Albany band Sly Fox And The Hustlers today release their newest single, “Find Someone,” perfectly timed for Valentine’s Day. The new single is the lead off their upcoming album which drops in May. “Find Someone” is a groovy rock tune that will get you moving on your feet, the basis of the which goes into Sly’s story on how to get over your past failed relationships in search for your true soul mate.
Sly Fox And The Hustlers are a very multidimensional rock band as they bring different variations of the genre to the table. Their prior songs such as “Forever Young,” “Home by Mornin’,” and “Heart and Soul” exemplify all different tempos within the rock genre while blending some country, funk, and blues influence. These three songs will definitely build your anticipation for their new upcoming single.
“Find Someone” was mixed by Tim Lynch from The Recording Company and mastered by Brian Lucey from Magic Garden Mastering, and will be available on all streaming platforms. You can catch Sly Fox and the Hustlers this May in Philadelphia at The Fire, and on May 21 at Rockwood Music Hall in NYC. For more info, visit Sly Fox and the Hustler’s website.
Composers and instrumentalists Vicente Hansen Atria and Mat Muntz are set to release their new album “The Vex Collection”, releasing on Carrier Records February 18. With a grand combination of jazz, world, contemporary classical, and experimental rock, these two trendsetters have experimented with traditional instruments to devise unforgettable musical experiences.
Atria and Muntz grew straight out of NYC’s The Shed Open Call commissioning program. This establishment is a cultural institution that welcomes and molds 21st century art and ideas. The Shed cultivates creativity in fields ranging from pop to classical music, painting to digital media, theater to literature, and sculpture to dance. Their mutual interest in double reeds, which are by far one of the most ancient musical technologies that produce intense ranging sounds, were intertwined with newly invented technology, known as live electronics that were developed through 3-D-printing.
In addition to the two composers, others joined the musical journey to mesh traditional and new sounds to produce “The Vex Collection”. Gamin, played the Korean double reed instruments the piri and taepyeongso, while Matthew Welch, specialized in the great highland bagpipe. Additionally, musician Neo, plays the carnyx, bombard, and dozaleh.
These instruments were deeply rooted in Korea and Scotland, some being one of the first to have a substantial impact in their respective cultures. Atria and Muntz made sure not to alter the natural sounds of the traditional music, but rather allowed it to clash with the live electronics on one song and flow smoothly on the next. The newer instruments that intertwined with the old, ranged from distorted guitars to aggressive synthesizers and detailed microtonality. Ultimately, the group proved that older music is still apart of today’s culture, just with an advanced technological twist.
“The Vex Collection” has pushed passed the social norms within the music industry, as we know it today. This album is full of improvisations of music between two distinct time periods, that go above and beyond what listeners could have imagined.
To check out their latest single “Fugue”, visit Foxy Digitalis. For more information about Atria and Muntz, as well as “The Vex Collection”, visit these sites: Mat Muntz, Vincent Hansen.
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, Thom Powers and Friends, Sly Fox & the Hustlers, Thanks!, 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.
Sly Fox and The Hustlers – “ Find Someone”
John Popper of Blues Traveler called Sly Fox and the Hustlers, “one of the best bands I’ve seen in a long time!” The band has shared stages with Popper’s Blues Traveler, SmashMouth, Robin Trower and Kenny Wayne Shepherd, among others. The Hustlers have also been a mainstay at festivals and music events across the Northeast, including Alive @ 5, the Americade Bike Fest, Movefest and the CMJ Music Marathon in New York City, to name a few. The band will be releasing their third full-length album on 2-2-22.
Thom Powers & Friends – “RollerCoaster Show”
Thom Powers and Friends was established in the Summer of 2021 and consists of Thom Powers as lead vocals, rhythm guitar, Andy Doonan on bass, Andy Mollica on lead guitar, Tony Califano on keys, and Darryl Kniffen on Drums. These guys love rock and roll and love to play music – original music and their take on cover tunes.
Thanks! – “I choose You”
Thanks! has released “I Choose You,” their second single off their upcoming album, You’re Welcome on February 11th. The upcoming album that will be released in the summer of 2022 is the band’s first full-length album.
“I Choose You” was inspired by the special people in our lives. The ones we want to laugh with, cry with and most importantly, dance with. This is a celebration of how those people make us feel and how in a sea of a billion fish, we would choose them over and over again.
Kristian Montgomery is a regular guy. Except, the more you fill in the details of his life what should be ordinary starts to become extraordinary. Like a cubist painting, that starts to look less recognizable the more you identify the individual pieces in it, Kristian’s life is at once familiar and wholly his own.
His career has ups and downs, he goes on trips with his friends. All relatable experiences unless you’re Kristian Montgomery. His job isn’t a boring, nine-to-five. He’s a former metal vocalist turned country singer; whose career highs included being nominated for a Boston Music Award for Country Artist of the Year in 2021. But who’s lows included having to write an album in jail after contacting the judge in his child support case outside of court. And that trip he took with a friend? It was with his bassist and “blood brother,” Roberto Talleria, to his homeland of Managua, Nicaragua to perform on the local version of MTV.
Montgomery in Managua, Nicaragua.
Montgomery’s own origins have taken him beyond the Boston music scene he came up in. His father is from Denmark which he now considers “home.” His time in Boston was tumultuous, if successful. It was a milieu in which he often felt, if not, overtly excluded, at least, like an odd man out in what he considered “a very upper-class music scene.” Even though he received critical success, in the form of his Boston Music Award nomination, he felt his peers never reciprocated. Which while not the raison d’etre for his art; stung, nonetheless.
The unique word choice he regularly employs hints at a sensitive person with an affinity for dramatic, verbal pictures. He uses turns of phrase that only an artistic spirit would consider. His relatives from Denmark are “across the sea.” When detailing the emotions of a song dedicated to his wife, he explains that he “throws his love at her.” He finds everyday experiences inspiring and “has made a living painting those stories into his songs.”
Ordinarily, such ornamental language, if used in casual conversation, would seem overwrought were it not for the fact that Montgomery is such a poised and deep thinker about art and, specifically, his art. He seems to be constantly reflecting on who his music represents. About the people it will connect with. It is music that is, as he says, “made for people on the Periphery.”
Now that he’s released a new album, he can say he did just that. Montgomery’s unpretentious, new album, “Heaven for Heretics”, released under the moniker Kristian Montgomery and the Winterkill Band, is a vintage singer-songwriter effort. It’s apparent the music comes from a single creative source, giving the album an unmistakable cohesion. Of course, as with all singer-songwriters if the message doesn’t resonate or the music is flat then listening becomes tedious, repetitive. That isn’t the case here. Montgomery is able to stretch himself to the limits of artistic expanse. He’s able to provide enough variety, both sonic and thematic, to keep the album propulsive.
From the contemplatively existentialist “Come Carry Weight with Me” to the bouncy country bop “Peach” Montgomery’s unorthodox, appealing voice and trademark mix of country music clichés mixed with profound turns of phrase, all showcase a musician who, if nothing else, cared about making something personal. And that counts for a lot.
Today marks the anniversary of the heralded moe. Tsunami Benefit show at Roseland Ballroom in New York City, which gathered a host of notable to musicians to raise money for a good cause. A terrible earthquake and a resulting tsunami devastated the area near Sumatra, Indonesia as the year 2004 came to a close. moe. decided to do what they do best in order to lend assistance and brought some friends along for the ride. Together with a matching donation from Dave Matthews, nearly $150,000 was raised for the relief cause. Those in attendance this evening certainly got their money’s worth with a show featuring some traditional moe. songs, a whole lot of covers, and a mesmerizing 35-minute jam that nearly brought the house down.
Bassist Rob Derhak greets the crowd at the start of the show and thanks them all for “supporting a great cause.” And then instantly, the familiar pre-“Rebubula” noodling ensues and moe. opens the Roseland show with one of their signature songs, setting a lively tone early. No special guests needed for this one. Those begin with John Medeski and violinist Sam Bush coming out for a spirited take on “Mexico.” Medeski, ever the keys virtuoso, helps drive the pace of this one through the roof with some triumphant fills on organ that helps build a steadily escalating and emotional jam. Bush then exits and Medeski remains on for “Plane Crash,” again providing some extra rich sonic texture to another moe. staple before taking lead on the jam that ensues.
With three standout moe. songs now out of the way, the cover parade begins with a take on the legendary blues song “Got My Mojo Working,” popularized by the great Muddy Waters in the late ’50s. Guitarist Al Schnier deftly replaces “Louisiana” in the lyrics with “New York City” which does not go unnoticed by the crowd. Despite an uptempo, jazzy start the “Mojo” jam quickly devolves into a harrowing, psychedelic journey with Medeski again helping forge the path forward before the song rounds back into form.
Sam Bush then reemerges with a mandolin and has the Roseland stage to himself for a cover of the Lowell George-penned “Sailing Shoes,” a song he recently got to play with Little Feat in Jamaica according to him. By song’s end, he’s got most of the crowd engaged in a back-and-forth singalong. Bush then offers his thanks to both the crowd and moe. before the latter rejoins him on stage for one of his own songs, “Same Old River.” It’s a perky, bluegrass-y number that would fit perfectly in any stringed band show, with Bush ripping off a fierce mandolin solo in the middle.
One more special guest, “who needs no introduction” per Al, enters the first set fray and Trey Anastasio joins everyone on stage for an electric cover of “Crossroads” with both he and Bush handling vocals. An already tight jam doubles in speed about midway through as the first set comes to a rousing finish.
The second set picks up right where the last one left off, except Bush is now replaced by Jennifer Hartswick on vocals and Ray Paczkowski on keys with moe. serving as the backing band for “Night Speaks To A Woman,” an early Trey Anastasio Band staple with which both newcomers are very familiar. There’s not much lost with this version with Trey throwing down a scintillating solo in a jam that starts fiercely, breaks down into some loose improv, and then steadily builds back up to a joyous peak.
Derhak then takes another moment to thank tonight’s patrons and mentions that Dave Matthews has offered to match whatever amount of money is raised this evening. Then it’s back to the moe. catalog with “Spine Of A Dog” with the crowd ably assisting on the opening lyrics. The “Dog” jam then meshes incredibly seamlessly into the opening of “Buster” and moe. and friends take off with another longtime fan favorite.
This opening 1-2 punch gets a well deserved roar of approval from the Roseland crowd before moe. yields the floor for another cover. This time it’s “Boogie On Reggae Woman,” the Stevie Wonder song that is no stranger to a live Phish show with Anastasio handling lead vocals accordingly. Another lively jam ensues, this time with Paczkowski eagerly showing off his chops that helps drive the momentum. Towards the end, the music gets very percussion-heavy before falling out into full fledged “Drums” section, giving Jim Loughlin and drummer Vinnie Amico a chance to do the same.
Afterwards, Trey then reemerges with only himself and an acoustic guitar for a pair of Phish tunes. For Phish heads, this must have been like an oasis in the desert with the band’s forgettable “final” shows at Coventry having taken place about six months earlier and it being years before they would reunite again. The crowd has no problem at all assisting on the “can I live while I’m young” lyric to “Chalkdust Torture” before adding their collective voice to the traditional opening of “Wilson.”
The second set then comes to a gigantic finish with one last banger in “meat.” that sees Medeski, Bush and Trey all lend a hand. What results is a 35-minute plus monster jam where everyone gets a chance to solo and shine. The jam starts out in traditional metal-esque fashion, before breaking down into a definitive bluegrass sequence with Bush leading the charge, before passing the baton to Medeski who helps steer it in another direction entirely. It eventually winds down into a near-ambient section with Loughlin chiming in on vibes and a plethora of effects emanating from Medeski’s rig. It’s a whirlwind cavalcade of sound that serves as the crux of the second set, if not the show itself, and is well worth a listen.
One last pair of covers serves as the encore for this benefit show, starting with Frank Zappa’s “Peaches En Regalia,” another song that’s no stranger to a Phish show with Loughlin on vibes giving this one a proper feel. Anastasio and Hartswick then team up one last time on vocals for “After Midnight.” Extra special attention is given to the “gonna let it all hang out” which moe. and friends certainly did this evening, and for a noble cause no less.
You can listen to and relive this memorable gig here or see below.
moe. Tsunami Relief Benefit Show Roseland Ballroom – New York, NY 2/10/05
Set 1: Rebubula, Mexico*, Plane Crash^, Got My Mojo Working^, Sailing Shoes**, Same Old River^^, Crossroads#
Set 2: Night Speaks To A Woman$%, Spine Of A Dog$ > Buster$, Boogie On Reggae Woman$%>Drums, Chalkdust Torture$$, Wilson$$, meat.*$
E: Peaches En Regalia*$>After Midnight*$%
* with John Medeski on keys, Sam Bush on Violin ^ with John Medeski on keys ** Sam Bush solo ^^ with Sam Bush on mandolin # with Sam Bush on mandolin, Trey Anastasio on guitar $ with Trey Anastasio on guitar $$ Trey Anastasio solo acoustic % with Jennifer Hartswick and Ray Paczowski keyboard most of SET II
Brooklyn punk band SAVAK announce their new album Human Error / Human Delight, and a Spring tour, with multiple dates in the NY Metro area.
SAVAK, photo by Taylor Sesselman.
The band is led by Sohrab Habibion and Michael Jaworski, and Matt Shulz on drums. Jaworski and Habibion have both been doing singing and songwriting together since the band was created in 2015.
All the members played in bands in the 90s, which helps them reform their sound, as touches of the scene are heard in their music.
The album art for SAVAK’s Human Error/Human Delight.
SAVAK have released a number of singles ahead of the album’s release, which is set to come out April 15. The title of the album comes from the fascination of just existing as a human. The newest release, “No Blues No Jazz,” speaks of what life would be if genres didn’t exist. The album was written over Zoom, and grapples with the idea of creating an album during a pandemic, and if it is justified.
The group have also announced a Spring tour, with many NY metro dates, and tickets to that can be found here.
SAVAK LIVE 2022 Fri. Mar. 4 – Providence, RI – TBD
Sat. Mar. 5 – Northampton, MA – Bishop’s Lounge*
Wed. Mar. 16 – Austin, TX – SXSW*
Thu. Mar. 17 – Austin, TX – SXSW*
Fri. Mar. 18 – Austin, TX – SXSW*
Sat. Mar. 19 – Austin, TX – SXSW*
Thu. Apr. 7 – Brooklyn, NY – Littlefield #+
Fri. Apr. 8 – Kingston, NY – Tubby’s #
Sat. Apr. 9 – Lowell, MA – The Town and the City Festival (early show)
Sat. Apr. 9 – Boston, MA – Midway Cafe #
Fri. May 13 – Philadelphia, PA – TBD +
Sat. May 14 – Washington, DC – TBD +
Fri. Oct. 21 – New York, NY – Le Poisson Rouge !
* w/Pays P. # w/Chris Brokaw + w/Upper Wilds ! w/June of 44
So many have already interviewed William “Tragedy” Yager about his purchase of Albany’s legendary night club Fuze Box (formerly the QE2) but I waited for all the other formal interviews to be over with so I could just have a nice conversation with the man. Rob Smittix from RadioRadioX met Yager in his office area at his Howard Street location of Patsy’s Barber Shop and had a nice chat.
RRX: The day we received the call that you bought the Fuze Box, I was speaking with a friend and I said, “man I wish someone would buy it”. It honestly hurt my heart to see the building just sitting there with a for sale sign on it. What was it that made you go ahead and make it official?
WTY: I thought I was saving it from the wrecking ball or a Starbucks or something of that nature. I know the developers that were looking at it, were actually looking at maybe even having to move it because it’s on the National Historic Registry as one of the last five White Tower Hamburger buildings in the country. My formative years were there. I’d like to say I grew up in there but I didn’t grow up anywhere, I haven’t grown up yet. I feel like as soon as you grow up God’s like, ‘good, you’ve grown up, get the f**k up here and play a harp or something’. I wanted other kids to have what I was able to have from (previous owners) Charlene and David Shortsleeve and from what they have built. They orchestrated such an amazing vibe and this is way before the Internet. Char had given us her blessing, which is amazing!
I built the Fuze Box in the back of The Power Company (across the way from the current location), that was mine, so I felt like it came full circle. And I don’t know if being back at the beginning of the circle you started at is a good thing or not but I positioned myself (I guess) to probably be the only person that could do it.
This is the building part. This is supposed to be the fun part getting the calendar together and what the nights are going to be. Wednesday night we want to do industry night, kind of like the old Alibi’s. Thursdays I want it to be emo night, because emo is huge right now. Friday is going to be the normal QE2ian/Fuze Box Goth night. Hex is the first Friday of the month and the third Friday of the month is Resist The Club. Now we’re structuring where other DJ nights might fall in. So, my vision now is kind of like the original QE2, where it’s live music until 10 P.M. and club night from 10 P.M. on. A smooth transition of music, so people can stay as late as they want as new people come through the door. That’s the vision. Saturdays will be house, EDM and all those different genres of an electronic DJ style. These things are for the young folks, so they can be the new us!
It’s not just about us remembering when this was the QE2. We can’t do that, we’re old. (Laughs) We’re going to make a cool viable space for the new generation.
RRX: I had so many great memories there as a young adult. Of course, we’d love to relive those days but making it a place for the next generation, I think that’s a great way to put it.
WTY: That’s what the goal is. The Fuze Box/QE2, the Q Z Box 2 or whatever the f*** it is, has to remain a safe place for everybody in our community. When I say community, I’m talking about punk, gay, trans and everybody down the line. A comfortable place for them to be them and us to be us.
RRX: I respect that, safety is key. Now, I’m sure you saw as soon as the news broke that you purchased the club how happy the community was.
WTY: That’s great to have all of that support but getting them out of their houses is another thing. We own barber shops, tattoo shops, laundromats and The Bull and Bee Meadery. The nature of business and how business is conducted has changed. It used to be consistency is everything and location, location, location, it’s not like that anymore. Now it really depends on social media, marketing and branding. As long as your cyber presence is there, that’s what the new location is.
RRX: In the heyday of the club there wasn’t social media at all back then. Times sure have changed.
WTY: We own fuzeboxalbany.com but it’s as much the QE2 as it is the Fuze Box to me. Although the Fuze Box is my thing, the QE2 is what I see when I walk in there. It’s even hard for me to call it the Fuze Box, I’m still that old guy. I bought the Q, I mean the Fuze Box, I mean… what do I own?
(Both laugh)
RRX: Yeah, I think we, “the older generation” all call it the Q.
WTY: Generation Q.
So, we’re trying to book local acts mostly, we want to support the local scene but also want the local scene to support itself.
Things are different. Lucky for me, I’m very open-minded and very malleable. This is how it is now, fine let’s make it work the best we can. It’s a build, so now we’re building the business that was already there. We have a good foundation and a good reputation and a lot of support from the community. Now to get them to turn that support into showing up. I’ve got a lot of great press; it hasn’t always been that way for me in my life. You’re only one step away from being a sh**heel again so… I keep that in mind. Everybody’s like you’re a hometown hero. I’m like, ‘uhhh, no don’t do that to me, you’re setting me up to fall’. So, we’ll support the people that support us and everybody else whether they like it or not. We’re hoping on having a nice symbiotic relationship with Lark Hall, Empire Live and all the venues. Kip from Pauly’s reached out, that was nice of him. It has to be an all for one, one for all situation, otherwise you won’t get that scene back.
Originally published in The Xperience Monthly, written by Rob Smittix
Filled to the Brim, a rock band consisting of high schoolers from Utica, will be performing at The Stanley Theatre on Friday, February 25th.
The band consists of Victoria Haggerty on lead vocals, Alyssa Tomassi on drums, Owen Paz on bass, Jack Towns on keyboards and Johnny Mudge on lead guitar and was first formed in 2018, where the young talents met at Jim O’Mahony’s Rock Camp in Marcy, New York. During those two weeks, the band composed their first song, “Turn Back The Time,” and released a music video for the song less than a year later.
In March 2019, the band recorded a music video for their single, “Turn Back the Time” with Lisa Baron from Upstate Studios, now known as Baroness Films in Utica, NY. Over the course of 2019, they played shows and continued collaborating until they found that they had created enough songs for a full album. They headed back to the studio in December 2019 and recorded their 11 track self-titled with Andrew Greacen from MoreSounds Studios.
Since then, Filled To The Brim has continued writing songs and playing shows. In 2020, the band released their self-titled album and in 2021, the band released their single “Only U.” Both are available for streaming on Spotify, Apple Music, and YouTube.
The Stanley Theatre will be hosting the band on Friday, February 25th. The theatre operates as a non-profit organization run by the Central New York Community Arts Council. Since 1928, the theatre has hosted movie screenings, plays, concerts, and more.
Tickets start at $10 can be purchased through Ticketmaster.
Garcia Family Provisions has declared GarciaLive Volume 16 as its album of the month for February. This three-CD album features a three set show from Jerry Garcia Band’s inaugural show at Madison Square Garden from November 15,1991, a show that takes place right in the middle of one Garcia’s most heralded solo tours.
The Grateful Dead had recently finished a nine-show residency at The Garden just two months, but this show marks the first ever JGB at the World’s Most Famous Arena. The show opens with a buoyant cover of How Sweet It Is (To Be Loved By You) and features a host of other memorable covers like Van Morrison’s “He Ain’t Give You None” and “Bright Side Of The Road,” Smokey Robinson’s “The Way You Do The Things You Do” and Bob Dylan’s “Simple Twist of Fate.”
And there’s also other Jerry Garcia Band staples like “Ain’t No Bread In The Breadbox” and an extended take of “Don’t Let Go” included on this release, as well as a sterling rendition of “Shining Star” included as well. And the show ends on an emotional high with a cover of “(What A) Wonderful World.”
The JGB lineup at this time includes Melvin Seals on keys, John Kahn on bass, David Kemper on drums and Jaclyn LaBranch and Gloria Jones handling backup vocals. In Glide Magazine Doug Collette wrote, “Garcia Live Volume 16 may be the ideal entry in this ongoing archive series to provide the curious music lover eager to comprehend the virtues of the Jerry Garcia Band…. [Garcia] is equally expressive through the selection of tunes by his favorite composers plus an eclectic range of other song choices, consistently vigorous vocals… and, last but not least, versatile and inventive guitar work.”
This GarciaLive album was officially released in June of last year and is available for purchase directly from Garcia Family Provisions here.
Pink Talking Fish, who perform the music of Pink Floyd, Talking Heads, and Phish, have announced new tour dates for Spring 2022, the most notable of which will be in New York at the Gramercy Theater on April 20.
The New York concert is part of the NYC Phish AfterParty series hosted by the NYC promoter CEG Presents. After major Phish concerts at Madison Square Garden several venues around the city host after parties for those who are still awake, as Phish fans keep the party going.
And what better way to do that than by adding some Talking Heads and Pink Floyd to the mix.
With the new Pink Talking Fish tour stop in New York, what is already a huge show as Phish returns to the Garden on rescheduled New Years dates, the dancing doesn’t have to end just because the concert did. Doors open at 11:30pm and tickets are now available online.
Other than the Gramercy Theater show the new Pink Talking Fish tour will only have one other show in New York state proper, in Saratoga Springs on April 16. There are, still, several other shows in neighboring states: Hartford, CT on Feb. 18, Jay, VT on Feb. 19, and Burlington, VT on March 19.
Other notable stops include a three day stint in Denver, Colo. for a special David Bowie and Prince show. Where they’ll cover songs of the two rock legends alongside guests Chuck Morris from Lotus and The Horn Section, made up of former members of Turkuaz.
Tour Dates
2/18: Hartford CT at Infinity Hall
2/19: Jay VT at Jay Peak Resort
2/26: Ardmore PA at Ardmore Music Hall w/s/g Qway
3/11-12: Denver CO at So Many Roads Brewery
3/13: Denver CO at So Many Roads Brewery – Prince/Bowie featuring PTF, The Horn Section, Chuck from Lotus + more
3/19: Burlington VT at Higher Ground w/s/g Swimmer
4/08: Ventura CA at Ventura County Fairgrounds – Skull And Roses Festival
4/09: Seattle WA at Nectar Lounge
4/16: Saratoga Springs NY at Putnam Place
4/20: New York NY at Gramercy Theater – Phish AfterParty
