NYS Music 20​15

Category: Album Reviews

  • Hearing Aide: Trey Anastasio’s ‘Paper Wheels’

    Paper Wheels is Trey Anastasio’s tenth solo album. The Phish frontman’s side project is an outlet for looser, more introspective material. The Trey Anastasio Band, TAB for short, is made up of seven members: drummer Russ Lawton, bassist Tony Markellis, keyboardist Ray Paczkowski, and a three-piece horn section with Jennifer Hartswick on trumpet, Natalie Cressman on trombone and James Casey on saxophone.

    Paper WheelsMost of the material on this album contemplates the passage of time and one’s place in life. The album’s second track, “The Song,” distills this down succintly, with a refrain of “All that’s left is the song.”

    Mixed in with the bright and melancholy pop, “Never” leaves space at the end of the track for a darker psychedelic jam. The slightly silly and lighthearted “In Rounds” stands out from the rest of the album with it’s funky bassline and shuffling drums providing a strong foundation for nice organ and horn work. “Bounce” builds to an uptempo second movement and literally commands the listener to jump around and dance.

    Paper Wheels is an intimate album that showcases Anastasio’s knack for composition, blending elements of pop, jazz, funk and classic rock with almost orchestral arrangements.

    Key Tracks: The Song, In Rounds, Bounce

  • Hearing Aid: One Direction ‘Made In The A.M.’

    One Direction will officially release their fifth studio album Made In The A.M. on November 13 via Columbia Records. At this point most people have an opinion of One Direction. Critics will brush them off as a band lacking chemistry, a band that was put together by Simon Cowell in desperation to save ratings for The X Factor in 2010, some even say the band has minimal talent musically and the vocal talent they do have is shadowed by auto tune or filters. Some say they’re just a band that merely functions the way the record label wants them to.

    Then there’s the other side of the spectrum; the fans that spent days posting videos of their crying testimonies to get Zayn Malik to reconsider his decision to quit the band seven months ago (Malik allegedly left the group because of their rigorous touring schedule). The numbers don’t lie either. To date, One Direction has sold over 65 million records and performed live for over 7.5 million fans. When the band released their first single off the album in July, it jumped to #1 on 90 different iTunes charts and shattered streaming records globally. Very few pop artists can say they’ve done more with less (I’m sure T. Swift and Bieber are up there). Call them what you will but One Direction is the biggest pop band in the world right now and after being together for more than five years they’re not showing any signs of slowing down.

    The most recent single “Perfect” was released on October 16 to a positive response from the fans. The messages in this song are inspired by young love and feature an upbeat undertone. Currently, One Direction are playing arenas throughout the U.K. and Ireland for their ‘On The Road Again Tour.’ The band also recently headlined the Apple Music Festival at London’s famous Roadhouse venue. 2015 saw the band overcome their toughest challenge yet when one of their founding members retired, but the steady trajectory of their success is growing exponentially like some recusant virus. Despite allegations of the band disbanding (which aren’t true), One Direction will take an extended hiatus from touring in 2016. The new album is available for pre-order now.

    Key Tracks: Perfect, Infinity, Drag Me Down

  • Hearing Aide: The Heard’s Self Titled Debut

    11224602_952818128090633_3993829749958183188_oThere aren’t many bands that can immediately hop into the festival circuit and put together a decent following without an album, but somehow The Heard has accomplished just that. The funky Chicago-based seven-piece formed about five years ago when guitarist Taras Horalewskyj moved back home after finishing up his schooling at Berklee College of Music in Boston, MA. Fast forward to today and the band has finally released their debut, self-titled album and it is even better than one would expect who’s either seen them live or stumbled upon some of the amazing clips on YouTube.

    The talented cast hit the studio with Orgone’s Sergio Rios producing. They wound up with an 11-song debut that is stellar from start to finish by any measurement. Upon talking with the group, they explained that Sergio had the band track the rhythm section (guitars, keys, drums, and bass) together, live in one room and recorded it to tape. The album reflects not only that spontaneous interplay, but more so than anything a sound that walks a perfect line between the raw energy of a live show and the clarity of a studio recording. You hear each member’s individual contributions, but it’s blended and delivered in a way that feels like you’re front row at their show and can feel their energy.

    The album creeps in with a song appropriately titled “The Weight,” featuring a heavy bass line and provides a quick glance as to how these guys can lay down a solid groove. It’s apparent from the start how talented this group is as a whole with a stirring organ solo, rhythmic syncopation between the guitar and drums, and colorful horn melodies.

    As the album progresses, we get a chance to hear how the band sounds with vocals added to the mix on the track “Gimme Gimme.” Even though this is the only song with vocals throughout, it doesn’t feel out-of-place. If anything, it’s one of the best on the album and fans can look forward to (hopefully) more since the male voice heard is none other than new keyboardist, Cole DeGenova. We’re also treated to the sweet background harmonies of Orgone’s Adryon DeLeón.

    Heard+Live

    Another standout on the album is “Knight Life.” The groove and intensity slowly builds over the course of the song, before things turn dark around the halfway point. The transition to the heavy bass focus is backed by an eerie organ and a stumbling drum part that pushes the track to a climax before its abrupt ending.

    While all but one track are mostly instrumental, the band does a great job at giving songs their proper structure. On “Safari Time” you can feel the verse transition to a pre-chorus before diving into one of the best choruses on the album. The momentum and power it creates is balanced and intensified by the other riffs in the song. The bluesy piano solo is reminiscent of the group’s Chicago heritage and blends beautifully with the funk groove.

    For a band’s debut album, one could easily mistake the chemistry and energy The Heard put forth with a seasoned group’s veteran release. The production quality captured and the band’s natural knack for putting together monster groove will leave you with a feeling of hope of where this kind of trajectory will take them. Only time will tell, but for those unlucky folks who haven’t Heard, run over to their SoundCloud page now and stream the album in its entirety.

    Key Tracks: Gimme Gimme, Knight Life, Safari Time

  • Hearing Aide: The New Mastersounds ‘Made for Pleasure’

    cover.kiWith any genre of music, there are different sub-genres and blending of tastes and styles. Within the loose categorization of funk, there are not many that are as classy, clean, yet fun and inventive as The New Mastersounds. Like a veteran athlete who you expect to always play well, the Mastersounds never disappoint in the live arena or on any of their releases. Earlier this month, the group released their tenth studio album, Made for Pleasure.

    The album was produced by guitarist Eddie Roberts and was recorded in New Orleans. The band put together a short video on the making of the album that is available on YouTube, here. The title, as explained by Roberts, defines what the band stands for and why they create the music they do. He says, “We make music for our own pleasure and for other people’s pleasure. It’s about sharing energy with an audience, whether it be live or listening at home.”

    Diving in, the band gets right to it on the title track which kicks things off. There’s no extended intro or build up; it feels like a page out of their live show where they trim the fat and provide something you can immediately dance to. The bouncing guitar lick provides a solid ground for both drummer, Simon Allen, and keyboardist, Joe Tatton, to jump off and show their chops. As with any classic NMS tune, this is catchy, but rides a simple and compelling groove. It’s like watching a professional athlete and thinking how easy they make things look.

    It’s hard to pick out a few songs to talk about on this when the collection is best digested start to finish with all that they offer. That being said, bassist Pete Shand’s work really shines on the soulful “Enough is Enough.” The addition of the rare vocal appearance fits perfectly and something they should explore more of in future releases. Another highlight with a vocal is “Joy,” which is appropriately titled as it sums up the mood the soulful feel-good riffing expressed musically and in the lyrics. The NMS are really good in this sonic arena and this song’s direction in particular stands out above some of their more laid back work.

    © 2015 Jim Mimna

    In terms of The New Mastersounds instrumental bread and butter, it’s hard to say if the band has ever put together a song as great as “Sitting on my Knees.” The songs subtle approach is contrasted with Eddie Robert’s lead work  that aggressively attacks the soft-spoken sonic undertones in perfect harmony. The band collectively reaches this swelling peak where you can feel each member pouring their heart and soul through their hands into the notes and rhythm. It’s like they all want to scream, but without a voice, they do so through their instruments. Robert’s bending and attack beautifully exemplifies the struggle and conflict felt within the song.

    “Pho Baby” is another instrumental gem that is as silky smooth as they come. The band has a quiet discussion here with their instruments, each speaking at a different pace, yet collectively producing some interesting lines. The climax of the song before it hits its final resting place touches on some amazing chords and tension produced by Robert’s soloing efforts. It’s all comes together effortlessly it seems for this band. It’s easy to picture them jamming on some chord progressions and finding some beautiful melodies like the close of this song.

    All and all, the album is just another example of how this band can do little wrong. They are constantly in touch with their roots and influences while blazing forward into the future in parallel. The effortlessness in which they play can be attributed to their chemistry, but you can truly feel the endless love they poured into this release.

    Key Tracks: Joy, Sitting on My Knees, Pho Baby

  • Hearing Aide: Soule Monde ‘Smashed World’

    Soule Monde 'Smashed WorldThe latest from keyboardist Ray Paczkowski and drummer Russ Lawton‘s funk duo Soule Monde is a short, but well worth your time, EP, Smashed World, with five tracks to cover a wide range of funk.

    Smashed World features two live tracks. “Allah Uya” breaks from Soule Monde’s usual drum/organ duo featuring Mihali Savoulidis (Twiddle) on guitar. The song starts out with a light, bouncy feel that gradually gets heavier as the three play it out. “Tango,” the other live track, starts out very organ heavy, reminiscent of Garth Hudson’s organ work with The Band. It then moves into a steady groove with an Eastern European feel to it.

    The three studio tracks couldn’t be more different from each other. “Influence” is a jazzy number that features some great interplay between Paczkowski and Lawton with both taking the lead at various points. “Must Be Nice” starts out with a slow funk tempo that gradually evolves into a dirty, danceable groove, keeping that slow funk. Finally, their funky cover of ZZ Top’s “La Grange” closes out the EP.

    The theme behind Smashed World, as with much of Soule Monde’s work, is funk and more funk. The close relationship between Paczkowski and Lawton is evident throughout. They are masters at listening to each other and then building off the other’s work. Paczkowski’s organ fills out the sound, giving the songs a full band feel, while Lawton’s drumming is not simply there to keep the rhythm. Fans of funk and jazz would enjoy this EP.

    Paczkowski and Lawton are currently on tour with the Trey Anastasio Band. Soule Monde will be opening for Twiddle on New Year’s Eve at Higher Ground in South Burlington, Vermont. Tickets are still available.

    Key Tracks: Must Be Nice, Tango, La Grange

    Find Soule Monde on Facebook.

  • 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

  • Hearing Aide: Papadosio ‘Extras In A Movie’

    “When spring arrives epiphany/I’m still the last leaf on the tree.” As homage to the changing seasons, Papadosio has changed their musical hues from bright neon to softer, more organic colors in their fourth phenomenal studio album, Extras In A Movie. 

    Despite their label as a “genre-bending” group of musicians, Papadosio’s initial album releases of Observations and T.E.T.I.O.S. did in fact fall under one specific category- and that was electronic music. Yes, adoring fans may argue that they possess the improvisational capabilities inspired by jazz, progressive rock, and even jam rock to shape their melodic phrasing and musical transitions, and thus don’t belong under the same umbrella as electronic artists Skrillex or Bassnectar. However, I saw a dash of prog rock and a sprinkle of jazz for what they really were to Papadosio- and that is mere sensibility. I believed that to be labeled as a band that dismisses categorization, each style of music had to be crafted on an individual basis, incorporating the key elements and instrumentation of that style, yet somehow creating one inner voice over the entire work, as a subtle reminder of the single creator.

    It wasn’t until the release of Extras In A Movie that I felt this proficiency in musical obscurity towards Papadosio, but I am confident that this album will break ground for many listeners, especially those who may not have approved of the band’s stylistic approach at first.

    With an addition of some interesting sound effects, acoustic guitars, and tight harmonies, opening track “The Last Leaf,” and tracks “Epiphany,” and “Bypass Default” bring a strong introductory splash to the album, with an erratic yet satisfying mess of musical classes, ranging from styles of barbershop quartets to Pink Floyd to Awolnation. Anthony Thogmartin’s adaptation of vocal timbre throughout each track is complimentary and appropriate, while the surrounding band of Mike Healy, Rob McConnell, Billy Brouse, and Sam Brouse tend to throw in some instrumental surprises, most of the time in an effective and aesthetically pleasing manner.

    The fact that the average track is about three minutes long throughout this sixteen track album speaks great masses as well- this album was created to defy the standards of recorded music, and the ideas were organized in this fashion to isolate and preserve the individual conception of each instance.

    By writing, recording, mixing, and even video conceptualizing themselves, Papadosio has become the purport of the avant-garde composer, keeping the pillars of studio-induced creativity a strong part of their foundation. Their ability to showcase psycadelia-inspired electronic anthems like the album single “Glimpse of Light,” followed by the stripped down acoustic rawness in “Anima Mundi,” “Gazing the Great Oscillator,” and “Open” adapts Papadosio to any kind of setting, guiding listeners into an array of color, vibrancy, and authenticity. Along with developing their own voice, I also heard inspiration from other great genre gods, including Incubus, Genesis, and Daft Punk.

    As part of their grand release, Papadosio has introduced a tour they’ve cleverly named Extras In A Movie Tour – Act 1. If that doesn’t leave you with a curiosity of what “Act 1” implies, I don’t know what will. I suppose the only way to find out is to hitch a ride on their tour, with stops at Irving Plaza, the Westcott Theatre, and Town Ballroom in November.

    Key Tracks: The Last Leaf, Epiphany, Bypass Default, Anima Mundi

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  • Hearing Aide: String Cheese Incident ‘The Rhythm of the of Road Vol 2, Live in Las Vegas’

    String Cheese Incident The String Cheese Incident is celebrating their 20th year together as a band. The Rhythm of the Road Vol 2; Live in Las Vegas is a new release for October. This album is successful because the music explores the uniqueness that life can bring.  Each member of The String Cheese Incident comes from a different musical background. These happy differences have lead to the marriage of many genres and twangy Colorado mountain bluegrass.  This album is a live performance that exemplifies how sounds of music can all come together to create whirlwind imagery.

    Imagine a bunch of road lovin’ country boys who play music. Along their travels meet a man with a bright twinkle in his eye. Graciously he invites them to a paradise in the caribbean- the place he was born. Right as he waved his arm in the follow me motion the young men were swept over by a soft salty wind. When the dreamy haze settles, they realize they have been instantly transported. Their toes rest on the sand in ‘San Jose’, a land entrancingly unfamiliar.

    The imaginary cinema of travels inspired by SCI’s music continue in the back seat of a car.  One close and personal view of just the side of a man’s face and his delicate reflection on the window. Outside of the window is the sound of the winds and the brown, American earth, passing by at fifty-five miles per hour, backroad. Nowhere to be but somewhere; excitement in the unknown of what lays ahead. The performance on ‘Desert Passage Jam’ is filled with bright expression of musical beauty and occasional slow rhythmic bongos create feelings of undeniable appreciation for life that surrounds us.

    Key Tracks: San Jose, Got What he Wanted, Desert Passage Jam, Cedar Laurel, Dirk

  • Hearing Aide: Coheed and Cambria’s ‘The Color Before the Sun’

    Most bands find it difficult to keep finding new inspiration to put out records that don’t tarnish their legacy. This is especially true when they find themselves recording their ninth studio album which is the situation Coheed and Cambria find themselves with The Color Before the Sun. What’s interesting about this particular record is that it’s the first to not be a part of the overarching story that has been made up of their previous albums. The Color Before the Sun deviates from what has come before it, but not in musical quality. The band is as strong as ever and has put together another solid entry in their catalog.

    'The Color Before the SunThe album kicks off with a strong and big power pop opener in “Island” which also happens to be one of the standout tracks. The album is definitely split between slower more emotional songs and the big catchy hook driven tracks. I couldn’t help but draw comparisons to Infinity On High era Fall Out Boy for their ability to blend multiple genres of music but retain that pop atmosphere. “Colors” brings things more in line with traditional Coheed sounds where as “Ghost” creates a great emotional midpoint to the album. The way some of the slower songs are structured shows off singer Claudio Sanchez’s voice as well as a little experimentation with the guitars. The band has been known to draw influence from prog music but this album definitely doesn’t go to that well often. This is much more of a straight forward album which isn’t a bad thing at all. The band still gets to show their musical chops but does it in a very pop radio friendly method. Sanchez’s signature higher pitched vocals cut through and he has a few standout moments showing off how much control he has over his voice.

    Perhaps the best track on the record is “Atlas.” I can see this becoming a staple of their live show for years to come. Again it brings a big pop hook and gets the record back in an upbeat swing as it heads into its second half. The lead single “You Got Spirit, Kid” reminds me a lot of early My Chemical Romance which is a style of music sorely missed in 2015’s pop landscape. I know I’ve made a few references to Coheed sounding like other bands but make no mistake, this album is 100% them. It’s a testament to how they’re able to take influences from many styles of music and combine them into their own unique sound. They’re a band that when you hear them, you know it’s them. Few bands are able to do that these days and often finding themselves blending into the mix after an album or two. Even less of those bands are able to carve out a legacy and absolutely devoted fan base like Coheed and Cambria.

    I have to pay special attention to the album closer, “Peace to the Mountain.” This song builds to a fantastic ending not just for the song itself but for the album as a whole. As the song comes to its finale, horns and strings come into play accompanying the full band. I love when pop and rock bands are able to pull this off. It’s tricky because many times it can come across as forced or even sounding bad as the band wanted to cram too much into one song. This track is an excellent example of the musicianship the band has to offer. The added elements here make this song feel big and important. It’s a great way to finish the record giving that feeling that the ride is now over.

    I love the fact they were willing to stray from their bread and butter with the concept albums. I’m sure this allowed the band to feel a little less restricted but at the same time this isn’t a radical departure from what has come before. They’re still the same band. Maybe a little more simplistic in direction but again, that isn’t a negative. Far too often bands are condemned for making a record with a bit more simplicity in mind but many times this forces more creativity to come out. While this isn’t a crazy prog rock masterpiece, it can be just as hard to write a solid timeless pop record. Coheed and Cambria are still writing great songs and can be proud to add another fantastic album to their discography with The Color Before the Sun. If you’re a fan, you’ll want this and if they’re new for you this is a great entry point.

    Key Tracks: “Island” “Atlas” “Peace To The Mountain”

  • Hearing Aide: ALO ‘Tangle Of Time’

    tot_featureIt has been three years since ALO last released an album. During that time, the band kept busy working on side projects and sit-ins with other artists. The result of that break is Tangle Of Time, their latest album, which was influenced by those side projects and other musical endeavors.

    While Tangle Of Time starts out in a familiar manner, long-time fans of the band might notice a different feel to much of this album. “There Was a Time” starts the album off in a fun, laid back manner. A pair of songs, “Not Old Yet” and “Keep On,” seem to be influenced by Phish bassist Mike Gordon’s solo work. Fans of ALO’s 2002 album Time Expander will enjoy the dancy groove of “The Ticket.” “Simple Times,” a ballad about spending time with loved ones, and “Strange Days,” a folksy number to close out the album, both draw from a country and folk influence. Lyrically, many of the songs on this album speak of various aspects of time, such as reflecting on the past (“A Fire I Kept”) or looking forward to the future (“The Ticket”).

    There are a couple low points, but Tangle Of Time is, overall, a fun album. The band is keeping their music fresh by drawing from new influences. Fans will notice the influences of folk, jazz, country, cajun and electronica on this album. It’s always refreshing to see bands and artists change up the styles of music on display in their repertoire. Tangle Of Time is just that.

    ALO is currently on tour. Tickets are still available for many of their shows.

    Key Tracks: The Ticket, Simple Times, Sugar

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