Electronic-Pop duo ‘FIIZ’ return to ignite dance enthusiasts with their new energetic single “ALL MY WORLDS”, released on November 2nd.
FIIZ was born from the deep bond between best friends Fiona (Fi) and Isabelle (Iz) during shared quarantine, and a desire to fearlessly represent the LGBTQ+ community, defying norms in pop culture. United by their friendship, they create queer empowerment through music, challenging heteronormative standards with unapologetic expression.
The Brooklyn based duo FIIZ entrance their listeners by exploring themes of imagination, the multiverse and questioning the boundaries between reality and the power of the mind. They draw concepts from the endless possibilities that lie beyond our perception which intertwine with their unique musical expression fusing electronic-pop, hyper pop and EDM into a groundbreaking sound that can be heard in the latest single.
“ALL MY WORLDS”, forefronts the duos consistent pursuit of enlightenment, fluidity of time and the liberation of both the mind and body. FIIZ invites audiences to embark through the multiverse—an idea that has long captivated their creative spirit, the track becomes an anthem, chanting a powerful mantra, “All my worlds are real, all my dreams are true.”
With its pulsating beats, ethereal synths, and thought-provoking lyrical concepts, “ALL MY WORLDS” is poised to capture audiences worldwide. Hailing from the diverse and kinetic music scene of Brooklyn, FIIZ has once again encapsulated its progress in creating electrifying pop anthems that resonate deep within the mind space of its audience.
Rock and roll band Dirty Honey released their second studio record, Can’t Find The Breaks, on Friday, November 3. The band now features bassist Justin Smolian, guitarist John Notto, drummer Jayden Bean, and Niskayuna, NY native Marc LaBelle on lead vocals. Can’t Find The Breaks features 11 songs and has a total run time of 46 minutes.
Photo Courtesy: therockpit.net
Dirty Honey was finally able to release new music for the first time in two years after constantly touring as an opener for bands like Guns N’ Roses or headlining their own shows. Can’t Find The Breaks is a breath of fresh air for a modern band with a classic rock vibe that makes fans reminiscent of the Golden Age of Led Zeppelin, The Black Crowes, and Aerosmith.
The band is leading the charge in the resurrection of rock and roll music. Outside of The Struts and Mammoth WVH, there hasn’t been a new band for the younger generation of rock fans to feast on. Dirty Honey is carrying the metaphoric rock and roll flag as the band continues to get bigger and bigger.
Can’t Find the Brakes, to me, is pretty descriptive of what our life is right now. We are just on this out-of-control rock n roll train that is off the tracks and we don’t know where it’s going, but we’re down for the ride.
Marc LaBelle
The second track of the record, “Won’t Take Me Alive,” was one of the first singles off of the record. It’s easy to see why the band chose to release this song as the first single. Bean keeps the beat of the track moving forward while Notto provides the catchy riffs that keep fans air guitaring from start to finish.
On “Get A Little High,” LaBelle is able to show off his impressive vocal range. LaBelle has always had the vocal range of an Axl Rose mixed in with Chris Robinson and the wonderful chorus behind him adds to the total wall of sound from the rest of the band. Notto provides one of his most melodic solos to date showing that he has learned a thing or two from touring the world with guitar gods like Pete Townshend of The Who and Slash.
The final track that stands out the most on Dirty Honey’s sophomore record is “Coming Home (Ballad of the Shire).” The beautiful acoustic song sends shivers down listeners’ spines and gives them goosebumps as the band sings in perfect harmony on the chorus of this record. This peaceful ballad is a complete 180 from the in-your-face rock and roll that they’re used to, yet it fits the band perfectly.
In support of their brand new record, Dirty Honey is trekking across the United States with special guest Austin Meade.
Harold Bronson is a true rock-n-roll Zelig. He’s an everywhere man who began his career as a teenage rock journalist before rising to become co-founder of Rhino Records, the revered label that has put decades of often overlooked and unappreciated music back into circulation to the delight of both lifelong fans and new generations of music lovers.
Before he co-founded America’s leading re-issue label, Bronson was just another Southern California kid who was mad about music. He channeled his passion and discerning ear into writing about music, first for the UCLA Daily Bruin then with Rolling Stone, Hit Parader, Melody Maker and many other magazines. After interviewing many of the greats, he helped co-found, with Richard Foos, Rhino Records from the back of Foos’ record store. The label was created to release novelty records like those of Dr. Demento and Wild Man Fischer. But, most importantly, it would go on to re-issue classic sounds and many unheard gems from the catalogs of artists who were critically undervalued at the time like Arthur Lee & Love and The Monkees.
Bronson’s book is very much a diary, one rendered with day-by-day entries. It begins in the Summer of Love with him journalizing his critical take on, and the price paid for, albums like Procol Harum’s Shine on Brightly and The Beatles’ White Album. There’s also his mini-reviews of the many concerts he attended by artists like Jimi Hendrix, Soft Machine and The Vanilla Fudge. Soon, Bronson is getting his first paid work – an interview for Entertainment World with the Bee Gees’ Maurice Gibb. Bronson hauls his massive reel-to-reel tape recorder to the interview, one where Gibb delights in telling him a stream of lies such as that he played and sang on The Beatles’ Abbey Road. In short order, Bronson is publishing features with artist like Cat Stevens (he looks like a “gypsy carnival worker”), Van Dyke Parks (who shows him “the future” from his office at Warner Brothers – the first fiber optic cable) and famed British session pianist Nicky Hopkins (who mistakes Jeff Beck for Mick Jagger at his first Rolling Stones’ meeting and who badmouths The Kinks for never paying him for his session work with them). There are also notables like comedian George Carlin and The Doors’ manager Danny Sugerman who he will interview repeatedly and forge lifelong friendships with.
Bronson’s life kicks into high gear in 1974, when he takes a job managing the Rhino Records store in L.A. Soon, Bronson and Foos will launch their label with novelty records by artists like Wild Man Fischer (the certifiably insane street singer discovered by Frank Zappa), The Temple City Kazoo Orchestra (with whom he makes appearances on national TV shows) and a reissue of tracks by comedian Alan Sherman of Hello Mudda, Hello Fadda fame. But Bronson and Rhino’s true worth would come with their lovingly crafted re-issues like the 1995 box set, Love Story (1966 – 1972). Bronson would have a long history with Arthur Lee, the band’s mercurial leader, a man he calls “an arrogant Muhammad Ali.”
https://youtu.be/ML1OS_1zuHY?si=ZJSH-4a4HB2Mjyya
Bronson’s book is chockful of humorous meetings with the likes of Iggy Pop (who asks for money to get wine and 10 aspirin at tackle a hangover), ELO’s Jeff Lynne (who confesses he can only write melodies between 10 am and noon) and Howard Kaylan (who recalls snorting coke off Abe Lincoln’s desk during a visit to the Nixon White House with his band, The Turtles). Also revealed is how Richard Delvy, a former surf musician/music entrepreneur, won the rights to “Wipeout” in a poker game.
Rhino Records would get much bigger until Bronson left the company in October 2001. Before that, there would be many acquisitions and partnerships that would find Bronson in the midst of many bigger things, such as bringing The Monkees TV show to a new generation via MTV and ultimately managing their careers, going into business with one his idols, Frank Zappa, on the Beat the Boots project and more. There’s even a cameo by the odious MAGA architect, Steve Bannon, during his days as a venture capitalist.
Credit should go to longtime music journalist Ira Robbins who is the driving force behind Trouser Press Books, the publisher of this and other fine releases reviewed here at NYSMusic. If you like Bronson’s LA-centric rock time trip, be sure to check out another Trouser Press book, Rock’s In My Head. This is the memoir of Art Fein chronicling his six decades in the California music scene, drawn from over 10,000 page of diaries he kept. For 20 years, he was the host of Art Fein’s Poker Party, a decidedly offbeat, ultra-low budget public affairs spectacular where the cream of music – from Phil Spector and Tom Waits to Joe Strummer and the Stray Cats – let down their guard over sometimes friendly, sometimes fierce games of cards.
Buffalo-based rock group Timothy Alice & The Dead Star Band released their sophomore record, Used Cars, on November 3. The 8-track album is a follow up to their 2019 debut release, Spacestation AM500.
Timothy Alice & The Dead Star Band formed in 2018 in Buffalo, with a collaboration of longtime friends. The band consists of Timothy Patrick Henderson, Matt DiStasio (drums), and Bub Crumlish on bass.
The first track on Used Cars, a title track, is a strong start to the record. With resonant guitars, crooning vocals, and a tempo that urges the listener to sway back and forth, “Used Cars” is a easy yet captivating first track on the group’s sophomore album
The fifth track on the record, “North of the Border,” stands out energetically against the rest of the record. This song picks up the pace significantly, and shapes a tangible story throughout the track. The only drawback is the shorter run time of only 2:18, as it is certainly a notable favorite on the album.
“Winning Number,” the sixth track on Used Cars, slows back down just slightly, but not to any disadvantage. “Winning Number” evokes more personality from the vocal intonations, with Henderson’s speak-singing throughout the verses. The track has a captivating outro sequence of guitars and other indecipherable instruments, reminiscent of U2’s “Bad.”
Used Cars is the sophomore album from Timothy Alice & The Dead Star Band, available on all streaming platforms on November 3. Timothy Alice & The Dead Star Band is Timothy Patrick Henderson, Matt DiStasio, and Bub Crumlish.
On Thursday, October 26, Blues Traveler descended upon The Capitol Theatre in Port Chester.
The band opened with a raucous crowd favorite “Run Around” and from there they had the crowd eating out of their hands with a show filled with sing-alongs and extended jams.
Blues Traveler, no strangers to The Cap, seemed to feel right at home and the crowd that came for a good time were rewarded on this night.
Blues Traveler – The Capitol Theatre, Port Chester, NY – Thursday, October 26
Setlist: Run-Around, The Wolf is Bumpin, Dropping Some NYC, Groove Me, But Anyway, The Wayward Rambler w/ Jono Manson, Stand, Funky Bitch, The Devil Went Down to Georgia*, Ode to the Aspect, Carolina Blues, Hook, The Mountains Win Again
As the doors of Brooklyn Steel swung open on a crisp, autumn evening, fans of San Holo streamed into the venue, eager to immerse themselves in an evening of music and visuals that would take them on an existential journey. San Holo, the Dutch DJ and producer known for his distinctive blend of emotional, existential music, was about to captivate the audience with an electrifying performance.
Images captured by @adrian_hernandezz on instagram
The concert began with a sense of anticipation, which only intensified as the venue plunged into darkness. The crowd’s murmurs turned into roars of excitement as the moment we had all been waiting for arrived. A massive curtain, suspended above the stage, dropped dramatically to the ground. It was a jaw-dropping moment that marked the beginning of this sonic and visual odyssey.
Colorful lasers pierced through the blackness. These lasers danced and swirled above the crowd, setting the stage for an otherworldly experience. The visuals were nothing short of breathtaking, and they would play a pivotal role throughout the night.
As the audience was spellbound by the mesmerizing light show, San Holo opened with the classic track “Lift me from the Ground,” immediately sending waves of nostalgia through the crowd. The existential soundscapes that define San Holo’s music began to envelop the room, and the audience was entranced. The ethereal, guitar-driven melodies intertwined with his signature glitchy beats, creating an emotional resonance that was tangible.
San Holo’s connection with the audience was palpable as he swayed to the music, pouring his heart into every chord and beat. His energy was infectious, and it didn’t take long for the crowd to become a unified, pulsating mass of fans, all lost in the music and the moment.
But this was not merely a trip down memory lane. San Holo was on a mission to showcase his latest album, “EXISTENTIAL DANCE MUSIC,” and the audience was more than ready. Tracks like “DON’T LOOK DOWN” and “ENERGY” pushed the boundaries of his signature sound. The bass was deeper, the drops more intense, and the audience responded with an electrifying surge of energy.
The visuals accompanying these tracks were a sight to behold. Colors and shapes exploded on the screens, perfectly synced with the music, creating an immersive experience that left the crowd in awe. The existential themes of the album were brought to life through the interplay of light and sound, making us question the very essence of our existence in this dance music universe.
As the night drew to a close, San Holo returned to some classic tracks, including “Light” which had the crowd swaying and singing along with heartfelt emotion. It was the perfect ending to a night filled with introspection, energy, and incredible music.
San Holo’s concert at Brooklyn Steel was more than a show; it was an existential experience. The fusion of his timeless tracks and the visually stunning performance left an indelible mark on everyone in attendance. As the crowd spilled out into the Brooklyn night, the shared experience of San Holo’s music and visuals created a sense of connection, reminding us all that, in the midst of life’s complexities, there’s always room to dance and lose ourselves in the beauty of existence.
The Bacon Brothers are set to play two upcoming shows in New York, as they continue their fall tour lineup across the country. Brothers Kevin and Michael Bacon banded together in 1995 to form The Bacon Brothers, an official name to the musical pairing that has been around since their childhood.
Having released 11 collections of music since then, the duo is looking ahead to two shows in New York State: November 17 at Albany’s The Egg, and November 18 at Westbury’s The Space.
Photo Credit: Jeff Fasano
The Bacon Brothers titled their first album, Forosoco, after their self-described genre, blending folk, rock, soul, and country influences. Most recently, they released “Philly Thing,” a single dedicated to their hometown of Philadelphia. The song benefitted charities Rock to the Future and Kevin Bacon’s own SixDegrees.org.
NYS Music had the chance to interview The Bacon Brothers ahead of their upcoming NYS shows, talking all things music, family, and upcoming projects.
Cara Denton: You’ve coined your own genre – forosoco. As you began your music careers, did you ever feel limited by genre categories, or was it a natural part of your philosophies to work outside those categories?
Michael Bacon: Forosoco is a non-category. Genre distinctions have been a part of popular culture since the radio was invented. It helps the music business focus on narrow marketing strategies that streamline their business model. The key to success in any endeavor is to find out what is different about yourself and get really good at that.
Kevin Bacon: We just go where the song takes us. Sometimes they feel more folky, rocky, soulful, or country. We’ve always said to ourselves let’s not try to stick to a “sound” let’s have our lack of a sound be our sound.
CD: What artists, instruments, or genres of music have shaped your musical education throughout your lives?
MB: I’ve always had two parallel worlds in art music (cello, oboe) and folk music (banjo, guitar ukulele, etc…). As a composer and songwriter, every day I draw from the unique musical ambiance provided by our parents in the house in which the 6 of us grew up.
KB: Wow so many. Starting with Michael and our sister playing guitars and harmonizing. Motown. British Invasion. TSOP. James and Joni. And on and on. I love drums. I had a drum kit in our basement. And congas. Bongos. Etc.
CD: What does playing a show in New York City look like for you? Any pre-show rituals, sightseeing, or food spots you like to hit?
MB: It’s our hometown and beats flying or driving to distant venues. It’s a ten-minute subway ride to City Winery.
KB: Sightseeing?! I’ve lived in NYC since 1976 so pretty much seen the sights. My favorite slice is Joe’s on Carmine if that helps.
CD: Family is a binding force and an important factor in your musicianship – how does that shape your performances, songwriting, or experience as musicians?
MB: Ours is a family business. Families draw apart when they lack connection. I’m really proud, and I take some credit for my brother’s success in the music business.
KB: Family is everything.
CD: Do you have any practices or hobbies outside of music that you turn to to find inspiration or rejuvenate your creativity?
MB: I enjoy sailboat racing, motorboats and crossword puzzles.
KB: Animals and nature. Being on a horse, riding through the hills.
CD: What’s next for the Bacon Brothers? Any new styles, collaborations, or new developments you’re particularly excited about trying?
MB: I’m hoping one of the new songs catches a wave and a lot of people love it.
KB: Very excited about the new record. Never thought we would make this much music!
An ever-musical family, The Bacon Brothers continue to yield tour dates and new music to come. Their recent EP, Erato, released in July of 2022, with five brand new songs. The title track features a belting chorus, resonant guitar strumming, and catchy lyrics. The duo is touring across the country now, with tickets for their shows in Albany and Westbury now available.
BACON BROTHERS UPCOMING TOUR DATES
Nov 11 – Larchwood, IA – Grand Falls Casino and Golf Resort
On Saturday, October 28, at the Broome County Forum Theatre, the Binghamton Philharmonic Orchestra kicked off its 2023-2024 Pops Series with “Phantom of the Philharmonic,” a lively performance of Halloween-themed music from stage, screen, and concert hall. Guest conductor Grant Cooper, resplendent in a Dracula cape, led the orchestra in such hair-raising classics as the theme from Halloween, the Psycho Suite, and “Night on Bald Mountain.”
The Bat Cannon Fires! at Phantom of the Philharmonic
The orchestra reveled in the repertoire, demonstrating their exceptional dynamic range and clearly having fun at the same time. Many in the audience – including lots of kids – were impressively costumed, and showed their appreciation for the expert playing and Maestro Cooper’s engaging dialogue with a standing ovation.
Isis Stungurys, Bailey Dembski, Logan Merril
The Phiharmonic’s concertmaster Uli Speth took a star turn as the violin soloist in the haunting “Danse macabre” of Camille Saint-Saëns, and concert-goers were treated to a range of special effects, from multi-colored smoke to a cannon that released bat-shaped confetti at the climactic moment in Grieg’s “In the Hall of the Mountain King.”
The Binghamton Philharmonic’s Symphonic Series continues on November 18 with Faces of Joy, featuring Philharmonic favorite Andrew Russo as the piano soloist in Beethoven’s “Emperor” Concerto. For more information, visit www.binghamtonphilharmonic.org.
Acclaimed instrumental progressive rock band, Polyphia, played a sold-out show at Terminal 5 in New York City last week (October 26, 2023) with support from Domi and JD Beck.
Polyphia at Terminal 5. Photograph by David Reichmann (@davidpresspass)
Jazz duo Domi and JD Beck opened the show, with keyboardist Domi Louna and drummer JD Beck delivering a very impressive and lengthy set. Their songs featured highly technical drum patterns and keys. They joked between songs about the quality of their performance, taking jabs at their own skills, which the audience rewarded with big laughs and applause. They played in a fully packed venue and thanked the crowd for showing up early for the set. They left the stage with big applause and a heightened anticipation of the headlining act.
Domi and JD Beck opening for Polyphia. Photograph by David Reichmann (@davidpresspass)
After some brief intro music, Terminal 5 erupted in applause as blinding lights flashed, welcoming Polyphia to the stage. Guitarists and founders Tim Henson and Scott LePage are widely considered to be two of the most influential rock guitarists of today, and they are both Ibanez-endorsed artists with several signature guitars of their own. One of their biggest singles, “Playing God,” has garnered over 30 million views on YouTube. The platform was their initial proving ground when one of their earliest singles, “Impassion,” launched them into fame.
Their set at Terminal 5 included tracks from throughout their four-album catalog. For their encore, they played fan favorites, “Playing God” and “G.O.A.T.” They didn’t speak directly to the crowd at any point in the show, as they didn’t have microphones. But they held their guitars aloft in thanks at the end of the show and walked off with wide smiles on their faces. The crowd cheered them out and left more than satisfied.
You can listen to their latest album here and you can see their upcoming tour dates here. Check out Domi and JD Beck’s music here.
Indie singer-songwriter, Marina Laurendi, is back with a second single off her upcoming Sophomore EP. The new track “halloween party,” is an ode to childhood innocence, the comfort and safety of home, and the bittersweet feeling of aging into adulthood, coming just in time for the spooky season.
Marina Laurendi is a singer/songwriter and musician, originally from the Western New York area. She started performing as an actress, singer, and dancer at a young age. Her career in musical theater led her to NYC, where she performed around the East Coast and Off-Broadway. Her music takes influence from the pulse of the NYC scene and the calmness of her Western NY upbringing.
Fusing elements of cinematic pop, alternative rock, and singer-songwriter lyricism, her nostalgic and singular sound is a breath of fresh air. She is poetic and moody, with haunting vocals and catchy melodies. Her music is steeped in personal experience yet is universally relatable.
“halloween party” is textured and dripping in ambiance, balancing soft indie rock with tender intimacy. Featuring undertones of singer-songwriter folk, muted acoustic guitar strums, quiet drums, and melodic lines, she captures the sounds that bring about the warm fuzzy feelings associated with home. The track is authentic and raw, featuring voice memos from Marina Laurendi’s childhood friends. It is honest and builds up beautifully into a bittersweet and nostalgic crescendo.
I wrote the song when we were getting ready to sell my childhood home and I was deciding what was next for me. That transitional period stirred up so many emotions and it got me reminiscing about my adolescence. Halloween parties at my childhood home are such a core memory for me and I associate them directly with my childhood and teenage years. When I think of them, I feel such a fondness for home and an appreciation of my upbringing that I didn’t truly value it until later in life.
Marina Laurendi
“halloween party” by Marina Laurendi is the perfect song to add to your fall playlist. Catch up with her new releases and future shows here.
