Producer and multi-instrumentalist Jake Huffman has announced his newest EP Adderall & Whisky, dropping on April 29th. This EP is inspired by his early 20’s, and lyrically he writes about the story of the rise and fall of love along with experiencing life in a rock band. “Giving it a Try” and “Just a Little More” only preview the intensity of Huffman’s newest project.
photo credit: Coley Stevens
Since he was young, Jake Huffman began his musical journey traveling up and down the east coast with his rock and roll band, McLovins. With influence from early 2000’s alt-rock, Huffman’s writing flows into an Indie rock/Indie pop mindset combined with deep personal lyrics. In 2010, Rolling Stone described his band as “having the ability to harness the musical ferocity of Trey Anastasio, Les Claypool and Stewart Copeland before being able to legally drive a car.”
“Adderall & Whiskey” EP
Stated in a previous article from NYS Music, Huffman went back to college when COVID-19 hit, getting a Certificate in Music Production from Berkelee School of Music in Boston. During his time being locked down, Huffman dove into his studio work writing about 50 tunes over 2020-21 along with teaching music lessons remotely four days a week.
Jake told Relix Magazine “Over the last few years, mostly in isolation, I was forced to look inward and found creative inspiration in the process. I always tell aspiring songwriters that the best songs are honest, simple and specific. “Giving it a Try” is my way of practicing what I preach.”
Jake releases his first solo song “Giving It A Try,” a preview of his full EP
I took my own emotional arc of living with so much uncertainty in the world and produced and engineered the song myself from my home studio. The music video is a loose concept of writing, practicing and performing the song. It’s a crowd favorite when the band and I play it live so I wanted to capture the love and energy for the song. I co-directed and edited the piece with my partner Coley Stevens who shot and colored the video.
Jake Huffman
As mentioned in a profile in Relix, Huffman said ““Over the last few years, mostly in isolation, I was forced to look inward and found creative inspiration in the process. I always tell aspiring songwriters that the best songs are honest, simple and specific. “Giving it a Try” is my way of practicing what I preach. I took my own emotional arc of living with so much uncertainty in the world and produced and engineered the song myself from my home studio.”
Get tickets for the Mercury Lounge show on May 20th here, located on the Lower East Side of NYC.
After a pandemic-induced two-year hiatus, the BUKU Music and Art Project made it’s triumphant return to New Orleans this past weekend. The 2-day music festival and art project took place at it’s usual location outside of Mardi Gras World on the banks of the Mississippi river. The project’s 10th anniversary featured a stacked lineup of EDM and bass music, rap, hip-hop, and indie rock. Back in March of 2020, as the stages and grounds were being built, project organizer Winter Circle Productions made the tough decision to cancel BUKU Project just over a week out. Being the first cancelled festival in 2020, it was only fitting that in 2022, a few weeks after Mardi Gras celebrations returned to New Orleans, that BUKU would be the first festival to kick off the season.
The 2022 lineup featured several hold over names from the cancelled 2020 edition including headliner Tyler, the Creator, Glass Animals, Alison Wonderland, Taking Back Sunday, and 100 Gecs. Over the years BUKU has grown into a 20,000 attendees per day festival and the location has proven ideal. A 100 year old power plant with graffiti covered smoke stacks and a vintage riverboat anchored on the Mississippi overshadow the project, reflecting the rich history of New Orleans’ warehouse district.
BUKU Project attendees were treated to a perfect sunny 75 degrees in New Orleans, a city that was eager to welcome music lovers back into their arms. New Orleans’ famous culture center of Bourbon Street is once again buzzing with music and activity and this was mirrored into the design of BUKU. Organizers weaved the experience of discovering local music into the fabric of the project.
As you walk around the grounds, you find pop-up musical performances, many which were not featured on the lineup. In the fields of the main stage area, there is a small vendor market with bands playing DIY style shows in the center of the market. A mobile rickshaw draped in hundreds of Mardi Gras beads was seen riding around the festival with massive speakers and a DJ playing music off the back. Outside of the ‘Ballroom’ stage, there was a boxing ring where rappers, bands, and interpretative performers played intensely experimental music.
Rickshaw and Boxing Ring “Stages”
Aside from the music, BUKU is also an Art Project that celebrates New Orleans artists. Art installations were scattered around the festival grounds and vendors were selling art and custom clothing. Modern sculptures and lighting pieces were found around every corner of the grounds, provided interesting backdrops to the music and for photos. There were also “live art” areas where graffiti and mural artists spent the two days creating beautiful pieces in the shadows of the music stages. Some of these were sold or auctioned for charity, but many fans just spent time watching the art being created while listening to the music in the distance.
Live Art Gallery
Bass Music and Underground Rap
The backbone of the BUKU Project lineup are the dubstep and bass music artists, with the ‘Wharf’ stage dedicated entirely to the genre for both days. The stage production was top notch and all of the performers took full advantage of the system’s power. Lasers from the stage were projected onto the nearby warehouse and the Louis Armstrong riverboat anchored in the river, creating the feeling of an intimate outdoor club while still housing thousands of fans. Liquid Stranger and Lane 8 headlined the stage on Friday and Saturday respectively, with Svdden Death, Mersiv, Clozee, and Wreckno filling in the days.
The Wharf Stage at BUKU Music and Art Project
“Multimedia aggregate” Lab Group also played the Wharf stage, only three months after the tragic death of member and producer Charlesthefirst. The 25 year old’s death shocked the community, but surviving members Potions and Supertask are keeping the aggregate alive and still performing the music that the group created together. At one point in their set Lab Group paid tribute by playing “Old Ways” which features rap verses from Charlesthefirst.
Lab Group Performs on The Wharf Stage. Photo by Buscar Photo
Underground rap and hip-hop played a large role in the 2022 edition of the BUKU Project in New Orleans. Odd Future founding member and now international superstar and fashion designer Tyler, the Creator headlined the project on Saturday. Ever since his solo debut Goblin back in 2011, Tyler, the Creator has been putting a fresh spin on his sound with each new release. 2019’s IGOR was an ambitious blend of rap and experimental R&B which debuted at No. 1 on the charts. Tyler, the Creator followed this up with Call Me If You Get Lost in 2021 which continued to propel his commercial success.
Tyler, the Creator at the BUKU Music and Art Project. Photo by Buscar Photo
Aside from the big name headliner, the rap lineup for both days of BUKU was stacked with rising stars and veteran artists. Friday featured ShyGirl and Tierra Whack in the Ballroom with Trippie Redd delivering a fiery set mid-day on the main Skyline stage. On Saturday, fans were treated to a full day of Flo Milli, Vince Staples, Baby Keem, Maxo Kream, and Tyler, the Creator. Another major success of the BUKU Project was that these individual genre lineups had no conflicts and fans who were there for the rap did not have to make any hard decisions.
Flo Milli at the BUKU Music and Art Project. Photo by Buscar Photo
Indie Rock and The Undefined
What festival would be complete these days without the indie kids? The best thing about music today is that anyone can listen to anything at any time. This has cultivated a generation of music lovers with a very wide palate. This was on clear display when Taking Back Sunday took the Skyline stage for their mid-day set. The band is on tour celebrating the 20th anniversary of their seminal 2002 LP Tell All Your Friends and they split their set between newer material and classic songs “Cute Without the ‘E’” and “MakeDamnSure.” The band drew a large crowd for an early festival set and the injection of nostalgia was a beautiful way to kick off the weekend.
Taking Back Sunday at the BUKU Music and Art Project. Photo by Buscar Photo
Friday headliners and Australian psych-rock titans Tame Impala were the highlight of the indie side of the festival. The band is on the second leg of The Slow Rush Tour which was partially postponed due to the pandemic but is back on the road in full force. Featuring a massive lighting rig suspended from the stage, the band’s live production overwhelms any audience they host. The lighting gives the unsettling yet beautiful feeling of coming face to face with a UFO.
Tame Impala at the BUKU Music and Art Project. Photo by Buscar Photo
The band cruised through reworked live versions of The Slow Rush songs “Breath Deeper” and “Borderline” while playing a driving, laser fueled rendition of fan favorite “Elephant.” Two extended releases of confetti during the last two songs “Let It Happen” and “New Person, Same Old Mistakes” felt like a celebration not only of Tame Impala or BUKU, but more of the return to live music in one of the richest musical cities in the world.
Tame Impala at the BUKU Music and Art Project. Photo by Buscar Photo
Given the seemingly endless creative outlets that exist today, there are so many artists out there that defy categorization and cannot fit within the typical genre classifications. 100 Gecs were an early highlight of the day on Friday. Described as “hyperpop,” the duo performs an aggressive and in your face punk-like pop music. Their chaotic style is a great show to see in a small club, but their gigantic sound reverberated across the main stage grounds as if that was their natural setting. Porter Robinson performed his Nurture live show and British indie rockers Glass Animals brought their iconic summer pool staging to same time slot on the main stage on Friday and Saturday respectively.
Glass Animals at the BUKU Music and Art Project. Photo by Buscar Photo
Our Impression
All in all, the return of the BUKU Music and Art Project to New Orleans was a major success. Organizers brought back some of the big names from the cancelled 2020 lineup and designed grounds that were well laid out and easy to navigate. Lines for food and drinks were never too long and there was plenty of free water and “BUKU Budz” throughout the festival supporting attendees. Most festivals with bass heavy electronic music suffer from sound bleed issues, but none of the stages interfered with each other at BUKU. The food lineup featured local mainstays and highlighted the signature creole cuisine of New Orleans.
NYS Music had a great time at the festival and we caught sets from so any different artists and styles throughout the weekend. We enjoyed seeing big names like Tame Impala in their prime, but also discovering new music that will become part of our rotation. Nothing is better than discovering new music live, looking over at your head-banging friends and asking “what song is this?” Moments like this are what we missed most during the pandemic and we are so happy to have back again.
Check out our artist galleries from the 10th edition of the BUKU Music and Art Project below, photographed by NYS Music photographer Buscar Photo.
M. Ward graced Levon Helm Studios with his presence this past Sunday, March 27. The singer-songwriter, and fans alike, waited two years for this Woodstock show, and the wait only made the night more special. For folks who have seen a show at Levon Helm Studios, you know just how incredible the venue’s acoustics are, and M. Ward played the barn’s walls like they were instruments. He opened the show and silenced the crowd without speaking a word.
Ward began with ‘Duet For Guitars #3.’ This started the night off perfectly by showcasing some of Ward’s most intricately dynamic guitar playing. His pinch harmonics resonated beautifully throughout the studio, and his individual style of strumming filled the room with chords that sounded too full to have been made by a single guitar. The crowd erupted after the song ended and they had their first glimpse into what was in store for them.
Ward then rolled into one of his most popular songs with ‘Chinese Translation,’ which allowed his voice to take center stage and play with Levon Helm Studios’ walls. You can take a listen to M. Ward’s 2011 performance of the song that he did for Kink FM in the video below. This clip is a great representation of just how smooth Ward is, both in his guitar playing and in his singing. At times during the show on Sunday, Ward would step away from his mic entirely and allowed his voice to carry itself throughout Levon Helm Studios. There are few venues, if any, that can compare to the sonic experience in this setting with a musician as skilled as M. Ward.
M. Ward played his first of two covers for the night with his rendition of Buddy Holly’s ‘Rave On.’ He slowed things down in the best way possible, and truly made the song his own, almost unrecognizable from the original. Ward’s second cover was one that caused an interesting response from the crowd. The lyrics to Daniel Johnston’s ‘Story of an Artist’ come off as humorous to some when sung in such a new tone. The song was featured on his 1983 album Hi How Are You, and its lyrics explore Johnston’s lack of support and belief in his art from his family. It is truly a sad, sad song, but what brought out the laughter seemed to be the juxtaposition of Ward captivating the crowd with his musical abilities while singing lyrics about a family telling their son that the world will never like his songs. The two observations clash, but the effect is powerful as the laughing fans soon saw and felt the seriousness of Ward’s voice.
The show’s pace picked up for the final few songs as Bat Fangs came out to accompany Ward. The group rocked the barn after an intimate set of songs, and left the Woodstock crowd on cheering on their feet for a few minutes. The crowd cheered until Ward and Betsy of Bat Fangs returned to the stage, and started the encore like the show began, with a song off Ward’s 2003 album Transfiguration of Vincent: ‘Helicopter.’ The duo would go on to end the night by fielding crowd suggestions, and settled on ‘Poison Cup,’ which managed to bring one fan to tears even.
M. Ward just finished up the last of his American tour dates until June, and will be flying across the pond to play three weeks of shows in Europe. When Ward returns to the U.S. he will be playing four shows in Texas before heading back overseas to tour the UK. If you have travel plans, be sure to check out M. Ward’s website. For future shows at Levon Helm Studios, check out their events page.
Setlist (partial): Duet For Guitars #3, Chinese Translation, Fuel for Fire, Rave On (Buddy Holly), Vincent O’Brien, Here Comes the Sun Again, Story of an Artist (Daniel Johnston), Never Had Nobody Like You, To Go Home
Knickerbocker Arena will always be one of those venues with a special place in Grateful Dead lore. The band played the downtown Albany arena thirteen times in their career which included three three-night runs at “The Knick.” Today, we look back at the middle show of the last three-night run there in 1993. It may not reach the heights of the band’s initial heralded run here in 1990 which helped provide material for their Dozin’ At The Knick album, but it sees the Dead at a time when they’re clearly comfortable in their own skin with this last incarnation of the band. The show provides a solid blend of Grateful Dead fan favorites, a pair of Dylan covers, and some newer original songs that were only played a smattering of times in this late era for the band.
The show begins with a tune that was starting to entrench its spot as a show opener in this last phase of live Dead, “Mississippi Half-Step Uptown Toodleoo.” Jerry Garcia sounds engaged right from the get-go and drops an immaculate guitar fill early on in the proceedings. The band takes their time dragging out the composed portion of the opener before Garcia lays down another heavenly solo. After a courtesy nod of gratitude from the Knick crowd, the opening licks to “Walkin’ Blues” ring out loud and true and fellow guitarist Bob Weir takes control for the next number. He leads the way through a cover of the American blues classic before they resort back to one of their sentimental originals in “So Many Roads,” replete with another feathery Garcia solo that serves as the bridge before a somewhat “Knockin’ On Heaven’s Door”-esque ending.
The Dead make the following cover selection more than clear with a joyous romp through Bob Dylan’s “When I Paint My Masterpiece” that has both guitarists wailing on vocals by song’s end. Things then slow down again somewhat with the “High Times” that comes next. This Grateful Dead classic serves up a classic blend of bluesy Garcia solos that merely matches vocals of the same tenor. This sets the stage for yet another late-era Dead regular that never seemed to take off, “Eternity,” co-crafted by Weir and his fellow Ratdog bandmate Rob Wasserman.
A slow transition into “Deal” then follows, with bassist Phil Lesh pushing the tempo early and often before a jam that reaches near hysterical proportions closes out the first set earnestly. The second one begins with the familiar tones of “Scarlet Begonias” as the Knick crowd gets brought back to life with this vintage Dead number. This triggers a brief but blissful jam, with Garcia’s tricked out guitar creating the effects of a veritable flute solo, that serves as the springboard into a raging “Fire On The Mountain.”
After a somewhat abrupt ending to “Fire,” the drum-fueled intro to “Samson and Delilah” emerges. Some vintage bass bombs from Lesh are peppered throughout on a frenzied take on this live show staple. Another old standby in “Ship Of Fools” then follows, graced with a typical breathtaking solo from Garcia, before the Dead break out “Wave To The Wind,” a song co-written by Lesh and longtime band lyricist Robert Hunter that was played only a handful of times in 1992 and ’93.
A post-song segue into “Truckin’” gets a little murky but the band soon finds their footing and treats the Knickerbocker Arena crowd to another classic Dead sing-along number. It sees some strong piano fills thrown in from Vince Welnick that help fuel a brief but explosive jam that sets the table for the traditional “Drums” > “Space” portion of the evening.
From the psychedelic mist emerges another song synonymous with ’90s-era Dead, “Long Way To Go Home” with an energized Welnick taking charge and leading the way on vocals. The tone then shifts from new school to old school in a hurry as the band dusts off “Attics Of My Life.” It ends a 41-show gap from its last performance, which just happened to be here at The Knick last June. The set then comes to a rousing finish with a “Turn On Your Lovelight” that sees Bob Weir doling out the signature bluesy vocals and Garcia once more digging into his bag of tricks and emitting joyous trumpet-sounding guitar fills on the closer. The second and final Dylan cover of the night then serves as the encore as the show ends with a beautifully somber take of “Knockin’ On Heaven’s Door.” The Grateful Dead would return to Knickerbocker Arena the next day to close out this run and, two years later, they would play their final shows at this heralded venue.
Check out video of the entire show here and below thanks to YouTube.
View This And More Grateful Dead Shows From Across The Years In New York State With Our Interactive Map Below
Grateful Dead Knickerbocker Arena – Albany, NY 3/28/93
Set 1: Mississippi Half-Step Uptown Toodeloo, Walkin’ Blues, So Many Roads, When I Paint My Masterpiece, High Time, Eternity, Deal
Set 2: Scarlet Begonias > Fire On The Mountain, Samson And Delilah, Ship Of Fools, Wave To The Wind > Truckin’ > Drums > Space > Way To Go Home, Attics Of My Life > Turn On Your Lovelight
On Friday, March 24th, fans gathered at the Cohoes Music Hall to celebrate one of our all-time favorite promoters, Greg Bell from Guthrie Bell Productions with music from Eastbound Jesus,Glass Pony, and Wreckloose. Greg has been bringing live music to the lucky residents of the 518 for the past 30 years and counting. Friday night’s event was the first in a series of four shows put together to celebrate Greg’s legacy.
Eastbound Jesus, Glass Pony, Wreckloose
Not one to break tradition, for Friday night’s show, we all got some extra-special treats thanks to Greg Bell including seeing one band that doesn’t really play together anymore. Wreckloose dusted off their equipment and it was impossible to tell they haven’t been playing together constantly over the years.
High Energy & Hyped Up
Glass Pony and EastBound Jesus wrapped up the evening. Glass Pony is hands down one of the most energetic jam bands I have ever seen perform live. What an absolute blast. And I had heard about Eastbound Jesus for years before I finally got to see them on Friday night — it was well worth the wait. This inexhaustible band played for an impressive two hours.
More to Come from Guthrie Bell Productions
If you missed this incredible show, don’t despair — there are more to come. Guthrie Bell productions has shows scheduled for the next three weekends starting with The Sharks w/ Johnny Rabb & The Jailhouse Rockers on April 9th.
In 2017, the Washington Post published a story entitled “The Death of the Electric Guitar.” But you wouldn’t know it from the sell-out crowd that packed Colony Woodstock this past Monday night, March 21, for a masterclass in six-string sorcery by the acclaimed Nigerian guitarist/singer Mdou Moctar.
For those not in the know, Moctar has been turning heads with his unique brand of African blues/psych rock since his 2008 debut disc, Anar. This astounding collection achieved popularity not via a savvy record company marketing blitz, but when it went viral over African cellphone music trading networks and when two of its tunes were included on the globally-distributed compilation, Music from Saharan Cellphones: Volume 1 (Sahel Sounds). Moctar is the latest exponent of Tuareg Guitar Music, also known as Desert Blues, a fusion of rock, blues, psychedelia and ethno modal music popularized by tribal musicians in the Saharan region, particularly Mali, Libya, Algeria, Burkina Faso and Niger. He is furthering a sound that first gained global popularity via the critically-acclaimed works of Ali Farka Toure and Tinariwen.
Moctar is concluding a 25-concert North American tour in support of his sixth album, 2021’s Afrique Victime (Matador Records). This fiery collection has garnered rave reviews from the likes of NPR Music, Rolling Stone, Paste, Pitchfork and many more. Matador has just dropped an expanded edition with nine additional tracks, including a variety demos and live offerings, the setting where Moctar truly soars.
Moctar’s set at Colony Woodstock was heavily weighted with tracks from his new album. The show commenced with the album opener and its most streamed tune, “Chismiten.” Like many of the songs performed, this kicked off with some unaccompanied guitar, before the band joined in to propel Moctar’s vocals and lengthy solos with pulsing and very hypnotic beats.
The signature of Moctar’s style is the switchblade bite emanating from his white Fender Stratocaster. Though he slings it lefty like Hendrix to whom he is frequently compared, his trebly tonality may be even more reminiscent of that of Telecaster-powered blues legend Albert “The Ice Man” Collins or the Lebanese born, modal-minded pioneer of surf guitar, Dick Dale – both inspirations to Jimi. Mdou Moctar also brings to my mind the great Black Rock Coalition associated guitarist Jean-Paul Bourelly (for more guitar thrills, check out his incredible disc, Rock the Cathartic Spirit). Moctar’s sound is heavily phased and overdriven via a modest array of stomp boxes and his retro Roland Jazz Chorus amp, something not seen much since Andy Summers’ days in The Police.
Moctar’s melodic style mixes Eastern-sounding modal scales with the blues punched up with psych/rock scream. There are plenty of slurs, trills, hammer-ons and pull-offs, single string climbs and even some tapping, in a percussive more so than melodic Van Halen style. The most unique visual aspect of his style may be his picking. This seems to be accomplished solely with his index finger, which plucks away at the strings like a mad chicken one moment, then becomes an indecipherable blur when he unleashes rapid-fire passages.
The hour-long set at Colony Woodstock was a Saharan shred-fest. Many of the tunes again began with Moctar solo and featured him improvising at length and repeatedly, greatly stretching out of the songs featured on his newest album to the delight of the audience. His music would not be anywhere near as powerful without the support of his band. Drummer Souleyman Ibrahim and guitarist Ahmoudou Madassane provided a powerful steady and unflagging rhythmic platform upon which Moctar soared. Bassist Michael “Mikey” Coltun, who has also served as Moctar’s producer since 2017, laid down a rich bottom with his Fender bass, just like Billy Cox in Hendrix’s Band of Gypsies. Kudos to Colony’s Max Siegel for providing impeccable sound and to owners Neil and Alexia Howard and booker Mike Campbell for bringing this intriguing offering to this intimate space.
Mdou Moctar and band brought the evening to a close with an extended version of their new album’s title track, “Afrique Victime.” The track showcased the band’s tight unison playing on melody and stop-time passages and its hypnotic impact, as the tune stretched towards the 10-minute mark, with the rhythm section underpinning Moctar’s most frenetic, noisy and adventurous soloing of the night.
Marco Benevento has announced a brand new full-length studio album, Benevento, which drops June 10th via Royal Potato Family. Accompanying this exciting news, Benevento’s newest single, “Marco & Mimo,” is available for streaming now.
Additionally, Benevento has announced that they will be touring this April and June with a stop at Abilene Bar and Lounge in Rochester.
“Marco & Mimo,” the first single from the album, contains three songs. On it, Benevento blends groovy funk bounce with psychedelia, creating a beautiful blend of these two formative 80s genres. The vocals on the tracks further transport you into this window of time Benevento creates, transporting the listener back forty years. The single reeks of personality only Benevento can create and his talent shines through. My personal favorite, Winter Rose, has snappy instrumentation, mind-bending keys, and entrancing vocals that make for a magnificent listen.
The entire album was recorded in Woodstock at Fred Short Studios during the pandemic, and the sounds emitted from Marco & Mimo pay homage to Woodstock’s iconic psychedelic culture and history.
In addition to his new album, Marco Benevento has also announced a list of upcoming shows:
4/7 – Cambridge, MA – The Sinclair
4/8 – Burlington, VT – Higher Ground
4/9 – Fairfield, CT – Stage One
6/22 – Rochester, NY – Abilene
6/23 – Pittsburgh, PA – Thunderbird
6/24 – Cleveland, OH – Beachland Ballroom
6/26 – Rothbury, MI – Electric Forest Festival
7/1 – Scranton, PA – Peach Music Festival
7/3 – Quincy, CA – High Sierra Music Festival
9/3 – Portland, ME – Ghostland Festival
Tickets and limited edition bubblegum pink and classic black 180-gram vinyl are available at marcobenevento.com.
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, Blur Beside You, New American Cuisine, 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.
Blur Beside You – “Nothing Feels Real”
Shoegaze indie rock trio from New York and Florida. Features 3 founding members of South Florida band, Mindlikewater, Jim Wells, Joseph Butera & Joseph Beaty. Check out “Nothing Feels Real” as well on EQXposure
New American Cuisine – “Drop”
Five-piece Saratoga Springs band New American Cuisine has two singles named after flowers: “Lily of the Aztecs” and “Daffodil.” The band met in high school, and while they’ve since graduated and gone to different colleges, they continue to collaborate on winter and summer breaks. Both singles have chill guitar riffs and catchy vocal hooks, perfect for a lazy Sunday afternoon.
Gary Numan stopped by the Town Ballroom in Buffalo on March 12th. Best known from his 1970’s and early 1980’s hits “Are ‘Friends’ Electric?” and “Cars“, Numan is still going strong in support of his newest album Intruder, his 21st solo record.
Though he played a good amount off of his new science fiction soundtrack about the impending climate catastrophe, he also included a good mix of his material throughout the years. Gary still has some dates in America before heading back overseas to continue his world tour.
Gary Numan – Town Ballroom, Buffalo – March 12, 2022
Setlist: Intruder, Metal, The Promise, The Gift, Everything Comes Down to This, Films, Ghost Nation, Love Hurt Bleed, Pray for the Pain You Serve, Bed of Thorns, Down in the Park, Cars, Here in the Black, The Chosen, My Name Is Ruin, A Prayer for the Unborn
Encore: Me! I Disconnect From You, Are ‘Friends’ Electric?
Long Island art teacher Brian Baker has released his second stop moe.tion brick film, “All The Way Down,” featuring LEGO versions of moe. and their fans.
Still image from “All The Way Down” by Brian Baker
Baker’s first stop moe.tion animation, “moe.rons on parade,” captured the spirit of a moe. show in LEGO form. This animation follows moe. on an adventure to visit guitarist Chuck Garvey as they prepare to practice for their upcoming tour. Chuck, as any proper moe.ron knows, spends his free time lording over the underworld in his role as Satan. The project was begun in June of 2021, before recent medical issues have sidelined Chuck, who continues to recover.
I send this project out into the universe with nothing but love and the best of intentions for his recovery.
Brian Baker
Continuing this project gave Baker a chance to build upon “moe.rons on Parade” and also improve on the original. As Baker looked back on his first ever ‘brick film,’ he saw many little things that he could do better, from the timing of the photos to the pacing of the story and the general plot itself. While Baker shared his work is a long throw from being a professional production, ‘All The Way Down” has polish to it that the first one lacked. And still, he continues to find joy in his work, noting “I still get a laugh watching segments for the 100th time.”
Still image from “All The Way Down” by Brian Baker
Baker began work on “All The Way Down” in June of 2021, and by August he began filming. Using a camera that would focus throughout the whole more than 10,000 picture production, Baker planned more for his second go around.
I did a lot of research on other brick films and learned how to pull off some different tricks. I learned how to incorporate green screen. I spent a lot of time practicing walk cycles. I thought of different materials that could be used for effects such as tissue paper and stained glass. A lot of little challenges and problems arose along the way that I needed to find solutions to, but that’s half the fun.
Brian Baker
As the project progressed, ideas evolved and grew as the story took on a life of its own. Going into the last few minutes of screen time, Baker had no idea how to wrap everything up and pull it all back together. While he never considered himself a “storyteller,” he found it tough to keep everything moving forward in an understandable and entertaining way.
Still image from “All The Way Down” by Brian Baker
Besides a personal challenge and creation for Baker, “All The Way Down” also serves as a great teaching resource for his 9th grade animation class.
I am planning to chop this up into smaller “gag” segments that I can use in class to help my students get ideas for their own brickfilms. Students have already started working on learning basic movements like walking and picking up objects. I am hoping some of them can get into some advanced animation techniques. Some students have definitely been bit by the animation bug. It is very rewarding when a student comes in and shows their teacher what they were working on at home over the weekend “just for fun.”
Baker thanks and gives credit to moe.rons who shared info and lyrics as well as thoughts about their experiences with the band in the past year, as well as friends who helped proofread the story. He looks forward, along with many other moe. fans, seeing the band back on stage this summer at City Bisco in Philadelphia and at the Great South Bay Music Festival in July.
