NYS Music 20​13

Category: Album Reviews

  • Album Review: Trombone Shorty & Orleans Avenue’s “Say That to Say This”

    Say That to Say This, the newest studio offering by Troy “Trombone Shorty” Andrews & Orleans Avenue and co-produced with Raphael Saadiq, takes the New Orleans brass band’s jazz foundations, layers their sound with funk grooves and old school hip hop vocals and vibes, and then fuses it all together with smooth soulful R&B tones. Though a clear departure from Trombone Shorty & Orleans Avenue’s previous releases, it simply works.  While different musical styles are highlighted on each track on Say That to Say This, Saadiq’s R&B influence is readily apparent throughout and makes for a cohesive flow.  Say That to Say This is an album that feels as though it is meant to be played from start to finish in one sitting and then looped several times over without a second thought.

    trombone shorty Say That to Say ThisThe first and title track is a microcosm of the album as a whole. “Say That to Say This” opens with tight beats, punching horns and rocking guitar rhythms and then switches off into smoother R&B laced jazz tones before picking up the tempo again. The high energy R&B-meets-rock centric theme carries over to “You and I (Outta This Place)”, which features Andrews’ old school vocals and catchy hooks that motivate the mind, body and soul. “Fire and Brimstone”, the lead single blends Andrews’ and Saadiq’s vocals with heavier grooves and horn accentuations. Lenny Kravitz’s influence on Andrews from their prior work together is evident on this track and it rocks accordingly. “Get the Picture” takes a darker, funkier tone, while still keeping a well-paced beat.

    Interspersed with the higher energy tracks are lower key and jazzier offerings.  Most notably, “Be My Lady” is a remake of The Meters’ 1977 soulful hit featuring the band’s original members with Andrews on vocals and horns. The track marks the first time The Meters have reunited in their original lineup since 1977. “Long Weekend” is a take on classic R&B and serious ‘get down’ music on an otherwise ‘get up and go’ album. “Sunrise” is aptly named:  a slow jazz tune that would perfectly complement the first cup of coffee on Sunday morning. “Shortyville” closes the album with its only all-instrumental offering showcasing Trombone Shorty & Orleans Avenue’s prowess as a brass band.

    Key Tracks: Fire and Brimstone, You and I (Outta This Place), Long Weekend

    Pick up the album on Trombone Shorty’s website

  • Hearing Aide: Floodwood “This is Life”

    From their endless touring with nationally-acclaimed jam favorite moe. to recording and playing together as the Americana based Al and the Transamericans, for Upstate music fans, Al Schnier and Vinnie Amico are two names that ring a familiar tune.  But their new collaborative side project, Floodwood, is an act on the bill that may not but the name is buzzing.  Less than two years ago, the two joined forces with New York natives Nick Piccininni, Jason Barady, and Zachary Fleitz to create a new, progressive string outfit who, in the short time since their inception, have swept through the live scene, playing countless festivals and shows in the region.  And with the release of a new album this fall, Floodwood isn’t just a group merely drifting along the stream.  They’ve jumped into the scene feet first, plucking strings and packing energy to rise them out of the tide.

    floodwood this is lifeThe band’s newest release, This is Life, is an album simple in theme, yet complex in form.  Showcasing the diverse talent of the Northern-bred quintet, it draws on elements of jam, jazz, bluegrass, and roots to capture the signature sound associated with the Floodwood name.  Birthed out of the foothills of the Adirondack Mountains, the album features Al Schnier  (moe.) on guitar, Nick Piccininni (The Abrams Brothers, The Atkinsons, The Delaney Brothers) on banjo and fiddle, Jason Barady  (Wooden Spoon) on mandolin, Zachary Fleitz  (Wooden Spoon) on bass, and Vinnie Amico (moe.) adds a unique percussive dimension otherwise unseen in music of this kind.  Al, Nick, and Jason all take lead on vocals, and the musical variation of the band makes each track on This is Life take on a form of its own.

    “North Country Winds”, the album’s opening track, pays homage to the Floodwood’s northern roots. Schnier’s nostalgic lyrics paint the picture of an isolated Adirondack winter, and Barady opens up the number with a teasing of the mandolin –  soon after the rest of the band follows suit;  Piccininni’s fiddle stands at the forefront, and Fleitz and Amico’s rhythms drive the track. The album’s theme is reflected in the track, “Holy Sacred”, a playful tune with a simple message.  The track showcases Piccininni on banjo and “This is Life,” are three words that repeat themselves throughout the tune.

    Tracks like “Gravel Yard” and “Caught” are reflective of Schnier and Amico’s musical history of experimental jam.  Weaving together improvisational, spacey elements with traditional bluegrass form, the tracks hit at the core of what classifies Floodwood as a progressive touring act.  “Magnolia Road” is a tune with that signature moe. sound fan have grown to love, but the addition of Picinni’s vocals accompanied by strings give it a flavor of its own.  “Stomp It”, “Spoon Kicks” and “Whiskey after Breakfast” are instrumental tunes whose energies are reflective of what one might find when catching Floodwood live. Naturally, these songs set themselves apart from the other tracks on This is Life.

    While the album gives listeners a taste of the progressive powerhouse that is Floodwood, it merely skims the surface. They are a band not simply to be heard, but one to be seen.  To appreciate Floodwood, one must dive deep, but not too deep.  The spin they put on traditional form isn’t the only thing that characterizes Floodwood as progressive.  These days, they’re moving along at a rapid pace, playing countless shows throughout the Northeast.  And while touring and playing together may be fairly new for this Adirondack-born quintet, their music makes the message clear: for Floodwood, This is Life.

    Currently, This is Life is available for digital download.  To purchase the album, visit iTunes.

    Key tracks: North Country Winds, Stomp It, Caught

  • Album Review: MGMT’s New Self-Titled Release

    MGMT

    2007’s Oracular Spectacular landed MGMT in a strange place. The duo’s psych pop sounds, originally meant for dorm room jams, escalated into a deal with Columbia Records, appearances at major music festivals, and countless film, television, and advertising placements.  After touring behind the success of their debut, MGMT released Congratulations in 2010. The sophomore follow-up adopted three new members from their touring band, along with a sound less suited for radio and more on par with the brainy, hipster aesthetic associated with their Wesleyan University roots.

    With the June announcement of a third release scheduled to arrive this fall, the contrast between Oracular Spectacular and Congratulations created a curious anticipation regarding the direction of MGMT’s future. Whether or not fans could expect material similar to early hits like “Kids” and “Time To Pretend” was unsure, but by self-titling the upcoming release, co-heads Benjamin Goldwasser and Andrew VanWyngarden seemed to be making a statement: regardless of what they’d released in the past, this would be MGMT’s defining album.

    Now that the MGMT has been streaming through Rdio for two weeks, available for purchase since last Tuesday, and featured alongside a full-length visual experience titled “Optimizer,” what’s most clear about the new material is the fact that MGMT are seriously talented musicians. The album’s first single “Alien Days” opens MGMT with a nod to the band’s pop influences, incorporating pitched-down vocals over a heavy, distorted drumbeat. MGMT’s most pop-centered track, however, comes in the form of a cover of Faine Jade’s “Introspection.” Goldwasser and VanWyngarden create a modern day interpretation of the 1968 psych-rock song with synth lines and fluctuating, panned-out vocals. While “Alien Days” and “Introspection” represent a portion of the album more suited for sing-alongs, much of MGMT is characterized by the pair’s experimental influences. Tracks like  “A Good Sadness” and “An Orphan of Fortune” find VanWyngarden’s vocals among cacophonous instrumentals.  Off kilter polyrhythms and dissonant melodies establish a sound far removed from those found on MGMT’s 2007 debut, but to Benjamin Goldwasser and Andrew VanWyngarden, their music is more normal than ever.

    Key tracks: “Cool Song No. 2,” “Introspection,” “Your Life Is A Lie”

  • The Last Conspirators Album Review: A Celebration of Fury

    Upstate New York’s bad boys, The Last Conspirators have released their third album A Celebration of Fury, a follow up to their critically acclaimed Warparty and When It All Comes Down releases.  The punk rock and rollers are set to perform at this year’s Larkfest in Albany, the state’s largest one day street fair. Songwriter and front man Tim Livingston performed at the very first Larkfest with his pioneering Albany punk band, The Morons, and still continues to keep the edgy grunge scene alive today.

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    A Celebration of Fury consists of seven songs that get you amped up and angry, encouraging you to embrace the frustration that everyone can relate to in today’s world. It’s a wake up to society, giving the people a voice and relaying the message that “United We Stand”. The album goes through the multiple emotional levels of rebellion and protest, with powerful lyrics that make you question authority and classic punk angst that can start mosh pits in any location. The Last Conspirators have broken their silence and have encourage a musical political revolution, reminding the listener that they have the power for change. Their new album will be available for sale at Larkfest or on Compact Disc and as Digital Downloads from CD Baby, and also digitally on iTunes and Amazon.

    “Last Ones Standing” bring the listener back to their youth with lyrics full of wild rebellion and asks you to remember what it was we were rebelling against in the first place. Al Kash has a pounding drum rhythm that gets the heart racing and fired up. “Radio Warfare” has a desperado/outlaw feel from Terry Plunkett’s sliding and strumming steady guitar chords.  “Powerful Friends” has echoing cymbals and long lasting guitar riffs with Livingston singing about how change can happen but in the end, it’s all about who you know. “Somewhere Tonight in America” has the classic American defiant rock groove that people of any decade can relate to.  “No Time For Egos” has Livingston reminding the listener that we might not like each other, but it’s time to put our differences behind us and do what’s best for our future with lyrics such as, “divide and conquer we shall fall, stand our ground together with our backs against the wall.” “Desperate Skies” is one of the darker punk songs on the album with deep bass playing from Bisanz and for the first time lyrics of loneliness. Throughout the album, there is a theme for the masses to join together for change, but it is in this song that we hear words of personal desperation and fear. The last song, “A Celebration of Fury” has a dramatic ending of harsh whispers and heavy drum beats with the repeating line, “Time to celebrate the fury of our power.”

    The Last Conspirators are bassist Nick Bisanz, guitarist Terry Plunkett, drummer Al Kash and lead vocalist Tim Livingston.

    Key Tracks: Somewhere Tonight in America, Desperate Skies, A Celebration of Fury

  • TURN THE TIDE Stir Quite a Storm With New EP

    After months of delays, Turn the Tide‘s breakthrough EP, Black & White, is finally here. This Rome/Syracuse area band has been pounding away with shows and recording over the last year, and are finally able to bring their sound to life on this impressive debut. Released on September 13th, the EP has already seen tremendous feedback and support from the local scene, and even a few nods from the nationals. But, does it live up to the hype that earned them the Upstate Music Award for “EP of the Year” before the record was even released? In short, yes.

    Teaming up with renowned local producer Justin Spaulding at Octopus Studios, TTT have gone into the recording process with no holds barred. Everything they’ve come to be known for, from the complex rhythms, to the shredding guitars, to the alternating gorgeous and brutal vocals, they’ve brought it all to be highlighted on this EP, and have so much more in store. From the first few piano notes of the intro track, “The Armada”, you can immediately tell that this EP is about to get serious. Adding synths, pianos, bass drops, and other fun little additives, their sound is opened up like never before, and expands greatly into new creative territories, where their first single, 2012’s “Whirlpools”, seemed to fall a bit short.

    The first single from the EP is “Blackjack”, a song the band has been teasing us with for months before the EP’s release to demonstrate just a hint of the musical ventures to come. Unafraid to experiment with sound effects and emotional lyrics, “Blackjack” is as catchy as it is heavy, providing something for everyone. These trends continue into the other songs, but they hardly sound reminiscent of each other. In fact, TTT have used this EP as a chance to display a few different stylistic choices, opening up their wheelhouse to hone in on one true sound in a later release.

    Every song stands out in its own way, and the record is filled with highlights. Such highlights include the breakdowns of “Karmageddon”, the brutal ending of “NMO”, the chorus of “White Widow”, and the sad, atmospheric synth breakdowns of “Hour 51” displaying that there is no shortage of memorable moments. The best part is that these highlights lie within consistently good songs that are finely-crafted and take no shortcuts. Every single sound on the record is meticulously groomed, displaying the band’s talents as well as the dark atmosphere it is meant to create.

    Ignore the fact that I know this band personally and have done many pieces on/interviews with them before. Ignore the fact that there is a lot of hype and buzz about them right now. Ignore everything about who they are and just listen to the music, and you will see for yourself just how powerful and beautiful this EP is. This is everything a band should want from a debut, and what every band should strive to achieve in their songwriting and production. The most exciting thing about Turn the Tide is that they’re just getting started. They have their eyes set on the long-term, and still can grow in their sound. If they already sound this good, I can’t even imagine what’s in store for us in the future.

    You can “like” Turn the Tide and find out how to get a copy of Black & White here:

    https://www.facebook.com/TurntheTideband

  • Album Review: Natalie Cressman jazzes it up on “Turn The Sea”

    Natalie Cressman on her new album Turn The Sea opens boldly with the title track and an intro featuring a riff championed by the bass and keyboards. Horns enter with gumption, playing an arrangement that perfectly fits the song. Cressman’s sultry jazz vocals seem to rhythmically play with the band’s accents and swells. Natalie’s harmonies provide an airy dissonance that one comes to expect in a jazz/fusion track.

    The album transitions into “Fortune’s Fool”, a more R&B inspired track with heavy kick drum beat emphasis. The backing band offers many distinct instrumental layers that complement Cressman’s vocals. The track comes to a close with an inspiring ascending vocal line that is matched by the band.

    “Do Not As I Do” offers a departure from the rest of the album. The bass introduction creates a surprising tension. The track segues into a wondrous electric guitar solo. The bass clarinet additions during the solo really set this track apart. The vocal chorus hits hard and strong. It’s amazing how Natalie’s vocals can take the words “Do Not As I Do” and make them sound sweet and positive.

    “Checkout Time” is a true testament to Natalie’s vocal prowess. She holds down the whole track without any percussion or substantial backing instrumentals. The keyboards, bass and guitar serve to add subtle licks and lines that elevate Natalie’s precision vocals. I also really appreciate the orchestration and production on this track. The different vocal parts and harmonies seemed to be pieced together strategically to evoke emotions in the listener. The atmosphere that Natalie creates in this song is truly incredible.

    Finally, “Stolen Away” sends the listener off on a solid upbeat note. This track is an amalgamation of the different styles presented throughout the album. The track goes through many different sections and ends with an in-your-face funk jam. This track gives the listener the best overall sense of what Natalie Cressman and her band are all about.

    As a whole, Turn the Sea demonstrates an awesome blend of jazz, fusion, funk, and R&B. Natalie and her band are an unbelievably talented group of musicians that crafted a jazz album that entertains from start to finish.

    Key Tracks: Turn the Sea, Fortune’s Fool, Checkout Time, Stolen Away

  • “User Correction” by Jeff Bujak is an Electronic Innovation

    User Correction by Jeff Bujak finds itself at the corner of fun and innovative. Like a well rounded student, his composing is intelligent and party worthy. On the album Jeff explores the world of electronica through the looking glass of a classical composer. His music makes the perfect argument to anyone who claims that electronica isn’t “real music”. As a five year old living in Syracuse, Jeff was already learning about real music through piano lessons which comes as no surprise after hearing his intricate work. Now all grown up and a resident of North Hampton, Massachusetts, he has a tour roster that would rival that of many successful musicians and quite the impressive online following.

    In addition to his talent on the piano, it is apparent that Bujak is a jack of all instruments and uses his widely versatile taste and skill sets to push the musical envelope. Bujak is the kind of musician with a great knack for keeping the listeners attention. There are no two tracks on this album that have the same feel. Each song has a different inspiration. The first track on the album titled “User” creatively samples snipits of “Everybody Rules the World” by Tears for Fears, but keeps you steady grooving without temptation to switch to the original song. The third track “Fiks” does this as well and almost takes you by surprise when you realize the cool vocals are from the song “Fix You” by Coldplay.

    Later in the album Jeff shows off his ability to challenge the electronic genre with the piano. I have never before heard an artist make classical piano so easy to rave to but Jeff seamlessly pulls this off multiple times in the album in the tracks “Cleen”, “Laylice” and “Abbeat”. He concludes the work with a hilarious electronic ode to hipster haters with a vibey drum pattern – ironically of course exactly the type of thing a hipster would jam to and finally ends it with a stunning stripped down piano showcase.

    Watch Bujak’s Live Performance at Mojo’s, Jamestown NY

    Check out Jeff’s tour dates HERE !

    To stay updated like Jeff Bujak on Facebook

  • Hearing Aide: Robert Randolph & The Family Band “Lickety Split”

    Robert Randolph and the Family Band have been around since the days of The Wetlands in New York City. The bands first release, Live at the Wetlands, saw the group capture one of their legendary performances at the venue, while Unclassified had the group capture that sound and energy in a studio setting.  Both Colorblind and We Walk This Road strayed from the sound that the group established, while broadening their overall musical horizons. Lickety Split is a great return to form from Robert Randolph and the Family Band that has them reaching back and bringing that original live energy back into the studio, while adding in the new musicianship from the previous two albums; the blend of these makes for a wonderful listen.

    The album starts off quick with “Amped Up”, signalling that the album is going to be one to party and dance to; it’s a rocker that shows off the band’s skills with each player getting plenty of room to work with.  The next two songs have a gospel blues feel with Lenesha Randolph owning the song completely; having grown up in the church, Robert is always one to include some gospel into his repertoire.  “Take the Party” features Troy “Trombone Shorty” Andrews and blows the listener away thanks to great pedal steel work by Robert and Troy absolutely killing it on his horn – truly a wild upbeat song from beginning to end. A funky disco beat welcomes in “Brand New Wayo” that sees Robert team up with the legendary Carlos Santana.  The two guitarists trade licks back and forth throughout the song and you cannot help but dance around while listening to this track.  Two covers, “Love Rollercoaster” by The Ohio Players and “Good Lovin’” by The Young Rascals, appear in the second half of the album and give it a boost.  “Good Lovin’” especially is meant for Robert and the Family Band.  They stay true to the 60’s tune while still giving it their own trademark sound.

    Lickety Split shows that Robert Randolph and the Family band are refocused on their music and produced a very strong album.  The tunes will definitely come alive when he goes out on his upcoming tour that will see him hit the Upstate region this fall.

    Key Tracks: Amped Up, Take the Party, Brand New Wayo

  • Album Review: Head for the Hills “Blue Ruin”

    Head For The Hills is not your typical bluegrass band. In their third record, Blue Ruin, the Colorado based quartet squeezes the hillbilly out of country music, infusing their sound with the bitter aftertaste of indie rock and a jazzy sense of restlessness. Granted, the record was a little less Rob Mathes/Abbey Road Studios and a little more Falzarano, and the band was able to weave in elements of baroque pop without scourging for The Beach Boys records.

    Songs like “Never Does” sport teasing hooks from the string sections, and witty lyrics that deal with desk jobs and dirty dinner table politics. The cushy bass bottom complements their murder ballad aesthetic with phrases like “(he’s) looking at her, thinking she’s too good to be a bad spouse” and “trying to save her from a hell that only heaven knows”, giving it an almost theatrical aura.

    Though “Breakfast Noir” is not as overheated as the title suggests, the plethora of tubby layers do make you wonder if you were better off ordering a sunny side egg. There’s no doubt, however, beneath the unnecessary amount of cackle and spatter, lies undeniably great musicianship.

    The jailbird gang vocals serve as an instant pick up in “Dependency Co” and go to show that the band is definitely not trying to shoehorn themselves in a particular direction. The lyrics inject a splash of wit with lines like, “Trying to find the one and only we can fight to the death/ till our skin grows thicker than the ice we tread”.

    Head for the Hills brings something new to the table with their comic book inspiration and acerbic tone. With great musicianship, solid lyrics and an inexplicable sexual appeal, their name begins to seem ironic because after listening to Blue Ruin, the last thing you want to do is head for the hills.

    Key Tracks: Never Does, Breakfast Noir, Dependency Co

  • Album Review: CONNECT by SICK PUPPIES

    SP1The Australian trio, Sick Puppies, released their fourth record on July 16, Connect, a record that really defines the band’s unique sound. Their music in general gives off a different kind of vibe, an indefinable type if you will. The trio consists of Shimon Moore (vocals/guitar), Emma Anzai (bass/vocals), and Mark Goodwin (drums). In this album, Anzai features her vocals quite a few times.

    “Die to Save You” set the album in the right mood, with dark melodies and great beats provided by Goodwin as well as beautiful vocals from Anzai. The second song to play was the album’s leading single, released May 20, “There’s No Going Back”. The song has a very powerful and catchy chorus, all in all, a great track. Next to play was “Walking Away”, with relatable lyrics, particularly in the heartbreak department, a very beautifully written song. Following was “Gunfight” featuring a killer intro and very catchy beats, and Moore’s well-known gruff growl occasionally can be heard throughout the track. The album was slowed down by “Poison”, a fairly dark track with a beautifully written chorus. The sixth track, “Where Did the Time Go”, had the same tempo as their 2010 single, “Maybe”, a light, pop-like vibe to it. “Telling Lies” featured Anzai and had a very catchy chorus with a very slow beat, but the pace was quickened a little bit by the light and upbeat eighth track, “Connect”, followed by “Run”, sounding somewhat similar to the second track. The album picked up with the song, “The Trick the Devil Did” with its dark melody that hooks you right in, accompanied by a very catchy chorus. In the next track, “Healing Now”, we have the chance to hear Anzai’s unique silky voice accompanied by a very soothing and relaxing tempo as well as profound lyrics. The album ended with a track that sounded a bit like The Beatles, “Under a Very Black Sky”, and again, we hear Anzai’s vocals.

    Connect is available at your nearest music store as well as for digital download. Be sure to check out the band’s Facebook page for tour dates.

    OVERALL RATING: 5/5

    Sick-Puppies-Connect-Album-Cover-Artwork