Consider the Source - Buffalo 6 June 2014

My senior year in high school, I would wake up early on Sunday mornings just to tune into the radio station at NC State University.  I was obsessed with the weekly program “World Café” that showcased music from around the globe.  Back in the dark ages of musical technology, I would record the show on my stereo’s cassette recorder and created an arsenal of worldly tunes on 120 minutes of tape. Among my favorite tunes were the ones rich in middle eastern/Indian origin. Something about the sound tugged at my heart.  It was love at first listen.   

  

There is so much diversity in the sound of the music and instrumentation.  It is filled with mystery, sex, celebration, sorrow and spiritualism all combined into this beautiful noise. Fairly simple percussion instruments create a complex underlay to intricate strings and whimsical woodwinds.  Something about the overall enigmatic end product has always intrigued me.    

  

As often happens in life, I found myself distracted and pulled in different directions.  As technology changed, my vast catalog of recorded radio shows became obsolete as I transited to CD then digital devices.  And I simply stopped finding the music.  It wasn’t until a few years ago that I reconnected with my instinctual love when I stumbled upon Beats Antique. From there, I started to realize that there was a whole host of amazing bands that embraced that sound I had adored but abandoned. Along the way, I discovered the NYC based trio Consider the Source.  The attraction upon initial listen was instant.   

  

This past Friday, I had the honor and privilege to witness the magic that is a CTS show firsthand.  As I walked through the venue, I was surprised by the number of people that openly admitted to not only never having seen the band live, but to having never even heard them at all.  Blind faith was present because the word of mouth on these boys is highly favorable.  Because what they do is often unimaginable.  Folks in the know recognize that when given the opportunity to see Consider the Source, you take it.  

  

Now, I have to contain myself from a myriad of mindless gushes in regards to the level of musicianship that I witnessed.  I was more than familiar with CTS on a musical level.  But until I witnessed it live, it just didn’t connect.  My brain wasn’t fully aware of the slight of hand that is happening.  It’s like watching three magicians perform the best illusions in the world.  Even when you’re watching it, you still can’t quite believe you are hearing what you are seeing.  

  

You think you hear horns, but you don’t.  What you hear is the magic of Gabriel’s guitar. I’ve never seen anyone play guitar the way he does.  And this isn’t just any guitar; it’s a double nck guitar customized with MIDI pickups and a fretless neck.He also utilizes various synthesized instruments on his guitar.  To the outsider, this may sound like cheating, but it’s anything but dishonest musicianship. We’re not talking about the ill use of auto tune tools. It’s technology used in a wholesome way.  It’s used to enhance the music rather than hide a lack of musicianship. And it’s done at a skill level that is more than just noteworthy.   

In attendance for Friday’s shows was Aqueous guitarist and front man Mike Gantzer.  As I walked by him, I stopped to pick his brain. Sometimes as a non-musician, everything seems tricky and hard.  “Am I right in my assumption that what he [Gabriel] is doing right now is highly difficult?” Mike looked back at me with a huge grin and simply replied, “Incredibly!”

  

When you add the jaw-dropping bass of John, the face melting factor is increased two-fold. When I listen to music, I always pay special attention to the bass.  If the bass doesn’t grab me, it’s hard for me to invest the time to become more familiar with the music.  But in the case of CTS, you don’t have to listen long to realize that John’s skill on the bass is indescribable.  Its slap and funk and groove and magic. John’s impressive dexterity was showcased as he performed “Ol' Chomper”, a remarkable and complete song performed only on bass. I had been warned that if we got this song at Friday night’s show that I would instantly rewrite my list of favorite bassists.  That ended up an insightful and accurate caveat. In my dreams, I imagine a “Devil went Down to Georgia” style bass off between John and Les Claypool. And as much as I love Primus and Les, I think John would take it.  

  

On drums, Jeff creates the perfect backdrop for the complexity to which he is the backbone.  His tala based drumming style, which highlights traditional Indian rhythmic patterns, creates the perfect ebb and flow to support the mystical sound enhanced by the Middle Eastern influences in the music. “You Go Squish Now”, the band’s opening song Friday night, is an instant reveal of exactly what Jeff does underneath the trio’s sound.  The first 30 seconds is just Jeff and it establishes the balance and the journey of the music.  What I love about Jeff’s style is that it’s lulling.  Even in the band’s hardest moments, which I will address shortly, his drumming stays poetic.  It’s safety even in a tempest of sound.   

  

  

The great thing about Consider the Source is that the band’s sound isn’t just about showcasing traditional Middle Eastern sounds. It’s also about influence.  And what CTS does is distinctively combine these traditional sounds with the best of metal and rock.  It’s an unexpected but beautiful marriage of sounds. It’s organic and raw while being mystical and spiritual.  I felt like a school girl as the boys broke into a seductive Nine Inch Nails tease with a mix of “Hurt” and “Closer”. I like that the music isn’t just about showcasing a unique musical skill set, but also displays the positive influence of an edgier sound. 

  

What’s almost as noteworthy as the music is the trio themselves.  I had the pleasure of speaking with the members of CTS after the show Friday night and there isn’t an ounce of conceit in them.  They seem eager to talk to their fans about their music.  I watched a cluster of excited fans line-up at the bands merch table to snap photos, shake hands and meet the men behind the music.  Jon even obliged me in a shameful after-show selfie.  And this factor is important. 

I recently talked with someone about what I call “Creed” syndrome.  As a radio girl of the 90’s I had “pleasure” of working with the band Creed, whose popularity sprung up overnight.  And unfortunately success went to their head just as fast.  I can only imagine that it’s hard when your fans want a piece of you, and I acknowledge that it’s equally important to set boundaries as you gain more success. However, it’s also important to maintain a sense of gratitude and dignity especially towards your fans. Once you begin to alienate your fan base, you can kiss your longevity in the music business good bye.   Without the fans there to buy your music and your merch and attend your shows, you’re as good as in your parents basement rehearsing. 

CTS not only graciously interacts with their fans, but they also educate. Through The Source Academy, the band provides lessons and clinics on a variety of performance based categories. It’s a huge sign to see a band willing to give back.  Granted, they aren’t doing it for free, but the commitment to educate others is a huge sign of their heart and spirit.  It’s easy to support a band when you feel emotionally invested in their music.  And when a band makes themselves accessible, the investment the fans make is even greater.

Music is a lot like beauty; what is showcased on the outside is a direct product of what’s on the inside.  CTS has no difficulty in staying true to their musical passion.  In the process, they create an ear-splitting, face-melting, mind-blowing musical journey.  And it’s one astonishing magical adventure. If you haven’t experienced Consider the Source live, I highly recommend it.   I have a long three month wait until I get to see them again.  Several of my friends going to the Night Lights Fall Music Festival, where CTS is one of the weekend headliners, haven’t even heard their music yet.  And that fact excites me.  Because I know what will happen.  I can’t wait to watch the expressions on their faces emerge as they experience the unique and eclectic sound that is the magic of Consider the Source.   

  

The Set List

Nietzsche’s June 6, 2014

You Go Squish Now  
Closer To Home 
Abdiel 
I Will Fight For The Imp 
Ninjanuity  
Prophet For Profit  
Tihai For The Straight Guy  
Good Point Wandering Bear  
Keep Your Pimp Hand Strong  
Ol' Chomper  
The Great Circuiting
 

  

  

Marco Benevento - Buffalo May 16, 2014

I've always regretted not learning to play the piano. Watching Marco Benevento live makes me regret that decision even more. I'm not sure how he does it but somehow he manages to turn his shows into raging dance parties. Friday night at Nietzsche's was packed; it was a wall to wall dance floor. It was a celebration of a different kind. It was proof that you don’t always need raging guitars to complete a song.  It was proof that structurally sound music will reign supreme. It was proof that a piano in the right hands can be a brutal force. There is a genius to what Marco does that almost defies description, but I’m going to try. 

On this tour, he is joined by Ween Bassist Dave Dreiwitz and drummer Andy Borgar (Tom Waits, Norah Jones, Ani DiFranco).  It’s a brilliant trio of dynamic skill and energy. However, before I delve into my thoughts on this show, I want to take a step back to talk about the magic of the room.  I review a lot of shows at Nietzsche’s. I love seeing shows here.  I think artists and bands like to play at Nietzsche’s because there is an intimacy that creates amazing moments between artist and fans.  A packed house in this space is intense.  The crowd is always passionate.  Even a smaller crowd packs a punch.  The years of wear on the club are evident, but not in a ghastly kind of way. Music has been made here. There is something special about seeing at show while surrounded by the rich history of bands and artists that have performed here.  If you catch a show at Nietzsche’s, take a look at the signatures on the ceiling.  You would be amazed at who has played in this room over the years. 

As I watched Marco do his thing behind the keys, it feels like he is destined to become one of the legends that “once played this room.” He can break down the most evil of songs and weave it into a beautifully timed masterpiece. So what does that mean? Let me explain.  As the trio broke into their second song, Marco’s fingers hammered out a guilty pleasure of mine. I was surrounded by a crowd of guys that jammed, danced and raged as he teased this devilish little earworm.  As Marco continued forward, the guys around me questioned the song. “This is awesome,” one guy yelled to me, “I swear I know this song, what is it?” I smiled as I shamefully admitted the tune was “Toxic” by Britney Spears.  The boys shrugged it off.  They didn’t care because what these three were doing to the song was amazing. 

Great music is great music.  A major selling pop hit may not make it on your playlist, but what I appreciate in Marco’s rendition is the acknowledgement that the song possesses musical value. It’s catchy.  It makes you want to dance.  When you hear a song played for its musical value minus the pop culture influence, you realize what’s underneath the auto tune and background dancers. Marco’s music is pop music for the intelligent ear. A song like “Limbs of the Pine”, which he performed Friday night, is the perfect example the way Marco cleverly composes a pop song.  Its hook is clean and grips you within seconds. The lyrics are simple and instantly grab you.  This is not to say the song is uncomplicated or sophomoric. It’s quite the opposite.  There is a subtle complexity to the tune that is masterfully hidden because it should be.  Marco directs the listener.  There is no guessing at what or where you should be listening.

His choice of covers and teases for the evening is like looking into an influential peephole: The Bangles, the White Stripes, the Grateful Dead and Elton John.  The trio even wooed me with an amazing and thoughtful rendition of one of my favorite songs “Heartbeats” by the Swedish duo The Knife (although the song has been more recently popularized by Jose Gonzales and Royal Teeth).  In addition to the covers, Marco and band tackled several new tunes as well and older catalog options. It didn’t matter really what they played, the dancing never stopped.

What is really special about Marco is this sense of playful experimentation that you feel during his shows.  I think this stems from the lack of a set list. Without the restraint of obligation, the trio is free to go with the crowd.  It’s a skill I’ve spoken about in previous blogs, but watching Marco and crew carve their set list as the night progressed was a truly remarkable experience.  The band absorbed the crowd’s energy and served up the perfect songs at the perfect moments.  The crowd ate up every note. The room was filled with love because Marco plays from a place of love and purity.  It was the perfect example of giving to get.  

I’ve seen Marco perform before and he plays with remarkable energy.  You almost feel bad for the piano.  You have to question how he melds his keys with effects pedals and synth to create this mystical sound.  It all happens so fast; it’s like musical sleight of hand. You hear what he’s doing behind this monstrous set-up and have to simply marvel at the skill it takes to pull it all off.  Marco may create pop inspired, dance-inducing music, but don’t let that fool you. He is an extremely studied and talented musician.  He’s is a wolf in sheep’s clothing.  Well, Friday night he played in a wolf head. Literally, a giant mascot wolf head showed up and he popped it on and played. That’s the unpredictability of a Marco show.  Anything can happen. 

Unfortunately, Marco and crew don’t appear to be on any of my summer ventures.  His summer tour is shaping up for festivals and small houses all over the country.  Sure, I’d suggest taking a listen to his studio work, but I recommend making it a point to see him live.  You can’t truly experience the magic of Marco without experiencing the energy and excitement in person. 

I also want to give props to both the venue Nietzsche's and promoter Eclectic Collective Entertainment for continuing to bring amazing shows to Buffalo.   I don’t know that either are looking for my humble opinion as solidification of success, I think the packed crowd and jammed bar are proof enough.  But sometimes, the people behind the scenes don’t get enough credit for what they do.  I sadly didn’t get there in time to see the opener Lazlo Hollyfeld (who I heard crushed it) but I did want to give some love to WeazilDust (AKA Jimkata Drummer Packy Lunn) who spun wicked tunes throughout the evening.  You can check out his mix from that night for free. 

https://soundcloud.com/packy-lunn

So now, I’m off to Summer Camp. I will of course be taking plenty of pictures and I’m sure will come back with plenty of tales of music, mayhem, magic and mystery.  Until then…

Jimkata - Rochester NY 10 May 2014

There’s a saddened satisfaction when you finally complete something.  Maybe it’s the realization that you no longer have a focus for your energy.  Or perhaps it’s the recognition that you have to find a new center.  Conclusion comes with the exciting but daunting task of starting over.  As I drove to Rochester for the last night of the Jimkata spring tour I worried that I had already said everything that I could about this band. But as the night started and the music began, I quickly realized I was wrong.

I always focus so much on the celebratory qualities of the Jimkata experience that I sometimes forget that there is a duality in their music that deserves equal recognition. Maybe it was the influence of my own personal life.  Perhaps it was the band’s release after fourteen weeks on the road.  But as I drifted from song to song, I noticed a sweet darkness that wove its way through the customary brightness of a Jimkata show.  It was like being weightless in a dimly lit room.

I worry that my last statement can be perceived as some poetically worded back-handed compliment. It isn’t.  I find beauty in the contrast.  As I listened to the band sink into moments of shadowy musical brilliance, I could appreciate from where those moments were coming: exhaustion, longing, and boredom.  True – touring musicians choose a career and lifestyle that takes them away from their homes and loved ones for extended periods of time.  But choice doesn’t lessen the effects of wanting to sleep in your own bed or hug your mom. What I love about these four guys is that they don’t hide how they feel when they play live. And that’s why every show is different. There is no cookie cutter formula to their songs or their live performances. 

Before I left for the show, my fiancé asked me an interesting question.  “Do you think when Jimkata started, they thought they would be this embraced in the festival scene?” It’s a thought-provoking question for a band that has far more pop quality than almost any band amongst the popular jamtronica players. But as I watched Saturday night’s show unfold, it all made sense as to why their growing popularity is happening.  Certain jam bands have a way of vibing off the crowd.  They feel where the crowd is going and roll with it.  They give the crowd the show they want.  It’s almost like a call and response.  It’s like a musical game of Marco Polo.  The band finds it’s lane by listening to what the fans in attendance are feeding them and then respond by reflecting the crowd’s energy in their performance.

So onstage walk four guys- exhausted, ready for a break and only a few hours from home.  And they start by giving us a solid, emotionally charged, perfectly executed musical darkness.  The first set was kicked off with “Lighter” from the new Feel in Light EP. And as they moved from song to song, you could feel the crowd soak in that deepness and just transform it a positive force.  And that’s how magic happens.  When a band plays in a room that is filled with love, respect and celebration, guess what happens? They start to play with love, respect and celebration.

On this night the tables were turned.  Instead of Jimkata providing the love and light in the soundtrack to their usual dance party, this time the crowd delivered it.  And by the last song of their second set, a jovial version of “Chain Store”, the room was leading the way. Strangers hugged strangers as the shouted out every lyric word for word.  And that is why Jimkata has a home in the festival scene; because they don’t stick to watered down formulations. They understand that creating music for people is a relationship.  Not just between band members, but also between the band and the fans.  And although they may have created the songs far from the accepting ears of their fans, they also understand that performing live is more than regurgitating studio versions of their catalog.  Performing for Jimkata takes on a new level that is about reciprocation.  Jimkata gives the fans their genius and love when they need it the most.  And on the same token, the fans give it right back when the band needs it the most.  It’s a beautifully played game of musical tug of war that leaves everyone happy.

I think that it’s important to note that Evan, Aaron, Dave and Packy played every song with the same exact tenacity and perfection as they have done every time I have seen them.Saturday night’s set list was by far my favorite of the Jimkata shows I’ve seen.  Songs like “Ping Pong” and “Concrete Breakdown” floated amongst more popular tracks like “Night Shade” and “Electronic Stone”. The boys gave us a mind blowing version of “American Cars” that was so intense I am still trying to wrap my head around it.  The night’s set list also brought two treats.  The first, a rarely performed and never recorded song known as “Old New Tune” as well as Packy singing lead on a cover of Ween’s “Bananas and Blow”. And in a move of brilliance, they closed the evening and this tour with an epic version of “Roll with the Punches”.

It’s so refreshing to experience live music that is as much about the fans in attendance as it is the musicians making the music. That’s why Jimkata belongs in the festival scene and community. I have no doubt that one day I will be surrounded by thousands of people singing along to every lyrically addictive word of “Beat the Curse” or “Night Shade”.  Their sound is perfect for that transitioning late night spot at festivals, just after the headliner and right before the main event DJ.

I hope that as the nation of Jimkata fans grows, the band will continue to stick it out through the long tours and time away from their lives because if they do, success in this scene is inevitable. You can’t get bowled over by the friendship, delight and community that is Jimkata’s music and not instantly fall in love. Nor could this type of success happen to four nicer and down to earth guys.  If you haven’t seen Jimkata yet, I implore you to go to just one show or one set at a festival. Trust me, I can speak from experience that it only takes one time for the love affair to begin.  I’m set to see Jimkata in less than two weeks at Summer Camp.  It will be nice to see them rested and experience their sound at larger festival.  It will be a different experience for me as a fan.  I’m not sure that I will blog about that show, though.  Sometimes in relationships, you need your stolen moments.  And I may just take this next one as mine. 

The Set List

Montage Music Hall – Rochester NY May 10, 2014
Set1
Lighter
Die Digital
Ping Pong
Nite Shade
Concrete breakdown
One to Ten
Baby, Put it on Me
Lego Land

Set 2
Beat the curse
American cars
Bananas and Blow (ween cover)
Feel in Light
Electronic Stone
Low Low
Swimming
Old New Tune
Devils in the Details
Chain Store

E1
Roll with the punches

Pigeons Playing Ping Pong- Buffalo, NY May 1, 2014

Over the past year or so, I have been seeing the name Pigeons Playing Ping Pong all over the place.  The name intrigued me, but I’ve honestly been so overwhelmed with so many other artists that I hadn’t had the chance to get acquainted with the band. So finally, this past Thursday, I stopped making excuses and decided to go and see them live.  It’s rare that I ever venture to see a band live having heard not at least a few of their studio tracks.  However, I considered this moment a test of journalistic ability.  How well could I write about a band with no knowledge of their sound? 

The only thing I knew was that the band is from Baltimore (one of my favorite cities) and that their summer ventures have them on several festival line-ups including DOMEFest, Mad Tea Party Jam, and the Catskill Chill. So, I eagerly anticipated some heady jams. And I wasn’t disappointed. What struck me the most about Pigeons was the general eclectic composition of both the music and the band.  And in that regard, there is something strikingly different about Pigeons in comparison to their current festival counterparts. 

The personality of a band is important because it flows right into the bands overall sound. And the one thing this band doesn’t lack is personality. It’s obvious just from watching them that you have four very distinct and different people cohesively creating a diverse sound.  Sometimes this type of a formula can backfire because you have four vastly different musicians trying desperately to create something different.  It can sound contrived or even desperate.  But what the Pigeons manage to do is neatly compress wildly varying musical influences into a respectful yet unique sound.

The band was welcomed back to Buffalo by a small but eager crowd.  I have to immediately give these four major credit because even with a lighter turnout from a usually packed Nietzsche's, they grooved hard. And those in attendance responded with an all-out dance party that I’m pretty sure included breaking dancing at some point. 

I was instantly impressed and amused by lead vocalists and guitarist Greg.  There is something intriguing about how he fronts the band.  He demands attention is a silent way that is almost eerie. Perhaps it’s his slightly devilish facial expressions as he lays down roaring guitar riffs. He’s laid back while still being this beacon of onstage energy.  He was wearing pajama pants! I’m not judging his wardrobe (I’ll leave that to the Rivers clan). However, to me, it’s a statement that almost surmises what this band is about: sit back, relax and rage.  That is the odd yet effective musical duality of Pigeons Playing Ping Pong.

The night’s set list included the funky and impressive “Melting Lights” that included a face melting solo from Jeremy on guitar.  As I talked to friends about this band, there is a universal agreement that Jeremy is the unsuspecting force within the group.  I give all four of the Pigeons mad love as both musicians and songwriters, but to me Jeremy is this bands “secret weapon”.  He handles his guitar with a silent presence that is graceful yet impactful.  His studied and technical guitar work somehow nestles neatly into Greg’s flowing and whimsical guitar style.

“Offshoot” is a perfect example of how this works as Jeremy and Greg weave masterfully crafted guitar riffs through waves of unique rhythmic lulling.  For me, “Offshoot” hits a sweet spot made more intense by the tight yet impish way Dan handles the drums.  His cymbal and high hat work is ace. His style brings a brightness to the band's sound. 

Ben, the band's bassist, is a well versed bassist.  He seems to picks the perfect groove to compliment the ensuing progression. Sometimes he goes rouge and gets funky and dirty with a bass line that just fuels the grittiness of a song. "Horizon" allows him to showcase that skill. He has moments of moving effortlessly between playing styles.  He's throws in moments of slap that are so raw, lovely and unexpected that they catch you off guard. I also watched him play at least two song wearing only one sock. I can't say that about any other musician that I've ever seen play. How or why it happened, I honestly don't know.  Perhaps he just simply rocked his own socks off. But that moment alone was one for the memory book. However, what Ben lacks in his ability to keep both of his socks on, he more than makes up in pure passion with his groove. 

My favorite song of the evening, sans the Phish cover I'll address in a moment, was "Time to Ride." Greg's vocal cadence on the verses are so unique that you have to stop and listen to his tonal fluctuation simply for the pure amusement it brings. The song is funky and jammy.  It's the kind of song that encourages unbridled leg moving and hip gyrations. Of all the Pigeon's songs I've heard, it's the most distinctive. 

I think it's safe to say that Nietzsche's tends to draw a relatively steady Phish loving crowd.  I watch plenty of Phans stare adoringly at the spot where you can make out Trey and Paige's signatures amongst the cluttered graffiti of the autographed ceilings. So as the band revved into "Birds of a Feather", there was a collective outpouring of approval for the song choice. It was a respectful rendition, which I imagine is a key element in attempting to cover any Phish song. It stayed true to the roots of the song while the band managed to create an amazing jam that represented their distinct sound. 

After seeing them live, I can see why there is a bit of a buzz about these guys. I hope that as they progress as a band and as musicians, they will  continue to blend their four distinct personalities into their music while creating a sound that is easily distinguishable from their musical peers. I also think that the band's sound is very Baltimore in its end product. There is something about the city's culture and lifestyle that seems to breed experimentation from its more artistically defined residence.  The city is home to a plethora of unique and rare treasure from rock legend like Frank Zappa to cult filmmaker John Waters.

What I see in Pigeons Playing Ping Pong is the potential to just go to that place of oddity and wonder.  I look forward to watching them grow within the festival scene. To me, their music celebrates individuality by forcing variant sounds together. Beyond their abilities as musicians, these guys just vibe right. They're just wildcard enough that you want to keep watching them for fear of missing something really random and amusing. So, if Pigeons Playing Ping Pong are on a festival line-up for you this summer, I highly encourage you to venture over to their set. You'll be treated to unique jams and perhaps you too will have your socks rocked off. 

The Set List ( I think…)

Nietzsche's May 1, 2014

J. Town >Melting Lights > Offshoot

Burning Up My Time >Horizon

Whoopie

Birds of a Feather (Phish cover)

Time to Ride

Zydako

Whirled

Landing >Julia

Wireless

Wall Street

Something For Ya

Couldn’t We All