Debut video: Matt's Song (NYC) by The Glorious Veins

New York City’s Glorious Veins, no strangers to West Virginia after repeated stops, release their debut video for Matt’s Song (NYC) today...

It will come as no surprise to readers of this blog that bands NOT from West Virginia, swinging through our fair state as part of a tour, are sometimes featured in some form or fashion in my freelance “work” covering bands for the Gazette, Herald-Dispatch, and WVRockscene.

Some bands you kind of lose track of when they leave, then, being part of the media catch up with when they come back through. Some bands, I’ve been lucky enough to keep in touch with at the same time becoming a fan of. The list of said bands is long and varied: Cleveland’s Whiskey Daredevils and Cambridge, Massachusetts’ Arms and Sleepers are maybe the best examples.

But I’ve become not only a fan of New York City’s Glorious Veins after talkin’ to em for the H-D earlier this year, I’ve been keeping in touch with drummer Lui “Wiggy” Colmenares on Facebook even when his band is not in town.

So in anticipation of the release of their debut video Matt’s Song (NYC) today, we thought we’d not simply repost it here, but talk to the people behind the song and the video. The song, off their debut LP, is the only one penned by guitarist Matt Howels, who hails from the UK, came to NYC, and promptly helped get the band started after they all met on Craigslist.

Howels lifted the lyrics from works by friend and NYC poet and writer Ryan Buynak, and the band welcomed Craig Holmes (Shutter Slice Films) over from across the pond back in September to shoot the video.

We caught up with Holmes and Buynak to see what it’s like influencing, working with, and being friends and fans of, NYC’s The Glorious Veins...

Ryan Buynak talks about becoming friends with the GV and the words behind the song...

WVRockscene: You said Matt is one of your best friends? How did you guys meet?

Ryan Buynak: Matt is my British brother. He and I met in the maze that is the New York City restaurant world, and instantly connected over our shared love of music and literature. The universe wanted us to be friends.

WVRockscene: You went out on the road with the band, how good have you got to know the guys?

Buynak: Let’s just say I have come to know the Veins quite well and that sharing the stage with such an amazing band is a long-awaited answer to an old dream of railroads and vagabond hearts.

WVRockscene: What were the poem(s) that Matt lifted words from into “Matt’s Song,” and how cool is/was it to know that your words resonated with him so much that he’d turn it into a song?

Buynak: I’ve always wanted to write a song, but I can’t play music to save my fucking life. It was Matt’s idea. He’s actually been in a few narrative nooses of mine, here and there. He came to me one day asking to use the poetry in a song and of course I said yes.

He picked through a dozen and ended up eating poetry from a few verses. The opening lines of the song are from a piece called Where is 12? which is in the next book. Another is called Midnight Lions. There were a few more but I forget. They all had this sad Manhattan vibe...and somehow they (The Glorious Veins) came up with this awesome fucking song. The record is framed in my apartment. It is an angel’s honor to be involved with cutting edge music and art. Coyote Blood will kill you.

Craig Holmes of Shutter Slice Films talks about the video...

WVRockscene: So you came to the States back in September to shoot the video for Matt’s Song, how did you like your time here? Fun or work or both?

Craig Holmes: I had a great time in New York. The last time I was there I was with my girlfriend at Christmas just gone. I loved it so much so I was stoked to go back. I spent a fair few hours each day shooting footage around the city to make sure I had all the shots I needed for the video. I made sure there was plenty of time for fun though, taking photos and seeing the sights and eating amazing food.

WVRockscene: How did you meet/know these guys? You’re from the UK right so I’d assume you were/are friends with Matt Howels? Know him or the band long?

Holmes: Well my girlfriend’s aunt and cousin, Mark and Maggi, live in Queens. Mark uploaded a picture on Facebook (of course…everything starts with Facebook) of the band playing a rooftop gig. I saw it and thought that would make an awesome video. So I asked Mark if he knew the band. Mark is great friends with Lui so he told me to add him. I started chatting to Wiggy and suggested me flying out. I loved their sound, they were digging my work so it seemed like a great idea.

WVRockscene: How easy was it to take their vision of the song and turn it into a video? What was it like sharing that vision of the song with the band, working with the band in that sense and how smoothly did it go? Are William Webb And Catalina Zbar the actors in the video? They do a good job?

Holmes: Well I didn’t get to talk to Matt until I met him in Queens. Then we chatted via email, I asked him what the premise of the song was from his point of view, everyone can interpret a song but I wanted to make sure that I was hitting all the right notes with the video.

The issue we had was that it was difficult to get everyone together due to other commitments, so the only decent filming I had with the band was the live gig. The rest of the footage that I had was of couples in New York, I spent a few days stalking people in bushes etc. trying to avoid getting punched/arrested. When I got home I was stitching the footage together and it looked good but there was definitely something missing.

Will [Webb] is actually a lifelong friend of mine, he is from South Wales also. His girlfriend Catalina [Zbar] is from Argentina and was visiting Wales for a few days. I showed them my footage and pitched the idea to them of this couple who meet, and fall in love in New York and they were super keen to help me nail it. A lot of the footage is actually filmed in Wales, I had to be quite cheeky with the way it was filmed, that’s why there are a lot of close, intimate shots. Ironically, Cat and Will were taking a trip to New York, and there was a few shots that I needed. So I gave them a camera to capture some extra shots, to make it look like they were living in NY.

As far as acting, they were superb. Can’t fault them at all, it was a lot of fun and there is so much good footage. They are as excited for the release as I am.

WVRockscene: It definitely looks like a professional job, how proud are you of the final product and how excited are you for GV fans and people in general to see it?

Holmes: I am really happy with the final piece and anxious/excited for the release. I have worked on a lot video projects, collaborating with other artists, but this is the first one that I have produced on my own from start to finish.

I’m hoping it gets some great feedback and me more work in the States. As for the GV fans, I think it’s something they deserve. The GVs have such a good following and the music is outstanding, they just needed something for people to see as well as hear to really appreciate how incredible their music is. I’m sure this will help them in their path to stardom, and I wish them the best of luck.

Colmenares, talking about the video and GV fans...

Craig made it all happen and we are very pleased with the results. Hopefully we get to do another one...Definitely easier for fans to share our music with friends. We’ve been wanting to do a video for so long but given limited resources, we’d rather record a song than spend money on a video.

I am grateful that we have friends from across the pond that would fly all the way to the US to help us out. THANK YOU! THANK YOU Craig of Shutter Slice! And to all our friends that have been helping us along the way.


Balliett/Bello split out on Garbage Days

Two WVRockscene favorites, Dylan Balliett and David F. Bello, recently teamed up for a split release on Garbage Days. You may have read all about Balliett's Spirit Night and Bello's rockin' here on this blog, be it in Sleepwalker or his solo efforts, and you may have heard about Garbage Days, mentioned in our recent chat with Charlie Wilmoth of FOX Japan, but not altogether in one big run-on sentence right?

Do check it out though. Balliett (now in NYC we believe) submitted the dreamy "25" and Bello contributed the Pixies-meets-Radiohead jam "Monster," killer stuff indeed. Thumbs up to Garbage Days for getting all this music out and thumbs down to WVRockscene for not covering it.

Wait, we are!


A Special Holiday Message From The Renfields

Our friends in The Renfields are releasing their two-disc box set All The Stuff And Gore, and to celebrate the band is welcoming one lucky fan to Crystal Lake for Christmas to, well quite likely be murdered and re-animated into the Renfields Choir.

Could not be more stoked to see this come out and hear all these songs. Click on The Renfields tab in the cloud sidebar to see all the past stuff we've done on the band and look for more on this soon on this here blog...


Q&A w/Stephen Barton of Close The Hatch


Onetime Sissonville resident (and friend/cohort of Aaron Fisher at 101 Productions) Stephen Barton returns to Charleston for shows with his new band, Close The Hatch, solo stuff (Oh Southern Stranger) and a new label, Red Moth Records.

We caught up with Barton to see what’s been up since we last chatted...

WVRockscene: What’s been up with you since we last caught up for Killing Chloe?

Stephen Barton: Killing Chloe went through a lot of lineup changes in the last two years, losing a few of its main and long standing members, leaving JP (John Paul Morris) and myself to fend for ourselves and keep it afloat. The two of us wrote and recorded another EP “Confront and Embrace,” which was a far cry from what Killing Chloe had been. Using electronics and less hook-driven writing styles, it became more of a darker, slower project. After playing a few shows and some more lineup shifts we made the choice to call it a night with Killing Chloe for awhile.

WVRockscene: How did Killing Chloe morph into Close The Hatch?

Barton: Basically we had become something else anyhow, so myself, JP, and Dan Malloy (the last bass player for Killing Chloe) decided to shift our attention to a new project and focus more on instrumental parts and more of a Neurosis vibe. We wanted to build something from scratch and create more soundscape-oriented material.

WVRockscene: Building on that, how is CTH different from KC?

Barton: It is heavier, slower and much more atmospheric than KC. Honestly they don’t seem relative to me listening to them. I think it’s just a natural growth in our musicianship. Killing Chloe had limitations, Close The Hatch does not we can do whatever we want -- basically it’s more artistic in my mind. Not to down play what was done in Killing Chloe, I’m really proud of that, but without the right parts it was never gonna work again. And you will not see our faces lol.

WVRockscene: You’ve started a label, Red Moth Records, what made you want to start that and what’s it been like?

Barton: The idea was to be the butcher in the market, and the cook, so to speak. We basically had already in the past, so I figured why not take it further? Myself and Brandon Ross (a close friend and fellow musician) had the idea to promote music we make and other bands we enjoy with vinyl and digital downloads and basically the idea grew from that. It’s been a slow process but we are finally releasing things and promoting some events like the ones at The Empty Glass on the 18th and 19th. It’s a lot more work then you would imagine lol.

WVRockscene: You collaborated with John Lancaster on a Close The Hatch song (“Manna Feeder”) -- what was that like and how did that come about?

Barton: That’s a weird story actually. Killing Chloe had played The Blue Parrot a few years back and OJ from Byzantine attended and told me about how we were kinda like Chum, whom I had only heard of from living in West Virginia for a short period, but until then not actually heard. I downloaded their record from iTunes on the trip home and not only dug it, I was really surprised at how close we were. They tuned the same basically and had a [similar] feel. It was scary.

I’ve become a fan since and I drove to Huntington from Ohio to see the Chum reunion show at V Club and was just floored by how massive they sounded. I added John on Facebook (that sounds really dumb) but it’s true and reached out. We chatted about some ways to work together, and I kinda last minute threw a bunch of tracks at him and that’s the one he picked, which was awesome since it was my favorite of the group anyhow.

He has been very kind and supportive, and what he did on the song is something I never would have thought of or heard in my head ever. I’m stoked he is on the EP! Plus we share an interest in music like Made Out Of Babies and King’s X. A lot more common ground than I’d have expected ever, it’s really cool.

WVRockscene: You released the Close The Hatch EP for free, right? What influenced that decision?

Barton: The EP release was something we decided to do last minute before we headed out of state for these shows, and our recent show opening for Mastodon and Dillinger Escape Plan in Wisconsin at The Rave. We figured why not make it free get it in peoples ears!

We actually have plans to release a handful of splits on the label with other artists and another EP in 2012.

WVRockscene: You’re coming back to WV for these Empty Glass shows with different bands, how cool is that?

Barton: Well we are heading back for two nights, the first night will be with our friends in Ghost Fleet and our fellow Dayton crew Life After Liftoff and myself (Oh Southern Stranger) playing original acoustic/alt-country material of mine which is nothing like Killing Chloe or Close The Hatch, haha. The second night is Close The Hatch and Let the Guilty Hang, with The Number Six and AK 40 Sexuals. Each night will be a totally different vibe and style of music.


CD Review: "The New Strokes Record"

CD: The New Strokes Record

It doesn’t get much more plug-in-and-go than The New Strokes Record by NU. “Written and recorded in minutes,” as it says on their bandcamp page, this latest killer side project and collaboration between The Demon Beat’s Adam Meisterhans and Tucker Riggleman, with Prison Book Club drummer Andrew Ford, only further cements these guys as pre-eminent West Virginia rockers, whatever band they’re in.

Yeah you can’t say Meisterhans and Riggleman ever got the memo that side projects are supposed to suck. While it’s not like they spent too much time thinking about the songs (the 10 songs average two minutes in length -- now that’s pretty punk) on The New Strokes Record, these three dudes capture a raw, abrasive garage rock sound (circa the 1970’s) and punk rock attitude that a lot of bands would do well to emulate.

Favorite tracks include, firstly, “Can’t Party,” “When I (get some)” and “Rescue You” -- but pretty much all of the songs run together in a sonically coherent fashion, and form a pretty great record. Don’t blink or step out of the room though: you’ll miss it.

But seriously, as you may have heard The Demon Beat approach something like The Stooges in the past, (think “This Is No Fun” off Shit We’re 23) and wish they’d explore that kind of tendency, flush that out, this is the record they never released. But now they have, as NU.

Pretty much all of the songs are catchy as hell, uptempo, with driving guitar, fuzzy, walking bass lines, Meisterhans’ near-patented, gnarly shouting and soulful voice ran through layers of reverb and echo all the whilst continuing his lyrical themes of losing in love -- nothing more straight ahead rock and roll than this has come across the desk of the WVRockscene home office this year.

Recorded (like everything else they do) in total DIY fashion by Meisterhans, with album art from Demon Beat drummer Jordan Hudkins, The New Strokes Record is both a step back and two thumbs up for rock and roll from these dudes.

After the “written and recorded in minutes,” liner note on NU’s bandcamp page, it says simply: “Turn that shit up.” Nothing better or more profound could be said here. Turn that shit up indeed.

Could you imagine hearing this, not having heard of The Demon Beat or any of the assorted side projects, each of which is indeed quite awesome? This would be your favorite “NU” band. Haha we’re here all week!

--- NU plays its debut show Thursday night at the Blue Moon Saloon (200 E. High St.) out in Shepherdstown with Sundown and Masquerade Manifesto.

NU: “At All” live @ Blue Moon Saloon 11.17

video: Bucket Of Rock Blog


Q&A w/Charlie Wilmoth of FOX Japan


FOX Japan (L-R: Sam Wilmoth, Charlie Wilmoth, Andrew Slater and Pete Wilmoth) plays 123 Pleasant St. Saturday night.

Slater-Wilmoth (aka FOX Japan) plays 123 Pleasant Street this Saturday night on the heels of releasing “Casual Sex,” the debut single from their fourth album, Glory, Glory Hallelujah, set for release Tuesday.

The indie rock outfit, comprised of brothers Charlie (vocals/guitar), Sam (bass) and Pete Wilmoth (drums) with guitarist Andrew Slater and evoking something like Talking Heads, with influences ranging from The Pixies to Pavement, is no stranger to Magic Town’s scene or readers of this here blog.

We caught up with FOX Japan frontman Charlie Wilmoth to see what’s been up with the making of Glory, Glory Hallelujah, what has changed (if anything) and what’s in store for the band...

WVRockscene: It’s been over a year since we last talked, where are you guys living at these days? Columbus? Pittsburgh? Morgantown? How far apart are you?

Charlie Wilmoth: I’m in Columbus, Pete is in Pittsburgh, and Sam and Andrew are in Morgantown.

WVRockscene: While there are projects that you may be involved with, be it The Overcoat, Spirit Night, Charlie doing solo stuff, how cool was it getting back together writing and collaborating for new FOX Japan material?

Wilmoth: We do it all the time, or at least we have recently, so I’m not sure it’s something we really felt like we took a break from. Speaking for myself, I just like making things and I probably always will, so I’ll always be writing.

WVRockscene: Charlie you’ve played out solo in recent months, how did that go and does/did playing solo either refresh or let you look at FJ writing differently?

Wilmoth: I feel like I should do it more. Fox Japan is about ten times more interesting to me than playing by myself, but I think Fox Japan also isn’t very easy to understand the first time you hear it, in part because the lyrics aren’t clear or audible. When I play solo, it almost feels like comedy. People laugh at the funny stuff. That doesn’t happen at Fox Japan shows.

WVRockscene: Speaking of solo, Charlie, the debut single “Casual Sex” continues the FJ theme of deeply personal, sometimes painfully honest and smart, insightful lyrics. Musicians talk about their craft offering some sort of catharsis, is just getting to write lyrics and share them pretty cool? Whether it’s casual sex (or lack thereof,) Glenn Beck or whatever cultural/religious/political observations, how much thought goes into the lyrics?

Wilmoth: A lot of thought goes into them, and thanks for noticing! One way this record is different from the others we’ve made is that the lyrics ARE pretty personal at times, whereas before I think they weren't. Thoughtful and distinctive, yes (hopefully), but personal, no, in that I was mostly writing about political ideas, or characters I dreamed up, not about myself. The original idea for “Casual Sex” was for the narrator to not want to have casual sex because of his brimstone-and-hellfire religious beliefs, but that felt like a cheap shot, and it seemed much harder and more interesting to actually make it about me and my own weird hang-ups. So that’s what I did. Most of the songs on Glory, Glory, Hallelujah! aren’t as much of a departure from what we did with lyrics before, but I’m also less inclined than I used to be to go after easy targets.

WVRockscene: I thought I’d seen a pic of you guys in the studio with Dave Klug in Pittsburgh, is that right? How did that go and how much smoother if at all has recording got for you after three prior releases?

Wilmoth: Actually, we recorded the album with Brian Spragg in Morgantown, and Dave mixed it in Pittsburgh. The photo you saw was probably from the Overcoat’s recording session.

The recording process isn’t smoother. It’s worse. We’re getting a lot smarter about it, but we’re also wanting to do crazier and crazier things. “Casual Sex” was the last song we recorded and we banged it out (so to speak) in a few days, so you can’t really tell, but in a lot of the other songs on the album, there’s just a million things going on. I felt a little bit bad for Brian and the amount of time I spent at his house. He really was a saint about it, and all I could really do to repay him was give him a few bucks and buy him lunch. There’s one song that has, I believe, 78 tracks. Dave just about had a heart attack when he saw it. I liked the way our last record, Reenactment, sounded, but it seems a little bit spare. This one sounds richer, and there’s also a lot more ear-candy stuff going on.

WVRockscne: Charlie when we talked for the Herald-Dispatch piece on FJ like 18 months ago, you mentioned you wanted the follow-up to Reenactment to sound minimalist in comparison or something like that. Given your classical music background, how satisfying/frustrating a process was arranging and producing the new songs?

Wilmoth: It was just kind of crazy. I think we might have started recording it even before Reenactment came out. It took a long time in terms of hours spent. I’m not sure whether that will be immediately apparent to the listener, in that this record doesn’t really announce itself as an epic rock album, but I do think all the weekends we spent in the studio make the new record sound more dense and warm and immediately appealing.

There really wasn’t a lot of arranging in the classical sense. It was more about listening to things and deciding whether six guitars was enough for a particular section, or whether there needed to be eight. Or whether there would be a way to drop a couple extra keyboards into a particular section to give the pre-chorus a little more momentum. That sort of thing.

WVRockscene: You’re releasing Glory, Glory, Hallelujah on Garbage Days, which has already put out some cool stuff from local/regional acts, how neat is it to be able to kind of share the new FJ record with not only your fans, but your friends who are running this label? It’s got to be cooler than dealing with some stranger somewhere who doesn’t care about your bands, right? Just your thoughts on labels these days?

Wilmoth: We used to concern ourselves with that kind of stuff, but we haven’t recently, and that feels a lot healthier. As for Garbage Days, there has been a lot of great music happening in Morgantown in the past few years, and it’s nice that Anthony Fabbricatore put together Garbage Days to help announce that to the world.

WVRockscene: On the FJ bandcamp page it says the new CD will be out Nov. 15, is that right or just a marketing ploy? Can fans expect to be able to get on there Tuesday and be able to order it?

Wilmoth: Yes, it should be up there on Tuesday. There might be some reason to delay it, but we’re not planning on it.

WVRockscene: Looking forward to this show Saturday at 123?

Wilmoth: Yes. We’re playing with Dave Bello and with a New York band called the Ditty Committee, who make these small but spectacularly bleak and well-crafted songs. It’s a good bill, and what unifies it is that all the acts on it are very serious about lyrics.


WVRockscene: Bands come and go, but it seems like, looking at you guys from the outside, that being brothers -- and you guys have said this much in the past -- precludes any real diva drama or chemistry issues. Obviously Slater is something of an adopted Wilmoth bro in FJ, but how cool/fun is it after all these years to still be together in a band making music you like playing?

Wilmoth: It must be good, because I can’t imagine doing it any other way. We just agree on so many things that rehearsals are pretty easy. And when I’m in Morgantown, I can always crash on Sam and Andrew’s couch.

mp3: Casual Sex by FOX Japan

photo: Nikki Rotunda

--- FOX Japan plays 123 Pleasant Street Saturday night with The Ditty Committee and David F. Bello, and will release their fourth album, “Glory, Glory, Hallelujah” Tuesday, Nov. 15 on their bandcamp page...

Related: Slater-Wilmoth (FOX Japan) vs. Glenn Beck Friday @ Shamrock's (Herald-Dispatch June 2010 article)


Knisely keeps to important things in new album (H-D repost)


Huntington’s Sean Knisely opens up and steps out on his own on his new 10-song solo acoustic debut Wilbur By The Sea, an unexpected change for the 26-year old singer-songwriter.

Reposted from The Huntington Herald-Dispatch

Life, love and music. That pretty much sums up the story for Sean Knisely.

Known as the singer-guitarist for the now defunct Huntington-based electro-rock band Attack Flamingo, Knisely, for his 10-song solo acoustic debut, “Wilbur By The Sea,” stripped things down while keeping what was important after things with his band and in his life just kind of ran their course.

“We never officially broke up,” Knisely said of Attack Flamingo over the phone. “People were just in different life situations, and just had other things going on. It just kind of ran its course.”

While Knisely constantly wrote songs, be it in Attack Flamingo, in Coyotes in Boxes, or as a budding solo artist influenced by the likes of Iron & Wine and Bon Iver, with a voice like Smashing Pumpkins’ Billy Corgan, it was his life and his place in the world Knisely found had changed after a very real breakup.

“So, I almost married a girl in December, and that fell apart,” the 26-year old said deliberately, to give some back story to the inspiration behind the songs. “That gave me a lot of stuff to work through within myself, and I wrote a lot about that, and that turned into a lot of music. Then, coming out of that I started to question everything. Like, that was the life plan at that point, that was what I was moving toward, and now, what am I doing? If I’m here I want to be here intentionally. I love this place, I have great friends, a family, church, a lot of support, it’s really a great community and I love it.

“But at the same time there’s this this feeling that if I’ve never really left home and left my comfort zone, not even moving but just branching out and traveling, then will I look back and wonder what might have been?”

Where Attack Flamingo’s faith-based journey was more interstellar, Knisely’s inspiration for Wilbur By The Sea took the form of an interstate love song.

“I was traveling down through Kentucky and Tennessee and down to North and South Carolina, visiting friends and writing the verses to those songs. At that point I was searching within myself, feeling stuck. I want to feel like the world is wide open. I want to follow my dreams and there’s a limited ceiling of opportunity with the arts in Huntington unfortunately. There’s a great community, but I really want to give it a shot to make music what I do,” Knisely said with emphasis on those last three words.

“In the context of how much I love Huntington, I feel like, myself and other people, need to be able to leave and explore.”

So getting out of Huntington was as much or more of a cathartic experience as it was an artistic exercise for Knisely.

“As I kept writing that stuff, and having been in the relationship and dealing with the aftermath of all that, it just became more personal and I went with it. And I just kept recording because I liked it, not knowing what I would do with it. And I realized that was what I wanted to do.”

Opening up his life to others by himself on a stage wasn’t something Knisely always envisioned.

“I never saw myself as a solo artist, maybe just because it’s more difficult. You have to push yourself, like ‘Here’s me, I play music, I’m going to get up there and play.’ It’s more vulnerable than having a band, where it’s like a team or a built-in support group. Really I’m more in my element writing a song and playing a song and recording a song than I am going out and promoting it all.”

Knisely didn’t need to look too far for a welcoming atmosphere and audience for his music, he just walked out the door of his apartment and played on his porch.

“We’re calling it porch unplugged,” Knisely said laughing. “My friend Joe, he’s always had the same exact mindset, only more intensely, of getting people together. Every other Thursday we get together, whether it’s his porch or mine. That kind environment suits singer-songwriter, and Coyotes in Boxes, well, just down home sort of folky community vibe. It’s where I think the music will thrive, in that kind of atmosphere.”

So from one comfort zone to a whole new atmosphere, be it solo musician or solo relationship status, his porch or another state, for Knisely, Wilbur By The Sea is definitely a welcome escape.

“There’s a really tiny town in Florida, and I didn’t even think it through this deep, but as you’re leaving Daytona Beach there’s this little sign and all it says is Wilbur By The Sea. It’s representative to me of traveling and seeing new things and escaping the comfort zones of life, sort of. I like that.”

Sean Knisely’s solo debut record “Wilbur By The Sea” is available for streaming or download at http://wilburbythesea.bandcamp.com/

photo: Russ Billo

Related: WildBlog review of Wilbur By The Sea