NYS Music 20​14

Category: Album Reviews

  • Hearing Aide: Amanda Rogers “WILD”

    Upstate New York native Amanda Rogers is an internationally recognized singer-songwriter whose ninth studio album WILD will be released Wednesday, April 2nd.

    Having spent the past 15 years centered around her musical career, Rogers has seen her music make appearances on television networks such as MTV and the Discovery Channel, and has multiple international tours under her belt. Her 2008 album Heartwood reached #81 on the International Top 100 Charts, and in its May 2012 issue, Rolling Stone Magazine stated that “Amanda’s tender, elfin voice is reminiscent of Heather Nova.” Additionally, Rolling Stone went on to illustrate how “[Amanda] has always been honest,” which is really an admirable trait in the pop world of music. Amanda Rogers has a classical background, while her sound is often unbound to any one genre. She encompasses various influences from Carole King’s ‘Tin Pan Alley’ style as well as Tori Amos’ classical roots and her unique sound can be classified as “lo-fi bedroom ambience,” or “pop with a dash of folk and blues.”

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    Amanda Rogers’ new upcoming album WILD was written and recorded right in the heart of Syracuse, New York, at Subcat Studios, where she worked with Co-Producer/Engineer Jon Lessels as well as L.A. recording engineer Patrick Macdougall. Towards the end of the summer, Rogers had a staggering total of roughly 30 songs written and recorded as demos. These recordings were then reworked to complete the final album. With a solid DIY way of going about the music industry as an independent touring and recording artist, Rogers’ return home to Upstate New York must have seemed fitting for the process.

    “10 Cent Songbird” is a notable song off the album with its opening piano chords under a storm of thunder-like ambiance, which is then followed by the introduction of some light fiddling of a distorted guitar. The chorus will likely be stuck in your head only after the first listen, displaying Rogers’ knack for writing catchy pop music. “More, More, More” shows Amanda’s lyrical abilities as she calls out a distaste for corrupt corporations while pushing for working-class Americans with lines like, “I’ll work three jobs and still be poor, So CEOs can have their whores.” Straying a bit from the theme of WILD, and “Walking” offers a different aspect to the album as Rogers talks of “being careful these days” and “looking for steps to follow in,” which is quite contrary to anything wild, but possibly adds to Rogers’ sincerity and honesty noted by Rolling Stone. The album could maybe have been recorded and polished up a little bit better, as the drums and electric guitar often sound somewhat generic throughout and in need of innovation and freshness. With the many rigid rules commonly found in todays pop music however, WILD takes aim towards becoming an overall original, unconventional pop record.

    Key Tracks: 10 Cent Songbird, Walking, More, More, More

    Amanda Rogers on SoundCloud Website  Facebook MySpace Youtube Bandcamp

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  • Hearing Aide: Mikaela Davis ‘Fortune Teller’

    Pretty strings with an indie dig – that would be the formula followed by Mikaela Davis on her second album, Fortune Teller, released in January. The classically trained harpist carries along an impressive record of talent which she uses to craft the six track album. How impressive? Davis studied harp with the principal harpist for her hometown Rochester Philharmonic Orchestra, has performed with the Rochester Philharmonic Youth Orchestra and has won awards for her performances. She is now studying Harp Performance at the renowned Crane School of Music at SUNY Potsdam. Joining Mikaela on the album are Alex Coté on drums and percussion and Cian McCarthy on guitar, sitar, and keys.

    Mikaela Davis Fortune TellerThe performance on the album isn’t purely singer-songwriter or indie lo-fi. Davis starts with a simple one guitar, bass, and drum lo-fi core but refines it to a much cleaner soothing sound. Where one would typically hear a droney guitar line we hear the that graceful harp sound which complements the rival indie sound trying to make its way to the forefront. The album combines elements of classical, ambience, noise, and energy orchestrated into a well-rounded eclectic composition. Davis’ placid, melodic voice bundles this all up like a cozy knit scarf and presents it to you in Fortune Teller.

    Mikaela Davis Fortune Teller“I Wouldn’t,” a song with love as its theme, leads the album in with a simple singer-songwriter feel while building anticipation for the more eclectic sounds throughout the rest of the album. In “Lady Lavender” we hear the highlight of how Davis’ harp compliments McCarthy’s guitar along with a bridge introducing a synth line that goes beyond lo-fi to blend musically into the song. “Interlude In The Sky” seems to build of the solo harp outro of the previous “Lady Lavender.” This one is a beautiful instrumental track incorporating woodwind sounds which would serve well as the soundtrack to stargazing on a warm spring night or walking down a trail on a crisp, colorful fall afternoon. “When The White Horse Takes Me Away” takes us away on an atmospheric journey with an ambient harp and vocal mix before picking up in energy in the later part of the song. “Feels Like Forever” features more of the vocals carrying the melody with a stringer prominence of the classical-indie rivalry. Lastly, the title track “Fortune Teller” rounds out the album with a similar style heard in “I Wouldn’t,” though the sounds of Davis’ harp are more at the front of this track.

    Mikaela Davis will be performing tonight, March 27th at Red Square in Albany and again in her hometown of Rochester at Bug Jar on March 29th.

    Key Tracks: Interlude In The Sky, When The White Horse Takes Me Away, Fortune Teller

    Fortune Teller is available for purchase as a CD or download at Mikaela Davis’ Bandcamp page.

  • Hearing Aide: Freekbass ‘Everybody’s Feelin’ Real’

    The name Freekbass is startling and inviting all at once. Is this a a  freak with a bass? A bass that sounds freaky? From the first time I heard Freekbass and saw Heaadtronics perform at The Big Up in 2010, I was wholly impressed, not because Bernie Worrell was on keys and DJ Logic was spinning, but because Freekbass was stealing the show and made his presence on the stage known, complementing the others while not overshadowing them. This studious and exemplary approach by Freekbass has led to Everybody’s Feelin’ Real, his latest album and one that features special guests and a wide array of bass-fueled funk.

    freekbass everybody's feelin' realThe result of a successful Kickstarter campaign, Sherman says Everybody’s Feelin’ Real “ended up being way above and beyond what I expected.” Sherman notes that the crowd-sourcing method for funding the album was a great success and the backers who supported him hold greater weight than the funding itself.  “The real special part was having this community of folks who are emotionally invested into the project like you are. It brings a new kind of intensity and energy to the project. I highly recommend it for any artist.”

    This summer, Freekbass heads out on the road for Particle-Freekbass Tour with Headtronics/Particle keyboardist Steve Molitz, and fans of both can expect some sit-ins during each band’s set. They’ll be on the road from April 10th through the 23rd playing shows throughout the Midwest. More dates can be found on Freekbass.com. Headtronics, always a fun show to see, particularly at festivals, and there should be some dates later in festival season with the trio. Click over to see footage of Headtronics from The Big Up 2010. 

    Now about that album. Everybody’s Feelin’ Real takes a commanding lead out of the gate with the blaring horns of “Rise”, a party starting groove, plus synthesizer courtesy of  Razor Sharp Johnson from Parliament-Funkadelic and Bootsy Collins’ Rubberband and vocals from Kim Manning, Jennifer Hartswick and Freekbass. “Victoria Thunder” and thick 70s funk from Johnson’s keys recalls Sly Stone with a Red Bull chaser, giving it some extra kick. The title track has a slower paced groove with a deep grind to it, followed by Skerik’s signature horns on “Mama’s Like a Cowboy”. The instrumental “Fish Like a Man” is full of thick, heavy bass and carries over to “Never Enough”, with whispered lyrics from Jennifer Hartswick that accentuate the gritty sound, repeating “Stop the pain, don’t hurt the game, it’ll never be enough”, a great mantra with heavy bass augmentation.

    “Battery”, with JHa’s voice creates a very pleasant ear worm as she stretches out every letter of “Baaaa-Terr-Eeee’, smooth and sultry like Adeline Michèle of Escort. Fans of Bernie Worrell will love  “Go Up”, driven by synth via Johnson, making Everybody’s Feelin Real a family reunion of sorts for P-Funk members, including Kim Manning and Executive Producer of the album, Bootsy Collins. The short instrumental “John” bridges “Go Up” and the final track “Fly”, the latter of which blasts off with a cosmic groove, a great cap to a top notch funk album. Over 10 tracks, Freekbass is both a freak with a bass and plays a bass that gets freaky. Enjoy yourself some of Freekbass’ funk on Everybody’s Feelin’ Real.

    Key Tracks: Rise, Victoria Thunder, Battery

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  • Hearing Aide: The New Mastersounds ‘Therapy’

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    Funk may have spent its infancy here in the U.S., but at some point it must have been stowed away in a Gulf ship destined for the shores of our British neighbors.  The New Mastersounds have been around for a while now, originating in Leeds, England in 1999 and putting out an album just about every year or two since their inception.  Even with the loss of longtime organist Bob Birch in 2007, the band has stayed true to their original sound and continued at their feverish pace.  The New Mastersounds’ latest release, Therapy, is the ninth album from the British funksters and was recorded near Red Rocks in Morrison, Colorado this past year.  The album masterfully traverses everything from jazz, funk, and soul, to covering the Bruno Mars song “Treasure.”  The album also features guest performances by Lettuce’s saxophonist Ryan Zoidis and The Motet’s singer Kim Dawson.

    The first track is titled “Old Man Noises” and opens with a snare roll before diving right in to one of the most rhythmically driven songs on the album.  The intensity of this deeply funky song hits you right away and draws you in for the rest of the album.  In the fleeting moments of the three-minute track, drummer Simon Allen goes off on a short-lived solo that gives you one last rush before slowing things down on the second track,  “Morning Fly.”  The back-to-back combo of the two is complimentary, yet polarizing.  In “Morning Fly” the band takes their time and develops the slow-rolling jazzy vamp.  Around the two-minute mark, a blues-inspired piano solo runs the ivory gamut and elegantly holds your attention throughout.  It’s tastefulness and simple beauty add to the song’s well-crafted atmosphere.

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    “I Want You to Stay” is the first track on the album that features a guest in The Motet’s Kim Dawson. Her voice is rich in feeling and emotion and her soulful tone pairs well with the band’s delivery.  The song is yet another example of how the band can take an easygoing melody and really push it to something that truly grabs your attention. Similarly, Dawson holds her voice back just enough to make you lean in and listen. There is nothing fancy on this track, yet you’ll find yourself closing your eyes and getting lost in the hypnotic chant of the title every time.

    The hidden theme through each of the twelve tracks is how expressive the band can be while still staying off of the radar. The group rarely tips their hand and always leaves you wanting more throughout the album’s entirety.  The song “Stop This Game” is another that you could glance over on your first pass through.  Its laid back style is undermined from the get-go by a propelling beat that never lets up.  The drums don’t command attention though, just calmly push along like a duck whose feet never stop under the water.  The musicianship extends in all directions on this one as well.  Following the first and second chorus, the band pulls back to support a solo from pianist Joe Tatton and guitarist Eddie Roberts respectively.  These two add just the right amount of flavor before dropping back out and showcase their overall control by not overindulging. Two-thirds of the way through the song, the band switches gears into a reggae-inspired groove that is somehow blended flawlessly.  Starting this song, you’d never expect it to go that way, but at this point it shouldn’t be surprising what these guys are capable of.

    The album as a whole covers a lot of ground, but never fails to deliver.  As their popularity grows, we can only hope that their stateside touring grows with it.  The band was gracious enough to share with  some shots from the studio in the gallery below.  The shots were taken by drummer Simon Allen and do an excellent job of making you feel as if you were right there with them.  After glancing through some of the pictures, you’ll notice the notes will begin to resonate deeper knowing what it was like to be there as this beautiful piece of work was captured.

    Key Tracks: I Want You To Stay, Stop This Game, WWIII (And How to Avoid It)

  • ‘Let it Go’ with The Infamous Stringdusters, The Conservation Alliance and Upstate NY

    “If you think you can make a difference and the fire is in your soul, go ahead and take your stand and if you can’t, let it go.” – The Infamous Stringdusters

    Words of wisdom and truth sung in five-part, heartfelt harmony isn’t preached, but instead, practiced. The Infamous Stringdusters make good on their own philosophy as proceeds from each album sold and every ticket for the Let it Go Album Release Tour is donated, in part, to The Conservation Alliance. According to their website, the mission of The Conservation Alliance “is to engage businesses to fund and partner with organizations to protect wild places for their habitat and recreation values.” The Stringdusters know they can make a difference and creatively found a way to help their fans recognize and contribute to environmental issues brought into awareness by The Conservation Alliance. New Yorkers have two opportunities to see a performance as well as purchase an advanced copy of Let it Go at The Wescott in Syracuse and Club Helsinki in Hudson on March 22 and 23 respectively.

    Official album release is slated for April 1 on High Country Recordings. The title track appears last on the disc perhaps making a larger impact of the lyrical stanzas and driving home the philosophical stand point of being true to oneself – a theme weaved throughout Let it Go. Disc opener, “I’ll Get Away” gently nudges the listener in the direction of soothing folk instrumentation and humming the “ohhhh’s” slightly hints at the cohesive as well as expansive string explosions presented within the eleven-track disc.

    A naturalistic approach to life themes told in tune using the imagery and temperament of Mother Nature present a dynamic dichotomy. “Where the Rivers Run Cold,” symbolically declaring never giving up in the refrain and “Winds of Change,” where moving on is encouraged, are contrasting emotions just as life and death exists in nature. Gentle picking and soft fiddle bowing add to the sweetly sorrowful ballad of “Rainbows” communicating a simple naivety in daydreaming.

    Let it Go Infamous StringdustersAndy Hall (Dobro), Andy Falco (guitar), Chris Pandolfi (banjo), Jeremy Garrett (fiddle) and Travis Book (upright bass) are no strangers to raising awareness and making a difference. In 2013, the band invited fans, affectionately known as Jamily, on a six-day float trip through the wilderness. The excursion brought water sustainability issues to the forefront in partnership with Patagonia, Klean Kanteen, and Osprey Packs. “Middlefork” was created paying homage to the location of the trip in an instrumental dominated by a fiddle and dobro composition matching music with nature’s soundscapes.  Likely brushing off the dust the great outdoors can kick up, surely these boys were left yearning a bit for the Colorado country flare proclaiming “I wanna get mile high/touch the sky/get lost in mountain time.”

    The album was recorded at White Star Sound boasting a rustic farm off a dirt road in Virginia. The seclusion and natural surroundings offered an opportunity for The Stringdusters to be present in the music making process; enabling a more focused song crafting and musical stylings seemingly contradictory to their live performances and periodic improvisation, though airy nuances throughout whisper like Father Time plays tricks on the mind.

    The Stringdusters have evolved personally and musically. They continue to host  The Festy Experience.  The fan favorite festival is in its fifth year and will be held October 10-12, 2014. The annual event is held at The Devil’s Backbone Brewery in Nelson County, Virginia. Tickets for the event go on sale coinciding with the album release on April 1 and various package deals will be available.

    The self-explanatory, “Light & Love” hits a high note of positive thinking on the metaphorical Universal energy that runs through nature and human emotion. Tales are told in these Infamous Stringdusters tunes of evolving sounds of folk, bluegrass and country jam. Most certainly, the first step in being true to oneself is to Let it Go.

  • Hearing Aide: LYON ‘Onyx’

    Daniel Lyon, drummer from Ithaca’s electronic trio SOLARiS, has released his first solo album Onyx under the name LYON. The album is under an hour with a range of 11 ambient tracks, an easy listen that is ideal for relaxing at home or in the car on a road trip. LYON is a drummer who literally steams during live performances with hard hitting beats and a dark rhythmic sound with focused energy. His solo work is no different, showcasing detailed and digital emotions that we can all relate to. His new album is available for free download and streaming via Bandcamp. You can catch LYON in action with his SOLARiS band mates at The Beagle Pub in Johnson City on the 21st of March and The Other Side in Wilkes-Barre, PA on the 22nd. SOLARiS will also be performing at one of Upstate NY’s newest Festivals, Rock n Roll Resort, in Kerhonksen, NY with tickets and rooms still available.

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    The album starts with the roar of “Animal”, a simple beat that eases you into the album with gentle echoes and light funk vibe. “Without Her” begins with beautifully sorrowful strings before it mixes with a techno melody combining a modern yet vintage twist on lost love. “Meridian” contained limitless echoes of all tones with a quick pace making for an easy groove. “Onyx” features SOLARiS keyboardist Jared Raphael, adding a futuristic funk with disco that was captivating and “The Overlook” with a groovy bass line with jazzy flair. “Small Beginnings” is the perfect ending to the album, the upbeat melody that has a great build up throughout the song, giving a taste of what’s to come with LYON’s solo work.

    Key Tracks: Without Her, Meridian, The Overlook

  • A Taste of Daemon Chili

    Daemon Chili – it’s an unrecognizable name with a more-than familiar taste.  While it’s a new menu item on the bill that makes up the New England music scene, a simple rearrangement of its letters reveals that it’s a dish Upstate fans have sampled before.  Michael Dion has escaped the Zoo and has created himself anew.  He’s rising up out of the pit and bringing the heat with him.

    Seasoned with attitude, aggression, electrics, and salty Pigpen-era blues, Dion’s got his latest musical concoction boiling in the cauldron. He’s hand-picked and sourced his ingredients locally, and wafting from the steam is a fresh, sophisticated, yet uncooked sound which spices up Dion’s sensible songwriting.  With a new album set to release this month, this Massachusetts-based seven piece is breaking the winter dormancy. Daemon Chili is bubbling at the scene, offering up a saucy new sound Upstate fans will soon come to crave – even after the hottest of days.

    There are no special orders with Daemon Chili – what you hear is what you get.  And what you get stems from the true core of Dion’s songwriting.  After making a difficult, yet self-respecting decision to part ways with his Hot Day at the Zoo brethren in August of 2013, Daemon Chili became Dion’s premier musical outlet.   Yet it’s been stewing for some time now – originally formed as a solo-side project in March of 2012, Dion created Daemon Chili to feed his hunger for more diverse musical tastes.  The burly, hoot-n-holler edge Dion brought to the Upstate roots/Americana scene was beginning to fade from Hot Day’s signature sound, and if Dion wished to stay true to himself as an artist, he needed to blaze new trails.  “When I left the band [HDATZ], I was ready to turn the page and start the next chapter of my musical career,” notes Dion.  “I knew that I would be going for a bigger, more aggressive sound, and as far as I’m concerned, this is the way my music was always meant to sound.”

    Daemon ChiliDrawing on a select group of highly acclaimed and talented musicians, Dion unearthed his roots to get the full flavor profile he was seeking in the creation of Daemon Chili.   “I went back to my college days at U-Mass Lowell where I was first exposed to great live music played by guys who had a lot of experience over me,” reflects Dion.  “These guys were ripping up the Lowell music scene, and so, naturally, they became my mentors.”  Specifically, there were two bands that had a profound impact on Dion in those days – the aggressive sound of rock n roll legends, Cotton Mouth and an instrumental jazz/funk quintet with, as Dion puts it, “a rhythm section straight from Hell” known as The Freelance Bishops.  Together, members from these two groups make for the complex flavor that is Daemon Chili.

    Cotton Mouth guitarists Jason Moretti (lead) and Tim Kochanski (rhythm) offer a taste of wild, unrestrained, nitty-gritty blues to what’s stewing in the pot, and balanced with that is the sophisticated, superior musicianship of The Freelance Bishops: Steve Benson (pedal steel/electric mandolin)/back-up bass), Jay Breen (drums), and Jeremy Parker (keys).  According to Dion, the process of forming Daemon Chili happened quite naturally, yet securing a bass player proved to be a bit tricky.

    The band’s latest recording showcases New Hampshire Seacoast legend Keith Foley holding it down on the low-end, but due to a recent band relocation, Matt Giannaros (Ryan Montbleau Band) has been recruited as Daemon Chili’s binding agent, effortlessly holding the band together as they compliment Dion’s songwriting in a new, murderous light. “I’m just happy to be in there somewhere, hanging on by a thread sometimes to keep up with these monsters,” attests Dion.  “I am a blue collar, working-class musician who just learned how to play as I went.  I hold no illusions that I would have any business on the same stage as any of these guys if I could not write music.”

    Daemon ChiliAnd while the talent of these monsters certainly add spice, heat, and texture to the band’s sound, the heartiness is in Dion’s songwriting – old familiar tunes coupled with new tales of inspiration are the meat and taters absorbing it all.  With Daemon Chili, the mixture’s just right, and it’s clear that Dion’s hit a sweet spot. In the short-time since the band’s inception, not only have they been nominated for “New Act of the Year” at the 2014 New England Music Awards, but their debut full-length album, Rise Up is set to release Saturday, March 22nd at Johnny D’s in Boston, MA with an online pre-release date of March 17th.

    Only the 10-track EP is a Jackyl and Hyde of sorts.  As Dion notes, “the collective band name of Daemon Chili plays on the binary opposites of good and evil, fully embracing them both” and the same can certainly be said of the tracks on Rise Up.   The first five songs are Dion originals that feature members of Hot Day at the Zoo. Recorded at Wonka Studios in Lowell, MA, the tracks were originally intended to be released on South of the Storm, a HDATZ album that never saw the light of day.  “Regardless of how people feel, what we [HDATZ] created during that time is something I still believe in,” expresses Dion – a sentiment that played a large role in the decision to include: “Boom Boom Boom,” “Lay Your Burden Down,” “Madman on the Loose,” “Country Girl,” and “My Song to You” on Rise Up’s final cut.

    Daemon ChiliThe album switches gears with the last five tunes, moving away from ironed collars and finely- tuned acoustics to electrics, aggression, and dirty-rotten blues.  Recorded live at the Stone Church in Newmarket, NH on New Year’s Eve, these tracks feature the current Daemon Chili lineup (Giannaros excluded) and showcase new arrangements of old-favorites, “Gypsy Moon“ (Long Way Home) and “Boston Blues” (Zoograss), alongside fresh material.  And despite the shift, if there is one thing to be said about Dion, it’s that he’s a poet.  His English credentials aside, the lyrical content of his work offers a subtlety to his unapologetic nature – a spirit that is clearly emulated in the musical artistry of Daemon Chili.

    “Take Sounding,” Rise Up’s single and subsequently the latest tune Dion has written, is a prime example of this sentiment. Written as a gift to the godfather of his daughter and best friend (a sailor), “Take Sounding“ is splashing with oceanic terms and imagery; nautical and mythological elements move in waves throughout, and it sails along at a relaxed pace – yet the no-bullshit tone of the rest of the album is not washed away completely.  Not only is it a track that reflects Dion’s passion for songwriting, but the freshness of the material has allowed the guys of Daemon Chili to take ownership of it as well.

    Daemon ChiliAnother note-worthy track, “Blood Burning Moon,” is a metaphor for the shit in life – for the heaviness that brings you down, yet it offers a way to push through and traverse.  While listening, one can’t help but wonder if, in the third verse, Dion’s singing about the Hot Day fellas when he sings “I’ve come into the dark at the edge of the wood… and here and now must choose… between turning my back on my brothers for good… or leave the cross-roads singing the blues.”

    The creation of Daemon Chili and the release of Rise Up certainly offers a resolution to the above mentioned dilemma.  Had Dion decided to retire from music completely post-Hot Day, perhaps he would have been “Another Goodman Gone” before his time; yet he’s held his course and cast away all worries and pride.  “Understand, I never got into music for the money, the fame, or the thrill of the rock star lifestyle,” expresses Dion.  “I write and play music because it’s what keeps blood pumping through my veins.  It’s what gives me purpose and keeps me focused and driven and sane.  It is quite simply what defines me.”  Michael Dion is Daemon Chili.  Take it or leave it Upstate; with just one taste, plenty of folks will be left licking empty bowls.

    Daemon ChiliFor more information on Daemon Chili, including information on how to purchase Rise Up, please visit their website.

  • Hearing Aide: Pants & the Family are ‘Lost In The Wash’

    Lockport, NY group Pants and the Family has recently released their debut recording Lost In the Wash. They will be celebrating the CD’s release with a record release party at the Tuscarora Inn in Lockport, NY on March 21, 2014. The trio is made up of members Bronchi Ducat (Drums, Break Pad, I pod, Smokes), ChuChi LaFace (Synthesizer, Disco Ball, Running Commentary) and Boris Smellengood (Bass Guitar, Pedal Noises, Singing). The group describes themselves as ‘electrocarnival punk’ which is an apt appraisal. The music is sparse with the concentration centered on the comedic lyrics and vocals. Stripped down, yet cosmic arrangements featuring drums, rhythmic bass pulses, samples and simplistic synthesized accompaniment allow the music to take on a comedic and eclectic edge.

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    Running the gamut from acapella to psych, rock to punk and the undefinable, Pants and the Family ring out your mind with this record. The album sometimes sounds like an inside joke between friends, causing the humor to get lost under the premise of it feeling like it was developed for a small and certain group of people. But, for the intrepid listener who has the musical time to dive the thick musical soup developed by the sixteen tracks, they can expect to have an interesting time as well as some laughs. Think New Wave meets Weird Al via a group of Talking Heads fans on acid.

    The majority of the songs feature humorous thematic premises. The songs do seem a bit cold in their production, sometimes keeping you at arm’s length, never inviting you in, which is unfortunate, because if I knew what the band wanted me to take serious and what to laugh at, the recording would be a greater success. Regardless, their fearless musical attempts make the listener unable to turn away, always in anticipation of what the hell is coming next! The vocals are an acquired taste, they undulate between very humorous and cringe worthy, if the vocals do make you grimace at any point, the lyrical content keeps things light. See, ‘Hey Bartender’ for examples of this view on the vocal gymnastics.

    The sonic introductions on many of the tracks are the recordings highlights. The soundscapes beginning ‘Lil Dancer’ and ‘Better Get On the Horse’ are creative and well thought out scene setting musical moments. It’s obvious that the band is made up of capable musicians that do not take themselves too seriously, and that are just looking to disseminate a good laugh through their tunes. For a listening experience filled with chuckles and lots of ‘What the’s?’, do not look any further than Pants and the Family’s debut release, Lost In the Wash. A refreshing collection of music that will make you rummage through the pockets of a range of aural emotions.

    The new album is available to stream on Soundcloud and available to purchase here. You can find up to date information on the group at their official homepage.

    Key Tracks: Pragmatic Particle, Lil Dancer, Saying Hi To Cows

  • Just What I Heard: Real Estate ‘Atlas’

    RealEstateAtlas1400pixelsMartin Courtney, Matt Mondanile, and Alex Bleeker have been making music together since they met as kids in Ridgewood, New Jersey more than a decade ago. Upon listening to their first two albums as Real Estate, this suburban experience becomes an obvious influence on their music; nostalgic lyricism and simple, 70’s-inspired instrumentation are at the forefront of both their self-titled debut and 2011’s Days.

    At first glance, Real Estate’s third album, Atlas, is a continuation of the guitar-driven Days. In an age of music when seemingly every other indie act resorts to synthesizers’ accessibility and dance music’s demand, Real Estate stays consistent. Their first single, “Talking Backwards,” comes in at track three as Atlas’ standout jangle-pop tune; its reverbed introduction is met with a subtle bass line and additional layers of intricately placed guitar riffs. Much of the same can be said for Days’ “It’s Real,” which is followed by a slow-grooving instrumental not unlike Atlas’ “April’s Song.” Along with a cut fronted by Bleeker in the latter half of both albums and a conclusion at track 10, Days and Atlas share a very similar structure.

    After taking a good look at Atlas, however, as most fans had the opportunity to do on iTunes Radio a week before its official release, it’s clear that this album is the height of everything Real Estate has created up until this point. The release of Atlas confirms the fact that the consistency displayed throughout Real Estate’s five years as a band is undoubtedly the result of incredible self-awareness; Courtney, Mondanile, and Bleeker have always known exactly what kind of album they wanted to make, and the success of Days gave them the opportunity to follow up with a record that exploits every resource they could possibly need.

    The most distinctive example of this newfound reserve of opportunity is Atlas’ production. Far removed from the garage-pop lo-fi recordings of their debut, Atlas is the product of Wilco’s Loft studio in Chicago. Produced by Tom Schick, known for his work with Norah Jones and Ryan Adams, and featuring the addition of keyboardist Matt Kallman, Atlas offers the most defined sound in Real Estate’s discography.

    The availability of these resources, however, is the consequence of increased pressure and greater obligations. For the first time, Martin Courtney’s lyrics don’t look back to the golden era of suburban beverages and snow days, but toward the future. And it looks to be a particularly intimidating one.

    Real Estate tackles some daunting concerns throughout the entirety of Atlas, most of which revolve around life on the road. The title of the album’s initial track, “Had to Hear” desolately refers to the voice of someone back home, and “The Bend” opens with a forlorn assertion:  “Have I not been clear / or do I sound insincere / I’m just trying to make some sense of this / before I lose another year.”

    Not only is Atlas Real Estate’s first opportunity to exhibit the culmination of their creative potential, but it’s also the first chance Courtney has had to communicate on his own terms. The lyricism on Atlas may suggest an uncertain future, but in the present, Real Estate are at their peak.

    Key Tracks: Had to Hear, Talking Backwards, Crime

  • Hearing Aide: Spiritual Rez ‘Apocalypse Whenever’

    Spiritual Rez, the reggae party machine from Boston, has released their latest album Apocalypse Whenever and have been hitting cities with it all over the East Coast. The 14 track album is a broad, multi-genre mecca of music and is a great representation of today’s generation. The lyrics are powerful with their relatable, modern day messages of love, music, struggle and how everyday can feel like the end of the world but screw it, bring it on! Their shows are unforgettable because each one is a powerhouse of tropical reggae funk, a little bit of Bob Marley with Sublime and Streetlight Manifesto. Spiritual Rez will return to Upstate NY at the end of March to Putnam Den in Saratoga Springs.

    Spiritual Rez 'Apocalypse Whenever'
    The album starts with “Man’s Hands”, one of the best songs to sum up Spiritual Rez, in an explosively reggae groove of rebellion built on sharp horns. “Don’t Be Afraid” is an enduring love song that stands through the test of time with a mash up of all things jazz, rock and hope thanks to 80’s-ish guitar riffs. “Decisions” is a light summer breeze as smooth bass notes and hip hop vocals. “Let’s Go Out With a Bang” could possibly be the most romantic song on the album with an erotic surfer rock melody. You get half way through the album when suddenly there’s a stormy, all instrumental and dark “March of the Reptoids!” A New Orleans jazz emerges from “Agapoula Mou, Pt. 2” before heading into heavy metal haven. “Worker Bee” is the riot starter with intense repetitive, reckless guitar riffs and angry, spinning harmonies. The entire album showcases how Spiritual Rez is unique, with the each song being completely different from the other whether it’s a gentle sway or thrashing and kicking.

    Key Tracks: Bring It On, Don’t Be Afraid, Agapoula Mou Pt. 1

    Prepare yourself with the new album from Spiritual Rez, Apocalypse Whenever, by downloading it from Itunes or you can order a physical copy from CD Baby.