NYS Music 20​14

Author: Chantal Vacher

  • Hearing Aide: Eminem returns with ‘Shady XV’

    Before listening to this newest installment of what Eminem has to say, I was excited. I’ve been a fan of Eminem since I first heard of him in sixth grade: an era when Carson Daly hosted TRL and MTV actually played music videos. My friends and I ignored the parental advisory warning, sneaking down to the basement to listen to this risqué new music we downloaded from Napster. We were suburban white kids. We were angry. And we loved him. Shady XV marks the 15th anniversary of his record label Shady Records, as well as the 15th project his label has produced.

    Shady XV is comprised of two CDs, the first features all of Eminem’s new music, including tracks from collaborating artists including Yelawolf, Slaughterhouse, and Royce da 5’9. The second disc is a re-release of old favorites from Eminem and other artists on the Shady Record label like 50’ cent, Obie Trice, and D-12. The songs complied include hits like “Lose Yourself”, “PIMP”, and “Purple Pills.”

    shady xvUpon first listen I was disappointed. As for content, Shady XV touches on a lot of the same themes as his previous albums like dysfunctional relationships, his childhood, and ultra-violent revenge fantasies that are dripping with misogynistic lyrics. At certain points it came across as stale, tired, and slightly disturbing. His shock value has depreciated like a new car driving off the lot.

    I took a moment to reflect and listened to it again, keeping in mind that Slim Shady is a persona purposefully used to espouse a violent dark side. I came to view it from a different perspective. I saw Slim Shady as performance art, like a musical version of a horror film. Looking at it from an artistic and technical perspective, this album is ingenious.

    The first song “Shady XV”-the album’s title track-comes across as more of a freestyle over what sounds like an off beat classic rock sample. Instead of relaying a narrative like a lot of Eminem songs, (like the song “Stan” for example) these lyrics are more stream of consciousness in nature. Eminem’s word play is still on point and clever with lyrics like,

    “I’ll snort a key and pick a fight with a locksmith” and “You’ll feel like Master card when I’m charging.”

    The humorous lyrics help balance out the aggressiveness, and make it a little more playful. At the end of the song, he cuts the track and raps without a beat, continuing to bounce from one idea to the next.

    “Psychopath Killer” is next which is by Slaughterhouse and Yelawolf but features Eminem. The beat is reminiscent of trip hop and samples a woman singing in a hauntingly beautiful voice. The song kind of gives the impression that they’re rapping from some sort of dark alley in the rain. The song focuses on being a “lyrical murderer”, and rapping as art. Several of the songs on this album are by or feature artists who belong to Shady Records. These songs including “Detroit vs. Everybody”, “Y’all Ready Know”, “Bane”, and “Till It’s Gone”, show that Eminem has a knack for finding talent.

    “Die Alone”, “Vegas”, and “Twisted” are among the most violent songs on the record and harbor the same old angry sentiments that Eminem has built his empire upon. “Die Alone” addresses unrequited love and reflects yet another dysfunctional love affair. “Vegas” finds Eminem kicking a pregnant woman and alludes to raping Iggy Azalea. The chorus of “Twisted” definitely lives up to its name with Eminem and Skylar Grey crooning to each other about how much they want to kill one another.

    “you’re a pain in my neck/thorn in my side/stain on my blade/blood on my knife”

    These lyrics are definitely not for the faint of heart and the beats aren’t exactly catchy, but the technical style keeps these songs interesting. Eminem utilizes syncopation and different rhythms in delivering his verses that sounds like a change up from previous albums. Yelawolf’s verse on “Twisted” is the highlight.

    “Guts Over Fear”, and “Fine Line” are the songs that retain the most substance on this album. “Guts Over Fear” is a reflection on the tipping point where Eminem has seemingly found himself. With lyrics like,

    “What am I gonna do/when the rage is gone and the lights go off in the trailer park?”

    It touches upon the fact that the persona that has built Eminem into one of the most acclaimed rappers of our time also boxes him in. Is raises the question who is he as an artist without this incredibly violent shtick? How long before this gets played out? “Fine Line” portrays Eminem struggling with his fame, asking

    “Is it really my soul to keep/or have I sold it cheap?”

    He goes on to relate how sometimes he longs for normalcy, and the ability to go out in the world unnoticed. The song is laid over a piano driven beat with a lackluster chorus. He somehow manages to sound angry even while saying “I love you.”

    If you’re looking for some new personal revelations from Slim Shady, you’re not going to get them in this album. The topics that are addressed are devoid of any character development, and still reflect the same sentiments that I first heard in my parent’s basement in 1999. However, what Eminem has developed over these years are his style and his ear for talent. Eminem’s manipulation of words to connect abstract concepts together, as well as his innate understanding of diction is what continues to make Eminem a master of his craft.

    Key Tracks: Guts Over Fear, Bane, Psychopath Killer

  • Hearing Aide: The Disco Biscuits ‘The Classical Set’

    The Disco Biscuits recently released a remastered recording of their 2003 performance at TranceMission music festival in Tennessee, one that has since been lovingly referred to as ‘the classical set’. This remastered recording is available on vinyl and for download and includes covers of classical pieces by composers such as Mozart and Tchaikovsky, as well as some Biscuits’ songs that are heavily influenced by classical music.

    The Disco Biscuits The Classical SetThis recording is a perfect addition to a Disco Biscuits fans’ holiday wishlist, or for those of you who aren’t as familiar and want to see what this band is all about, this may be a good option for you.

    The album starts off with Mozart’s “Eine Kleine Nachtmusik” whose title sounds foreign but you would most likely be able to recognize by ear. The song starts off sounding like a day at the races, and is driven by Jon ‘Barber’ Gutwillig’s guitar whose riffs at some points makes you feel like you’re walking on a tightrope. This particular song by Mozart seems a good choice because it’s happy and fast paced, and demonstrate the Biscuits’ ability to successfully tackle a classical composition.

    The next track is “The Devil’s Waltz”, which shines on this recording as an example of classical inspired Biscuits’ songs. “The Devil’s Waltz” starts out sounding like the introduction of a Russian wedding and unfurls itself into a dark jam in the middle, which is perhaps a nod to the song’s title. The song ends on a high note and as with many classical music pieces, it tells a story that can be interpreted differently by each listener.

    From there they play a short and sweet but incredibly fast paced cover of “Sabre Dance”, originally by Aram Khatchaturian. Coming in at a little over two minutes long, “Sabre Dance” resembles a song that would be fit for a circus. A slightly whimsical sound, this song enables you to envision clown cars crashing into each other, or old jugglers tossing their wares high into the air.

    “The Thieving Magpie” and “The Overture” are two songs that display the bands’ ability to connect with each other and develop a sophisticated sound. “The Thieving Magpie”, originally written by Italian composer Gioachino Rossini, sounds like what an Eastern European military officer might listen to on his day off. Characterized by trilling notes on the guitar and piano, it is pretty and compelling. “The Overture”, which is the second classically inspired Biscuits’ song on this album is characterized by breakbeat jams and a complex layering of sounds, which is really what The Disco Biscuits do best. “The Overture” is really a quite beautiful song that starts out uplifting and then delves deeper down into a more electronic influence. Each member of the band truly coalesces and is instrumental in making the song work to garner your attention. The song ends with a definitively more classical feel, swooping the listener back into the light.

    The album rounds itself off with two more classical covers, “In the Hall of the Mountain King” by Edvard Gries and “Waltz of the Flowers” by Tchaikovsky, where once again the Biscuits’ emboss their own style onto different classical pieces. Throughout the entirety of the album, The Disco Biscuits use the template of classical compositions to explore different areas of their sound. Whether you’re interested in listening to a new side of The Disco Biscuits you haven’t heard before, or wanting to hear new interpretations on old classics, The Classical Set demonstrates that The Disco Biscuits can stay true to the essence of their cover songs while sealing their own mark onto timeless compositions.

    Key Tracks: Eine Kleine Nachtmusik, The Devil’s Waltz, The Thieving Magpie

  • The Disco Biscuits give it to The Mann

    The Disco Biscuits came to the Mann Center in Philadelphia for the last night of City Bisco Saturday September 27, accompanied by Risky Disco and Giorgio Moroder. If you’ve never been to The Mann Center, you should put it on your radar. Similar to New York’s beloved SPAC with lots of space and rolling hills of grass to lay out on if needed, it retains better sound quality and (at least for Biscuits) most of the pavilion is GA seating. From the top of the hill you can also see the beautiful Philadelphia skyline which is definitely a plus.

    disco biscuits the mann
    photo by Andrew Blackstein

    Upon entering the concert, each patron was given a City Bisco baseball card as part of an official art installment called “What Summer Sounds Like” that was created by illustrator Alex Fine. Each card features the band members on the front with little facts on the back such as what year the band formed, and a trivia question about HeadCount. This trading card installation added a fun, whimsical vibe to the experience as soon as you entered the gate, and gave a reprieve from the extensive and slightly invasive search.

    In a stroke of luck for Biscuits fans, Orchard Lounge, the originally scheduled opener had to cancel and The Disco Biscuits stepped in to play as their alter ego The Perfume. A Perfume set is when the band plays their own songs in a different style of music, as if another band was covering them. They started early, around 7 o’clock and the crowd was sparse but excited. The band came out and people settled in to dance. Guitarist Jon “Barber” Gutwillig came out dressed to impress with a bright red velour jumpsuit that looked like it could be made out of velvet.

    disco biscuits the mannThe styles of each song of The Perfume set were interesting and varied, ranging from a dub style “Mindless Dribble” to a garage band punk version of “Kitchen Mitts”, a definite highlight. They started with a Devo-style “Frog Legs” that turned into a disco dance party that was perfect foreshadowing for Giorgio Moroder. “Frog Legs” got the crowd moving right away with a version of the song that would fit right into the soundtrack of Saturday Night Fever. From there they got their reggae on with the aforementioned dub “Mindless Dribble”.  A Wa-wa “7-11” and raucous “Pilin’ it High” came after that really amped up the crowd. The beauty of a Perfume set is that it was so different I didn’t realize that they were ending their set with “Kitchen Mitts” at first. So much so, that I left my spot to get a drink. As I walked across the back part of the venue I recognized the song so I stopped to revel in it and saw a mosh pit.

    The second set started with an outfit change, Gutwillig coming out in a black shirt and white pants. Musically, it started and ended with “Little Lai”, with keyboardist Aron Magner trilling notes on the keyboard, while Gutwillig followed suit on guitar. A cohesive jam followed with each player adding their share, but with Magner and Gutwillig taking the reins. The transition into “Caterpillar” was pretty flawless and took the crowd on a musical exploration of the darker side of electronic jam music that The Disco Biscuits do so well. The drummer, Allen Aucoin, lead the pack on this one like a drumming machine.

    The theme of the second set seemed to be about delving the crowd into musical chaos then pulling us out of the darkness by juxtaposing upbeat, dancey tunes. This can definitely be heard as the band went from “Caterpillar” into “Little Betty Boop”. The set ended with a subtle and funky “On Time” back into “Little Lai” that had Gutwillig wailing pretty hard on guitar to end with a flourish.

    disco biscuits the mannSet break featured Giorgio Moroder, also known as “the godfather of disco” who came all the way from Europe to unleash his beats on our American ears. At 74, Moroder threw down harder than most people in the crowd. His music had us flashing back a few decades, remixing songs that he produced such as Donna Summer’s 1979 hit “Bad Girls” and 1984’s “Never Ending Story” which he composed. He also remixed the contemporary “Fancy” by Iggy Azalea which was unexpected and awesome. After Moroder’s performance every member of the band turned into the 80s kids that grew up with his music. Moroder is so legendary he had a hand in making his own theme song…Daft Punk‘s “Giorgio by Moroder”. They were star struck in the biggest way because without Moroder, the disco in Disco Biscuits wouldn’t exist.

    The third Biscuits set commenced with a fan requested “Crickets,” the beginning of which was slow and sexy as always. It eventually worked the crowd up into a frenzy as the song progressed. The song alternated between high energy peaks to lows riddled with bass bombs thanks to bassist Marc Brownstein. After “Crickets” they played a faced paced “42” into Conspirator’s “Orch Theme”. The first half of the third set focused more dark, heavy electronic jams, some of which didn’t really go anywhere. Seldom played “Aquatic Ape” developed into a break beat jam that really showcased Aucion’s skills. “42” rounded off the set with a happy and upbeat ending.

    “Helicopters” worked really well as an encore, encapsulating the energy of the show into one song. It had everyone out of their seat, dancing and yelling lyrics at the top of their lungs. It was the perfect nightcap to end the show on a high note with Gutwillig slaying the guitar. Overall, the energy of both the show and the crowd were great meaning the Biscuits rocked Philadelphia out right.

  • Hearing Aide: Giant Panda Guerilla Dub Squad ‘Steady’

    Giant Panda Guerilla Dub Squad is set to drop their new album Steady today, September 30th. Steady is Giant Panda Guerilla Dub Squad’s first studio album since 2012, and their first collaboration with Easy Star Records. Steady was also co- produced with Craig Welsh of 10. Ft. Ganja Plant. According to bassist James Searl “this is without a doubt the best sounding record we’ve ever made,” and I would have to agree. Upon first listen it really stuck out that the sound is very clear and clean.

    GPGDS, based out of Rochester, have produced an album that recycles old reggae themes in a newer, more nuanced way. The themes that flow throughout the album fall in line with what traditional reggae music was born to address; love, change (both political and personal), peace and positivity. “Steady”, the title track of this album, is a slow and easy-going love ballad. “Steady” was co-produced by Danny Kalb (The Green, Ben Harper) is very melodic, along with most of the other songs on the album, with smooth lyrics that just make you want to sway.

    “Mr. Cop” is similar in that way but retains an island music feel to it. The song addresses issues with police, expounding on the relationship between law enforcement and society. With lyrics like “Mr. cop, Mr. cop don’t want you searching/we’ve been all day working/nobody that we hurtin’/Just a little herb we smokin’” the song illustrates a theme that is often touched upon in reggae music. From the tropical feel of the song to the lyrics, for a New York based reggae band GPGDS really exhibits an authentic Caribbean feel.

    Giant Panda has also dabbled in playing Americana music especially with their previous album Country which was released in 2012. This influence can be heard on songs like “.45,” “Not The Fool,” and “Home.” They add a bit of country twang to the traditional reggae sound that this record embodies.

    “.45” specifically breaks pace from those peaceful hymns they were espousing. With lyrics like “If you see me on the streets/and you want to get wise with me/ I’ll pull out my .45,” it’s like a reggae version of the slogan “don’t mess with Texas.” It’s very bluesy and has full force guitar rifts that are in your face…in a good way.

    Overall this is the kind of album that is good to listen to anywhere, like a soundtrack to a beach vacation. If you’re interested in checking it out, their title track “Steady” as well as “Mr. Cop” and “Take Your Place” are available to stream at LivePanda.com.

    Key Tracks: “Steady” “Mr. Cop” “.45”

    Check out Giant Panda this week across Upstate New York!

    Oct 2: Buffalo, NY – Tralf Music Hall
    Oct 3: Syracuse, NY – Westcott Theater
    Oct 4: Rochester, NY – Zeppa Auditorium

  • Disco Biscuits to Host City Bisco in Philadephia

    The Disco Biscuits are gearing up for the third installment of City Bisco this weekend in their home town of Philadelphia. This year the Biscuits have expanded City Bisco to include three nights spanning three different venues. The weekend kicks off this Thursday September 25th at The Trocadero. This show is only available with a three-day pass so get your tickets here.

    city bisco philadelphiaFriday night they move to the Electric Factory where they will play with American Babies. The Biscuits will cap it all off Saturday night at the Mann Center with supporting acts Giorgio Moroder “the godfather of disco,” Orchard Lounge, and Risky Disco. The Biscuits always bring the heat to Philly so this is a weekend surely not to miss! Tickets to these shows can be found here and single day passes for the Mann center can be found here. Thursday and Friday night’s show start at 7pm. Doors are at 5pm for the Mann center, show starting at 6.

  • Rubblebucket Brings the Ruckus to the Hollow

    Rubblebucket came to downtown Albany’s The Hollow Sunday night, infusing a typically low-key evening with high energy and a whole lot of funk. Accompanied by Brooklyn-based dance quartet Body Language, both bands had a hand in making sure that those who attended came out of their Sunday night football food comas.

    Body Language kicked off the night at around 9pm and there were more people than one would expect for a Sunday. The front dance floor was packed pretty tightly, with people spilling out into the back portions of the bar. From the beginning, lead singer Angelica Bess emanated a really interesting stage presence. Sporting tie-dye leggings and a black crop top, her hair braided into long cables cascading to her waist, she pantomimed a lot of the lyrics as she sang. Bess, who also plays the glockenspiel (an instrument similar to a xylophone, but with higher pitched sounds) has a voice that ranges in style and possesses an ethereal quality. Body Language played an eclectic mix of instruments, including the tambourine and cowbell, and their musical style ranged from soul to pop. They also had a disco dance flare that had the crowd contorting themselves into dance moves that were as different as the instruments the band played. With Bess’ sultry voice and that R&B sound, if their music was truly translated into body language, they would be saying “come hither.” Body Language kept the mood light and upbeat and had everyone on their feet. They definitely set the stage for what was to come.

    Rubblebucket who is on tour promoting their new album, Survival Sounds, played a slew of new songs including “My Life”, “On the Ground”, “Carousel Ride”, “Major Roxy”, and “Origami”. The new songs drift from the fun and fanciful aspect of Rubblebucket and delve a little deeper into real life and have a bit of a harder sound. They’re a little more hard rock and possess more electronic undertones with “Origami” being the most upbeat. Rubblebucket, whose shows are half concert half performance art, can sometimes border on gimmicky, but are ultimately fun and whimsical. While introducing “Origami”, the adoration of the fans was apparent as a fan yelled out “I love you Kal!” and she yelled back “I love you too!” The level of interactivity between the band and the crowd is interesting and something you don’t see at a lot of shows. During “Origami”, Traver requested that the crowd yell out the chorus, with her belting out the question “Why can’t it always be fun?” and the crowd yelling back, “always, always, always!” It definitely got people moving their feet, with Traver coming off stage and starting a soul train with the audience.

    Although they are promoting their new album, they didn’t just stick to new songs. They played old favorite “Came Out of a Lady” off of Omega La La that saw the entire horn section coming down to play in the crowd, including Traver who was playing saxophone. That was definitely one of the highlights and had the audience jumping up and down with their hands in the air. They also played “Patriotic”, which is off their Save Charlie EP, and upon introducing it, Traver proclaimed that “it’s a song about being yourself.” From there, they played “Carousel Ride”, and with lyrics like “when all the strongest winds are blowing my way/and the reaper comes to take my breath away…I’ll dance in the fire and I’ll do it again,” it perfectly matched Traver’s hauntingly beautiful voice. “Carousel Ride” definitively showcased Rubblebucket’s penchant for art by having someone walk around in a faceless furry creature costume whose head was made out of pink fabric roses that had leaves and ivy running through it. This creature is featured on their album cover, as well as in the music video for the song, bringing a different aspect of their art to their concert.

    Rubblebucket played straight through without a set break, ending in a superjam with Angela Bess from Body Language playing the glockenspiel. The entire band came onto the floor parading around the bar like a marching band gone rogue. The last couple of minutes of their set found trumpet player Alex Toth playing on tables by the merch booth along with Traver on saxophone. When it comes down to it, Rubblebucket is full of incredibly talented musicians whose sound works well together for being a larger band. Seeing them play is an experience in and of itself aside from the music. It can definitely get weird, but if you haven’t seen them before, they come highly recommended.

  • Hearing Aide: ‘Gimp Nation’ by Mystery Crash

    Hailing from Chicago, Mystery Crash is a three piece experimental psychedelic rock band that’s heavily influenced by electronic sounds. Formed in 2012 with the release of their first album Year of the Rabbit, Mystery Crash has said that “they want to explore the unexplored.” This psychedelic musical exploration has come to fruition in their newest EP Gimp Nation.

    The EP has five songs, and coming in at a little over 18 minutes it showcases different styles throughout. Released in late 2013, Gimp Nation is the kind of album that could suit any mood. Their ambient sound is one that lends itself to a multitude of activities from driving, to doing school work, to dancing around your living room. Some parts have a nostalgic sound, like the last rainy day you had where all you did was watch movies in bed.

    The two most notable tracks are “Waterlogged” and “While I Sleep,” where you can really hear their influences coming through. Influenced by bands like The Talking Heads, The Flaming Lips, and LCD Soundsystem, Mystery Crash has taken their own approach to that style of music and has brought it to unchartered terrain. “Waterlogged,” the first song on the EP sounds like an old school STS9 and Bonobo love child. Ambient but still upbeat, it could be the soundtrack for floating down a river or through space. “While I Sleep” reveals a different part of their style. With its bass heavy riffs and vocals that sound like David Byrne tripping on acid, it’s catchy and low key kind of like Radiohead.

    Mystery Crash’s essence can be found in their motto, that they want express “new and exciting ideas in a striking, powerful way.” Their new EP is definitely on the right track, and with a little more delving into their own depths I think they could accomplish just that.

    Key Tracks: Waterlogged, While I Sleep

    Mystery Crash on Facebook | Soundcloud