NYS Music 20​14

Category: Album Reviews

  • Hearing Aide: Fozzy’s ‘Do You Wanna Start a War’

    Do You Wanna Start a War is Fozzy’s sixth studio album that has the band on the brink of breaking into mainstream rock radio. Some of the early die-hard fans of Fozzy’s previous work such as All That Remains and Chasing The Grail may be in for a shock. Most of Fozzy’s work has had a flavor of power and prog metal, but Do You Wanna Start a War goes in a completely different direction. The latest release features some songs that are poppy, some that have a mainstream rock sound, and others that are thrashy. It’s an album of various flavors.

    The album kicks off with the title track, which goes in the industrial rock direction. It clearly makes a statement that Fozzy is not just a metal band anymore and can try new things. The next song “Bad Tattoo” goes into a direction that most fans are familiar with, using the trashy double kick drums from Frank Fontsere and crunchy guitars from Rich Ward and Billy Grey. The album seems to be made to be played at random. There really isn’t a “flow” from start to finish, which really isn’t a bad thing. To contrast, Chasing The Grail and Sin and Bones were made to be listened to from start to finish in order. The third track “Lights Go Out”, the lead single off of the album, is made for a broad rock audience. The rest of the album is a mixture of some rock, metal, and a few ballads placed in. The album includes a fantastic cover of ABBA’s “SOS” before ending on a high note with the track ”Witchery”.

    Overall, it’s a good album from guys in Fozzy, but not their best. Vocalist/lyricists Chris Jericho continues to show versatility in his singing and not sounding like an Ozzy Osbourne clone. Guitarist/lead song writer Rich Ward is still hammering solid riffs and solos. The band obviously doesn’t want to keep releasing the same album over and over, and six albums in, it was time for a different approach. Only time will tell if Do You Wanna Start a War was the right approach to take.

    KEY TRACKS: Bad Tattoo, SOS, Witchery

    You can purchase Do You Wanna Start a War here.

  • Hearing Aide: AFR “Psychopath of Rightousness”

    Aaron Smith, of the Rochester-based, metal core band AFR, turns the drums into a concussion instrument. Throwing their latest EP, Psychopath of Rightousness, into my stereo only reminds me of how my high school music teacher had it so wrong to call them otherwise. Psychopathofrighteousnesscover

    AFR dropped the EP late last month, their second in two years. It consists of six, heavy tracks that promise to beat the hell out of your ears once you’re done. In fact, the band’s bassist Todd Church received my email shortly after I was done listening, simply stated: “Wow!”

    AFR is a five-piece band, featuring two guitarists and a bassist, that had started out back in the spring of 2012. Naturally, there has been a few line-up changes. Church was brought into the fold last year, and Aaron replaces Brandon Lewis behind the drum kit. Despite the short amount of time, the group is already signed to a label (Dead Trash Mob Records/Buffalo), and they’ve garnered a healthy respect from local fans for their abundance of showmanship, with or without the support from the crowd.

    Psychopath comes at the heels of last year’s release, A Hero to Villians, which in itself was a polished display of talent. Edwin Hernandez and Zack Sweedler continue to supply some tight guitar riffs, and Church lays down the bassline. Alan Rohr’s lyrical presentation again lends the band its metal core characteristics. But, what seems to separate this newest release from the last is its focus on the percussion. There is a subtle shift to the bass and percussion that gives Psychopath a slightly, but noticeably, harder sound than their last EP.

    Each track starts off quickly, with the exception of “DeFeo”. Amityville Horror fans will recognize the name and correctly associate the song title with that of the tragic events which ultimately inspired the book and subsequent movies. This track starts off with audio from a news broadcast reporting the details of the murders, scantly accompanied by guitar and cymbal, before tearing through their power chords. Otherwise, the boys like to rip it up right at the start.  Perhaps the best example of this would be “Bring on the Destructor”.

    Destructor is a favorite. It sets the tone for the rest of the EP.  The report from Smith’s drums is what resonates with me after putting the headset down. Those familiar with AFR’s repertoire won’t be disappointed. But, that hard edge was achieved through a subtle tweak in focus towards the percussion and bass from the new guys.

    AFR valiantly represents the emerging music scene out of Rochester. It’s a scene that has the attention of people in and out of New York State. And, with that said, the fact that this band is only two years in the game, and already making a name for themselves, is a testament that speaks louder than their music. (If that’s even possible.)

    You can purchase Psychopath of Rightousness from iTunes or through Reverbnation.

    Key Tracks: Bring on the Destructor, One in the Chamber, DeFeo

    Tour dates:

    August 2 – Rochester – Firehouse Saloon

    August 5, 6 – Syracuse – Lost Horizon (BATTLECROSS headliner)

    August 15 – Canandaigua – Villager Pub

    August 16 – Jordan – Hagefest (2-day fest)

    August 30 – Bridgewater – Xtravaganza2 (2-day fest) at Club Aqua

  • Hearing Aide: TAUK ‘Collisions’

    a3443292892_10Long before TAUK‘s 2012 performance at Bonnaroo or the 2013 release of their first full studio album, Homunculus, they were just a group of friends growing up on Long Island. Bassist Charlie Dolan and guitarist Matt Jalbert jammed out in the basement in middle school until, one day early in the new millennium, they decided it was time to make a band. Schoolmate Alric “A.C.” Carter joined soon after on the keyboards/organ—“we were Space Coyote back then,” he recalls—and the group has gone through a few drummers before finding Isaac Teel. Now, TAUK is furiously touring the country in preparation of the July 22nd release of their second album, Collisions.

    The first track, “Friction”, is a wavy five-minute jam featuring layers of tones and intricate timing that Jalbert says “gives a little taste of everything else that we’re doing.” The number packs a harder punch with fuller layers than the tunes on their freshman album, allowing the band to show off a more complete sound. While the intricate timing and elegant composition are both still there, the band’s personality shines through more. Strong Asian and Middle Eastern influences mix with TAUK’s signature dark, progressive style in “Friction”. The song runs smoothly into the other tracks, with the whole album having a fluid feel.

    “The songs on Homunculus were a little more packed in terms of composition,” says Jalbert, “whereas the songs on Collisions allow room for the band to shine.” The album features the perfect blend of measured precision and evocative experimentation for the listener’s imagination to comfortably wander without getting stranded.

    The fourth track, “On Guard”, starts off with a calm melody that conjures images of a pleasant afternoon on an Asian river boat. Then the layers start piling up and, with delightfully querulous keys and a heavy bass line, TAUK has us poking around a desolate alien soundscape, slightly uneasy yet fully engrossed. The track is somehow wavily linear, impossible not to get excited about, and will have listeners nodding along in impressed contemplation.

    “Tumbler”, number seven on Collisions, is another big hitter. The piece, which is based on a bass line Dolan wrote, begins with an ominous bell tolling and ends with intense shredding. Carter and Jalbert feed off each other, exuding powerfully emotional parts. Like a few songs on Collisions, Jalbert strays away from his more deliberate, plucky style and lets loose; finely articulated notes turn into emotional wails as the jam evolves. The song has a heavy feel that can be found throughout the album.

    “The Drop” has some fantastic time changes and, when you hear the drop, you will be drawn toward the repeat button. “Collateral”, the last ride on Collisions, is agreeably all over the place, particularly hard rocking, and allows all four band members to go out with a bang. The tune features the energy and cohesion the band brings to both the studio and stage.

    With momentum behind the Long Island quartet, they will be throwing a hometown Collisions launch party at the Knitting Factory in Brooklyn on July 19th. The album, due out on July 22nd, will give fans a lot to talk about.

    Key Tracks: Friction, On Guard, Collateral

    If you’re interested in preordering the album, click here.

  • Hearing Aide: Pixies ‘Indie Cindy’

    Imagine, if you will, Phish took a twenty year plus studio hiatus during which time hundreds of bands tried, for a lack of a better term, to emulate their sound. After this long pause from recording and losing one of its founding members, lets say bassist Mike Gordon, they came out with a record named “Jam Pam”. Skepticism would hardly describe the reception the album may receive. It would almost seem they were trying to prove their relevance; that they were still the kings of the “Jamband” world. This scenario is exactly what occurred with the Pixies and their new album Indie Cindy. The pessimists were out there only to be pleasantly surprised that the Pixies were able to not only keep themselves relevant, but prove they are the kings of indie rock, the sound they pioneered.

    “What Goes Boom”, the opening track, is a perfect example of the Pixies not missing a beat with its hard-edged guitar riffs and the howling of Frank Black, only to slow things down and hear Black’s soothing voice. The chorus kicks in and Black’s voice descends into a howling, sprinkled with anger, only to be bridged with a melodic comforting sound that keeps the listener engaged, hearing all the different sounds the Pixies have made a constant in their song writing. “Greens and Blues” shows the diversity in the band’s arrangements with a more personal, slower song for anyone who feels, or has ever felt, they are fighting an uphill battle trying to win over the affection of another. The chorus goes, “I’m wasting your time, just talking to you. Maybe best you go on home. I’ll leave you alone, fade from your mind, slip into the greens and blues”. Listening to this, you can feel the longing and wanting, knowing that a one-sided love is being perused. Frank Black expresses a deeply personal journey of love and the realization that sometimes having to face the truth that love may not always be from who you want, and letting that person go, is the best for both involved. The harder, more spoken word side emerges in the next few tracks, distancing itself from the mundane indie sound while keeping their roots planted in the genre.

    They bring it back to the what made the Pixies sound the foundation of indie rock with ”Ring The Bell”.  The song begins with a high-pitched vocal over the symphonic guitar playing of Joe Santiago and the David Lovering’s drums. Bass riffs and angelic backing vocals were provided by newcomer, Paz Lenchantin, whose job replacing founding member Kim Deal was not easy. Lenchantin is an established bassist, having had stints in Zwan, Queens of the Stoneage, and the Silver Jews among many others, fitting the new Pixies lineup to a T. “Andro Queen”, lends more of an abstract feel to the record, one which was not needed, but greatly appreciated. Showing diversity at this point in their career only proves that they are back as a band and not just and old act trying to cash in on past successes. “Jaime Bravo” sends the album off on very positive note, hitting on all of the Pixies strong points. The lyrics leave the listener with a farewell goodbye with the chorus, “Goodbye, Goodnight”.

    Although it has been over twenty years since hitting the studio, the Pixies have found themselves at home. They’ve made an album that is not only relevant in the indie world today, but one that lets everyone know that they are back and have not lost a step. They will be bringing their live show to the States in September after a stint in Europe to promote this very important album in indie rock.

    Key Tracks: Greens and Blues, Ring the Bell, Jaime Bravo

    http://www.youtube.com/watch?v=vZcI4HFnKYM

    http://www.youtube.com/watch?v=-Uqzn5x6dkg

  • Hearing Aide: Judas Priest ‘Redeemer of Souls’

    Judas Priest Redeemer of SoulsIt has been six years since the metal gods Judas Priest released the concept album Nostradamus. Since then, guitarist K.K. Downing retired from the band and Judas Priest embarked on their Epitaph World Tour for the past 2 years, thought to have been their last. Now with Redeemer of Souls, the seventeenth album from Judas Priest, new guitarist Richie Faulker is paired with lead guitarist Glenn Tipton, showcasing killer riffs and solos that combined with powerful vocals from Rob Halford. The album has lots of range from blazing metal tracks to some of the slower, gloomy atmospheric tracks.

    “Dragonaut”, the opening track, is a fast and thrashy song that kicks off the album and sets the tone. The title track then kicks in with a more guitar solo-focused approach before “Halls of Vahalla” displays some of Halford’s top-notch sonic vocals.   The next four tracks take a slower yet crunchy direction. Fans of “Diamonds and Rust” will really like this part of the album. The album kicks into high gear once again with “Metalizer”.

    One really great stand out track is “Secrets of the Dead”; It’s easily one of the catchiest guitar riffs of 2014. The last two tracks, “Battle Cry” and “Beginning of the End”, end the album very appropriately.

    Overall, Redeemer of Souls is a fantastic release from Judas Priest. It’s much better than Nostradamus, but comparable to Angel of Retribution. This album is a message to the fans saying there’s still a lot left in the tank. Be sure to catch Judas Priest with Steel Panther this fall as they will be kicking off their tour in Rochester on October 1 and stopping in Brooklyn eight days later on October 9.

    Key track: Secrets of the Dead

    The new album from Judas Priest, Redeemer of Souls can be purchased here.

  • Hearing Aide: Mastodon “Once More ‘Round the Sun”

    Mastodon_-_once_more_'round_the_sun

    The most recognizable aspect of the music of Mastodon is that their music is not recognizable for a particular aspect. Yes, they have their trademarks, such as unusual lyrical themes, shared lead vocal duties, and a wide variety of musical abilities and sounds. Much like a band such as Phish, there is no actual way to boil this band down into one particular genre because each album sounds different. Their newest album, Once More ‘Round the Sun, is absolutely no exception. In fact, the band is taking you Once More ‘Round the Sun, but you’re going in a different spaceship — in terms of the sound.

    It was clear by the release of the album’s first single, “High Road,” the new album would be a further progression into their hard rock side. The album is certainly a way to find a new market. In the single, the band delves into the most “metal” sound they reach the whole album. The song features a driving chorus with emotionally laden chords, but still features Mastodon’s harmonic, trademark vocals from Crack the Skye, or even Blood Mountain. The track’s vocals, mainly delivered by bassist Troy Sanders, are produced much like Jill Janus’ on Huntress’ Spell Eater, the same is true for “Chimes at Midnight” but will be appreciated by fans of evolutionary hard rock, such as Led Zeppelin.

    The album’s title track is musically a polar opposite. It features the “weaving” guitar patterns, achieved by Brent Hinds and Bill Kelliher, first featured on an early track the band wrote, “Joseph Marrick,” but casts an evolutionary shadow on “Joseph.” The song is clear evidence that Mastodon’s songwriting has taken an evolution. This is clear because their use of vocals is prevalent. For the second time, drummer Brann Dailor takes a drivers’ seat role, balancing vocals and drumming. In perfect time, each member of the band contributes to this aspect, never failing on their harmonies or blend. Further, vocal editing and pitch correction is less than prevalent.

    While the vocals should receive high marks, so should the instrumentation, which is borne of the combination of experimentation and the band clearly not limiting themselves to one school of thought. For that reason, this album could be enjoyed by many music listeners, especially anyone who likes music in the range from something as heavy as a band like Lamb of God, to a band as soft as Clutch.

    One of the key, defining aspects of this album is the fact that it follows Mastodon’s trend: each album is a transition into another genre. For instance, Remission and Leviathan featured mainly guttural and unclean vocals, whereas Blood Mountain marked a new era of accessibility for people who did not listen to Mastodon, or heavy metal. This led to Crack the Skye, which proved that Mastodon had a far more progressive side, into The Hunter. Now, the band sounds a lot less frantic. The tunes are all very accessible. You can sing along, show your friends, and rejoice in the fact that heavy metal and hard rock are far more diverse than they used to be, and this was a major complaint for long time Mastodon listeners who misunderstand the works of Mastodon.

    Because Mastodon’s sound has changed so much over the years, they can’t really be classified into a genre. Most people would agree that “heavy” bands like Alter Bridge could be categorized. While this is not negative, it is simply the music that they wish to write. For Mastodon, the case is different. They prove that they want to write more than just sludge metal, or prog rock. For Mastodon, music is a great experiment in which the performer is allowed to explore his or her musical polarities. Therefore, it is not possible to make an argument against Mastodon’s ever – evolving sound, as that is exactly the point of the band. Because of this, going Once More ‘Round the Sun is an amazing journey.

    Key tracks: Asleep in the Deep, High Road, and Halloween.

    Once More ‘Round the Sun can be purchased on iTunes, on Mastodon’s website, and in stores.

  • Hearing Aide: Mirk “Run”

    mirk_run

    Mirk, an Albany-based R&B band released their third endeavor, Run, and the melodies are already too catchy. The most accurate description of the seven piece band is evolutionary. Between the band’s first two albums, Love and Grind, and now Run, no element is subtle. Maybe Mirk says they’re “running out of time,” but this album is proof of the exact opposite.

    The band implemented many changes which are apparent from the first audible second of the album. Run opens with a ballad starting with new keyboard player James Rock and the band’s female backing vocalist Tara Merritt, whose voice is much more prominent – and rightfully so – than it ever has been before. Both Rock and Merritt are in high spirit and are set up to bring to the album the same energy of a dark, smokey bar room. This opening track, “Let it Go,” sets the intense, yet dynamic mood for the rest of the album.

    As such, the addition of James Rock on keys is critical to the round sound of this album. Rock may be young, but he lives up to his name. He gives Run a rock ‘n’ roll angle. He’s not afraid to overplay, to voice full, nearly obnoxious, uninterrupted chords. And that’s a good thing because this allows the rest of the band, especially guitarist Mike Thornton, and bassist Kate Sgroi to weave around this soundscape, and experiment with far more notes than Grind saw. Grind is no failure. It’s a great artifact, and a clear stepping stone, but it can be surpassed, as Run proves.

    Just seconds into this first track, “Let it Go,” lead vocalist Josh Mirsky comes in with the opposite of his usual trade: a backing vocal part to Merritt. He sings, “I ain’t got no money,” as a response to her aching voice, which might give a listener chills. Again, that barroom feel is heavy, but here the light fades up onto the rest of the band. They’re definitely not a mechanized backing track, either. They’re personable. They’re human. Instead of being “the band,” for a solo artist, the whole group works as a cohesive unit to bring an emotional element to the music, especially during “My City,” and “Marathon,” two previously released singles which made heavy use of Chris Russell’s sax.

    This is reminiscent of Mirk’s previous endeavors. The soulful element of this album appears especially in tracks like “Turn Me On,” which listeners heard on Grind, such as “Butterscotch.” On the other hand, the album also contains some of Grind’s driving rock beats – provided by Stephen Struss — on songs like “Torture.” However, old Mirk fans – including those who first heard Love – aren’t the only ones that will be pleased with Run. The album furthers the band’s ability to try new things. Lovers of experimental bands like Muse might enjoy the title track, “Run,” whereas Billy Joel fans will relate well to “Love Above” – and even this, and the next track, “Crowd Surf,” turn into hip-hop in the style of someone like Weerd Science. But no matter what you’re listening to, the prime mover of Run is the fact that Mirk is not sticking to a specific theme – they’re writing what they want to write.

    Run perfectly utilizes Mirk’s tried and true methods of mixed genre fun, with the evolutionary sounds of each instrument and vocal track. They are only getting better and we recommend seeing them in Albany before they’re out of town for good, because this band is only going to get bigger.

    Key tracks: Let it Go, Love Above, Marathon

    Run can be downloaded on iTunes, and physical copies are available on Mirk’s online store.

  • Hearing Aide: Analog Son’s Self-titled Debut Album

    One of the newest bands to the funk scene, Analog Son has released their self-titled album just in time for the start of the summer. Jordan Linit and Josh Fairman have created Analog Son after years of friendship together and with the help of some talented funky friends.

    The duo took months recording the album at Scanhope Sound in Morrison, Colorado using vintage equipment with modern technology to create a sound that is funky fresh. The album features members from The Motet, Dumpstaphunk, The Shady Horns, Lettuce as well as Colorado’s local talent with members of The Congress, Fox Street All Stars, Devon Parker and Convergence. The 10 track album is ideal for getting the party started on lot, at a BBQ or grooving by a pool. The album is available as a free stream via bandcamp or as a $10 digital download.

    analogsonalbumart

    The album starts off with “The Proffesor” with immediate attention to the funky guitar riffs and bass notes with a splash of brass that gives the listener a quick lesson in instrumental jazzy boogie fever. Devon Parker of SuperCollider provides some sensual vocals on “She’s Somethin” with a hip shaking cymbal crashing. The light and loose keys give great meaning to the song title “Not A Care In The World” whereas “The Game” is a no mess around, tough and spunky melody. “Analog Island” was their first released single and sums up everything you want to know about Analog Son in one genre fusing madness tune. Channeling the disco era, “Struttin” uses harmonies and a contagious rhythm that makes you groove. “Cadillac Sundays” is a lazy afternoon day vibe with full blast guitar strumming while “Swervantes” helps you get thru the week with long stretches of climactic peaks.

    Analog Son is a great addition to the growing funk music community of Colorado with unlimited possibilities of artist collaborations and their serious devotion to a dream.

    Key Tracks: Analog Island, The Proffesor, Swervantes

    [youtube http://www.youtube.com/watch?v=tQYf710QJ6o]

  • Hearing Aide: Fikus ‘Living Life Through Multicolored Scenery’

    fikus albumFikus, the five piece electro-funk band from New Jersey, is set to release their first full length album Living Life Through Multicolored Scenery on July 1st. The band consists of guitarist Steve Malone, Travis Paparoski on bass, Jon Schumarak on keyboards, Pete Kozak on percussion and Kito Bovenschulte on drums with all of them contributing to youthful and harmonious vocals. Fikus is no stranger to Upstate Festivals such as The Catskill Chill, and The Big Up, gathering fans all over the East Coast with their genre fusing, energetic live performances.

    The album title is on point, given that each song takes you through diverse musical landscapes with such mixed emotions; it is a 13 track surprisingly mature psychedelic trip. The album will be available as a digital download, physical CD for $10, vinyl for $25 plus shirts, pins and even a teapot. Living Life Through Multicolored Scenery is a great listen for unwinding after a long day of work, road trips or studying with your headphones on. Click here to purchase your Fikus package today.

    The first two songs, “Living Life Through Multicolored Scenery Part 1 &2” are eerie with wailing echoes and dark lyrics. Part 2 turns into a haunted amusement park with a familiar friendly tone before the creepy whispers, laughs and climbing guitar riffs take over. “Something Stanky” is where the mood shifts for a more recognizable and welcoming tone. A structured song of steady rhythm with jazzy keys sets an easy groove. “Tempest In A Teapot” has a vintage piano sound with that old rag time tempo with punk rock attitude. The all instrumental “Dingo” and “Nightwalker” both have fast paced electronic melody with powerful guitar riffs and climbing peaks that sends the body in motion. “Cloudburst (From Jim)” is just that with bursts of crashing cymbals and airy, graceful piano notes. “Space Cowboy Part 1” resembles a softer side of Pink Floyd, with ambient compositions that soar through light and dark space out of the speakers whereas “Part Two” has more edge. The funky bass line on “Wafflestomp” is solid for the overlapping chaos. The album ends with a speedy “Big Booty Bounce” and a bitter “DayCrawler” with spiteful lyrics and mocking melody.

    Don’t miss Fikus this year as they will be supporting their new album at major festivals such as Hudson Music Project, Luna Light Music Fest, Farm Fest and once again, to the Catskill Chill.

    Key Tracks: Something Stanky, Dingo, Space Cowboy Part 2

    Watch the official music video for “DayCrawler” off of Living Life Through Multicolored Scenery
    [youtube http://www.youtube.com/watch?v=A-lM1A-E4H8]

  • Hearing Aide: Bryan Howell and the Standalones ‘Welcome To The World’

    a4173681299_10Even though Central New York’s own Bryan Howell and The Standalones are an unsigned group, they have already accomplished being on Little Steven’s Underground Garage Sirius/XM radio for their single “Why Oh Why” from the EP Lightning Through My Soul. The band has already released two EPs and their second one was released in May of this year, Welcome To The World.

    Welcome To The World is one of those very unusual albums that can create a sound that combines an older and newer beat. The band’s sound is like a collaboration between The Rolling Stones and Weezer. The opening song off the album is “(Don’t You) Blindside Me”. Howell’s vocals and lyrics gives the song a rock edge while the guitar and drums bring almost a ‘60s vibe to it.

    “Nothing To Give You (But Everything)” is a slower track on the album and the beginning focuses more on Brandon Brault: on drums. The drums come in steady as the guitar and bass slowly bring it to a surprisingly faster chorus. Howell passionately sings about how he is not the richest man in the world but he will give all his love to whom his heart is set on.

    The last track off the album, “Baby, Don’t Look Back”, brings more of a faster swing than the other songs off the EP. The song also has one of the more longer guitar solos towards the end which shows the bands definite influence of The Clash.

    The album is a great combination of garage, rock and even a hint of indie. Welcome To The World brings out the diversity of artists that Bryan Howell and The Standalones are influenced by (Bruce Springsteen, The Knack, Elvis Presley and The Strokes). Any fan of ‘60s to late ‘90s music will love the fine balance that Howell and his band bring to this EP.

    Key Tacks: Baby, Don’t Look Back, Oh Please, Valerie, (Don’t You) Blindside Me

    Welcome To The World can be purchased HERE. Visit Bryan Howell’s Facebook and Website.