RBNFz06i5TI
Interview with artist SAINT BLIND
Make sure to follow Foxhead on Instagram at @foxheadrecordco for updates on when shows are happening at Main Street Studios and original cassette releases. Also, follow Karrot Kake on Instagram @karrotkakemusic and on Spotify @Karrot Kake, and Kaleh @soupkale, as well as SAINT BLIND @saint_blind on Instagram to keep up with the latest news on their musical releases and performances.
The Eaves Band, based in Buffalo, is comprised of Adam Clukey, Chris Couche, and Maurice Halliday. They’ve been friends since childhood and reconnected after a couple of years after, following going to different colleges, according to Couche.
The Eaves Band (Credit: Brett Pallachino Photography)
In late 2018, The Eaves debut record Learning to Live in the Dark was produced by GRAMMY Award-winner, Ted Hunt, whose worked with other bands including The Gaslight Anthem, Lucero, and Dropkick Murphys. Fast forward to 2022, their upcoming album Lately, I Don’t Have a God…and Other Obvious Epiphanies was recorded in collaboration with artist Jay Zubricky and features a production from bassist and vocalist of the Goo Goo Dolls, Robby Takac.
Cover Art for ‘Lately I Don’t Have A God…And Other Obvious Epiphanies’
“‘It’ll Be Okay’ was the last song we wrote for the record”, the band’s Chris Couche said. He explained that the track “is meant to be earnest, reassuring catharsis – direct, unashamed, and unadulterated.” The new video for the track is available for streaming on New Noise and DSPs.
Read more of NYS Music’s interview with The Eaves’ Chris Couche.
Heather Occhino: What made you guys decide to form a band?
Chris Couche: The three of us (Mo, Adam, and I) grew up together. We all had similar musical interests and played in bands together. We sort of went our separate ways during college and reconnected a couple years after. We caught up quick and realized that our shared music taste had evolved similarly, so we decided to start writing together and see if anything came of it.
HO: Are there any artists or bands who inspired you to pursue a career in music?
CC: We’re inspired by a ton of artists, but honestly, the first band that ever inspired to me to pick up a guitar and write was Blink-182. I was 11 or 12. I could barely play (still can’t), but the true power of blink is their accessibility and lack of pretense. As a 12 year old, those three power chords were ACCESSIBLE. They were the way in.
It would take a little longer, but the real revelation I needed to push me over the edge was seeing Bruce Springsteen live for the first time. Totally changed everything for me. My entire perception of music and what it could do was instantly upended. It was a surreal and borderline religious experience on a personal level. I know lately even Bruce himself has been trying to dismantle his mythic stature a little bit, or at least trying to temper unrealistic expectations and create some separation between persona and actual, fallible human being. The persona may be fictitious, but the euphoric result of that group sharing their talent and passion with a crowd of equally passionate participants is very, very real. It was after seeing Bruce that I realized I needed to make music a priority in my life.
HO: After reading an article on your music that was released by Earshot Media on Mad Mimi, I saw that your debut single, “It’ll Be Okay” is part of your upcoming album, Lately, I Don’t Have a God… and Other Obvious Epiphanies. What makes this track stand out from the other songs part of the debut album, despite it being the last song?
CC: “It’ll Be Okay” may be the only truly reassuring song we have. It only talks about the sun exploding ONCE. But really, we were at a point where it was kind of bothering me that even when I would try to write lyrics that were reassuring or positive, I would almost inevitably gravitate toward negative feelings, mostly because I’ve found it’s difficult to write something reassuring that feels like it has any genuine sentiment behind it. That likely says more about me than it does anything else, and uncoincidentally, is sort of thematic through-line that most of the album wrestles with. But “It’ll Be Okay” is our earnest attempt at surrendering to sincerity and opening up to catharsis. Sometimes cheesy is cool, clichés are cliché for a reason, and it’s okay to feel good.
From an instrumental perspective, Kyle Resnick lent his celestial horns for the chorus, which are maybe the most identifiable trait of the song overall, and really set the track aside sonically from some of the other songs on the record. We’re all big fans of The National, so working with Kyle was a surreal experience. He’s also the nicest, most down to earth person you’ll meet, and of course generous with his talent. If I was that good at something, you’d need a draw bridge to get to me.
HO: The recording and production of the album was assisted by established people in the music industry, like Robby Takac of the Goo Goo Dolls and Kyle Resnick, who worked with the band, The National, and also featured on Taylor Swift’s album Folklore. Are you planning on working with these people again for future debut projects?
CC: If they’ll have us after reading this! We’re very fortunate and grateful to have had the opportunity to work with all the people who helped make this record. Jay Zubricky mixed and engineered the album at GCR Audio and helped introduce us to Robby Takac. Having grown up in Buffalo, getting a chance to work with Robby was a pinch me moment. The project started in 2019 with Robby and a couple songs and ended with an album in 2022, with Jay there every step of the way (with the pandemic, logistics prevented us from working with Robby on more of the record). Finally, I have to mention Stu McKillop who mastered the record at Rain City Mastering. He really flipped the switch and brought the creature to life.
HO: I also saw that you guys have shared the stage with other rock bands, such as The Joy Formidable and The Lawrence Arms. Would you be able to share when your group is planning on performing next with other musicians?
They say there is no such thing as coincidence, well that was before Artificial Intelligence was deployed in our browser searches. In the case of Rock Voices and Tony Lechner, its founder, I’m grateful either way.
The Collision of AI & Coincidence
The impact of harmony cannot be denied when you discover a new ways to connect in community with Rock Music. I spied the Rock Voices advertisement on Facebook, combing the Internet for potential guests on my podcast The Long Island Sound. Intrigued by the YouTube video of various people singing a choral arrangement of Rock songs, I am reminded of the Playing for Change, Songs Around the World videos, which began on the web during the Covid quarantine. Leave it to the musician community, who will not be deterred from delivering their art to the masses, while endeavoring to draw communities together. Ever amazed at the seeds of creativity, I am drawn to unpack Rock Voices, an amazing program. Taking a stab at an invitation and reaching out to Tony Lechner, we were drilling down on the particulars after a couple of days for an interview.
Follow the full conversation with Tony Lechner, a music professor turned entrepreneurial rock coral arranger on The Long Island Sound Podcast.
Professor Tony planted the seeds of a rock coral group ten years ago in Hadley, MA. Our cousins across the pond in England had flushed out the idea and Mr. Lechner knew the time was right to start a no-audition Rock chorus in America. He was so amazed with the early impact and results, he told the pioneers of Rock Voices that he’d quit his full-time job as music teacher and pursue the dream of bringing a Rock-based choral group to life.
Recalling the many Zoom calls we all engaged in during quarantine, and recognizing the need to stay connected to the community, Rock Voices is well worth investigating. The program seems to be a prescription to allow singers of every skill level re-enter the local collective and have some fun along the way.
I don’t even like to call it a choir, I’d like to call it a Rock Band with a ton of singers
Tony Lechner
Communities Making Connections
Today, Rock Voices has chapters in six states, and there is a waiting list for new locations as the vetting process for directors continues. New York State has chorus’ in Albany, Brooklyn Heights, Saratoga Springs, Syosset, and Syracuse. They perform concerts in the Spring, Summer and Autumn seasons.
The various Rock Voices Choral Groups have performed selections from the Beatles, James Taylor and the Foo Fighters to name a few.
I was amazed at the arrangements, in particular, the cover of “Somebody to Love ” by Queen, raised the hair on my arms and pulled at my heartstrings.
A choral group is a great place to hide and learn in a no judgment zone
Tony Lechner
Healing Harmony
Tony spoke about the various studies which highlight the mental health benefits for the participants who engage in harmony singing. The positive feedback from the choral group members is an endorsement of the healing powers that music can bring to a community. Rock Voices flings the door wide open and provides an easy entry point for everyone to participate in a fun-loving learning experience. So if you’re ready to Rock, this just might be the therapy you need.
DJ Joe Grossman is someone you maybe haven’t heard of in the Capital Region, but if you were in Manhattan and you knew the right people, the right bouncer to bribe, you might just know who he was. He’s firmly revolving in the orbit of the New York party scene.
There’s a universe that operates on a natural law of rhythm, of galaxies spinning on the turntable of a black hole and the intricate interplay of planets passing by, moons revolving in such a way we could set our watch to them, and in a way, we do. And on this planet, there are trenches. And in those trenches, there are DJs, wielding raw rhythm to move people about in their own orbits.
RadioRadioX: When I think of DJs, I think of old school record-scratching and loops, which is me tipping my hat and letting my age spill out. And DJs produce a whole sound, but I feel like a DJs must share a kinship with drummers, because rhythm and timing play such an important role. How would you compare what you do with what a drummer does?
DJ Joe Grossman: They have similarities, but rhythm and timing are the main two that come to mind. That’s basically one kinship I think all musicians share. I’m sure a lot of people would say there are no similarities because as a drummer you’re creating music in real time and as a DJ you play tracks that are already produced, but there are a lot DJ’s like myself that basically produce live during their sets. For example, playing a kick drum or bass line from one track and then layering hi hats or drum samples over it and then adding an acapella. By doing that you can create a live remix that nobody’s ever heard before.
RRX: You are a New Yorker, which is how I got turned on to you. But you’re in the Manhattan scene, and while Albany and New York City definitely share some culture, some of the mindset, we’re worlds apart. What is the Manhattan DJ scene like? I mean socially, how would you describe the daily grind of the dance scene?
JG: To be honest it’s changed so much over the years it’s hard to really describe, it’s ever evolving. When I first got into DJing it was all vinyl. There was no social media. All the promoters used gorilla marketing with flyers and street teams. The scene was a lot more organic then, a lot more personal. But some things in NY always stay the same. The better DJ’s and promoters have weathered every storm and are still here. However, the focus has shifted from Manhattan to Brooklyn over the past few years. But NY is the city that never sleeps. So, nightlife will always be a staple here.
RRX: One thing I’ve always felt is that venue is the “fifth instrument,” or in your case, the “second DJ.” Where you are can either limit you, or give you an insane rush, and make you hit new heights. So, you’ve probably played in some pretty unique places. What kind of place charges you creatively? Can you give me an example of a place like that?
JG: There really are so many unique places. One that comes to mind is in Acapulco, Mexico. There is a venue called Hannah Sun Club which is basically on top of a mountain overlooking the ocean and the entire club is surrounded by an infinite pool. One of the most amazing moments I’ve ever had was playing music there when the sun went down. But each city and venue has its uniqueness. And it’s up to the DJ to understand the venue and the crowd and make the music work in that specific situation. But the crowd’s energy is really what drives me creatively. Even more than the venue, I feed off the crowd’s energy.
RRX: One of the things that interests me about DJs and DJing is that aside from the electronic elements you create yourself, you get to sample the music of others. So, you get to create for people, but while creating, as a part of that, you get to expose people to music that kicks for you. What kind of music do you look for to sample?
JG: I love classics, there’s just something about hearing a classic vocal sample that might have been forgotten for a while just come through the speakers. Michael Jackson, Aretha Franklin, Etta James, Beastie Boys, Biggie. I have a list a mile long with so many artists and different styles of music. There have been so many times that I’ve been driving and a song comes on the radio and it just gives you an idea for a remix or a sample.
RRX: When I say DJing, I’m kind of like a toddler pointing to everything and calling it ‘water.’ I know that there is DJing, but there’s also EDM, or electronic dance music. And for this interview, I hit Google. And Google doesn’t seem to know the difference. So, here’s your chance to school Google; what’s the difference between DJing and EDM?
JG: Well, DJing is the art of playing music and EDM is the style of music that DJs play. EDM breaks down into tons of different genres and styles like techno, tech house, house music, tribal, deep house, progressive, etc… There have been so many new genres that have emerged over the past few years and new ones are created almost monthly. My style is more techno, tech house and tribal.
RRX: There are none of us islands; we all have other people in our orbits. For you, other DJs, other performers, notable rave kids and scene and scene legends. So, in your world, I don’t want to say you might have favorites, but maybe a couple of cool and interesting people you think deserve some recognition. Recognize!
JG: I grew up in the NY music scene so I’m always going to be partial to my NY DJ’s. A lot of my inspiration growing up came from listening to legends like Danny Tenaglia, Victor Calderone, Boris, I’ve always just loved that big powerful NY sound. Then as time went on, I also took a liking to other sounds as well from a lot of other DJs like Carl Cox, Steve Lawler, Solomun, Chus n Ceballos. The list goes on.
RRX: This is where you answer the question I didn’t ask. Comments? Remarks? Educate, enlighten, emote – the floor is yours.
JG: Well first and foremost I’d like to thank you Liam and RadioradioX for taking the time to do this interview. It’s always an amazing feeling for me to see people interested in what I do. And I’d also like to thank all the people that continue to support my music. All the promoters and fans that support my events are what allow me to do what I love and I’m forever grateful for that.
Music and the music scene is changing every day and to keep up with that I’ll always try to keep learning, growing and entertaining crowds. Sometimes DJ’s forget that the people on the dance floor worked all week and dealt with the stress of their lives and that one night is their release, their moment to forget everything and just enjoy the music. As a DJ I’m responsible for giving them an amazing show and I’ll always do my best to do that.
When you think of Westchester, you may not picture a thriving rap and hip hop scene; one local producer is looking to change that. John Darling aka Poncho is a producer turned entrepreneur, who highlights local artists on his Youtube show, the Encore Podcast.
Growing up in Cortlandt Manor, Poncho didn’t seriously start making beats until a sports injury in college prompted him to switch gears and make music. After dropping out of the University of Mississippi his sophomore year, he returned to his hometown and quickly learned how tough it was to make a career as a producer.
John Darling aka Poncho is a producer turned entrepreneur. With an eye for upcoming artists and an ear for beats, the Westchester native uses his talents daily on his Youtube show, the Encore Podcast.
“You got the industry route where you’re trying to get beats on an album and the internet route posting beats on Youtube, but it’s just so saturated,” he explained. “You can only get so far doing that.”
Rather than DMing artists with his beats and hoping for responses, Poncho wanted musicians to come to him. His solution was the Encore Podcast, where he envisioned himself interviewing up-and-coming rappers, producers and DJs. Poncho had a variety of music contacts from previous ventures hosting live shows and he hoped some of these connections would translate to people he could feature on the podcast. Poncho also believed Encore could serve to connect Westchester artists to one another, creating a community centered around music.
“There’s a lot of people who do music in Westchester, but everyone is just disconnected,” he said. “There’s no home base for people.”
Yet that community is clearly growing under Poncho’s guiding hand. While the podcast is still small – it has less than 1,000 subscribers on Youtube – the fan base is clearly dedicated. The show never appears to lack new voices, whether it be interviews with female rappers like the Yonkers based Prada Mama or big name producers like Mike Snell, who has worked with the likes of artists such as Kanye West and Timbaland.
The podcast is also big enough that Poncho said he only accepts around 15% of interview requests. And on episodes where he reviews new music, artists are now paying him to critique their songs.
Poncho making beats in the studio
Still, it took a while for Poncho to reach this stage. Over the course of hundreds of episodes and many years, the podcast has evolved from acoustic performance videos to music reviews and artist Q&As. Currently, Poncho says the primary focus is creating educational content for artists and producers.
“The interviews are really about creating teachable moments for artists,” he said. “A lot of artists don’t really know what they’re doing … so there’s an education gap that we’re trying to fill with our podcast.”
Indeed, the podcast excels particularly by providing both a platform for artists and their music while simultaneously serving as a learning tool for viewers hoping to make it in the industry. Perhaps no one knows this better than Westchester rapper Tim Schulze, who releases music under the moniker, Starkiller TmmyX.
TmmyX has been a featured guest on the podcast, working alongside Poncho to review artist submissions. TmmyX is also an avid viewer of the show and said the podcast provides knowledge he wished he had known when he was just starting out.
“Poncho goes through and he teaches all these little things and he gives you all these criticisms,” he said. “Some people might take it the wrong way, but these are things that I wish somebody was telling me earlier in my career.”
The burgeoning reach of Poncho’s podcast also contributed to TmmyX filming a music video with the artist Nyck Caution, a member of the hip hop collective Pro Era, which notably features Joey Bada$$ as one of its founding members. TmmyX and Caution had recently made a song together, although they never met in-person for the collab. TmmyX decided to preview the new single on the Encore Podcast, where it was met with rave reviews. Hundreds of people tagged Caution while Poncho himself gave a shoutout requesting the two meet and shoot a music video together … and it worked.
“Two weeks later, [Nick Caution] is with me and we’re in Brooklyn shooting the video because of Poncho’s podcast,” TmmyX said. “It’s things like that. He’s creating moments. Poncho has created each of these connections by putting his service out there.”
Another connection Poncho has made is with Bobby Lehday, a Westchester producer and now frequent guest of the Encore podcast. Lehday has worked with famous rappers like Lil Durk and serves as an in-house producer for other Westchester artists like TmmyX.
Like Poncho, Lehday has an eye for Westchester talent and sees the opportunity for a community to grow around the rap genre.
“I like to see people from my area win and if I can help them with that, I’ll do whatever I can,” Lehday said. “I love seeing people blossom and grow into artists. I feel like a farmer tending my garden.”
Bobby Lehday, Poncho and TmmyX doing music reviews on the podcast
For Lehday, sometimes helping others comes in the form of tough love, as evidenced by his sometimes critical music reviews on the Encore Podcast.
“I’ve been on the show myself and people have said I’ve been a little harsh, but honestly some people really need to hear that,” Lehday emphasized. “If you’re serious about music, you have to be willing to be humbled.”
As someone who has been humbled many times while making the podcast what it is today, Poncho said he agrees with this mindset.
“At the beginning I was ignorant and after a hundred and fifty podcasts, I learned that, ‘oh, I’m doing this wrong,’” he said. “Eventually after I’ve fixed two hundred things, now I have a good podcast.”
Still, Poncho doesn’t deny that sometimes ignorance is bliss.
“I was blessed because I didn’t know what the fuck I was doing,” he said. “If I had known how difficult this actually is, I might have not done it.”
But by all accounts, Poncho has done it. Through trial and error and sheer dedication, Darling has made the Encore Podcast his full-time job and his main source of income. He continues to grow the platform one new artist at a time.
“I’ve got no other option,” he said. “With the platform we’re trying to build, I only want people that have that hustle, because if you don’t have the hustle, you’re not going to make it.”
Fun bands are great. It’s strange, in that some bands, you listen to their music and lyrics and you feel so light that you don’t realize how difficult the music might be to put together. Like they say; the great ones make it look easy. And it’s refreshing to have a music that just does what it’s supposed to and gives you a good time.
Haunted Cat is just such a band, and from their eclectic mix of grooves and styles to their never shying away from engaging in festivities, you will find a good time the moment you click ‘play.’
RRX: Haunted Cat has a lot of holiday specials, Halloween, Thanksgiving, Christmas. To see a band do one holiday special in a year is something, but it seems a pattern for the band. How did Haunted Cat start doing holiday specials? Was it a goof that just stuck, or was it something in the band’s basic design?
DB: Let me start by saying it warms the cockles of my heart that you think of HC as a fun band! We have heard that and always appreciate it. We also aim to strike terror into the souls of audience members so their hair turns fully white on the spot, and folks are frequently seen sobbing heavily at our shows as well. Those people are usually watching Steel Magnolias on their phones. The key is, we want to take people on an adventure and hit on all the emotions one could possibly feel, as long as it’s not boredom.
To that point, and with respect to the specials, there are all these ideas that excite us beyond what we’re going to play at a live performance or release as audio recordings. Stuffing those ideas away because they’re outside of a traditional band activity would be bad for morale. They need to happen. We don’t want to just do holiday specials either, we may soon venture into fetish videos, reenactments of obscure political assassinations, revitalizing the Jurassic Park franchise… and, look, this could all be the same project. The important thing is, we want to keep ourselves entertained and interested, and if we are doing that, some other people will probably be entertained and interested. Hopefully?
RRX: The band seems to have a sort of light, sort of lackadaisical feel, from what I’ve listened to. It’s very inviting, very welcoming. And I feel like it leaves a lot of room to experiment and improvise with your sound; you don’t seem tied to some traditional orthodoxy. But do you have any root notion around which the band revolves?
DB: My heart cockles are an absolute inferno right now by your words. “Root notion” whence we orbit? There are some bands that are consciously trying to sound like bands that they like, or a specific genre. It kind of makes sense, you like that music, you want to play music pretty close to like that. I would say the most important thing for Haunted Cat is to operate extremely far away from that, and rather separately and intensely appreciate all art via any mediums that we find most exciting, and filter things we love through ourselves and our collaborators into something that is hopefully unique and new. We get compared to other acts, and writing about music it’s very hard if not impossible to avoid that, but I never think we actually sound like those things.
RRX: The previous question alluded to the fact that Haunted Cat’s sound is diverse. That usually comes from people that have diverse tastes in music coming to the table. I saw that, in one of your specials, you had a song originally sung by Liberace mentioned. That seems like a big shot out in left field for music in these parts? What was that about?
DB: To clarify, in last year’s Halloween Special we brought Liberace back via seance, which was not as easy as you think, and we were granted an exclusive performance of “Violet” by Hole. Liberace is a total pro and we are still honored he showed up despite being very busy with his afterlife passions of snowboarding and jai alai. We could have brought John Lennon back because he has the universal stamp of acceptance, but that would have been extremely boring unless it was the period where he was getting super trashed and making an ass of himself in public, toward the end there. Liberace was way more fun. We had a wheel we spun that included Bam Bam Bigelow and Jesse Pomeroy, but we spun the wheel and the wheel spoke.
RRX: I also saw a picture of you all playing at the Low Beat, which is no longer around. It’s bittersweet to see venues go, as far as the memories we have as listeners, audience members. But a fun night for us may have been a major accomplishment for a band onstage. Any venues, Low Beat included, whose loss you’ve really felt? Why?
DB: For a very long time I couldn’t think about the loss of Valentines without feeling real sorrow, and when I pass that area, I still truly feel the loss. It was devastating to Albany when Valentines closed. That was the place for me and for a long time, nothing came close to filling that in the immediate Albany area. But looking forward there are a lot of great newer venues. No Fun in Troy is just amazing. Every time I go there I have a blast, and it seems it’s just getting better. We still haven’t even played there yet, but we have really enjoyed seeing other shows there. I absolutely love Rare Form and saw like 100 great bands there last summer! We are playing there again on 7/23!
RRX: Going back to the specials. I see specials on television, and they’re usually themed, usually extravaganzas, and it’s as much me being in a holiday mood as it is the special’s performance. But when you guys do these specials, you go all out. And you probably start them well before the season. So, is it like celebrating the holidays twice?
DB: We collaborate with local artist-of-all-trades and technical wizard Eric-jon Tasker on many artistic endeavors, but we truly couldn’t do the specials without him. Together I think we started the Halloween one in April and we would just have our incredibly wonderful and game guest stars come weekend after weekend to film, and then we’d edit whenever we could. We lost a ton of footage when a hard drive fell on a concrete floor, and it was a wild ride. We have such limited resources so it was really a miracle that we pulled it off, especially since it included a live performance filmed at Desperate Annie’s like two days before we released it. By time Halloween came we were pretty much ready to move on to The Brazilian Republic Proclamation Day Special. The goal is that we can increase our resources, funds, etc. so we can go even bigger and have more options with whatever we want to do creatively.
When you spy a fireman on a balcony, you pray for lives to be saved. When that fireman is Dante Mazzetti singing from a balcony, your ears perk up and your attention becomes fixed.
With over forty-two thousand followers on Facebook, Dante Mazzetti must be doing something right. As both a singer/songwriter with a folksy style, and as New York City fireman, Dante Mazzetti has become quite an unintended social media master.
In the continuing search for guests on The Long Island Sound podcast, I came across Dante on Facebook. I’m positive that the AI (Artificial Intelligence) led me to him, or maybe it was some sort of cosmic connection that led to our interview.
Covid Creativity
The impact of the quarantine and Covid changed our lives forever. Even the landscape of the New York City workplace has taken on a new shape, as many refuse to go back to the old normal and reimagine their workplace as more mobile than ever. Musicians accustomed to working out in the trenches of pubs, bars and music festivals were relegated to their homes to sort out the next steps in their creative careers. Some felt the stifling effect of not being heard, and others turned to their creative minds to discover new outlets for their art. Everyday people resorted to Zoom calls to keep connected to family, friends and community. Yet the desire to connect with each other on a deeper level was a thirst unquenched.
Technology can be a challenge to baby boomers like myself, whereas younger generations seem to be born with a Matrix-type connectivity which still amazes me.
I’ve followed some musician’s live streams on Facebook, some great, and some not so great. I was introduced to Twitch, as an alternative to the Facebook Livestream, which has brought a modicum of success to performing musicians during quarantine. Twitch was originally started by a group who built a community of like-minded video gamers in need of a competitive environment to showcase their skills. Eventually the platform, geared to quality video, evolved into a virtual stage for musicians seeking the thrill of a live performance. The ability to have a virtual tip cup, allowed musicians to generate income during the shutdown.
Maybe it’s the lack of a live audience that hindered many musicians from effectively commanding the virtual live stream. Maybe it was the perceived chasm of technology to overcome which encumbered the performance, I don’t know, but I do know when someone is able to command the platform. The ability to have themselves heard and drive more and more fans to their music, and seemingly crack the social media code to build a new fanbase. I put Dante Mazzetti in the win column. Facebook has been Dante’s goto platform for live streaming, supported by Instagram ads to attract new fans.
“The first time I was like, you know, it’s like, sideways, the whole show, but then, you know, people really started to jump in.”
Dante Mazzetti
There’s a Dylan-like quality to Dante’s demeanor and performance. He invites you onto his balcony as his intimate style of performing allows you to peer into his world. We can read about Dylan’s entrance to the Folk scene in Greenwich Village, and imagine what it was like to see him at Cafe Wha. I would think the impact of these early hootenanny’s may have been the inspiration for Dante Mazzetti’s daily balcony sessions during the Covid quarintine.
Bellowing from a Balcony
The live steam balcony sessions started out as a daily routine as his followers on Facebook and social media began to grow. The marketing and business acumen of his wife Jessica, helped propel them into the stratosphere of notoriety, allowing this humble podcast host to take notice.
With my suburban mindset, I asked Dante, how did his neighbors react to the sessions? He said they started their queries, when his sessions became less frequent, as they hope for more. It appears the community was not only building on the Internet, but locally as well.
Dante and Jessica were recent guests of mine on the Long Island Sound podcast, and I began to digest his music in preparation for the conversation. I became intrigued by the depth of his lyrics, especially in the song, Blue and Gold. Dante seems to be very prolyfic in his songwriting, hitting the studio every six weeks or so to nail down more tracks and recently written songs. We explored the song Hey Mama, which made me reminisce about the musings of Hank Williams, as Dante painted his landscape in lyric and melody, accented by an old soul in a young man.
Dante is a multi-instrumentalist, covering the gamut of styles that we now call Americana. His music is comforting and warm, as he seems ready to pick up the guitar anytime, anywhere to entertain or just hang out. Here’s what Jessica had to say about his songwriting:
“And, and I think in all of Dante’s music when it does have a positive spin, which he’s doing a lot more lately, there is this dose of reality.”
Jessica Gerono
Prior to Covid, Dante would perform over sixty shows a year, Mazzetti has been featured on radio stations throughout the world, has opened for several major artists, such as Ben Folds, Guster, and America, and was chosen to star in Levi’s “What’s True” national television commercial campaign. Ten years into his formal musical career, I believe he is on the brink to set things ablaze with his music.
As an active New York City Fireman, the reality of the day hits you in a moment’s notice. Each call to respond could just be an unintended alarm or chance to save a life from a burning inferno. Dante’s development of the muse is both tangible and sensible, calling us to be present in the moment, with the promise of igniting an interest to know more about this artist, and reminding us that maybe it’s time to just hang out on the balcony.
Westchester rock trio, Shining Faces, released their debut single, “Worthless” on Wednesday, September 28. The music group with origins in the Upper Westchester County area transitioned their involvement in the rock scene in New York City.
Shining Faces
A unique feature of the band’s start-up counts their spawnage from the upstate-based Pow! Burger joint. The collaboration between the burger restaurant and the rock band helps to carry the representation of the DIY cultural aspect of the Upper Westchester community.
‘Worthless’ debut single cover art
The members comprising the band are vocalist, guitarist and songwriter Clinton Meekel, bass player Kevin Giachetto, drummer Austin Flynn and guitarist Nick Trujillo. The artists opened about their experience working at the independently-established Pow! Burger joint, their music career and the connection between the workplace they were previously employed at and the punk and surf rock performances made in the Metropolitan area that are supported by former co-workers from the Pow! Burger.
Heather Occhino: How did the band meet?
Clinton Meekel: So, Austin, Nick, and I met while working at Pow! Burger. Nick and Austin actually had a project together called “Block Tape”, and the three of us had a project together called “Anklebiterz”. Kevin and I had played drums a lot together growing up with Kevin’s brother, Justin. I had put out some stuff solo during COVID, but I really wanted to be able to play live. I put together a trio with Austin and our other friend, Sean. When we moved to the city, Austin moved over to drums, we added Kevin on bass, and Nick is our newest addition on a second guitar.
HO: What inspired the band members to pursue making music?
CM: I always grew up around music. My dad repairs guitars and collects records and just has a really extensive knowledge on all kinds of eclectic rock and punk music. I started playing when I was five years old and haven’t stopped since.
HO: What was the group’s reason for relocating to New York City?
CM: Basically, I moved here to finish college. It’s new and there’s a lot of awesome stuff happening down here musically. I used to drive down here all the time to go to shows and it’s really cool to be living in the midst of all of it.
HO: What influenced Shining Faces to add more contemporary-based punk-rock influences to traditional songs, such as Joe Cocker’s “The Letter” and Hound Dog Taylor’s “Give Me Back My Wig”?
CM: I had listened to those songs a lot growing up, and I wanted to pay homage to those musicians. There’s something timeless about those songs in particular, and I love being able to take something old and mess around with it and make it fresh. Those songs translate really well live too, because people recognize the songs but maybe have forgotten about them. Then it creates an opportunity to bond with people over those songs too. People come up to us after shows and bring up The Letter, and it’s just really great to get to talk with new people about songs that we all love.
HO: When Pow! Burger was established, did the then-employees plan on choosing a direction toward music?
CM: It was totally by chance that so many of the people who work there, who I now consider very close friends, were also interested in making music. But it definitely became a commonality for all of us there. There aren’t really any venues in Yorktown or record stores, so it’s hard to find any sort of musical community. I’m lucky that all my time at work could be spent with guys who do care about music and have a taste that aligns with mine.
My friend from Pow! Leapfrog Jones actually opened for us a few weeks ago at the Bowery Electric, and I just saw him play the other day at another venue. We all just kind of had bands on the side, but everyone is really supportive. Even the owner Dave, he comes to our shows. And Yorktown isn’t close, but he’s invested in our success. It’s honestly not very often you see a business owner who actually cares about the success and security of their employees beyond the workplace, so we’re all really lucky. And just to have this community of people who have our backs and are rooting for us.
HO: What was the transition like leaving Pow! Burger and moving to the city?
CM: It’s a little bit crazy actually. We’re all friends, so I see the guys from Pow! all the time. They all make their way down to the city for our shows. I think some more of them might even move out here too, and I love having them on bills with us or vice versa. I remember overhearing someone after a show say, “What is this restaurant they all work at?” Because basically the entire staff was in the audience. It’s pretty awesome to see.
HO: As mentioned in the biography about Shining Faces, their aim is to find “authenticity in a world in a world where our lives are becoming increasingly commodified”. In which ways is this sentiment expressed in their musical work/artistic expression?
CM: Punk has always been about rebellion. I’m really inspired by guys like Iggy Pop, the Sex Pistols. Punk has always been a vessel for counterculture. I think we and most other people in our generation feel like we’re getting screwed. We’re losing faith in our institutions. There’s so much pressure, especially with social media to make yourself marketable. To make every bit of yourself something that can become profitable. It’s easy to feel helpless. And we’re angry. So our aim is really just to create and give a raw reaction to what is happening in the world. We’re young and people want to dismiss us but we’re the ones who will grow up in the world that policies being passed right now are shaping.
HO: What ultimate message/(s) does the band want to spread to their listening base?
CM: I think what we wanna get out there, especially with “Worthless” is just to not let the world get you down and cling to your passions. What we kind of pose in this song is am I worthless? In a world where everyone is supposed to be doing a million things at once, how valuable am I beyond what profit I can produce? Or is all of that worthless and the bits of the humanity within us are what is actually significant? We’re kind of grappling with things like “what is all of this for?” It’s a question that only yields more questions, but we’re going to keep asking.
As Autum begins, haunting imagery invades media marketing and entertainment. Maybe that’s why I decided to drive into National Cemetery to find some solice time after work to write this article.
The world is a scary enough place, I can do with less creepy in my life. The days are getting shorter and finding a quiet spot as the working day draws to a close seems harder and harder.
In 1965, at the Newport Folk Festival, Bob Dylan went electric, everyone thought it was the death knell of folk music.
I mistakenly thought folk music was dead and gone, until I was able to connect with the “folkies” here on Long Island. It started with the interview I conducted with Linda Sussman, which led me to Josie Bello.
The Resilience of Folk Music
I recently interviewed Josie Bello from Huntington New York, you can find her episode on The Long Island Sound Podcast. Her voice is akin to Emmylou Harris which artfully draws us into her lyrics. Her songwriting is honest, emotional and straignt from the heart. Like many of her counterparts, she’s not afraid to lament social justice issues, especially in her song “They lie”.
I am enamored by singer songwriters who can express what I often cannot in their song. Their ability to expand upon the muse and deliver poignant messages so important to hear. Josie calls herself a late bloomer, having sprung onto the music scene only seven years ago. After accompanying her husband Frank in the coffee houses in and around New York City during their college days, Josie decided to pick up the guitar woodshed the instrument and start writing music. Turning to her guitar teacher, Mike Nugent. Yes, the very Mike Nugent from the Cadillac Moon band and the Walkers, encouraged Josie to record her music in his Melts in Your Ears Studio. With two albums and a few singles under her belt, I see a bright future for this folk singer/songwriter. Nugent plays many of the instruments throughout the albums which are rich in texture while crossing into waters that incorportate, Folk, Americana and a smattering of the Blues.
Where Hope Blooms
Mike Nugent
In Josie’s music, I found both a lament and a prayer. A thread of spirituality and a hope for change. But there’s another interesting aspect to Josie Bello, at least for me. This “late-bloomer” provides unintended consequences with her career as a singer/songwriter. I found hope for all singer/songwriters who have written tens of thousands of versus developing the Muse but not quite woodshedding the song to full potential. I am inspired by the encouragement of Mike Nugent, her guitar teacher. It is common to find singer/songwriters who are also music teachers encouraging their students at every level level, which is a testimony to generosity of the musician community. As with any artist, a little encouragment can go a long way. As an underdeveloped songwriter myself, I have discovered a glimmer of hope in Josie’s story. The hope that our voices can be heard through our own songs, good intentions and most importantly, follow through.
Bridging The Divide
Folk Music in particular, brings the hope of an increasted dialogue in a divided country. To jump on the soapbox for a moment, there is a great need for us to converse with our neighbors, no matter how much we disagree with their politics. How can we be the “United”States of America, if we don’t talk to each other in a peaceful and deep dialogue? Music can help us reach understanding the big question, “Why do you think this way?” The honesty of a folk song can place us in the starting gate for reconciliation.
Give Me Original Music
As I continue to explore the Long Island music scene, through my podcast, The Long Island Sound, I’m no longer amazed about the diversity of genes in my own backyard. At first glance you think that every bar in town, every small stage is trying to find the next great cover band. After all, Mike Nugent says: “It’s the age of the Tribute Band”. But if you are intrigued about original music, you can still find the enclaves of originality, featuring folk music, bluegrass, punk, rock and roll and of course the blues.
“It’s the age of the Tribute Band”
– Mike Nugent
I lament about the days of my youth,before the disco era in the mid 80’s, it seemed that every bar and pub had a live original band playing. Today there are there are a handful of bars and venues that help support our original artists. I was thinking about Katie’s of Smithtown, Bartini in Babylon village, just to name a couple. And of course there are the big stages the Paramount of course in Huntington, 89 North in Patchogue and the ever resilient Eppy Epstein’s rebirth of My Father’s Place, at the Metropolitan in Glen Cove. We need more venues and people like Eppy who support original music.
Josie Bello’s music is streaming on Spotify, and you’ll be able to see her live at local venues on the North Shore as well as at festivals from time to time. There’s a need for music that is unaffraid, inspiring and which calls us into deeper conversations. Thank you Josie for putting to song, that which we often struggle to say!
Interviewing a band is like opening a wrapped present, you never know what you’re gonna get until you unwrap the gift. Having interviewed dozens of musicians over the past year, I am cautious about questions that can kill a conversation. I’m conscious about the third rail question,, “…so what do you do for a living?” The fear of going off the rails put aside, I became intrigued with each member of the band, Out East. This group of artists from East Hampton keep on giving through each creative moment, whether in the studio, on stage or through their work. Let’s open the box. Catch the full conversation on The Long Island Sound podcast.
The Trio Expands to a Foursome
Established three years ago in the Hamptons, Out East has grown to a foursome with the addition of a fantastic vocalist, and singer/songwriter, Starlight Tyler. Ms.Tyler’s sound is described as “a soulful singer blending the classic sounds of jazz with the earthiness of the blues”. The band’s music is as diverse as their day jobs as we get acquainted with the stories behind the artists.
Their original music spans the gamut, from Fusion to Reggae, with a foundation of Blues and the influence of Latin rhythms. The song “Flower Power” sparks the colors of psychedelia, which would be a welcomed theme song for any CBD/Cannabis shop poised to open in New York.
“So What Do You Do For A Living?”
John Jinks, the main songwriter and guitarist in the group, cut his teeth as a Commercial Illustrator in New York City. This transplant from the Midwest had artist reps in the USA and Japan, and has worked on national campaigns. Clients such as Perrier, Warner Brothers, Estee Lauder, USPS among others have added John’s art to their brands. Upon transplanting from the city to East Hampton, John got into computers taking his artistic eye creating documentaries and motion graphic work.
Besides his music work as the drummer in the band, Gerry Giliberti established himself as a print-based photographic artist, creating abstract and surrealistic images to bring us into his world. Gerry’s ability to see simple images in complex textures has established him as a notable artist on the East End.
Carlos Barrios plays Bass in the band and is a notable Master Luthier (Master Instrument builder). Born in Guatemala, Carlos emigrated to the United States, spent his early years in LA and they traveled to Long Island. His father’s influence as a carpenter set him on a firm foundation to become a luthier. He makes basses and guitars and repairs all sorts of instruments. His clientele includeG.E. Smith, and Nancy Atlas, among others.
Carlos on Bass
A New Documentary on Carlos’s Craftsmanship
A documentary featuring Carlos’ Master Skill in Guitar Building will premiere this fall at The Church,(Eric Fischil’s Art Gallery) in Sag Harbor.
Many musicians branch out to the visual arts; all are craftsmen in “wood-shedding” their instruments, and on this occasion, we meet a master builder, an artist-illustrator and an abstract conceptualist photographer. I will always be intrigued about professional musicians and their stories, I become envious of their skill, dedication and performance. Maybe it’s my own lack of skill or the excuse of “maybe someday, I’ll get to it” that insulates me from becoming a better musician or artist.
For the most part, Out East, plays the music scene out East. You can check them out when they play Best Pizza Dive Bar in Amagansett on Sept. 30 and Stephen Talkhouse on Oct. 28.
The awe of the craft, comforts music lovers everywhere as we experience the electricity of joy pulsating from a live performance. We traverse the roads of discovery among local neighborhoods, and music scenes abroad, forever searching. I’ll bet most of us will testify that music brings us joy, especially live music. If we are to heal the world through music, we’ll need to support our musicians and be generous with the joy we’ve received.
If you long for great music and art, my suggestion: head Out East!
