NYS Music 20​13

Category: Album Reviews

  • Album Review: Bryan Howell’s ‘Lightning Through My Soul’

    Bryan Howell’s ‘Lightning Through My Soul’ begins with a straight- ahead rock track, “Why Oh Why”, complete with hand claps and some sweet backup vocals. There’s a cool ending breakdown with a tasteful guitar solo and some accented full band hits. The album segues into “Dry My Tears”, a feel-good anthem. The atmospheric guitar tone goes over nicely with the bouncy chorus backup vocals.

    Lightning Through My SoulThe album continues with “East Coast Girls”, an upbeat summertime rock track. The vocal lines match the guitar strumming pattern and really play off of each other. There’s also some auxiliary percussion to get you moving towards the end. Finally, “Cold Little Heartbreaker” begins with a melancholy acoustic section that boasts perfectly timed delay on the vocals. The triumphant rock guitar comes in, followed by the floor tom driven rock beat. Howell’s vocals really project on this track, his confidence very evident.

    Overall, this album offers up all of the awesome traits of a summertime rock album. From sweet guitar tones, chords and patterns to happy, sing-a-long choruses, this album does everything it should.

    Pick up the album through Bandcamp and check out Bryan’s Facebook page and his website.

  • TAUK New Album “Homunculus” Forges New Path in the Jam World

    I had never heard of TAUK nor had I heard their music prior to giving the new album Homunculus a listen. I was pleasantly surprised and pleased that I had the opportunity to discover a new band with such a unique sound. Immediately from the first song, “Dead Signal”, I knew that these boys were not just your average garage band playing around with instruments. It is evident that each individual is a musician, and a talented one at that. The entire album is filled with psychedelic-jazz guitar riffs and trancey loops that keep their sound light and organic with a very subtle electronic undertone. The album is instrumental front to back, but even without vocals each individual song is so complex and layered that the void is easily filled.

    Homunculus TAUKA personal favorite was track number five, “The Chemist.” The blend of man and machine is at a perfect split in this song. The guitar is hard and heavy and rips through the electronic loops elevating each intricate note. Just when you think the song ends it comes back even harder than before. “The Chemist” is followed by a much more laid back song, “Dirty Mouth.” I was blown away by the highs and lows that they created within this five minute song. They take what could have been a relatively simple jam and add subtleties that create a whole other world within the music. “Curtain Call” starts off with heavy drum influence and veers off into very slow, melodic guitar. Parts of the song broke away with organ and keys which created a very unique sound. Another personal favorite was “When in Doubt.” The song starts off very melancholy and slow but is picked up by the drums and keys. For a relatively slow tempo song “When in Doubt” is very hard-hitting. The entire album was nothing short of phenomenal these boys certainly did not disappoint a first time listener.

    Editor Pete Mason had the chance to sit down with the guys of TAUK at this years Summer Camp Music Festival. When asked to explain the meaning behind their new album’s name, they said Homunculous has multiple meanings, varying in sound and not restricted; this can be taken within many interpretations, among them ‘the mind within the mind’ and ‘an inherent force.’

    TAUK has been throughout Upstate recently, playing with Aqueous in Buffalo, as well as in Ithaca and New Paltz. They also played this year’s snoe.down Festival which they spoke very highly of for themselves and the audience. They were happy to get a longer set which allowed them to experiment freely and immerse themselves within each song as opposed to compacting their songs and jams within a stricter set time. Their brand of psychedelic improv gives them the space they need to completely redirect their jams in any direction without constriction.

    If you like jam, funk, electronic, rock, fusion or pretty much music in general you will enjoy Homonculus. You can catch TAUK at Floyd Fest, July 25th in Floyd, Virginia and Maz Fest August 1-4 in Roscoe, NY.

    Key Tracks: Dirty Mouth, The Chemist, When in Doubt

    Download the album here

    Track listing:
    1. Dead Signal
    2. Afro-Tonic
    3. Hello Narwhal
    4. The Spot
    5. The Chemist
    6. Dirty Mouth
    7. Curtain Call
    8. Carpentino’s Rebirth
    9. When in Doubt
    10. In The Basement of the Alamo

  • Preview: Zed – Desperation Blues out May 21st

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    Guitarist Angus Young only plays three chords, and he makes no apologies for it.  Do you think he needs to apologize for playing only three chords? Of course you don’t, because he’s Angus Young of AC/DC. Same thing applies with Zed, whose second album “Desperation Blues” is slated for release Tuesday (May 21st). .

    The connection between AC/DC and Zed can be made with a shot of whiskey and a middle finger, as this quartet from the San Francisco Bay Area might say for themselves. They list Young and AC/DC as among their influences, along with Led Zeppelin and Black Sabbath.  Hard Rock, as it was first established decades ago, but nonetheless still popular. It is the band’s self proclaimed mission to bring back “the guts, the grit and the balls to Rock.” Zed will also list off “contemporaries”, such as Queens of the Stone Age, Clutch and Rage against the Machine.

    (Yes, the word, contemporaries is in quotes to respectfully bust on these Bay Area boys, only because Rage and the lot have been around for 20 years. If they were cars, they’d be classics themselves. And, come to think of it, classic is just how I’d describe Zed’s sound.)

    Right off the rip, you get a catchy tune coming from the first song on the album, “Please.” It comes out with heavy drums, and a distorted bass guitar. The first few seconds sounds like a funky, jazz/grunge fusion. And, you’ll get that peppered throughout. You can hear the influences of Clutch and Queens of the Stone Age, with the choice in cadence and delivery of lyrics from lead man, Pete Sattari.  You can even hear a little bit of Rage in the versatile guitar play of Greg Lopez, and some of that grunge-era bass play from Mark Aceves.  By the time you’re into “Crawl Back to You,” the fifth song on the album, you’ve experienced said versatility.

    Overall, Zed rings true in what they advertise. To say that you’re not going to get anything new or innovative out of these guys is not meant to imply this album is tiresome or boring. This is you’re Budweiser. This is that steak joint downtown that you like.  It’s where you want to go, when you know what you want.  Its one thing for a band to say they’re bringing the rock and roll, but it’s quite another when that band succeeds in delivering, and that’s just what Zed can do.

    For more information, click on the links below:

    zedisded.com

    facebook.com/zedrocknow

    youtube.com/zedrocknow

  • Album Review: ONYX by POP EVIL

    71evNyUBTsL._SL1425_Pop Evil released their fourth record, Onyx, earlier this week on May 14th, just before their performance this Saturday at Rock on the Range. This 12 track record is filled with the absolute right amount of explosive beats and killer guitar riffs, all very catchy. This record is one hell of a roller-coaster, so strap in, this is going to be a wild one.

    “Goodbye My Friend” was definitely a good way to start the album and it gives a feel of what the rest of the record is going to sound like, as Leigh Kakaty’s powerful and unique scream accompanies the killer tunes. “Deal with the Devil” carries on the dark, melodic torch that is Onyx, which was followed by the album’s leading single, “Trenches”. This track was the right choice to be made third on the album that way it can keep the listeners anticipating this amazing song; the mesmerizing guitar riffs fill the speakers, then once Chachi hits those drums rhythmically, you know it is time to start rocking out hard. “Torn to Pieces” slows everything down a little bit and it sounds very similar to “100 in a 55”. The pace is then picked up with the ever-empowering “Divide”, the kind of song that makes you bounce up and down as well as bang your head a little bit. The pace is continued with “Beautiful”, a great hard rock love song, with a chorus that will haunt the back of your mind. The record slows down a little yet again with the powerfully written ballad-like song, “Silence & Scars”. This roller-coaster of an album suddenly speeds up with “Sick Sense”, an electronic beat as an intro to the song and Kakaty’s powerful scream brings in the head-banging chorus. This was followed by “Fly Away”, a song with incredible guitar riffs yet it is a song that is a bit hard to describe. “Behind Closed Doors” slows everything down and sets a very dark, heart-breaking tune, especially with some of the lines from the chorus: “Mix a little bit of love and violence / mix a little bit of truth and lies / I see you, I feel you…”. A very love-hate relationship type of song, if you will. “Welcome to Reality” opens the eyes of the listener of the truth of a harsh reality and Kakaty, through his scream, emphasizes that once you enter that reality, “you can never go back”. The final track, “Flawed”, sums up the album through the darkness of the intro, sucking the listeners into the blackness that is Onyx. It is filled with incredible riffs and a powerful yet catchy chorus.

    All in all, Pop Evil did a kick-ass job with this record and they’ve come a long way. Onyx gets Pop Evil‘s fans ready for their upcoming tour and their show this Saturday at Rock on the Range. Onyx is available for digital download and you can pick it up at your local music store.

    Overall Rating: 5/5

  • Album Review: Positive Mental Trip Releases ‘Change Your Mind’

    Luke Weiler is a busy man, between coordinating the annual Jam for Tots event to benefit the Marine Corp’s Toys for Tots fund, hosting PMT Festival in Northville, New York every summer to support Solid Rock Rescue, and caring for his appropriately named dog, Ruckus, Weiler makes music under the moniker, Positive Mental Trip. Recording with guitar, hand drums, synthesizer and a number of other instruments; Weiler’s music is inspired by everyone from the Simpsons’ Disco Stu to Mozart, according to his FaceBook page.

    Positive Mental Trip

    Positive Mental Trip’s debut album, “Change Your Mind” exemplifies this diverse range of influence, featuring genres like reggae, funk, folk and southern rock. Touching on feel-good themes throughout its twelve tracks, Weiler’s songwriting approach reminds listeners of Jack Johnson’s positive lyricism.

    The album’s opening track, “Brand New Day” demonstrates this style with the lines, “So I put a smile on my face ‘Cause I’m livin’ a brand new day I’m not gonna be afraid of change” on top of smooth acoustic guitar riffs. Continuing the topic of leading life with a positive attitude, Change Your Mind includes two versions of the track, “Smile,” the second of which is titled “Smile (Hip-Hop).” Displaying Weiler’s ability to diversify his music, “Smile (Hip-Hop)” features a more electronic feel than its parallel track, “Smile (Reggae),” as well as a guest vocalist. Based on these tracks, along with the rest of the songs found on Change Your Mind, it’s safe to bet that Positive Mental Trip has a bright future ahead.

    Key Tracks: Brand New Day, Smile (hip-hop), Smile (Reggae)

    Follow Positive Mental Trip on Facebook  | Jambase | Myspace

  • Album Review: ‘My Streets’ from the Bob Polding Band

    99_EdpComing with a strong sound reminiscent of rock’s past is the newest album “My Streets” by the Bob Polding Band.  From the New Jersey, the influence of Bruce Springsteen and the E Street Band, South Side Johnny and the Asbury Jukes, and countless other shore acts is apparent right away.  The music screams of a new “Americana” that is a mix of country and rock.  The entire album is loaded with great guitar riffs and wonderful lyrics that keep the album in constant motion from beginning to end.

    The album opens up with the title track “My Streets” and it is easily seen why this was the name of the album as well.  The saxophone soars throughout the track and is always present in this upbeat number.  The song talks about love, life, and memories of things that have passed long ago.  Like some of the other artists who have come from Jersey and written about their home, Bob has shown how much he loves his home in this opener.  “One Dance” is another wonderful track with great violin work.  The song is about how, sometimes, just one dance can change everything in your life.  It is one of the slower tracks on the album, but maybe it is just a slow dance that you want with that person.  The country vibe to the track melds perfectly with the lyrics and shows the band is comfortable in switching up their music style.

    “Hey Jeni” comes on next with a very catchy guitar riff and is an upbeat country rocker.  The thumping drums keep the track moving along with the pedal steel getting to shine as well.  It’s one of the tracks on the album you’ll be nodding to without even noticing you’re doing it.   “Painted On Smile” is a song that continuously builds with the violin and fiddle going back and forth, almost fighting to see which will take the lead.  The ending of the song is great as the woman who was the focus of the whole song is asked to come take a final leap and go for a ride and have her cares disappear.  “Dam Good Day” is a great country rock song that erupts in the back half of the song with some great guitar work on display.  This will be another song that will get stuck in your head and have you nodding along.  The foreboding keys that introduce “War” let you know this will be one of the more serious songs on the album.  The track builds upon itself creating a daunting landscape that isn’t seen anywhere else on the album.

    The Bob Polding Band has tried to do something that is not seen from many acts that hail from New Jersey, mixing rock and country.  They have pulled it off well here and it will be interesting to see where this direction takes them in the future.

    Key Tracks: My Streets, Painted On Smile, War

  • Album Review: ‘Bound for Abiquiu’ from Dan Johnson and the Expert Sidemen

    Albany native and Vermont resident Dan Johnson, along with his Expert Sidemen, has released his second album, Bound for Abiquiu, on the heels of a successful Kickstarter campaign. With the album release party occurring this Thursday at Valentine’s, along with Driftwood and The Grassroots Rebels, featuring members of Jerkwater Ruckus, Albany is in for a treat, as Dan showcases a classic country/bluegrass sound through superb songwriting and catchy melodies throughout Bound for Abiquiu.

    bound for abiquiu

    Opening with “Adam and the Snake Oil Salesman”, Dan’s country-twinged voice showcases his story telling skills while being complemented nicely by the Sidemen, adding in guitar, banjo and steel pedal guitars. Words of wisdom pour from the chorus, “There’s a road that has no beginning, there’s a great big old place in the sky, there’s an up, there’ a down, there’s a middle ground and you don’t ever have to die.”

    Named for a song and album of the same name by Albany band Knotworking, “The Garden Below” asks questions that lead to a confession, foreshadowing “Utica Blues” later in the album. “My Three Friends” is a truly traditional country tune, in the vein of Johnny Cash and Steve Earle, the way country music should sound, with lyrics on life’s laments and struggles, the sadness of these followed by the hope for better things around the corner. “Come on in my Kitchen” is not the classic blues number of the same name, but instead a pedal-steel accented plea to a lady to come over for dinner; a short, make you smile tune.

    “Another Good Thing is Come and Gone” is a highlight of the album, played and sung in the Del McCoury-style, making it a most traditional bluegrass track. “Dancing Fool”, while not the Frank Zappa song (although Dan’s take on that would be great to hear) is a mellow tune painting a picture of a nervous guy working up the courage to ask a lady to dance, lacking confidence, even calling himself a dancing fool, yet still wanting a dance nonetheless. With a little klesmer intro and accordion adding a nice touch, “Off on the Tide” tells the story of a sailor heading out to sea, sick of the town he’s been at for a spell.

    With a nod to Upstate NY, “Utica Blues” is a gambling song set in Utica, singing the blues about the life of a gambler who comes and goes as he wins and loses.  “Riding into Utica on a dirty old train, when I leave Utica I’ll be riding high again.” For what it’s worth, Utica is the perfect location for this story. Finally, the title track “Bound for Abiquiu” brings a high note to the end of the album, telling the tale of a journey about to be embarked upon. The destination of Abiquiu is a mystery, left to the listener to draw their own conclusion.” Bound for Abiquiu is a perfect album for a sunny summer day or a drive to the Adirondacks or Southern Tier, while picking in the campgrounds at Grey Fox Bluegrass Festival or casual listening to a classic country sound.

    Key Tracks: Another Good Thing is Come and Gone, Come on in my Kitchen, Dancing Fool, Utica Blues

  • Hearing Aide: Van Gordon Martin Band ‘Take The High Road’

    After releasing their first album, No Limit to Love in 2010 and touring with the Skatalites throughout the United States, making stops at major music festivals like South by Southwest and Austin City Limits, the Van Gordon Martin Band has returned with “Take the High Road”, 12 tracks of funk-infused R&B and dub reggae. This eclectic blend of genres is a result of Martin’s role as a guitarist for number of other groups, including The Dub Down Crew & Scotch Bonnet Band, Sparkplug Tribute to Melvin Sparks, and The Nephork! All-Starts.

    Van Martin, second from left in hat
    Van Martin, second from left in hat

    Martin’s experience playing with a wide range of musicians influenced the recording process of Take the High Road, as the album features appearances from members of John Brown’s Body, Club D’elf, The Slip, Dub Appocalype, Otis Grove, and former Spiritual Rez horn alumni. These musicians, who contribute funked-out bass riffs, heavy horn sections, and groovy drum beats are some of the best that the east coast has to offer.

    Together, they have created an album that explores an array of musical styles. Between the breezy “Another World,” featuring clean guitar riffs and a smooth saxophone solo, and the jazzy organ-filled “Hard Decision,” which transitions into a reggae a influenced chorus driven by off-beat guitar licks, Take the High Road provides 43 minutes of crafty musicianship and epic jams.

    Key Tracks: “Dreams,” “Another World,” “Hard Decision”

    Van Gordon Martin on Facebook, Twitter, Instagram, YouTube

  • Heart in Hand “Almost There”

    Brit rockers, Heart in Hand, kick-off their second album “Almost There” locally on May 14th.  Produced by Pedro Texeira, they blend together melodic, transcendental instrumentals along with barking lyrics that define their hardcore roots. Front man, Charlie Holmes and crew are apparently excited about what the band calls, “quite simply a masterclass in how to create a truly engaging Hardcore record.”

    One should be able to appreciate some real talent from this group.  In “Old Tattoos”, I was caught up in the ethereal guitar play between Ollie Wilson and Ed Hartwell. It’s perhaps the best (nearly) three minutes on the entire CD that is distantly akin to Dream Theatre. And, you’ll see the same kind of play under tracks “Proposal” and “Vows”. Wilson and Hartwell have no trouble flipping the switch back to the hard stuff to accompany Holmes as well.

    I’m not certain I’d be quick to call this one a “masterclass” but Heart in Hand certainly wears their collective heart upon their sleeve in this installment. I give props to Holmes for actually sounding coherent throughout the majority of the CD. But, I have genuine concern for him when I hear the lyrics. For example, from their title track, “You’re the one. Can you save me from myself? Keep me by your side (and) don’t let me go.” I feel that I’m handling someone who is emotionally unstable, and that I should be careful with what is written here. Matters get worse, psychologically, under the eighth track “Old Tattoos.” “I don’t know how I always find a way to forgive you, but I do.  And, I always will. I’m nothing without you.”  It’s like an anthem for unhealthy, dependent relationships. If you can relate to these lyrics, seriously, seek help. I digress.

    I have to admit, the band play on the instrumentals seemed to showcase this band’s talent at its best. Set aside the merits I paid to Holmes for the relative clarity in his singing, but there appears to be a rift in the caliber of performance from when he sings and when he does not. It should be noted that this difference could be a deliberate attempt to move the listener with what the band describes as “soaring peaks and bitter lows.”  Blending together dream-like instrumentals with typically harsh metalcore lyrics was entertaining and done well. Nevertheless, I can’t help but recognize the prophetic nature of the album’s title.

    For more information, visit the band on Facebook: Facebook.com/heartinhandukmh

  • The Manhattan Project release Atomic Bomb Party vol. 3

    The Manhattan Project, one of the northeast’s newest powerhouses, came on to the scene in 2010 and is further making a name for itself with the release of Atomic Bomb Party vol. 3.

    The album’s opening track, “Endless Nights,” builds from the start into an all out barrage of sonic output layered with tasteful precision. Deep tonal exploration collides with danceable grooves for a menacing yet satisfying start to the party. Police sirens scream out in the background as Shawn Drogan’s drums continue to build the track for one last explosion of sound. The synth-heavy “Full Bounce” eases its way in with Charlie Lindner at the helm before the beats hit. Enter a layer of dub bass that tactfully wobbles in the background and the track is in full swing with a plethora of hihat chops. The breakdown is soothing and reflects a great contrast and range in the duo’s highs and lows. Beautiful vocals come and go taking the mind with them and returning it to the track just in time for the beat. “Bitcrusher” welcomes powerful vocals, a couple of sizable builds and captivating melodies for a sonic ride that may be the album’s shortest track in length, but also may be its strongest in regards to fan appeal.

    What starts out as light percussion and spacey synth builds oh so slowly with a focus on effects, before the bass enters the picture and the listeners fins themselves in the full swing of “Hiroshima.” The combination of middle eastern and Asian influences is evident and reflects a well-round arsenal. The EP concludes with “Aftermath,” a piece that begins with an almost apocalyptic buzz, chirping birds and the eventual warning of an “emergency.” Heavy bass drops and the composition takes off with soaring highs, clashing with deep lows in the albums’ ultimate build and release. The Manhattan Project’s overall output far exceeds that of a typical duo, though nothing about this duo or their music is typical. They are the past in their utilization of worldly influences. They are the present in their tasteful innovation. Atomic Bomb Party vol. 3 offers listeners a fresh perspective on a constantly developing music.

    J-man’s Conversation With Shawn Drogan(Drums):

    J-man: What are your thoughts on the new album?

    Shawn: We’re really excited about this one for a couple reasons; It’s very different than the previous two EP’s. Not only are the BPM’s of each song slower than the last, we explore different rhythms and feels on this one. There’s still a lot of variety like the last and it still sounds like us, but I think people will hear some evolution in the music. Another reason, is that this was an important one to get right and I think we did it! It’s been two years since we’ve released a studio album and we felt like we had to take it up a level this time around. A lot of the music came together fairly quickly in the weeks going into the studio. We only had a certain amount of time to write songs we felt good about and I feel we ended up producing some of our best stuff to date.

    J-man: What is your thought of the direction of “mainstream” electronic music and where do you see TMP in relation to a lot of the mainstream music?

    Shawn: I think music in general is in a great place! Popular music is popular for a reason. Our music definitely hits on certain levels of mainstream, but also offers something more for people that want something deeper.

    J-man: Can you talk about why it is you gentleman opt out of utilizing laptops in your live performances?

    Shawn: We both come from a very instrumental background and wanted to utilize that element mainly when we started, but take it somewhere new. We never really planned it out that way, but as we started to develop our sound, we didn’t feel a need for laptops to perform. Now I guess it kind of sets us apart in a way.

    J-man: What does TMP have coming up this spring/summer that you guys are most exited about?

    Shawn: We’ll be hitting a lot of new cities in the next few months which is always fun, and we’ll be announcing some more festivals very soon.

    The Manhattan Project’s website: www.themanhattanprojectlive.com