Ryan Howze may be known to many as Arehouse. The first time meeting him I was grooving on the floor of Soundlab (R.I.P.) during the late, but beloved, Communist Parties. But when he is not mixing tracks for a dancing crowd, Howze has been participating in open mic nights. In and out of bands for 10 years or so, he said that while attending open mics there was always one or two things that did not vibe with him.

So he took it into his own hands.

Since September, Howze has been holding open mic events on Tuesdays at the west side coveted, clairvoyant inspired Gypsy Parlor. He wanted to establish an environment for musicians to not only feel comfortable on stage, but to also be heard by an attentive audience.

Taking it a step further, tonight, he will present the first of a monthly acoustic showcase series.

"I felt like acoustic acts get really slept on in Buffalo … If you're not a full band, people kind of disregard you, and lead you to just open mics," Howze said. "I wanted to make a monthly event that would showcase four or five different acoustic acts."

The folks showcased during tonight's event have been regulars at the open mic sessions.


Ben Uytiepo, of Darling Harbor, will perform. Reminiscent of a more upbeat version of Iron & Wine, according to Howze, Uytiepo's vocals are sweet sounding, and listeners should expect classic acoustic indie sound, circa early-2000s.


Soulful croons will come from singer/songwriter Ryan Bzibziak. "Ryan is the white Keith Sweat," Howze said without hesitation. Along with original pieces, covers of bands such as The Kooks, Death Cab for Cutie and The Avett Brothers can be heard on Bzibziak's YouTube account.


Guitarist and vocalist for local band the Sleepy Hahas, Pat Butler, with the accompaniment of a pianist, will perform acoustic versions of the group's songs, in addition to some unreleased tunes.


Cat People, comprised by Nathan Wolcott and Tommy McCraith, mysteriously cannot be found anywhere in the Internet realm. Their sound is "if you smashed '90s kind of grunge that meets acoustic folk," Howze said.


Howze will also perform.

Tycho’s latest album release Awake encompasses all that the word can be defined as. It is uplifting, lively. Tycho (Scott Hansen) has a way with production that evokes the feeling that everything is alright.

From the first and title track of the album, it is that deep breath you take while rising with the morning sun. But not one of those mornings that feels sluggish and dreary, rather, when the air makes you feel alive.

“Montana” which was released as a prior single, is a traveling song. It dips and rises throughout and has a dreamy keyboard pattern that is heard, dignified with the hi-hat and drum patterns, and goes hand in hand with a poignant bassline that cannot be missed. This track has complex soundwork and a rhythm that moves the feet.

The next track on the album, “L” is reminiscent of Tycho’s album Dive. While the first two tracks are very present, this one takes a step back. It is contemplative. More in a spaced out dreamworld, but without the oceanic-themed mastery of that album. At 2:12 the track is joyfully exciting. Although “L” is a bit more laid-back, it still has a danceable aspect to it that fits well into the collection of this album.

A bit heavier on the kickdrum, heavier bass and quicker BPM, “Dye” has a mellow tone and sets itself up as an ideal canvas for a half-time drum n bass remix.

“See,” a personal favorite, starts with claps and a sultry bassline buildup. It has an esoteric vibe that drives the album, maybe giving the listener a chill. A nice little breakdown around the two minute mark is smile-worthy. There are memories of trance melodies scattered throughout.

Apogee is recognized as either the climax of something, or astronomically when the moon’s orbit is furthest from planet earth. The track of the same name may have to relate mostly to the latter. This is not a track that peaks in energy but seems to hit the next step after the relatively turned down three tracks before. “Apogee” is that step furthest back before Tycho brings the sound to the forefront again with “Spectre,” another previously released single. The ranging tonal blips of “Spectre” continue the upbeat joy wave that the album sets out to arouse. In order, this song brings a cyclical vibe, which perhaps coincides with the sphere artwork of the album, done by Hansen himself as design artist ISO50.

The album closes out with "Plains," a minimal sound, and an airiness that is prominent in Dive. 

Awake is an album that can be listened to incessantly and still keep you constantly in awe. It inspires self-awakening, opening into an illumination of a unique blend of realism and surrealism. Mesmerizing and comforting, it would not be a stretch to call Tycho a shamanic music man.

Grade: A

Eyes Everywhere, Buffalo's own Kyle Tatum and Brian Doyle, have been growing as a DJ duo since producing in the dorm room at Canisius College, playing Communist Parties, Queen City Cartel events and opening acts for big names at the city's major venues. These fellas have played out and about around Buffalo, Rochester and have traveled a bit across New York state lines. Their sound has evolved and spans unlimited multi-genres from fidget electro, to heavy dubstep and drumstep, booty bass to house.

Today, the highly-acclaimed Fool's Gold Records, a product of DJs A-Track and Nick Catchdubs, released Eyes Everywhere's track, "Off Bailey," through Fool's Gold Clubhouse.

via Fool's Gold

"We wrote 'Off Bailey' a little over a year ago. The song got its name from Bailey Avenue, where Kyle lived and our studio was located. We aimed to capture the feeling of Buffalo’s poverty highway for all of it’s ups and downs. We started to experiment with incorporating elements of hip hop and trap into our house regimen. It’s been a style that has stuck with our production all year," Doyle said. "The song got sent to Fool’s Gold – actually, Nick Catchdubs, - in February last year, along with a few other tracks that are going to be released via Dirtybird Co-Founder Worthy’s Anabatic [Records] imprint. Catchdubs actually didn’t respond to us until the day we got back from DEMF last year, which was the very end of May. Worthy didn’t get back to us until July. I don’t have any idea how they dug that deep into their inbox to find our music, but we are certainly grateful."



"As our first major release with this project, this is such a huge one for us. Honestly couldn't be more grateful," Tatum said. "Shouts to Catchdubs and Fool's Gold for putting us on. Feels really, really good for this one to be out, especially since it's a tune about the city."

Hustling on into the future, this spring Los Angeles-based label Perfect Driver Music will be dropping an Eyes Everywhere track called “Poppers." Plus, coming soon with warm weather, the two artists will be breathing some new life into the 716.


"Keep your eyes open for a warehouse we are getting in the First Ward," Doyle mentioned. "It’ll be a center for electronic music and large scale visual art." With a projected live date in either April or May, he said the building will house studios for them and a couple other big Buffalo producers; three rooms will be used to hold art and music exhibitions.

"And since it always seems a mystery, we got our name from an Every Time I Die song, because there is no reason you shouldn't mix hardcore and booty house," Doyle said.

In mentioning Jay Z, numbers that account his net worth may come to mind. Conversations may spark of the "Illuminati" conspiracy, or the relationship idealization and fascination of many for him and the well-adored Beyoncé. Shawn Carter, a man of many names, is much more than the trending topical tweets. Although his most recent album release, Magna Carta Holy Grail, had mixed reviews, it remains a consensus that he continues as a talented, motivated and legendary icon in the game. Jay Z, above all things, is a true artist, an innovator.

Tonight, he will make a stop at the First Niagara Center for his Magna Carter World Tour. Along with him will be Timbaland, who had a significant part in the production of the album.

To capture the feel of MCHG, as a product of his album's release, he held a 6-hour performance piece at Pace Gallery in New York City. Surrounded by artists, actors, students, poets, art dealers, filmmakers, youngsters and designers, he performed "Picasso Baby" on a platform while interacting with the crowd. Some would sit individually on the bench as he would perform to them; in some cases, they would switch and Jay Z would watch them display their own form of artistry.

"Rap is pretty much thinking out loud. You're talking, and you're putting your fears and your vulnerabilities, and you're putting bravado, your insecurities, all on music. And it's there for the world to see. You're really giving a glimpse into who you are," he said.

The album is sprinkled with plenty of art references, which Complex Magazine cleverly broke down, to the lyric.

In the "Picasso Baby" video, Hov said, "Concerts are pretty much performance art, but the venues change. And just by nature, the venues, the performance change ... So you get to feel the energy of the people. In a concert, especially a large concert, all that energy comes to you ... what do you do with that energy? So today, it's kind of an exchange..." Tonight, that exchange will occur, right here in the Queen City.

2014 is just 12 hours away. With or without resolutions, 2014 signifies a new calender year. A fresh page to begin life a little bit different, to make some major changes, or perhaps you're one of those people that is headstrong to stay exactly the same. A new year is what you make of it.

Champagne is flowing all over the world today. And in the words of Francis Bacon, these words I say nearly every time I have a flute in hand or am slugging from the bottle:


Tonight, the Igloo crew is presenting a New Year's Eve party: Reanimate. If you caught the previous post, I had the pleasure of interviewing Toronto DJ Mix Chopin, in addition to Buffalo-native gone West Coast, Neil Kryszak. Local favorites will fill the themed rooms of an undisclosed warehouse from 10 p.m. - 7 a.m. (Call the info-number to find out the location: 716-217-1752).

Click the following link for more information and to see the truly remarkable avatar artwork of all the DJs performing during the event, done by local artist Mickey Harmon.


This event is BYOB.

Cheers!

At buffaBLOG, we don't often preview events so early, but New Year's Eve takes forward-thinking and pre-planning. Igloo music will present another progressive party, bigger and more complex than the last.

Reanimate is a party that encompasses what New Year's is all about. The adage "auld lang syne" (meaning: times long past) is the foundation of the holiday's M.O. What happened in the past year has come and gone; it is time to start anew. Let the troubles of 2013 stay there and relinquish ourselves from the baggage we've been carrying. It's time to reanimate who we are, what we want and where we're going.

The multi-room, multi-genre party will take place in a three-story warehouse, and from 10 p.m. until 7 a.m. three rooms will feature various DJs and worlds of sound.


Hailing from Toronto will be Mix Chopin. He started playing piano when he was five years old and he said it has been consistent progression ever since. "I got into DJing after I heard Daft Punk, and it was really a life-changer for me. I was really young and was like, who are these robots? And I really wanted to do what they do because I wanted to be a robot, right?" he said with a laugh. Fascinated with mixing, beat-matching and collecting records and CDs, he began professionally DJing by age 19 at clubs.

Mix Chopin's influential artists include the sounds of The Chemical Brothers, Prodigy and Justice. He said specifically Justice, clad in their leather jackets, was a "huge influence. When I was a teenager they came out and blew my mind."

Without sub-genre attachments, he said his style falls under electronic and house. In a more refined sense, he said "Nu-disco, along those lines. It's hard to put a finger on it because there's so much stuff out there in the world of electronic music. I like to experiment with it all, but it still somehow goes back to the funk and groove.

"I love DJing, it gives me a certain feeling." Currently, he said he has been producing and collaborating with vocalists and experimenting with live performance; a blend of band and DJ. With "live musicians on top, sprinkling percussion ... it adds a whole new element and the energy goes up so much more. It's been received pretty well, I would say. I hope to do it more, and take it on the road. And keep that vibe going."

Reanimate will not be Mix Chopin's first time performing in Buffalo. "I got booked for a show at Soundlab," through Rick Vallone, who brought him back again last year to Duke's Bohemian Grove Bar. "I love Buffalo a lot," he said. A friendship was formed between the Toronto DJ and John Sullivan, currently an Igloo crew member, who is deeply involved in the process of Reanimate. "Sully was even saying how big of project it was for him," Mix Chopin said. "So it's cool to be a part of. I'm just super excited to come up and play the gig."

While Canada and the United States differ on many things (i.e. hockey fans, money, distance measurement, etc.), the Canadian scene versus the American scene differs slightly. From Mix Chopin's perspective, "There's a little bit of a difference ... every time I come down [to Buffalo] it's really warm. I like the crowds. Toronto's a little oversaturated sometimes." He said there is so much music within Toronto's city limits, that the intimacy of an event isn't as strong as the U.S. "There's a different vibe. The crowds are always really awesome [in America]," he said.

The two countries also vary in the pronunciation of Mix Chopin. The French influences of Canada have some pronounce Chopin like the famous composer Frédéric Chopin, while Americans will harden the word ("chop" + "in"); he said the confusion entertains him. "That was the whole point of the name. People are going to be so confused. It's going to be awesome." His actual name is Mick Match, which he said "is a pretty cool stage name already," but was difficult for Google searching.

His recent release "Never Let Go" is available for listen on SoundCloud. "It's just a little bit deeper and there's vocals on it. It's kind of a different twist," he said.



Often with inspiration comes the move. Neil Kryszak – after his upcoming release will be known as Kryss – is a Buffalo native. He moved to Bushwick, a working-class neighborhood in Brooklyn. "I kind of felt like I was boxed in. I love Buffalo but I had to leave because I needed some more influence." With a few opportunities to work in New York City, he made the move and stayed for the past four years, until he felt the urge to travel again and moved to California, where he is now currently based in Los Angeles. "I like warm weather, it's more inspiring," he said. "I didn't expect to actually move out here.

"My world got a little too small [in Buffalo], but then the same thing happened again in Brooklyn. It can happen wherever you are, which is why I want to keep traveling."

Kryszak was raised playing different types of instruments, mainly drums. His father is a silent film composer and as a child Kryszak's toys were the orchestral instruments in his father's studio. He said he considers himself more of a music producer, that the DJing aspect is something that comes along with being in love with music. "I like to share everything good that I find," he said. Performing random gigs here and there, he said he has never played a show in Buffalo before.

So far he has released various singles on SoundCloud and Bandcamp. Currently, he is setting up a recording studio in LA, and also working on a score for a BBC documentary about the osprey bird species. His own album release is projected for spring 2014. "That will be my first major release and will have a lot of songs," he said about his self-released album.

In addition to his musician friends, Kyrszak said that Shigeto and Machinedrum are his two main influences; "Shigeto does basically my dream set-up of what I've always wanted to do. It's ambient mixed in with beats and percussion." Kryszak stated his own productions can be described as "visual and ambient electronic music" always with a jazz influence.

"I've been friends with John [Sullivan] for a long time ... but I moved when Queen City Cartel started to do a lot of these shows. I've been watching from afar and noticed the music scene getting bigger and better," he said. "John asked me to play [Reanimate] ... thought I'd be good for the Magic Carpet Room." 

 

Ian De Beer

"Do we want to make murals that directly reflect the culture here, or do we want to actually create the culture with the murals and the public art?" - Max Collins

Allentown: a frequented street among Buffalonians, whether it be for the little shops, the food or the cluster of bars. The street's reputation for being the art district of Buffalo strengthened after the Allen St. Street Art Collective transformed the walls into a living, breathing art exhibition.

Streets of Art is a 25-minute film by local filmmaker, photographer and mover, Nathan Peracciny. Produced by Peracciny Media Co., sponsored by Friends of the Buffalo Story and in association with the ASSA, this film explores the concept of placemaking, the significance of street art, and gives introspect into artists and why they do what they do.

The music of the film are original productions from local musician Anthony DiGesare and Mammoth Recording Studio.

The film tells the story of ASSA Founder Mark Goldman, and features artists Ian De Beer, Julian Montague, Chow Monstro, Patrick Gallo, Septerhed (Los Angeles), Rust Belt Division, Max Collins, and Dave "Chino" Villorente (Brooklyn).

Chow Monstro

 "'The work we do is not for the faint of heart,' meaning, it requires a lot of soul to be artistic, in any aspect, it requires a lot of soul to be passionate about what you do. It requires a lot of soul, and just time in your life to be good at what you do. And to work hard at it is taxing, it's taxing on the soul, it's taxing on your loved ones, it's not easy. So I think, to me personally, what I do is pretty serious. It looks like art and it's fun, but this is my life, this is my time here on earth, this is what I'm choosing to do with what limited amount of time I have." - Septerhed

For weeks leading up to the Sleigh Bells concert on Thursday, I was listening to their newest album release, Bitter Rivals, incessantly. When I initially listened to the album, it had a much brighter vibe to it. On a personal level, it reflected my life, in a way. When Reign of Terror was released, I was on a very heavy depressive kick. My life has become much more lifted since then, and somehow Bitter Rivals reflects that. I saw Sleigh Bells live twice for their Reign of Terror tour and then again last week. The feel of their productions may have a slight difference to them this time around, but the performances were equally fucking amazing.

Prior to the Sleigh Bells concert, I had never heard of opening act Montreal-based Doldrums. Their set had hints of '80s synths with tones of UK garage weirdness. The lighting for their performance was simple; red flashing lights reminiscent of a heart rate monitor. The group is comprised by three; the stage was set with a drum set, a Yahmaha and next to the lead singer's mic stand was various electronic equipment. It was a buffaBLOG night out for the Sleigh Bells show. Before Jon Krol, Cliff Parks and I headed downtown to Town Ballroom, I asked them what Doldrums was all about. One of them replied their sound was "sludgy," but in a good way. After the band thanked the audience and made way for the crew to re-set the stage, I wholeheartedly agree that the use of word was perfectly on point.

Sleigh Bells took the stage. This show was different than my previous two, in that it wasn't just Alexis Krauss and Derek Miller, but they were joined by their other guitarist and Poison the Well member Ryan Primack, and drummer Jason Boyer.

"It feels good to be back here!" Krauss told the audience. "Back in this creepy awesome place."

The show was incredible, once again. They played the classics like "Kids" and "Tell Em'" in addition to the Bitter Rivals tunes.

Krauss brought up a fond memory for the Buffalonians in attendance. She described a venue with a name she couldn't remember. The crowd yelled "Mohawk!" She laughed and replied "yes!"

The encore was incredible and I'm pretty sure it was during "Sing Like a Wire" that I threw my back out. I squeezed my way up to the gate to have a closer look and obviously to hear the music at a way louder decibel; the people surrounding me weren't too pleased. I asked one girl if I could scooch my way up a little closer and she said "sorry." Whatever. I stayed where I was and threw myself around like a rogue pinball in a machine. All I could do was laugh and I couldn't see anything because my hair was in the way. The girl who initially declined my request for a better view looked back, smiled and said "here," giving me a small spot to take a step closer.

I left Town Ballroom with ringing ears, a sweaty leather jacket and a sore back that I wouldn't feel until my after-concert beer as I made an attempt to walk across Allen Street.

Until we meet again Sleigh Bells. Until we meet again.

Sleigh Bells - Rochester - Nov. 2012 - Photo by Alicia Greco

To see inside the mind of Sleigh Bells, is to see a beacon in the dark. Guitarist and lyricist Derek Miller was working as a waiter seeking a new music venture after he left hardcore group Poison the Well. While waiting on a table he was introduced to Alexis Krauss by Krauss' mother. What could be considered fate, or the perfect story of an artistic relationship stemmed from boy-meets-girl, was not considered so through the eyes of Miller.

"I don't necessarily believe in fate," he said. He was working hard at the time to find a female vocalist and as he said, "created conditions to make it more likely."

Krauss was an experienced vocalist from an early age after performing in RubyBlue, a teen pop girl band. After developing their sound, the revolutionary M.I.A. sought them out to be signed to her record label N.E.E.T. Recordings. She contacted a "Derek," who although was the wrong person with the same name coincidentally knew Sleigh Bells' Miller. Already critically acclaimed and unsigned by only releasing singles, Krauss and Miller signed to M.I.A.'s label in 2010 and released their debut album, Treats.

Sleigh Bells ascended to worldwide tours and went on to be covered by highly-esteemed publications and productions ranging from the cover of SPIN Magazine to an encounter with cultured explorer Anthony Bourdain on his show "No Reservations."

"I don't consider touring strenuous," Miller said. "I like it, it's great. It's a privilege. You get to play shows every night, just going out for blocks at a time ... it's a great experience."


Rather than being singled out by a floodlight spot, Sleigh Bells performs with staggered strobes and while Krauss wails sweet and sexy croons through the microphone, Miller is found by her side hammering riffs through the stacked speakers that are powerfully lined behind them. He steps closer to the gate blockade separating the stage platform from the group of aggressive dancers, and becomes enraptured.

"On a great night, everybody's on the same page. You approach being in the moment, and you're not thinking about anything else. Not thinking about before or after, you just sort of disappear. I don't want to romanticize it but ... when that happens, it's pretty special," Miller reminisced. "You can't pay to have that experience. You can't pay to have people show up in a room for a record you made. It has to just happen."

It is clear that almost each musician has some type of expiration date; a time when their music is irrelevant and they can't keep up, or when life plans veer away from record releases and tours with sleep-deprived international flights through changing time zones. "You don't make records forever," he said. "You can make music forever."

Although some fame tends to radiate an untouchable hue, we are all human. This is a characteristic Sleigh Bells embodies. Miller relates to those who have hit rock bottom, those who have been left helpless from the uncontrollable tribulations. These moments left him deeply inspired, especially for their 2012 album Reign of Terror.

"Life happened to me. I've just had my fair share of horrible things happen to me throughout my life," he said. "A lot of things come close to killing you and you quickly lapse into cliché ... 'what doesn't kill you makes you stronger' ... and those clichés happen for a reason."

"I have an internal dialogue that never really shuts off, and I'm really hard on myself. Truth be told, I could probably use a little more ego. It'd probably be healthy," he said and then swiftly reconsiders. "I don't think I'd have a career if it wasn't for that side of me."

Miller is the sole-lyricist for Sleigh Bells, although he said he will alter and won't write anything that Krauss would be uncomfortable singing. He said their newest album release, Bitter Rivals, is unlike past productions. "Bitter Rivals comes from a different place, a much less depressed place. It just feels different to me, it feels that it's coming from somewhere a little less tortured."

The official video of the title track was released in the beginning of September; the album dropped a month later in early October. I asked Miller to delve into the meaning of one of the tracks, "Young Legends." As expected, he said he prefers people interpret among themselves. The raw inspiration behind the tune, however, was about the people who have tremendous amount of talent, that "never get a chance to develop it, for whatever reason."

"I knew that I had all of these ideas, I knew what I could accomplish," he said. The odds seemed so against him, he said. There are so many people "who never find the 'x' factor, that other component." This is a mindset not limited to just music. Krauss sings "Young legends die, all the time, but I don't mind."

"The chorus is sort of sarcastic ... it's a lie," Miller said. He told a story about a time in his life when he felt lost, and was searching for his footing; this is an experience familiar to anyone aspiring for true greatness. His mother would ask him where his life was going. "I was like 'I'll fucking figure it out,'" he said.

He did indeed.

Since, he has been pouring his creativity into Sleigh Bells, even down to the merchandise. Veering away from the technological sprawl of today's world and appealing to the vinyl diggers, Miller developed and designed the record artistry for each Sleigh Bells album. The package is comprised by pull-outs of photos taken by Miller himself, each one complimenting to the theme and vibe of the album's sound. "I know what I like," he said. "I like to think there's some kids out there that have them pinned to their wall."

"Reign of Terror" Photo by Alicia Greco

I asked him, why does he love music?

"I couldn't possibly sum that up in a sentence. For as long as I can remember it has been the most important thing in my life. I loved music since the age of 5 or 6, it's just been the center of my life. I love it to death, I don't know why. It's like trying to explain why you like a certain flavor or certain color; you're just drawn to it."


Sleigh Bells will be performing Thursday, Nov. 14 at Town Ballroom. Tickets can be purchased here.

What is a dirtybird, you ask? It is progressive. It was born in San Fransisco. It is a genre-breaking sound that is unlike any other. Dirtybird Records is the brainchild of Claude VonStroke (@vonstroke) and like-minded individuals Justin Martin, Christian Martin, and Worthy. What began as a party thrown at Golden Gate Park evolved into the powerhouse that it is today. Clichés aside, innovative artists have been taken under the dirtybird's wing such as J.Phlip, French Fries and Eats Everything. A dirtybird member is not just a performer on a stage, but a friend.

Factory Nightlife brought J.Phlip and Justin Martin to the summer concert series this year which were held at Sky Bar. Now, the "Claudefather," will be performing tonight at Rendezvous the Niteclub for his Urban Animal tour.

Urban Animal was released in September and I found it so inspired, I couldn't help myself and delved into writing a review of it. You can check my Artvoice album review and find the SoundCloud links here.

J.Phlip (@jphlip) is VonStroke's main babe for the tour. "Straight from San Francisco with dirty basslines, bootylicious funk, and cute as hell—J. Phlip is the total package,” VonStroke said.

If you haven't experienced it yet, you should.

The Only Comrades crew is teaming up with the Echo Art Fair to kick off the event with a coup d'état. Music and art will converge for the night. A night Only Comrades defines as a dance party infused with visual art. There will be numerous exhibiting artists on display and music provided by local talent. It's a "group of artists and producers on the fringe of the Buffalo arts establishment."