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  NEW YEAR’S REVOLUTION is just a dude with a cello, a dude with a guitar and a chick with sticks. This small

gaggle of instrumentation is what generated the big sounds on their demo, a release filled with five ballads that have the harshness of folk punk vocals sweetened by the low song of the cello.   The demo is a release that blends the blunt honesty of lines like, “Fuck you, Arizona/this whole thing makes me mad/ I’ll burn that whole fucking place right to the ground/you’ve taken everything that I had” with the strings in each song. It gets you riled up enough to flip the bird to entire western states, but the cello gives the songs a sentimentality that softens the rebel yell into an angry ballad.   Despite the boys being enrolled at Western State Connecticut University and Lauren attending her final days of high school, NYR’s approach is extremely free-minded. They’re eager to travel beyond CT perimeters to play shows, and posted their first release for free online. “[It’s] one of the best and easiest ways of spreading the word of your band,” cellist John Longyear said, “it also helps that we don’t really see this endeavor as a way to make a lot of money.”   Longyear described BIRTHQUAKE’s Lysobey as “an honest and hardworking music lover,” a quality he was drawn in by, in addition to the rest of the label’s lineup being “really impressive and fun.” As of March 2009, NYR snagged a spot on the BirthQuake roster. From the bowels of Allston, Massachusetts, onto the porch of the FORT and up the staircase into the fold comes a musical manifestation of party. generates a frenzy of beats and

head honcho extraordinaire Max Lysobey ardently described as having “more of a pale blue, or MAYBE seafoam green” color associated with the

Dinks All


hardcore punk band Revolutionary Smut.

  For WOOD SPIDER, the creative process is a veritable conveyer belt of serious songwriting, recording, and the adaptation of it all onto the stage. Chuck an empty water jug, a couple of trash cans, a milk carton and some mallets into the gears and the whole machinery gunks up to spit out the package of three makeshift musicians with their heap of instruments in tow.   After releasing Tree Flesh EP in July 2008, WS has decidedly honed their recordings into a dynamic performance on stage. After a short tour in Boston near BQR HQ and performing in the CT area, the addition of Dan Florio as a performing member on percussion rounded out the transition from record to cellar, rooftop, front yard- or wherever they happen to play.   “Because we were only a two piece and were limited as to the amount of ‘things’ we could hit or play, the songs always felt like they were lacking something,” said guitarist Mike Ditrio of the duo prior to the addition of Florio, “I like lots of noise and chaotic stuff going on…the addition of Danny filled a lot of the sonic space that I felt we lacked sometimes.”   The result is a package off of that conveyer belt that really isn’t that haphazardly put together. Their live show has taken on a new vibe of connectivity with each player in the band clearly in tune with the others. And like any successful showmen, they bring that homogeneity to their crowd. “We’ve recently started incorporating more crowd interaction in our shows and there’s been more blood-curdling screams and running around hittin’ stuff than ever before,” said Alex Krokus, player of the throat and hitter of the stuff.   Their new material incorporates more intricate melodica and trumpet presence, positives that will increase the quality of their recordings as emphatically as their performance.









Inkwell Press, March issue, page 3  
Inkwell Press, March issue, page 3  

Inkwell Press, March issue, page 3