NYS Music 20​13

Tag: sandra jackson

  • Todd Rundgren releases his 24th solo album “State” and tour dates

    One of the coolest parts of writing is the opportunity to review music by my favorite artists. I’m not a critic unless I’m badgered into it. If I listen to something that I don’t care for, I don’t write about it, simple as that. I don’t want to rain on anyone’s parade, for me it’s all about giving exposure to music I believe is exceptional. But writing about Todd is a pure joy! He’s been one of my favorites since “Hello, It’s Me” hit the airwaves. I’ve had the pleasure of seeing him in concert twice. Once with his band Utopia at the opening of the “Ra!” tour and again two years ago at The Oneonta Theater, which I reviewed on these pages. I’m about to spin State for the first time and share my thoughts on it with you. Here we go!

    Todd01-web
    Photo by Sandra Jackson at Sublunar Studios [Visual Design]
    State is a one-man-band project like so many other of Todd Rundgren’s works, ten tracks that reflect industrial and contemporary electronic elements. This is his 24th solo release and it’s touted as a fusion of rock, soul, R&B and electronica.

    Todd sets an immediate electronica tone with a sequencer running to open “Imagination”, then lays down a little “War Pigs” crunch line. I’m not sure if it’s a vocodor or just effects on the vocals, but the echo element emphasizes the topic, or lack thereof. It’s like the devil on one shoulder and an angel on the other, or is it two devils? They push and prod against each other in an almost tug of war right up to the first solo which is quintessential Todd. Exposing an inner battle in song, “I am what I am, that’s all that I am. Same old situation. No imagination. I tell myself.”

    Bordering on trip-hop with a twist of Todd mayhem. He said he listened to Skillrex, interesting and a bit alarming! “Serious” feels like a mix of 80’s elements from fuzz-tone funk bass to chorus-like synth flourishes right down to the R&B influenced vocals. A total switch of the gears, just like you’d expect from him, it’s like Was Not Was on steroids. He keeps the sequencer rolling on “In My Mouth”, accompanied by electronic drums and processed vocals. Sounding something like a musical therapy session, perhaps describing words on the tip of his tongue that he can’t release.

    “Ping Me” reflects the modes of communication we use today as much as how we diagnose a interpersonal problem described as a technical problem. The inability to express feelings that has been exasperated through our use of the internet medium. Just send a signal and I’ll know you’ve heard me, but did you really? The electronic funk feel rolls on through “Angry Bird”. It’s like he’s playing the game to describe the ebb and flow, lose a life, gain a trophy, re-charge, start over, pretty much a relationship video game soundtrack. “Smoke” has all of the elements of a New Order collides with Todd’s signature R&B/blue-eyed soul feel. He often plays an under-lying sexual tone expressed through analogy. He remains oblique enough to allow the listener their own definition, truly one of the most difficult of songwriting pieces.

    Untitled

    “Collide-A-Scope” gets heavy on the electronica in a stream of thought lyric. As if he’s spinning the wheel on a kaleidoscope of his emotions, again the analogy-like exposition of feelings through an electronic medium. The real heart trying to be heard, but washed under a tide of programming and lack of ability to communicate. The metronome-like percussion of “Something From Nothing” gives a machine voice to a clock left hanging on a wall in a deserted town. Hanging onto hope, which equates to nothing more than a nail on a wall, expressed as faith, which ends up being nothing. “Party Liquor” is a full-force shot at the whole dj dance-hall scene. Exposing the vacuousness and soulless nature of the genre. It’s remarkable that all of these sounds were created with one guitar and a laptop, but that’s surely the shape of music today. The difference is these things are used by a brilliant musician, not a kid using Garage Band. The lyric suggests how easy it all is when you’re in the right place at the right time. Pure misogyny. The closer, “Sir Reality” reduces the real to the ridiculous in a simplification of what actually is, a Wizard of Oz-like opus of belief. Believe what I tell you is real, not what you actually feel. Pure Todd.

    There is also a 2 CD limited edition of State which features a recent concert on Disc 2. Much like every other Todd album I’ve heard, this one is highly recommended as his constant evolution as a writer and musician are in full force here. Don’t forget, he plays every instrument, sings every vocal, engineers and produces this work. Don’t try this at home, trustafarians.

    Todd will be touring in support of “State” beginning at The Bearsville Theater in Woodstock, NY for an “Official State Visit” on May 5th and 6th.

    Tracklist:
    1. Imagination
    2. Serious
    3. In My Mouth
    4. Ping Me
    5. Angry Bird
    6. Smoke
    7. Collide-A-Scope
    8. Something From Nothing
    9. Party Liquor
    10. Sir Reality

  • Mandate Of Heaven releases their 10th CD, “Mark Music”

    Syracuse multi-instrumentalist/singer/songwriter Greg Pier and his vehicle, “Mandate of Heaven” have released their latest CD, “Mark Music” and are preparing for several shows in May and June.

    Pier could certainly be considered one of the area’s most prolific writers as MofH reaches double-digit numbered releases. MofH is not only a band, but also the moniker for Pier’s solo performances and recordings. “Mark Music” is the tenth release on Pier’s “Neon Witch” label. Jason “Jocko” Randall engineers and mixes at More Sound with additional tracking done at Neon Witch, Randall and Pier co-produce this release which was recorded between 2009 and 2012. All songs were written by Pier except “Scrapper’s Blues”, written with Ethan Jenks.

    MOH-1-web
    photo by Robyn Stockdale

    The current band features FLASHING ASTONISHER veterans Bob Kane on Drums, who plays on all tracks here besides “High Dragonfly” and Chuck Gwynn who contributes bass on “Bedroom In The Sky”. Bob gave me a great quote while we discussed this review, “What bums me out is that my favorite tune has Greg on drums, “High Dragonfly”. I laid down a track, but I was more Wilco than Crazy Horse, just too many grace notes, so he played it himself. Someday I’ll learn!” Jason “Jocko” Randall on second guitar and six string monster John Hanus plays the slide solos on “Bedroom In The Sky” and “Cruel, Cruel Aristocrats”. All other instruments and all vocals are performed by Pier, much the same as previous MofH releases.

    The CD opens with “Baby Electron”, a straight-up power-pop monster, setting the bar high for the rest of the disc. Super melodic, the ringing harmonic guitar parts swirl around the vocal harmonies ‘til the chorus hits with a crunch and bite! Hopelessness and lack of control, such a romantically pretty place to start and an appropriate lead in to “Bedroom In The Sky”. John Hanus’ dripping slide part supports Pier’s melancholic reading. The guitar parts individually read with a R.E.M. feel, the rhythm, the slide. Gwynn’s bass line is solid and flowing, just the right feel to work with Kane completing the section. “Scrapper’s Blues” is like a postcard from the front porch, written by Yorke and sung by a Matt Bellamy/Bono lovechild. The syncopation in the guitar line with Kane’s drive close at hand pushes the pace in an almost twirling dance. The first listen of “High Dragonfly” illustrates Kane’s previous quote, while the vocal line belies the almost woodsy feel of the tune, Pier’s vocal twists from his heart like the removal of a similar knife-blade. There’s a “dEUS” quality to one guitar line that echoes a “Beefheartish” influence and influences the vocal meter. The minimalist feel allows the words to bite and release, hard. “From The Center” releases the heavy side of Pier, while he allows the melodic vocal duality to layer deep. Kane’s strength reminds me of QOTSA Grohl, along with a vocal intonation that is rhythmically British in a Foo kinda way, again, back to Kane’s quote.

    There’s an edgy, crispy quality to the whole recording, maybe it’s in the compression. It’s a bit haunting and a bit halting, kinda like T-Rex at times vocally and that ain’t bad!

    Note: We just clicked on cdbaby to the “if you like this artist try” section. Hahahaha! Perfect!

    “Cruel, Cruel Aristocrats” brings Hanus back in the mix to accentuate the fast pace of Pier’s guitar line. Thematically Pier takes another bite at the expected and entitled, spitting at the standard while embracing the outsider. Check out the video here, it’s very well done.

    “If Twenty” jumps out of the gate heavy, its layered guitar riffs punctuating Greg’s quasi-pastoral, pleading vocals. Kane, once again is so strong, yet thoughtful, right down to the bell ride on his cymbal signaling the crunch along. Pier’s disaffected poetry is wrenching when it reaches its apex, circling and re-examining to the ultimate goal, the ultimately isolated self.

    “Parable” is like a theme that runs in my head everyday. Listen to what the self-proclaimed decide you like and let them pick your enemies while they’re at it. It spits at the standard and what is foisted upon us daily. Almost a updated “Iron Man” hidden in there for familiarity, with the classic percussive break only to bring you back with slowed down big-rock ending.

    “Riverbed” has a cool wilting pedal steel line playing against the semi-San Franciscan guitars, whether they’re para-psychedelic or more semi-symbionic. There’s a root in the Appalachians and a mind in Berkeley, woeful, but trust-fund hopeful. Cue up Yo La Tengo – “Sugarcube” and stress the droning vacuum cleaner sound.

    “Hand The Bottle From The Tree” is classic indie-power pop, it rocks, the vocals soar and the end kills. It times in at 3:08, just like a single that will never get airtime. It’s a pity really. At first listen a few months ago I stated that this release alone was reason for a “Album Of The Year” category in our local SAMMY Awards. Did I mention that this won “Best Modern Rock” album this year? I truly believe this work toasts many Grammy winners, it truly is that good! A taste of The Black Keys, maybe some spice from The Raconteurs, all deftly dialed in by Jocko and Greg.

    The closer, “Song Of The Halfway Point” lays it all on the table for digestion. Influences blended with personal vision, forethought and hindsight mixed with the slightest twang. It’s powerful, it exceeds its environment, it stretches reality beyond the norm if only just in wanting. It’s brilliant. Go buy it right now.

    Find Mandate Of Heaven online at Bandcamp and Facebook.