About k

I was born by the river in a little tent and just like the river seems like i've been running ever since it's been a long long time coming but i know change gonna come.

Ampevene’s ‘The Chemistress’

Posted on October 28, 2025 by k

At some point artists started releasing ‘singles’ again. I mean, we know no one ever really stopped, but we’ve been used to what used to be called ‘album oriented programming/AOP’ or ‘album oriented rock/AOR’ for ourselves since, like, the seventies man. Yeah, we’re that fucking old.

Recently though artists and groups have been sending us ‘singles’ to review and we’re a little out of sorts. I was thinking about it and I was gonna send it back and ask for at least an ep but then I was like, no wait, this is really easy. I can write like two lines and still be technically getting back to the group — right? We cool guys?

Anyway. We’ve heard of Ampevene and know they’re a local Albany band but never really heard them. So we were glad to receive this request to review this single — albeit years ago — but as we keep saying we’re going through our backlog now or whatever. And EVERYTHING WE ARE REVIEWING ARE TIMELESS CLASSICS SO STFU!

Ampevene may be Albany based but they’re clearly a group that sounds like they’ve got ambitions, chops, and productions for more of a nationwide audience. I’m sure they get this all the time but they sound a lot like that band that Omar Rodriguez Lopez formed after At-The Drive In… what was their name? Oh yeah, the ‘Mars Volta’. They took what ATDI was doing and took it… frankly a little too far into the prog stratosphere for me. As does Ampevene (not saying we don’t like it or think it’s good just not necessarily our cup o tea — we’s more post-hardcore than post-hardcore-went-prog). They list influences like Lopez, Miles Davis, King Crimson, TOOL… you get the idea.

They’re clearly quite talented. They’re also in what’s probably now an outmoded style, though I think I remember even Sleater Kinney was getting into it back in the early aughts… I don’t know whether to call it post-prog, but that’s pretty much what I hear. If not that then retro-prog, neo fusion, post classic rock, etc. Made by musicians that have clearly honed their chops and studied their precedents.

It’s pretty entertaining. Pretty wild, out there, psychedelic. And I’m guessing it’s a lot of fun to watch live, “keeping spectators on their heels from their improvisational clash of metal and jazz.” as NYS Music put it.

To me, this single could be from a Led Zeppelin record or a Polvo record. It clearly blends genres. Even though it can clearly be placed within the sphere of a few genres, it’s not predictable in anyway. It turns on right away. No intros, no lengthy instrumental passages, no letup. It continues in this vein for the entirety of five and a half minutes. Many of the lines are sung-spoken but then there are a number of melodic passages that come one time and are repeated a couple or a few times but then aren’t repeated again; as a music critic I can’t overemphasize how interesting this is. It really doesn’t happen a lot. It’s interesting and atypical.

However, so’s not to give Ampevene too swelled a head (though they may deserve one that’s really not what we do here at the Boredom), there are a few passages that do predictably slip into classic rock riffing or lean too heavily on the Mars Volta/Radiohead type overreliance on the bleep bloop of heavily laden effects.

But overall a very worthy and interesting single. We hope it was a hit (we don’t really listen to the radio). Good luck fellas. Give us free tickets to your next show and we’ll be there!

Nathan Meltz & the House of Tomorrows’ “Sings More Songs about failed utopias volume 2”

Posted on October 28, 2025 by k

Doesn’t really roll off the tongue does it? I’m guessing that’s on purpose.

We’ve discussed and reviewed Nathan Meltz before, a force behind several groups in the local Albany/Troy underground pop collective. The title of this record is a sequel to the equally good pop record ‘Sing More Songs About Failed Utopias from 2022’ (which we reviewed back then at https://timesboredom.com/2022/10/29/nathan-meltz-and-the-house-of-tomorrow-sing-more-songs-about-failed-utopias/). This one was released in 2023 — please forgive the lateness of our reply.

Like its predecessor, this record is full of quirky lo-fi pop goodness. Catchy and well produced for a lo-fi record; it’s got that classic trying not to sound too polished that’s starting to sound pretty damned polished at this point but still doesn’t have to use any autotune or other omnipresent crap on most twenty-first century records.

Nathan as often is joined by other luminaries of the Troy scene on this record that make up his ‘HOT’ (House of Tomorrow) band; Kim Tateo, Brady Potts, Chris Brown (we know him!), Dan Prockup, and Connor Armbruster (who DOESNT know him — say Connor when are you sending us a record?)

Tackling issues from the Source Family to Emma Goldman (we’re guessing Nathan’s been watching some documentaries), everything is couched in the classic House of Tomorrow pop hooks that get richer and catchier with every listen. And lots of making fun of hippies in a not so tongue in cheek manner — ‘The Farm’ is clearly about an old school sixties farm collective

“Come down to the farm in Tennesee
Communal cosmic energy
Smoking dope dropping LSD
It’s better than Haight-Ashbury!”

This song reminds me of Smog making fun of crummy punk bands in the nineties; but Mr. Meltz clearly has no boundaries for how old or obscure the source material for his ironic humorous songs are. Even far back to where some Phish fans unfortunately really do still live.

Meltz also bears many similarities to his fellow pop auteurs in the Troy area; specifically one can’t help but hear the influence of the seminal Jason ‘Wolfman’ Martin. But his songs are also clearly rooted in the eastern Massachusettes lo-fi indie rock scene like Sebadoh, Sentridoh — you know, lots of stuff Lou Barlow and people that like him are associated with. And Smog as we mentioned before, Pavement (obviously — most lead guitar riffs wouldn’t sound out of place anywhere on Slanted and Enchanted).

But then of course there’s classic 90s pop music influences baked deep within, like the R.E.M. influence that Meltz may not even know is there (“We were little boys” he repeats on Song for Piggy which SOUNDS like a Sebadoh III title but plays like a track from Murmur (“Oh, we were little boys. Oh we were little girls.”

Again, this really does remind me of its predecessor and Nathan Meltz’ other works. No real surprises here; if you like those you’re gonna like these. And if you don’t — to hell with you then!

Thanks Nathan. Send us a request to review your newer records. Whenever you get around to it. You know. If you’ve got nothing better to do.

The Grandstand Jockey’s ‘Win’ EP

Posted on October 28, 2025 by k

From time to time we hear at Times Boredom get requests to review records that, frankly,… baffle us in terms of where they came from and how they got our decidedly obscure contact info. We do remember, however, that at some point a few years ago (when we had way more staff and energy) that we agreed to review everything we were sent. Since that time, we forgot we had an Instagram page (personally we’ve been trying to get out of the metaverse, however, perhaps that shouldn’t extend to our ‘business’ — and we do mean ‘business’ LOLOMFUG), yet we’ve continued to receive requests to review records through our Instagram page for years now that we haven’t seen until now. Our apologies. We’ll get to what we get to; we’re always happy to hear new independent music.

This is one of said requests we hadn’t seen until now that we actually first received back in ’23. A group called the Grandstand Jockeys requested we review their initial offering “Win” ep. This was one such baffling case; the description of the group did not say where they were from. What we did recognize was their reference Dan Dinsmore of Overit Studios, located only a few blocks from our headquarters in the Helderberg neighborhood of Albany New York (a couple of our bands have checked out the space as a potential studio to record our albums and it seemed like a really cool space). The description also mentioned that Dinsmore put founding member Ron Burris in touch with Dave Parker “(of Coheed and Cambria fame)” — ok, now we’re getting a hint of familiarity. We’ve heard of Coheed and Cambria and think they’ve got local connections…

But the driving force behind the self described “grunge pop group” The Grandstand Jockeys is Ron Burris. Espectially on the initially recordings where Ron plays drums, rhythm guitar, and vocals. Eric Braymer plays lead guitar, bass, and backup vocals.

The record is excellently produced. We really mean that. It has all the sheen and crispness of a classic 90s indie cd without any of the phony pretention that came along in the aughts where everyone has to autotune everything and play as many non-traditional instruments/synths/machines as possible. All the instruments come through clearly and every sound that’s meant to be heard (harmonies, guitar pedals, and all your other traditional rock/pop ingredients).

This probably comes way out of left field but the group really reminds us of 90s southern California group dada (remember that song ‘Diz-knee-land’ that received regular rotation on MTV? “I just flipped off President George, I’m going to Diz-Knee Land! Come on, I’m going to Diz Knee Land” (to avoid actual copyright protected names of real theme parks but not the name of one of the most famous underground art movements that changed so much in modern art it gave way to conceptual art, minimalism, the beats… everything — and yet they thought it was like this cute kitschy art movement they could just call their own — that was dada. Ok sorry that was a real old guy digression right there; The Grandstand Jockeys have nothing in common with dada other then their excellent use of dual pop vocal harmonies and some other indie pop nineties sound factors I really just wanted to wax nostalgic about dada, the band that was honestly the first real music review I ever actually did. Sorry again); the harmonies are sweet and somewhat countrified but always grounded in pop structures and hooks.

The EP starts out unusually with a sort of ska-pop track. But the clean sweet vocal harmonies and pedal oriented guitar effects almost completely cover over the ska strumming that you only sort of notice it. Unlike the unexpected ska rhythms of the first track, the rest of the the 4 songs on this introductory ep trod over well worn 90s style indie pop territory –which is probably why they call themselves ‘grunge’, though they bring to my mind mid nineties groups like Royal Jelly, Tom Petty more than say Nirvana — though they do sometimes remind me of grunge supergroup Mad Season… the influences are ecclectic to say the least. I don’t know if they listen to any of the groups I’ve mentioned but that’s who they bring to my mind. Maybe Eve 6, Better than Ezra, Lit — Semi Sonic maybe? Other groups that I never really got into but liked hearing on the radio in the nineties. Ah the nineties, when even the songs on the radio you weren’t really into were SO much better than any song on there today… sorry where was I? Senior moment!

In general this ep comes off as both classic and retro. It sounds good, nostalgic in a way that makes my writing a bit misty for the old days.. The lyrics are pretty standard indie nineties pop fare as well; pessimistic but honestly hopeful. Which I didn’t know was possible for a group that started in the twenty twenties.

A strong initial effort, though entirely retro and fairly unoriginal. The songwriting is solid; good pop songs like these are hard to write. This band could grow and become something interesting if they forge their own path. Well done guys.

Here’s a link to their video; https://mail.google.com/mail/u/0/#inbox/WhctKKXpTdTBtjLnHCFVDqKZLFhWgkDHhDVkTvBXzPtNKZdXhKlJLqZTpnBpfWlcwZMjTZq?projector=1

Maple Stave’s unholy blend of post-hardcore and prog on latest album ‘Arguments’

Posted on August 23, 2023 by k

Maple Stave is a hardworking post-hardcore band that’s been grinding out good ep’s and albums since back in aught 3. From Durham North Carolina (not too far from the famous indie rock bastion of Chapel Hill), their special flavor involves 2 baritones and recently an added fuzzy bass guitar for your extra low end pleasure. After 5 releases that exhibited some growth and change but pretty much stuck to the same sound genre playbook, they recently released their standout album ‘Arguments’. And while the title may fool you into thinking this is another band paying tribute to Fugazi’s final similarly titled album (or maybe it is; esoteric references to other rock bands abound on the album), this album represents a pivotal change in their sound, specifically the higher powered vocals and melodies.

Though the underlying instrumentation is akin to and developed from their many years grinding in the post-math rock game, the often harmonized high in the mix vocal melodies are for the first time evocative of the unholy cross breed of hardcore with prog rock. And while it has been done before (most famously by At the Drive In, the Mars Volta and their acolytes), Maple Stave’s version is no one dimensional imitation nor does it sound derivative in any way. This may be the result of their highly skilled use of midwestern math rock style baritone and basslines that are, to ears like mine, the sweet sweet sound of the drudgery of home. Or the fact that instead of putting the ethereal more commercially pleasing prog melodies on all of the songs, they instead utilize the anti-commercial self indulgence of purely instrumental pure post jam jamming on tracks like “Good Luck in Green Bay”, “Cool Attitude’ and the (Helmet tribute?) “Downtown Julie Brown”.

However, much as I enjoy the unbearably catchy chorus to the album’s standout track “The French Song”, if you listen close you can hear a bit of Journey’s Separate Ways (not that that’s such a bad thing mind you — lousiest air synth playing music video though it may have been, the song is pure delectable Motown and not quite prog). That being said, the emotional depth and weight of tunes like The French Song, featuring a maximalist, unusually off kilter (even for the math rock genre) drum line under minimal sustained fuzzy bass and baritone notes coupled with the subtly almost dully whispered single vocals of part 1 followed by a full on assault of grinding of bass and baritone lines, driving noise rock percussion rhythm with the booming, harmonized up in the mix vocal melody truly brooks no genuine similarity to anything as hollow as pop prog in any way. However, most people do put the majority of weight on the vocal melodies of songs and will hear and remember them far more than the rest of the music. And tracks like Cincinatti Hairpiece and Thunderkiss ’85 are quite weightily indebted to At-the Drive Ins melodic guitar lines and screamed emo-prog lyrics that evoke extremity of feelings far more than make sense… The emo goes even further on “Keep Charging the Enemy” and “I’m not Tied to Pretty” with instrumentation and melodies that are damned near pretty. But if any of that sounded negative to you, the sheer overall quality of these tunes and especially that sweet spot between harsh buzz and evocative pith (most evident on album opener “Indian Ocean, Present Day”) makes this a record worth overlooking all things borrowed and just enjoying the quality and growth of a truly sincere group with truckloads of integrity.

I must admit I believe the majority of the lyrics are either abstractly emotionally evocative or go over my head with the exception of ‘Thunderkiss ’85’. The fact that this is exactly 20 years after the “demon warp came alive” makes me think that perhaps every line I don’t understand is also an arcane reference, just one that I don’t get. This song seems to paint a tale of an America (world) that fucked everything up around 1985, when it started unashamedly redistributing wealth from the poor to the rich. Obviously it’s more complicated then that, but it’s one of the few songs with big meaning I thought was discernible — and honestly if I’m right who would argue with that thesis? To the x-ers and millenials it certainly seems “this is how things began to end” in ’85 with income inequality and unchecked corporate power, not the sexual and social changes of ’65 as previous generations thought.

Despite all my bullshit hipsterish criticisms above (that for some reason always make people think I dislike things more than I do), I mean to say I really like this record. And the one before it. And the band. I have a great deal of respect for true hardworking musicians that stick to their guns and write and play and tour non-stop for either the joy of it or just because they feel compelled by the Spirit (of rock). And if they play my town I’ll definitely be the first one there. Let’s hope this is just the most current in a long line of great records far into the future!

Watch excellent cutup frotage video for single “The French Song” at https://maplestave.bandcamp.com/track/the-french-song

Capital Region indie music sites sell out to old guard major newspaper institutions!

Posted on August 17, 2023 by k

Recently everyone was taken aback when it was announced that Nippertown was being acquired by the Schenectady Gazette. Tirelessly hardworking frontman Jim Gilbert, after expanding the original site immeasurably by adding all kinds of content and art genres, recently completed setting up and running the second Nipperfest, which went from a small show with famous local bands to THE festival event of Albany featuring over a dozen local music acts for an entire day. There seemed to be nothing Jim, who was working the equivalent of 2 full time jobs at Nippertown WHILE working another full time job just to pay the bills, could not accomplish. And now it appears he’s receiving his well deserved reward, selling out to the old boys club of established local media! Have a cigar buddy! (we kid we kid we love you Jim!)

Our buddy and HUGE SUCCESS Jim Gilbert, runner of Nippertown
(which recently sold out to the Schenectady Gazette)

And now for our own good news…

Not to be outdone, the Times Union decided to acequire an independent site of their own to supplement their music coverage. And since there happened to already be a local Albany/Troy underground site that famously covered local superhip music AND had a name that was very similar, the TIMES UNION IS GOING TO ACQUIRE TIMES BOREDOM! Watch TU and all the other local old guard major media outlets for the announcement, but for now know that we here at Times Boredom (and our indefatigable helmsman Scott Koenig pictured below) are also moving on to bigger and better things! We’ve been real lazy lately after our exhausive best local bands of 2022 series of articles, partly because our writers have been poached by other local publications (including and esp Nippertown), but rest assured that this merger will provide enough funds for us to re-hire and re-poach our writers and more! We’re gonna be a real local media music magazine! We’re gonna get our shit together and stop just covering the original superhip superdark underground stuff playing at No Fun and branch out to cover the groups that have their own marketing street teams and play covers and big festivals and rich people’s houses etc etc and we’re gonna get mad paid.

Details to come. Keep watching the media!

Times Boredoms’ fearless leader Scott Koenig
(who recently sold out to the Times Union)

Top 10 local Capital Region of NY bands of 2022, Part 2: 100 Psychic Dreams

Posted on February 9, 2023 by k

Superdark supergenius behind 100 Psychic Dreams Shane Sanchez

Making their first appearance on our top ten chart this year is 100 Psychic Dreams, the experimental electronics project of our good buddy Superdark Shane Sanchez!

Most recent 100 Psychic Dreams album cover for ‘Bronze Stoker’, released May 2021

In addition to ruling the scene, Shane Sanchez has been making experimental electronic music for quite some time now. His latest project 100 Psychic Dreams seems to have struck a huge chord with the Capital Region superhip underground music scene (you know, the scene that we’re into and cover). Since 2021 100 Psychic Dreams has released about 2 albums’ worth of material and several singles, including idiosyncratic VHS mashup recordings, experimental illbient, innovative hip hop beats and backing tracks, and a groundbreaking cover of hip old Iggy Pop classic ‘Night Clubbing’

In addition, the electronist (electronicist? Synther? DJ? MC?!!!) has been playing live all over the Capital Region — especially in Troy at our favorite No Fun joint. 100 Pyschic Dreams has also been providing beats for local hip hop shows, playing the aforementioned cover of landmark Iggy Pop song ‘Nightclubbing’ live for the No Fun anniversary fest, improv sets, providing backup beats for various projects…

The cover that won MY heart for 100 Psychic Dreams, a project putting sick beats together with classic 80s horror movies called ‘VCR Vortex Vol. 1’. 100 Psychi Dreams does IT ALL

So is 100 Psychic dreams a DJ/MC? Is it an experimental electronic project? “Synth drenched grimy beat magick”? The beat machine for the entire 518 music machine? Hell yeah it is! It’s like, 100 different things in 1!

And it’s “PSYCHIC”!

(So I’m guessing they knew they’d be number 2 on our charts right out the gate and have been celebrating in advance, laying down those funky beats and noisey treats for all of us to dance dance dance…)

Top 10 local Capital Region of NY bands of 2022, Part 3: Haunted Cat

Posted on February 8, 2023 by k

Drew Benton/Haunted Cat in performance 2022

In third place for the greatest local band EVER… I mean for 2022.. is HAUNTED CAT! This live 4 piece is a testament and a tribute to the songwriting and presentation talents of Albany punk veteran Drew Benton. Benton writes the songs, plays most of the instruments on the recordings (the last album was performed entirely by Benton and the upcoming record will feature the full band), and dresses it up like no one else in Albany for what are half rock shows and half performance art pieces; anyone that’s seen Haunted Cat will never forget them. Love them or hate them (or start by liking them and end up loving them as most do) when it comes to Haunted Cat you must say — they present a memorable experience everytime they play.

Haunted Cat’s latest album ‘Third Degree Moonburns’

Not to mention that everytime you spin one of their albums you get a memorable experience. In addition to being one of the few performance artists in Albany to really do it ALL up when performing, Drew Benton’s songwriting and performing on the Haunted Cat albums present an entirely original, innovative style and substance that’s seldom if ever been seen before both in the Capital Region and beyond. Blending glam rock with snarling punk and virtuosic guitar pyrotechnics, the effect of listening to a Haunted Cat album is like being transported to a different world. One in which perhaps the seventies never ended, where the original NYC punk was given its due, and where chutzpah and flair still fucking matter!

Another image of an unforgettable performance piece by Drew Benton/Haunted Cat — sometimes planned and or/joined by Eric Jon Tasker (next to the half naked Drew, stage right)

There’s no doubt that Haunted Cat deserves a place on this countdown; we urge you to see any show you can catch them at and download their albums. They stand out like no one else around in terms of the eclectic yet original music they play and the overall transcendently idiosyncratic performance of Mr. Drew. Benton. Do not miss out on the experience that is… Haunted Cat!

Top 10 local Capital Region of NY bands of 2022, Part 5: Haley Moley

Posted on February 2, 2023 by k

What can we say about Haley Moley that we haven’t already said? They’re way too professional to be mentioned on our fake site… (way old inside esoteric joke). Remember when that was true?

Old picture of Haley Moley from back when we first met them

We can certainly say that new for this year is they’re finally putting out a full length record. They’ve put out ep’s in the past that we’ve enjoyed some of which we’ve reviewed (or friends of ours have reviewed), and we’ve ‘heard’ good things about the new album as well (that was at least 2 jokes because we’ve heard so many of the songs off the new album played live already). At one point they were so comfortable with us making fun of them that they made fun of our head writer.

In addition to all the inside jokes we have with/about them (FFS, doesn’t TB have enough of those already?! Half the people that read this get 1% of the jokes! And they’re not even funny, they’re just references and winks and nods…), the songs we’ve heard Haley Moley playing live lately rock us just as hard as those they’ve been playing and recording for the 8 or so years we’ve been around (or is that how long they’ve been around? No, I think they’ve been around longer and we haven’t been around quite that long. They’re definitely older than we are. See, yet another joke that only I get. Not funny! Knock it off!)

Upcoming Haley Moley’s new full length record “Everybody Wins”

And despite their many years on the road and in the recording studio they haven’t slowed down one bit. Haley Moley is itself actually a supergroup; I’m not sure if we’re allowed to tell people this JUICY bit of gossip but their name comes from the combination of DJ Jennifer HALEY and Paul’s long running solo project Mount MOLEY… put those together with small groups from other groups including Andrea Kosek, Mike Broomhead, and Pat Thorpe and have all of them play multiple instruments to create an enormous sounding orchestra of sounds where someone’s always filling in whatever the sound requires for the specific song and you’ve got a super collective of a group (in fact, there were rumors that the Haley Moley supercollective was going to swallow or merge with the Superdark Collective in various guises over the years, neither of which actually came to fruition but all of which served to help the stock prices of both collectives skyrocket!). And even with the smaller groups that came together and have continued to exist alongside the Moley (as the hip kids don’t call them), other groups have even split off and formed more new acts on the side in the meantime. This is a group of prolific musicians to say the least. Do they ever rest? Do they ever sleep? Our sources say no.

Which is why it makes sense although it’s still entirely unfortunate that after this record release Haley Moley will be taking a hiatus (indefinite? Let’s not say that. It’ll make people think they’re taking a ‘Fugazi style nap’) Some of the members will be focusing on personal projects (do babies count as projects? we think so!), and others focusing more so on their other projects AND, knowing, them, probably even more additional projects. Architrave, the HONEY collective, Sinkcharmer, all the albums Paul Coleman has mixed and mastered… the list goes on and on and we can’t keep up with it. It really is amazing that they’ve been able to do all that all these years and maintain a top ten local band that puts out records and plays live more than half of the bands around, and of course, has yet to make a song that isn’t top quality or play a show that doesn’t sound great. Congratulations again to Haley Moley! We hope to see you again soon!

Top 10 local Capital Region of NY bands of 2022, Part 6: Sky Furrows

Posted on February 1, 2023 by k

Sky Furrows has the unbearable burden of being in the Times Boredom top ten more than any other band in the Capital District. But honestly, how could they not be? Times Boredom is indisputably the arbiter of everything that’s cool (and cool enough to not take itself too seriously) in the Capital Region and has been since 2015.

And is there any cooler band you can think of than this motley gang of 4 vets of the up (and sometimes down)state New York scenes? Every single member of Sky Furrows has carved a name for themself individually in a way that, if there were like a twenty year golden watch given out by the lord of the underground cool, they’d all have one. And NOW they’d all have 3 rings they could kiss (like those asshole Patriot fans — sorry our Editor’s a HUGE Yankees fan and will NOT hear of any story that doesn’t disparage the Bruins at any opportunity we can possibly get…)

And the truth is if ever there was a time for me to say my famously overused ‘Ah hell I done interduced them enough’ Big Lebowski quote it’d be now since Sky Furrows has won just about every award we put out, been reviewed and mocked and praised so many times by Times Boredom there’s nothing left to do but repeat myself… So this time I’m not gonna start going a hundred feet deep with Rambutan and Parashi and links to collaborations with Mike Watt and whatever else…

Instead, I’ll just tell you what they said to me when I asked them some interview questions like ‘how great is it to be in Times Boredom’s top ten YET AGAIN and how surprised are you…’

I’m even getting a lot of use out of this photo. I think I’ve posted it several times. Give someone else a chance to win will you Sky Furrows?!

Congratulations on being in Times Boredom’s Top 10 local bands! What was your favorite show that you played in 2022? Who was YOUR favorite local band in 2022?

Karen Schoemer (for Sky Furrows):
One of our favorite local bands is the Scurves! Love them Scurves!

TB: Do you have any plans for 2023?

KS: We did not release new material in 2022, but we did record a new album in Katonah NY and Easthampton MA and we’re hoping to get it out by the end of the year!

And that’s it. We done tell you all there is to tell. Seriously I really am tired of introducting them. I do this to promote local bands and if all I’m really doing is giving them awards every year and saying how great they are what does that really accomplish? I gotta rethink my choices bro. Seriously.