NYS Music 20​14

Author: Zach Hitt

  • All That Remains Announce New Album

    allthatremainstheorderofthingscdAll That Remains, a metalcore band from Massachusetts, announced the title of their upcoming album, The Order of Things, which is due out in February. The  Dec. 12 announcement was made via their website.

    Vocalist Phil Labonte “quietly” released the first single of the album, “No Knock” by offering a lifetime pass to all shows to whoever could find its audio on the internet. After leaving a virtual trail of clues, the winner posted the link to the new song, “No Knock” on Nov. 15.

    Although no other details or track listing have been revealed, pre – orders for The Order of Things will began on Dec. 15, and can be done so through the band’s website.

  • Danko Jones Announces New Album and Releases Single

    Danko Jones

    Danko Jones, a rock and roll band from Canada, announced that their newest album, Fire Music, will be released February 6-11 around the world, and released their first single from the album, “Gonna Be A Fight Tonight,” on November 13th via a Facebook announcement.

    The band, consisting of guitarist and singer Danko Jones — for whom the group is named — bassist John “JC” Calabrese, and drummer Rich Knox posted to Facebook that they are, “extremely proud” to announce this album. Additionally, Danko Jones released a music video for “Gonna Be A Fight Tonight,” consisting of footage taken from their previous tour cycle. They also released the track listing of Fire Music.

    1. Wild Woman
    2. The Twisting Knife
    3. Gonna Be A Fight Tonight
    4. Body Bags
    5. Live forever
    6. Do You Wanna Rock
    7. Getting Into Drugs
    8. Watch You Slide
    9. I Will Break Your Heart
    10. Piranha
    11. She Ain’t Coming Home

    More information on Danko Jones and their upcoming album can be found at their official Facebook page.

  • Murder By Death to Crowdfund Upcoming Album

    Murder by Death, featuring Americana rock from Kentucky, launched the Kickstarter for their upcoming album, Big Dark Love on November 5. The band, fronted by singer and guitarist Adam Turla, uploaded a full description of their latest project, asking for $150,000 to cover production, recording, art, touring, and other costs.mbd

    After 24 hours, the new album has seen nearly $120,000 in donations. They posted on their Facebook page, “we had such an incredible experience pre-selling our last album through Kickstarter that we felt this was the best way to do it.” Their last album, Bitter Drink, Bitter Moon, saw the same treatment on Kickstarter. Additionally, the band have offered several levels of reward tiers, from digital download of the album, handmade album art by the band’s cellist, Sarah Balliet, time to spend with the band, and much more. Tiers went between $1 and $10,000.

    Anyone wishing to donate to the making of Big Dark Love can do so via the Kickstarter page.

    The album will drop in February 2015.

  • The Faceless Part Ways with Bassist and Drummer

    The Faceless, a California death metal band, have split with their bassist and drummer, Evan Brewer and Alex Rudinger, respectively, as of Oct. 20 via Facebook announcement.

    Brewer, who has played with the band for the last four years, appeared on their latest album, Autotheism. Brewer noted that the reason for his departure had to do with scheduling conflicts. He elaborated by saying that he would like to do more “teaching, make more music…and to also have availability for any…opportunities.” Similarly, Rudinger noted that he would like to pursue other projects and is interested in “looking for work.”

    faceless

    Both departed one week before Knotfest, set to hit the stage in a week in San Bernardino, California, from Oct. 24 – 26. Rudinger apologized to fans who were “looking forward to seeing [The Faceless perform].” He also noted that he would not be leaving his other band, Conquering Dystopia.

    The Faceless have not issued a statement regarding Rudinger and Brewer, or their upcoming performance at Knotfest.

  • Hearing Aide: Beartooth ‘Disgusting’

    Beartooth,_Disgusting_Album_ArtSome would say that good music is fast, or energetic, or any other adjective to describe their favorite band. While some of the fastest guitar players in the world have notoriety based on their immense talent, other bands have an amazing knack of sparking an emotional response for listeners. Beartooth, on a lyrical and musical level, brings out this idea — that even if an album is simple, it can still be “good.” Especially in the metal and hardcore community, where ‘shredding’ guitars have quite the prominence, this may be a foreign concept, but some of the best metal records of all time still capture an emotional response, no matter what exactly the musicians are doing.  Beartooth’s debut album, Disgusting, is a prime example.

    The driving sounds of the music kick off into the leading track, aptly titled “The Lines,” a sad song about an addiction. The album came out in June, but its sounds are just now making rounds. The music is simple, but quite interesting. It will please fans of old hardcore, such as Black Flag; it draws influence from a more brash act such as Slipknot (especially “Body Bag”), as the band has mentioned; and the emotional melodies are reminiscent of bands like Linkin Park, Falling Up, and other powerful alternative acts (“In Between,” “Sick and Disgusting”). Overall, Disgusting should be praised as a strong debut and will be enjoyed by a wide variety of people both for musical and lyrical content.

    “We are the sons/We are the daughters/The generation of disorder,” Shomo screams toward the end of the first track. These lyrics alone give rise to the tensity of the rest of the album. Many of the words, written by Shomo, surround personal struggles which many can relate. “Beaten in Lips,” Shomo said, is about child abuse. “This is for the kids with the beaten in lips/Whose parents try to shut them up using their fists/Keep living loud and proud/They never can hold you down.” But don’t let select positivity fool you. That same track further encourages said victims to “wipe the walls with kerosene,” and notes that “this is the sound of your children revolting,” before the rest of the band launches into a rhythmic assault.

    On a musical level, this album is not dynamic. It is in your face. It is loud and vulgar. It is an example of how to write an emotional melody (especially on the chorus of “In Between”) while adding enough angry chaos through noisy dissidents close to obnoxious leads at some points. Rhythmically as well, Disgusting approaches a high level of integrity as it boarders — in a few spots in progressive influenced patterns, whereas some of it is simply fast and fight – starting. For an example, check out “Relapsing.” Further, one of the best tracks on the album for its quality, musically, and lyrically is “One More.” It’s the anthem of the album and could be enjoyed by even those who despise this genre.

    From an overall view, Disgusting is a strong debut. Shomo’s gifts as a producer, lyricist, and musician are clear, but the band has room to grow. We’re looking forward to seeing this promising band evolve.

    Key tracks: The Lines, In Between, One More

    The album can be purchased on iTunes, in stores, and from the band.

  • Hearing Aide: Rings of Saturn ‘Lugal Ki En’

    lugalkienAhead of release, California death metal band Rings of Saturn are streaming their third full length album via YouTube, Lugal Ki En. Which translates in Ancient Sumerian Cuneiform to “King of the Earthlings, Lord of the Cosmic World,” according to guitarist and founding member Lucas Mann. The album does not sound much different from their last effort, Dingr, in most cases. However, this time around, there have been multiple claims surfacing of “unrealistic editing” — that is, the band, and mostly guitarist Lucas Mann have been accused of altering their parts in the studio if they cannot be played, such as speeding up tracks, over-triggering drums, and so forth.

    Whether these claims are true or not is basically pointless. The most important aspects of this album are its writing and how it sounds, not whether it can be repeated live. Overall, it is at best a fun listen, but nothing about it is truly unique. The guitar work is fast, as are the drums, and the vocals are brutal. Fans of death metal band Thy Art is Murder or Suicide Silence (the last track on Lugal En Ki is a cover of Suicide Silence’s “No Pity for a Coward”) will enjoy the rhythm while Jeff Loomis fans may enjoy the style of leads that the band pulls: extremely fast runs with no holding back. Overall, Lugal Ki En is a semi-solid effort, but it’s nothing more than a rehashing of many other deathcore albums. It’s part of the modern trend, aside from a few unique moments.

    Looking at the musical aspects alone, we see an album that is composed of the same thing every other deathcore band pulls: low, cutting triplets, with the same note played over and over. Guitar leads possibly reach a level of annoying. Guitarists Lucas Mann and Joel Omans have actually gone beyond the call of duty to play as many possible notes within one measure without giving any regard to what they are actually playing.

    The two exceptions to this rule are the third track, “Lalassu Xul,” which features dissonance, unique chord changes, and new ideas on the face of deathcore. Rather than swarming the listener with “breakdowns” the band has elected to write a strange song which features multiple changes, acoustic guitars, and quite the ambiance. If more songs on the album contained this level of experimentation, Lugal Ki En would be more than just a shallow idea, and certainly listenable more than just three or four times.

    Also fitting this profile, we see the eleventh track, “The Heavens Have Fallen”. The instrumental features the same level of experimentation and includes heavy use of piano, samples, and keeps the listener the whole way through.

    Unfortunately, these are the high points of the album. Aside from the fact that Rings of Saturn’s lineup has changed twice almost every album, if not more, the current musicians display a lack of interest in their work. Most of it is simply mediocre. For more reference, we’ll look at the vocals of the album. Vocalist Ian Bearer sounds just like many other deathcore vocalists, especially Mitch Lucker (deceased vocalist of Suicide Silence). Further, his words are unintelligible and those which can be understood, or read from a lyric booklet, are written weakly and display a general lack of character. The vocals amount to sludge and the lyrics amount to cartoon violence.

    Rings of Saturn would be wise to think about keeping the same lineup for more than one album, and try putting some effort in. If Rings of Saturn were trying to make a joke, they hit the nail on the head. If not, they’ve made another mediocre album with just enough catchy riffs to slide by with a C minus. Regardless, we give this one a failing grade.

    Key Tracks: Lalassu Xul, Godless Times, Senseless Massacre

    The album can be ordered on iTunes and the band’s official merch store.

  • Falling Up Working on New Album

    fallingFalling Up, the alternative/experimental rock band from Oregon, announced it is working on a follow-up to the 2013 concept album, Hours.

    The band received funding from Kickstarter supporters to record, market, and produce the album. While details about the album’s themes are under wraps, the band has made other matters public.

    The band is continuing to stay independent from a record company. Falling Up severed ties with Tooth & Nail in 2009 after a six-year partnership with the record label. Jessy Ribordy, lead singer and keys player, said that the cause of that split was due to the company’s pressure on the band to tour without spending an adequate amount of time writing music or recording.

    Ribordy and Co. – guitarists Nick Lambert and Daniel Elder, bassist Jeremy Miller, and drummer Josh Shroy – have posted a Kickstarter page, asking for contributions in the sum of $40,000 which to cover costs for recording, marketing, production, and distribution. Since there is no record company present, the band is taking a DIY approach. They are offering tiered rewards for contributions, ranging from an early download of the album to dinner with the band to an executive producer credit.

    The album is set to launch in 2015. For more details please visit the band’s Kickstarter page.

  • Hearing Aide: Mastodon “Once More ‘Round the Sun”

    Mastodon_-_once_more_'round_the_sun

    The most recognizable aspect of the music of Mastodon is that their music is not recognizable for a particular aspect. Yes, they have their trademarks, such as unusual lyrical themes, shared lead vocal duties, and a wide variety of musical abilities and sounds. Much like a band such as Phish, there is no actual way to boil this band down into one particular genre because each album sounds different. Their newest album, Once More ‘Round the Sun, is absolutely no exception. In fact, the band is taking you Once More ‘Round the Sun, but you’re going in a different spaceship — in terms of the sound.

    It was clear by the release of the album’s first single, “High Road,” the new album would be a further progression into their hard rock side. The album is certainly a way to find a new market. In the single, the band delves into the most “metal” sound they reach the whole album. The song features a driving chorus with emotionally laden chords, but still features Mastodon’s harmonic, trademark vocals from Crack the Skye, or even Blood Mountain. The track’s vocals, mainly delivered by bassist Troy Sanders, are produced much like Jill Janus’ on Huntress’ Spell Eater, the same is true for “Chimes at Midnight” but will be appreciated by fans of evolutionary hard rock, such as Led Zeppelin.

    The album’s title track is musically a polar opposite. It features the “weaving” guitar patterns, achieved by Brent Hinds and Bill Kelliher, first featured on an early track the band wrote, “Joseph Marrick,” but casts an evolutionary shadow on “Joseph.” The song is clear evidence that Mastodon’s songwriting has taken an evolution. This is clear because their use of vocals is prevalent. For the second time, drummer Brann Dailor takes a drivers’ seat role, balancing vocals and drumming. In perfect time, each member of the band contributes to this aspect, never failing on their harmonies or blend. Further, vocal editing and pitch correction is less than prevalent.

    While the vocals should receive high marks, so should the instrumentation, which is borne of the combination of experimentation and the band clearly not limiting themselves to one school of thought. For that reason, this album could be enjoyed by many music listeners, especially anyone who likes music in the range from something as heavy as a band like Lamb of God, to a band as soft as Clutch.

    One of the key, defining aspects of this album is the fact that it follows Mastodon’s trend: each album is a transition into another genre. For instance, Remission and Leviathan featured mainly guttural and unclean vocals, whereas Blood Mountain marked a new era of accessibility for people who did not listen to Mastodon, or heavy metal. This led to Crack the Skye, which proved that Mastodon had a far more progressive side, into The Hunter. Now, the band sounds a lot less frantic. The tunes are all very accessible. You can sing along, show your friends, and rejoice in the fact that heavy metal and hard rock are far more diverse than they used to be, and this was a major complaint for long time Mastodon listeners who misunderstand the works of Mastodon.

    Because Mastodon’s sound has changed so much over the years, they can’t really be classified into a genre. Most people would agree that “heavy” bands like Alter Bridge could be categorized. While this is not negative, it is simply the music that they wish to write. For Mastodon, the case is different. They prove that they want to write more than just sludge metal, or prog rock. For Mastodon, music is a great experiment in which the performer is allowed to explore his or her musical polarities. Therefore, it is not possible to make an argument against Mastodon’s ever – evolving sound, as that is exactly the point of the band. Because of this, going Once More ‘Round the Sun is an amazing journey.

    Key tracks: Asleep in the Deep, High Road, and Halloween.

    Once More ‘Round the Sun can be purchased on iTunes, on Mastodon’s website, and in stores.

  • Tesseract Parts Ways With Vocalist

    tesseract

    Tesseract, British progressive band, have parted ways with their vocalist, Ashe O’Hara, and will be rejoined by their former vocalist Dan Tompkins.

    The band said in an official statement via their Facebook account that O’Hara’s departure was amicable, and that Tompkins’ returning performance with the band will be July 5, at Sonisphere. Tompkins will also perform vocal duties on the band’s in-progress third album; similar to his vocal duties on the Concealing Fate EP and One.

    As Tompkins is also a member of Skyharbor, he made note, via his Facebook of the fact that the two bands would not interfere with one another, he will remain a full-time member of both projects.

  • Hearing Aide: Mirk “Run”

    mirk_run

    Mirk, an Albany-based R&B band released their third endeavor, Run, and the melodies are already too catchy. The most accurate description of the seven piece band is evolutionary. Between the band’s first two albums, Love and Grind, and now Run, no element is subtle. Maybe Mirk says they’re “running out of time,” but this album is proof of the exact opposite.

    The band implemented many changes which are apparent from the first audible second of the album. Run opens with a ballad starting with new keyboard player James Rock and the band’s female backing vocalist Tara Merritt, whose voice is much more prominent – and rightfully so – than it ever has been before. Both Rock and Merritt are in high spirit and are set up to bring to the album the same energy of a dark, smokey bar room. This opening track, “Let it Go,” sets the intense, yet dynamic mood for the rest of the album.

    As such, the addition of James Rock on keys is critical to the round sound of this album. Rock may be young, but he lives up to his name. He gives Run a rock ‘n’ roll angle. He’s not afraid to overplay, to voice full, nearly obnoxious, uninterrupted chords. And that’s a good thing because this allows the rest of the band, especially guitarist Mike Thornton, and bassist Kate Sgroi to weave around this soundscape, and experiment with far more notes than Grind saw. Grind is no failure. It’s a great artifact, and a clear stepping stone, but it can be surpassed, as Run proves.

    Just seconds into this first track, “Let it Go,” lead vocalist Josh Mirsky comes in with the opposite of his usual trade: a backing vocal part to Merritt. He sings, “I ain’t got no money,” as a response to her aching voice, which might give a listener chills. Again, that barroom feel is heavy, but here the light fades up onto the rest of the band. They’re definitely not a mechanized backing track, either. They’re personable. They’re human. Instead of being “the band,” for a solo artist, the whole group works as a cohesive unit to bring an emotional element to the music, especially during “My City,” and “Marathon,” two previously released singles which made heavy use of Chris Russell’s sax.

    This is reminiscent of Mirk’s previous endeavors. The soulful element of this album appears especially in tracks like “Turn Me On,” which listeners heard on Grind, such as “Butterscotch.” On the other hand, the album also contains some of Grind’s driving rock beats – provided by Stephen Struss — on songs like “Torture.” However, old Mirk fans – including those who first heard Love – aren’t the only ones that will be pleased with Run. The album furthers the band’s ability to try new things. Lovers of experimental bands like Muse might enjoy the title track, “Run,” whereas Billy Joel fans will relate well to “Love Above” – and even this, and the next track, “Crowd Surf,” turn into hip-hop in the style of someone like Weerd Science. But no matter what you’re listening to, the prime mover of Run is the fact that Mirk is not sticking to a specific theme – they’re writing what they want to write.

    Run perfectly utilizes Mirk’s tried and true methods of mixed genre fun, with the evolutionary sounds of each instrument and vocal track. They are only getting better and we recommend seeing them in Albany before they’re out of town for good, because this band is only going to get bigger.

    Key tracks: Let it Go, Love Above, Marathon

    Run can be downloaded on iTunes, and physical copies are available on Mirk’s online store.