NYS Music 20​13

Category: Album Reviews

  • Hey Man, Nice Comeback: 1990’s Alt-Rock Legends Filter Release New Album and Rage Montage Music Hall

    “That guy, you see that guy? He gets it. He knows how to support live music”, said Filter front man Richard Patrick as he was pointing right at me. “And wearing a Tool shirt,  that band is awesome!”. People are slapping me on the back and handing out high fives. I give him the double metal sign back and the band blasts into another song.

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    Much of Filter’s June 18th show at Rochester’s Montage Music Hall went like this. As a more than 20 year vet on the national touring scene, Mr. Patrick certainly knows how to successfully work an audience. The band delivered an exceptional set full of energy, including classics like “Take a Picture”, “Do You (Trip Like I Do)”, and “Zero”, each of which were mixed in with enough deep cuts to make even the most jaded Filter vet (if such a thing could exist) ecstatic. Towards the end of their set the band delivered an angst-filled take on The Turtles classic “Happy Together”. After the song, front man Richard Patrick exclaimed they had never played that before and that we had all ‘made history together.’ This was a fantastic performance by adept performers that have managed against all odds to stay fully on top of their game. Syracuse’s Without Regret and Rochester’s Ghostfeeder opened the show with high energy performances of their own.

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    Filter is touring in support of their new album The Sun Comes Out Tonight. Released June 4th, the disc blazes through 12 songs in under 50 minutes. The disc opens with the headbanging track “We Hate it When You Get What You Wanted”, an obvious and excellent nod to those with envy issues. The rock keeps flowing through the following track and lead single “What Do You Say”. The lighter side of Filter is apparent with the family oriented “Surprise” and drug-haze-aftermath ode “Watch the Sun Come Out Tonight”. The entire album does an excellent job at merging the tapestry of Filter’s 20 year career of playing with different genres into one cohesive unit. Present are the full steam ahead headbangers, the introspective dark-edged softer tracks and forays into electronica influenced rock. The album ends with a twosome of songs, “It’s My Time” and “It’s Just You”, both of which invoke a non-copycat similarity to mega-hit “Take a Picture”. An excellent offering by seasoned veterans. Twenty years later, Filter has still got it. Check them out on the Summerland Tour throughout July.

    Key Tracks: What Do You Say, Come Watch The Sun Come Out Tonight, Take That Knife Out of My Back

  • Hearing Aide: This Train I Ride is Made of Wood and Steel: The Blind Owl Band

    As original as the title, The Blind Owl Band presents their sophomore disc. A distinct set of vocal accompaniment would have one wondering if Tom Waits dropped in (he didn’t) for a batch of fiery bluegrass and dirty jams.  Using traditional instrumentation, Arthur Buezo (guitar, vocals), Eric Munley (mandolin, vocals), James Ford (banjo, vocals) and Christian Cardiello (bass), all transplants to Saranac Lake, NY, draw upon their youthful influences mostly defined by their fathers’ flare for the good stuff.  This Train I Ride is Made of Wood and Steel is a testament to their past whilst forging a path where their sound is becoming uniquely their own.

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    “Sailor Song,” whether intentional or not, exemplifies the magical undercurrent of the past popping up in today’s music.  The disc intro gives a nod to a “House of the Rising Sun” look alike, but only for a few seconds.  From this point forward, the disc launches into a fun-filled, fast-paced, barnburner, ho-down of a good time.  They give a breather by slowing it down in “Missing My Home,” where Eastbound Jesus’, “Holy Smokes!” is given accolades.  A bass solo introduces “Jazzy McGee,” in a tune that sounds just like its title.  A neat little contrast in The Blind Owl Band is the depth of the tenor and bass vocals and the high-pitched use of the mandolin, where a balance is met and the band is defined.

    The Blind Owl Band is quickly gaining attention by both fans and other, well known musicians. Performing around the northeastern territory, rich in roots Americana, has helped launched these bearded boys in musical stardom.  With a new disc underway, an album release tour is scheduled.  Please visit The Blind Owl Band for a list of tour dates.

    Key Tracks: Missing My Home, Cherry Tree, Rain On

  • Restless Streets proves they’re Young & Alive

    947232_10151655170767853_28854270_nRestless Streets, Albany-based metal, delivered their full-length debut, Sincerely, on June 25. The record, produced by Landon Tewers (of The Plot in You), tells a lot about the band; their story, their ideals, and how far they’ve come: from being pipe dreamers playing at the smallest venues as youths, to becoming icons of the 518 music scene.

    Sincerely has both strong and weak points, but will definitely leave listeners satisfied from the dramatic opening moments of “Young & Awake” to the climactic close of “Sincerely”, the title track. Let’s start with the strong suit.

    Very few times does one go to a concert where each member of the audience is not only involved in singing and moving to every lyric, but also connecting to them. There is something to be said about a band whose lyrics are so “relatable” that they pull at the strings of every listener. Time Alone, a contemplative track which tells the story about life in the Capital Region, allows hometown fans to take a journey of memory with the band. For every other track, all listeners might say, “hey, these guys understand what I’m going through!”

    Sound is equally as important as lyrics, no arguments. In fact, for this effort, Restless Streets have reeled in an air-tight sound; every instrumentalist is on top of his game and in synch with every other band member. Nick Dumar and John Alund have a clear idea of how to layer the backline to sound strong. Equally, along with Brian Nellis’ dynamic keyboard abilities, Brandon John and Kyle Carpenter deliver a nothing-but-energetic performance on guitars.

    But that is not all! Over time, bands change how they sound. Rush added keyboards, the Police started playing around with reggae, and Black Flag was joined by Henry Rollins. To change sound over time is part of the normal evolution of any band, metal or not. However, Restless Streets has proved to listeners that on some of the best tracks of the album, they are both in touch with their old sound, which die-hard fans will love, and can easily evolve. Don’t take my word for it. Check out the re-vamped “Beautiful Friends,” or “Time Alone.” For their newer sound, “Peria” is one of the best cuts on the album.

    Sure, as with any album, they have weaknesses. Some of the words Logan Carpenter, the vocalist, screams, are hard to understand. However, he is a gift when it comes to cleans. Additionally, Brandon John and Kyle “KCigs” Carpenter have written a few cliché “breakdowns” into the album, but on the other hand, the fact that they’re few in number keeps the album moving along smoothly.

    Overall, this album is at the 7.5/10 range. It’s solid for a first effort and will leave fans wanting more. Check it out!

  • Album Review: Rise by SKILLET

    Attention, Skillet Army, the band invites you to RISE with them in celebration of their newly released epic album Rise. Howard Benson produced Skillet’s ninth album and they recorded it in October 2012 through January 2013 at West Valley Studios in Woodland Hills, California. This time, Skillet takes their music to a whole new level; Rise is filled with darker and heavier melodies, and the band’s drummer, Jen Ledger, features her vocals in most of the tracks. Rise is the band’s best album yet.

    The album begins with its title track and third single, hinting to the fans what to expect throughout the album. Definitely a great way to start the record. Powerful lyrics sung by Ledger and John Cooper accompany the dark tones. Towards the end of the track, mixed recordings from a panicked phone call to 911, news reporting, to a disappointed father yelling at his child, perfectly connecting all of this to the next song, the leading single, “Sick of It”. The quiet catchy beats start the song off, followed by explosive beats, courtesy of Ledger, especially towards the end, her pounding rapid drumbeats. Cooper’s wife and the band’s keyboardist/rhythm guitarist, Korey, complements the beats with an electronic pulsing melody. The lyrics to the song are very profound and influential. “Good To Be Alive” has a very light tune, gives the album a mini break from the dark melodies. It has a very uplifting vibe, then in the end, it returns to the dark tones, mixed operatic vocals as well John and Jen’s voices providing a teaser of the next track and the album’s recent single, “Not Gonna Die”. This track’s strong and catchy lyrics express the perseverance of surviving, giving a dramatic effect with the rapid, catchy violin strokes accompanied by Ledger’s pipes. Song number five, “Circus for a Psycho” begins with the band’s lead guitarist Seth Morrison’s crazy guitar riffs, demonstrating the continuance of their change in their sound. The chorus has a catchy tone that will haunt the back of your mind after you listen to it. Next, the album’s second single, “American Noise”, slows Rise down with beautifully written lyrics. Following is “Madness in Me”, filled with explosive electronic beats and guitar riffs. Towards the end, Ledger can be heard singing a teaser of the lyrics to the next song, her voice electronically remixed. In “Salvation”, Jen sings most of the song with the exception of John singing the chorus, her voice perfectly matching the tone. Again, this song is beautifully written including a great solo performed by Morrison. However, that is not the end of the featuring of Ledger’s vocals. She and Cooper perform “Fire and Fury”, a fantastic, passionate duet with a haunting melody. The mood changes with the fun, swanky track, “My Religion”, providing a Gospel-like sound. Midway through the song, a remastered version of “Amazing Grace” is sung by Cooper. The last two songs, “Hard to Find” and “What I Believe” both have deep lyrics, complemented with beautifully composed melodies. “What I Believe” was a great way to end the album, however it left the listeners with a need to hear more of the sweet, intoxicating beats provided by Skillet.

    All in all, this record is it, this is their best one yet. The lyrics and melodies will haunt the back of the listeners’ mind, to the point where they could be humming it in their sleep. Rise is available for purchase at a store near you and available for digital download. Be sure to check Skillet’s Facebook and website for tour dates. They are part of the Carnival of Madness tour this summer. Will you RISE in the madness with the band?

  • Hearing Aide: Roots, Rock, Zydeco: Donna the Buffalo’s New Release, “Tonight, Tomorrow and Yesterday”

    One of the true jewels of the Upstate New York music scene is a little band that hails from Trumansburg called Donna the Buffalo.  With founding members Jeb Puryear and Tara Nevins at the helm, this act has been delivering its own unique brand of Americana/Rock and Roll for well over two decades now.  As other parts of the band have changed, these two have developed a chemistry and song writing style that continue to produce fun and memorable music.  Their 10th studio release, Tonight, Tomorrow and Yesterday, gives the newest members of the band a chance to be heard and highlights all of the little things that make this band a treat to see live.

    The album starts off with an appropriately titled and fiddle-based song called “All Aboard” and takes off from there.  “Working On That” gives keyboardist David McCracken a chance to shine through a little and fits the mold of Donna’s signature style of making a point with its lyrics without getting preachy.  The Tara Nevins penned tune “I Love My Tribe” is a bouncy, sing along type song that seems to serve as somewhat of a nod to the bands faithful following, otherwise known as The Herd.  Undoubtedly, this song will be a fixture at Finger Lakes GrassRoot Festivals for years to come – a festival now in its 23rd year!

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    The title track of the album is a fun and upbeat one with a zydeco feel to it, a style of music this band incorporates so well into its playing.  As a sign of the band’s versatility, “Ms. Parsley” is a spirited dub/reggae type number that really stands out.  Most of the songs on the album are filled predominantly with lyrics, but on “Why You Wanna Leave Me” Donna stretches it out a little with a focused jam featuring interplay between Puryear on electric guitar and new bassist Kyle Sparks.  It also gives a little taste into what one can expect from the band in a live setting.  Another staple of this band is songs with Tara Nevins playing acoustic guitar while delivering lyrics from the heart and this gets accomplished and then some on “I See How You Are”.

    While some bands may have difficulty producing their authentic style of music and the energy found in playing live, Donna the Buffalo definitely accomplishes this with Tonight, Tomorrow and Yesterday.  It’s sure to satisfy both members of The Herd and the casual listener who wants to get an idea of what this band is all about.

    Key Tracks: Working On That, Tonight, Tomorrow and Yesterday, Ms. Parsley

    Follow Donna the Buffalo on Twitter, Facebook and visit their website

  • Good Fortune From Phish with Ventura Box Set

    The late 90s were Phish’s greatest years, and fittingly, yet another Live Phish release from the era has been released. Ventura, a six-disk set covering the July 30th 1997 and July 20th 1998 shows at Ventura County Fairgrounds in Ventura, California, captures the sound of the era – the cowfunk of the 1997 and 1998 tours. With two prime shows chosen, the Ventura release is one of the best from Phish, on par with Phish at the Roxy and Colorado ’88.

    Before getting to the music, it is worth noting that the packaging and art, designed by LandLand, represents vivid beach scenes on the box cover and unique designs on each of the six disks. LandLand goes for a relaxed, inviting scene on each, comparable to their equally impressive Alpine Valley and Commerce City prints in 2012, making for a great official design to the set.

    Both shows are remastered by Fred Kevorkian, the guru who has brought new sounds to multiple releases recently, and begins with the 1997 installment where “NICU” wakes the crowd before a wonderful “Wolfman’s Brother” takes charge before segueing into a “Chalkdust Torture” that is given nearly as much space to breathe into its jam. “Stash”, like so many other shows before, is a mid-set highlight which clocks in at over 15 minutes. With so much excellence in the first half of the set, the rest of the set winds down with “Weigh” > an elusive five minute “Piper” then “Cars Trucks Buses” before “Character Zero” is found in its natural place to close the set.

    Set two dips in with “Punch You in the Eye”, always a nod to a heater of a set on the horizon. While “Free” is 11 minutes long, this version gives off a ‘less is more’ vibe, but still rolls the set along. Then, we are treated to one of the true highlights of Phish in their early prime, a tasty jam sandwich of “David Bowie” > “Cities” > “David Bowie”. This is the thing Phish dreams are made of: 21 minutes of “Bowie”, a perfect and smooth segue into “Cities” then a re-entry into “Bowie”, creating one of the many highlights of the summer, and an intriguing listen at that. With much of the heat of the set contained on Disk Two, a cover sandwich later in the set includes Bill Monroe’s “Uncle Pen” and “Prince Caspian” > Hendrix’s “Fire”, rounding out a tremendous set, capped off by an encore of Clifton Chenier’s “My Soul.” The bonus – a “Makisupa Policeman”-ish soundcheck jam is the final track, giving a taste of the warm ups from the period that propelled these jams to light.

    The 1998 show opens with an adventurous “Bathtub Gin” that clocks in at over 20 minutes, a rare start to a show these days, but from the late 90s, anything like this was possible. Much of the rest of the first set: “Dirt”, “My Sweet One”, “Water in the Sky” and others are standard versions, serving as a balance to “Gin.” The set enders, an early and proper “The Moma Dance” and a rockin’ “Split Open and Melt”, are a one-two punch, ending a set that is meaty on both ends.

    Set two features two Phish songs in between two songs from The Who’s Quadrophenia, with “Drowned” > “Makisupa Policeman” > “Maze”,  a delightful journey through varying improvisations, ending with the soft piano solo of Page McConnell on “Sea and Sand.” “Prince Caspian” > “Harry Hood” is yet another fine example of the extensive exploration that the band undertook on the stage, taking risks and developing jams organically into things of beauty. Just six songs in this set shows how improvisation of the era could translate into an incredible musical experience. The encore of Marvin Gaye’s “Sexual Healing” was part of a summer of unique covers at each show, then a “Halley’s Comet” with a little extra mustard from the good ol’ days of Phish. Once again, a snippet of the soundcheck jam from the show was again “Makisupa”/reggae-ish, with Shocking Blue’s “Venus” serving as hilarious banter amid the jam.

    Ventura is available now for purchase at Phish Dry Goods. Pick it up and enjoy some of the best of the late 90’s while you rock out on tour this summer.

  • Hearing Aide: Solaris Burns Bright With ‘NeoN’

    Solaris, the three-piece instrumental band from Ithaca has released their newest album, NeoN. The album kicks off with “Triphammer”, a fast tempo beat with eerie echos and a serious build up that continues to rise throughout the entire song.

    This is that first song you hear that sends the message that the night has commenced I am a big fan of the “THEM” remix which is heavier on the bass at first, then a slower rhythm, making for an easy flowing electronic jam. “Neon” is just as it sounds, bright and bursting with energy, with an unpredictable melody. “Nostromo” (jazz version) was a pleasant surprise and I was pleased to hear Solaris experimenting with a different style, yet still making it their own. It was refreshing to hear a softer side of the band, each instrument being showcased delicately. “Harkonnen” gives off a Halloween vibe: think spooky mad scientist laboratory meets robots and aliens. “E.S.C. (Remix)” has more high pitched beeps and boops, with a groove that just as soon drops you as it picks you up again.

    NeoN is an ideal album to listen to while you’re driving to your next show or when you’re gearing up on lot. The album has an wide assortment of crisp arrangements, highlighting the multiple sounds of Upstate New York’s Solaris and making them the must see band of the summer.

    NeoN was recorded digitally in the studio, was produced, mastered and edited by drummer, Dan Lyons with additional overdubs from keyboardist Jared Raphel. Bassist Vinny Naro created the design and album artwork.  Fans can stream the album for free, a $3 download or $5 physical copy which gives you the artwork as well. NeoN features new electronica songs and experimental sounds as well as remixes to past favorites. Their summer tour will include festivals such as The Big Up, The Catskill Chill and MyGlo II.

    Key Tracks: Neon, Triphammer , Nostromo (Jazz Version)

  • Album Review: Lucid’s “Home is Where We Wanna Grow”

    I first experienced Lucid about a year ago at a sushi restaurant after one of the Phish shows at SPAC. They had been on my radar for several years, as they regularly toured Upstate NY, but I had never had the pleasure until that night. I was excited to learn that they were working on a third album, Home is Where We Wanna Grow. With two solid studio albums under their belt, 2005’s Miles Deep and 2009’s Dewdmanwah, as well as a live album, extensive tour dates and their own festival, Backwoods Pondfest, the timing of this album is perfect.

    Home is Where We Wanna GrowHome is Where we Wanna Grow is a diverse mix of genres, instruments, vocals as well as intensity. Lyrically, the album is an intricately blended mix of tongue  in cheek humor, observation and inner reflection. Songs range from the bouncy and hard-hitting “Boats” to the soulful and searching “Purple Moon”.

    Lucid brings distinct musical personalities and feels to each song; “Parisian Melancholy” brought thoughts of a Paris street, while “Highest Vibration” felt like a song one would hear at a 1950’s sock hop. Even ska made an appearance in “Green Money”. I was impressed with the thoughtfulness of their lyrics, as well as the care that they took with each song, making it truly a holistic listening experience. Overall this album offers a wonderful overview of all that Lucid offers, and I am excited to see them live again soon.

    Pick up their new album at their release party, Friday June 14th at the Waterhole in Saranac Lake or at their website www.rulucid.com. You can also check out Lucid’s festival, Backwoods Pondfest, August  2-3 in Peru, NY.

    Key Tracks: Ground on Up, Boats, Pterodactyl Lips

  • Album Review: Robert Randolph Presents The Slide Brothers

    The pedal steel guitar is an instrument not used enough in music today.  Thankfully for everyone’s ears, Robert Randolph brought together four masters of this instrument to make an album together, The Slide Brothers.  Calvin Cooke, Chuck Campbell, Darick Campbell, and Aubrey Ghent make up the group that keeps the sacred tradition of the pedal steel alive and well.  Throughout the album there is an expertise of the instrument on display, whether the band is tackling blues, funk, rock or gospel.

    The album opener is a cover of The Allman Brothers song “Don’t Keep Me Wonderin’.”  Right off the bat you can hear that these four musicians know how to make the pedal steel sing.  Fans of The Allmans should have no problem loving this great cover.  Since Duane Allman used a slide on his guitar for many of the songs he played, the pedal steel is a great guitar to use for any cover of one of his songs.  There is a non-stop fury of wailing guitars as each member takes turns showcasing their talent.  A cover of George Harrison’s “My Sweet Lord” follows and the band makes the tune into a gospel song instead of the rocker we know from George.  The Slide Brothers make it work with help from Jimmy Carter, from The Blind Boys of Alabama, on vocals.  They truly do the song justice and this new take is a wonderful party for your ears.

    “Wade in the Water” is a great track on this album; the song has been around for ages and is a spiritual classic, but The Slide Brothers make it an instrumental and dig into the song with fury.  The five minute track allows each member to stretch their abilities out and provides them a moment to shine before turning it over to the next person.  “Praise You”, a Fatboy Slim cover, follows and with help from Shemekia Copeland and Robert Randolph and the Family Band,  the song is turned into a guitar wailing gospel song and fast becomes one of the best tracks on the album. The Slide Brothers make this song sound like an original and they did it with such ease.

    “Motherless Children” by Eric Clapton is tackled a little later in the album and they stay more true to the original than they have done with other covers.  The track is excellent and having four people cover one of the best guitar players around makes the song easier on everyone.  “The Sky is Crying” was another standout track done perfectly.  Most know it as a Stevie Ray Vaughn song but The Slide Brothers stayed with the more traditional Elmore James version of the song, keeping it heavily rooted in the blues.

    Robert Randolph has wanted to make this album for a long time in order to show everyone why he plays pedal steel.  These were some of his guitar gods growing up and he did a great job of giving The Slide Brothers material to tear into.  Get this album as soon as you can and be prepared to get rocked by one of the most unique musical  instruments, the pedal steel guitar.

    Key Tracks: Don’t Keep Me Wonderin, Wade in the Water, Praise You

    Pick up the album from their website – The Slide Brothers

  • Roster McCabe Release Live 2013, Volume Cranked Up!

    Since 2006, Minneapolis-based electrorock four-piece Roster McCabe has been making music fit for jammin’ and dancin’. In their seven-year existence, McCabe has released several full-length studio albums, including The Rhythm The Elements and Through Space and Time. The band’s coalescence of sounds embodying reggae, jazz, and rock is best represented, however, by their high-energy live performances, which have led to several live albums, the most recent of which is Live 2013, Volume Cranked Up!

    Touring throughout the U.S. since early April, Roster McCabe has appeared at Summer Camp Music Festival and is scheduled to play the 80/35 Music Festival in July before finishing their tour with a stop at Hyperion Music and Arts Festival in Spencer, Indiana. After spending such a significant portion of their year on the road, another live album seems like a perfectly appropriate move for providing fans with an opportunity to experience the musicianship and energy exhibited by their live concerts.

    Live 2013, Volume Cranked Up! does just that. Between tracks like the upbeat, synth-driven “Take a Breath” and “The Only Truth,” whose steady introduction builds to a shredding guitar solo, the album offers classic Roster McCabe material in a form only fans fortunate enough to make it out for a tour stop have heard until now. The album includes a cover track as well, a version of Daft Punk’s recently released “Get Lucky.” For those who have already dubbed Daft Punk’s rendition ‘Song of the Summer,’ a listen to Roster McCabe’s version is highly recommended, along with the rest of Live 2013, Volume Cranked Up!

    Roster McCabe on Facebook, Twitter, YouTube, RosterMcCabe.com

    Key Tracks: : Get Lucky, Take a Breath, The Only Truth