NYS Music 20​15

Author: Ally Dean

  • Hearing Aide: Alison and Zoë ‘Home Is…’

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    Sister songwriters Alison and Zoë have assembled a handful of heartfelt folk songs for their debut Ep Home Is… The five song collection released Aug. 19, exudes a nostalgic sentimentality fit to be wrapped in brown paper and tenderly tied together with twine. Their music is less about perfecting instrumentation or inventing a new sound, instead focusing on shaping a familiarity and sharing honest, human stories to connect with listeners. The album was recorded, mixed, & mastered by Jeremy Johnson at Subcat Studios. Ryan B. Curtis cultivated the design and layout of the album cover and CD art, using a photo provided by Elisha Stasko.

    Alison and Zoë’s songs act as melodic vehicles, taking the listener on a journey of relatable experience. As is often the case with traditional folk music, various elemental strands are weaved into their lyrics, rooted in the sisters’ adventures or borrowed from other folk songs gathered during their travels through Ireland and Great Britain.  The album is an audible patchwork quilt of memories.

    “Following That Star” showcases Alison’s rich, sturdy voice with support from Zoë’s delicate harmonizations, accompanied by simple guitar picking.  Alison sings: “Our father’s mother said one day she’d get discovered/ And you know they say she sang just like me/ But she crossed to the other side and so she passed it down the line/ Now generations live vicariously through me.” The song centers on the theme of following a star, where the star could be a metaphor for a life path or the intuition to help guide someone down a particular life path. This metaphor would ring true for Alison and Zoë, whose song writing has become an intimately important foothold grounding them to their own individual yet entwined life paths.

    The title track “Home Is…” begins with a straightforward guitar rhythm before both sisters chime in. They harmonize about singing together on a train, adding a meta layer to a song seeking to  interpret the concept of home. Their lyrics suggest home not as a structural entity, but rather a feeling that can manifest through engaging with others, even in faraway landscapes. “This Song I Wrote” offers the notion of music as a healing mechanism. Alison and Zoë sing in unison: “I saved my marriage with this song I wrote/ I plucked the words out of my chest and I said darlin’ that’s the best I can do for you/ Then we got drunk on honesty and we fell back towards each other/ Remembering all the ways we fell in love in the first place.” The tender lyrics dance through a spectrum of emotions, intimately touching on feelings of love and heartache so accessibly that any listener can identify in some way.

    Key Tracks: Following That Star, Home Is…, This Song I Wrote

  • Hearing Aide: Yankee Blood ‘Honey’

    a1637777148_16Nashville-based indie-pop trio Yankee Blood released their debut EP last month titled Honey. The Yankees, as they sometimes call themselves, are comprised of Kelly Ruth (singer/bassist), Adam Verone (drummer) and James Karp (guitarist). Seiji Itaru Inouye provides additional guitars and Juliana Richer Daily supplies vocal harmonies on the album. Honey was produced, mixed and engineered by David Brubaker at Studio 215, and mastered by Mark Trewella of Full Circle Mastering.

    Airy vocals and ethereal harmonizations supported by bluesy, mellow guitar and drums, open the first song, “Sioux City.” Ruth poses an existential quandary floating through the minds of younger generations questioning their role in society. This notion is drawn out with the lyrics, “When you were 23 you said that you wanted to move to Sioux City, where everything’s pretty/ You said Ma don’t you miss me, I’ve gone to where I can see the sunset clearly/And everyone’s friendly to the new girl in town.” The song alludes to that idealistic mentality of many fledgling twenty-somethings seeking to explore the world and embark on adventure. Like viscous honey oozing down a smooth surface, the lyrics postulate, “Well you’ve always been chasing that dream of the beautiful scenes you’d clip out of magazines.”

    “Reckless” offers eighties-inspired synth pulsating like lazy ripples, chased by Ruth’s femme power lyrics. She expresses, “I’ve been told I need a man to put me in my place/Every time one comes around he can’t keep with my pace/God made me the reckless kind.” Yet the next song, “Beekeeper,” with simple jazzy guitar evoking a daydream quality, expresses a desire for companionship through the lyrics, “Like bees to the queen, like tea to honey/I want someone to love.” Put together these songs personify a fiercely independent woman hard pressed to find a mate well matched for her fiery spirit. Honey will resonate with those who have been faced with the uncertainties of love and finding purpose.

    Key Tracks: Sioux City, Reckless, Beekeeper

  • Hearing Aide: Vaporeyes ‘Swell’

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    Syracuse experimental group Vaporeyes released their fifth studio album titled Swell on November 11, offering listeners a reservoir of jazz-infused jams to meditatively contemplate.

    Vaporeyes is composed of Jonas Reddy-Nicholson (Warp Drive Operator), Shannon Zory (Groovemaster), Sean “Chid Law” Cadley (Keeper of the Beats) and Jamie “Jyms” Tynan (Facemelter). Two songs feature Stephanie Donato on saxophone. Swell was recorded and mastered by William Nicholson at JoBop Records in Syracuse. Released in combination with the new album is a live recording titled An Evening with Vaporeyes from their July 8, 2015, show at Funk ‘N’ Waffles Downtown. Included with the recording are extra downloads displaying video footage from a September 5 performance at the same venue shot by Jason Vincent.

    Swell unfurls the opening song, “Precipice,” with a short spoken word quandary uttered by album cover artist Yegor Mikushkin. The final line feeds into the dreamlike opening of “Precipice,” postulating, “This tense suspense has driven me insane/This glance, this trance, must all just be a dream.” The tense suspense of the first half of the song mirrors that sensation some feel in anticipation of large family gatherings before flutes of champagne and goblets of wine douse the initial discomfort in an avalanche of warm fuzzies. Midway through, “Precipice” serenely eases into a savory instrumental jazz piece. It’s ambient qualities could melt into the background of an indulgent holiday party as drunken family members adorned in matching knit sweaters lounge lazily around a fire guzzling mulled wine and gorging on an array of delicate cheeses.

    If “Precipice” is the anthem for that all-too-familiar holiday party progression, then “Exo Robot” could thematically epitomize the angsty mission-driven mischievousness of the dreaded holiday shopping season. It calls to mind scenes similar to Arnold Schwarzenegger’s bloodthirsty hunt to locate a Turbo Man action figure for his beloved son in the 1996 thriller, Jingle All the Way.

    “Spirutine’s” mid-album playfulness embodies that happy-go-lucky sense of wonder coursing through young spirits on Christmas morning. “Retrograde” imparts a cathartic effect, winding down the sequence of energetic jams with a melody fit to doze off under the comfort of cozy blankets, sheltered from winter’s chill.

    Key Tracks: Precipice, Spirutine, Retrograde

  • Alison and Zoë Bring Harmony to the Historic Merrifield House

    If music were an entity capable of wrapping listeners in the most sincere embrace, everyone would be wholeheartedly hugged by Alison and Zoë Mullan-Stout’s performance at the Merrifield House in Scipio, NY on Saturday, November 7. The sister songwriters, whose kind smiles added to the pleasant atmosphere, exuded playful yet mature dispositions perfectly suited to this intimate, historic venue.Alison and Zoe

    Darkness blanketed the chilly fall evening as attendees filtered into the venue through the side patio, immediately greeted by the homeowners. The space functions as part of the Concerts in Your Home establishment where homeowners offer their dwelling for performances. The concert took place in an add-on at the rear of the cobblestone house where an old barn once stood. A row of large windows against the back wall, each sill embellished with an assortment of small trinkets, provided an open yet homey feel to the rectangular event space. Soft ambient lighting accented by candlelight filled the whitewashed room with warmth. A hodgepodge assortment of foldable chairs, rocking chairs and a small couch provided an eclectic seating arrangement.

    Alison and Zoë shared joint custody of a guitar, banjo and ukulele to backup their  vocals, often harmonizing to effortlessly create a nuanced, balanced sound laced with subtle intricacies between their distinct voices. Zoë’s delicate vocals offset Alison’s more mature, soprano soul. A quieter demeanor paralleled Zoë’s softer vocals where Alison’s tenacity and sly witticisms between and during songs mirrored her strong singing style. Every song carried a story behind it, which one sister would introduce while delicately strumming in the background before diving in.

    Their song “Lost in the Woods,” inspired by true events, recounts a time Zoë found herself in unfamiliar surroundings. Rather than allowing the circumstance to invoke a sense of discomfort or fear, the song embraces the predicament, honoring an appreciation for the forest habitat. Midway through the number, Alison playfully prompted the crowd suggesting, “This is the part where you guys make animal noises.” A response came in the form of howls, growls, bird chirps and fits of giggling as the audience reveled in making the song one-of-a-kind.

    “Dirt” described a longing to be loved by a girl in the same way she tends so intimately to her garden. The first utterance of the line “I wish she’d treat me like dirt,” induced laughter from the crowd before the following lines provided clarifying context: “I wish she’d rub me off her hands on the back of her skirt/Keep diggin’ on me til her back hurts/Roll around in me/Dissolve all boundaries.” In that scenario, who wouldn’t want to be treated like dirt?

    The mood shifted for a more solemn cover of Emmylou Harris’ “Deeper Well” before Alison and Zoë offered a few more originals including “This Song I Wrote.” An Alison original, the song was crafted with inspiration from two separate couples whose relationships were salvaged in part by music. Beautifully poetic, the song speaks of rekindled love with the line, “We got drunk on honesty and fell back towards each other/Remembering all the ways we fell in love in the first place.”

    During set break, everyone filtered into the kitchen to enjoy hot tea from a wide selection of mugs and tea varieties already set out for guests to choose from. Homemade brownies rested provokingly on the round kitchen table. Guests mingled with the musicians and homeowners, enjoying friendly conversation. Curious adventurers were allowed to roam about the first floor, and some were shown the well-kept guest bedrooms on the second floor. The Abraham Lincoln themed bedroom featured a well stocked bookcase crammed with the chronicles of his life history. A bust of the former president and a replica of his trademark top hat governed the room’s affairs from the fireplace mantle.

    Guests filtered back into their seats to hear a few more tunes, with a guest appearance by Eric Dwyre playing the ukulele and singing soulfully. The evening came to a close with the sisters performing the title track off their first EP titled “Home Is…” Souls soothed by the tender thought provoking songs of the sister songwriters, guests sheltered in the welcoming environment were made even more at home with Alison and Zoë’s shining orchestration.

  • Giant Panda, The Simpkin Project, Haewa and Ocular Panther Groove at the Westcott Theater

    An impressive crowd turned out for All Hallow’s Eve at the Westcott Theater October 30. Giant Panda Guerrilla Dub Squad usually lures a sizable slew of reggae lovers, affording The Simpkin Project an opportunity to bask in the splendor of a well attended venue for the last stop of their east coast debut. Haewa and Ocular Panther appetized the quickly growing crowd with more abstract instrumental compositions.

    Ocular Panther, a self proclaimed organic/electro band featuring Jason Gilly (bass), Collin Jones (guitar/synth/samples), and Michael Pantano (guitar), kicked the night off. Despite an optimistic concoction of notes culminating in a highly danceable jam beat, the crowd was not loose enough to dance in response. By the end of their short-lived set, the crowd had already grown to roughly seventy participants.

    Rochester band Haewa followed, again utilizing Jones for his guitar work and vocals, plus Brendon Caroselli (drums/percussion), and Ben Chilbert (bass). For Caroselli’s second time playing with the band, he fit into their musical puzzle quite comfortably. Jones’ grungy fashionableness matched his Kurt Kobain-flavored vocals, adding some dimension to their  instrumental, at times face melting musical offerings.

    The Simpkin Project marked the third band of the evening paying no mind to the looming holiday by sporting a discernible Halloween costume. Phil Simpkin (guitar/vocals), Shawn Taylor (B3 organ/vocals), Sergio Sandoval (percussion) and Jules Luna (guitar/vocals), were joined by Giant Panda members and long time fans of the band, Chris O’Brian (drums) and James Searl (bass). The Simpkin Project’s mild mannered, warm presence conjured that satisfying sensation of joy akin to tearing open a homemade cornbread muffin hot from the oven before slowly savoring each textured, spongy bite.

    Their mid-set song, “Everything You Want” professed a deep rooted love. Simpkin sang sweetly, “You are the shelter that protects me from the storm/The vindication for the reason I was born/I want to be everything you are to me/The center of my being.” Such enamor called to mind more than the simple indulgence of nibbling on a plain jane cornbread muffin. The slow-roasted, pan seared passion steaming out of this lyrical love plate was piled high with mashed potatoes, gravy and roast beef (ethically slaughtered of course).

    Throughout their set, O’Brian and Searl happily mouthed the lyrics to many of the songs, fully immersed in the experience of playing alongside their musical heroes. Members of The Simpkin Project mirrored their gratitude, announcing towards the end of their performance, “This was a life changing experience, and what it taught us: we’ll be back.”

    Giant Panda opened up with Searl soothingly offering the crowd, “This is a group meditation, please enjoy yourself,” following it up after the first song with “The first step to positivity is moving your body,” spoken like a true music yogi. Searl stood front and center, flanked by Dylan Savage (guitar/vocals) and Dan Keller (guitar/vocals), with Chris O’Brian (drums) and Tony Gallicchio (keys) rounding out their sound.

    They covered a lot of ground, playing a range of older material from their 2006 debut album titled Slow Down, and mixing in a collection of everything since then including tracks off their May 2015 release Bright Days. Searl, Savage and Keller stood in a row, gatekeepers of reggae revolution, harmonizing before a crowd of mostly humans, mixed in with a few dancing pandas, princesses and superheroes, cuz ya know, Halloween.

    As Giant Panda flowed into the marijuana-endorsing number “Mr.Cop,” the crowd dutifully sang along, to the delight of Searl and Savage who exchanged toothy grins as they strummed along. Before the next song, Keller divulged his entertainment from earlier in the day which consisted of flying a stunt kite. This anecdotal story was most certainly not followed by any references to how elevated the kite or any persons involved may or may not have been.

    Known for effortlessly blending from one song to the next in a continuous swell of sound, Giant Panda transitioned from “Pockets” to “Healing,” followed by “Steady” and “Move” in a nonstop reggae rumble. Toward the end of the evening Simpkin reemerged as a guest vocalist. Sandoval added his percussive expertise to the high energy “O.K.” with Keller briefly adding some saxophone work to the lively tune. Leaving the audience buzzing with energy, Searl bid them farewell bellowing, “Peace, Panda and good night!”

  • After Funk and The New Daze Support Each Other at Funk ‘N Waffles Downtown

    A stately stuffed zebra proudly greeted guests from the front of the stage as they entered Funk ‘N Waffles Downtown Saturday Oct. 24. The zebra, fondly known as Uncle Stremnf, abided as the reigning mascot for electro-jam band The New Daze, who opened for progressive soul group After Funk. Uncle Stremnf gazed longingly into the crowd, his soft muzzle begging to be pet by those dancing near the stage. A few patrons obliged, feeding into the mystique of Uncle Stremnf’s presence.

    after funk til the sun comes upThough entertaining, perhaps silly to many, band members Max Flansburg (guitar/vocals), Jamie Knittel (bass/vocals), Steve Graff (drums) and Erik Hoffman (keys) take Uncle Stremnf’s existence very seriously.  They harbor as much affection for their equine affiliate as they do for eccentrically accessorizing. Knittel dapperly sported a pair of vintage 100% acrylic grey plaid trousers he’d purchased at a thrift shop for a mere six dollars. Though a bit baggy, he paired the look with an equally loose-fitting grey beanie that would periodically either fall over his left eye or slide off the back of his head depending on the trajectory of head thrashing. Hoffman opted to rock a gold medallion imprinted with a cheesy smiley face. The bling nicely complemented his thick mustache that might at any moment take on a life of its own and flutter right off his face.

    While expressive in their dress, the members of The New Daze were also extremely emotive in their musicianship. Flansburg and Knittel, equipped with instruments affording them greater mobility, were free to bounce around and animate their guitar and bass playing. Flansburg frequently flaunted a charming toothy grin, jumping up and down in place as he played. His buoyant expression was counterbalanced by Knittel’s straight-faced, almost scowling visage. With feet spread apart, he took on a wide, commanding stance, body rocking side-to-side rather than mirroring Flansburg’s vertical movement.

    Speaking of fancy moves, a quick glance through the crowd revealed the rather zebra-like persona of a woman dressed in black and white striped leggings and matching tank top. With arms outstretched in front of her, they danced up and down to the music like a rearing horse might paw the air. Emulating her inner zebra, she danced on behalf of Uncle Stremnf, whose decidedly inanimate disposition prevented him from joining in.

    The New Daze performed sequences seeking to take listeners on a journey, drifting between funk, jazz and experimental rock. Delivering a high energy set from the start, the crowd wasted no time breaking into a swell of swaying and head bobbing. The band’s last three songs featured the sexy saxophone playing of Robert Araujo, who added a warm dimension to their sound. Knittel thanked him on stage, perfectly demonstrating the band’s playful demeanor by stating sarcastically, “Thanks for coming here instead of the Nickelback concert.”

    After Funk perpetuated a playfulness, with Yanick Allwood (keys/vocals), Jaime Rosenberg (drums), Justin Bontje (bass) and Phil Tessis (guitar) flashing an array of overstated facial expressions and synchronized dance moves. The band members instantly resigned themselves to lovable dork mode. They matched their efforts in humor to entertain the surprisingly thinned out crowd by serving up a musical feast of progressive techno funk. They soldiered through a mix of original songs including those off their recently released ‘Til the Sun Comes Up, along with some old school funk covers.

    Throughout the set, Allwood repeatedly contorted his face into looks of seemingly utter confusion, staring off at the ceiling while furiously tapping away at the keys. Despite his confused looks, the sounds he produced made it clear he knew exactly what he was doing: which was communicating with aliens. Tessis’ animated smirks and grimaces often seemed in direct response to either his own wicked guitar playing or Allwood’s key work, appearing to be in near constant bewilderment at the magic developing on stage.

    Adding to the crisp, golden soufflé of sound were Allwood’s savory soulful vocals. Opening their performance with an uptempo rendition of Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours,” set the stage for what drives their inspiration.

    During a cover of Parliament’s “I Call My Baby Pussy Cat,” Bontje snapped a string in his furious bass picking. Knittel of The New Daze was quick to the rescue, offering his own bass to Bontje from the side of the stage. Bontje accepted the act of camaraderie with an appreciative nod, waiting until the end of the song to switch instruments.

    Towards the end of the set, Rosenberg  embarked on a heart rattling drum solo, momentarily vanquishing his bandmate’s worthiness to remain on stage. Allwood recoiled to the stage steps, staring back in appreciation and shaking his head in disbelief. Tessis walked off stage altogether, guitar in hand to grab a beer before the end of the solo. Their overplayed actions added an element of comedy to the obvious respect they have for each other as musicians. Before ending their set Allwood made sure to give a shout out to their opener, exclaiming, “Bass sponsored by The New Daze,” once again illustrating the sense of mutual support and companionship prevalent throughout the evening.

  • Giant Panda, The Simpkin Project, Ocular Panther and Haewa Play the Westcott Halloween Weekend

    Friday October 30 will spotlight a collection of reggae and jam-based music, delivered by the musical intertwining of Giant Panda Guerilla Dub Squad, The Simpkin Project, Ocular Panther and Haewa at the Westcott Theater on Halloween weekend. Giant Panda and The Simpkin Project fall more into the reggae and americana genre, while Ocular Panther and Haewa will be showcasing their more instrumental experimentations.

    Giant Panda, hailing from Rochester, are continuing along their Fall Steady tour spanning October 22-30. Concentrating in the lower New England area, the tour began in Washington, DC and will conclude in Syracuse. James Searl (bass/vocals), Chris O’Brian (drums/vocals), Dylan Savage (guitar/vocals), Dan Keller (guitar/vocals) and Tony Gallicchio (keys) will be pulling from their eclectic mix of reggae and a more recent divergence into the sphere of americana/folk. Their heartening brand of country-bred tunes comprise their newest album Bright Days, released May 2015.

    Indigenous Californians Phil Simpkin (vocals/guitar), Shawn Taylor (B3 organ/vocals), Sergio Sandoval (percussion) and Jules Luna (guitar/vocals) will nicely complement Giant Panda with their own reggae rhythms and folksy harmonizations.Giant Panda’s own O’brian and Searl will be providing their instrumentation to complete the ensemble and support The Simpkin Project, a band which Giant Panda has adored for years. With a noticeable Jack Johnson influence, The Simpkin Project will bring a warmth to the Westcott Theater.

    The New York natives of Ocular Panther perform as an all instrumental trio featuring Jason Gilly (bass), Collin Jones (guitar/synth/samples) and Michael Pantano (guitar). Their free-flowing jams will give listeners a chance to contemplate the universe or any last-minute Halloween costume changes they may need to manufacture. Rochester-based Haewa, also soliciting the guitar work and vocals of Collin Jones, along with Brendon Caroselli (drums/percussion) and Ben Chilbert (bass) will open the show with a splash of psychedelic funkiness. Like an old pillow case bulging with the winnings of a blood thirsty trick-or-treaters plunder, the collection of sounds at the Westcott Thursday will provide something for every taste.

    Westcott Halloween Weekend doors open at 8:00 pm, show starts at 9:00 pm. Get tickets here.

  • Misfits and She Demons Manifested Mayhem at Water Street Music Hall

    Misfits fiends and She Demons devotees got plenty of attitude thrown in their faces Tuesday Oct. 20 at Water Street Music Hall. The two bands stopped in Rochester as part of the Misfits ‘Static Age’ Revisted tour during which they played through the entirety of the 1977 album along with some newer material. A gravelly “Rochester, how the hell are ya tonight?” uttered by She Demons’ Priya Panda (bass/lead vocals) set the stage for an evening bleeding with playful hostility.

    Panda leading the all-female group, was joined by Constance Day (guitar), Kiki Wongo (guitar), Alicia Vigil (bass) and Jessica Goodwin. Formed by Misfits frontman Jerry Only, the femme fatales assembled on stage and began their set under the cover of darkness. Stage lights soon illuminated their presence, driving back the shadows that briefly bathed their opening song in mystery.

    If there had been a level of authenticity to their performance, it was lost as soon as the lighting exposed their overdone facial expressions. Panda’s growly tone with the crowd seemed forced to the point that she could actually have made herself hoarse from the strain. Though very obviously contrived, maybe even a little eye-roll worthy, their personas fit the bill for a band concocted by the creative hand of Only, who thrives in that fabricated ghoulish environment.

    Panda’s comfort level on stage was probably the most genuine aspect of the performance, shamelessly rocking the glam punk rock facade. The swivel of her hips on stage flaunted an undeniable sex appeal. Her hollered vocals were at times strong but more often crept into the realm of cheesy musical status. She redeemed the performance ever so slightly during the last song with a quick acrobatic bend backwards, kicking one leg toward the ceiling, before righting herself in a frenzied hair flip.

    As the stage transformed for Misfits to take over, mic stands wrapped in a tangle of plastic skeletal arms and skulls were brought forth. Other skull accouterments accumulated, and before long it looked like a Halloween store had exploded on stage. All that was missing was a healthy tangle of acrylic spider webbing dangling from the light fixtures above.

    Once assembled, Misfits, featuring Only (bass/lead vocals), along with son Jerry Caiafa (guitar) and Eric Arce (drums), bulldozed their way through the seventeen song Static Age album. The quick changeover between the collection of short-lived songs (many only last a minute and a half) transmitted a feverish hysteria through the crowd, driving the front mid section to burst into fits of moshing for nearly every tune. One audience member, adorned in a sky-high, well-manicured deep purple mohawk actively engaged in the raucousness, no doubt leaving some to wonder how the hair would survive the experience.

    While on the subject of fashion, though some moshers may have been jeopardizing their own aesthetic, those sporting studded leather jackets seemed rather threatening to their thrashing comrades. In the flurry of shouldering and body slamming, there must have been a good handful of people walking out of the venue, sweaty foreheads imprinted with a distinctive pattern of metal shoulder embellishments.

    Of course fashion can’t be discussed without mentioning the Misfits’ attire. Father and son both featured the trademark slender spiked proboscises neatly glued to the center of their foreheads. The bulkiness of Only’s structurally intricate black and red vest adorned with a smattering of spikes, straps and a skull on the back collar was mildly reminiscent of a first grader’s over-stuffed backpack on the first day of school.

    Not at all restricted, Only strutted around stage, frequently switching sides with Caiafa and leaving no opportunity for their stage presence to stagnate. Underneath the guise of overly styled hair and ghostly makeup was a trio of musicians seeking to provide an authentic punk rock experience to their rambunctious crew of fans. When a gentleman in the crowd pumped his fist to emphasize his enthusiasm, Only smiled, giving a subtle but gracious nod in gratitude.
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  • Hearing Aide: Sam Kogon ‘Before You Knew Me’

    Brooklyn based singer-songwriter Sam Kogon and his band mates, featuring Frank Hegyi (drumsSam Kogon/percussion), Dan Powell (bass guitar/vocals), Finnegan Shanahan (violin) and Joe Jakubowski (keys/timpani/marimba/glockenspiel/vocals) released their debut album Before You Knew Me mid-September, and have been touring around N.Y. promoting the release. All songs on Before You Knew Me were written by Sam Kogon. It was recorded and produced by Andrew Nerviano at Ishlab Studio in Brooklyn. Having honed in on a slightly whimsical, lazy surf rock sound, Kogon’s style is undeniably similar to Canadian fellow singer-songwriter Mac Demarco.

    The album features a slew of love songs, some more overt than others, aside from “Odd,” the mischievous tale of a kid who experiences a violent encounter with a giant squid and is left wondering what would happen were they ever to cross paths again. Kogon’s cr
    isp, anguished vocals are complemented by Jakubowski’s own echoed singing, which creates an airy feel to the track. Coupled with slightly haunting organ, the song exudes a rather ghoulish quality well suited for unfolding the account of an elusive sea creature.

    The first track on the album, “Before,” describes a life gone to shambles and then redeemed. Kogon’s falsetto is mirrored by Powell’s backing vocals, and accompanied by simple guitar lines, and minimal drum beat and bass. Jakubowski comes in delicately with glockenspiel, and a looming intensity permeates the song, until Shanahan’s violin work kicks in right at the climax. The anticipation of the build releases in a swell of drums dancing with the billowing violin, which is very reminiscent of the erhu, or Chinese violin. Kogon’s vocals reemerge before violin once again swoops in with a quick crescendo, concluding the song in a climactic twizzle of strings and bow.

    “I Could Never,” the first single off Before You Knew Me possesses a sauntering ’50s essence from the get go, with Kogon softly howling the lyrics, “I could never say goodbye to you/ and I could never tell a lie to you/ it’s love in your eyes it’s no disguise it’s true/ and I could never rectify hurting you.” Kogon’s crooning leads into a circus instrumental beat which surges forward, complete with glockenspiel, then slowing down for a brief, pensive, stoner rock moment before his crooning resumes for the chorus.

    The cheery Beatles-esque track “Plans,” stands apart from the rest of the songs, maintaining a bouncy energy throughout with classic rock influenced guitar. Kogon sings of a love perhaps faded but not yet lost.“Baby Hear Me Out” is definitely the weakest song on the album. With a noticeably muddier quality, vocals and instrumentation seem to clash more than complement each other. Ironically, as the song composition begs for refinement, the lyrics beg a lover for forgiveness and to be taken back. Despite this blemish, the album functions much the same as a grandfather’s vintage suede fedora. Slightly dented but still a joy to wear and worth holding onto. Listen to and buy the album here.

    Key tracks: Before, I Could Never, Odd

  • Glass Animals and Empress Of materialize from the Neon Fog

    Flocks of leather jacket-clad twenty-somethings shuffled through the dim narrow corridor of Terminal 5 Thursday, Oct. 15 for the luminescent lullabies and dance beat ballads by Glass Animals and Empress Of. Fans donning zebra masks and those carrying pineapples (a Glass Animals emblem) all found their silhouettes shrouded in a hazy green light, with tropical flora caressing their shoulders as they trudged toward the music. Ticket stubs in hand they made their way to the high ceilinged gymnasium style venue, as a politely prompt Empress Of began trilling her gentle, innocent vocals right at 8:00 pm.

    glass animalsThough Empress Of, known off stage as Lorely Rodriguez, performs as a solo act, she was accompanied on stage by a keyboardist and live drummer. She stood close to the front of the stage with untamable confidence, her wild mane of curly hair giving her a distinct and eye-catching profile as she thrashed her head to the beat, corkscrew ends illuminated by vibrant hazy hues of purple, red and blue. After her first song, Rodriguez thanked the crowd with a breathy, unexpectedly sheepish “I’m so excited to be opening for Glass Animals.” Her soft tone between songs painted a distinct contrast to her bold presence while performing.

    During her second song, “Everything is You,” the first track off her debut album Me, Rodriquez’s fluttery vocals delicately flickered as the audience swayed, processing the powerful bass beat tickling their leg hairs. With her left arm completely outstretched to the side with mic in other hand, Rodriguez created a prophetic presence, repeatedly singing the existential line “You are everything, everything is you.”

    Next came “Need Myself,” a song describing an inherent need for independence. The lines “I think I’m the one I need” and “Just need myself/To love myself” were paired with a fierce sequence of rib cage-rattling bass. It got the heart pumping while the words invoked a more acute awareness of the metaphysical heart and the need for self-love. Distinctive beams of white light cascaded down upon the stage, illuminating Rodriguez at varying intervals, accentuating her singularity and independence as a performer.

    Throughout her set, Rodriguez emitted an undeniable honesty and sincerity with her songs. She stood before fans as a young passionate artist, with a great deal of emotional prowess from which to pull inspiration for her music. There were times when she almost appeared to get lost in the throes of her own sentiments, head banging to the beat, yet still singing flawlessly. Her voice carried through the room, taking a willing audience along for the spirited journey.

    Glass Animals followed, steeped heavily in fog, busting onto the scene with “Walla Walla,” which opens with a powerful and distinctive tribal drum beat before the bass adds to the heavy tone of the song. The incongruity of the convoluted lyrics add a fascinating contrast to the crisp, concrete beat. Lines like “Wiggle toes on wicker braids/Hanging with their nails so frayed/Mini fruits all bone dry/And a cape, black tie-dyed,” leave their meaning completely up to the listener’s interpretation.

    glass animals empress of“Hazy” offered a more nuanced beat riddled with subtle effects incorporating what sounded like a collection of snaps, rattling bones and exaggerated rain drops. Lead singer David Bayley, equipped with a tambourine, bounded around the stage in an explosion of animated energy. The crowd sang along to the chorus, providing additional background effects for fellow band mates Drew MacFarlane (guitar/keyboard), Edmund Irwin-Singer (bass/keyboard) and Joe Seaward (drums) to feed off.

    The audience cheered wildly when crowd favorite “Gooey” oozed from the loudspeakers as gentle xylophone pirouetted with Bayley’s velvety vocals. After a few measures of vocals and percussion conducted their delicate dance, the bouncy drum beat pounced and the sea of humans in front of the stage erupted into motion. One gentleman sporting a white Hawaiian-style shirt dotted in small pineapples smiled sweetly to his lady as he impressively mouthed the lines of nonsensical lyrics.

    Many other couples were too busy intimately enjoying the inner workings of each others mouths to sing along. For those still observing the stage, several large incandescent bulbs with what looked like satellite dishes ensconcing each, stood erect around the perimeter of the stage. Each time Bayley recited the words “peanut butter vibes,” the bulbs splashed a golden luminescence across every surface of the room. While visually encapsulating, the musicality of the live performance accurately captured the magic Glass Animals offers with their debut album Zaba.

    The English indie group ended the evening with “Pools,” which renders moments of clarity with more direct language. The distinct possibility that it might be a love song was supported by the lines, “We sip the wind through lips of dust/And out it comes, warm wisps of love.” Bayley delighted observers during the energetic song by tossing a whole pineapple off stage, in an act of love and solidarity for all of his pineapple-brandishing fans. The playful gesture concluded the show with a warmth and satisfaction as audience members bonded over the sight of an airborne pineapple.