Interview: Jesse Ley of Delicious Pastries

Image by Travis Mitzel courtesy of Delicious Pastries. 

Pittsburgh's own Delicious Pastries release their new single, "Pygmalion Cantations," on Friday, Aug. 26. The track, which was commissioned for a film, will be released by Golden Magnet, a new collective formed by members of Delicious Pastries, Mariage Blanc, Sleep Experiments and Host Skull. Jesse Ley of Delicious Pastries told Found Sound via email about the experience of writing music for a film and getting the collective together.

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"Pygmalion Cantations" [the new Delicious Pastries single, out Aug. 26]  was commissioned for a film. How did you meet the filmmakers?

The director reached out to us via email. Aside from signing the contracts and a brief encounter at a live show, most of the correspondence transpired electronically. It's amazing what you can do with computers nowadays!

Was it harder to write music for a movie than it is to normally produce music?

Not particularly. Thankfully we didn't have a lot of parameters with this project. Aside from giving us a few reference points (Tame Impala, Strawberry Alarm Clock, Pizzicato Five, etc.), we were mostly left to our own devices.

Did the filmmaker have creative input into the song? What was the process like?

Absolutely! Well, I should say, the input was in the type of song – the kind of style. The vision was in place from the beginning. They wanted the music in the film to cultivate a specific kind of vibe. So, naturally, the style of music or type of band were deliberate choices. I think that one of the reasons why Delicious Pastries was asked to be a part of this project was because of the director's belief in our ability to create a song that would serve the film's purpose. Ultimately, the director is a fan of our work and, luckily for us, no one writes a Delicious Pastries song better than we do!

The song will be released with Golden Magnet Collective. How did that get started?

Yes, that is correct. "Pygmalion Cantations" is the first official Golden Magnet release. And the Golden Magnet Collective sprang into life by objectively analyzing our own strengths and weaknesses and asking if there is a better way to approach the intricacies of a creative endeavor. It stemmed from the realization that by aligning ourselves with a collection of like-minded individuals, we could create an environment that challenges us to develop as artists, while also giving us the opportunity to gain a greater understanding of the more nuanced aspects of the music business.

What's the vision for the collective?

To function loosely as a label, but most importantly, to promote a sustainable approach to creating music and art and literature and films, etc. Naturally, the collective will assist in traditional label responsibilities such as booking, promoting, distributing, etc. But ultimately we wanted to create a platform that would allow us to pull from our collective strengths so that we'd be able to increase and elevate the overall quality of our creative output.

Why did you all decide to create Golden Magnet?

We wanted to create a formal channel that allowed us the opportunity to document out individual and shared creative projects, while simultaneously having a means to deliver and promote said projects to the largest possible audience. Hopefully, we will be able to inspire and encourage one another to continue writing, recording and releasing new and interesting material. And hopefully, moving forward, we will be able to act as a beacon for other music/art-related projects that we find interesting and worthy of deeper consideration.

Will "Pygmalion Cantations" be part of a future Delicious Pastries release?

Funny you should as that. Anything is possible! It depends on how many Grade A jams we cook up in the next couple of months. The main reason we are releasing a single right now is because we are about to drop out of the spotlight for a little bit. For most of the fall and winter, Delicious Pastries will be retreating back into the studio full-time to begin work on our new album. We wanted to leave our fans with something they can sing their teeth into while we are away. What better way to drift into obscurity than with a big bang?! But we will be documenting parts of the recording process and posting photos and video clops of our time recording on both Delicious Pastries' and Golden Magnet's Facebook, Instagram and Twitter pages.

Was any part of the writing/recording process for "Pygmalion Cantations" collaborative with other members of the collective?

Unfortunately not. We were already pretty deep into the recording process by the time the collective was officially established. However, you can anticipate collaborative releases from various subsets of the collective in the very near future!

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Check out "Pygmalion Cantations" on the Delicious Pastries Bandcamp and Soundcloud pages.

The single and all future Golden Magnets Collective releases can be found on the collective's Bandcamp and Soundcloud.

Album Review: LOOM - Searights

Searight's new album, "LOOM," is available on Bancamp.

Pittsburgh locals Searights have worked hard to hone their guitar-driven indie pop for LOOM, second release out Friday, Aug 26 on Bandcamp. The record's 10 tracks span solid indie rock and more experimental, instrumental tracks, all rooted in the tradition of guitar rock. Searights' two guitarists carry instrumental melodies and consistently push each song forward. 

LOOM comes about two years after Searights’ self-titled debut EP, released in September of 2014. In that time, the band has been ubiquitous in the Pittsburgh music scene. While their increased cohesiveness certainly shows in the new record, the band’s desire to put out a polished, professional product is clear. The Bandcamp description for the first EP reads, “recorded in basements, bathtubs and bedrooms,” while LOOM features a full credit list, including a studio and mastering house.

Standout, radio-ready tracks off of the album include "Let It Breathe" and "The Long Run," both featuring catchy, complex guitar parts that serve as a coherent backdrop for memorable lyrics. Influences as diverse as Real Estate and Oasis can be heard in many of the tracks, but come through loud and clear on "Slide Song."

Radio hits aside, LOOM's diverse song selection represents a full picture of what the band is capable of. Track three, "The Enterprise," features intricate layered guitar parts over a solid drum-and-bass groove sans vocals. The inclusion of an instrumental track so early in the album demonstrates their commitment to showcasing the many facets of their band. The result shows the band’s complexity and desire to capture a complete picture with this album.

Searights’ new album adds a lot to the increasingly accomplished Pittsburgh music scene. Their brand of guitar-driven yet sophisticated indie rock, and their commitment to playing shows, lands them a very comfortable spot in a Pittsburgh niche.

You can catch Searights at their album release show at Cattivo alongside Chet Vincent & The Big Bend, Pond Hockey and Emerson Jay on Friday, Aug. 26. 

Best Coast @ Mr. Smalls - 8/15/16

Photo by Sam Suter.

Bethany Cosentino is everything you want out of a frontwoman. Her sassiness, charisma and honesty give her effortless grace and completely capture the attention of anyone in her audience. Though she has mixed feelings towards being in the spotlight, she magnetically attracts it, becoming the center of attention the second she takes the stage. 

Though Best Coast is primarily Cosentino singing and playing guitar and guitarist/producer Bobb Bruno, the two are joined on tour by a bassist, drummer and guitarist/keyboardist rounding out the group to a robust five members capable of reproducing the band’s surf rock-inspired, complex guitar layering. 

The band played a diverse offering of tracks spanning their three-album discography. While hits "Crazy for You" and "California Nights" were (of course) crowd pleasers, deeper cuts like "Our Deal" and "When Will I Change" were met with the same enthusiasm and a plenty of the sold-out show's crowd knew every word to every song. 

Cosentino spent the entire show drinking La Croix and seemed to comment on it between every track. Apparently she had made a $200 bet with her boyfriend that she couldn’t go a week without drinking alcohol. She implored the audience to tweet at him as evidence for her side of the bet. Though Cosentino’s stage banter was unique, the show’s most memorable moment came before the group’s first hit, "Boyfriend."

Cosentino mentioned that usually before performing "Boyfriend" she makes a point to tell the audience that she now hates the track. Before the band’s prior show, however, the mother of a 10-year-old girl had tweeted at Cosentino, mentioning that her daughter suffers from anxiety and listens to Best Coast whenever anxiety strikes. Cosentino makes no secret that she also suffers from anxiety, so she pulled the girl onstage for her favorite song, "Boyfriend." Before jumping into the track, she thanked the girl for making her enjoy the tune again. 

At their engaging, enthralling Mr. Small's show, Best Coast proved that they're a great band performing great music and having lots of fun with it. 

Nathaniel Rateliff & the Night Sweats @ Stage AE - 7/26/16

Nathaniel Rateliff is a man born for a different era. Sporting a tight vest and fedora, he would seem to fit in more in a movie about outlaws in the 1920s rather than onstage at a packed Stage AE. Despite the getup, he and his six-piece band, the Night Sweats delivered a standout performance to an enthusiastic Tuesday night crowd. 

Keeping in step with their vintage vibe, the band showed a taste for period-appropriate instruments as well. The lead guitarist was equipped with a 1956 reissue Gibson Les Paul Goldtop. The keyboardist alternated between a vintage Fender Rhodes and a tour-friendly version of a Hammond B-3 organ, complete with a Leslie speaker cabinet. While Rateliff himself used a modern Fender Deluxe Telecaster, both he an his lead guitarist played through late '60s Fender Silverface amps sporting the “drip edge” design, implying that they have the same circuit as their pre-CBS Blackface predecessors. Following the vintage amp trend, the bassist played through a famously warm sounding Ampeg flip-top amp from the 60s and 70s. 

The band wasted no time getting the crowd into their set. They opened with the extremely danceable “I Need Never Get Old,” followed by three other upbeat tunes, “Look It Here,” “Whole Night Left To Lose,” and “Howling At Nothing.” Despite how densely packed Stage AE was, the enthusiastic and goodnatured crowd still managed to find some space to dance.

Rateliff made a point to show his gratitude to the audience. He frequently reminded the crowd that he, “wouldn’t be here" if it wasn’t for them and that, “we made this album and we had no idea what we were in for. Thank you guys for giving a shit about what we’re doing.” Rateliff mentioned that he and his bassist had been collaborating for over 20 years, giving the impression that his newfound success was a long time coming and his gratitude was sincere. To wit, he dedicated his song, “Thank You” to everyone in the audience who made the show possible. 

Since Rateliff released his most recent album, Nathaniel Rateliff & the Nigh Sweats, he’s been consistently on the road, playing festivals and gigs around the world. During that time, the band has been attempting to record a new EP, a few songs of which Rateliff included in the night’s set. While they were well-received, it was strange to hear a song that nobody was singing along to and realize that many in the crowd knew every word to every song. They didn’t just come to hear the hits.

As the night wore down and Rateliff made a show of tossing his guitar to his tech over the mountain of amps onstage, he once again thanked the audience, asking them not to throw any drinks onstage and launched into his hit "S.O.B," featuring the most exuberant audience hum-along part of the night. After the band left the stage, the audience kept humming along to bring Rateliff and his band back out to perform a few more tunes. 

Rateliff has found a place for his vintage-inspired music in today’s pop landscape. After perfecting his craft for nearly decades, he and his band delivered a standout show to an audience that Rateliff is truly grateful to be playing for.

Josh Ritter @ Hartwood Acres - 7/24/16

Image courtesy of Mariko Reid.

Josh Ritter’s fanbase is large and dedicated. His free, outdoor show at Hartwood acres drew a crowd to the remote amphitheater, despite the biblical deluge that happened about two hours prior. The unfortunate casualty of the weather was the opening band, local favorite Ferdinand The Bull, whose set was cancelled. Yet as the day wore on and the grass dried up, Josh’s faithful fans threw down towels and picnics to hear some of his lyrical folk music.

Ritter has ensured that the same handful of songs is played before he takes the stage at many of his shows supporting his most recent album, Sermon On The Rocks. At this show, the track the audience heard before he came onstage was “Here Comes Your Man” by Pixies. While this might be perceived as conceited coming from another artist, Ritter’s thousand-watt smile as he took the stage melted any doubts the audience may have had about the sincerity of the show they were about to see.

Ritter opened the show with the slower tune "Monster Ballads," which had the audience timidly humming along to its gentle refrain. The band then took the intensity up a notch with a new album deep cut, "Young Moses." As the upbeat drums kicked in, scores of audience members hopped up form their picnic blankets and danced their way to the front of the stage where a sizable gathering remained for the rest of the set. 

Onstage, Ritter was joined by his tremendously talented Royal City Band, featuring an electric guitarist, keyboardist, drummer and bassist and longtime collaborator Zachariah Hickman, sporting a superlatively-groomed mustache. Ritter seemed genuinely grateful to his band throughout the show, who have accompanied him for the entirety of this tour starting in October. Ritter’s frequent accolades to his accompanists simply served to underscore his sincerity as a performer. 

The sheer depth of Ritter’s eight-album catalog must create tremendous backstage angst given the impossibility of pleasing each fan with his setlist in an hour and a half show. Despite leaving out some fan favorites, notably "the Temptation of Adam" and "the Curse," Ritter managed to curate a new album-centric setlist that pulled evenly from his diverse back catalog. A fan favorite from his 2002 album The Golden Age of Radio, “Me & Jiggs,” was played early in the set as well as a song from every intervening album including a solo version of “Snow is Gone” from 2003’s Hello Starling and deep cut “Rumors” from 2007’s The Historical Conquests of Josh Ritter.

Ritter ended his set with two of his recent singles, “Getting Ready to Get Down” played into “Homecoming,” which featured a well-received audience sing-along refrain. Unlike many of Ritter’s recent shows, he chose to do a solo version of “Girl In The War,” followed by a full band version of “Lillian, Egypt,” both lesser known songs, as an encore. After the music came back on, the audience trudged through the mud, back to their cars, forgetting the unfortunate weather that they had to contend with to get to the show and reflecting on the sincerity and musicianship of Ritter’s wholesome performance.

Interview: Kevin Saftner of James Street Gastropub & Speakeasy

Image courtesy of Kevin Saftner.

James Street Gastropub needs your help. The iconic North Side jazz spot, home now to three floors full of delicious food, drink and music (and more than a few Found Sound shows), was hit with a noise complaint from the Pennsylvania Liquor Control Board (PLCB) that could shut the venue down. Kevin Saftner, who's family owns James Street and who runs the front of the house, is passionate about making sure that doesn't happen.

"We love Pittsburgh music and we want to do everything we can to remain a part of it!" reads the IndieGogo site dedicated to saving James Street. The campaign has already raised over $6,500, but even with all of the support already mounting behind the Gastropub, Saftner says it'll take a lot more to #SaveJamesStreet.   

So, you've passed your goal of $5,000, but you need $30,000.

Approximately $30,000. We know for the air conditioning units, it's going to be over $15,000. The electric is going to be over $5,000. And then the rest is we're guessing for soundproofing.

And that's all for the ballroom on the third floor of James Street?

Yeah, that's it. Just up there. That's the only place we have any sound issues. Because there's no air conditioning except to open the windows, you know? And even if they're closed, sound still gets out a little bit.

When did you learn you had an issue?

About a year, a year and a half ago, I believe was the first time we had anybody come around and talk to us from the PLCB.

Have you taken any steps to since then to deal with it?

Yeah. So, we have about 10 windows up there. In the winter we keep them all boarded up and soundproofed. In the summer we open two windows, just because it would get so insanely hot up there if we didn't. And then we leave all of the other ones boarded up so that we can try to keep some sound from resonating out, more or less.

Is the area residential?

Yeah, it's residential. It's so weird how the law works. I don't even know if zoning would matter, honestly. Anywhere that has a liquor license, it's illegal to have amplified sound come out.

Seriously?

Everywhere. So if you walk past a bar, and the bar doors open and you hear the TV outside, it is in fact illegal in the state of Pennsylvania. The PLCB can site you. And that is literally the law we're getting busted with. And from what we were told, it was put on the books in the '30s and it was called an anti-enticement law. It was to stop women from hearing music and wanting to go into bars. From what I've been told, it's like the same sort of thing as like, eight women can't live in a house together because it's a brothel.

Just antiquated.

Yeah, just antiquated laws is pretty much what it is.

So, the plan is soundproofing, AC and electrical work?

That's really all we need to do to get it back up and running. Once that's in, it'll pretty much be a fully-enclosed box in there and we shouldn't have to worry about anything anymore.

Now that you’ve met your $5,000 IndieGogo goal, do you know where the rest of the money is going to come from?

We are going to do some fundraiser shows. [Last] Saturday we [had] a Silent Disco. As soon as this happened I was immediately like, "We're doing a Silent Disco. We have to have this happen." We'll probably do some more of those, since we won't be able to do much up there for a while.

We're doing a jazz jam on Aug. 10. August 14 we're doing a Sunday Funday where just a bunch of some of my favorite bands and some of my friends for a long time are playing. Dave DiCello is a really amazing photographer. He's doing a gallery. That's going to be Aug. 18. He does some crazy stuff. He does some skyline photos I'm sure you've seen of crazy lighting going into the city. Yeah, he's awesome.

So, how long have you been involved at James Street?

It's my family's business. So, December, 2011 is when we opened up. 

Was music always the driving force behind it?

You know, it wasn't at first. At first my mom wanted to just be a restaurant, just the main floor. But everybody that came in just kept talking about James Street Tavern and what it was from the '80s to the early 2000s with all the jazz music there and all of the famous musicians and celebrities. Everybody just really talked it up.

So she quickly realized that we needed to start doing music. We started having music downstairs in the speakeasy a couple nights a week. And then it just exploded and just kept getting bigger and bigger. And then it fully expanded. I've taken over running the whole business in the front of the house.

You like it?

I love it. I went to school for business. I've been in the restaurant and music industry since I was like 15. So it was just, like, second-nature to me. 

What do you think, aside from the history, makes James Street so special as a venue?

I think our diversity there. I mean, everybody always thinks of us as a jazz place. But now with Found Sound doing shows there and Ziggy Sawdust doing shows there and bands from out of town contacting me, Grey Area has shows there. I mean, we do Drag Brunch there. We have Pub Club, which is like a Christian drinking hangout session. We have burlesque. We just have so many different things. I don't think there's another venue in the city that has the diversity that we have. It's a very diverse crowd every night.

Is that important to you?

Oh yeah. Absolutely. It's just more fun that way.

So, aside from continuing to donate to the IndieGogo and showing up to these fundraisers, what can people do to help you? It really seems like Pittsburgh has kind of come behind you to make it happen.

The biggest thing is just everybody being aware of what's going on and to be aware of some of these laws. People have been reaching out to me about wanting to start petitions or wanting to change this law and things like that, which I would love to see happen. But just as long as people keep the dialogue going and talking about it and realizing, how incredibly unjust this is. I mean, it's been a music venue for 30-some years. The same thing has been happening forever.

It shut down as the James Street Tavern in the early 2000s, so it was closed for about 10 years as a major music venue. Whenever we moved there, people were complaining about prostitutes having sex in our parking lot every night. There were literally heroin needles all around the back area. There are so many great people doing great things [in the North Side]. So many awesome groups over there doing so much, and we're definitely a part of all of those people doing all these things.

We don't see the prostitutes over there having sex any more. We don't see heroin needles laying on our block. And somebody's going to get mad now that we're having music? What would people prefer? Those prostitutes coming back and taking over the corner or us having culture? That’s all that we want to get across. We are trying to look at ourselves as a cultural hub that's doing good for the community, not bad.

Do you know of anybody else that's been hit with these laws?

I know that the Rex has had issues. I don't know if they've ever been cited or enforced, but I know that they've had issues. Spirit also has.

Why do you think they came after you? Of all of the places in the city?

It's bad luck. That's all. We've never had any issues. We don't have, like, younger kids coming in. We're a little bit of an older place, so it's not like we've got under-aged kids coming in and trying to sneak drinks or do bad stuff. We've never had any bar fights really. We've never had any issues. It's a jazz club. You know? There's not anything crazy going on there, but it just must be bad luck. That's all there is to it. 

So, is there a deadline for you to get this done?

We have a self-imposed deadline of Sept. 1, because that's kind of when the fall shows start. So we need to be prepared for that. We work with a bunch of different companies as well, and we need to be ready for them, or else they're going to take their shows somewhere else. We're a business that anticipates and employs people for three floors. Right now we have two floors, so our employees are not working as much. You know, we're going to have to lay people off and get people back in and then re-staff and that's something that, as a family business, would be very difficult for us to justify being able to do. So we need that third floor Sept. 1. 

Help Kevin #SaveJamesStreet by donating to the IndieGogo and checking out the upcoming James Street Gastropub & Speakeasy fundraisers.

Album Preview: Disappearing Day - Peter Eldridge

Peter Eldridge is a tour-de-force in vocal jazz. In fact, because of his highly respected career as an educator and musician, Eldridge is high near understood as legendary. Perhaps best known for his work with his staple vocal group the New York Voices, he throws his musical personality from his group work into his vibrant solo career. His fifth studio album, Disappearing Day, with its strength in songwriting and almost tongue-in-cheek lyricism, moves his music from its deserved pedestal in jazz further into genre-blending uncharted territory.

And genre-blending is indeed the name of the game on this record. While it’s not uncommon to pull from a variety of influences in 21st century jazz music, Peter Eldridge’s approach stems from mixing together distinctly different styles, rather than having his music rooted in another genre. He scopes out fragments from a variety of sources, pulling especially from American folk, African and Latin music as a complement to his prevalent jazz influence. Seamlessly and with charming musicality, he creates a sound that is wholly natural. The virtuosity in his composition and playing is not always heard, but is instead understood fundamentally. The music Eldridge writes is harmonically rich, but never distractingly so. It’s expressive yet nuanced. His singing ranges from haunting to somber to twangy, never straying far from softer undertones. No song is ever abrasive. Most songs do, however, hit the listener with his full emotional intention.

Disappearing Day first captivates with the tune “Mind to Fly.” The song builds, adding layer upon layer of undulating beauty. Background vocals and chants surround the band, which in turn maintains structure through its odd-metered motion. Eldridge skates his voice above, over and through the music with supreme timing and comfort.

“I Wish I Had an Evil Twin,” originally written by Stephin Merritt of the indie-pop band the Magnetic Fields, forces you to listen to contrast. The title itself is goofy enough for a second glance. Opposing lines in the mandolin and bass connect the song. Eldridge’s voice circles around the plucked strings, creating a gentle rhythmic dissonance that draws comparison to David Byrne. As more parts are added to the mix, the song drives forward. Mellower tunes such as “Jenny Wren” are more subtle at their core. His reinterpretation of the Paul McCartney song fills some of the space from the original arrangement. It adds fullness, all the while maintaining its eerie nature.

On Disappearing Day, Eldridge couples himself with extraordinary musicians from all over the musical spectrum. Mariel Roberts, Alan Hampton, and Anat Cohen are all on his list of collaborators. The track “Wish You with Me” features singer-songwriter Becca Stevens to round out the vocal duet. Their voices meld together with the piano melody through simple, elegant harmonies. Albeit a short song, the music speaks to Eldridge’s soulful humility.

Later tracks on the record approach composition more minimalistically. Instruments and vocal harmonies are fewer in number. “Around Us” is performed a capella. It’s lyrical propensity and sometimes polyrhythmic timing frees him to use all of his strengths as a veteran vocalist and arranger. “Some Other Time” largely incorporates guitar and bass, tapering off into the album’s conclusion slowly and peacefully.

Disappearing Day is slated for release on July 22 on Sunnyside Records. Find out more on his website: http://petereldridge.com/

Shakey Graves @ Mr. Smalls - 7/15/16

While the pews that once packed Mr. Smalls are long gone, Mass was in session on Friday, July 18 in the old Catholic church-turned-music venue. Sweaty bodies swayed, arms raised to the rafters, as the sold-out crowd received the service, the words falling upon them from on high.

"It's a constant fucking and being fucked," Shakey Graves preached. Life, he said, is too short to worry about those you've wronged.

Admittedly, Shakey's no great philosopher. "I'm chock full of horrible advice," he said. But from the moment he stepped on stage, backed by two glowing Edison bulbs and a marquee sign fit for the front of a two-pump roadside gas station, the audience was enraptured. 

Streets of Laredo, a fun five-piece outfit with roots in Brooklyn and New Zealand, prepared the congregation with a blend of upbeat summery jams and subtle near-ballads. Thumping synth bass meshed with punchy horns and simple melodies summoned a kind of "windows down on a sunny day" sensation on their up-tempo tunes. The same formula, when applied to the slower songs, fell flat. 

Once the Streets of Laredo had cleared, Alejandro Rose-Garcia, better known as Shakey Graves, emerged alone. He smiled and strutted around the smoke-filled stage, strumming his guitar. He created loops with his instrument and jumped from stage left to center in a single, twisting bound. Suddenly, with a stick hanging from his mouth like a stogie, he was behind the drums, pounding on floor toms that shook the building. The man was everywhere. And he was just warming up.

Without uttering a single word, he had the audience in worship. When he finally did begin to sing, his Southern charm and earnest lyrics drove home his universal magnetism. Shakey proselytized and each sentiment was met with an unspoken "amen."

He was eventually joined by a bassist, drummer and another guitarist, but somehow the addition of more musicians didn't add up to more sound. Shakey's one-man band was as just powerful as the quartet, though it didn't reach the same grizzly, gnarled depths. Solos and jam sessions moved deftly into hard rock territory before sweeping swiftly back into Americana.

The audience, imbued with the holy spirit of too much PBR, spat back every lyric to "The Perfect Parts" and clapped in perfect time to "Dearly Departed." Each song was spliced with sermons. Loving your hometown. Being kind when you can. The thrill of a Nissan Maxima. Shakey covered it all, each tune blending seamlessly into the next. The music may have lacked diversity, only drifting away from the familiar for those brief genre-bending jams but hey, if it ain't broke, right?

The night ended after an encore on a resounding major chord, filling the sacred space with one last jolt of hope and excitement. Shakey's flock poured from the church onto the streets of Millvale renewed. Hallelujah. 

The Bad Plus @ the South Park Amphitheater - 7/8/16

There’s a certain child-like wonder that accompanies a performance by The Bad Plus. Well, there were certainly children at the show, and they were certainly wondering why their playtime was getting moved away from the front of the South Park Amphitheater stage. The kids had no idea; one of the microphones was picking up all of their playful banter. In their blissful innocence, they didn’t understand what was happening on that stage.

Quite frankly, the audience was more baffled than the children. The Bad Plus opened their show to a lawn full of dropped jaws. The first couple of minutes of the first tune, “Pound for Pound,” were breath-takingly beautiful. It was the beginning of a peaceful summer evening soundtrack, complete with gentle winds and a twilight sunset. Pianist Ethan Iverson’s tender playing was sparse and emotional, as if drinking in the atmosphere of his venue. Backed subtly by bassist Reid Anderson and drummer David King, the group took its time building the volume and business up until the three musicians decidedly took roaring command of the stage. Then within moments, the song returned to its serene beginnings.

The contrast in the first song proved to be a perfect example of the show to come. The follow-up track was hard-hitting right from the get-go. Even as a trio, The Bad Plus created a gigantic wall of sound. Iverson’s piano playing in this song was jarring and percussive, with Anderson and King providing heavy and disconcerting rhythms. That was just a single example of how they kept up dynamic intrigue. In a later piece, the trio laid out a fat groove. Heads were boppin’; the audience was feeling it without a doubt. There was a memorable part during a somber song when the piano itself sounded as though it were crying. They also played covers, performed in such a stylistically innovative manner that it was seldom distinguishable from the band’s own music.

Impressive and deftly modest, it was no secret how tight and together the musicians on stage were. They had control as a unit and sonic diversity as individual players. Each member was given the chance to sweep the crowd with fantastic solos, transitioning effortlessly into the subsequent section. The Bad Plus’ cohesion was so distinct and so cleverly their own. Often times they would trade unique licks within the scope of the song (Bad Plus-isms, if you would). During the ending of one tune, they stopped and started a phrase over 10 times. Each time they did so, the time between the spaced-out entrances increased. Yet, as was their fashion, they never faltered and stayed completely together.

Toward the end of the show, Anderson bantered about befriending roombas before robots take over the world. His soft-spoken sarcasm reminded everyone that the musicians on stage were indeed human. It was excellent timing for The Bad Plus, because their unreal encore cover of Johnny Cash’s “I Walk the Line” would’ve otherwise thrown that idea out of the park.
 

Setlist

• Pound for Pound
• Wolf Out
• Games Without Frontiers (Peter Gabriel cover)
• Self-Serve
• Lack the Faith But Not the Wine
• 1972 Bronze Medalist
• The Robots (Kraftwerk cover)
• Big Eater
• Encore: I Walk the Line (Johnny Cash cover)

New Track: Old Soles and Seedy Players - Paintings in the Sky

Old Soles and Seedy Players’ latest release,“Paintings in the Sky,” colors our aural palette through a soulful, melodic edge and a soft undertone. The group’s strong, intentional approach to song creation is paramount in the single. With subtle licks and warm tones, “Paintings in the Sky” garners an ‘80s psychedelic fusion sound that really sets it apart stylistically from traditionally psychedelic music. The song is catchy while maintaining an earnest, almost modest feel. 

Great execution and a talented collection of young local musicians makes Old Soles and Seedy Players' new single a must listen for those looking for a feel-good summer anthem.

Stream the new single: https://oldsolesandseedyplayers.bandcamp.com/track/paintings-in-the-sky-single

To hear more from these guys, make sure to check out:

Their Facebook page

Live recordings on their Bandcamp

New Track: MVT - Light Pollution

With influences of funk, jazz and other musical genres,  the “Mike Vadala Tribe,” or MVT as the band goes by, breaks the binds of jazz and funk, and adds a modern twist. After releasing two albums, performing in 2014 at the Rochester International Jazz Festival, and touring in the northeast, MVT is ready to release its new single, “Light Pollution,” with an EP to follow in August of this year titled The Fredonia Session including: Michael Vadala on keyboards, Aaron Walters on keyboards and percussion, Jamie Greene on drums, and Ben Crossgrove on bass.

Drawing inspiration from groups such as Snarky Puppy and Robert Glasper Experiment, MVT has a jazzy, instrumental ensemble feel. MVT originated in Rochester, NY six years ago and has now relocated to Nashville, TN. When performing, MVT can have three to as many as 20 musicians on stage at a time.

“Light Pollution” begins with deep instrumentals and eases into an ambient groove. The band uses dynamics well to illustrate a different feel in each section. The “chorus” of this instrumental piece is a high energy hip hop beat with quick moving chords and a crunchy bass synth that sits in the front of the mix. The bridge is very colorful and pleasing to the ear, this is where you can really start to hear a story being told. The single uses jazz and hip hop influences mixed with deep trance instrumentals; MVT is breaking the boundary of genre and experimenting with new and creative sounds. Look out for a video release from MVT that takes you live inside of The Fredonia Session in early July and their EP release August 1st.

Recorded live on 5/12/16 at SUNY Fredonia by Ryan Schindler Mixing and Mastering by Ryan Schindler Keyboards - Mike Vadala Keyboards & Percussion - Aaron Walters Drums - Jamie Greene Bass - Ben Crossgrove A very special thanks to: Max Puglisi Imani Cole-Palmer Wes Johnson Funk 'n Waffles Brother's Drake Brewery Flour City Station Alto Cinco James Street Gastropub & Speakeasy

Miike Snow @ Mr. Smalls – 5/27/16

Miike Snow gave a stunning performance at Mr. Smalls. Quite literally -- their strobes were powerful enough to stun those who are predisposed.

Before the main event, California-based touring opener MUNA proved to be a perfect matchup for the night’s main event. Their sound, characterized by atmospheric synths layered with driving guitar rhythms, was familiar territory for Miike Snow’s crowd. Without being overly showy, MUNA’s three front-ladies powered up the night with a silk-smooth performance. Lead vocalist Katie Gavin sang with distraught emotion and an air of heartbreak, while her adjacent bandmates Naomi McPherson and Josette Maskin filled the subtle harmonies. The crowd was really starting to move, especially when the band got to the hooks from their recently-released EP, Loudspeaker. Upon finishing their set, MUNA praised Mr. Smalls as their favorite venue of the tour, no doubt increasing the sentiment that the audience already felt for the dark pop trio.

The night moved on to Miike Snow, whose show began with a mystifying stage. Set design for the show was brilliant. Monitors backlined the musicians in the band; strobe lights littered the stage. Sometimes, colorful numbered boxes flashed brightly in the monitors like magical sudoku blocks. Other times, such as for the introduction to “Heart is Full,” most of the lights completely cut out with dramatic effect. The stage was a whirlwind of light manipulation featuring every color in the rainbow.

The spectacle of the production was an accessory to Miike Snow’s musical performance, of course.

Each member of the band acted as a multi-instrumentalist, save for the touring drummer. Singer Andrew Wyatt focused most of his attention on vocals, but frequently accompanied himself with a keyboard or guitar. Swedish duo Christian Karlsson and Pontus Winnberg rounded out the band by alternating between guitar, bass, keyboard, background vocals and various synth instruments. No matter the instrument, everyone in the band was steadfast in his playing.  

They played their most recent hit “Genghis Khan” early in the set. During the introduction of the song, Christian lit a thick stick of incense. He continued to light incense throughout the show, adding smell to the already loaded sensory ambiance of the night. They pulled out all of the stops once their song “Sylvia” came on. Christian climbed onto a tall speaker and successfully catapulted himself from it when the second chorus came in. Andrew sang into almost every available microphone on stage for this tune while simultaneously playing maracas. The musicians on stage, as a whole, livened up tremendously by the end of the set.

The band chose to close the night unassumingly. At least, that’s what they led everyone to believe. As the encore began, the monitors behind Miike Snow lit up with credits rolling in a massive display. The two-song encore concluded with their hit “Animal” and an unapologetically hyped-up crowd.

Interview: Becca Stevens

Hailed as “New York’s best kept secret” by the New York Times, Becca Stevens creates a singular and untainted voice in contemporary music. As a prominent musician in the New York jazz scene and well beyond, Becca is an established gem among recording artists and is truly a joy to listen to. In order to host Becca Stevens’ Pittsburgh debut, the folks at Grey Area Productions convinced local venue and restaurant, James St Gastropub & Speakeasy to stay open on a Monday (with little debate from the night’s sound man) for the occasion. Becca played to a modest crowd, yet the experience was still intimate. Her ability to captivate her crowd reflects her strengths as a multi-instrumentalist, singer, songwriter and nonetheless approachable musician.

Pittsburgh was her first step outside of New York City on her Northeastern tour. Becca shared the stage with three fourths of her Becca Stevens Band, performing a mix of covers and works from her albums Weightless and Perfect Animals. She also treated the audience to some tunes from her upcoming record, which is currently in-progress.

When did you start writing your own compositions?

I remember the first time I was ever left alone with a guitar. I was around 11 or 12 years old and I immediately started making up my own stuff, as my sort of preference. My dad gave me a guitar after I had shown interest in his own guitar playing. He showed me some chords, then I found some chords, and I wrote a song.

Do you remember that first song?

I do. It was about some broken-hearted crap. I don’t even think I’d gotten my heart broken yet, but it was angsty anyway.

Just a few days ago, you finished up a European tour with Jacob Collier. What was that like?

Considering how little we had played in that setting - it was maybe our third time playing together - it was thrilling to be singing for so many people. We played a few dates in Germany and London, and then we headlined this huge festival in Germany and played in a huge hall. I was terrified, because I like things to be polished and ready to go and he was more for “Oh, everything will be fine,” because - he can do anything (laughs). We did some of his songs and some of my songs, then covers that we both enjoy.

Jacob was really personable. He and I had this sibling vibe to our relationship. We had a chance to do some writing, and that went super well. We left feeling like we want to do more of it.

Your piece, “I Asked,” was featured in Snarky Puppy's Family Dinner Vol. 2. Aside from an awesome feature, you also played on a less-than-conventional instrument - a charango. What made you decide to pick up the instrument?

I walked into The Music Inn in New York. I was in there, running my fingers across everything, and I got to the charango. It was the traditional kind that had the armadillo shell. I thought it was so awesome - the fact that it was an armadillo with hair still on the back. It sounded like a hybrid of a mandolin and a ukulele, with a harp-ish/classical guitar quality brought on by the nylon strings. I got super psyched because it’s basically the same fingerings [as a ukulele] but different registers.

It’s funny, there have been times where I have been without either my charango or my ukulele. It was in the hospital sometimes, a.k.a. David Gage’s guitar repair shop. They feel so different, and it’s strange when I switch them up.

It’s become sort of a staple of yours, I think.

Well, I love the sound of it and it always sounds good live.

What did you draw most from, in terms of influence, when you were creating Perfect Animals?

Oh, wow. My family is definitely my biggest influence; my dad is a composer, my mom is a singer, my sister is my best friend, she’s a dancer. Aside from that, when I was writing the music for Perfect Animal, I was listening to a lot of world music/West African music. Also, a lot of indie-pop, with a big, dark, more low-end bass and drum-driven sound. For about a year, I was obsessed with this Wye Oak record Civilian. I also listened to a lot of Little Dragon.

What else have you been listening to recently?

On her Spotify playlist:

Gillian Welsh - The Harrow & the Harvest

Radiohead - A Moon Shaped Pool

Esperanza Spalding - Emily’s D+Evolution

“Silently Weeping to” Sufjan Stevens - Carrie & Lowell

Aoife O’Donovan - In the Magic Hour

Hiatus Kaiyote - Choose Your Weapon

Kendrick Lamar - Anything he has out

What do you want listeners and songwriters alike to take away from you and your music?

Never sacrifice authenticity for accessibility. It’s important to balance them at times. Basically, don’t write songs that bore you because you think that’s what’s needed. You’re the one who has to play the song over and over. If it doesn’t inspire you, how are you gonna have fun? How are you gonna inspire other people if you’re not feeling inspired?

What’s next on your agenda?

I’ve been working on something recently with Taylor Eigsti & Gretchen Parlato. I’m also working on music with lyrics by David Crosby. There’s also my next record, a project called Regina, which is latin for “queen.” It starts with my band, but there’ll also be a lot of interesting collaborations on this album.

For more on Becca Stevens:

Visit her website

Watch videos of her on Youtube

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Follow her on Twitter

Gizelxanath and Ben Barson with the Afro-Yaqui Music Collective

Photo courtesy of Base Camp Pictures

A one word summary of this concert? Unforgettable.

On May 21 I had the pleasure of watching Gizelxanath and Ben Barson’s project with the Afro-Yaqui Music Collective at the Pittsburgh Winery. To simply call the event a “concert” would be a misnomer- instead it was a musical journey, blending funk, jazz, hip-hop, rap, African music, Yaqui and Tzotzil-Tzeltal indigenous music from northern Mexico with powerful political messages.

Underlying the entire performance was a huge ensemble which fused traditional Eastern and Western instruments, such as the Chinese Huqin with Pre-Colombian Indigenous flutes and an impressive horn section. The band, spearheaded by Barson, created a thick, energetic pulse that Gizelxanath’s soprano glided over with ease.

The event also showcased a plethora of local artists, poets and rappers from the area. Guests, such as Dan Barson, Mario Quinn, Sister Dana, and Xun Jimenez a local Tzotzil (a Mayan language) speaking rapper, seamlessly mixed a variety of languages with the pulsating music to create a unique listening experience. In addition to the aforementioned rap choir, Barson and Gizelxanath's ensemble included PJ Roduta on drums and Chinese percussion, Ben Rossman on double bass, John Bagnato on guitar, Langston Kelley on saxophones, Emily Cook on bass clarinet, Iyanna Buffaloe on trombone, Mimi Jong on Erhu, Victor Beltran on pre-Columbian flutes, Gabriel Colombo and Lucas Godhino on Brazillian percussion. Together they are the Afro-Yaqui Music Collective.

The central theme of the night was one of liberation and community. Songs spoke about the destruction of ancient cultures, the need to understand one’s roots, and the power of music in building communities.

Both Gizelxanath and Barson talked about their own experiences with music, liberation, and community with me prior to the show.

Gizelxanath, a classically trained soprano, discussed the journey of rediscovering her Yaqui roots. The powerful singer, well-versed in six languages, described the disillusion and disconnects she felt with her roots while studying classical music.

“When I moved to New York I basically sang everything and anything... I did a lot of different genres, but I realized I never did my own indigenous music. Recently, I’ve been lucky to connect with indigenous people and collaborate to make music together”, says Gizelxanath.

Barson, a baritone saxophone maestro in his own right, discussed his own journey of creating communities through music. Barson currently plays with local group The ChopShop, and studied with saxophone player Fred Ho for several years, playing across the globe. Outside music, Barson worked for the Community Empowerment Association, is a board member of Landslide Community Farm, and part of an international network known as Ecosocialist Horizons.  He also sees music as having a deep global sociological connection.

“Music allows people to think of themselves past the status quo, beyond the right now”, says Barson.

Barson stressed the importance of fusing genres like jazz, hip-hop with Yaqui and Tzotzil-Tzeltal indigenous music, and the need to continuously push music forward.

“For me, jazz and hip-hop were meant to merge… you’re seeing a whole new generation of artists like Kendrick Lamar and Kamasi Washington doing that now. For us lyrics are just as important, and can express an emboldening message. But we are focused on incorporating indigenous language into our music”.

Both artists emphasized the power music has in uniting people across cultures.

“For me, music is a way we can reverse some of the aspects of cultural displacement”, says Barson.

“We need to create awareness of what’s going on globally and people need to wake up. It takes a lot of effort, but it needs to be done”, says Gizelxanath.

For this husband and wife duo, it’s clear that they are united by their passion of bringing together people for a larger cause through their music.

“We want people to be aware of what’s going on, and the dangerous effects industrial capitalism is having on indigenous people, animals, and the environment” says Gizelxanath.

This show was truly unforgettable. Make sure to check out Barson and Gizelxanath if you have a chance. I promise it will be a new cultural experience unlike any you’ve seen or heard.

Check out a clip of the performance here:

Make sure to follow Ben Barson and his projects at BenBarsonMusic.com.