NYC-based singer-songwriter Steve Conte released a new official music video for his latest single, “Girl With No Name.” The video was filmed on the streets of New York, and shows iconic locations such as Times Square and the famous Flatiron Building.
Conte wrote “Girl With No Name” based on ideas of missed opportunity and attraction. He began writing it in 1984 and finished the track for his upcoming album. He cited influences such as The Beatles, XTC, and Diana Ross and the Supremes.
This is a song of regret…about missed opportunity and lack of skills in meeting someone you’re attracted to. When putting my new album together, I was looking for songs that would fit nicely alongside the songs that Andy Partridge and I had written for it and I kept thinking of this one. I wrote it back in 1984 and never forgot it – which was a good sign.
Steve Conte
Photo Credit: Anja Van Ast, 2020
Steve Conte is known as a longtime member of the rock group New York Dolls, as well as working alongside Paul Simon, Billy Squier, and Peter Wolf. Conte expanded internationally in recent years, working alongside Japanese composer Yoko Kanno to write soundtracks for anime series’.
Deliriant Modifier, a new collaborative album by Sally Gates (Titan to Tachyons), Trevor Dunn (Mr. Bungle) and Greg Fox releases on October 20. The record is inspired by a neuroscience thesis by Anil Seth, and explores ideas of limitation, perception, and improvisation in the musical realm.
Sally Gates references neuroscientist Anil Seth’s thesis, saying: “Perception = controlled hallucinations. Hallucinations = uncontrolled perception”. The group took this as inspiration, using controlled perception as a grounding idea in the creation of their record. Deliriant Modifier is entirely improvised, with the exception certain parameters, cues, and duration times set in place for each track.
Improvising is the result of a natural outpouring of everything you absorb. Whatever you’ve been listening to, practicing, or even reading, watching.
Sally Gates
The first track, “Macro/Micro,” is an eclectic exploration of percussion, strings, and guitar, forming a captivating opening to the record. The improvisation begins sporadically, and as the track continues, the musicians find clarity and cohesion.
The sixth track on the record, “Limits Of A Circle,” begins with a striking, wavering percussive introduction. A strong, gritty guitar interrupts it with thrilling riffs and solos, but the track truly shows the group’s skill in creative percussion.
“Excise Spurious Time,” the closing song, introduces a clear, nervous piano, responding to itself with higher and lower harmonies. The piano exudes nimbleness, as the musicians form what could be soundtracked against a harrowing film.
Using limitations as a framework for improvisation is one way to set goals, think about form, and harness the freedom. Anarchy is ok some of the time, but it’s also nice, for the listener and the performer as well, to keep things from going off the rails all the time.
Trevor Dunn
The three New York-based musicians began the composition of Deliriant Modifier by asking the question, “Do limitations aid or hinder the functionality in composition?” Answered by the unique composure and creative responses to the improvisational prompts, it aids their originality and bold appeal.
Deliriant Modifier released on October 20 on Riverworm Records. The artists are Sally Gates, Trevor Dunn and Greg Fox.
Critically-acclaimed Buffalo native, Westside Gunn, continues to push the envelope on his “underground” status with the release of his latest LP, And Then You Pray For Me. Released this past Friday, the star-studded project features a host of hip hop heavy hitters along with a mesh of styles and sub-genres. All in all, showcasing the Griselda head honcho’s status within the game.
‘And Then Your Pray For Me” album cover
The Making of “And Then You Pray For Me”
Furthermore, the self proclaimed “FlyGod” took a unique approach to the creation of And Then You Pray For Me, recording most of the album overseas. Immersing himself in inspiring locals, he laid down tracks in Paris, Athens, London, and Denmark. Subsequently, as Westside Gunn cements his place in hiphop folklore, he has begun to experiment with different sounds. After years of maintaining an air of creativity and cultural fluidity with his keen fashion sense, expressive styles and interest in art, this has begun to manifest itself in his music — which has long fed the streets with a combination of boom bap and luxury drug raps. While the new experimental sounds have been well received, it has led to questions on whether Westside Gunn’s loyalty to the boom bap sound that gained him relevance has begun to waiver.
After all, the 21-track project boasts contributions from legendary figures such as RZA, Rick Ross, Jeezy and DJ Drama. While contemporary stars the Iikes of Ty Dolla $ign, J.I.D., EST Gee and producer Tay Keith make appearances with the addition of British rapper, Giggs, for a bit of European flair. Meanwhile, And Then You Pray For Me maintains its gritty feel with appearances from Griselda cohorts and fellow underground stars. Particularly, Benny The Butcher, Conway The Machine, Stove God Cooks, Rome Street and longtime producers Conductor Williams and Derringer grace the project. Ultimately culminating in an electric blend of trap, boom bap with remnants of R&B & soul samples.
Everybody keep asking me based on the the clips they heard wondering is “AND THEN YOU PRAY FOR ME” Boom Bap or Trap bc the “Disgusting” record ft Giggs sound trap & the “ Dunhill”ft Unknown clip sounded trap but the @JIDsv record sounded like Boom bap
I have Virgil Abloh doing my artwork and who left on earth can say that. I cannot disrespect his legacy, he’s immortal and I feel this is his way of blessing me; even though he’s not here in the physical.
– Westside Gunn
In a heartfelt tribute to the late Virgil Abloh, a close friend of Westside Gunn, the renowned Off-White creative designed the artwork for And Then You Pray For Me. Abloh, known for his innovative and boundary-pushing designs, also created the iconic cover for Westside Gunn’s 2020 album, Pray For Paris. This latest collaboration between Abloh and Westside Gunn is a testament to their enduring friendship and creative synergy.
In April of 1994 Phish appeared at the Alumni Arena on SUNY Buffalo’s campus. Trey fell through a hole in the stage during soundcheck which would hobble him for the remainder of that spring tour. It’s possible the band held that incident against the entire city of Buffalo. They didn’t return until two and half years later, and that show, on October 19, 1996, would be their last ever visit to the Western NY metropolis. That was 27 years ago.
Fall 96 Postcard via PhanArt.net
Fall 96 Postcard via PhanArt.net
It was a show I had the pleasure of attending. A junior at Syracuse, I had netted just one show that summer, and was determined to take advantage of the Mid-Atlantic start to the tour that would wind them down the coast to Atlanta for the famous “Remain in Light” Halloween show. Tucked between Wednesday night shows in Lake Placid and Hartford, CT, which in retrospect I am not sure how I pulled off either, let alone both, was an easy rust-belt Friday-Saturday run from Pittsburgh up to Buffalo. So out we headed.
The band was a bit uneven at this point, early in the tour, and in 1996 in general. Lake Placid was nothing special, Pittsburgh was solid and this Buffalo show, was generally forgettable. And forgettable is a pretty apt word from my personal standpoint, I really don’t have a lot of strong memories from that night, couldn’t even tell you a single song they played offhand. And popping the show in for another listen, I can’t really recommend anyone put this in their queue. The playing is fine, the song selection is fine, but there’s just nothing really notable here to be worth anyone’s time.
I have but one strong memory from this show.
In those days, I was stubbornly determined to be in the front row. I literally had nothing better to do with my time. If it meant sitting out in the baking sun all day and then sprinting like my life depended on it, I did it. If it meant waiting out in the bitter cold singing “Tweezer” with some newfound friends, I did it. If it meant weaseling my way down to the floor and sneaking my way past multiple levels of security, I did it. The latter worked like a charm the previous night in Pittsburgh, a far superior show which I enjoyed front and center.
Fall 96 shirt via PhanArt.net
Fall 96 Phish via PhanArt.net
At Buffalo, I again snuck onto the floor and was biding my time chatting it up with some friends who were right on the wall of the 100 level. We were talking about the Pittsburgh show and I mentioned where I sat. They asked where I was sitting that night, and I coyly mentioned I would be in the front row again. They didn’t think I could do it, so now I definitely had to come through. Shortly before the lights went down I walked down the aisle right to the front row and there was an empty seat just waiting there for me, right in front of Trey. Easy peasy!
Fall 96 shirt via PhanArt.net
Some blurry footage of most of the entire show on YouTube can be found below. I watched it all. Like I said, I can’t recommend it for the music. Even for a nostalgic look back at the band and how the lights were back in “the day” is ruined by excessive zoom and blurrier than blurry footage. As I sat through the whole thing trying to figure out what I could possibly say about this show, it took until the end of the very last song for it to dawn on me. The video finally panned out to show the full stage, lights and crowd during the peak of “Run Like an Antelope.”
There is a blurry visage of a young guy in the front row bouncing up and down and throwing his fists wildly into the air as the band goes into manic climax mode. That would be me. Two plus hours of feeling somewhat down on the memory of a ho-hum concert was erased instantaneously. There’s just something about seeing a 27-year younger version of yourself, no matter how blurry, finding ultimate bliss for a few minutes. Guess the show wasn’t all that bad, that guy seemed to be enjoying it.
Phish – Marine Midland Arena, Buffalo, NY – Saturday, October 19, 1996
Soundcheck: Funky Bitch, Reggae Jam, Life On Mars?, Billy Breathes
Set 1: My Friend, My Friend, Rift, Free, Esther > Llama, Gumbo, Down with Disease > Prince Caspian > Frankenstein
Set 2: AC/DC Bag, Sparkle > Slave to the Traffic Light, Bouncing Around the Room, Split Open and Melt, Fluffhead, Swept Away > Steep > Run Like an Antelope, Hello My Baby
Encore: Fee[1], Rocky Top
[1] Trey sang verses through megaphone. The second set started with a Wish You Were Here tease.
On Saturday night, October 14, the Patchogue Theatre in New York came alive with the spellbinding music and visual artistry of the legendary guitarist, Andy Summers. The crowd gathered in anticipation of a performance that promised to be much more than just a concert. As part of his tour entitled “The Cracked Lens + A Missing String,” Andy Summers combined his exceptional guitar skills with a unique multimedia presentation.
The show kicked off with the hauntingly beautiful “Tru Nature,” setting the tone for what was to come. With his distinctive guitar style and unparalleled skill, Summers effortlessly transported the audience into a world of musical wonder. The setlist was an eclectic mix of his solo works and iconic songs from his time with The Police, making it an experience that catered to fans both old and new.
What truly set this evening apart were the interludes between songs, during which Summers shared captivating anecdotes. These stories offered a glimpse into the inspirations and experiences that shaped his music and life. One unforgettable tale involved an accidental overdose of Ambien, which left him with no memory of how he made it from the plane to his hotel. This candid storytelling offered a humorous yet humanizing perspective on the legendary artist.
The evening continued with songs like “The Last Dance of Mr. X” and “Tea in the Sahara,” which not only showcased Summers’ musical virtuosity but also his storytelling ability. Each song became more than just a composition; it transformed into a vivid narrative that resonated deeply with the audience.
Another remarkable story recounted Summers’ adventures with the late John Belushi, where they embarked on a journey involving magic mushroom omelets. The audience was transported into this wild and unexpected adventure through Summers’ vivid storytelling, making them feel like they were right there with him.
The visual component of the show was equally mesmerizing. Behind Summers, a large screen displayed a collage of photographs he had taken throughout his storied career. These visuals served as a stunning backdrop, creating a visual narrative that harmonized with the music. The result was an immersive experience that combined sound and sight, forging a profound connection between the artist and the audience.
The show culminated with the iconic “Message in a Bottle,” leaving the audience with a lasting memory of an extraordinary evening that transcended the boundaries of a typical concert.
Setlist: True Nature, Metal Dog, The Bones of Twang Zu, The Last Dance of Mr X, Tea in the Sahara, Round Midnight, Spain, Roxanne, Manha de carnaval, A Felicidade, Triboluminescence, Spirits in the Material World, Bring on the Night, Message in a Bottle
Adk-Phoric Festival, a brand new festival coming to Roaring Brook Ranch Resort in Lake George, has announced it will happen on Aug. 17, 2024, going from the early/late afternoon to 11 p.m.
Adk-Phoric Festival: Live & Love Music is an unparalleled event that seamlessly blends live music, DJs, artisanal craftsmanship, and culinary diversity. With an elite lineup of both emerging and established artists across many genres, the festival also features a selection of the finest local DJs to accompany the artists to keep the atmosphere electrifying
It goes beyond musical indulgence, featuring curated selections of food trucks offering an array of gourmet options, alongside a marketplace of bespoke craft vendors showcasing unique, hand-crafted goods. It is a multifaceted celebration of community and culture.
The Roaring Brook Ranch Resort is a picturesque and serene resort located in Lake George. With its sprawling 35-acre estate, including 245 acres of undeveloped land in the majestic Adirondack Mountains, it has a rich legacy of cherished traditions that span generations, dating back to the memories forged in the 1960s. Festivalgoers will enjoy this scenic atmosphere along with the elite sounds of good music.
Tickets for the Adk-Phoric Festival will be available for purchase by November 1.
Toronto-NYC indie rock power trio ON has unveiled the music video for their latest single release ‘Gator’, an infectious groove and rock waltz, released via Toronto’s Indiestructable Records on October 10.
The band ON is a power trio including lead vocalist Lucy Di Santo, drummer Dan Cornelius and guitarist Steve Fall, they continue to carry out the legacy of previously formed 90’s Sire Records band ACID TEST. The newest single ‘Gator’ encompasses infectious guitar riffs with a dash of groove that honors their post-punk, grunge, old-school funk and 90s college roots. The song is a clever blend of pop melody and raw rock, with a tight weave of classic and alternative coated with grunge. ‘Gator’ follows up the bands latest single ‘Make Me’, a song of frustration and wanted to recapture that euphoria in the new video.
“The song has a strong guitar hook and melody – and the drums are tailored to support and enhance those elements. So I thought the drums should be a drum pattern that anyone could tap along to ON their steering wheel while waiting in traffic. Simple drum groove. Simple drum fills.”
– Drummer Dan Cornelius
Upcoming Tour Dates
Sun 10/15 Toronto – Bovine Sex Club (with Snailmate, Second Wife)
Tues 10 /17 Ithaca, NY – Deep Dive (with Snailmate)
Wed 10/18 Buffalo, NY – The Lounge at Revolution Gallery (with Snailmate & Daisy Chain)
Thurs 10/19 Kingston, ON – The Toucan (with Snailmate)
Sat 10/21 NYC, NY – Bar Frida (with Snailmate)
‘Gator’ is out now and available from fine music platforms, including Spotify, Apple Music and Bandcamp.
The Illusion, a Long Island based psychedelic rock band from the 1960s and 70s was recently inducted into the Long Island Music & Entertainment Hall of Fame (LIMEHoF). At the induction ceremony, the group performed onstage for the first time in 51 years.
The Illusion made a name for themselves touring with the likes of The Who, The Allman Brothers Band, The Jimi Hendrix Experience, and more. The group’s first single was released in 1968, with their debut album, The Illusion, released on Steed Records the following year. The band continued with two more albums and ultimately dissolved in the early 1970s. The group notably worked alongside Jeff Barry (Tina Turner, The Crystals), who served as the band’s producer for all three of their albums.
The group was inducted into the Long Island Music & Entertainment Hall of Fame on October 7, celebrating original members John Vinci, Rich Cerniglia, Chuck Alder, Mike Ricciardella, and the late Mike Maniscalco. Cerniglia, Alder, and Ricciardella took the stage alongside friends to play a selection of hit songs from their original discography.
The Illusion has had such a major impact and influence on so many of the performers who later themselves became inductees into the Long Island Music and Entertainment Hall of Fame, it is high time they themselves became inductees. Congratulations to the Illusion on being inducted into the LIMEHoF.
Barry Fisch, General Manager of LIMEHoF
The Illusion is credited with being an influential figure in the Long Island rock scene, as well as a key influential figure for their friend and collaborator Jimi Hendrix. The group met Hendrix by chance at a recording studio early in their careers and went on to become close friends, frequently playing together across the country.
On October 14, a cool Brooklyn night, Elsewhere played host to an intimate and emotionally charged performance by the sensational Hannah Diamond, as she unveiled her latest album, Perfect Picture. The evening was a celebration of empowerment, self-confidence, and the universal struggles we all face in terms of self-perception, all wrapped in a visually and sonically captivating experience.
The tracklist of Perfect Picture takes us on a touching journey, each song delving into the complex web of emotions that revolve around self-identity and the pursuit of perfection. The album kicks off with the enchanting title track Perfect Picture, which immediately sets the tone for the night. As Hannah’s ethereal vocals blend with mesmerizing visuals, it’s clear that she is on a mission to explore the intricacies of human self-perception.
The theme of empowerment is prevalent throughout the album, and songs like “Affirmations” and “Unbreakable” stand out as anthems of self-confidence and resilience. These tracks evoke feelings of strength, freedom, and the realization that true beauty lies in embracing our flaws and imperfections. Hannah Diamond’s lyrics are a beacon of hope, reminding us that our self-worth should not be contingent on societal standards but on our ability to love ourselves.
The show was an intimate affair, which perfectly suited the album’s personal and vulnerable themes. The crowd’s energy was electric, with fans singing along and dancing in unison to the infectious beats. It was evident that Hannah had a genuine connection with her audience, making the performance feel more like an interactive conversation between friends rather than a traditional concert.
Hannah Diamond’s stage presence was nothing short of mesmerizing. She effortlessly navigated between her hit singles and the deep cuts from “No FX,” and it was clear that she was emotionally invested in every note she sang. Her humility and vulnerability on stage resonated deeply with the audience, as she encouraged everyone to embrace themselves.
Perfect Picture is an album that delves into the essence of human existence, examining the power of self-love and the beauty of imperfection. Hannah Diamond’s performance at Elsewhere Brooklyn was a testament to the depth of her artistry and her ability to connect with her fans on a profound level. In an industry that often perpetuates unrealistic ideals of beauty and perfection, Hannah’s music serves as a beacon of authenticity and self-empowerment, reminding us all that we are, indeed, perfect just the way we are.
Enso Taves, the New York-based Dominican singer-songwriter, has long been recognized for his unique fusion of Bachata with Latin American Bolero, Son, and Jazz. This remarkable combination of styles has earned him a dedicated fan base eager to embrace his upcoming release, “Tengo Sueños.”
Released on October 13, this single is not only a symbol of Enso’s artistry but also a testament to his ability to create contemporary music with the heart of traditional Bachata.
Enso Taves is more than just a singer-songwriter; he is a storyteller who weaves the rich cultural tapestry of his Dominican heritage into every note and lyric. His music can be described as elegant simplicity with a touch of sophisticated romance, a characteristic often associated with Bolero and Bachata. Yet, what sets Enso apart is his ability to infuse these traditional sounds with a modern twist, creating a unique listening experience.
“Tengo Sueños” begins with a warm and inviting melody, an unmistakable hallmark of Bachata. The song carries the heart of traditional Bachata with its gentle yet emotionally charged guitar strums, which form the backbone of the genre. The traditional bongo and maracas add a layer of authenticity to the rhythm, making you feel as though you’re dancing in a Dominican plaza.
But what sets “Tengo Sueños” apart is its fusion of these traditional elements with modernity. Enso Taves’ voice is velvety smooth, guiding you through the song’s narrative with a sense of intimacy and nostalgia. As the song progresses, a contemporary touch emerges with the incorporation of electric guitars and a richer percussive backdrop, hinting at the influence of pop and rock.
The lyrics of “Tengo Sueños” beautifully encapsulate the power of love to conquer adversity. As Enso sings:
“Tengo sueños tienes que dos también un verso que te quite el miedo de dorar fracto preñar tus sueños que esta historia empieza no… vamos a ver para fugar no donde quiera de no puedo corazón…”
Here’s the translation:
“I have dreams, you have two, a verse that takes away your fear, gilds the cracks, nurtures your dreams, this story begins now… let’s see where it goes, I can’t go anywhere, my heart…”
These words balance vulnerability and strength, emphasizing the importance of understanding each other’s dreams and fears in a relationship.
For Enso Taves, “Tengo Sueños” is not just a song; it’s a testament to his artistry and his commitment to preserving the cultural heritage of his Dominican roots while pushing the boundaries of contemporary music. Enso Taves will be taking this enchanting musical journey on the road with his upcoming “Bachata Bohemia 2023” tour, bringing this fusion of tradition and innovation to audiences around the world. The single promises to be a musical experience that transcends the barriers of time and tradition, carrying us into a world of love and dreams where the power of music knows no bounds.
