Category: Album Reviews

Hearing Aide: Motion City Soundtrack – Panic Stations

To ask of another album like Even If It Kills Me from Motion City Soundtrack is embarrassing. Eight years after its release, I have to choke back the urge to cry when I listen to “Last Night” and watch my reflection in the Greyhound window blend with the brackish, gray landscape of Upstate New York. As it turns out, when I flee from a relationship, I’m still looking to seek comfort in squeamish accounts of cats clawing the floorboard. Motion City Soundtrack has a way of discussing the delicate delinquencies of modern romance with zany humor that draws from panic and frustration, while gingerly holding onto fading details. Antonia’s proclivity for collecting flashlights, eating Captain Crunch and citing Annie Hall makes me feel like I still have a shot at finding someone who won’t run away screaming when he finds out that I can’t sleep without a swiss army knife under my pillow.

It’s unreasonable yet completely inherent: I want them to sing about making terrible mistakes so I feel better about making mine. I want them to tell me it’s ok to compensate lack of love with ice-creams and ten-dollar wines. But you won’t find foreboding cats clawing the door on Panic Stations. Though sonically competent, the new album superficially touches the expansive territory plowed in the previous albums. With producer John Angello (The Hold Steady, Dinosaur Jr., Sonic Youth) on board, it seems like the band is so preoccupied with writing “great hooks” that they take it for granted that vacant sentiments won’t knock fans off their barstools. Panic Stations is clouded with hard-driving guitars and aggressively cheerful moogs punctuated by an insincere collection of ‘whoa’s that abort even an imagined possibility of genuineness.

Justin Pierre propels the opener “Anything At All” with a part-coy, part-goofy “let’s do this”, which gives away the going-to-be-a-return-to-form album. The track is full-on power-pop strong until the vague narrative denigrates its structure. Unlike “The Future Freaks Me Out” from their 2003 album I Am The Movie, “Anything At All” ironically faces some trouble expressing the lack of communication in the relationship.

“TKO” is a tepid track about the feverish pull and push of love. Though it’s unfair to peg the song to “Fell In Love Without You”, it falls flat with a perfunctory chorus: “You keep knocking me out/ I can’t get up/ I’ll just stay down”. And the synths in the bridge only weigh down the song further. “Lose Control” bristles dangerously with a processional drum kit, drawing from stadium rock a la fun.’s One Foot, only to poignantly nosedive into mediocre results. The verse serves as a nagging reminder that this is a nautical themed record and it’s vital to the band’s artistic integrity to include lines like, “stranded on top of this ugly ocean, everybody looks the same”.

“Heavy Boots” and “It’s a Pleasure” are two of the catchiest albeit corniest songs on the album that try so desperately to relate (“You are not alone/ We’ve all had our battles with darkness and shadows/ I’m here to let you know/ It’s a pleasure to meet you”) that they become all too transparent in their out-and-out commercial outreach.

“Over It Now” is clearly intended to be a fuck-you song that everyone can relate to. From the cringe-worthy way Pierre pronounces “action figures” to the way he exploits tried-and-tested allusions to his past substance-abuse escapades, it becomes explicit that I’m not the only one aching to recreate Even If It Kills Me. If only success were formulaic. The same sentiment that was once endearing, now begins to nag, dragging along until it becomes irritating.

Melodically, “Broken Arrow” is the closest the album comes to sincerity, even though it’s unable to reproduce the somber-wonder-twin type of harmony lionized in “It Had To Be You”. The nautical theme ensues in “Gravity” with the opening line, “I didn’t want to be the anchor in your heart”. The halfhearted chorus is frustrating because it seems as if Pierre himself is disaffected by what he is singing. Crammed with even more extensive but jejune nautical metaphors (“I’d like to anchor someday”, “my heart belongs beneath the ocean floor”, “clutching the tide as the ship goes down”–you get the drift), “The Samurai Code” is tired, trite and tiring. The prosaic distortion of the guitar and the petering synths in the second verse sound over-rehearsed, like they are trying too hard to fit in a neat blueprint rock scheme prescribed by the producer.

Album closer “Days Will Run Away” is the most stripped-down song on the Panic Stations. That being said, the band just couldn’t seem to resist the urge of a no-frills production, as evidenced by the droning range of guitars that comes in during the latter half of the song. “Days” draws a very solemn vocal and guitar arrangement from Sufjan Stevens, but chooses to endorse plagiarized dime store philosophies (“living a million years in a moment”, “why is goodbye so hard to say”) instead of providing actual insight.

Panic is lacking in many ways–it distracts the listener with overproduction instead of involving them with a strong narrative. Their nautical theme—and here’s a metaphor they glossed over—leaves them stuck at sea. It surely has a few catchy hooks that make for decent listen if you don’t pay any attention to the lyrics. But that’s the thing: I don’t turn to Motion City Soundtrack for clean production and structural sophistication; I turn to them for moments that capture the fragile fluctuations of human stability so exquisitely, so simply, that I feel like I’m not alone. Maybe they got it right in the 2007 track, “Last Night”: they really can’t compete with all my damn ideas.

Key Tracks: “Heavy Boots” “It’s a Pleasure”

September 17, 2015
Hearing Aide: Greg Pier ‘Three Bird Songs and Six More’

After having the absolute pleasure of reviewing his long-running band, Mandate of Heaven’s most recent work and anticipating their new release, Syracuse singer/songwriter/multi-instrumentalist Greg Pier has released a solo outing, Three Bird Songs and Six More.

Released on July 25, 2015, all songs were written, performed, recorded, and mixed by Greg Pier at Neon Witch Studio, from 2013-2015. As stated on his bandcamp page, “The songs on this demo are inspired by the countryside of Onondaga and Oneida counties in central New York.” He lists his Townes Van Zant and Lightning Hopkins as influences, I’ll add my thoughts to that at the end. As a listener that was only recently introduced to his band, this is completely new and unexpected ground, expectations are high.

The acoustic guitar, when well played is like listening to three parts, melody, bass and metronome. It has a percussive accent and bass line from the right thumb, melody from the right fingers, direction and foundation from the left. It tells a story for the voice to sing about. “Kitty Kills the Cardinal” is a striking example right out of the box. You can almost feel the wind under the wings come from Pier’s soft, but steady, right hand and his voice changes character fluidly as the multiple perspectives play out their versions of demise. Right into “Amber Eyes” with a bit of a bounce belying the topic, but there’s an energy of change, renewal and introspection underlying. With the mist of a tambourine interlaced, Pier’s voice softens with the nylon strings and speaks in a voice of knowing.

“Blue Jay Blues” is just that, Pier flexes skills, sounding right at home with the blues, walking blues that is. It’s the feeling of motion while talking to a friend, in this case telling a story to the only ears listening. Verbalization of dreams is often the best way to attain them, no matter who the audience may be. “Fields of White” is bassy and percussive, it yearns to find shelter and safety for a child of desolation, all the while knowing the end is impossible to avoid. “Easy to Say” is one of my favorite picking patterns, it’s strong and aggressively attacked with both hands. It’s youthful and staunch, yet the protagonist is learning lessons deeply and painfully. The brash use of his B and E strings close distinctly cold, as cold as the dismissed heart.

“Prison Creek” gets a bit Delta Blues, reflected through the tone and timbre of the finger pick, combine that with the doubled vocals and it gets eerie, fast. The voice has a tinge of spirit presence, apparition-like, but somewhat soothing, foretelling, maybe that’s the hook. When it doubles it feels like doom. Then “Paper World” is lilting and lost, but eloquently said. Analogizing a love cycle to a paper map that’s easily torn. The sylph harmony at the end is faint in its agreement.

“Red-Winged Blackbird’”takes a first person position as the ever observant red-wing, wings beating furiously, rising, drifting, voiced by the acoustic while the notes he takes smolder out. The multiple tracks thicken both words and notes adding a element of pace. The multiple voicing is used very sparingly throughout, but nicely here in the bridge. The closer, “Spring Ponies” is perfect in its delivery and ability to let the mind wander attempting definition. It’s more free than that with its bounce and bravado, its push start and heralded arrival of spring.

Pier reaches for a different foothold securely. His vocal expression mixed with the varying patterns on the acoustic combine in a superb way. Whether light or dark, blues or otherwise, he sings and plays in colors all his own. He creates motion as well as emotional imagery in a style that is very distinct. His phrasing is deft, his playing is nimble and strong, the subtlety of the mix is near immaculate. There are moments that conjure thoughts of George Harrison, Elliot Smith and Nick Drake, John Fahey, Sufjan Stevens. Likewise with breaths of acoustic delta blues players, Mississippi John Hurt and Elizabeth Cotton. Pier certainly pays respect to his strongest influences, I really dig that and my favorite musicians consistently do it. He’s more than capable of whatever he wants musically, I wonder if this acoustic work coincides with fatherhood.

Key Tracks: Kitty Kills The Cardinal, Prison Creek, Red-Winged Blackbird

Please check out this and the rest of his extensive catalog at bandcamp (solo) facebook (MoH) and bandcamp (MoH).

September 16, 2015
Hearing Aide: Jason Isbell ‘Something More Than Free’

Two months ago roots-rocker Jason Isbell released his fifth studio album, Something More Than Free, and the record quickly topped Billboard’s rock, country, and folk charts after its July 17 drop date.

A follow-up to his 2013 album-of-the-year, Southeastern, the former Drive-By Trucker teamed up again with producer Dave Cobb, and the two created something more polished, identifiable— dare we say, genre-saving for new Nashville to embrace. The album captures the sounds of ’70s outlaw anthems, crooner acoustic ballads and small-town blues-rock with simple bass lines. Isbell’s raw vocals loosely dominate and demand careful attention. Never cryptic in his songwriting, Isbell “put down my fears on a page” and arranged those scribbled-down emotions into 11 solid tracks that pluck to the core of the human search for meaning.

With SMTF Isbell takes listeners on a 43-minute mental flashback from a more mature musician “hell-bent on growing up if it takes a lifetime” to the rebellious “22-backwoods-years-old” determined to find his sound. In songs like “24 Frames,” “Life You Chose,” “Speed Trap Town,” and “Children of Children” (note the nod to Led Zeppelin’s “Thank You”), Isbell weaves his autobiographical experience of loss, learning, growing, and salvaging the good into tender hymns for the underprivileged rural South and those struggling with addiction. And it’s this unapologetic courage to sound like nobody but himself that secures Isbell as a front-and-center fixture on Americana’s stage.

SMTF marks Isbell’s return as a focused, confident artist who’s at peace with his purpose and proves that a metamodern country boy can survive.

Key Tracks: 24 Frames, Life You Chose, Something More Than Free

September 14, 2015
Hearing Aide: Ken Chapple ‘Crossing The Black’

Oregon-based bluegrass singer/songwriter Ken Chapple is debuting his first album, Crossing the Black, September 18. It is a compilation of 10 original acoustic songs featuring his flatpicking guitar prowess and vocals, and collaborations with a collection of other local musical talent. Accompanying him on the album are Lex Browning (fiddle, vocals on Cutie Pie, See Where She Goes, Black River Cabin, Salvation and Sweet White Clover), Rob Wright (bass, vocals on Cutie Pie, Black River Cabin, Salvation and Sweet White Clover), Peter Schwimmer (banjo), Martin Stevens (mandolin) and Julie Schmidt (vocals on The Wheel). Every song is written, arranged and produced by Chapple, and the album was recorded at Big Red Studio with Billy Oskay engineering.

Chapple has been playing guitar since he was twelve-years-old, and his proficiency on guitar is apparent. Having released two albums with bluegrass group Wayward Vessel, Chapple’s debut album has been a long time coming. His warm, gentle voice makes listening to his album a relaxing endeavor, which may be best suited for lounging on a warm summer’s night with a few candles burning nearby. His songs carry themes of love and following the heart.

“Pair Of Twos” begins with an easygoing elegance, featuring Browning on fiddle. Uttering the words, “Why settle for a pair of twos. Mama said there’s so much more I can do. Be an artist or be a fool but don’t hold back now,” — Chapple seeks to inspire listeners to follow their dreams. “Without Your Warmth” quickly transitions from a pensive introduction, increasing tempo as Chapple sings of a deep need for a loved one, proclaiming, “Without your warmth I will die.” The title track “Crossing the Black” is an all instrumental piece opening with intimate guitar, followed by a simple but pronounced bass line. Fiddle soon joins, which momentarily takes a backseat for mandolin, and then guitar. All instruments have their moment to shine, and this track truly showcases Chapple’s guitar work, providing a wholesome, satisfying feel.

A variety of limited edition music packages and pre-order options are available here. Check out Ken Chapple’s SoundCloud and Bandcamp profiles, or his Facebook page for more information about his work and upcoming events.

Key Tracks: Pair Of Twos, Without Your Warmth, Crossing the Black

September 12, 2015
Hearing Aide: Bring Me the Horizon ‘That’s the Spirit’

Bring Me the Horizon, formerly of Epitaph Records have done something many rock bands can only dream to accomplish; they have singed to Columbia Record, a mainstream label outside of the typical “scene labels”. Although these labels, Epitaph, Fearless, Hopeless, etc. do a phenomenal job of promoting their bands most bands on these labels do not see much radio air play or large-scale success with touring beyond club tours and the occasional smaller arena tour with co-headliners.

Bring Me the Horizon have joined some of the most recognizable rock artists on Columbia, including AC/DC, Nine Inch Nails, and System of a Down among many with many other great artists. Bring Me the Horizon released their highly anticipated fifth studio album, That’s the Spirit on September 11. This record had a great deal to live up to with the band’s last record, Sempiternal (2013,) receiving great recognition including winning the Album of the Year at the first annual APMA’s. Bring Me the Horizon also won Best International Band that year, a much deserved award after an incredible year of touring to support the well received album. Bring Me the Horizon was at the peak of their career with the release of Sempiternal but have continued to grow and gain notoriety with each single they have released off of That’s the Spirit.

Lead single, “Drown” released on Epitaph Records has been heard throughout NY on rock stations which may come as a great surprise to seasoned Bring Me the Horizon fans as they previously have been a band that was not associated with rock-radio. Typically, their singles have been a bit too heavy for mainstream rock radio but with this single they showcase a different skill set with the same ability to captivate an audience and draw in new fans. “Drown”, was extremely well received despite having a very different sound than what is typically expected of Bring Me the Horizon and sets a good tone for what listeners should expect from the album as a whole. The next single off of the record, “Happy Song” received such an incredible reaction from both fans and other musicians with countless bands taking to social media in support of the song that almost becomes an anthem for rock music and the bands that fall under the Warped Tour genres. Despite some strange backing vocals that almost take the form of cheerleaders the lyrical content of this song will set it apart from so many. Bring Me the Horizon managed to capture in words the power of music and the feelings of being at a concert. With lyrics like “You want to give up, gave it all you’ve got and it still doesn’t cut, but if you sing along a little fucking louder to a happy song, you’ll be just fine” Sykes and company manage to summarize the power of music and it’s cathartic effect in one verse. After a complete listen of the entire album fans will be satisfied with a good mix of the older unclean vocals that frontman Oli Sykes became known for, but surprised with the equally talented clean vocals Sykes started to explore in Sempiternal.

The entire record is extremely well written as a whole with very emotional tracks like “Drown” and “What You Need” that address the feelings of depression that have always been a central element to their albums while blending the new-found clean vocals with the raw unclean vocals that have always matched the tone of the lyrics. Sykes does a phenomenal conveying the strong emotions behind his words on this record with both his unclean and clean vocals which speaks volumes about his talent as a frontman. The only thing more expressive of the emotions behind their songs is seeing them preformed live with the full emotion and production behind each song, which will undoubtedly remain for their upcoming U.S. headliner in support of this record which kicks off this October.

Key Tracks: Drown, Happy Song, Avalanche

September 11, 2015
Hearing Aide: Milking Diamonds ‘Migratorius’

Milking Diamonds is an indie/alternative duo formed in 2007 by husband and wife team: Katherine Scholl, vox/keys, and Sam French Jr., vox/guitar. Their new EP, Migratorius follows up their debut release, 2009’s SAMMY nominated Surface When It’s Clear. Migratorius was recorded at WAAV Studios in Syracuse and mastered by the magic hands and ears of Jocko (Jason Randall) at More Sound Recording Studio, also in Syracuse.

Their Bandcamp page reminded me of a genre-splitting name from the nineties, dream pop. I discounted it at the time because it was always coat-tailed with shoegazer, to me that wasn’t a match. Dream pop works well when you have a duo creating sounds like these. There’s a distinctly atmospheric feel that runs through all of it, counterpoint with guitars, keys, and voices, all leaning on the “echo” modulations and layers.

“Obvious” opens with a staccato guitar line that quickly takes the role of a beating heart in a “new love” song that won’t say the word. Katherine and Sam’s voices fit so well together, it’s almost as if she’s telling the story and he’s following her lead, just slightly behind. It’s wonderful. Katherine’s voice is ethereal and emotive while Sam’s is rich and strong like so many new romantics were. While the couple chooses a “wait and see” attitude against the majority, they’re allowing time to grow and seem quite happy in doing it their own way.

Sam takes the vocal lead on ‘The Sway” setting another clear path, it’s somewhat Bryan Ferry with splashes of New Order or Interpol. The airy space given to the vocals here is amplified by the sustaining guitar lines, each reaching out only slightly, just enough to accent until the build at the end. Very impressive. The keys do a lot of the heavy-lifting overall, providing beats, textures, and some bass, definitely adequate considering the vocal leanings and melodic richness of the songs.

“Scars” may be my favorite track, it’s focused and well mixed, the call/response vocals are almost like Kate Bush with The Edge riffing behind. The keys fill and lift the harmonies in a way that makes the listener question the number of musicians contributing to the whole. Katherine’s voice soars on the orchestral string sounds while Sam counterpoints the melody on the guitar and harmonizes through the swelling close.

The penultimate song, ‘Tracks,” embodies the statements — “Dream pop tends to focus on textures and moods rather than propulsive rock riffs” in the view of Simon Reynolds, dream pop, “celebrates rapturous and transcendent experiences, often using druggy and mystical imagery.” This is anthemic to Milking Diamonds throughout this EP and even their previous release. Especially here with the upbeat drum pattern and Sam’s guitar seamlessly switching moods for Katherine’s poppy reading.

With the flair of The Raveonettes and White Stripes, “Human Cannonball” is relentless in its beat and topic, railing against the norm while establishing their realities. It yearns and strives for more, from here it seems there could be a long way to go for them. You can feel the heart of the songs, while each has a level of familiarity, they also possess individuality while leaving room for listeners to relate.

The many strengths of Milking Diamonds are evident, their style is ear-candy to any lover of 80s and 90s post-punk romantics and more. While the drum programming provided in the keyboards works, it would be remarkable to hear these tracks pushed by a live rhythm section. You can see, hear and buy music from Milking Diamonds on their Facebook page, Twitter, CDBaby, and their aforementioned Bandcamp page. Give ‘em a spin and check ‘em live, my plan is to do the same.

Key Tracks: Obvious, Scars

August 31, 2015
Hearing Aide: Fear Factory ‘Genexus’

Fear Factory returns with its ninth album, Genexus, and this album does not disappoint. It’s absolutely amazing that nine albums in, the band still continues with the same sci-fi theme about the dangers of machines and technology. They sustain that industrial thrash metal sound that parallels their breakthrough album Demanufacture.

One bold move this album did, was the decision of moving away from the drum machine they used on the previous album, The Industrialist, and hired Mike Heller to handle the drums on this album. Dino Cazares handles all the guitars and bass tracks, while Burton C. Bell has laid down all vocals.

The album kicks off with a robotic track “Autonomous Combat System,” which reminds us that this is a Fear Factory album. A real stand out track is “Dielectic” which interestingly enough, uses a little bit of orchestral arrangements throughout the track. That’s really what makes this Fear Factory album stand out. We are used to hearing program arrangements, synthesizers, keyboards, and other electric sounds in almost every Fear Factory album, but this album continues that tradition, also using orchestral arrangements.

“Soul Hacker” is another killer track on this album, featuring some of the best vocals I Hacker” is another killer track on this album, featuring some of the best vocals you will hear from Bell. Halfway into the album, the title track features more the heavy and fast guitar riffs from Cazares that are so clutch with the double kick drums with synthesizers buried cleverly underneath. “Church Of Execution” has a bizarre and catchy riff that will get stuck in your head. Finally into the tenth track “Expiration Date” is a ballad which is a great way to end this album. It’s not very often Fear Factory graces an album with a ballad. Then this album offers two bonus tracks with “Mandatory Sacrifice” remix and “Enhanced Reality” which adds value to this album.

In conclusion, I do believe this is Fear Factory’s best album since 2001’s Digimortal. Some people may find this album redundant because of the constant theme and sound that Fear Factory has always used, but most people should appreciate all effort that was put into this album because of all the industrial arrangements that is timed out so well with the music. Fear Factory continues the momentum on Genexus and these songs need to be heard live.

Highly recommend the purchase. You can buy Genexus here.

Key Tracks: Dielectic, Soul Hacker, Church Of Execution, Expiration Date

August 21, 2015
Hearing Aide: Lonesome Crow, ‘Lonesome Crow’

Central New York-based Lonesome Crow know right where the sweet spot is when it comes to Southern Rock/Outlaw Country music. Their pedigrees that include Savoy Brown, Mad Jack and Last Train Out gave them plenty of road experience, along with opening for such acts as The Outlaws, The Marshall Tucker Band and Blackberry Smoke.

Composed of “compadres for decades,” Lonesome Crow is Rick Jewett (keys, harmony and vocals), George Lamb (bass), Lou Kaplan (acoustic and electric guitars, lead and backing vocals), Slaus Brown-Paul (lead and slide guitars, banjo, harmony and vocals) and Barry Westfall (drums). Recording was done at Conan Fioramonti’s The Ghetto studio in Syracuse, produced by the band, engineered by Fioramanti, mixed by Bill Aldrich, Jewett, Brown-Paul, mastered by Scott Patnode.

Photo by Deborah Brooks Miller

This band could claim to be formed in the early to mid-1970s southern rock scene in the Carolinas and Georgia. They can honky tonk it with anyone, each member knows their role and is strong within it. Kaplan and Jewett are the primary songwriters with Brown-Paul contributing two songs as well, they even re-make a couple of Mad Jack numbers in the middle. While the terms Outlaws, Hell Raisers and Renegades are thrown around a lot these days, LC live it as much as reality allows. Much like their influences and heroes, LC’s live shows are spirited romps through decades of history while creating their own on the way.

“Rollin’ Into Town” (K), the opener of this eponymously titled album, establishes much of what “Lonesome Crow” is all about. Melodic, well-written songs that are easy on the ear and easily remembered. This could’ve come straight from a Marshall Tucker (MT) issue, much like ‘Lay Me Down’ (K/J), the next track. The story is plausible, the mix is smooth and you can dance to it. Gary Burns’ steel line with Jewett’s piano just make it bounce, the rest is solid, especially Brown-Paul’s solo. ‘American Small Town Boy” (J/K), revs it up several levels, Jewett’s piano and Hammond sound just right with Brown-Paul’s raved-up rhythm. George Lamb and Barry Westfall are great role players, with lead abilities. This music isn’t going to ask them for gymnastics, do what you do, everyone’s feet listen. Kaplan is out front and he knows how to sell what he’s got, he has the look, swagger and chops to get it.

“Wicked Ways” is the first Jewett/Kaplan (J/K) piece although they switch to Kaplan/Jewett (K/J) too, I’ll note them as they have a different flavor and the mix of them is cool. Kaplan does his best Doug Gray and the band is swinging or skiffling, is that a word even, great ooos in the background, Brown-Paul’s finger picking and slide drops. Jewett honky-tonks it and off they go, he delivers a great solo mid-song too. “Pick-Up Truck” (J), is where Jewett takes the mic and kicks it into gear, his organ sounds are dead-on and Brown-Paul’s pick and slide jump like Toy Caldwell, the bluesy backing shouts and the same in Jewett’s voice compliment nicely. Brown-Paul shines again in solo, did I say the rhythm section was tight? That.

“Shot To Hell” (K/J), brings a bit of Allman Brothers Band here with the acoustic rhythm brought up, the slide and the piano. The MT is still present as Kaplan re-takes the lead and the harmonies really come through with the help of Fioramanti in the equation, a percussion shake too. Brown-Paul’s (B-P) first piece, “You’re The One” is also his first lead singing role, his voice is softer and smoother, it is just right for this true sad country tune. Gary Burns’ lilting steel guitar licks behind the tremble of B-P’s vocal, Jewett gets a little country majestic and you could wring the sweet out of the backing vocals. “Tonight We Ride” TWR is a (K/J) plus Alan Macomber and Mike Brown piece from their former band, Mad Jack, as is the next one, ‘Desperation Road’ DR. ‘TWR’ is a nice up-tempo love song, more country flavored with a updated guitar solo and a Allman Brothers bridge. It’s got the right swing and sway, DR has it too while of course the topic matter is 180 degree spin. DR opens in a dark mood, Westfall paces with a marching snare, but quickly turns its cheek, Brown-Paul leads to Jewett mid-song as they stretch it out with a couple of great solos. Lamb is running steady on the bottom as Kaplan tells the tale of redemption from his soul and heart. Cool outro too.

“Way Past Mad” (B-P), with B-P at the lead, is tweaked with Texas-Blues and a similar swing. It feels like you’re riding a railroad car, then Jewett jumps on piano line right out of a western barroom. All of the elements that culminate in Texas Swing with a big-rock ending. Great jam. “Fast And Free” (K/J) rocks a bit more than previously heard here, Jewett stealing the show in the middle with a ripping piano solo, only to have B-P top it off. When Kaplan sings, “Packin’ up this old guitar, Packin’ up my guns, Loadin’ down that truck out in the drive, Say goodbye and wish you well, Put the hammer down, Takin’ one last run while I’m alive”, you know he’s been there before. Then B-P drives it home.

“Take My Drunk Ass Home” (J/K) closes with a bluesy country twang, Jewett at the mic, it’s a descriptive, with the title’s protagonist talking to himself. It’s possible he’ll get everything he’s lost back, but we know what he’ll have to do. LC’s dexterity within a loose genre is expressed throughout this album. They tell you stories, whether they’re reality or fiction, they’re plausible, they’re presented authentically and played at the level that is allowed by most prefectures. They love what they do and it shows clearly what the idea of being in a band is all about. If’n all y’all maight prefer this heya musical style, might right give a listen, all y’all be durn happy fo it! Check out Lonesome Crow on facebook.

Key Tracks: “Pick Up Truck,” “Way Past Mad,” “Fast And Free”

July 27, 2015
Hearing Aide: Brian LaPoint and the Joints ‘Pick Me Up’

The music of Brian LaPoint & the Joints seems to go quite well with summertime. It’s the type of music you can throw on and let play out over a summer night of hanging about and enjoying the simple treasures in life. It has strong lyrics with strong female and male singing to accompany all the tracks.

“Pick Me Up,” the first song off their album Pick Me Up, opens with a thick and velvety guitar that wails until being met with accompanying harmonies of a strong horn section. Lyrically, the song discusses concepts about the circle of life going down in a spiral and while help to rise up and stand amidst living with this struggle.

“Love and Inspiration” starts with a guitar part featuring muted strumming, reminiscent of something Nirvana may have done in the 1990s. But then the song takes a move towards a duet of singing between a man and a woman proclaiming their love for each other.

An abundance of different instruments can be heard across the album. Both a saxophone and trumpet solo soar through “Say Hello To Me” — a laid back groovy song that opens with a funk style bass riff.

In fact the strongest aspect of Brian LaPoint & the Joints may be the horn section. The trumpets and saxophones are recorded with great quality that ups the listening of the overall band. Across their album Pick Me Up, the band is able to cross musical genres and call upon various influences to create a unique sound of underwater (and sometimes reggae style) guitar, country-rock style vocals, and crisp drums matched with necessary keyboards and horns.

Instrumentally, this band seems like the kind to be able to have some fun live jams. They’re certainly a group that can stay true to their own sound, as the twelve songs flow effortlessly between each other without straying far from the vibe of the entire album.

Key Tracks: Pick Me Up, Love & Inspiration, Say Hello To Me

Listen Here: Bandcamp Facebook SoundCloud

July 27, 2015
Hearing Aide: Marco Benevento “Live at Signal Kitchen”

Marco Benevento’s April 2015 recording Live at Signal Kitchen, manifests the essence of his techno piano jam band sound at its pinnacle. Accompanied by bassist Dave Dreiwitz and drummer Andy Borger, the sold out performance covered work from Benevento’s most recent album Swift, and several of his previous albums including TigerFace, Between the Needles and Nightfall, and Invisible Baby.

Many of the songs possess a shallow, echoed sound, making it a good album to play if you’re in need of some background noise and aren’t concerned about clearly distinguishing between tracks. The synthesizer effects and piano glissandos on “Fireworks” are reminiscent of a circus fun house, showing off Benevento’s more playful side. There are satisfying head bang worthy moments during “Bus Ride” where heavier drums bring out a more solid rock vibe to the album. The performance closes out with a fast-paced, piano-driven cover of the David Bowie version of “Let’s Spend the Night Together” that might just make your head spin.

Key Tracks: Fireworks, Bus Ride

July 11, 2015