Adam Faucett's Voice Delivers at Rockwood Music Hall

There is no better healing for a beat-up soul with election blues than powerful live music. Thank you, Adam Faucett! Was I on sacred ground or stage 1 at Rockwood Music Hall?  His voice bellowed and reverberated from the rafters and made me a believer. When he brought down the volume, the soothing tenderness of his voice settled inside my spirit. His poetic songwriting was delivered like a moving sermon. I am not religious but sign me up!

Two other newbies were sitting next to me and said, "There is nothing better than discovering extraordinary music accidentally."

http://www.adamfaucett.com/music

Four Star Mecca EP by Peoples Rohoss

Peoples Rohoss is a power trio. Two brothers and a childhood friend who plays a scattered rock mix of guitar, bass, cello, and drums, intertwined with high-frequency vocals and woven with an adventurous orchestral sound. They rely on improvisational chance and musicianship that they synchronize with each other. To say they are interactive is an understatement.

Their EP Four Star Mecca takes all those elements and blends them to create a statement.  The “Intro Song” is an orchestral rock composition that combines unfamiliar instrument sounds with distant vocals that fade and suddenly vanish. Surprisingly ”Young Elitists” starts as a poppy punk song with the catchphrase / It’s two AM / we're wide awake /. The song's muscular start pauses only to pick back up with an outpouring of energy. It ends with a lone guitar player's mindless strumming, possibly imagining this recording was his pipe dream.

The lyrical hook / to find the grays in this dotted space /mimics the sound of discordant melody in the song “The Four Star Mecca.” It is a high-powered mix with splattered vocals and drums that sound like dropping bombs. Coming on strong is the appropriately titled “Back and Forth,” in which every instrument commits to an intense dialogue creating an invigorating tension. The vocals / It could have been bittersweet to go home, stoned / come in gently in contrast to the rough and tumble mix. Closing this unique collection is “The East End,” which starts with a seductive, strong bass line and has a rousing and unpredictable exuberance that builds to a crescendo following the phrase  / you always run / but never make amends /and pauses with a drum roll.

This EP collection is invigorating smart rock music. It is not an easy listening experience, and that is a compliment.

,

Peoples Rohoss Bandcamp

Bass / Cello - James Acampora

Drums -Sean Perham

Guitar / Howling / Everything else - Mike Acampora

Sawyer Fredericks Shines Through

Screenshot D Strait YT

When I first heard Sawyer Fredericks's deep, soulful, and emotionally charged voice, I was immediately captured. My heart was racing, my eyes were welling, and my emotions were being played like a violin.

How was this possible? It was just a Monday night, and I was mindlessly watching The Voice. The emotional connection Sawyer expressed while singing was channeled through the television screen and seemed to be directly aimed at me. It was as if I had receptors and was open to receiving.

Sawyer’s voice can elicit longing, empathy, aching, and compassion. It is especially potent when he reaches for high notes, and it warbles and vibrates while emoting every last drop of feeling.  At times he sings quietly or pauses so that a word can linger, and within a short time frame, he can powerfully amplify his voice to soar with energy and surge with purpose.

What was most delightful to discover was that Sawyer Fredericks is a songwriter. Through his thoughtful phrasing, he masterfully sings and shapes words that resonate with the listener. 

That night I was ready to receive and surprised to find so many viewers obsessively hungry for genuine original music. My reaction had something to do with the fact that certain genres of music are rarely celebrated on mainstream television. 

One added detail really sparked my interest. In several interviews, Sawyer Fredericks mentioned one of his favorite artists is Langhorne Slim, someone I've been writing about since 2006.

Faren and the French Fries! New Video

Hello, Hello, I know you’re there.. Well, I just need to talk....... OMG, this video is so cute, and the song Answering Machine by the pop duo Faren and the French Fries is sooooo catchy!

The Children’s Museum of the Arts (CMA) art colony class has created a POPTASTIC video production (as described on CMA’s blog). Watch for the credits with the featured kids and a listing of the production team of teaching artists along with Faren and the French Fries's song “Hey You.”

CMA's new headquarters will be a 10,000-square-foot former loading dock in Hudson Square at 103 Charlton St. The grand opening is set for Oct. 1.

Oh, to be a kid again. I wish!!

Ava Luna @ the Clocktower Gallery

Ava Luna played a show at the Clock Tower as part of the Above the Law Series curated by Joe Ahearn. One flight up from the 13^th floor and adjacent to the roof, the audience squeezed in close for an intimate experience. 

This is a great band, and the acoustics in the space only enhanced their sound. We were all lucky enough to hear almost a complete album of gems performed for the first time, creating an immediacy and edge.

Dynamic acoustics, crazy awesome harmonies, soul strutting, and hard-hitting music structure were made for a listener who enjoys being challenged. Ava Luna combines many music genres, creating a jumbled juxtaposition of dynamic excitement. 

Flickr Set: 

Style Meets Substance; A Poets Guide To The Bars

Style counts today, even in the world of poetry. The latest reprint of Kenneth Sonny Donato’s “A Poet's Guide To The Bars” has hit the shelves, bringing poetry up front and out of the backroom's dusted stacks of treasured finds.

Pax Americana Productions, LLC has curated Sonny’s poetry into a visually graphic format where text, imagery, editing, and layout meet to house his retrospective of legendary LA bars in which dreams are one shot away. For online promotion, they have created a must-see book trailer. (below)

Kenneth Sonny Donato reads and shares stories alongside his friend Harry Dean Stanton, to whom the book is dedicated @ Book Soup on Wed. Aug. 3, 7pm.

Geo Wyeth's, One Man Exceptional Band @ Joe's Pub

Geo Wyeth’s masterful skill and intentional hesitation created an edge of uncertainty and unpredictability at his solo show at Joe’s Pub last night. Although the set was clearly planned, it felt like a conceptual foray into musical chance operation.

Geo opened with the set, creating a disorderly clutter of drum beats with a strapped-together Tom Tom. He paced through the crowd, leading his parade to join the guest saxophone player on stage. He played the baby grand with unbridled force and exuberance throughout the set. Geo sang with conviction but created a vocal stutter, suspending his vocals in mid-air. While playing a handheld Casio, he sang phrases gathered from field studies of New York conversations.  When he picked up the acoustic guitar, I didn’t expect it to be beaten with a drumstick.

Whether he played the electric guitar, keyboard, baby grand, or drums, each instrument provided an opportunity for self-expression and undeniable experimentation.

Introducing Faren and the French Fries

What a great way to start the new year with a bang and the song AK-47 from Faren and the French Fries.

Myspace

Peasant's Video; Perfect For Last Day of Summer

The song "Well Alright" from Peasant's 2010 release Shady Retreat is featured in this sweet and simple video. Perfect......

The Shivers; Affectively Charged Set @ Rockwood Music Hall

There were many hindrances. The 18' by 18' room, the mini stage that just fit the grand piano, leaving the drums on the floor; the folks "just trying to get through," the peep-show reminiscent red light above their heads, the nine dollar rail whiskey. Through all these obstacles, including the strict 45-minute set restrictions implemented by the Rockwood Music Hall, The Shivers valiantly and deftly jumped through the hoops.

The duo opened with a guitar and piano only version of "Love is in the Air," a track off frontman/songwriter/master-dancer Keith Zarriello's debut solo album, Truants From Life. With Jo's piano taking the melody, Zarriello slowly and methodically sang the first verse, but at the song's climax, "love doesn't care, if you prance around in your underwear, in your underwear, you're in your underwear," his face was riddled with emotion, excitement and an undisclosed manic glee that stayed hidden on his face throughout the show. Including one song on her own, Jo's thunderous piano exists as the structure of each song played, teaming in perfect harmony with Keith's sharp yet minimal guitar picks and the occasional marching band drumbeat.

I can't tell you the rest of the setlist, I can't tell you how many songs they played, all I had written on my hand at the end of the show was "LIITA," detailing the opener. It wasn't that I necessarily forgot to write as the show went along, it was that I couldn't bring myself to do anything but stare. Enthralling, rapturous, magnetic, these words don't make the cut in my memory. I remember his face, I remember her face, I remember their cues to each other, I remember hearing the bartender telling people to "wait a minute," because she couldn't stop watching either.

There are so many musical references you can tally up when describing The Shivers' sound (The Velvet Underground being the biggie), but they transfer so well between all their influences that it creates something only them, making a list pointless. If I must create a profile for your imagination, think the intensity of Mick Jagger, the emotional outbursts of Mark Hollis, and all wrapped up in a similarly-sporadic David Byrne. It's just so damn entertaining, and these are not happy songs! This is (apparently) not a happy man, and he's letting you know this, which becomes extremely admirable as you witness his disappointment manifest on stage.

And while contained in each song may lie a story of unrequited love, depression, or hatred, the path one travels through a Shivers live show is not one of heartbreak but one where you take desperate stabs at trying to attain that eternal glee disguised on the face of the performer; and at least this audience member was ecstatic to be allowed that attempt.

The Shivers are Keith Zarriello and Jo Schornikow; they are taking a hiatus from New York City, Zarriello stating, "I forgot there were places with…trees. I gotta get out of the city for a while.”

Pulse Films Weird Hero 'Documentary' Director D.A.R.Y.L. Here

Elias Necol Melad is my first guest contributor. He is an avid and knowledgeable music fanatic with exceptional taste, a visual artist who also can complete the Times Sunday Crossword Puzzle with a pen in record time.

Ava Luna @ Piano’s; Trichotomy of Styles

The twisted soul, punk attitude, and divine harmonies of the band Ava Luna were welcome sounds @ Pianos. The seven-member band presented a very lively set full of soul/funk and a bass line groove that made dancing my only option. Carlos Hernandez, the lead singer, and ultimate contortionist, aptly put his falsetto into hard drive. His enthusiastic rendering of soul-ridden vocals brought to mind, Sam Cooke. The female trio’s sophisticated Doo-wop harmonies worked as passages alongside the synth, bass, and drums that had a scratchy, almost garage-band feel. 

Ava Luna effectively created a trichotomy of styles into a soul-melding mash. Having only seen a few videos and hearing some tracks seeing the band live left me with a strong impression. I loved their energy, spirit, and intention. This was the conclusion of Patrick Duffy’s relaunch party for the music blog Pop Tart Sucks Toasted, which was taken down by Google’s Blogger in February earlier this year. Duffy’s taste and hard work have helped enumerable musicians gain much-deserved exposure. 

Sorry, I only came out to see Ava Luna but the other bands on the line-up were MiniBoone, Your Youth, and Bermuda Bonnie. Ethan Bassford – Bass, Felicia Douglass – Vocals, Carlos Hernandez – Vocals, Becca Kauffman – Vocals, Anna Sian – Vocals, Alex Smith – Drums, Nathan Tompkins – Synthesizer.

Kickstarter Campaign For Adventures in Plymptoons

In the spirit of the independent music I write about, I was compelled to feature this Kickstarter project because it reeks of DIY gone right. Determination, conviction, and a little humor go a long way, and independent filmmaker Alexia Anastasio has all that and more.

Her documentary Adventures in Plymptoons about Oscar-nominated animator Bill Plympton is currently in post-production and needs additional funding. Alexis hopes to achieve her goals through an inventive Kickstarter campaign that brings fans and donors into the fray. She is willing to give her all to achieve her goals, including shaving her beautiful hair and fashioning a Mohawk.

Alexia’s enthusiasm for this project is contagious. She celebrates and is inspired by Bill Plympton’s career as an independent filmmaker and is making this documentary with the same independent spirit. All filmmakers, artists, and musicians should take note and be inspired.

Alexia’s Kickstarter campaign is absolutely worth a click to view. It features some takes with Bill Plympton and anecdotes by a few of his voice-over team edited with clips of Plympton’s animated world.

Even if you don’t have the funds to help her achieve her goals, you can help spread it around through networking.

For additional inspiration, read Alexis’ interview with Film Threat here
And..
video interview with Alexia Anastasio at Comic-Con 2010 for Adventures in Plymptoons
by Jon Raymond from The Writers Muse.

Coyote Eyes, Dynamic Set @ The Delancey

I attended a fundraiser for the band Coyote Eyes on Friday night at The Delancey. Their goal was to recoup the costs incurred recording their EP after the small label that offered financial backing folded, leaving the band with expenses they hadn’t planned for. On hand to help were the Flying Pace, Marie Stella from Portland, Maine, and Quiet Loudly, who played sets and offered cheap merch while friends baked treats for sale. It was an atmosphere of love, support, and good music-making.

As soon as Coyote Eyes hit the stage, it was apparent why everyone there was showing love. The foursome floored me with two guitars, pedal boards, synth, bass, drums, and combined vocals. Coyote Eyes were engaged, creating an invigorating sound guided by melodic sonic movements. They rev-ed up clean bell-like guitar riffs that build and scaffold, blasting with pulsating fast strumming meant to take you somewhere. Leading from the back and divine to witness was Jeremiah McVay, whose thunderous drumming skill was always on queue and the force and backbone of the sound. The dynamic contrasts between the two vocalists diversified the sound and what made it more surprising was how they fluctuated between dominating one song or another or singing in unison. Manny Nomikos's emotional singing style with bursts of volume, multiple pitches, and at times, Yoko-like channeling, while Marta’s Deloreon vocals were smooth intoxicating, and perfectly phrased. What is especially strong is how Deloreon’s voice rises above the amplified sonic rock cycles hanging suspended like a cloud above the surface of the forceful instrumentation. Calling and cooing and taking the listener in. I am looking forward to the EP and am ready to be wowed. Listen Here and hear why.

Flickr Set!

Marie Stella pictures as well

Jive Grave & The Fancy @ Ars Nova

Jive Grave and The Fancy were the line-ups for Wednesday as part of Ars Nova 54/10 music marathon series. Two bands with accomplished musicians and visions. It has been my pleasure to chronicle Geo Wyeth’s music incarnations for the last two years. What a satisfying ride it’s been. I arrived just as Jive Grave was finishing their first song. Geo Wyeth thanked Ars Nova for their support as their 2009 Composer-in-Residence. The residency gave him the opportunity to explore and compose / Haunts song cycle.

With Geo at the helm, the band Jive Grave was spawned. The set explored looping with bells, vocals, guitar notes, solo material, claps, horn arrangements, and an intricate beat between two drummers featuring a drum kit and tom tom. The music frames the lyrics with its melting pot of sound where repetition is fleeting, and snippets of sound are segmented and disjointed. Geo’s lyrics reference legacy, lineage, memory, and the city are pieced together in a collage of ripped, rough, and sometimes soft edges. They played "Black One On the River," with a sound rich in texture, sax accents, vocal harmonics, and Afro-centric guitar. The tremolo picking soared at a high pitch, rising like a blustering current to an abrupt ending. / Will you wait for me for me / in the water / it’s a mighty / current we are running from./ Geo Wyeth emphasized, “this is a song about where I live, Bedford Stuyvesant. “So Funny It Might Be Death” began with scat vocal blurts, claps, and the saxophone played by Tina Richadson and Wyeth’s guitar with punched chords and chiming note flourishes. The celebratory sound was fitting for Wyeth’s lyrical, poetic perspective making the neighborhood come alive / The kids all got scowls under their breath like old church ladies /. 

Jive Grave’s sound is cerebral and vibrant, provoking the listener to pay attention. The release date for 7” Blackone in September features vocalist Becca Kaufman whose voice is a treasure and creates striking contrasts. Listen Here geo wyeth, keith parker, dan arnow, tina richerson, mike irwin, simeon kezengwa other featured contributors: tim johnson, becca kauffman, brian newman Flickr Set

The Fancy play gorgeous orchestrated pop that is so smooth and yummy it tastes like butta. Composer/songwriter and lead vocal duo Clara Latham and Seth Garrison are classically trained, and their compositions reflect a commitment to the accessible and smart. What sets this group apart is not just their choice of instrumentation but how it is applied. Keyboard and synth, electric guitar, bassoon, viola, and gorgeous vocals

They started with “Honey Baby,” which had great orchestration with viola scales woven through. “Out Of The City” had luscious harmonies, a creamy confection that is sticky kind of a sophisticated Abba mixed with serious instrumentation. Kind of a dichotomy of sound. The cover song of choice was Laurie Anderson’s “O Superman.” It was a complex interpretation that coordinated a steady bass with the bassoon and viola played in a round. You could visibly see the concentration and efforts of Katherine Young and Amy Cimini, two incredible soloists. They brought out their guest drummer Craig Bray for the song “O Willa” which started slowly with a singing dialogue and grew to fast, furious action and timing.

Their attention to detail was apparent as they asked to bring down guitar levels and more sound on the bassoon and vocals. They care about delivery. I was very impressed with this band. They even have a great informative website and a joy to explore. They got it together!

Crazy Over Brian Newman @ Duane Park Live Review

Been meaning to go to Duane Park to see the Brian Newman Jazz Trio After Dark at Duane Park for a while. They perform there every Friday night with a rotating cast of beautiful burlesque performers.

Brian Newman's singing voice is impeccable reaching gorgeous high notes while adding his own spin to classic jazz standards. As a trumpeter, his trumpet is an extension of his being. Somehow he finds enough air to dig in and blow improvisational bursts between lyrics.

Dressed to please the svelte dapper, Newman visually pulls out all the stops as the quintessential master of ceremonies. With his cool demeanor and awesome showmanship, he worked the room like a fast-witted vaudevillian comic adding enough spice and a little grit without losing his classy flair.

The clanking of glasses, endless chatter and lively bar action added to the atmosphere, but I would have preferred a quiet room to fully take in the marvelous music.

Earlier this month, Brian Newman made his television debut with Lady Gaga on the Today Show. His underground reputation with fellow musicians as someone to collaborate with is now out of the box. A much-deserved career boost.

It was sweet to see a few new fans at Duane Park who came to listen last Friday.

Langhorne Slim @ Brooklyn Bowl

It has been a joy following and writing about Langhorne Slim for the last four years. The band has always been able to stir a crowd with its infectious music and Slim’s charismatic showmanship. So what’s been changing? There is a different feeling in the air. People are finding out about the group from various sources and coming out to see for themselves. The power of exposure. But music, generally, can’t be supported by a simple download. It is when a fan makes a commitment to see a band live.

One such patron was upfront with her camera, ready to hear the song that brought her to the show. She was visibly overwhelmed with the power of the live show. Although unfamiliar with most of the set chronicling their discography, she will ultimately be a true supporter of the band and its output.

At the Brooklyn Bowl, the popularity of the group was apparent. Slim did not have to win the crowd over they were already there hanging on every word, dancing and singing along. Even with an adoring crowd, the band does not take anything for granted they bring it on more. All the roadworthy experience has catapulted this group into another category. The momentum is building, and for Langhorne Slim, stardom is right around the corner, and they are ready.

Flickr Set

The Woes and The Defibulators @ Ars Nova

The Woes have been on my radar only through word of mouth among the bands I write about, like Langhorne Slim, o'death, Sgt Dunbar, and the Hobo Banned. I met Osei Essed at Brooklyn Bowl at the Langhorne Slim show and realized we’ve crossed paths at other shows. It sometimes takes me a while to dot the i's. So, I made it a point to go uptown to Ars Nova.

The Woes bring an all-one approach to their music, combining genres of soul, punk gospel, blues, early folk, and jazz with impressive attention to detail. With the exuberance of a funeral marchin jubilee, they played jazzy segments on saxophone, trumpet, and french horn with bluesy riffs on guitar and banjo and rev-ed up action on the peddle steel guitar.

All the great musicianship centers around the deep vocals of Osei Essed. His soulful straightforwardness, blended and angst-ridden thickness from below the diaphragm creates an urgency of quick, tight upheavals of rising howls, whoops, and groans. The jubilant chorus of shouters from the brass section belts it up between blows, adding to the lively mix.

What was great for me was to really get a chance to hear their music in a venue that cares about sound. So I could fully appreciate their live set's clarity and tight framework.

The Defibulators from Brooklyn bring tongue-in-cheek Hee Haw antics and references to redneck country, pickups, and truck stop a go-go to their blend of rockabilly homegrown country rock. The six-person group played a lively, theatrical, and friendly set with excellent instrumentation and the outstanding voice of Erin Bru, their only female member. All in good fun, they played with a bit of help from their comedic puppet Buddy, a “human” version of Triumph the insult comic dog as the master of ceremonies. The Defibulators brought out all the stops, including a comedic movie short about tour stash and the cops on the take looking for the shit.

Ars Nova is a small venue that cares. This was my second visit to the small intimate venue, but a few of the groups I’ve featured on this site, like Langhorne Slim, Geo Wyeth, and Max Vernon, have played there. Ars Nova provides a hub for emerging music, comedy, and theater talent. Getting the word out about this diamond in the rough should be paramount.

The Woes Flickr Set

The Defibulators Flickr Set

Maryanne Ventrice Band Photography @ Con Artist Gallery

Con Artist Gallery is a collective dedicated to showcasing a rotating line-up of artists, designed as a one-night-only event on Wednesdays, down under through the steel grate on 119 Ludlow Street. Brian Sevrin is the creator of the workshop/artists collective, where items produced on the premises by the members are sold in the front half of the space, and the workshop turned gallery in the rear. The Con Artist concept is to bypass the gallery system creating opportunities for artists to show their work and connect within a community.

Last night Con Artist featured the band photography by Maryanne Ventrice entitled “More Guitar In The Monitor.” Maryanne has become a staple in the indie music scene documenting bands in Brooklyn and Manhattan since 2007 in venues like Death by Audio, Union Hall, Cake Shop, and Bruar Falls. She is there with her heavy bag of tools and workhorse ethic if there is a show. Her DIY approach to photography and honest, no-nonsense shooting reflects the love she brings to the genre of band photography. She has the patience to capture moments instead of going for the obvious. 

I have seen her work at many shows where she unobtrusively moves around to document different angles or crowd interactions. Just as straightforward as Maryanne is as a person, her gallery debut was no different. Sheets of photo paper dangled unframed from wires attached to the ceiling pipes around the room's perimeter. Her non-pretentious work hung like classic compositions displaying the beauty of The National’s lead singer Matt Berninger intertwined with the mic chord, or James Harvey of Drink Up Buttercup, his hands rising up in the air to soak up the enthusiastic crowd and capturing the intensity of lead singer Patrick Stickles of Titus Andronicus. Maryanne is a no-frills woman, totally is who she is, honest, hard-working, and approachable. To me, she is a “Trooper Photographer” whose efforts contribute to moving the music culture forward.

Flicker Set List of Photos Displayed:

The Lisps, Union Hall / Liars, Bowery Ballroom / Hopewell, Death By Audio / Dinowalrus, Cake Shop / Choir of Young Believers, Le Poisson Rouge / Drink Up Buttercup, Bruar Falls / We Were Promised Jet Packs, Bowery Ballroom / Get Haunted, Littlefield / The Dears, The Bell House / Tim Fite, The Bell House / Tokyo Police Club, Bowery Ballroom / Holly Miranda, Mercury Lounge / Band of Horses, Bowery Ballroom / Liam Finn, The Bell House / Sian Alice Group, Mercury Lounge / Black Taxi, Blender Theater / The Wrens, Bowery Ballroom / Titus Andronicus, Galapagos / Grooms, Knitting Factory / Fanfarlo, Piano’s / Free Energy, Littlefield / Frightened Rabbit, Webster Hall / Novella, Glasslands / The Bell House / Great Lake / Drink Up Buttercup, Music Hall of Williamsburg / A Place To Bury Strangers, Europa / Japandroids, Swimmers, The Bell House / The National, Bowery Ballroom / Kyp Malone, Rain Machine /The Bell House / Serena Maneesh, Mercury Lounge / Pet Shop Boys, Hammerstein Ballroom /

Drink Up Buttercup; Hot @ Northside Festival

Drink Up Buttercup cools the heat on a hot night at Berry Park in Brooklyn, leaving their garbage cans behind and clearing the air for the sound of upgraded instruments and urgent harmonies. DUB clicks on the refresh button playing their familiar songs from their release Born and Thrown on a Hook with a refreshing twist making a live experience never stale and full of surprises.

I like to document the band's visual sets, and new additions are optical illusion amps and the colorful use of duct tape. The mannequin's mouth was covered with duct tape masking a human expression from an inanimate object. But no one there was expressionless, and this blogger, as usual, could not be contained.

My Flickr Set

Spending time with photographer Maryanne Ventrice is always a treat, her shots can be seen here at the Brooklyn Vegan, and below is the flyer for her gallery show this week.