NYS Music 20​14

Category: Album Reviews

  • Hearing Aide: Ryan Adams

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    “Nothing much left in the tank/ somehow this thing still drives/ forgot what it needed/ but somehow it still survives” sings Ryan Adams on “My Wrecking Ball”.

    On his self-titled album, Adams has so far gone into rekindling the flame of a past romance that he burns himself in the process. With a Robert Smith sense of emotional claustrophobia, he irrationally vacillates between holding on and letting go, insisting “it’s a slippery slope hanging around a wishing well”. Unlike his past records Easy Tiger and Cardinology, that are doused layers of almost too-slick production, his vulnerability is well translated into his no-frills self-produced live sound, which serves as an elaborated albeit less embellished sequel to the 2004 “Come Pick Me Up”.

    Though there are no harmonicas on this album, there are prevalent traces of how dizzyingly happy this relationship once made him in his hesitation to move on. From the raw lyrics of “Shadows” to the palpable anguish in “Am I Safe”, Adams plays the part of a man who has drowned himself in a relationship to the extent he has lost perspective. He is in limbo, engulfed in nostalgia induced from taunting memories. On “Kim”, you can find him scratching a name on the wall of a Sycamore tree, and you too can hear names ringing like false alarms. Part reverie of love, part haunted account of a paradise lost, he is human, lost in limbo. “I can’t stand/ can’t let go/ underneath my feet it’s miles/ Nowhere to go”.

    Shadows of his 2004 album Love Is Hell also linger on this record in the way his ability to maintain balance is eradicated. However, he trades in the extra fuzz and greasy guitar work for catchy melodies in straightforward arrangements. He is even ready to the play the fool to renounce time and retrieve the past on closer track “Let Go”: “Cross your fingers behind your back and lie to me/ Tell me it’s ok and you’ll fix everything.”

    As wonderwalls rise and fall and leave him without hope of redemption, there is barely an illusory entity left of Adams. As he sings on the leading single,”Gimme Something Good”, it’s like ‘there’s no tomorrow/ barely yesterday’. Ryan Adams fans,  this album might not be as radio friendly as Gold, but you’re definitely in for something good. This album delivers.

    Key tracks: My Wrecking Ball, Kim, Let Go

    Ryan Adams’ self titled album is available for download now.

  • Hearing Aide: Black 47 ‘Last Call’

    LastCallOne last musical statement. One more dance on the New York City skyline. One last call for Black 47. New York’s Black 47 released Last Call on March 4, 2014 and it is just that: their last call.

    After 25 years the band made a decision to stand down while they are still going strong and to reinforce that fact made a final musical statement with a solid 13-track album.

    For the loyal Black 47 fan and new listeners alike, Last Call beckons the ears into a fire of music still burning strong 25 years after the band’s first recording. It’s fresh, relevant, and not repetitive while keeping strong roots in Irish heritage. By no means does it sound like the band has plans of standing down following this album; however it does bring things full circle by incorporating a little bit of everything from the styles the band has composed with over their career – rock, punk, reggae, and even a splash of Latin music for something new. In line with the band’s Irish Republican sympathies, the lyrics on some songs are not shy on political and social commentary.

    A strength of the album in its composition is a tightness that can be heard in the rhythm section. This is an element that hasn’t been much of a focal point of a Black 47 album since Home of the Brave 20 years ago. Frontman Larry Kirwan encouraged Joe Burcaw to be more upfront with his bass lines on the recording, something that’s particularly noticeable on “Let the People In” featuring a short slap-bass breakdown in the middle of the song. “Just go for it Bearclaw!” was Kirwan’s attitude on it. On each song, it is hard to miss how much this element adds to the overall experience of listening to the album, filling out a rich and robust sound. In fact, it makes listening to the album with the volume dial turned up one more notch rather fun.

    It is worth mentioning one of the key elements that has defined Black 47’s sound over the years. On Last Call, the trombone, sax, uilleann pipes, and flute lines are not shy in defining their role in the arrangements. Whether fast-paced technical licks that weave in and out of each other or subtle harmonies that compliment the core of the band, this section is plays a vital role in the sound of the album.Black 47

    Black 47 has always been open about their music, encouraging recording and photography without restriction. Furthermore, they share their lyric and chord sheets online along with other notes and commentary on their own music. Kirwan has written a few of his own remarks and stories on each track of Last Call which can be found here. While you can check out the song stories, here are a few of our thoughts on the tracks here at :

    1. Salsa O’Keefe: A Latin-inspired tune that gives a fun tale of a Puerto Rican/Irish woman living in the Bronx who “steams up the neighborhood” with her Irish half. Nice and smooth it’s a great song to break the Last Call ice on a first listen.
    2. Culchie Prince: From Burcaw’s punching groove bass intro, we’re quickly lead into a jig with Joe Mulvanerty’s pipes that sets the scene for the story of a chap from the outskirts of Dublin (a “culchie”) and a working class girl from Dublin.
    3. Dublin Days: A fairly simple straight-ahead rock tune, “Dublin Days” plays along the lighthearted theme as a follow-up to “Culchie Prince” by talking about the nighttime college scene there. It makes you want to spend some time hanging out in Dublin.
    4. US of A 2014: What’s not to want about the American Dream? A longer-than-typical day of work at a desk job fresh out of grad school? Black 47 makes their political/social statement about the younger generation entering the workforce and state of affairs surrounding it with the lyrics presented mostly in a spoken word/rap style.
    5. The Night The Showbands Died: The most profound song on the album, it tells of the Irish Showband scene in the 1970’s before diving into the tragic events of the Miami Showband Massacre on July 31, 1975. The arrangement of the song, musically and lyrically, makes it ring far. The ascending guitar riffs accented with trombone, sax, and pipes create a solemn tone overlain with lyrics about the innocence of the showband music scene. A faster break in the song gives a feeling of chaos as we hear a frantic exchange between the Miami showband and UVF members before returning to the chorus from earlier in the song.
    6. Johnny Comes A Courtin’: How about some Irish reggae? Taking a stab back at Cromwell’s dealings with Ireland in the 1600’s, Black 47 gives us a story of a young Irish woman sold off as a slave to harvest sugar cane in Jamaica, only to find love with an African slave and unable to consult her father back home for advice. This is a clear nod to the early days of reggae/ska.
    7. Let The People In: Let’s call this one flute-funk, driven by a funky bass line and featuring a breakdown of slap-bass and a flute solo.
    8. Lament for John Kuhlman: This one is a short instrumental, but a curious mind would question the meaning behind it. A pretty little tune introduced by a music box, this one is short tribute to a collaborator and friend of Fred Parcells (trombone). Its placement before “St. Patrick’s Day” makes it feel like an introduction to that song.
    9. St. Patrick’s Day: This one drives fast with half-time feel choruses that will make you want to get up and dance like it’s St. Patty’s Day in the Bronx.
    10. Queen of Coney Island: This is one of the musically easier listening tracks on the album featuring some jazz-rock overtones, melodies driven by the horns, and a brief soprano sax solo from Geoff Blythe at the peak of the song. It fits well in telling the story of the “queen.”
    11. Shanty Irish Baby: Syncopated rhythms and a simple bass line give a dash of slow/relaxed rockabilly that fits well with the lyrics that express the love for a simpler woman than the uptown champagne-sippers.
    12. Ballad of Brendan Behan: Black 47’s final recorded tribute to a notable Irish figure, this time writer, poet, and Irish Republican Brendan Behan. You’ll want to raise a pint in Brendan’s honor as you listen to this one.
    13. Hard Times: A song that has stood the test of time since first written for the middle class by Stephen Foster in 1854 and recorded by many, Black 47 leaves us with “Hard Times” as their last ever recorded studio track. Perhaps a phrase Black 47 wants to ring on their legacy, hard times come again no more. Black 47’s take on this tune makes it rank amongst the many great versions out there.

    Last Call is an album with its heart as much in New York as it is in Ireland – a testament to a pond-spanning musical bridge Black 47 has created in the rock genre between Ireland and the States. It is an album Black 47 fans are thankful for – one more genuine collection of new songs before they part ways. Black 47 may soon be a thing of the past, but Last Call is a bastion of music and prose that will help carry on their legacy.

    Key Tracks:  The Night the Showbands Died, Culchie Prince, Johnny Comes A Courtin’

    Black 47 wraps everything up on November 15th at the B.B. King Blues Club in Manhattan with less than two dozen scheduled shows before then, including one at the Irish 2000 Festival in Ballston Spa, NY this Saturday September 13, one at Connolly’s 45th Street location in Manhattan on September 27 and at the Towne Crier in Beacon on October 26.

  • Hearing Aide: Interpol Return With ‘El Pintor’

    Interpol_-_El_Pintor_cover_artInterpol have made a triumphant return with El Pintor, their first album since 2010’s Interpol. With the departure of original bassist Carlos Dengler shortly after the completion of that release, the band went on a hiatus right after supporting the album with a tour. Lead singer and guitarist Paul Banks reconvened with lead guitarist Daniel Kessler and drummer Sam Fogarino wanting to make some more music. Banks picked up the bass and El Pintor soon fell into place with the new band configuration. Touring band member Brandon Curtis contributed keys on nine of the ten tracks as well. The band toured minimally this summer and were a major highlight on the third day of The Governors Ball and are now touring the United States this fall with  a two night stand taking place at Terminal 5 in November.

    The album starts off with rocker “All The Rage Back Home.” The band announces right away that they are back and ready to be back playing live in front of crowds. The entire album sees the band happy to be back and re-taking their position as a top rock band from New York. “My Desire” has Banks’s voice soaring over beautiful guitar solos by Kessler. The back to back placement of these songs to start off the album give Interpol fans exactly what they want from this band, great rock songs that you can dance to and get lost in.

    “Same Town, New Story” keeps the driving beats by Fogarino going with slick guitar parts added by Kessler. Banks’s and Kessler’s voices, for the first time on the album, meld together beautifully throughout the song. The lyrics may not be the most subtle of El Pintor, but the band makes them work flawlessly.  “My Blue Supreme” and “Everything Is Wrong” are not up to par with the rest of the album. The band hits its stride and doesn’t push itself in the middle of the album. When the album gets to “Tidal Wave” they break back through and bring the album home. The dense layering of instruments and vocals is easily one of the highlights of the album. The song is unlike anything else on the album and hopefully is a direction the band will continue to explore.

    El Pintor is a great return to form for the band that had to show the world they were back to being the band everyone remembers from the early 2000s. The personnel may have changed a bit, but the band still has its unique sound ready for the masses to eat up. Interpol fans should rejoice as the band is back and is ready to take on the world again.

    Key Tracks: All The Rage Back Home, Same Town, New Story, Tidal Wave

  • Hearing Aide: Robert Plant’s Sensational ‘lullaby and…The Ceaseless Roar’

    Robert PlantRobert-Plant-lullaby-and-The-Ceaseless-Roar, who is coming to The Capitol Theatre on Sept. 25, has just released a masterpiece of an album titled lullaby and The Ceaseless Roar. Throughout the album, Plant’s voice is in top form. Fans looking for a sound more akin to Led Zeppelin will be looking in the wrong place though with this album. African instruments and beats are sprinkled all over the album’s densely packed eleven tracks. Each song has layers upon layers waiting to be unraveled by the listener’s ears.

    “Little Maggie” kicks off the album with some sounds that belong on more recent Radiohead releases than a Robert Plant album. With Plant producing the album himself, he definitely wanted it to sound unlike anything he has ever done before. Plant uses great imagery in his lyrics in the song “Pocketful of Golden” that do reach back to those early days of his rock and roll life. The song marches forward on a great hook being played on guitar and traditional African instruments.

    The Sensational Space Shifters, the backing band and co-writers of the album, keep this album moving at a breakneck speed. Although none of the songs are fast rockers, the band is impeccable in their execution of the music, and when you are listening to it, suddenly half the album has passed in a blink. “Turn It Up” has Jack White-esque guitar solos sprinkling over Plant’s roaring vocals. The band gives Plant a wide-ranging sonic canvas to explore over and experiment with like he has not had the opportunity to in recent years.

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    Photo Credit: Ed Miles

    “A Stolen Kiss” and “Somebody There” are both slower tracks on the album, but listening to Plant sing his lyrics in these are like watching a film on screen. The words take you on a journey like few frontmen can do nowadays. On “Poor Howard” Plant reaches all the way back to Lead Belly’s “Po’ Howard” for inspiration. The song is derived straight from the original and lets Plant re-imagine the gritty blues song into more of a Celtic folk song.

    His voice may not be as strong as it once was, but he uses it beautifully for the entirety of the album, weaving it in and out of the music at will. Plant has put together a very strong effort for his 10th solo album and the tour to follow should be just as stunning. The album lets Plant tell audiences that he is still willing to explore new sounds and that you should be open to them as well, not just looking at the past. The future is an exciting place and Robert Plant is ready to dive right into it.

    Key Tracks: Little Maggie, Poor Howard, Pocketful of Golden

    If you’d like to preorder the album now, check out Robert Plant’s site here for some exclusive offers.

  • Hearing Aide: Moogatu Team up with Ron Holloway for Debut Album, ‘Meat’

    Moogatu have more than just hit a major breakthrough as a band with the release of their debut album Meat, they’ve also opened doors for how smoothly different genres can blend amongst progressive rock and roll. Traditionally, progressive rock can be overpowering and often so dominating that it drowns out anything else musically that may be too mellow or tame. By teaming up with legendary saxophonist Ron Holloway, who has collaborated with the Allman Brothers, Tedeschi Trucks Band and Widespread Panic to name a few, Moogatu have found a solid medium of jazz and funk being tucked away into the thick progressive rock elements that they use to build their musical foundation.

    The album opens up with “Orca” which is a perfect song to showcase their sharp precise musical breakdowns. After what sounds like a guitar pick being dragged across the strings, the band drops into a rock groove that intricately builds upon itself before Brian Raubacher (guitar, vocals) handles the lead vocal responsibilities. Steve Jacyna (drums) and Brian Zupruk (bass) lock in to a pulsating rhythmic section. Chris Lee (guitar) opens it up and lets his PRS rip through the last part of the song. As Lee shreds into parts unexplored, it’s clear that Moogatu have taken a page right out of Umphrey’s McGee’s book.

    Dipping into their more jazz fueled approach, “Appreciation” surfaces next featuring Ron Holloway. Holloway takes the music to new bountiful levels as he leads the meandering jams with his Saxophone. Moogatu still finds room to exhibit their musical abilities with their note-for-note precise breakdowns. Moving into “Mary” the band wastes no time delivering a guitar fueled dueling solos and as the music drives itself forward the mysterious lyrics are firmly planted amongst a thick palate of funk and rock and roll. “Mary” tells the story of an antagonist plagued by overindulgence, with a complex twist.

    The following three song segment of “Better Batter pt. 1” > “Powder Room” > “Better Batter pt. 2” leave endless possibilities of monumental exploration in a live atmosphere. Moogatu are known for their deep driving force of improvisation and these three songs do their reputation justice, even for studio cuts. The album closes on “Anniversary Dinner,” a high-energy number lead by Raubacher on the vocals. Packed full of stunning guitar work complimented by an adequate rhythm section “Anniversary Dinner” which will surely grow to be one of Moogatu’s well renowned staples.

    The future is bright for Moogatu as they further establish themselves as a thriving progressive rock and roll jam band around the greater Washington, D.C. area. Having already supported band like Dopapod, EOTO, Keller Williams, Tea Leaf Green, Steve Kimock, The Werks and Papadosio; it’s safe to say that Moogatu will continue to be a driving force in the jam band community.

    Key Tracks: Mary, Appreciation (ft. Ron Holloway), Orca

    Moogatu on Facebook

  • Hearing Aide: ‘Gimp Nation’ by Mystery Crash

    Hailing from Chicago, Mystery Crash is a three piece experimental psychedelic rock band that’s heavily influenced by electronic sounds. Formed in 2012 with the release of their first album Year of the Rabbit, Mystery Crash has said that “they want to explore the unexplored.” This psychedelic musical exploration has come to fruition in their newest EP Gimp Nation.

    The EP has five songs, and coming in at a little over 18 minutes it showcases different styles throughout. Released in late 2013, Gimp Nation is the kind of album that could suit any mood. Their ambient sound is one that lends itself to a multitude of activities from driving, to doing school work, to dancing around your living room. Some parts have a nostalgic sound, like the last rainy day you had where all you did was watch movies in bed.

    The two most notable tracks are “Waterlogged” and “While I Sleep,” where you can really hear their influences coming through. Influenced by bands like The Talking Heads, The Flaming Lips, and LCD Soundsystem, Mystery Crash has taken their own approach to that style of music and has brought it to unchartered terrain. “Waterlogged,” the first song on the EP sounds like an old school STS9 and Bonobo love child. Ambient but still upbeat, it could be the soundtrack for floating down a river or through space. “While I Sleep” reveals a different part of their style. With its bass heavy riffs and vocals that sound like David Byrne tripping on acid, it’s catchy and low key kind of like Radiohead.

    Mystery Crash’s essence can be found in their motto, that they want express “new and exciting ideas in a striking, powerful way.” Their new EP is definitely on the right track, and with a little more delving into their own depths I think they could accomplish just that.

    Key Tracks: Waterlogged, While I Sleep

    Mystery Crash on Facebook | Soundcloud

  • Hearing Aide: ‘The Wreckage of Stars’ Reveals Technical Brilliance from Black Crown Initiate

    Black CrownBlack Crown Initiate, hailing from Reading, PA, are poised to release their new album, The Wreckage of Stars, on eOne Entertainment. Only starting out in 2012, this band has made huge strides to get where they are today. They came out with their highly received EP, Song of the Crippled Bull and went on the Metal Alliance tour in 2013. Thanks to constant hard work and touring, they caught the attention of some labels, signing with eOne in 2014.

    The first track, “Great Mistake” is a perfect example of what this progressive death metal band is all about. Meticulous guitar harmonies riff to huge heights, and the song explodes into crushing double bass attacks. The dichotomy of melodic choruses with the relentless death metal backgrounds conjure parallels to Dimmu Borgir in style, and can be found throughout the record. This is a perfect opening track for anyone who is unfamiliar with the band and what they have to offer.

    The songs all have elements both ruthless and epic, the bulk of the tracks ranging from five to seven minutes in length. Guttural screams permeate the album’s sonic landscape, and they are very well produced. With frontman James Dorton and both guitarists tackling vocals, it provides a thick, black tar of growling projections and legendary melodies. Along with precision guitar techniques, and a tight as nails rhythm section, this album is the full package.

    “Withering Waves”, another lengthy endeavor topping out at six minutes, gives you a building crescendo, constantly climbing higher and higher with a sense that you, the listener, might never get to the peak. That is the special treat that Black Crown Initiate brings to the table – you just don’t know what might be around the next riff, but you are heavily invested all the same.

    This album, at its core is death metal with a technical focus, but there are many aspects that give you an enjoyable experience not found in the necessarily ‘normal’ genre releases. Songs like “The Fractured One” and “To The Eye That Leads You” are very generic at first listen, but still bring a quality that is rare in death metal. An acute attention to musical detail allow even obligatory four-minute death metal songs to sound like so much more.

    The Wreckage of Stars, dropping Sept. 30, is an album made for the fans of the genre, not just the band itself. As the title track suggests, this is a thinking man’s (or woman’s) death metal album, where the intricate music speaks for itself in heavy volumes. They will be touring for this album with the band Rivers of Nihil, and coming to the Upstate New York area in Buffalo on Sept. 19 at The Waiting Room, Bogies in Albany on Sept. 21, and then St. Vitus in Brooklyn on Sept. 22. After that tour ends,they will be hitting the road with Origin, Darkest Hour and Unearth starting in October.

    Key Tracks: Great Mistake, Malignant, Withering Waves, Linear

    If you’re interested in pre-ordering the album, check out the band’s eOne page for various bundles.

  • Hearing Aide: Neuroceptor ‘Reuptake’

    Neuroceptor, a four-piece electronica fusion group from Rochester has just released their first EP as a band, Reuptake. The group released the album on August 30 while playing the Purple Pig Music Festival in Naples, NY. Reuptake features six tracks that blend organic sounds with electronic beats.

    According to keys player Mike Lopresti, who also wrote and produced the album, “most of the tracks are inspired by some piece of nature or culture…the whole concept of Neuroceptor is blending electronica with these organic and natural inspirations.” With tracks like “Estuary Path”, “Roads of Spain”, and “Giant Earth Shattering”, Neuroceptor’s fascination between natural and synthetic dualities surfaces in both song titles and composition.

    neuroceptor reuptakeThe opening track, “Anura” is named after the Greek term for the genus classification of “toad.” The tune has an underwater feel, setting a fluid tone for the EP. Beginning with fast, snappy drumming and a tight bass line, the addition of melodic keys shore up the full sound. As the track progresses, a plethora of croaking sounds, produced with analog synthesizers, create an out-of-this-worldly amphibious effect. The electronica track, nearly seven minutes in length, gets intense in the middle, but returns to the melody for a gradual comedown as it closes.

    The aquatic vibe carriers over to the second track, “Ganges of Heaven”. Led by the guitar, this tune follows a more linear rock path than “Anura”. Third up, “Roads of Spain” introduces the band’s versatile side with a mix of reggae samples and ambient synth sounds. One could easily imagine blasting this jam at a summer beach party.

    “Estuary Path” showcases Lopresti’s production skills. Both eerie and ambient at once, the song has the most personality of any on the album. It commences with the flowing theme introduced in the first couple songs. A few minutes in, however, sharper, more menacing synthetic sounds are incorporated. The track progresses through a Daft Punk-esque section before closing with strange samples playing over the dance party version of The X-Files theme song. As a whole, the nearly nine-minute long song is a captivating journey with distinct sections.

    While Neuroceptor’s first self-titled EP was recorded solely by Lopresti, he recruited a band for a live show and they’re featured on the new album. “Reuptake is supposed to highlight us as a band,” Lopresti stated. “Giant Earth”, the fifth track, starts a bit slowly, but picks up with some funk in the middle and concludes with the most deeply layered and fullest sound on the EP. The finale, “Collective”, returns to reggae for an easy-listening ending to the album.

    Overall, the six tracks on Neuroceptor’s Reuptake blend electronic and instrumental sounds to create a well-balanced, smoothly flowing album. Each song is both easy to listen and dance to, while there are certain nuanced points that may require a couple listens to fully appreciate. You can listen to more of Neuroceptor here, and they will next be playing live on September 20.

    Key Tracks: Anura, Estuary Path, Giant Earth Shattering

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  • Hearing Aide: Kyle Hollingsworth Moves at the ‘Speed of Life’

    Kyle Hollingsworth has released his third solo album, Speed of Life, and brings together an eclectic combination of genres and melodies that create a relaxingly upbeat atmosphere and a perfect soundtrack for these late days of summer. Bringing in a wide group of friends, including members of The Motet, Dominic Lalli of Big Gigantic, Bonnie Paine from Elephant Revival, and String Cheese Incident bandmates Michael Kang and Jason Hann, the songs reflect life, fatherhood and Kyle’s line of beer for Cigar City Brewing, named after a track on the album, “Happening Now”.

    kyle hollingsworth speed of lifeThe straight fire funk instrumental “Racer X” kicks off the album with high tempo and energy, full of that String Cheese groove that gets you dancing. “Here We Go”, in the best way possible, is a song that could double as a song for a cruise ship line, or fit nicely in a Corona commercial ala Michael Franti, simply because the upbeat nature of the song and sing along melody bring out an island vibe, all the way down to the bass. “Falling Through the Cracks” has a ’70s funk to it with some of Blues Image’s mellow jazz carrying the tune. Bernie Worrell style keys in “You’ve Got the World” creates a four-on-the-floor dance number and clear highlight of the album. If you’ve heard String Cheese Incident perform “Pick up the Pieces”, then you might find “Pack it Up” to have a hint of the jam.

    Taking the name of the beer brewed with Cigar City, “Happening Now” has Devo-level Kyle, with an added Talking Heads groove that is both upbeat and spacey with a European club twist to it, something that carries over to “Beautiful People”. “Ordinary” starts out a little hard, but a few seconds in, the beat accelerates to an almost EDM level of bpm. Singing “Life is so ordinary. I gotta find something to carry me through. Nothing ever evolutionary here. I’m ready for something new” may as well accompany all those moving west to Colorado in search of something better. “Peregrino” could be “Rivertrance” by another name, but with a Spanish/Flamenco aspect to the guitar work. Altogether this album comes off as a great step for Hollingsworth, whose live act was exciting to catch at moe.down 13. Don’t miss this album – order here!

    Key Tracks: Here We Go, You’ve got the World, Beautiful People, Ordinary

    Kyle Hollingsworth | Facebook | Twitter | YouTube | SoundCloud

  • Hearing Aide: Big Mean Sound Machine ‘Contraband’

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    Big Mean Sound Machine‘s third album Contraband was released earlier this year and has slowly been gaining traction throughout the state. Hailing from Ithaca, Big Mean Sound Machine has continuously broadened their sound with each new release. The opener “In the Name of What?” is a throwback to the Stax era sound of 70’s funk and soul. From the Shaft-esque guitar holding down the background of the song right to the horns that guide the track through its seven minute journey. From the get go, Contraband lets you know that you’re going to want to move your body while listening to the record.

    The band hits its’ groove during “Woah Gosh” and “Junkies Everywhere”. “Woah Gosh” constantly builds as the horns and the Moog synthesizers play off one another to see who can lead the track to its eventual transition into the “Junkies Everywhere” that is steeped in Afrobeat and jazz. The drums and congas really get a chance to shine about halfway through the track as the Moog searchers around in the back keeping a beautiful tension and making the track sound dangerous. You get the feel of walking the streets in a city late at night as those who are up to no good are coming out of their homes searching for their next score.

    The title track comes late in the album but is one that definitely could take off in the live setting. The quick guitar and bass riffs that drive the track forward will definitely get people moving and grooving on the floor. The band is at its tightest here of the whole album. The closer, “Wolfpack” brings the album to a delightful end with a song that could be in a Quentin Tarantino film scoring a scene perfectly. Contraband is great throwback album, yet Big Mean Sound Machine did a great job of updating that sound and making it their own. Be sure to catch them in New York this fall and head on over to their Bandcamp page to purchase the album.

    Key Tracks: In the Name of What?, Wolfpack, Junkies Everywhere