NYS Music 20​14

Category: Album Reviews

  • Hearing Aide: Pink Floyd ‘The Endless River’

    The-Endless-RiverFor twenty years Pink Floyd has sailed on that final lyric from their penultimate album. This week the final cut of songs from the genre-defining band greeted the world under the title The Endless River with official release dates ranging from November 7 to 11.

    Gifted unto Pink Floyd followers and bystanders alike, The Endless River is a soundscape that washes over the listener like a mist and wraps around the ears with a curtain enveloping the mind with 52 minutes of blissful listening (or 65 minutes if you have the deluxe edition).

    The listening experience is slightly different from that of Pink Floyd’s four previous albums – back to The Wall. A double vinyl LP is available for a total of four sides of music, but it is likely more common for people to listen to The Endless River either digitally or to the CD version. The subsequent versions from the LP retain the four album side grouping, each with its own motifs. It would be impossible to enjoy the album just one song at a time. In order to get the full creative effect of the album it is best to listen from start to finish, akin to the experience of Dark Side of the Moon. However, listening to each of the four sides in separate sittings won’t slight the experience too much.

    Pink Floyd, who is now just David Gilmour and Nick Mason, made it known in advance of the album’s release that it is largely a tribute to the band’s late keyboardist Rick Wright, who passed away in 2008. Without prior knowledge of this, however, it is easy to notice Wright’s as the album progresses – his keyboard parts play an intricate role in the whole album. And yes, we do hear Wright’s playing on this album. Many of the keyboard recordings were taken from extra material from The Division Bell sessions with other parts freshly re-recorded. Only a few of the new songs have been supplemented with new keyboard recordings.

    The Endless River is primarily an instrumental album except for “Louder Than Words,” a new composition with lyrics by Gilmour’s wife, Polly Samson, and a spoken word refrain from Stephen Hawking on the mediocre-titled “Talkin’ Hawkin’” (the song itself is far from mediocre). It is a little tricky to discern the intent behind an instrumental release, but referring back to the Rick Wright tribute it is likely that backing away from lyrics helps highlight his contributions as he never had a lead in vocal parts.

    With news of The Endless River drawing upon The Division Bell sessions there had been anticipation of it being a lot like a “part two” of that album, which probably would have pleased many Pink Floyd fans while disappointing only a smaller portion of the crowd. It was a pleasant surprise being swept away with something that wasn’t quite expected. A respectable amount of arranging and new composition is put into the album with emphasis on including ear candy for long time Pink Floyd fans. Here’s one of the reasons why it stands alone from The Division Bell.

    The Endless River is rather complex though a novice Pink Floyd listener may glance over these complexities. It contains a fabric of elements from A Saucerful of Secrets, Dark Side of the Moon, Wish You Were Here, and The Wall, among others. Most distinctly, we hear relics from “Set the Controls for the Heart of the Sun,” “On the Run,” “Shine On You Crazy Diamond,” “Run Like Hell,” and “High Hopes.” Some are very obvious, such as Wright’s keyboard lead on “It’s What We Do” echoing the tones of “Sine On You Crazy Diamond” or subtle like the guitar rhythms of “Run Like Hell” brought back to 2014 on “Allsons-y.” When listening to the album, be sure to listen carefully for these and other relics that aren’t as conspicuous. It seems like Gilmour and Mason took creative advantage of building off of the 1993 sessions to explore, rediscover, and reinvigorate what has been set aside for the past several Pink Floyd albums to bring their repertoire full-circle, adding a sense of closure.

    There is a lot to say for most of the songs individually but it is better to speak on each of the four sides mentioned earlier. Side 1 introduces the album with the well-known Pink Floyd melodic ambience crossed with Gilmour’s guitar style that grew into his last solo release On An Island (2006). Side 2 brings us back to the band’s early psychedelic jams and ambient airs. It feels intellectually busy yet at the same time relaxing as it concludes with the well-structured song “Anisina.” Moving on to Side 3 we hear a mixed bag of miscellaneous noodling to start before a sudden change to a more aggressive second half which provides a welcomed boost of energy at this point in the album. On Side 4 more linearity is given to themes and ideas where they had previously been intertwined. The motif of death and what happens after becomes evident in the mood progression and even in titles of the songs, again a possible (more subtle) nod to Wright. “Calling” starts this section off with dark tones with a transition of emotion that progresses through “Eyes To Pearls.” “Surfacing” then brings it around with a sense of optimism granted by either a breath of fresh air or new discovery. Looking at the four sides as whole, those hungry for the 25-minute album side epics such as “Echoes” may be a little disappointed. Each album side is short, ranging from 11 to 15 minutes, which left some room for new material independent of the 1993 sessions. The clever part about retaining the album side grouping on the digital and CD track listings is that we still get a virtual sense of pausing to flip the record. Perhaps a little nostalgic, but it gives a fresh experience in today’s listening environments and gives consistency between release formats.

    Those who bought the deluxe edition or the CD/DVD combo received a few more goodies – three outtake tracks taken directly from The Division Bell sessions. These tracks, especially the studio jam session sounding “Nervana,” go beyond a gimmick to get people to buy the extra content. It is worth the few extra dollars to get your ears around these. The bonus DVD video provides three songs not on the CD and video/images from the 1993 recording sessions, which is worth checking out.

    As the band’s (likely) final album, Pink Floyd gives us a decent reflection on the band’s years. The sense of dreaming invoked by some of the songs makes it tough to not choke on a tear at the craftsmanship put forth by band mates Gilmour and Mason on the album to tribute the contributions of Rick Wright. It was a disappointment to learn earlier this year that Roger Waters would not return to Pink Floyd to contribute to the album, but it wasn’t a surprise as it’s been 29 years since he left the band on bitter terms (which as of late he seems to feel differently about the terms he left on). However, adding Waters back in the mix could have broken the musical train of thought that’s carried through from The Division Bell.

    Pink Floyd will not be touring to support the album, so with The Endless River closes a 49-year chapter in music history. But, should David Gilmour decide to perform a few solo concerts with Nick Mason there would be a lot of happy music fans. High Hopes? Perhaps.

    For some people, it may be easy to default to mixed feelings on the album on a first listen. Do yourself a favor: Listen to the album, soak it in, and repeat. You may place it higher on your list of favorite Pink Floyd albums than you think.

    Key Tracks: It’s What We Do, Anisina, Allons-y (1 and 2), Louder Than Words

    Key Side: Side 2

  • Hearing Aide: Cavalera Conspiracy, ‘Pandemonium’

    Cavalera Conspiracy PandemoniumMax Cavalera seems to be a man who can never rest. After years of touring with Sepultura to forming Soulfly, Max has teamed up for the third time with his brother Igor to bring Cavalera Conspiracy’s Pandemonium. November 4 the album was dropped via Napalm Records. Cavalera Conspiracy had a lot of momentum with the previous record Blunt Force Trauma. So how did this one pan out?

    Opener “Babylonian Pandemonium” may be the heaviest track of 2014 and sets the tone for the entire album. Definitely heavier than anything that anything Max Cavalera has ever released. Absolute brutality that even puts Sepultura’s Arise to shame and in terms of heaviness, it’s a fist coming straight at you. No other way to put it.

    The Cavalera brothers have taken grindcore and thrash to a whole new level. The track “Bonzai Kamikazee” continues exactly what the previous track brought and by far, some of the most insane drumming from Igor Cavalera.   I always believed that Igor was always the X-Factor. It seems that Max always brings his best material when his brother Igor is there behind the kit. My only complaint about this album is that it seems to have buried the bass. However, on the track “Scum” we get a bass intro from Nate Newton. But the album has so much heavy guitars and drums it’s damn near impossible to hear the bass.

    My favorite track, “I, Barbarian”, is a suitable title for a song with such eerie guitar solos and riffs from Mark Rizzo and Max Cavelera. But the breakdowns make it much more fun to listen and bang your head to. The following track, “Cramunhão”, has Max’s best vocal performance. It’s hard to believe at his age he can still bring such monster vocals to the table. The last track, “The Crucible”, is a really awesome closing track. The album has two really kick ass bonus tracks “Deus Ex Machina” and” Porra” (which has a Roots flavor to it).

    Mark Rizzo’s best work on this album has to be the track “Insurrection”, which has the most guitar solos. The album really centers around the Cavalera brothers, but “Insurrection” gives Rizzo the spotlight. Maz Cavalera and John Gray produced the album and while the production is good, not great, is that it is so damn heavy that some of the bass seems to be buried, but the vocals and guitars sound great and the drums really stand out.

    Overall, Pandemonium is a heavy album that is meant to be played loud and by far, Cavalera Conspiracy’s heaviest album and definitely in the conversation as the heaviest album of 2014. Fans of early Sepultura will be pleased.

    You can purchase the album here.

    Key Tracks: Babylonian Pandemonium, I, Barbarian, Cramunhão, Not Losing The Edge
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  • Hearing Aide: Dopapod’s ‘Never Odd or Even’

    After consuming Dopapod’s fourth studio effort Never Odd or Even a few times I started to feel a kinship with that moth lead guitarist/vocalist Rob Compa sings about in “Present Ghost” – the albums lead track. Unlike most releases of late, it ruled my brains mental music player for days without rest. End to end the 9 (+1 hidden) track piece has no dead air, no filler, no bathroom songs and more peaks and valleys then the beautiful Upstate NY terrain. This is music that goes beyond simple listening and invites your other senses to an emotion filled rager (w/ free tequila!). It’s happy, sad, spooky, mysterious, and ecstatic all in one prettily packaged jewel case.

    “Remembering is everything! Everything! Everything!”

    The ‘pod’s music, like many of their peers, is impossible to pigeon-hole into any sort of simple description . This is genre-non-biased music by definition – a conglomeration of every influential mentor on four musician’s lives. Like Mr. Compa says – remembering is everything – to transcend ones predecessors one must appreciate their crafts in their own original way. Influences are rife throughout N.O.O.E – the “Empty Spaces” (Pink Floyd) like breakdown in lead track “Present Ghost” – the Zappa like guitar and organ harmony in “Like a Ball” – the Cream sludge rock bookends on quite probably the world’s only honky-tonk jazz instrumental: “Hey Zeus (Que Pasa)”. Even Hollywood gets a nod here with the  Poindexter infused peaks of the aptly titled “Nerds” which – beyond an amusing spoken part – only contains the repeated lyric “No words”.

    “They just don’t like sing that much, there’s like no words”

    It would be remiss of me to exit this review without mentioning the absolute high point of an album full of them. Track 4 – the mysteriously titled all instrumental “FABA” – takes back the sadly overused word “epic” to its original meaning. Despite containing elements of jazz, funk, rock, and electronica this nine minute piece is closest to a classical composition – as if Mozart and Anastasio smoked a giant blunt and made a hippie opus for the ages. Put simply – it fucking rocks. All of it rocks, get on this album, it’s the best 10$ you’ll spend this year.

    Key tracks: Present Ghost, Like a Ball, FABA

  • Hearing Aide: Machine Head ‘Bloodstone and Diamonds’

    machineheadbloodstonecdNovember 10 saw the release of Machine Head’s eight studio album Bloodstone & Diamonds. This marks the first time that original bass player Adam Duce is missing from a Machine Head recording. Since then, Duce has been replaced by Jared MacEachern, who auditioned for the part. The lineup is rounded off with lead guitarist Phil Demmel, longtime drummer Dave McClain, and main song writer vocalist/guitarist Robb Flynn.

    The album opens up with “Now We Die”, which starts the album up with an orchestral piece. The use of the orchestra throughout the song makes it a very unique Machine Head song. Far from the street metal sound from their debut Burn My Eyes. But don’t get it twisted, it’s still a heavy Machine Head that we all know. Phil Demmel’s guitar solo is brilliant in the song.

    “Killers & Kings” is guitar blazing with very dark tone. This one is more in vein of 2007’s The Blackening.  You can tell already by the opening tracks that there are far more guitar parts recorded in this album than ever before and real bonecrushing drums from McClain throughout the album. Vocally Robb Flynn has really getting better with the melodic parts, which really shows in the song “Ghost Will Haunt My Bones.”

    The next track that really stands out is the dark, yet melodic “Sail Into The Black”. This one is a metal masterpiece, similar to “Darknest Within” off Unto The Locust. The band is kicking on all cylinders with this song, damn near perfect. This would be the reason to purchase the album even if you’re not a Machine Head fan. The next track “Eyes Of The Dead” is interesting and one of the heavier tracks off the album. It has that angry sound from 1997’s The More Things Change… that is sure to please the old school Machine Head fans.

    Every song lyrically is brilliant. Some of them really paint a picture or tell a compelling story. Especially “Night Of Long Knives” (which tells the story of a woman who was raped and gets revenge) and in “In Comes The Flood.” Rob Flynn sings every lyric with emotion, and it properly suites the music. Lyrically this may be the best Machine Head record yet.

    The album takes it slow with the ballad “Damage Inside”, similar to the song “The Burning Red”, a song off the album of the same name, but doesn’t have the produced beats yet it has that similar gloomy atmosphere. But it’s a good tune because you rarely ever hear Machine Head do any ballads in their albums.

    Towards the end of the album there’s finally a nod towards Burn My Eyes. The second to last track is an instrumental tune called “Imaginal Cells” which also contains sound clips from news reports, similar to the track “Real Eyes, Realize, Real Lies” off Burn My Eyes. This definitely put a smile on my face. Clearly Machine Head is working hard to gain new followers as well as keeping the fans of old happy. The album finishes with “Take Me Through The Fire” which is a fast blazing track with absolute killer riffs and solos from Phil Demmel, however it doesn’t feel like a closing track; “Sail Into The Black” would have been a more appropriate way to close the album.

    Overall, this is a fantastic record, one that stands out among all the recent metal releases this year. Comparing it to the rest of the catalog, defiantly comparable to Burn My Eyes and The Blackening in terms of their best work. I would put this above Through The Ashes Of Empires and Unto The Locust which is saying a lot. Musically and lyrically this album is fiend and will grab the attention of people who have never listened to Machine Head and hook them into the band while keeping the current fan base happy. I would expect great things to come from Machine Head in the future due to this album.

    You can purchase the album here. This one is a must.

    Key Tracks: Killers & Kings, Sail Into The Black
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  • Hearing Aide: The Doobie Brothers’ ‘Southbound’ – Rock With a Country Twist

    The Doobie Brothers Southbound features some of country music’s legendary performers such as Vince Gill, Toby Keith, Brad Paisley, Blake Shelton, and Sara Evans, with some of today’s most talented newcomers, such as The Zac Brown Band, Hunter Hayes, Chris Young, Casey James, Tyler Farr, Jerrod Niemann, Sudano Ramirex of Johnnyswim, and Charlie Worsham. Without even hearing one note on the album, I was anxious to see what I had in store with this who’s who of guest appearances.

    When I heard that The Doobie Brothers were making a greatest hits album and invited some of today’s most talented country singers to accompany them, I was over the moon thrilled. I immediately flashed back on one of my favorite albums, Common Thread, from 1993, where country music greats came together to record some of The Eagles most loved tunes of the 70’s. There is just something about the rock of the 70’s and today’s country music that blends the two perfectly into a classic sound.

    The album starts out with “Black Water” (with Zac Brown Band); this has to be one of my favorite all time Doobie Brothers tunes. I can think of no other country group I would love to accompany them today on the song. Always thought Zac’s voice was reincarnated from the 70’s rock era, a James Taylor sound for sure. The Zac Brown Band’s southern laidback sound combines perfectly together with the bluesy groove of the music and lyrics to deliver an over the top remix that possibly is better than the original. “Black Water”, originally the B-side of the release of ”Another Park, Another Sunday”, was written and performed by Patrick Simmons, who once again nails the tune confirming any doubt that B-sides were most definitely worth the listen.

    Tom Johnson’s tune, “Listen to the Music”, features Blake Shelton accompanying on lyrics and Hunter Hayes on guitar. This song, one of the first big hits of The Doobie Brothers career, remains a staple as an encore song at all of their live shows. Originally written as a tribute to peace at a time of influx in the world, the idea of all those in power were to take a moment to just come together and listen to the music, a universal language, perhaps peace could be attained; it sounds like a message that still holds true today. With Blake Shelton’s strong lyrics accompanying Tom Johnson on vocals, the duo deliver a one-two punch that sends the message as the newcomer Hunter Hayes shreds the guitar like the pro he is. This rockabilly sound sends a message still today that no matter what generation hears it or performs it, the message is timeless and the concept of a universal language of peace is attainable if we could all just find a common ground in music.

    [youtube http://www.youtube.com/watch?v=unNwrc03LH4]

    The next track on the new album, “What a Fool Believes”, is a Grammy Award winning hit of the Doobie Brothers and happens to be one of the only non-disco number one hits of 1979. Written by Kenny Loggins and Michael McDonald, this commercial hit was an example of how The Doobie Brothers were able to maintain their own unique sound while accomplishing commercial success during a time where rock and roll was not in the forefront on commercial radio. With Sara Evans accompanying Michael McDonald on “What a Fool Believes”, this track is yet another perfect pairing of musicians showcasing and blending together their voices in perfect unison.

    For country music lovers, Toby Keith is the epitome of a regular guy that pulls no punches. His in your face, this is what I am, and this is what I represent personality is the perfect pairing for The Doobie Brothers on “Long Train Runnin”. It could be the harmony, the rocking guitar, the awesome harmonica, or the upbeat melody, but this song, like Toby, pulls no punches and delivers the perfect example of timeless classic rock and the perfect combination of country music today and how rock and roll of the 70’s has influenced so many country artists today.

    Chris Young, one of today’s up-and-coming country artists, who won the competition ‘Nashville’, is tearing up the charts with hits and as he accompanies The Doobie Brothers on “China Grove”, it’s evident why he is one of today’s country greats. As he sings together with The Doobie Brothers, I can barely tell where they end and he begins as they seamlessly harmonize on this 1973 hit. I must point here that on this song especially, it is a shining example of how absolutely talented The Doobie Brothers are in their songwriting and instrumental composition. On this number, it is as though each instrument is a feature instrument, however together they are a harmony. There are moments that the bass is strong and the underlying bass and percussion take center stage. Then there are parts where you hear keyboards foremost in the spotlight. When you think you can’t get any better, they break out in a guitar solo. I love this song as it’s upbeat and catchy, but I truly appreciate this song as its composition is epic.

    The next track, written and performed with Love & Theft, “Take It To the Streets”, was another example of great pairing. Michael has a very distinctive voice, and the vocal accompaniment by Eric & Stephen was spot on, together with some outstanding guitar accompaniment.

    For those of you unfamiliar with Casey James, he is the very talented country musician best known from American Idol’s ninth season. On “Jesus is Just Alright”, The Doobie Brothers version of the Arthur Reid Reynolds song, Casey’s amazing guitar abilities are emphasized. At one point in time, Casey was unsure of his ability to be able to play guitar again. Suffering major damage after a crippling motorcycle accident, Casey’s recovery is nothing short of a miracle. I find it refreshing as I realized how The Doobie Brothers were able to embrace their faith during a time where faith was questioned by many in the 70’s, and fitting this song was for Casey’s accompaniment.

    Another Tom Johnson song, this time he is joined by one of Country’s biggest stars, Brad Paisley on “Rocking Down the Highway”. is a feel good song written by Tom in the early Doobie Brothers days and just up Brad’s alley, as it features not only his amazing vocals, but also his talents on the guitar.

    “Take Me In Your Arms”, finds The Doobie Brothers joined by newcomer Tyler Farr.  With his raspy voice, the soulful sound of this R&B tune mixes perfectly with Tyler’s style of rock and delivered with heartfelt emotions that mixes country and rock to make the trifecta of musical composition.

    Joined by Jerrod Niemann on “South City Midnight Lady” and released on their third album The Captain and Me in 1973, this beautiful ballad is unique to the style of The Doobie Brothers, being melodic and slower paced than other hit songs.  However when it comes to love ballads, Jerrod Niemann is your man to deliver, and deliver they all did.

    For those of you not familiar yet with Johnnyswim, you will be in for a treat as Amanda Sudano Ramirex of Johnnys sings on their mega hit “You Belong to Me”.  And if that wasn’t enough, let’s just throw in a touch of Vince Gill’s guitar, who is one of the best musicians in Nashville, to really tear it up like no other can. Super sexy was this rendition of the song as Sudano accompanies Michael McDonald in this duet.

    Another newcomer is Charlie Worsham.  He’s one of those country performers that takes his musical ability and goes right out in the audience with his banjo/ganjo/guitar and makes you part of the song.  This is no different as he plays on “Nobody”, a perfect song for Charlie, and to close out this outstanding album.

    The Doobie Brothers
    The Doobie Brothers

    As I wrap up listening to this remarkable collaborative effort, I feel as though I am experiencing one of the greatest times in country music as we see those rock stars of the 70’s, 80’s, and 90’s becoming part of a new country experience.  With a basis in blues, jazz, rock, and bluegrass, this Southern rock style that was once indicative of the 1970’s is now becoming the trend in today’s country music.  You see many of these rock and country collaborations on CMT’s Crossroads. Their ability to pair the perfect rock group and country musician to cross perform songs of each other is truly one of my favorites. It’s the marriage of the best of both worlds into one spectacular sound. As most genres, it evolves, taking on new characteristics of other influences.  But one thing holds true.  Music is a common language to those on both sides of the microphone.  Tune in November 5 as The Doobie Brothers perform live at this years CMA Awards together with some of todays biggest country artists around.

    Key Tracks: Black Water, Long Train Running, You Belong To Me

  • Consider the Source Drops EP Stream Before Stops in Albany and Buffalo

    WWtrioSplashTake2This past Wednesday, the instrumental wizards in Consider the Source dropped a bomb as they released a stream of the first installation off their new EP World War Trio, titled “Put Another Rock in That Bag”. The release is a six-part, 25-minute impeccable composition that showcases that band’s talent in new and interesting ways. The overall vision and thought-out structure shines in the smooth transitions and its careful ebb and flow of energy. At the risk of sounding cliché, this is a prog-opera with hints of jam, metal, Middle Eastern, and a fusion of other genres into an emotional and dramatic epic. If this band wasn’t unique enough, this album puts them in a category all their own and pushes some serious musical boundaries.

    These three gentlemen have stepped outside of the songwriting box and are delving into composer-level status with their vision. The juxtaposition of beauty and fierce aggression propels at the same time it slows down for the view. This tease, and I use that loosely as it is still 25 minutes in length, will lead to a huge anticipation for parts two and three of this album series.

    The ONLY way to listen to this album is from start to finish as it tells a tonal story through vivid language, rife with patient punctuation. If you liked this band before, you’re going to love this direction as they’ve found their calling and have created something truly beautiful. If you’re going to cheat your ears out of this masterpiece though, at least take the time to listen to “Put Another Rock in That Bag IV,” which is simply powerful and moving. No band in the jam scene has ever had the balls to step outside the circle like this album does and this song is the climax.

    IMG_6046

    As the album comes to a close, the band circles back to the opening theme. How else would you close something of this magnitude? By tying it all back to the origin and closing the circle, the band leaves you wanting to start the journey again. Absolutely beautiful.

    The album can be streamed in its entirety right here and I would strongly recommend taking a listen. Additionally, I got the chance to sit down with the group at Night Lights Music Festival back in September and we talked about the upcoming release, their influences, and a few other things. Check out the video below from our friends at Buffalo.fm.

    The band is set to play the new album in its entirety tonight  in Albany at their album release party. Tomorrow night they’ll be making their way across the state to play a show in Buffalo at Waiting Room. If you still need tickets, you can grab some for Albany here and Buffalo here.

  • Hearing Aide: SOLARiS ‘This is What You Get’

    This Is What You GetWhat do you get when you cross an improvisational instrumental trio and a good amount of studio time? This Is What You Get. That’s the name of the newest album of Ithaca-bred band SOLARiS, who have taken the Upstate music scene by storm with their minimal use of instrumentation and maximum use of funkadelic improvisation.

    Released on September 9, this LP has 13 tracks that often contrast in style. With the mutual understanding of the improv art, however, these three amigos certainly create a sound that blends each song together with the next.

    Back in 2010, bandmates Jared Raphel, Vince Naro, and Daniel Scott Lyons met in Binghamton and had a vision: to create a jam band that sounds completely rehearsed, but thrives in creating music on the spot. With their earlier releases, such as Beyond 3-D, BLACK, and NeoN, they have kept this vision alive, combining their raw improv with production effects. Even skimming through their discography, you can see this vision within their song titles, like “First Jam”, “Unfrozen (A Live Jam),” and let’s not forget one of my favorites from This Is What You Get (or TIWYG), entitled “Billy’s Jam.”

    While albums like Beyond 3-D clearly blend studio production into their mix, TIWYG brings listeners back to basics using only three instruments: keys, bass, and drums. The most basic instrumental combinations take place at the beginning of the album, especially in songs like “Doomsday” as well as “Drum and Bass” (no kidding).

    As the album continues, the trio introduce electronic components, such as a drum pad versus a kit, as well as added synthesizer effects on what was a keyboard. By the time we are brought “In The Jungle,” we are greeted by a progressing bass line and simultaneous synth melodies, embodying a walk through an African safari. Following right after is the title track of the album, “This Is What You Get” where we switch gears to include more of a hip hop drum influence, with swirling echoes throughout the keyboard section. In case that wasn’t enough contrast for you, be sure to listen to “Iron Dome,” which I can only describe as electronic drum pad meets the Indian santoor.

    To experience this improvisational magic, you can always find This Is What You Get on their Bandcamp. Luckily for us, the band tours primarily in the New England area, making stops throughout Upstate quite often. They’re playing a show this Halloween at the Lot 10 in Ithaca, so don’t just take my word for it; experience their live improvisation for yourself! Make sure you follow their website and Facebook page, and go catch them at one of their shows and see what YOU get from SOLARiS.

    Key Tracks: Billy’s Jam, Doomsday, This is What you Get

  • Hearing Aide: Hard Working Americans ‘The First Waltz’

    Hard Working Americans have released The First Waltz, a live recording of powerful rock numbers with songwriting that any blue collar working, freedom-loving Americans can easily rock out to, start to finish. Only a year old, Hard Working Americans includes Dave Schools on bass, (Widespread Panic) guitarist Neal Casal (Chris Robinson Brotherhood), Chad Staehly on keys (Great American Taxi), Duane Trucks on drums and guitarist Jesse Aycock. The album will have a visual component when a film of the same name, directed by Justin Kreutzmann, is released later this year, offering insight and a snapshot of the start of this supergroup. The album debuted October 28 and can be picked up on iTunes or in the band’s store.

    Hard Working Americans the first waltzOpening up The First Waltz with “Blackland Farmer”, the vibe of Tom Waits “Goin Out West” is present as slow grooving blues, intertwined with “New Speedway Boogie” lyrics. Pedal steel guitar from Aycock enters into Michael Houser territory. A dual song, “Another Train/Working Man Blues” included a mild and driving “Train” that picks up with “Working Man Blues”. Snider remarks on “Mission Accomplished”, “It was the great Billy Joe Shaver who once said that ‘God loves ya the most when you dance’”, and with that Duane Trucks sets a beat in the vein of “Not Fade Away” while Casal plays a catchy Mexicali riff. A Jekyll and Hyde song, “Run a Mile”, begins with patient blues and halfway in takes this speed of ‘4’ and doubles it to an ‘8’, albeit briefly, building back up to a ‘6’ as the band rocks out.

    Todd Snider’s vocals are gritty, powerful and thought-provoking, particularly in “I Don’t Have a Gun”, where his songwriting skills add an emotional weight, referencing a drunk night and confrontation of which Snider opines in a grateful escape, “I’m so glad that I don’t have a gun.” A great deal of instrumental prowess from the full band is to be found on “The Mountain Song”, but it is on “Straight to Hell”, a marquee song for Hard Working Americans, that the band and Snider’s songwriting shine. An established sing-along for the nascent group, Snider sings the words “I’m goin’ straight to hell, just like my momma said, I’m goin’ straight to hell”, with such conviction, you feel empathy for such a determined view of the afterlife. The flipside to “Straight to Hell” is “Stomp and Holler”, a footstomper aided by Trucks’ kick drum, inspiring and motivating any audience to play along from start to finish.

    “Guaranteed” has the potential to drift into uncharted territory in a live setting, venturing into the somewhat uplifting blues-tempo and forgoing any noodling when rocking through it suffices, while “Wrecking Ball” stands alone as the most emotionally charged song of the album. The final track, “Come From the Heart”, featuring Roseanne Cash is a soulful and inspiring love song. All throughout, Snider, Schools, Casal, Staehly, Trucks and Aycock give a powerhouse clinic of collaboration, sounding as though the band has been together for a decade when they are just about to turn 1 with The First Waltz.

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    Key Tracks: Blackland Farmer, Straight to Hell, Stomp and Holler

  • After 20 Years, At The Gates is back with ‘At War With Reality’

    It’s hard for some bands to take an extended break and make their comeback with the same fire and passion they had the first time around. They’re fighting against the naysayers who claim they’re just making a quick buck off the name and legacy of the band and the pressure of a fan base salivating for new songs. Enter At The Gates.

    Their new record, At War With Reality is the first studio album in 20 years for the Gothenburg metallers. And talk about pressure? They’re known as the chief innovators of an entire sub-genre of metal music. Having inspired an entire generation of bands from Unearth to Lamb of God and pretty much every other early 2000’s metalcore outfit. Their riffs have been long heralded as the defining sound of the Swedish melodic death metal scene. So when a band with this kind of pedigree decides to get back in the studio after a couple of decades away, all eyes are on them.

    At The GatesThe band picks up where they left off. Not succumbing to the modern trends of metal, At The Gates’ At War With Reality is true Swedish melodic death metal. The big catchy riffs are front and center. It’s almost as if they’ve sent notice to all the students of their sound, letting them now class is back in session. The masters of their genre are back doing what they do best.

    Now there comes a downside with that. Unfortunately as good as they are at their craft, the record does sound a bit outdated to modern ears. If you didn’t grow up with this sound, younger fans might just pass them off. And if they’re unfamiliar with their work they might claim they’re ripping off the very bands they inspired. And unfortunately perhaps time has passed them by. You have to give them a ton of credit for making their kind of record but I couldn’t help myself from being bored half way through listening to it. Sure the musicianship is fantastic and some of the riffs stick out more than others but there’s this layer of ‘sameness’ to it all. Songs just kind of blend in to one another and I had to check my music player more than once to see if I was listening to the same song still or not.

    It’s a shame because these guys were once kings of the metal scene. And I know a lot of die-hard fans will eat this record up and proclaim it album of the year but it just isn’t doing it for me anymore. I listened to so much of this kind of music that maybe I burned myself out on it. I can’t say it’s a bad record at all. And it’s not as if the time I spent listening to it for review purposes will be the last time I hear these songs, I just can’t give it the universal acclaim that everyone else is giving it right now. Some songs like “Upon Pillars of Dust” and the title track bring the ferocity you expect but they’re surrounded by so much filler that even standout tracks don’t really standout much.

    The production is top-notch and everyone is on point technically. Vocalist Thomas Lindberg sounds as good as ever. He has that harsh scream that radiates anger but also has a clarity about him. No pig squeals or death gurgling noises here. The record comes off very much as a guitar player record as most Swedish metal does. These guys worship at the altar of the riff and it shows. Guitar players everywhere will have a ton of fun picking apart these songs as they have with the band’s entire back catalog.

    At The Gates are fully back in the fold of the metal roster after spending the years following their reunion as a touring only band with this release. Fans will be pleased with what they hear. The band doesn’t take any weird twists or turns or rely on any gimmicks. This is their sound and that’s it. But At War With Reality is unfortunately at war with blandness. If you love the Swedish sound you will love this. If more modern melodic death metal like Black Dahlia Murder is your speed, approach with caution but for all you know, you might fall in love with a new favorite.

    Key Tracks: Upon Pillars of Dust, At War With Reality

    At The Gates will be touring the United States next spring as part of the Decibel Magazine Tour with Converge. You can purchase At War With Reality here.

  • Hearing Aide: Obituary ‘Inked In Blood’

    albumTampa, FL based death metal veterans Obituary will release Inked In Blood on October 27 via Relapse Records making it their first album release in over five years. This, next to Cannibal Corpse’s A Skeletal Domain, is one of the biggest death metal releases of 2014. Last year, Obituary successfully crowd funded this album, but does the music deliver back to what the fans invested in?

    Right away the album kicks into high gear with “Century Of Lies” The drums and rhythm guitars sound clutch as ever, vocalist John Tardy may not have the pipes he had twenty years ago, but still delivers the haunting and monster-like vocals that still fit with the music and atmosphere. But his best vocals are showcased in the title track in the middle of the album.

    By the time we get to “Violent By Nature” and “Pain Inside,” the pace slows down a tad but still brings the traditional Obituary sound that we are still used to with blazing guitar solos in between verses. I will say the studio quality isn’t the greatest, but it adds a charm to the album giving it a more raw, old school sound.

    The drumming of Donald Tardy is still blazing fast, giving the band a true back-bone to keep the tunes running. The track “Visions In My Head” really showcase his talent with the all the tempo changes.

    When “Violence” starts, the tempo moves fast like it did at the beginning of the album, but the guitar tracks stand out more than they did previously with bone-crushing riffs and solos. That trend continues with the tracks “Deny You” and “Within A Dying Breed.” It’s clear the album’s best tracks are the longer songs that are deeper into the album.

    The album ends tastefully with” Paralyzed With Fear” making you want more from this band. Obituary has put out a death metal masterpiece and showing their as vital as ever.

    Overall, a fantastic album that really takes the listener back into the nasty swamps of Tampa and showcase what true death metal is all about. Clearly the Kickstarter campaign worked out quite nicely for both the band and the fans.

    You can purchase the album here.

    Key Tracks: Back On Top, Violence, Inked In Blood, Deny You

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