Category: Album Reviews

Hearing Aide: Suke Cerulo ‘One Aim’

Suke Cerulo has an impressive resume. With a professional career in music going back as far as 1995 and a long list of musical accomplishments spread throughout the eleven years in between, Cerulo’s experience as a musician is as polished as they come. In addition to performing with the likes of The Allman Brothers Band, G. Love and Special Sauce, and moe., Cerulo has played a number of major music festivals and produced various multimedia projects.

The collective experience of these undertakings has lead to One Aim, Cerulo’s ninth studio album. Unlike his previous work, however, One Aim, is the first release under Cerulo’s name, a tribute that stems from his leading role in the making of the album. Featuring Matt Rubano of Taking Back Sunday and All American Rejects on bass and Erik Egol of Schleigho playing drums, One Aim is centered around the diverse musical background Cerulo has established over the past twenty years.

The record’s leading track, “It’s A Wonder,” represents the funk influence found in Cerulo’s music. The song is an evolution from his work with Schleigho, a jazz-fusion band that gave Cerulo his start upon graduating from Berklee College of Music in the early 90’s. Throughout its nine songs, One Aim explores Cerulo’s other influences as well; “Plastic Finger” begins with a booming guitar line draped in distortion and transitions into a slow groove before concluding with an intricately raucous solo. Track seven is “Leo’s Theme” the first of two instrumental songs on the album, the second being “Vee,” which ends the album with drawn out guitar riffs covering just under eleven minutes of elaborate musicianship. On an album of distinctive styles and consistently complex structures, “Vee” is the culmination of Cerulo’s innovative songwriting. The forty-nine minutes of music displayed throughout One Aim embodies years of musical development; as his first self-titled release, One Aim defines everything Suke Cerulo has learned thus far.

Key Tracks: It’s A Wonder, The Medicine Show, Vee

Pick up the album here

February 25, 2014
Hearing Aide: Mike Gordon Tries Something New with ‘Overstep’

Today, Mike Gordon released his fourth solo effort, Overstep. Mike worked with producer Paul Q. Kolderie (Radiohead, The Pixies, Warren Zevon) on the new record that is really a quirky and songwriting-focused. While each song in the record stays in the relatively structured songwriting format, the songs span a wide variety of styles and genres. The first three tracks start the album out in standard rock format with a little bit of added signature Mike Gordon sounds.

The bass tone on “Tiny Little World” resembles that envelope-drowned, wet, wah-bass one can find deep in Gordon’s live bass solos with Phish. Just when I thought the record was going to stay within the rock boundaries, Gordon hits hard with a joyous reggae track, “Yarmouth Road.” Gordon dips into funk with “Face”, alternative, soul, and then into some more acoustic-centric songs to finish it all off.

The album was a departure from familiar territory for Mike Gordon. The songs were precisely planned and very succinct, virtually jam-less. Gordon’s vocals seemed a tad over-produced and over saturated with harmonies. There were also sections of songs on the album that lacked the powerful musical expression, dynamics and punctuation that he’s known to bring to the table with Phish. Despite a few production drawbacks, it was nice to see Gordon get exploratory with this album. I heard a side of Mike Gordon that was more serious and focused on this record. In addition, these tracks are the type that when properly fleshed out in a live setting, could totally rock the house. Gordon has a nice full band set up to help fill out his monstrous bass sound on tour including Scott Murawski on guitar, Craig Myers on percussion, Tom Cleary on keyboards and Todd Isler on drums. They kick off their tour at The Westcott Theater in Syracuse on Friday, February 28th.

Key Tracks: “Tiny Little World”, “Yarmouth Road”, “Face”

Buy the album here.

Check out Mike Gordon on tour here.

February 25, 2014
Hearing Aid: Mosaic Foundation “Signs Of The Time”

Rochester reggae stalwarts Mosaic Foundation have released their latest album, Signs of The Times and have announced a big CNY show with The Moho Collective on Saturday, March 8th at The Lost Horizon in Syracuse. This will be the first time both bands have appeared at the legendary club and a fantastic opportunity for folks to see these two spectacular Rochester-based bands together. Skip to the end for details, but let’s check out the album first.

Mosaic Foundation has been plying their trade around the Northeast for half a decade, always danceable and infectious, open and joyful, reflective of the vibe and groove of their loosely framed genre. The disc jumps out of the gate with “We Can Make It If We Try”, a signature sounding anthem, reflective and positive, upbeat and uplifting, as Cha Cha establishes his vocal command and a flat-out infectious groove. “Reggae Escape” stretches the authenticity of Cha Cha’s voice and the band’s message, “This music is used to settle disputes … used to teach the youth their roots … righteous truths brothers.” The variety of pacing used here keeps the listener anticipating the next, whether driven by JP’s drums or Ken’s funky scratches. “My Planet”, then “Helping Hands” express the joy and sorrow of existence balanced against the perspective of survival and giving, the basic inter-connective tissue between everyone.

The title track picks up the theme and puts a bounce under it, letting the positive outweigh the negative, giving it breath to keep up the fight. Allowing space for reflection and vision while following a true path set before them. “Stand Firm” feels like a homage to those who’ve gone before them and a rallying cry to those they stand shoulder to shoulder with. It’s defiant, it’s firm, but the heartfelt joy comes out on top. “Abundance Of Water” is a call to arms of sorts, asking for vision from those living merely in the present. Then “San Kofa” spins forward the guitars and the band feels the up-shift in pacing, and depth of message, intensifying their passion for both.

“Praises” shows the true authenticity of Mosaic Foundation, each member’s musical instinct understands spacing, pacing and breathing. Reggae must be felt, perhaps more than any other genre, there’s a natural motion implied and if it doesn’t move you, it falls flat. There’s none of that here. “Harder The Battle” remains expressive of the struggle and what will overcome it, unity, love, strength, honesty and joy. “Harder the battle, sweeter the victory” indeed. “Jellyfish”, the closer, let’s the boys cut it loose and jam a little, the mix of the keys is deep and layered, evoking layers of feeling like an oceanic trip. The piano is exemplary, the guitar tasty and the rhythm solid, the idea of closing with an instrumental is unique and confident. Very cool stuff, well played and much respect!

Be sure to hit the big upcoming show on March 8th at The Lost Horizon with The Moho Collective! Check out The Moho Collective’s website. Advance tickets are available from Mosaic Foundation members. More details are available on the facebook event page here.

Mosaic Foundation is:

Ken Luk – guitars/ Melodica/ Minimoog/ piano/ vocals
Ekwem Itot Bogmis – piano/ Rhodes/ Hammond Organ/ vocals
Michael Corey – guitars
John-Paul Nawn – drums/ vocals
“Bongo” Brian Davis – percussion
“Cha Cha” Yao Foli Augustine – lead vocals/ percussion
Aaron Sprague – bass
Zach Dumrese – Sound Captain

Guests on this recording:
Angelo Peters – clavinet/ Farfisa and Hammond organ/ guitar
Lee Hamilton – sax
Ryan Zawel – trombone

February 22, 2014
Hearing Aide: Karl Denson’s Tiny Universe’s “New Ammo”

There will always be the time when a piece of music speaks to you or even jumps out and grabs you by surprise. Karl Denson’s Tiny Universe‘s New Ammo completely blindsided me. I made the mistake of starting passively – only listening while I worked. It would only make sense though, that you really have to focus in before you can fully realize the vastness of Karl Denson’s Tiny Universe. The new album was released just a couple of weeks ago and features some of the most diverse playing from the band to date. Between the touches of funk, jazz, blues, and reggae, you hear their unique sound throughout each of the thirteen tracks.

The album starts with the combination of two songs driven by prominent riffs yet different in their approach. The first song “Grenadiers” crawls in with a darker sound, while the reggae-inspired “Three Trials of Strength” has a warmth to the track. The two provide a contrasting calibration, preparing you to take on the rest of the album. As you progress through each song, it becomes apparent that this is a heavier side of Mr. Denson. While the album still has that wide variety of influences that we’re used to, this release just has a little more edge than what we’ve seen in the past.

The title track is where the album begins to establish itself with a firm groove and plenty of room for Karl Denson to stretch his legs on the sax. The first solo runs just over a minute, yet finds the time to express so much in the short amount of time. Newly added guitarist DJ Williams takes the baton in full stride and lights it up before a drum solo that fully demonstrates how much the band came to play on this album.

Scattered throughout the album are a few covers, including their spin on the White Stripes’ “Seven Nation Army,” the Cold War Kids’ “Hang Me Up To Dry,” and the Beastie Boys’ “Sure Shot.” While not particularly inventive with any of the tracks, they still fit in nicely with the rest of the songs on the album.

Overall, the album sounded great with far too many highlights to individually call out; this could easily wind up being a top album when 2014 wraps up. Without spoiling anything further, one final must-listen is the song “Odysseus.” This ten and a half minute marathon requires your full attention with the volume cranked for the full experience. The layers within this masterpiece are simply beautiful and it really shows what this band is capable of.

Key Tracks: New Ammo, Malgorium, Odysseus

Check out the cover of the Beastie Boys “Sure Shot” below and pickup the new album on iTunes.

February 20, 2014
Hearing Aide: Irv Lyons Jr. “I Love the Night”

Oneida Nation Native Irv Lyons Jr. has just released his debut album, I Love the Night. Lyons’ three-man band hailing from Camillus, New York has a vintage Rock & Roll sound crossed with Americana love songs.

The trio consisting of Mike Casale on bass, Jim Bianchi on drums, and Irv Lyons Jr. on lead guitar and vocals, combine for an unforgettable album of love songs that are filled with passion and some psychedelic sound effects.

Lyons is no novice to Americana music however; he is part of another better known group called The Fabulous Ripcords who have a similar style incorporating blues, Latin, and roots music. Irv Lyons Jr.’s ten-track debut should solidify his name in the Americana Romance genre.

The opening track, “Wanna Be With You”, is a solid tune about a burning yearning for that dream women. All he asks is that through night and day, rain or shine, she will always be by his side. The song then goes into an amazing jam section where Lyons’ guitar solo, reminiscent of Carlos Santana, leaving the listener stunned. “Like A Machine” conveys Lyons’ insatiable urge to be with the woman he loves. From her hair to her perfume, everything reminds him of her unconditional love.

“Slide” is a driving rock song about being lost in a world without the love he once knew and all he wants to do is drive, leaving all his worries behind. “Why Can’t We Live Together” is a slower ballad expressing the sadness and confusion behind a problem that has troubled couples since the beginning of time. His love is unstoppable, but he just can’t bear to live without her. “Rude” is a fiery number about an impudent girl with a bad attitude and no manners that no man can stand.

“If You Love Me” is an acoustic jam featuring an unknown female vocalist. The song asks that if a person could love another so much, how could they keep doing those terrible things. All they want is to be treated right by the person they love. “Strong Hold” is another tune about a deep love featuring the female vocalist, but this time things are going a little rough. The only answer is to hold on tight and try and make it better. “Bedroom Eyes” is a fast paced number about making love to a dream woman. The distorted vocals makes for a psychedelic sound that adds a distinct flare to the album. “Be My Baby” is another acoustic jam with distorted vocals that stands out from the rest. This unique song tries to persuade a woman to give Lyons’ a chance to show how he can be better than her other man. The final and title track on the album, “I Love The Night,” reveals Lyon’s Latin influence with a fast groove and a message of how serene and blissful the night can be.

Irv Lyons Jr.’s new album can be purchased on Amazon or CD Baby. You can follow the band online via Facebook and ReverbNation.

Key Tracks: Be My Baby, Like A Machine, Wanna Be With You

February 12, 2014
Behemoth’s “The Satanist” — Scary, yet Spectacular

It would be easy to start (yet another) album review by saying how great The Satanist was, how influential Behemoth is in metal, and how the Satanist may easily be one of the best albums of 2014 — already; but in truth, these claims can be debated. But at the end of the day, this album will go down as one of Poland’s more experimental, and certainly bravest, efforts.

There is something interesting about a band who, time and time again, has taken every opportunity to blaspheme religious beliefs and shock every listener, new and old.

Likewise, the lyricist who surprises even the most hardened follower is one worth reading. It is obvious — or at least very convincing — that Nergal, who wrote most of the lyrics on this album — is trying to revoke the position of Jesus Christ as the go – to guy, but as violent as this poetry is, is as alluring as each tune.

Instrumentally, the album is certainly different from their last record, Evangelion. Its dynamics were established right off the bat as the trio, comprised of Nergal (Vocals and Guitar), Orion (Bass), and Inferno (Percussion) opened the album with “Blow Your Trumpets, Gabriel,” which features the sounds of trumpets and horns along side the slow moving, but dramatic track. Although loud guitar play is absent on this track, and it possesses a minimalist approach on drums, the song showcases Orion’s ability to handle the bass, a job for which he is certainly qualified.

Inferno’s prowess behind the drum kit is not stifled either. He has not slowed down since Zos Kia Cultus, but he has only improved on his ability to make the songs more convincing. Even on “In the Absence ov Light,” which switches speeds multiple times, Inferno excels at his ability.

Nergal, too, has only played to his strengths, but even pulled a few old stops. Listeners will notice the use of acoustic guitar on certain tracks, a concept which was popularized upon the release of “Demigod”. He is a perfect team player, never interrupting the flow, and always being apparent enough for the audience to understand each note low and high — which can be a problem with “fast” metal bands.

If Nergal actually said that “most U.S. death metal bands are boring, generic, and uninspiring,” he didn’t let the absence of talent stop him from creating something spectacular, but he has had a way with words recently.

Between fans and angry religious pundits, Behemoth has been the center of legal and public attention. In their home country of Poland, the band experienced a part of the extent of the power of the Catholic Church therein, when lead vocalist Nergal, after tearing pages from a Bible, threw it into the crowd and instructed attendees to “burn it…piss on it.”

It is quite unclear, then, whether the lyrics were written from an honest perspective or for shock value or both. For example, “I believe in Satan, who rend both heavens and Earth; and in the Anti-Christ, His dearly misbegotten…” (Messe Noir) might cover Nergal’s actual religious convictions, as he has previously been outspoken about his Pagan leaning. On the other hand, some lyrics appear to try to be offensive to religious people: “Voice ov an aeon, Angelus Satani. Ora pro nobis Lucifer, You alone have suffered…for thine is the kingdom, and the power forever…” (Ora Pro Nobis Lucifer). However, some lyrics make the listener question “what could be?”

Specifically, the writer instructs Abraham to “…Raise the dagger…And slit the throat ov thy only son. Reverse the history ov man. Fuck and reset the world.” From here, the lyrics become only more violent, sexual, and even downright scary.

Otherwise, the lyrics flow in somewhat of a story, fulfilling the old joke about death metal being like an English class. Knowledgeable listeners will have to type in some references on a search engine.

From a vocal standpoint, this album maybe one of their best since Demigod, which called into question the standard practices of extreme vocal recording. Nergal uses a full range of “screamed” or “growled” vocals, layering one atop the other, singing, and even spoken word in, “In the Absence ov Light,” in English, Latin, and Polish. The day the album came out, many fans complained that the vocal style was a lot different than Nergal’s usual performance — hear Evangelion for the difference. The problem with this complaint is that Nergal’s style has always been experimental, even from the first album. Vocally and lyrically, one thing remains clear: the word Evangelion typically refers to a particular message of great importance. If their last few efforts were warm ups and teasers, this album is the word.

Due to its nature, this album will welcome listeners and freak them out at the same time, but that is not necessarily a negative thing. An open mind will certainly help with reception of the sounds, but there will be few albums like this in the near future.

Behemoth will be at the Irving Plaza in New York City on April 29th. Apparently, Lucifer just is not big right now in Albany. Maybe next time, guys?

February 11, 2014
Hearing Aide: Wild Adriatic’s “Big Suspicious”

Rock and roll trio and Saratoga Springs, NY natives Wild Adriatic have a new long player titled Big Suspicious. This current collection is hallmarked by a plethora of imposing guitar licks, resounding rhythms, and vintage vocal approaches. The band is sincerely ‘no frills’ rock and roll and the blueprint to their art is an organic approach to song creation and presentation. The secret lies in the bands simplistic yet virtuous approach to their music. The band is made up of guitarist/vocalist Travis Grey in addition to bassist Rich Derbyshire, and drummer Mateo Vosganian.

The LP ranges thematically from swampy blues to pop soul, with the unpretentious and diverse vocalizations by Travis Gray, a highlight of the set. The marriage of the groups tight instrumentation in addition to the vocal melodies equate to an album that unabashedly shares its influences as well as putting a unique spin on these influences. You will find no jam band sensibilities on this record; the band constructs succinct, well developed and orchestrated rock music. This is not to say there is no extended jamming by the band, just that there are no wasted notes or aimless improvisations, every note and melody has a purpose.

The adamant opening of the record begins in earnest with the mountainous one-two punch of ‘Can’t Be Your Man’, and ‘Mess Around’. The band elicits early Humble Pie on this opening track through the swampy central guitar licks and grimy group approach. In contrast the following ‘Mess Around’ which rides on an accelerating stomp that sounds if it draws its influence from early ZZ Top with its boogie chugging attitude. This is serious juke-joint ass shaking music. An additional note on ‘Mess Around’ is the addition of some swinging horns that act as a welcome addition to the song not an unneeded gimmick as can often be the case these days.

’40 Days 40 Nights (Hard Times)’ again brings to mind Steve Marriott and Peter Frampton’s Humble Pie excursions. Its dual keyboard and guitar ascending riff grabs you by the collar and says, ‘Listen up!’ It’s refreshing to hear a modern band stay true to the roots of their influence and just play some heavy rock and roll. No window dressings here, no unnecessary effects, just some pals blasting away on electrified and aggressive riffs and melodies.

A song like the following ‘Tight Grip’ identifies the band as being able to be classified along with the same rockers that enjoy a band such as Gov’t Mule. There is an edge to their music and an aggressive nudge of the elbow to the listener by the attitude presented. The only respite from the barrage of weighty blues and rock licks in the first half of the album is the soul soaked ‘Holding You’ that swings with a contemporary R and B feel and original instrumental attack.

The ability of the group to swing between poles of influence is well documented on the collection with the expansive and catchy ‘Cooperstown’ acting in contrast to the balladry of the preceding tune. Falsetto vocal melody lines inject the song with a lightness that balances its metallic instrumentation. The pounded blacks and whites of the keyboard in addition to distorted guitar strikes add up to a dynamic and well preformed song that accentuates that groups songwriting strengths.

‘Lose My Mind’ is a highlight of the collection. Alternating between a gently picked acoustic guitar line verse and a fuzzy apocalyptic chorus that creeps along like a boot stuck in the mud. This song would nestle nicely on the ‘B’ side of many 1970’s rock single releases exhibiting all of the historic hallmarks of the music created in this era.

Again, the band dynamically hits the switch moving into a soul review with a reading of the song ‘Walk For Miles’. Vocalist Travis Gray really stretches out on the last half of the record, channeling Rochester, NY and Foreigner front man Lou Gramm with a clean but versatile vocal approach. The keyboards also seem to play a more prominent role in this latter half of the record with feathery Hammond flourishes on ‘Lonely’, and the piano being in the forefront on the groovy ‘Heavy Soul’. The horns also return on ‘Heavy Soul’ in addition to some velvety backing vocals that equate to a smooth ride through dramatic soul changes.

The album concludes on the song ‘Woe’, a funky low key affair that rolls on a drippy wah-wah accompaniment and the wordless foundation setting vocal line. Uniquely different from the songs that preceded it, ‘Woe’ shines on a light on the bands ability to express uniquely different approaches to the foundational genres of influence the band holds close and that form the basis of their music. The song and the album conclude with a wordless group chant sung and supported by hand claps and the tracks swinging melody.

Wild Adriatic’s new recording Big Suspicious is a collection created in the fiery coal chamber of rock, soul and blues. The record keeps its feet rooted firmly in the spheres of influence from which the basis of all music is created. The group’s confidence and attitude is expressed through the recording and is passed on to the listener through their excitable representation and eager dissemination. Gripping keyboards, distorted guitars, and crisp howling vocals paint the portrait of heavy blues and classic rock and roll on display for the eager listener.

Key Tracks: Mess Around, Cooperstown, Lose My Mind

February 11, 2014
Hearing Aide: Smackdab’s “II”

A genre is nothing more than an attempt to categorize and liken one band’s sound to another. Regardless of what you want to label Jamestown’s Smackdab, their music will certainly get you moving. The band is made up of Jon-Marc Johnson on vocals, Matthew Baxter on guitar, Mark Cooper on keyboard, Ryan Ecklund on bass, and Daniel Witherspoon on drums. On their latest release II, the band incorporates influences of funk, soul, R&B, blues, and jam into their own unique sound that is garnering them more and more attention.

The opening song, “1st & Main” gets you warmed up, but it’s on “Gotychu” where the band really digs in for the first time. The clean, bluesy notes by guitarist Matthew Baxter around the three-minute mark are accentuated by the band, but letting his tone lead the way. Coming out of his solo, there’s a swelling, yet beautiful harmony of sounds that carry you through to the coda.

Immediately following is another early gem in “Shuteye.” The intro of this song has an incredible presence with a haunting melody that lingers throughout the entire song. This is the longest track on the album at just over eight minutes, yet flies by with so many great parts. The closing of the song that starts at 6:41 is one of the highlights of the entire album. The syncopation of all of the instruments is a rhythmic rush and Jon Marc’s vocals leave you constantly rewinding to listen one more time. The band has this great habit of nearly losing themselves in a deep groove before pulling out and transitioning into another section.

My favorite song on the album though is “Leave Me Alone.” The sixth track slowly builds in tension before exploding into a keyboard solo that transcends the entire album. Cooper’s interplay combined with Witherspoon and Ecklund’s tight, rhythmic phrasing is so funky and heavy that it might cause a few facial contortions. If this band can learn to harness that exact energy, watch out!

The closing track “Keep On” begins on the back of Smackdab’s talented drummer, Daniel Witherspoon. The little riff that makes its appearance shortly thereafter strikes a humbling chord. The song is led by a catchy hook and accentuated with Jon-Marc’s uplifting lyrics. After a second time through the chorus, the band transitions to a maraca-driven beat that begins the five-minute jam that closes the album. It’s easy to see why this album was named a staff favorite of 2013 when you add up all of the highlights it provides.

Key Tracks: Shuteye, Leave Me Alone, Keep On

February 10, 2014
Hearing Aide: Cibo Matto ‘Hotel Valentine’

Cibo Matto have not made a record since 1999’s Stereo Type A. For 15 years fans of the band have been left waiting in anticipation for a new musical statement from the duo. While the principals of the group, Yuka Honda and Miho Hatori have been busy contributing their numerous talents to other artistically satisfying projects, the Cibo Matto name and output has become an image in the rear view mirror. That premise is no longer relevant.

The duo’s new release, Hotel Valentine due February 14^th, shows that time has been more than kind to the duo. The fun emanating from Cibo Matto’s first two releases in 1996 and 1999 respectively has not left the group, alternately, the musical excitement has been combined with a serious artistic expression and expansive sonic palette. Hotel Valentine is the result of two years work by Miho and Yuka. Hatori stated recently regarding the recording, “Hotel Valentine is the cinematic bricolage of Yuka and me,”. The undeniable chemistry between the duo is the impetus for the development of the collection, after years of alternative collaborations the girls have come back together with a fury.

Electronic music can often leave even the most ardent listener somewhat emotionally cold in regards to the equipment and production techniques used. In the case of Hotel Valentine the warm and soothing analog vibe of the record is an olfactory smorgasbord. Honda reveals a clandestine grab-bag of grooves over the course of the recording ranging from smooth R and B, funky house, to tribal fire dances.Her sonic decision making is eclectic and knowledgeable. Hotel Valentine is a thematic as well as a cinematic excursion, with the girls in the band calling it, ‘a metaphor, a question, an answer, an idea, a feeling; A strange and vivid scene.

The records introduction comes with a ‘Check In,’ where misty dual vocals swirl around a magnetic drum line that pulls the music in closer to your head. A hallmark of the album is the dynamic and diverse breakdowns that occur throughout every track. Multifaceted choices in production arm the collection with suspense and surprise. The next track ‘Déjà vu’ is aural anime, featuring seemingly innocent but sensually charged and ticklish vocals. The song shifts from 70’s soul, to hallucinatory cloud walk verse, then through a rippling hip hop breakdown. This song is sticky sweet, with a vocal groove made up of florescent colors and carnival candy. A standout track.

‘10^th Floor Ghost Girl’ is irresistible ‘club pop’, with a guitar riff peeled straight from the grooves of a James Brown record. Again, the duo illustrates an innate ability to offer differing vibes and flashing glimpses through the course of one track. This tune features a distorted ‘dubby’ chorus breaking up the fast paced dance of the number.

The juicy center of the recording containing ‘Emerald Tuesday’, the catchy as hell album single ‘MFN’(featuring Reggie Watts), and the title track ‘Hotel Valentine’ is a salmagundi of reggae beats, deviating tribal rhythms, uniquely constructed vocal ragas, and contrasting musical movements. Miho’s vocals really shine throughout this sequence and at points elicit actual physical reactions. The vocals throughout the album are blended, mixed and presented beautifully. The story of the record continues to open like a mystery box, a small segment of interpretation and understanding with every musical reveal. The pure buzzing modified sound of ‘Empty Pool’ is recorded claustrophobia, its organic melody existing in a silvery underwater world of blue chrome.

The album then moves through ‘Housekeeping’, a trippy bounce house track assisting with the dynamic close of the record, which to these ears echoes the influence of Chimera label mate Yoko Ono, whom Honda has collaborated. The recording concludes as it opened this time with a ‘Check Out’ filled with delectable vocal melody lines, this time layered over the top of tenderly picked acoustic guitar echoes. A farewell through a song that sounds as if the track is disappearing in to the horizon, or is falling rain collected into pooling water. Disorienting symphonic mantras gain substance, disorienting effects shift until rupturing back into the airy acoustic guitar segment, thus concluding the record.

The musical tale of Hotel Valentine is journey well worth the wait for fans of the internationally renowned duo, or for those searching for another musical experience in their lives. The multitude of catchy melody lines and inspired beats adds up to a experience the runs the gamut of emotion. While there are multiple moments of joy and dance, there are an equal number of moments containing musical drama and apprehension. Cibo Matto will be playing at the BSP Lounge in Kingston on February 9, 2014 to promote this new release. Tickets are available for $15 Adv/$20 Dos at the following locations Jack’s Rhythms, Darkside Records and Gallery, Woodstock Music Shop and outdated: an antique cafe.

Key Tracks: Deja vu, Emerald Tuesday. MFN

February 6, 2014
Hearing Aide: Bear Bones Project “Live at the Rustic Barn”

There is nothing more delightful or more comforting than hearing from an old friend. The Bear Bones Project Live at the Rustic Barn brings that same sense of nostalgia and peaceful joy as if they’re old friends picking up where they left off – an impressive feat considering this is their first album release.

Although, The Bear Bones Project have been cultivating a close network of friends and fans at small town shows and parlor romps which has kept them virtually a hidden little secret, to the public, they have been largely unavailable – until now. The jam friendly soundscapes created in Live at the Rustic Barn are welcoming to all who have an ear; and even to a stranger, listening is as though an old friend is beckoning.

Rustic Barn taps into the roots Americana and acoustic realm of folk lyrics but a euphonic blend of electric bass and guitar driven by a gentle beat of the drums will, at times, incite a feeling of familiarity. A nostalgic nod to an era long past, “Into the Air” lovingly pays tribute to Mr. George Harrison. Keeping with the inviting and classy rollicking upbeat tune, “Grandma Moses” is an ode to a sensible yet free spirited philosophy of life. “Lonestar” gives us a casual little pause with a vocal change up and an accordion. But it’s not until “Big Sister” we get the feeling something dreadful is looming yet the omnipresent flute captures a touch of a playful sentiment and creates a song that makes The Bear Bones uniquely them. Tucked in between Carey Ahner (guitar, lead vocals) originals are obscure covers. The Bear Bones Project breathes new life into Jorma Kaukonen, Lee Alaxander, and Paul Barrere. Randy Newman’s “Sail Away” is arranged in such a way that it is completely different, but only recognizable in the lyrics.

The Bear Bones Project is Carey Ahner (guitar, vocals), Pete O’Hearn (electric guitar, vocals), Sandy Decker (flute, accordion, vocals), Bill Decker (bass) and Eric Johnson (drums). Together they create an organic blend of complicated arrangements from various backgrounds in musical training. Pushing the envelop by releasing a live album first speaks to their sense of musicality, successfully conveying the spontaneous and intimate nature of their performances. The Bear Bones Project will be at Pauly’s Hotel on February 22.

Key Tracks: Into the Air, Grandma Moses, Big Sister

February 5, 2014