NYS Music 20​15

Category: Album Reviews

  • Hearing Aide: Dan Johnson and the Expert Sidemen’s ‘Suck It Up, Cupcake’

    Honest heartfelt lyrics, and a raw unadulterated voice  help to shape Vermont-based Dan Johnson and the Expert Sidemen’s latest album titled Suck It Up, Cupcake. Listening to this album, the band’s fourth, you get the sense that Dan isn’t trying to impress anyone, yet he manages to do just that. So sit, back, relax, and imagine you are sitting around a campfire with a true storyteller who just so happens to be a great guitar (and pedal steel and mandolin and banjo) player, and who has his friends Pete Murphy, Brian Elsenbeck, and Roger Noyes (the Expert Sidemen) along to back him up.

    suck it up cupcakeGleaning influence from none other than Bob Dylan, which certainly comes through in many of his tunes, Dan has also been singing and picking along with more locally well-known (to Upstate NY) musicians, including Jay Ungar and Molly Mason, who have taught him to appreciate the more acoustic and traditional yet simultaneously individual sides of folk music.

    To add to the pure sound of this album, Dan chose to record all the parts in his Vermont home, using Garageband for the mixing and mastering, making this artist a talented songwriter and recording artist to boot! Although a couple of the songs are a bit cheesy, which kind of comes with the territory, being that this album falls under the country music genre, each song has a way of working its way into your head, and sticking there all day. Perhaps it’s the easy-going quality of Dan’s voice, or the familiar sounding riffs reminiscent of traditional folk tunes, or the soothing tones of the pedal steel guitar featured on several numbers, but his songs do have an infectious quality.

    Once you give Suck It Up, Cupcake a listen, you won’t have to wait too long to hear them performed live, as Dan Johnson will no doubt be playing some of his new tunes during his upcoming shows, which include stops at Skinny Pancake in Montpelier, VT on June 14, Radio Bean in Burlington, VT on July 4 and a performance at Upstate NY’s very own Hardball Café in Cooperstown on July 10, and the Bellstock Festival in the Catskills on July 16.

    Key Tracks: Being Free, Seattle Southbound Blues, On My Gravestone

  • Hearing Aide: Street Rock Mafia ‘Music is Life’

    Street Rock Mafia is an energetic five-piece, funk/rock group with a slippery hip-hop lyrical twist, calling Utica home. Originally formed as a three-piece in early 2014 with Chris Mandry on drums, Anthony “Zee” Donaldson handling the bass, and Anthony “AO” Owens laying down vocals, the band has since welcomed Gabe Oram on electric guitar enhancing their sound dynamically. With just over a year of practicing, playing live, and promoting, these gifted artists have established themselves throughout central new york as the feel good booty-shakin’ live act around.

    Music is Life is their first EP, featuring five lively tracks from their modest catalog. Recorded at Big Blue North Recording Studio in Utica, S.R.M. utilized their cushion of time to the caress the mood of the album and make sure it was fine tuned. “Are You Living” rockets us into a solid state of awareness with a massive drum and guitar heavy song, asking a serious question to the listeners while pumping its fist in the air. “Bitch Better Have My Money” comes in second on the list, as a teeth grinding forceful request of debt collection. AO presents excellent comedic relief to a story of breaking “the man” down at a past 9-to-5 mundane job. “Milky White Booty” will surely stick in your head for days with it’s pop/funk rhythms and provocative lyrics. The song truly slides into motion when Sam Kininger adds some sexy saxophone melodies that lead into a plateau of feel good energy. Next is the title track called “Music is Life,” holding fast paced verses and grunge chunky choruses, featuring Joe Sweet of Nineball on backup vocals. “Renaissance Man” has Zee introducing the last track with a silky bass line, leading into a funk inspired verse, followed by heart thumping drums and demanding lyrics.

    In whole, the album is fresh and full of life that will continue to move asses and inspire crowds to come. Music is Life will be released at the official release party on April 25, 2015 at Gordon’s Tap Room in Utica. Everyone who contributes to the show will receive a USB with the album on it accompanied by pictures, video, and other goodies. Opening acts for the night will include Glen Street, Masons Revolt, Copper Vein Clones, and award-winning Nineball.

    Key Tracks: Milky White Booty & Bitch Better Have My Money

    More Information can be found on Facebook for Street Rock Mafia or their reverbnation page.

    Check out the video below for “Bitch Better Have My Money”

  • Hearing Aide: Turkuaz ‘Stereochrome’

    Short and sweet, this newly released four track EP Stereochrome is full of the uplifting soulful sounds that we’ve come to expect from Turkuaz. A self proclaimed “funk army” it’s obvious from the get-go that their mission is to get you on your feet.

    The first track, “The Fader” is high energy and completely instumental, reminicent of a stripped down James Brown song. The other three songs are full of meaningful lyrics and well-timed harmonies. The two female vocalists Sammi Garet and Shira Elias really shine throughout the EP, especially on “Tiptoe Through The Crypto” where Elias’sultry voice adds an authentic richness.

    Sterochrome is like a revival of the ghost of funktown’s past. With their influences varying from Sly and the Family Stone to Parliament, Turkuaz excels at adding a refreshing take on an older, homegrown style. If you want to catch them live, they’re playing various dates around the Northeast in the coming weeks.

    Key Track: The Fader

  • Hearing Aide: Misery Kills ‘My Ugly Insides’

    Misery Kills (formally called Misery) is a metal band from the Long Island/NMy Ugly Insidesew York City area that I never heard of until a couple of weeks ago when I caught a few metal shows down there while visiting family. Bassist Joe LoCasto, who plays in Misery Kills, also plays in a band with Joey Z of Life Of Agony called Zire’s War. After having the pleasure of witnessing Zire’s War, Joe LoCasto told me to check out Misery Kills, so after receiving their album My Ugly Insides, I had high expectations for this album, after listening to this album, I was not disappointed.

    The album starts of with an instrumental intro entitled “Eight FortySix Thirty” then blazes into a devastating track called “Eyes Wide Open.” And when you hear the evil screeching roars of vocalist John LoCasto combined with dual guitars of Corey Schaefer and Duane Conlon, you know that this band means business. To top it off the bone crushing tracks from drummer Scott Borrero aided with underlying bass of Joe LoCasto gives this band a unique chemistry. The best way to describe the sound of this band…remember the circle charts from elementary school? Picture three interlocking circles representing three bands: Lamb Of God, Coal Chamber, and Agnostic Front. The gray area that the three bands I just mentioned share is what Misery Kills and this album reminds me of.

    Now back to the album. The track that I fell in love with is “Poltroon.” That song makes me want to stomp someone the hell out, a great feel good aggressive song. Every track is solid, thrashy, and to the point. The quality and mixing of this album sounds retro, which I believe that producer Joey Z (Life Of Agony, Zire’s War) was going for when he was putting the finishing touches on this album.

    misery-kills-2014-band-photo

    The next track that gets me going has to be “Kills My Day,” it’s the fastest and most vulgar track on the album, it’s very blue-collar with no-nonsense. Right after that, the guitar work on the following two tracks “Sick Around You” and “White Trash” is absolutely top-notch. This band grabs you by the collar and makes you listen…and trust me, you will be hooked.
    Towards the end of the album, you are graced with the track “Give Em Hell” which is a foot stomping anthem with catchy hooks and nasty breakdowns , then My Ugly Insides ends with the title track which is the cherry on the bloody sundae that this band serves. It’s a very appropriate and dark song to cap off to what is in my opinion, a very solid metal album from a very hard-working band. I was happy this band reached out to me, so do your ears, mind, body, and soul a favor and pick up this album.

    You can purchase My Ugly Insides here. Check out the track “13 Miles” below.

    Key Tracks: Poltroon, Kills My Day, Give Em Hell

    [youtube http://www.youtube.com/watch?v=-OdE60fKpWs&w=420&h=315]

  • Hearing Aide: Monophonics ‘Sound of Sinning’

    sos400Monophonic, by definition, means consisting of one sound, yet Monophonics, a six-piece band from San Francisco, are anything but monophonic. They call their style of music “Psychedelic Soul.” That’s exactly how to describe their newest album, Sound of Sinning, which draws from the rich history of the Bay Area’s music scene and mixes it with the sounds of Motown and southern soul.

    Listening to Sound of Sinning, you will think it was recorded 45 years ago. The album starts off with a nod to the psychedelic garage rock of the ’60s. “Lying Eyes” mixes smooth harmonies, reminiscent of The Byrds, with a raspy belting chorus. The remainder of the album is very much that “Psychedelic Soul” sound, bringing together psychedelic sounds with R&B, soul, and funk in a perfect union. The title track sounds as though Aretha Franklin was performing with The Zombies as her backup band while “Hanging On” brings back memories of The Supremes. The album closes out with the mostly instrumental “Everyone’s Got…,” layering vocal harmonies over a catchy rhythm and psychedelic melodies similar to The Beatles’ “Revolution 9.” Lyrically, this album speaks of heartbreak, broken promises, and lies – the sound of sinning.

    Monophonics are currently on tour, finishing up a run through the northeast before they head south and then west to California, followed by a handful of shows in western Europe. They will play Buffalo’s Iron Works with Wild Adriatic on Thursday, April 16 and then they head east to Rochester on April 17, to play The Club at Water Street.

    Al Bell, record producer and co-owner of the legendary Stax Records, calls them “One of the best live soul bands I have ever seen!” Sound of Sinning can be purchased through their Artist Stores page. You can follow them on Facebook, Twitter, Instagram, and YouTube.

    Key Tracks: Lying Eyes, Sound of Sinning, Find My Way Back Home

  • Hearing Aide: Rising Appalachia’s ‘Wider Circles’

    Be prepared to be wowed by the sweet harmonies coming forth from these super talented sisters, performing together as Rising Appalachia. A sound this tight could only come from two people who have put in a lifetime of singing and living life together. Hailing from the South, sisters Leah Song and Chloe Smith have traveled extensively throughout the world, which truly shines through in their music. Joined by stand-up bassist/baritone guitarist David Brown and world percussionist Biko Casini, Rising Appalachia’s latest album Wider Circles is sure to gain this band heaps of new fans from all walks of life.

    Seamlessly covering the entire spectrum of musical genres, ranging from traditional music of the American South highlighting the banjo and fiddle, to world music featuring African drums, there’s something on this album for everyone to enjoy. Mixing in poetry, and even rap, on some of their tunes, it is definitely worth giving the lyrics a hard listen. You will feel like you learned something by listening to this album, hearing stories about medicine women and men on “Medicine”; listening to a chorus of African women singing at the end of “Bright Morning Stars”; being called to action in “An Invitation” and “Spirits Cradle” and hearing instruments prominently featured simultaneously that might not typically be paired together, like the banjo and trumpet on title track “Wider Circles”.

    Perhaps even more unique and inspiring than the album itself, Rising Appalachia is taking part in a “slow music movement” approach to touring, in an effort to travel to their shows in a more sustainable way and immerse themselves in the local communities in which they play. In advance of their new album, the band has embarked on their Wider Circles Rail Tour, during which they are traveling by train from show to show throughout their tour of the southwest, which began in New Orleans on March 28, and will feature several stops along their journey to Austin, Texas’s, Old Settler’s Music Festival, which will be taking place on April 18.

    Having graced an impressive variety of venues with their presence, ranging from Radio Popular Italy to Burning Man, this band has impressed audiences all over the world, and they don’t seem to be stopping anytime soon. Featuring something for everyone as far as musical tastes go, it is highly recommended to check out the extraordinary harmonies and unique combination of instruments featured on Rising Appalachia’s latest album Wider Circles, which is set to be released on April 21. In the meantime, enjoy a brief video of one of their older songs to get you psyched for their new album release.

    Key Tracks: Novels of Acquaintance, Medicine, Wider Circles

  • Hearing Aide: Seplophile ‘Mesonoxian’

    Seplophile MesonoxianEvery once and awhile, you come across an album that you just can’t stop hearing about, even years after its release. Lately, that album for me has been Mesonoxian by Buffalo death metal bosses, Seplophile. It first graced my ears in February of 2013, and although I haven’t really listened to it since the summer of that year, I still hear at least one person bring it up at every Buffalo metal show I attend. Mesonoxian seems to have set a new standard for not only other Buffalo locals, but a few touring bands that have come through the area as well.

    Back in May of 2013, I played a show with Seplophile and Arsis (Nuclear Blast Records) at Broadway Joes. During Seplophile’s set, I had a conversation with James Malone, Arsis’s frontman. He made a comment about how Seplophile not only made a great impression on him, but how they really stood out in an already very talented Buffalo metal scene. Malone later went on to address the crowd during Arsis’s set, giving Buffalo’s metal scene that traditional horns and hails. Then, at last Friday’s ‘Metal Fights Cancer’ event at Rockin’ Buffalo Saloon, I caught up with a lot of Western New York metal scene veterans who repeatedly brought up Mesonoxian, one show goer in particular still citing it as “the best metal album ever released by a Buffalo band, not of national status.” In short, all the attention this album continues to get today, has made me want to revisit it two years later and pick it apart.

    It kicks off with “Exhale All Life”, an ominous piano intro played by guitarist, Matt Backlas. The keys come and go throughout the record, all of which are played by Matt, and perfectly compliment the “simply death” idea at the foundation of Seplophile’s music. “Anomos: Identity Crisis” is an ideal opening track for any death metal album. It pulls you in with quick evil riffing accompanied by vocalist Colin Winkelman’s persistent and consistent low growls, ripping basslines and relentless blast beats. “The Isolationist” provides the same punishing death metal truth as “Anomos” which further carries the band’s ultimate message: “DEATH METAL PREVAILS”, which also appears at the end of the credits on Mesonoxian. Then, finally, we get to “Quarantined”, which has the most melodic section on the record by this point. It has a tremolo outro that uses metal’s signature “sad scale” and paints a dismal picture of growth from decay, or perhaps triumph from misery. A 3 part death metal masterpiece follows this change of pace, called “Philosophiae Naturalis- The Portents of Ash- Shaytan”, made up of tracks 6-8, respectively titled, “Omen of the Adversary”, “Under Shifting Sands”, and “Glassstorms”. “Under Shifting Sands” is a straight forward injection of grind, doom, crunch and melody, and was the first single released by the band for the album. Other songs stood out to me a little more on the track list, but given their diehard death metal demographic, “Under Shifting Sands” is a smart single choice. “Fields of Stone” is the next standalone track and has a devastatingly powerful and emotional outro. It’s very doomy, melodic and extremely well composed. Matt’s keys return here and slow harmonized leads make for a fitting finale to a truly driving song. Afterwards, the boys close the album out the way it begins with “Retribution” and the title track, “Mesonoxian”. These two last songs rip and leave you wanting more. The roller coaster has stopped too soon and you feel like you haven’t gotten your money’s worth. All the more reason to get excited for the forthcoming second album or a live show!

    Seplophile will be performing at Broadway Joes in Buffalo on Sunday 4/26 with Buffalo thrash legends, Hellcannon and New York death metal legends, Incantation (Relapse Records, Necropolis Records, Listenable Records). If you want to relive death metal’s glory days through a rejuvenated sound, be at this show. If you haven’t listened to Seplophile yet, do so.

    If you’re less into traditional death and more into bands that wave the “deathcore” flag like White Chapel, Suicide Silence or Chelsea Grin, you might be disappointed. But if you fall somewhere in between, you might just find that Seplophile has a little something for everyone craving a little bit of heavy.

    Key Tracks: Quarantined, Fields of Stone, Under Shifting Sands

  • Hearing Aide: Huetensil ‘Black and White’

    black&whiteHuetensil has just released his debut album, Black & White, available on a digital-only format. Huetensil is the alter-ego of tri-cities based Hugh Wygmans, who is also the front man of prog-monsters, Question of Honour. Wygmans is a singer/songwriter/guitarist hoping to expand his listening area beyond the 100 plus radio stations in eight countries he’s been played on in his different stage personas. Very impressive as an artist that handles all ends of his recordings; performing, mixing, editing, producing and mastering this album at Shadow Planet Studios. Wygmans wrote and arranged everything performed by Huetensil (vocals, guitars, bass, programming drums/bass) here besides the co-arrangement of “Let’s Pretend” with David Wygmans and Ken Pitchford. Additional performers credited are Michael Wu: bass guitar on “Nothin’”, David Wygmans: side stick on “Maybe It’s Time” and additional background vocals on “Wake Me Up” by Brent Ochai, Carrie Ochai and Marty Wygmans.

    It’s notable that Wygmans really has his character and career presentation together better than most I’ve encountered. A well presented one-sheet, lyric sheets, access to hi-resolution pictures and artwork through his website plus a web address for Huetensil. Having had the opportunity to review the last release from his prog band, I was eager to hear this solo outing as his alter-ego, Huetensil, he’s self-described as a “power-pop musician with a hard edge and an indie singer/songwriter ethic”. It takes a great deal of self-confidence to take a Bowiesque leap like this, the following are my thoughts on its success.

    “Want Too Much” is the opener and it’s evident quickly that Huetensil has some vocal gymnastics in store. His range is clear and the layered vocals at the end illustrate the potential of his power-pop proclivity. His emotive delivery is clear, rising above his multi-tiered guitar tracks, accenting the changes, especially verse to chorus. “Last Night” hits the target dead-center, a rave-up rocker illuminating the difference between introspection and introversion, then extraversion. There’s something my ears keep listening for that isn’t there, well, more on that as we go.

    “Tonight (The Carbon Wars)” gives Huetensil the chance to riff a bit harder, ripping a nice solo as his topical dexterity expands into another broad field. There’s a sense of Billy Corgan in his raspy delivery overall, but it bites a bit harder into the matter here. Like many great rock songs, the meaning is oblique despite the title, but the chorus speaks of societal ambiguity and it stings! “Executioner’s Song” switches gears a bit, a give and take from slow verse to driving chorus, relenting to an inner truth while forging ahead versus the draw to stay. There’s a growing tense connection between the compositions, it’s evident Huetensil’s thoughts blend, reflect and color each other in tones. Like “Fear & Longing”, a level of desperation from the antagonist while the protagonist searches for something deeper as if nothing is available. The ebb and flow from sweet verse to dramatic chorus is distinct and creates a narrative of sorts between the characters distinguished as melody and hook. There’s something familiar in the verse, but it’s elusive, and that’s very cool. One thing is certain, Huetensil’s dexterity, whether vocally or lyrically is masterful, he switches easily to falsetto, not losing strength or bite. Maybe it’s a Geddy Lee level of influence happening, either way, it’s undeniable.

    guitar

    “Nothin’” jumps a little funky with the wah pedal rhythm, Michael Wu’s bass driving the bottom and the horn blasts. It seems to be a metaphor shaped from an artist’s joy and frustration versus the same in any relationship that truly means something. Yet again, the listener is allowed to read himself into the story line. “Mr. Curry’s Troubles (The Ballad of Edward Snowden) has a XTC/Andy Partridge feel, the vocal read and the acoustic pushing the rhythm. The subject is topical, intriguing and pertinent, something I wish we’d here more of from younger artists. It’s refreshing in it’s candor, like “Tonight (The Carbon Wars)”. Continuing with the acoustic theme, “Simple” has a sweet refrain that enjoys the support of the bass line. Another facet of Huetensil’s gem, a softer side indeed. The “baaa” harmonies at the end are particularly outstanding!

    “Maybe It’s Time” is a political anthem that speaks for the masses. The vocal production is borderline brilliant, the harmony tones and overlaps are pristine while proclaiming, “(Time for a change) Maybe it’s time for a radical change. (Alteration) Something more than a slight alteration. (Tear down the stage) Maybe it’s time to tear down the stage. Replace all the broken pieces. End this conflagration.” It’s has the sweetness and tart of a Rundgren composition, Huetensil’s production and mixing values reach a high here and set a deadly ear-worm! David Wyman’s “side stick” technique lends a metronome feel with a sense of a march, very nice twist. “Wake Me Up” is a desperate call from a comatose man, a remarkable perspective voiced into a dreamy chorus filled with the guest vocalists. In a straight-up power-pop format the rhythm guitar, bass and vocals blend so well. When’s the last time you heard hoosegow rhymed with Moscow and no ciao?

    “Let’s Pretend” spits defiant dissonance against a wall of reality, a Black Sabbath-like rhythm guitar mixed with Huetensil’s conflicted anguish. The closer appropriately wraps the political side into a rage filled scream against the government. It smacks of what so many feel while witnessing the war machine at work. I’m hoping it’s a retroactive look at things because it speaks of GWB to me, but that’s my read.

    You should take a listen for yourself. Huetensil is energetic, enthusiastic and the level of work put in this work is notable. This kind of production doesn’t happen overnight, shouldn’t be taken lightly and deserves recognition. If I had one wish for Huetensil it would be live drums. While the programming is excellent and the timing is right on, it misses on the feel. Many things can run under the surface, but this isn’t one of them. Well done and well-played Huetensil, well-played!

    Key Tracks: Let’s Pretend, Maybe It’s Time, and Nothin

  • Hearing Aide: Space Carnival ‘Live at the Oneonta Theatre’

    Space Carnival, an Upstate band out of Oneonta has released Live at the Oneonta Theatre from a performance at the Oneonta Theatre in March 2015.  The first song is a weak start. But the second song, ‘Moon Boots’, is really groovy. The track starts out slow then the drums lay a techtonic foundation in which the keyboard and the guitar then take turns being the voice of the song.

    ‘Moon Boots’ has a little flavor similar to the song ‘Funkytown’ by Lipps Inc. It would have been a good idea to drive right into that song ‘Moon Boots’ from the get go. It seems that Space Carnival takes pride on creating an atmosphere that welcomes fun and dancing. They are successful in doing that. This live album is swirling with positive energy.

    space carnival live

    Like most good jam bands they stray away from the vocals in majority of the album; only occasionally throwing in a “Hey! Hey!” Each song is different from the next. The band plays around with a triage of styles. From spacey sounds with slow guitar, to fast, playful keyboard grooving and some Ryan Stasik style-esque bass playing. The song “Uh oh I Slipped my Disco” is huge for this set. It stands out because of the patience the band has. During this song the band slows things down to exploar and really takes some risk. It was their longest jam, totaling 16-minutes, and is entertaining the entire time. The song incorporates playful melodies, slowed down dub and one evil synthesizer.

    Key Tracks: Moon Boots, Uh Oh I Slipped my Disco, Filth

    Check out this live album and more of Space Carnival music on BandCamp.

  • Hearing Aide: Ride Medeski, Dietch and Skerik’s DRKWV on debut album, ‘The Purge’

    Despite the inner workings of this record, which we will necessarily get into, there is a brilliant simplicity to the DRKWV concept and sound. The entire project seems to follow the name-sake DRKWV vision: the melodies are spooky and menacing, drifting between spacey-drones and melodic tension and the funk lives in the jowls as opposed to the teeth. This guiding thought, paired with the distinct style of each musician, creates a world that exists in shadows, weaving storylines within tracks and as a cohesive album.

    DRKWVAs any effective first track should, “DARKWAVE” immediately sets the tone and clears up a few inherent questions. First of all, yes, “DRKWV” is pronounced “DARKWAVE.” Second of all, no, the clean tones of drums, sax and keys are not buried by effects or overproduction and third, yes, this shit is going to get weird. The track starts with spacey-synth drones (that make appearances throughout the album), interrupted by an uptempo drum line that is almost house music-esque. The next layer comes in the form of a hard-hitting, simple, bass line that begins with a tight tone and slowly oozes open to reveal a light-blue slime. Now aware of what you are in for, the tune resolves into opening synth drones and you settle into your chair, ready for the show.

    The next song on the album, appropriately titled “Soundtrack” adds more narrative to the story, with a steady back and forth persistence that is almost meditative in nature, guiding the listener deeper underground perhaps with mild sedation. The journey takes place in a dimly lit elevator, burrowing into the cosmos, screeching past glowing rocks and space debris. When we arrive at the bottom, the doors open to a place where there is no light, only luminescence and maybe the occasional fire. Here we are greeted by “Count Chokulos,” the third track, who serves as a sort of concierge for this new world. “Chokulos” takes us through a funky-back and forth where the drums settle and groove nicely along Medeski’s persistent licks, heavy in conversation with Skerik’s minimalist sax notes.

    DRKWVUp next is “Datura,”  arguably the most impressive composition and definitely a stand-out tune. “Datura” begins as gritty, arrhythmic ambient freak-out and turns into a distorted uptempo funk rally song, channeling reptilian allies in the fourth dimension. The drums are steady and heartfelt, and the keys dig their claws into our skin. The careening lines interact slowly, with a sort of insistent whale cry, before a blissful resolve (or at least acceptance), coming in the form of a sultry, ambling saxophone solo. The patient sax calms down the drums, until all parts blend together with familiar drones, and Medeski’s flowery piano part gives our brain the comfort it now deserves, as if nesting in a basket of cotton.

    The following song, “Scars,” takes note of what we have experienced this far and moves forward with one of the most straightforward grooves of the album. “Scars” is most like a traditional MMW song in terms of funk and bouncing feel-good drums, with a healthy amount of organ wailing and a killer sax to wrap things up. Things don’t stay normal for too long, and the preceding “Hell Bass” comes in flying with some of the best drumming on the album, a sort of spazzy dance beat paired with fat, bassy synth notes. Just when you start to realize your room is a lot warmer than you thought it was, “Hell Bass” dives into an exception noise section; you’re lost in the cave and you have become delusional, thinking you see light but the room starts spinning until you can’t tell up from down.

    We regain our bearings at “Gazselloni,” which I have to assume is named after a sneaky six-toed alley cat who struts around town listening to Wu-Tang in Beats by Dre headphones, while smoking a tobacco pipe. This is another great ‘rally’ track and carries a steady canter that is equal parts empowering and contemplative. “Gazselloni” is definitely the grooviest track on the record and moves heavy with a menacing confidence. Each player slides into their pocket, easing back a bit in favor of head-nodding textures. Then, Gazselloni (the cat – but maybe we are the cat at this point?) gets hit by a car at end of song and dies slowly. The final track, “Shmeeans Cuti” is possibly the first glimpse of real light on the whole album, shedding free any pretense with a world-music flavor paired with gospel church organ and big band feeling horn sounds.

    DRKWV only has one tour date lined up so far, but with a stand-out freshman album like “The Purge”, it is no doubt fans will want more. The record is also available for purchase via Download, CD or Limited Edition Vinyl through The Royal Potato Family’s online store.