NYS Music 20​12

Category: Album Reviews

  • Review: Last Under The Sun – Hooligan Jihad

    Hooligan Jihad, released November 23rd 2012, by Last Under The Sun is fast-paced hardcore punk that doesn’t hold back.

    Last Under The Sun is a four-piece band based out of Birmingham England. They performed their first show in October of 2001, and continued to play in Holland, Belgium, France and Germany. Over the years, two of their drummers passed away: Neil Farrington in 2009 and Samuel Fry in 2011.

    The five-song album starts off with “More Helicopters” which has a strong anti-war message, clearly stated in the lyrics “I don’t wanna die in your fucking war,” and finishes with a two minute sum up of the album in their song “Hooligan Jihad.”

    The instrumentation in this album is solid. The beats are fast and in your face, clearly synced well through the many years of musicianship this band has shared. They blend punk and hardcore nicely, in that when they’re not blasting away their punk beats, they’re getting you moving with a breakdown.

    However, with the good comes the bad. The lead vocals don’t seem to fit with the punk feeling of the songs. They are hard and raw; almost a blend of the punk and the hardcore, which would fit better if they created slightly less dissonance with some of the melodic sections of the music.

    Overall, Last Under The Sun doesn’t disappoint. They are a fast, raw, in your face blend that is sure to appeal to punk and hardcore fans alike. Be sure to check out their videos for “More Helicopters” and “Ok Bye” below, both of which were created by the band.

    Last Under The Sun – “More Helicopters”

    Last Under The Sun – Ok Bye

  • Review: Sunken Ships – Sorry Is Just Five Letters Put Together

    Here at Upstate Metal, we pride ourselves in knowing that we recommend great bands with great musicians. Unfortunately, Sunken Ships is not one of those.

    Sunken Ships is a four-piece grindcore band from New Hampshire. The earliest record of their creation is June of 2007, and how they haven’t given up completely is beyond me. They have 357 Facebook likes, and that is baffling.

    According to their description, “The juxtaposition of the frantic decimating grindcore and the taught and emotional synth pieces fit so well together it shows more than musical talent but beautiful ART ARRANGEMENT.” That’s a pretty audacious statement that these guys simply don’t follow up on. I’ve yet to hear any significant musical talent, and calling it “art” is bold.

    They claim on Reverbnation their full-length album “Sorry Is Just Five Letters Put Together” was recorded by themselves in “The Grind Factory,” also known as their home. This could not be more evident. The sound of the guitars and drums are muddy and unclear, and is poorly mixed. The vocals are one of the best parts of the music; however, some of them take me back to a time of bad ‘80s power screams, and the gang chants are distant and hard to hear over the squealing of the guitars.  Most of the songs start with excessively long ambient noises or talking, and it seems as if every other song consists of 30 seconds of droning clatter.

    The band states they are working on another LP, which is made up of songs that didn’t make it onto their full-length album. If this LP ends up as the same quality as their full length, I don’t look forward to reading or writing that review.

    It’s difficult to pick out the positive portions of Sunken Ships. The drums, although poorly recorded, show some semblance of talent; yet the timings and beats fall off tempo almost all the time. The band does have a positive “I don’t give a fuck what you think, we’re just having fun,” attitude, which is fantastic for them. However, I can’t help but think that this attitude is a result of being told on numerous occasions that they aren’t good.

    Despite whatever attitude the band may have, bands are judged more on their musical talent than how their personalities are perceived by their fans. A band like Sunken Ships is one that should stay in their garage with the door closed and soundproofed.

    https://www.facebook.com/SunkenShips

  • Hearing Aide: Dopapod “Redivider”

    Hearing Aide: Dopapod “Redivider”

    Dopapod, the palindrome-inclined quartet from Boston who have risen to quickly become a sought after late-night festival act (their StrangeCreek set in the cabin was a packed funk sauna) and continue to show that their studio work is tandem to their live shows. After Drawn Onward was released in 2011, the next chapter of Dopapod was received with great enthusiasm as they fanned out on tours across the country, unleashing one of the best kept secrets of the Northeast onto the country. Redivider is a powerful follow up that showcases the growth and musical maturity of Dopapod, in addition to a mesh of funk, electronic, jam and progrock genres to appeal to all, especially those who enjoy great music and love to dance their asses off.

    Dopapod RedividerFor starters, there are three short interlude tracks, “Get to the Disc”, “Ooze Weapon” and “Fry the Gorillas” that keep a wonderful flow to the album, something quite welcome that allows for seamless transition between the tracks. Starting off with “Braindead”, the combo of spooky synthesizers and slick guitar licks make for a track reminiscent of Oysterhead. On “Bubble Brain”, Eli Winderman takes the synthesizer through peaks and valleys and even has a hip hop Dr. Dre feel. While there is a progressive nature to the song, building upon each section towards a fantastic ending, I am most curious to see how this structured instrumental will develop live. Crowds will get worked into a frenzy over “Trapper Keeper”; staying organized in grade school was never this rockin’. Rob Compa’s guitar work would make The New Mastersounds proud, Neal ‘Fro’ Evans’ drums drive the song at 75mph, with the mixing in a little electronic twist perfect polish to this funky number. The next two tracks, both instrumentals, “My Elephant vs. Your Elephant” and “Blast”  are intense and soaring, the latter heavy with Rob’s guitar and Chuck Jones’ bass.

    Picture a Nintendo game, the music starting off catchy at first, and then delving into some deep and dirty soul in the first half of the tune. Then, the video-game journey brings you key-led towards an abyss… Once “Vol. 3 #86” lands into a third movement, you have the highlight of the album and an incredible song for dancing. When it comes to late night appearances at festivals, this one will be requested for certain.

    “STADA” has a spooky intro and classic Dopapod sound, while “Give it a Name” is deceptively slow to start, then drops in Soundgarden-heavy spurts amid goofy schizophrenic musical fun. “Weird Charlie” uses playful bass and accordion keys, and things get WEIRD!  An excellent cap to the album, wrapping up great production and great writing by Dopapod.

    If you’ve listened to Dopapod before, you’ll want this album. If you’ve seen them at festival, you’ll be well served buying this album. If you have never listened to Dopapod, what are you waiting for? Come join the party!

    Key Tracks – Bubble Brain, Trapper Keeper, Vol. 3 #86, Give it a Name, Weird Charlie

    Pick up the album at Dopapod.com on December 21st

  • Syracuse Guitarist Miss E. Releases Killer New CD Yesterday’s Muse

    Miss E. is Missy Ragonese, a guitarist/percussionist/ singer/songwriter based in Syracuse. She plies her trade in and around Central NY under several monikers: Miss E., Miss E. Duo, her main band Dovetail Joint and Miss 3, a female power trio.

    Ya gotta do what ya gotta do to get your name out there and this lady lays it on the line every day. Yesterday’s Muse is like “the story so far” in her journey as a professional musician. While her influences become clear, her voice and guitar licks quickly establish a style both contemporary and individual.

    Let’s run this baby up the flagpole and see what happens. Miss E. is joined by her Dovetail Joint band-mates Paul Carpenter on bass guitar and Dan Redmond on drums, along with a guest appearance from Syracuse native Paulie Cerra on sax.  “Cherie”, the opener, is sweetly melodic featuring Paulie’s silky licks rolling over Miss E’s deft rhythm line, a very smooth beginning that transitions nicely into “Always”, a bittersweet reminiscence. Miss E. knows how to tell a love story and you can feel her swoon as the memory swirls. It’s downright beautiful, her voice rich and sure, the guitar dances with her while her heart opens lyrically.

    Each song segues to the next with sounds from nature leaving no empty spaces between each piece mixed by perfectly by Jeff Moleski at Moletrax Studios. “Just One Kiss” is the first track where Miss E. lets the electric guitar rip and cuts loose some solos. Her soaring licks melding with the heart-felt vocals to fully express her emotion in the moment.

    “A Girl Like Me” switches up gears a bit with this song of determination and defiance against the road-blocks of a musician’s life and the belief in a dream that keeps her going against it.

    “The Tide is Turnin’” turns it up several notches on the attitude meter as Miss E. wails a growling vocal line accenting her screaming guitar solos. This is all about spitting in the face of oppression no matter what form it takes and she reveals several. The reggae break puts a light beat behind the most serious in a Marleyesque way.

    Isolation can be confused by onlookers as arrogance and “Anything Less” paints a picture of reality vs. conceived illusion from others jealousy. A hand that holds you down, instead of lifting you up, until you realize what really counts is your own image of yourself. Her sultry, knowing voice echoes their words until you can feel her confidence take over in the final verse. Very powerful stuff here, most artists don’t have the nerve to be this self-expressive and it’s a hallmark of the whole album.

    “Oh No” let’s Miss E. wave her Hendrix flag, her funky wah pedal work and gritty voice scream out, trying to pull someone back from the edge and expressing the intense frustration that can bring.  Her solo lines cast a lifeline that seems to not reach the intended goal.

    “Hold On” brings a reggae feel to a lover’s cry for patience, but we all know how difficult waiting can be. She pleads for the space to make things right before they can be together, and the raw emotion in her voice makes you want to believe.

    Paulie Cerra returns on “Super Woman Lover (SWL)”, his sax is as sultry as her dream sequence verbalized. I know I said it before, but the lady can write a love song. This time she’s flat out confident and sexy, determined and strong. The “Spooky” feel is perfect for the topic and twists the lyric in your mind.

    A little bit of Carlos pops right out of “When It’s Your Turn”, from the Latin percussion feel to the chord progression. Almost a dare or a challenge to step-up and keep it real, it’s softly in your face and honest.

    “Is This Love” could almost be a Toy Caldwell tune, simple and to the point, yet emotive in the guitar line, more than through the lyric. Each solo ascending the previous to the ultimate conclusion and the answer to the question asked. Both.

    “Shoot Me Down” sets its tone right off the bat, it rocks hard and bares her heart. Humility is always a tough topic and the wanting to retain it is tougher.  She pleads for honesty and guidance from her inner self, or is it from her lover? To be oblique as a writer is a slippery slope and she navigates this one with skill.

    “Indigo Sunset” pays a musical homage to the Indigo Girls, Miss E.’s light touch on the acoustic reminds me of a lighter “History Of Us” melody, not the topic, but the feel of the guitar.  A great closer that gives her a chance to show-off her acoustic chops to match the variety of feels she has playing electric.

    Overall this is a fabulous and daring album of life-stories, the best music always comes from the heart and Miss E.’s heart is all over each cut here. I found this to be a great cruising disc, especially when you can listen to it completely without interruption. I bet it’s pretty good to make-out to as well.

    You can find Miss E. and Dovetail Joint on facebook and her disc is available on cdbaby

    Check it out and support local music!

    Key Tracks: Always, The Tide is Turnin’, Is This Love

  • Album review: Soule Monde

    Album review: Soule Monde

    Soule Monde is a power funk band from Burlington, Vermont, composed of drummer Russ Lawton and multi-instrumentalist Ray Paczkowski. The duo’s moniker, pronounced “SO- lay –MON-day,” is a combination of Lawton’s middle name (Soule) and Paczkowski’s first name (Raymond). “Mond,” in Haitian Creole, translates to “world,” and the worldly influences drawn by Soule Monde are apparent in their music, presumably resulting from Lawton and Paczkowski’s experiences playing with a number of different bands in the past. Paczkowski has toured with Dave Matthews and Friends, while also playing in the jazz group, Vorcza. Similarly, Lawton was a member of Afro-beat band, Zzebra, among others, and has played drums for various independent films. Together, Lawton and Paczkowski are part of the Trey Anastasio Band, a side project created in 1998 by Phish frontman, Trey Anastasio.

    album reviewPaczkowski and Lawton have just recently, however, come together as a two-man band. On November 17, Soule Monde will release its self-titled debut on Cornmeal Records. The album is eight tracks and forty-two minutes of funked-out instrumentals, originally composed during improvised jam sessions at Slidebrook, a bar in rural Vermont. Since Sole Monde’s conception at Slidebrook, Paczkowski and Lawton have fine-tuned each song in the studio, putting together a record that represents the musical capabilities developed over the years by the duo.

    Soule Monde opens with “Bernard,” a track in which Lawton’s drums, playing quick, complicated beats, remain constant while Paczkowski’s instruments produce a call and response. Throughout the album, Paczkowski demonstrates his skills on the Hammond organ, the clavinet and the left-hand bass. “Tango,” the album’s seventh track, is dominated by Lawton, however, as his drums, which include timbales, exemplify a Latin influence, providing a fitting sound for the song’s title. As the song finishes, the listener is able to make out a faint “Victory!” expressed by one of the band members. Although “Tango” does not conclude Soule Monde, this expression could be used to describe the entirety of the album, as the compilation of all eight tracks makes up for forty-two minutes of winning jams.

  • Hearing Aide: “Long Time Coming” by The Heavenly Chillbillies

    One of Buffalo’s best-kept secrets (not for long) is the raucous good-time band The Heavenly Chillbillies.

    They’ve expanded to a quartet since this recording and certainly their heart lies in live performances, but this freshman release provides a guide to what is in store for you when you see them live. From their tag-line “Booze Infused Blues and Americana” to the song titles, including “I Don’t Need Drugs To Have A Good Time (I Need Drugs To Have A Good Time With You” and “My Sister’s So Mean (She Drinks Gasoline)” it’s obvious these boys are not only out for a good time, they’re about to show you one too.

    The opener, “Long Time Coming”, has a funky-cool swing reminiscent of The James Gang and features the multiple vocalist capability of the band. Gabrial Mayer, guitars/vocals takes the lead here and on track two, “I Don’t Need Drugs To Have A Good Time (I Need Drugs To Have A Good Time With You). A straight up rocker that laments with tongue firmly in cheek, kick ass! Earl Irving, bass/vocals takes over the lead vocals with his distinct growl. Mike Olczak, drums/vocals drives the whole thing, steady and strong at the kit, his voice blends and highlights both Gabe and Earl’s. “Tell Me Mama” is a gritty, in your face plea for acceptance and communication with the fairer sex that leads to the rave-up, “Tired Of You”, makes perfect sense in sequence! “Buffalo Blues” starts with Gabe rhythm channeling his inner SRV on this tribute to their hometown and it’s own trappings. Funky as hell with a killer vibe, a must see live! If the pulsating rhythm section at the start of “Mike’s Song (Shine)” doesn’t make you move, nothing will, and the groove just drives the song under Gabe’s vocal. Yet another example of THC’s broad style base, they ain’t scared to grab you by the neck AND the heart! The seemingly endless groove continues on “My Sister’s So Mean (She Drinks Gasoline). THC makes it sound so easy, they funk, rock and kick the jams seamlessly, flipping a switch to rave it up on “Shotgun Revival”. While the disc is dynamic, it seems like a natural course for The Chillbillies to do a live album. ‘Cause this shit is hot! Play it loud!!

    The bonus track, “Blues Is My Business (And Business Is Good) just kills combing all of the elements I’ve previously mentioned. Earl and Mike groove under Gabe’s smooth solos and the three part vocals run deep and rich. They aren’t afraid of anything, stretching and breaking genre boundaries on every track.

    You can check out The Heavenly Chillbillies on their website at http://www.thcbillies.com, on facebook and reverbnation.

  • Hearing Aide: Last Train Out

    Central NY classic rockers Last Train Out have released their first CD. Built on a solid foundation of blues/rock tradition the tracks here sound immediately familiar, yet fresh and true to their roots. This traditional power-trio jumps over the pitfall of translating the strength of their live performances to the studio and onto their eponymous first release. Big guitars, pounding bass and thunderous drums blend under the smooth stories and real-life tales spun by bassist Lou Kaplan (formerly of Mad Jack and Savoy Brown). His band-mates Bob Bachta – guitar (Joe Whiting Band/Spider Murphy) and Al Macomber – drums (Savoy Brown/Mad Jack) join Kaplan on vocal duties stretching the abilities and overall sound to seem like much more than three guys rocking out.

    On first listen I distinctly heard Bad Company (not a bad start!), then with each subsequent listen the deeper nuances came out, hitting their target squarely. These cats know where they came from and hold firmly to the traditions they learned over decades on the road. The twelve tracks featured here reflect all of the band’s roots, rock, blues, southern rock and more. Each of the band members are strong in their position, giving free space for each to step-up and shine.

    There’s an instinctual groove happening here that’s reflected strongly in the opening cut, “Heart Of An Outlaw” right through the closer, “Last Train Out”. “You’re No Good For Me” is a straight up rocker with Bob’s guitar dancing over Lou and Al’s steady rhythm. Lou’s soulful vocals are consistently dead on, “Reachin’ For The Sky” tells yet another tale of the road, symptomatically. The words may form in his brain, but the song’s are straight from his life-experiences and hence, his heart. “Love Me In The Morning” is a solid homage to their signature sound with its “Can’t Get Enough Of Your Love” rhythm riff, then Bob takes off into a solo and it’s all LTO!

    “Too Complicated” is a classic “opposites attract” rocker that brings a little Skynyrd to the party, and a party it is. Another track that will likely see life on a live recording along with “Lonesome Hearted Stranger” with its ZZ Top, rave-up feel and relentless groove. Much like “Red Eye Sauce”, this song could pop-up in a Texas roadhouse and fit right in. Just enough twang in the vocal and plenty of attitude in the lyrics, it’s as if Lou is writing while sitting in that sketchy place. Completely comfortable, but with his head on a swivel for a thrown punch or bottle.

    “Standin’ In Your Shadow” flat out rocks, Bob’s bluesy riffs bring it home once again, defining the sound of the band. It’s a great mix by Rob Hunter too, the guitars just slightly over the rhythm and below the vocals. “Sweet Addiction” is a great example of the producing team of LTO with Andrew “Duck” MacDonald and Rob Hunter and Dave Conway’s engineering. Deft touches by all on the sliders!

    “I Don’t Want To Leave You” is like a Robin Trower rocker with swagger, a “I didn’t want to do it baby, but you made me” kind flip off. It expresses attitude in the same way “Burn One Down” expresses defiance, no apologies, no rules, it’s a lifestyle, like it or not. These guys have the balls and the chops to back it up, no need to lean on frivolous extras here.

    The closer “Last Train Out” ends the disc with a fury that flows through the whole disc and a punch that’ll make you remember it. These guys have a long way to go on this trip and everything they need to take it much further. Check ‘em out on facebook and reverbnation. They have a new website in the works and are in the process of signing a management team to spring-board their careers. Stay tuned for much more from Last Train Out.

  • CD Review – The Rusty Doves Live

    I think it’s safe to say that at this point, anyone around the general CNY area has heard about the folk-Americana/ jazzy swinging newgrass duo, The Rusty Doves.  The pair has played countless types of shows around the Utica area from opening up for acts like Rusted Root to playing their lively music for children in the Utica City School District.  I was more excited than usual to take a hot off the press copy of The Rusty Doves’ newest effort, especially after learning it was a live recording.  As I’d hoped, this disc is nothing short of a pure delight and captures the style, energy, and extra special quality that The Doves embody.  I have to immediately and highly recommend that this become a part of your music arsenal, especially if you are already a fan of this project.  If you are new to the Doves’ music, this is an excellent chance for you to find out what all of the fuss is about.

    I had a chance to speak with Jerry D, the duo’s bassist, about how this CD came to be.  The recording is of a show they performed about a year ago with Strung Sideways, another great local group.  When Jerry and Alyssa (Stock, vocals and mandolin) heard the tracks back, they were very pleased with the quality and way their music was represented.  They’d become somewhat frustrated with attempting to get the same energetic sound out of their music in a studio setting and were happy to hear their true music selves reflected back at them from this set of songs.  They decided to run with it, and that brings us to this album, officially releasing on November 3, 2012 with a shindig at The Green Onion Pub on Genesee Street in Utica, NY.

    This effort is delightfully grassroots.  As I understand it, the recording was done by Strung Sideways themselves and the business as usual aura created a great scene for Jerry and Alyssa to simply be themselves and do what they do; make cheerful (though sometimes deliciously, deceptively dark in subject matter) and organic music.  Most of the songs represented here are covers reflected through The Doves’ unique prism, but “Shadow Blues” is an original composition.  Whether interpreting the songs of others or crafting their own creations, The Rusty Doves’ sets always are cohesive.  They have a distinct style that they are able, or perhaps more appropriately compelled, to carry from one song to the next regardless of the genre the original artist worked in.  They know who they are and this translates.  It is folk and it is Americana, but it also draws from a big band and swing sound which really sets the Doves apart from some of their brethren on the circuit.  Their modern selections come out sounding expertly antiqued.  There is no denying Jerry and Alyssa’s musicianship either.  The way each dances through keys on their respective instruments shows a mastery of craft.  They leave no room for laziness, stock structures, or the easy way out of a song as they chromatically build one chord upon another; the chugging rhythm of the mandolin to the perfect counterpoint of bass.

    I expect your journey into this live compilation to be a pleasant one.  Once you fall in love, please share this great music with a friend and help the network grow for these dedicated independent musicians.

  • Review: Dead Channels – C.R.E.A.M.

    Dead Channels – C.R.E.A.M. (Manic Progression/Shattered Ego Records)

    This is 2012. Bands often spend more time coordinating outfits than worrying about silly notions such as their own integrity or what their legacy will look like if they manage to kiss enough ass to seperate themselves from the herd. When the quality of your music is dictated by desperate businessmen or the ability to make drunken women with daddy complexes wet, you’ve produced the equivalent of a walmart quality landscape painting in what should be a wall reserved for Picassos. With that said, it makes the occasions when you do find someone worthy of holding a brush that much more special. Dead Channels gets it.

    What Dead Channels has released here is a three song 7″ titled Cash Ruined Everything Around Me. Bassist/Vocalist Angelo Mosca told me it’s ‘somewhat of a concept EP’. The trilogy of songs within cover the topics of being in an honest band in a very dishonest, and I’ll just say it, bad time for music. The first song, Substance Abuse, tackles the topic of bad bands in positions of success. “Won’t sing along to your preacher song, like sirens to deaf ears/You work the stage like an usher the plate”. The second song, PMA vs. 401K, is an ode to the frustration of having to work a day job that you hate. The last song in this trilogy to the thankless joy of being in a band, Dirt Poor, deals with the illusiary quality of material things and the inner struggle to search for what truly matters in a world where you need to eat to survive. “Father don’t label me failed yet, I only want good things same as you. My blood, and my friends, this band is my family./ And I’ll keep working on quote “meaningless things”,like love and respect. And when I’m finished you can cash the checks, but the ground hasn’t covered me yet.” I don’t generally like to do reviews song by song like this at all, but I feel the topic and the flow of this ep call for it. As someone who was in an underground band for a good many years, this speaks to me.

    Musically, this is no departure from 2011’s Soul Pollution. The music is hectic and conveys a sense of urgency. Much like on Soul Pollution, the vocals are used as a fourth instrument to round out this three piece. This adds to the raw quality and makes the subject matter feel sincere. This ep shows Dead Channels achieving a stride and comfortablity in their music that should make people eagerly await their next album.

    http://www.facebook.com/deadchannels
    http://deadchannels.bandcamp.com/
    http://www.youtube.com/DEADCHANNELSNY

    -Brian Lawrence

  • Trey Anastasio: Traveler

    Trey Anastasio: Traveler

    I was surprised when I learned that the latest Trey Anastasio album Traveler, released October 16th via Rubber Jungle Records/ATO Records, marked his ninth solo album outside of Phish. The various arrangements of Trey Anastasio Band have yielded some amazing songs over the years with Trey able to pick and choose his playing partners, collaborators, instruments and musical styles. Traveler sees Trey taking the contemporary big band formation and mixing it with other modern day influences and musical stylings.

    Along with some heavy production work, especially on some of the vocals, the album takes on an almost indie-pop feel at times but also features familiar song structures and lyrical styles associated with any album that has Anastasio and Tom Marshall collaborations on it. As a result, the album bounces in different directions from track to track and never seems to really settle on an overall theme.

    “Corona” opens the album and serves as a fun opener of sorts with driving guitar work and vocals from Trey early on. The song then goes on to feature some interesting xylophone arrangements and harmonized vocals before ending abruptly.“Let Me Lie” provides a new interpretation of the song that’s also played in the live setting by both Phish and Trey Anastasio Band. This introspective song gets a pop makeover here and features a much faster and harder drum beat courtesy of Bryan Devendorf of The National. This band, a favorite of Trey’s, has their influence all over this album as it also has Matt Berringer lending a hand on vocals and was co-produced by Peter Katis who also helped produce some The National’s more acclaimed albums like Alligator and Boxer.

    “Land of Nod” is one of the tracks that steers the album in a relatively unknown and fun new direction. It features precise horn charts meshed with an almost drum and bass-like opening few minutes that sounds like nothing I have ever heard on a Trey or Phish release. The song features more of the aforementioned heavily produced vocals as well as harmonized theremins to give the ending a spacey feel. It is one of the true musical treats on this album.

    Traveler contains some more material that may be familiar to those who attend shows regularly. “Pigtail”, a song played by Phish once before in the fall of 2010 adds to the heavy pop influence on the album with more harmonized vocals and a signature Anastasio guitar solo. “Clint Eastwood” is a song heard regularly on TAB tour these days and this version doesn’t stray much as the swank vocals provided by Jennifer Hartswick and hip hop style production provide a more than respectable cover of this Gorillaz hit. Another song that’s a regular in the TAB rotation, “Valentine”, also appears later on in the album. This track is really well produced and mixes the full horn sound with the driving rhythms behind this song beautifully. While all of these songs make for easy listens, I found it curious that Trey decided to devote three tracks of his solo album to songs like these instead of other original material.

    One of the more interesting tracks on the album is “Scabbard” which brings the Frank Zappa influence to the surface with its elaborate musical orchestration and synth sounds that surround another vocal section full of pop flavor. Intricate acoustic guitar work and more blissful string accompaniment at the end make this one of the more complete tracks on the album. The ending has an almost Radiohead-feel to it before gently fading out.

    The album’s title track doesn’t really have to much offer and other parts of this album seem to meander with no known direction at times. Overall, the album seems to be the result of Trey taking his renowned style of rock and improv and blending it with elements of pop and indie rock. There are a few choice cuts and certainly moments of brilliance, but don’t expect Anasatasio’s Traveler to go down as his signature album by any means.