NYS Music 20​14

Category: Album Reviews

  • Hearing Aid: Aqueous Release New Album: ‘Cycles’

    Aqueous have more than cemented their reputation as a powerful, young band on the rise with the release of their new album Cycles, which was officially released on October 21. The new album features a collection of heavy-hitting material full of raw emotion and supremacy. One of the most impressive aspects about this band’s range is their uncanny ability to seamlessly drop into a thick, heavy, pocket funk groove with such conviction. The aggressive direction of the music can turn on a dime and take the listener on a full ride of different directions as each member complements the overall sound flawlessly. The band seems to be intertwined on a much deeper level than sheer talent, they seem to have a much more appreciating understanding of their craft and each other’s role as one unit. Having already developed a reputation for themselves around the festival circuit, Aqueous are currently juggling a nice touring schedule that lead up to their album release party in Buffalo on October 25 at the Buffalo Iron Works.

    aqueous cyclesThe album opens up with “Dawn” an eerie instrumental string arrangement that could have easily been embedded in a classic 1950’s film before dropping into “Kitty Chaser (Explosions)” which gives the listener a full taste of the band’s broad range. Right out of the gates the band works its way into an abstract groove that builds a perfect loop for experimentation. The song builds nicely and it’s refreshing to listen to something so organically driven and original. The music is very much precise, well rehearsed and calculated but still leaves plenty of room to breath for improvisation. Clocking in at just less than 10 minutes of prowess, “Kitty Chaser” is full of energy and sheer power that serves as a great introduction to the new album and all it has to offer.

    “2020” keeps the energy consistent and showcases the adept connection between [former drummer] Nick Sonricker on drums and Evan McPhaden on bass. The rhythm section works with unconventional times signatures that create a nice platform for Dave Loss and Mike Gantzer to paint over. The piercing guitar solos are full of energy and the music is nothing short of astoundingly beautiful. “The Median” creatively intertwines the song’s lyrics with a collection of different chords strumming, including an upstroke reggae feel before launching into an ambient groove of bass popping funk that finds deeper direction with the work of a synth. “Skyway” features an impressive blend of genres that’s primarily fueled by heavy guitar, something notably similar to Umphrey’s McGee and their sound. Blending elements of reggae, funk and progressive rock seem to be an easy task for the young blossoming band and at times the music takes a direction of maturity that speaks volumes well beyond the band’s years.

    The music takes an interesting turn with the “Complex Pt. I >Wandering>Complex Pt. II” as the band experiments with an extensive palate of effects that complements the music’s complexity well. It’s not uncommon for musicians to hide behind effects that mask any sort of true identity, often acting as a distraction. However, Aqueous uses effects creatively that add to their sound in a compelling fashion and these effects don’t deteriorate the overall quality and direction of the music. The level of control and authority the band has with their unique sound is inspiring and exciting to say the least. “King For A Day” kicks off with a building tone that eventually explodes into full swing where the listener is met with the lyrics before the band breaks off into a melodic jam fueled by soaring guitar and a heavy heartbeat rhythmic section.

    The album closes with “Starring Into the Sun”, a 15-minute adventure packed full of talent and soul. The many layers of this song can be perceived in several different ways. There’s a collection of something for everyone through this number as the musical spectrum can be as broad as heavy, distortion infused power chords, all the way to a soft melodic breakdown on the keys. The extensive and uplifting psychedelic jam can be compared to something from Pink Floyd. The song melodically builds upon itself and as it continues to unfold the band pushes into new ground valiantly as the band never once losing control of the reigns.

    It’s clear that Aqueous will be a force to be reckoned with for a very long time. The next wave of jam bands is upon us as these musicians have redefined many beloved subgenres by pushing their musical limits to a refreshing level of genre-bending authenticity. Aqueous are in full pursuit of something organically driven and original and there’s no sign of slowing down.

    Key Tracks: The Median, Complex Pt. II, Kitty Chaser (Explosions), Staring Into the Sun

    *Editor’s Note – New drummer Ryan Nogle took over duties for Nick in August 2014 after recording completed

    Website |Bandcamp | Tour | Facebook | Twitter

  • Hearing Aide: Yusuf/Cat Stevens ‘Tell Em I’m Gone’

    Legendary and sometimes controversial troubadour Yusuf Islam, also known as Cat Stevens, will be releasing a new collection of music on October 27. Tell Em I’m Gone is a record split between inspirational new originals and influential cover songs hailing from Yusuf’s musical past. Tell Em I’m Gone is Yusuf’s first full length since 2009’s Roadsinger an intimate and noteworthy return to form for the famed singer/songwriter. Stevens, who changed his name and redirected his faith in the late 1970’s began to feel the pull of his acoustic guitar early in the new millennium after an absence of over twenty years. After reconciling his religious beliefs with the strange world of popular music, Yusuf realized his ruminations and melodies were still needed and wanted by his fans and admirers.

    Tell Em I'm Gone
    “Tell Em I’m Gone” cover art

    This current collection of songs is not only a spectacular return to Yusuf’s popular form of the 1970’s, but a return to his formative ‘pre-Cat Stevens’ influences and loves that helped to shape the artist we are able to witness today. Somewhat obscured beneath the numerous ornate melodies and smooth recitations of his popular catalog lies a gritty edge of R&B, blues and ethnic influences. Digging his sandy boots into the soils of his past Yusuf reveals the roots of his influences through graceful reimaginings of traditional songs and cover tunes. Intermingled with profound new compositions and a number of friends and guests, Tell Em I’m Gone is a fresh gust of inspiration to blow across a sometime barren landscape of new music.

    Co-produced by the contemporary and famed Rick Rubin and mixed by long time musical collaborator Paul Samwell-Smith, Yusuf is consistent in his approach to keep one foot in the past and one firmly in the future. What started originally as an album of blues covers developed into a complete LP of originals and favorite songs. Most if not all of the album was laid down live in the studio with a minimum of overdubs adding to its lively and organic approach.

    The album delicately balances originals and cover songs with a five to five split between the ten tracks. The collection opens on the crystalline weaving guitars of Yusuf and special guest guitarist Richard Thompson. Yusuf’s voice sounds as if it has emerged from a sealed and submerged time capsule, hardly aged, as emotive as it has ever been. ‘I Was Raised In Babylon’ is an original Yusuf composition, sparse and spooky, a flexing commentary on truth and faith.

    The first covers of the collection follow, first with Yusuf’s reading of the blues standard ‘Big Boss Man’. Hearty Fender Rhodes and knee knocking percussion lock into a tribal version that retains the original melody, but updates the arrangement with a roots funk attitude. Blues legend Charlie Musselwhite also lends well-timed silver harp blasts to the track. Alternately the following ‘You Are My Sunshine’s’ classic melody is distorted by Yusuf’s dusty Southern blues arrangement which is then tastefully augmented by award-winning and Sahara Desert roaming musicians Tinariwen. The third cover in a row is of Edgar Winter’s powerful early 1970’s ballad ‘Dying to Live’. True to its original arrangement the song is a fitting statement for the often misunderstood Yusuf and a vocal highlight of the album thus far.

    Yusuf original, ‘Editing Floor Blues’ is next and is a gruff blues collage, its texture created by gravely alternating guitars and straight-faced serious verbal exclamations. The song is a conglomerate of blues changes, but originally twisted to fit Cat Stevens new-found aesthetic. This aesthetic sometimes reminds me of Dylan’s 1997 Time Out of Mind in attitude and fearless expressed musical truth. The urgent vocals and autobiographical lyrics recall an updated version of Cat Stevens 1970 track ‘Pop Star’ and is a major highlight of the first half of the recording.

    ‘Editing Floor Blues’ segues perfectly into ‘Cat and the Dog Trap’ another new Yusuf original that contains obvious lyrical connotations to the troubles of Yusuf’s not so distant past. The songs circular picked central lick and Spring green melody is one of the most powerful Yusuf has produced since his return to music. All of the instruments excepting bass are played by Yusuf allowing for his trademark compositional hallmarks and aural fingerprints to be left all over the glass.

    ‘Gold Digger’ follows next, unique in its construction, catchy in its intent. The song snaps its fingers with a jazzy swing, cartoon like in its simplicity, but containing a more serious underlying attitude in the panoramic world view of the words. The song is a well placed anomaly in the context of the album even featuring vocals hailing from the South African Vocal Choir.

    An imposing version of Procol Harum’s ‘The Devil Came from Kansas’ comes next and emanates triumphantly with big chords and a striding groove. Dropping like a coin in a slot the song falls into a bobbing groove and adds another unique take on one of Yusuf’s favorite songs.

    The title track of the LP, ‘Tell Em’ I’m Gone’ is placed next to last and encapsulates the vibe of the collection with a muddy thump and recitation of the traditional ‘Take This Hammer’ melody. The band Tinariwen joins again for claps, vocalizations and percussion assistance. Similarly to Yusuf’s contemporary Paul Simon’s excursions into World music influenced recordings, Yusuf has successfully assimilated various musical influences into the creation of this particular record as played out on the title track.

    Yusuf has a history going back to his Cat Stevens recordings of closing his albums with poignant and inspiring compositions. ‘Lilywhite’ on 1970’s Mona Bone Jakon, ‘Peace Train’ on 1971’s Teaser and the Firecat and ‘Never’ from his final Cat Stevens album, Back To Earth. Here the song ‘Doors’ takes on the same position and reveals a collection of opposing images used to conjure a feeling of hopefulness and freedom. The arrangement is scented with a unique gospel flair and reaches an orchestrated climax that swirls with inspirational Hammond flourishes and peaks with Yusuf’s reassuring vocals.

    Yusuf’s new collection of music, Tell Em’ I’m Gone, is not a well recorded piece of nostalgia. It is the work of man comfortable with his life, faith and the musical legacy that he is responsible for. Yusuf still has music in his heart; both his own, as well as the music of his idols and influences. The music he has developed elicits a feeling of self-awareness, freedom, comfort and peace. Though the title of Yusuf’s new album is Tell Em’ I’m Gone, I assure you he is right where he is supposed to be.

    Key Tracks: Editing Floor Blues, Cat and the Dog Trap, Tell Em’ I’m Gone

  • Hearing Aide: Slipknot Return with ‘.5: The Gray Chapter’

    Six years after their last album, 2008’s All Hope Is Gone and down two members, Slipknot is aiming for the jugular with .5: The Gray Chapter. Following the tragic death of bass player Paul Gray who was said to be a chief songwriter in the band and the unceremonious firing of drummer Joey Jordison, Slipknot find themselves in an uncomfortable spot. Surrounded by controversy and dealing with fan backlash after the band made a major style shift following their second record Iowa, can Slipknot once again reclaim their place at the throne of the metal kingdom?

    Slipknot The Gray ChapterThe first single released from The Gray Chapter, “The Negative One”, had fans rejoicing that the band was back to their roots. Slipknot started off as a noisy, percussion driven, chaotic band that took the metal rule book and didn’t just throw it out the window but lit it on fire and blew it to pieces with a shotgun. However, starting with their third album Vol. 3 (The Subliminal Verses), the band started to introduce a more melodic texture with ballads and songs fit for mainstream radio. This caused many fans to blame lead singer Corey Taylor’s radio hard rock friendly side project Stone Sour for the style shift. Slipknot always had the brutal speed-freak hyper aggression on every album but more and more of their sound was changing and the ratio was starting to become more 50/50.

    Now, getting back to how this ties into the new record. If that first taste of The Gray Chapter had you hoping for Iowa 2.0, I’m sorry to tell you it isn’t the case. This record feels like a direct link to Vol. 3, completely bypassing All Hope Is Gone, which was the bands more experimental effort. But does that mean it’s a bad record or it isn’t a “real” Slipknot album? Far from it. But at this point what is a “real” Slipknot album? Going by their overall catalog they now have more albums that sound like the hybrid heavy/melodic sound we’ve been used to for the past decade than the first two off the wall records that launched them to superstardom. If that’s the case, The Gray Chapter is the most “real” Slipknot record to date.

    If you’re still holding a candle for the first two albums, hoping they’ll ditch the “Stone Sour crap”, I hate to break it to you but you’re missing out. The Gray Chapter knows when to dial up the hatred and spew out a diseased metallic headbanger but also when to slow things down a bit and let emotion shine through. Corey Taylor knows how to sing beautiful melodies with agony and disgust in his voice and he showcases that multiple times on The Gray Chapter.

    However, even though the band has struck a balance, that doesn’t mean the album doesn’t come off as disjointed. It’s almost as if no thought was given to which order the songs will appear. But when you think about it, there isn’t an album Slipknot has done where the songs flow from one to the next. But what the band has done, which more need to do, is not front load the record. Far too often these days all the best songs are found at the beginning of the album. The Gray Chapter does have some issues with “filler” but great songs are found at the beginning, middle, and end sections of the album.

    And speaking of great songs, Slipknot has brought some absolute monsters on this one. “The Devil In I” is hands down one of the best songs the band has ever written. It will be a live staple until the band dissolves and is a strong contender for not just best metal song of the year, but the overall best song released this year. Other stand out tracks include the sonic haymaker that is “Custer”, the fantastic opening ballad “XIX”, and the Paul Gray tribute “Skeptic”.

    The only serious downside to the record aside from some forgettable filler songs is the production. The songs seem to lack a fullness that older records had. Even when you crank the volume it just feels like something is missing. Whether it’s a lack of punch in the drums, or missing bottom end, the songs feel like they needed a bit more time in the mastering portion of production. It’s a shame because every other record before had a tremendous sound to it. But The Gray Chapter has almost a demo like feel to it. As if we aren’t hearing the final product.

    Slipknot have changed as a band. No doubt about it. But that doesn’t mean they’re a lesser band than they used to be. They’ve never stopped experimenting even when they find a formula that works. This should be lauded by the fan base, not condemned for not sounding like records that are over ten years old. Slipknot never forgot their roots, they still know how to bring the pain. But they also know how to bring the emotion, depth, and maturity that defines a legacy. With the addition of The Gray Chapter to their discography, Slipknot has made the case to be a Rock And Roll Hall of Fame contender when they become eligible for induction.

    You can purchase the album on iTunes.

  • Hearing Aide: Beartooth ‘Disgusting’

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

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

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

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

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

    Key tracks: The Lines, In Between, One More

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

  • Unearth Brings Metal Mastery with ‘Watchers of Rule’

    Unearth has remained present in the metal landscape for over fifteen years. This has everything to do with their work ethic, constant touring, and producing quality albums for that entire time. Their newest record, Watchers of Rule, is another incredible heavy masterpiece from this band that has consistently kept metalcore music heavy as ever.

    unearth

    The forty-second intro works as a bridge, dragging the listener to the top of the mountain to prepare them for the first single from the album, “The Swarm”. This track launches itself from high above the already lofty expectations from such a talented band. Incredible double guitar attacks revel in their technical prowess, but never get lost; the beautiful chaos bleeds seamlessly into crushing breakdowns with unwavering double bass drum beats. Metal at it’s best keeps the listener entertained, and Unearth does that to perfection on this record.

    There are also more straightforward genre songs. “Lifetime in Ruins” is a great example of a well-worn groove with an unshakeable rhythm section, but it delivers exactly what it sets out to achieve. The nice thing about a record like this, is that you go into it believing you will get a specific type of heavy metal, and Unearth never deviates from that plan. They sing about the oncoming assault of Hell with dragons and demons laying waste to kings and their kingdoms, heavy with metaphors on life and personal experience. Their music reflects those sentiments as well, never falling away from the metalcore ethos they have carved out throughout their career. This record is a culmination of everything they have achieved thus far, and where they plan to go.

    With Mark Lewis at the helm, producing and engineering this project, it has the polished feel of a well crafted record. He has worked with DevilDriver, Whitechapel, Deicide and many more, most recently producing Cannibal Corpse’s new record, A Skeletal Domain. (check out our review of that record here.) The vocals, done by up to three other members with Trevor Phipps taking lead, sit perfectly in the middle of the audio onslaught. Heavy music of this calibre is so vital in the metal scene because poorly produced metal albums lose so much of what was put into them. This record shines through and gives the listener a true representation of everything that happens between the five musicians. It will be interesting to see these songs performed live as the band prepares to embark on their next tour.

    unearth
    Tour starts October 13.

    “Guards of Contagion” is a track that allows the whole band to bring all their tricks to the table, with unstoppable guitars blending into a heavy, sludge-riddled low-end, and vocals that eat at your core. The title track is the bookend to a record that doesn’t pull punches, and remains true to its core from the first song to the last. Just when you think you are sufficiently destroyed by all this record has to offer, “Watchers of Rule” brings everything even higher.

    “They aim to save the world” the song explains, and Unearth just might achieve that with such a generous offering of brutally infectious metal. The intense precision permeates each song, but many tracks are rooted in heavy groove metal, making it impossible to keep still while listening. This record should come with a disclaimer: Listen at your own risk, for your body will not be able to stop moving. You will sing along, you will bang your head, and if you listen to this in your car, you will speed.

    Key tracks: The Swarm, Guards of Contagion, Burial Lines, Never Cease

    Watchers of Rule will be available from eOne Music on Oct. 27. You can pre-order the album and special merchandise here.

    If you’re in the Upstate area and looking to catch these guys live, the band will be playing a show at Montage Music Hall in Rochester on Friday, Oct. 17. Opening the night will be Darkest Hour, Carnifex, Origin, I, The Breather, Black Crown Initiate, and local support from Order of the Dead. Tickets can be purchased here for $22 and the show starts at 7pm.

  • Hearing Aide: Buddy Black and The Ghost Umbrellas ‘The Story on the Road to Waterloo’

    Buddy Black and The Ghost Umbrellas have returned with their latest release, The Story on The Road to Waterloo (A Vampire Love Story in Three Acts). The new release speaks volumes of abstract mysteriousness and musical maturity for the blossoming band from Toronto. The lyrics are delivered with an outpouring surge of emotion as Buddy Black’s voice serves as the perfect vessel to do the music justice. Peeling away at the many layers of Black’s lyrics will take the listener down a rugged and untraveled road, meandering through many twists and turns of darkness. The music compliments Black’s vision well and at times morphs into its own unique form of basic, acoustic folk forming sounds that could be skyrocketed into a punk rock feel at any given moment. The range of this band is impressive and the energy encapsulated in the studio will truly translate to the live atmosphere.

    This album marks the first official release for the band in over a year. The chemistry between Black and long time friend and multi-instrumentalist Dayne Polny is remarkable. Polny has not only found a well-rounded niche in the Ghost Umbrellas but he’s also been involved in nearly every one of Buddy Black’s numerous backing bands and side-projects.

    The story opens with the self titled track “The Story on the Road to Waterloo”, the simplicity behind the music and the gruff lyrics could easily be a carousing soundtrack to sailors who’ve finally returned home to land after years at sea. “Emily” provides a splash of optimism as the message behind the music is generally upbeat and while the song is inspired by love there’s still a glimpse of darkness behind the passion.

    “You Need To Know” serves as the perfect bridge for the story as this is one of their most well composed numbers. The acoustic guitar is anchored by a slide guitar painting a message over the heartbeat drumming section. There’s nothing more satisfying than when an artist successfully blends two genres together. Most often this sort of accomplishment is done without rhyme or reason, or on accident. Buddy Black and The Ghost Umbrellas have managed to fuse a heavy punk/indie foundation with elements of folk and acoustic guitar inspired ballads. “You Need To Know” is complete with a soft acoustic interlude before the rest of the band comes back in with authority. The chilling backing vocals also help lift the song to monumental peaks of raw emotion.

    As the album continues to progress the music becomes more electric driven and heavy. “Renfield Would Approve” and “Fuck You and Goodbye” flow nicely into one another and while they’re both under three minutes each both songs pack a punch and are packed full of energy and emotion. While the volume may go to 11, none of this is a distraction from Black’s astonishing vocals or melodic compositions. There’s a lot of substance behind the music as Black’s voice is every bit unique and powerful. The album closes with “Can the Circle Be Unbroken?” another full band sing-a-long that’s catchy music still leaves listeners pondering alternate meanings embedded in the lyrics.

    Currently the band is touring extensively through Canada as well as finding time to write and rehearse new material. The band is also preparing for a live release later this year. Until then, fans can catch them on the road as Buddy Black and the Ghost Umbrellas are a genuine force to be reckoned with. Successfully fusing two sacred genres, the band is breaking through into new ground that very few artists even dare to explore.

    Key Tracks: You Need To Know, Emily, The Story on the Road to Waterloo

    Buddy Black and The Ghost Umbrellas Facebook | Bandcamp | ReverbNation

  • Hearing Aide: Jacob Fred Jazz Odyssey ‘Worker’

    Worker, the new album from Jacob Fred Jazz Odyssey and the twenty-sixth in the band’s twentieth year features a return to a trio lineup that explores new material in the band’s original format. Guitarist Chris Combs reflects on the revised lineup, saying “Much of the first large-level success the band saw was as a trio, and for the 20th anniversary of the band, we worked up a set of older material to celebrate that anniversary – a lot of which was from that trio era.” On Worker, many tracks have one sub-layer keeping a beat – and to keep things fresh, it’s not always talented drummer Josh Raymer – that the other instruments build off of, giving a base-level for listeners to jump in at, rather than being overwhelmed by the not-for-amateurs deconstructed jazz that plays over the top of this layer.

    Founding member Brian Haas shares that the music on Worker, “It’s influenced by jazz, but it’s not jazz”, a fitting description as identifying this album as jazz would be like nailing jello to a wall and expecting it to stick.

    Opening with “New Bird”, video game blips appear inside a floating frame, a gentle easing into the album. “Appropriation Song” could serve as the soundtrack to a Contra video game, where as the song progresses you can picture a shift into the jungle, meeting the level boss and the hero dying in a hail of 8-bit bullets. “Betamax”, a highlight of the album, features a slow uphill climb with some underlying funk, followed by “Hey Hey NSA”, with an appropriately creepy intro that is at first trancey then gets weird.

    Big Gigantic meets Marco Benevento in “Say Nothing”, a flair of acid jazz where the trio shines brightest, locked in step. “Bounce” could double as a horror-film score amid Combs’ superb guitar work. “Let Yourself Out” brings things down a notch with placid jazz for the first half of the song, then as Haas slowly turns things up on synth for a redirection of the composition, a curveball sends things into ludicrous speed, only brought back to earth by “Mesa”, a wind chimes interlude.  “Better Living Through Competitive Spirituality” uniquely features a Schoenhut toy piano that takes center stage while Haas’ synth keeps a steady melody over Josh Raymer’s drumming.

    JFJO has quite a gem with Worker, an accessible jazz-influenced album from the reformed trio. Just don’t call it a jazz album.

    Key Tracks: Betamax, Say Nothing, Bounce

    Upcoming shows in the Northeast include Nov. 13 at The Lily Pad in Cambridge, MA – tickets/info, Nov. 14 at The Zinc Bar in NYC (w/Jamie Saft’s New Zion Trio) – tickets/info, and Nov. 15 at Radio Bean in Burlington, VT – tickets/info.

    JFJO Facebook | Twitter | Instagram

    Order the LP & CD or download Digitally

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

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

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

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

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

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

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

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

    Key Tracks: Lalassu Xul, Godless Times, Senseless Massacre

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

  • Hearing Aide: Better By Morning ‘You Say’

    YouSayArtBetter By Morning is the creation of Jake Brooks (vocals, guitar, bass, keys) and Johnny Gravitt (Lead and rhythm guitar), they’ve released their first EP You Say. It’s aptly titled as many listeners will have much to say after hearing this.

    Joining them on this EP are Roy Stein on drums of, My Plastic Sun and Jet Black Berries and Johnny Cummings, organ on tracks 1 & 3, also a member of My Plastic Sun and Jet Black Berries, their live performances feature Bradley Paquet (bass) and Kyle Squires (drums). Stein and Cummings come to the band through Nazareth College where Brooks is a student and Stein a Professor and Director of the Music/Business program, quite the interesting combination. Stein was enlisted to help finish the EP after their previous drummer departed and the multitalented Cummings was introduced to the equation by Stein. Together they’ve created a frankly stunning first release, bolstered by the nimble ears and fingers of Cody Niver at CGI Studios in Ontario, N.Y. and Tim Lynch at The Recording Company, Albany, N.Y. Track 2 was mastered by Joe LaPorta at Sterling Sound and the balance by Cody Niver at CGI Studio. Deftly talented artists’ each, the end result is even, yet dynamic with an underlying impulse for a number 11 on the volume knob.

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    If you have any knowledge (and you should) of Stein and Cumming’s work in their bands My Plastic Sun and Jet Black Berries, you’ll know these are two of the most remarkably talented individuals working from the Rochester area. To have them participate and speak as highly of Brooks as they do says volumes of what is in store from Better By Morning. Like Cummings, Brooks is a multi-instrumental talent, his voice is both commanding and sensitive, its depth belies his age. The band hails from lovely Saratoga Springs, N.Y., so having surroundings that inspire are certainly falling in their favor. The strength of his musical partnership with Gravitt is clearly evident and they’ve set a high bar for themselves. The hallmark of great pop and rock are big guitars, Gravitt provides the needed licks to accentuate and power the sweet melodies. Better By Morning has implied that planning for another EP is already in the works, but that’s for later, let’s get right to their current offering.

    While they’ve chosen “alternative” as the box to click genre wise, the songwriting duo of Brooks/Gravitt prove it’s much more than that with their lyrical and musical flexibility that conjures the energy of an early U2 with Coldplay intellect and diversity. The opener “Bird Won’t Fly” really lays it out there with a solid hook, soaring vocals and a driving rhythm, immediately listenable and repeatable. “Sell” has a Franz Ferdinand feel, the syncopated guitar and layered harmonies rise and fall into the breathy verses.

    “Hearts” is pure melodic power-pop in spades, it hits on every cylinder from the call and respond vocal to the rich instrumentation. The mix is so even that the bass pushes the melody line while the drums pacing is bright and on top of it, swelling with the guitar and urging the emotive delivery from Brooks. Very dynamic and well-engineered. “Pages” sounds like the built-in single, the catchy guitar riff, the easily assessable lyric, it pushes, bounces and urges motion within the listener. Trademark stuff for well-hewn power-pop.

    The closer, “Change Your Mind” gives Gravitt a chance to really cut it loose and get outside of the box a little. While his subtlety throughout the earlier songs is within the formula and fitting, there’s always space and frankly need, for that signature riff. I’d like to hear more of it. The restraint demonstrated by each player throughout is admirable, they obviously have the chops to run-over each other trying to grab the limelight. It shows a great deal of maturity and thoughtfulness to avoid that trap and work as a cohesive unit.

    Key Tracks: Sell, Pages, Change Your Mind

    I believe there is a ton of room for growth with Better By Morning, I also believe that there is another personality they take on when they play live. They’ve just announced an opportunity to see just that at Bug Jar in Rochester on November 11. Details on the show and their EP are available at their many social media and internet outlets, their website, facebook, twitter

    Buy their EP at itunes and cdbaby

  • Hearing Aide: Sixx A.M. ‘Modern Vintage’

    sixxammodernvintagecdnewSixx A.M. released their third full-length album Modern Vintage on October 7 and has struck lightening once again.  What makes this Eleven Seven Music released album even more intriguing than the previous two releases, is that this marks the first time that Nikki Sixx, James Michael, and D.J. Ashba have written an album without using a Nikki Sixx novel as source material.

    Opening track “Stars” has brilliant guitar work while “Gotta Get It Right” song sounds like something Queen would write.  This album fully shows off the kind of music that influenced them. The songs seem a lot shorter than songs off their previous releases. It’s definitely a step in a different direction. The material isn’t as heavy as the other two releases, but by no means lacks energy in the songs.

    “Get Ya Some” is a nice change of pace with the acoustic guitar, then “Let’s Go” cranks things real loud really showcasing the band’s depth. James Michael’s vocals throughout the album are absolute gold. He has such an Elton John flavor with a touch of 90’s alternative to his voice that really makes this band really stand out among other hard rock bands. Sixx A.M. is not just riding high because of the name. The band has real talent.

    It was recently revealed current Black Label Society drummer Jeff Fab laid down the drums for this album and will be playing behind the kit for the live shows.

    Midway through the album, Sixx A.M. goes into a power ballad with “Drive” before going into the Motley Crue like “Give Me A Love” which is also a catchy tune. Going into the end of the album, “Miracle” is clearly a nod to the eighties, while closing track “Before It’s Over” ends the album on a rather strange note.

    Overall, a solid release from Sixx A.M. A departure from the previous two releases, however, Sixx A.M. is here to stay. I would expect after Motley Crue wraps up their farewell tour, Nikki Sixx will make Sixx A.M. his full-time gig, And I would imagine D.J. Ashba will have plenty time off with Guns N’ Roses to be a part of it.

    You can purchase the album here.

    Key Tracks: Stars, Get Ya Some, Let’s Go