Category: 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
Vaporeyes and Mister F Illuminate the Dance Floor

High energy and good humor characterized the evening of Saturday September 5 at Funk ‘n Waffles Downtown as Albany-based Mister F and Syracuse group Vaporeyes dished out mystical reverberations of sonic opulence. Mister F, featuring Matt Pickering (Mr. M) on drums/samples/vocals, Scott Hannay (Mr. S) on keyboards/vocals/vocoder, Ben Pickering (Mr. B) on bass/vocals and Andrew Chamberlaine (Mr. A) on guitar/vocals, channeled a Particle-esque vibe, while displaying plenty of original character for the audience.

After an energetic performance of “Machine,” Pickering announced sarcastically, “that song’s not about robot voices at all.” Hannay quickly followed up, speaking purposefully into the mic in a distinctly altered voice, “no, not about robot voices at all…” Although the band freely jokes around on stage, they take their actual musicianship quite seriously. Pickering frequently spices up his intricate drum beats with clever pauses and commanding breakout jams.

After finishing an impressive jam halfway through their set, Hannay walked over to Pickering, momentarily commandeering a drumstick to serve as a bottle opener before immediately returning to his post and fluidly sliding into the next jam. At it’s conclusion Pickering called out to the crowd, “We’re Mr. F, give it up for beer!” Members from Vaporeyes scattered amongst the unfortunately sparse crowd, including bassist Shannon Zory and his girlfriend who had plenty of dance room to face each other and playfully weave their heads back and forth in a snake-like fashion, clearly enjoying the music.

Vaporeyes, composed of notably younger musicians than Mister F, certainly held their own on stage. With a slightly muddier, grungier sound, Jonas Reddy-Nicholson playing keys/synths, Shannon Zory slappin’ bass guitar, Sean “Chid Law” Cadley on drums, Jamie “Jyms” Tynan on guitar and Stephanie Donato playing saxophone delivered a string of equally dance-worthy tunes to listeners. As the evening progressed, the musicians called out to the crowd, “Is it still Saturday?” There were in fact ten more minutes before midnight, so they opted to play a number aptly titled “Saturday Song.” It carried a lighter, more ambient sound than some of their heavier jams and incorporated more prominent synth effects.

Throughout the evening, Zory’s gilfriend mingled with the other bandmates’ girlfriends and snapped photos of the band’s performance, occasionally gesturing with a victory fist pump reminiscent of a golfer making a hole-in-one. The close-knit flock of dedicated followers supporting the members of Vaporeyes makes watching the band more gratifying, knowing their musical endeavors are supported by the ones they love.

September 16, 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
Van Halen Brings the Heat to Bethel Woods

On Sunday, September 6, 2015, Van Halen brought their massive North American tour to Bethel Woods Center For The Arts. Fans arrived early and tailgated outside in the late summer heat. Those who didn’t want to stand outside in the heat, chose to explore the Woodstock museum located right on the concert grounds. Complete with air conditioning, a cafe, and gift shop, the museum is the perfect place to explore before any show at the amphitheater.

When doors opened, people rushed inside to secure their spot on the lawn or get to their seat in time for opener Kenny Wayne Shepherd. Kenny and his band came out and played a nine song set. The night for Kenny and his band was highlighted by a fantastic cover of “Voodoo Child” by Jimi Hendrix. With a loud applause, the Kenny Wayne Shepherd band exited the stage and fans awaited Van Halen.

Kenny Wayne Shepherd Band

As expected, what was once a generally filled amphitheater ended up being packed house. Van Halen started the show off with “Light Up The Sky” and immediately went into “Runnin’ With The Devil”. After a battle with the flu early the week before, David Lee Roth seemed back to his old self. Although Diamond Dave gets criticized for his vocal abilities, he certainly gives it his all. After being on the road for a solid 2 months now on this tour, Van Halen seem to be rolling full force with no signs of letting up. Eddie, Wolfgang and Alex Van Halen sound near perfect and together with David Lee Roth put on a great performance.

Van Halen seems to be sticking to the same setlist every night, but without any complaints from the crowd. Mixing things up from a wide array of songs from albums such as 1984, Van Halen, Van Halen II, Women and Children First, A Different Kind Of Truth, Fair Warning and Diver Down, Van Halen has something for everyone to sing along to. With such a big catalog, Van Halen does a perfect job of mixing classics with new material as well as songs your biggest Van Halens fans may have never heard live before. Before the tour started, Wolfgang told fans that this tour would have some special songs in the setlist that haven’t been played in a long time. Sticking to his word, Van Halen put together a setlist that everyone should love. Some of the other songs that the band jammed were “Somebody Get Me A Doctor,” “Little Guitars” and “Ice Cream Man”. The beginning of “Ice Cream Man,” David Lee Roth came out onstage alone with an acoustic guitar and a harmonica. Then the rest of the band came out to finish that song together then play “Unchained.”

Eddie Van Halen And David Lee Roth

During Eddie’s guitar solo it was proven that he is human and experiences issues from time to time. Having issues with one of the effect pedals on his board, Eddie had to delay some of his licks for a moment. While trying to do the melody from “Cathedral” off Diver Down, Eddie ran into some pedal issues. While his tech came out to replace some cables and find the issue, Eddie said to the crowd, “Something is very wrong back here” to which Bethel Woods chanted Eddie. Not before long, Eddie was cranked back up to 11 and finished the solo with “Eruption” and started into “You Really Got Me”.

The night was ended with “Panama” and “Jump” off of Van Halen’s 1984 album, which turned into a giant sing along for the people of Bethel Woods Center For The Arts. Diamond Dave and the rest of Van Halen took the stage afterwards for a bow and left the crowd in high spirits. This show would have been the perfect way to end the summer for Bethel Woods Center For The Arts, but they do have one more show booked for later in September.

Eddie Van Halen

Van Halen is now working their way down south hitting up numerous states and then working their way west. The tour wraps up at the Hollywood Bowl in Hollywood, CA on October 4. You can find all the tour dates and ticket information at Van-Halen.com.

Setlist: Light Up The Sky, Runnin’ With The Devil, Romeo Delight, Everybody Wants Some, Drop Dead Legs, Feel Your Love Tonight, Somebody Get Me A Doctor, She’s The Woman, China Town, I’ll Wait, Drum Solo, Little Guitars, Dance The Night Away, Beautiful Girls, Women In Love, Hot For Teacher, In A Simple Rhyme, Dirty Movies, Ice Cream Man, Unchained, Ain’t Talkin’ ‘Bout Love, Guitar Solo, You Really Got Me, Panama, Jump

Eddie And Wolfgang Van Halen

September 12, 2015
The Big Revival Tour Rocks Out SPAC

Brantley Gilbert took the Big Revival tour to SPAC in Saratoga Springs, on August 16 with great success. He was supported by Lee Brice and Cam who each brought their own unique flare to the evening.

First to take the stage was the up and coming singer, Cam. Cam was named one of Rolling Stone’s 10 New Country Artists You Need to Know for Spring 2015 because of her strong entrance to country music. She drew the attention of her current label Arista Nashville through her Kickstarter campaign to finance her first album. Fans in attendance seemed very receptive to her upbeat stage presence, strong voice and persona, and emphatic performance. Cam played songs off of her current EP, Welcome to Cam Country including “Half Broke Heart” and “Runaway Train” as well as some other songs all of which got the crowd to their feet and dancing along. Fans really started to get involved with singing along for her two last songs, also off her current EP, “Burning House” and “My Mistake”. Both songs were recognizable to a good amount of the audience based on crowd involvement. Cam did a good job engaging those who were not familiar with her or her music but had arrived early to enjoy the entire show.

Lee Brice took the stage next with a strong entrance getting attendees off their feet from the start with two fan favorites, “Drinking Class” and “Hard to Love” off of I Don’t Dance (2015) and Hard 2 Love (2012) respectively. This set the tone for the rest of his set with fans engaged and involved from the very start. This tour was a good fit for Brice as it allowed him to showcase his well crafted songs with strong lyrical content which is lacking in some of the more popular party country that has become mainstream recently. “A Woman Like You,” “I Don’t Dance” and “I Drive Your Truck” are among the most popular songs that have earned strong recognition and favor throughout the genre with their well written and heartfelt lyrics that are impossible not to sing along to. The crowd’s reaction to the songs demonstrated how strongly these songs have resonated with fans. Brice certainly does a great job of building his fan base through live performances, he is the type of artists that grows on listeners more with each listen but really makes a strong impression after hearing the songs live and feeling the emotion behind what he’s singing about. He closed out his set with a song that has become a staple for Brice since its release in 2012. “Parking Lot Party” may not be in keeping with his usual style but this upbeat song is always well received live and brings the energy in the venue up to the next level. He had everyone singing along and warmed up for Brantley Gilbert by the end of his set.

Brantley Gilbert is another artist that started to make quite the name for himself despite being outside of party country mold since his 2010 release Halfway to Heaven, however he has grown exponentially into the top-tier of A-list country stars since the release of Just as I Am in 2014. Gilbert singed to Valory Music Co. for the re-release of Halfway to Heaven and has remained there since. He kicked off his set with “Kick it in the Sticks” a single off of “Halfway to Heaven” which went platinum in the U.S. Fan favorites also played off of that album included “Hell on Wheels”, “My Kind of Crazy” and “You Don’t Know her like I Do,” all of which have become staple songs for Gilbert. “My Kind of Crazy” and “You Don’t Know Her Like I Do” were extremely well received showing off the more sensitive side of the edgy, self-proclaimed “bad boy” and never fail to make the women in the crowd dreamingly sing along. Gilbert has released his share of songs with a more party vibe mixed with rock edge that have been extremely well received and are always extremely popular live. Both “Bottoms Up” and “Small Town Throwdown” quickly became staple songs for live performances and garnered a great deal of airtime on the radio with “Bottoms Up” earning double platinum certification and “Small Town Throwdown” earning gold. These are two songs that never fail to engage the crowd and have the entire building, or amphitheater off their feet and singing along word for word. Other noteworthy songs played off of Just as I Am included the more serious “Guns and Roses”, “One Hell of an Amen”, “Lights of My Hometown” and current single “Stone Cold Sober”. Despite his “bad boy” edgy personality many of Gilbert’s most popular songs have been his more sensitive lyrically strong songs which sets him apart from many of his fellow top-tier country artists.

A word that comes to mind for many who have seen a Brantley Gilbert show at any point of his career is genuine; a genuine passion for what he does, a genuine personality, determined to hold to his southern roots and morals no matter where he goes, and genuine talent for writing and performing his own work. All throughout his work this is evident, however it becomes especially so when it comes to his morals. Two songs that have become extremely popular that exemplify his strong sense of morals are “Take It Outside” and “Read Me My Rights”. Both songs always get a strong rise out of the crowd but “Read Me My Rights” elicits such a strong response that it too has become a staple song. Gilbert always explains before the song that it is important to him because as a proud southern gentleman he would take the law into his own hands if he ever saw a man put his hands on a woman or if someone entered his home and threatened his family. He even goes on to explain that he will do what he feels needs to be done then sit with his hands behind his back waiting for the police and “politely tell the officer to read him his rights” which is his transition into the song and starts the screaming and cheering from the crowd. He closed out his set with this song and a strong U.S.A. chant. He did however return as expected for an encore with the ever popular “Country Must Be Country Wide”. This was a phenomenal song to end the night with as it is something country fans can relate to anywhere in the country.

September 12, 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
Grayak and Yankee Blood Offer a Genuine Connection

The feathery, jazz-infused voice of Yankee Blood singer/bassist Ruth Kelly, supported by guitarist/vocalist James Karp and drummer Adam Verone, filled downtown Funk ‘n Waffles Thursday, September 3, with a lighthearted yet full sound that would never suggest they were short a keyboardist. A healthy crowd had gathered even before Yankee Blood got the show started, who were opening for local band Grayak. All three musicians casually donning t-shirts and jeans, the lazy, bluesy feel of their second song, “Sioux City” got the crowd swaying in an almost dream-like state.

They performed a brand new song titled “Savage,” which will be included on their EP coming out in October. The track started off as a slow rock number, but carried out a heavy instrumental buildup with head bang worthy beats. The egg crate stuffed into the bass drum quivered in approval. After their performance of “Blue Eyed Lover,” Kelly divulged how she normally plays the tune on upright bass, but winged it (very successfully) on her red lacquered Gretsch hollow-body electric bass.

Yankee Blood’s second to last song, “Beekeeper,” will also be featured on their EP. Kelly made sure to alert the crowd of Karp’s ironic fear of bees before adding that once the EP is out, copies will be distributed with jars of honey. Her witty quips between songs revealed an endearing and sharp sense of humor, painting the trio as the sort of people that would be fun to hang out with and share a few beers. Softly crooning the line “I want someone to love,” during “Beekeeper,” followed a theme present in several Yankee Blood songs concerning an honest yearning to share such tenderness with someone.

The five members of Grayak, who had been mingling in the crowd during Yankee Blood’s set, coalesced on stage to commence part two of the evening’s entertainment. Frontman Phil Grajko, sporting suspenders and a metal canteen slung across his torso, looked ready to embark on an intense musical expedition. Thinking logically, he opted to set the canteen by his feet rather than trying to rock it while simultaneously playing guitar. With Hannah Grajko assisting on vocals, Brendan Gosson on fiddle and mandolin, Blake Propst on upright bass and Tyler Dattmore on drums, they opened their set with a bouncy, optimistic tune titled “Seek It Still.” It describes a personal quest of persistence and determination to find truth and meaning in the world even if the path is rough.

The song functioned as a fitting kickoff for Grayak, a project which Grajko has been nurturing for quite some time, often playing solo, but finally able to showcase with a full ensemble. The crowd, heavily speckled with friends and fans whom have seen Grajko develop and transform his musical repertoire over the years, welcomed the distinctive guitar/fiddle intro to “Have a Beautiful Now,” quickly getting into a flowy dance groove and happily singing along to a song many audience members share a personal connection to.

The more reggae-style instrumentation during “Maya” provided a slight divergence and nice addition to the folk-centered genre Grayak largely falls under. The playful fiddle part literally chases the lyrics “I run, I run, I run…” adding an intriguing audio element that emphasizes the vocals. Before beginning “Together” Grajko announced, as he always does, “This is a love song but it’s also sort of about the apocalypse.” The introduction usually provokes people to smile and possibly feel slightly confused. After the song concluded, Grajko noted his musical troupe has only been playing together for a few weeks, adding to the impressiveness of their collaboration. The band polished off their set with Grayak’s title track, “Made of Light.” Opening with a low-key bass solo, the lyrics speak to the connectedness of humankind. It slowly builds with up-tempo guitar and runaway fiddle parts that might make someone wish they were standing in a breezy meadow on a warm summer’s day.

September 11, 2015
Luke Bryan and Friends ‘Kicked up the Dust’ at Darien Lake Performing Arts Center

Entertainer of the year Luke Bryan showed fans there was more than One Direction to go Thursday night for an evening great music. Luke Bryan brought his Kick The Dust Up tour and friends to Darien Lake Performing Arts Center, as one of the final concerts of their season. Bryan, clad in a tight-fitting T-shirt and black jeans and shook his hips like a reincarnated Elvis. He was constantly taking in every bit of energy from his fans all across the venue.

While plenty of artists put on a strong show, how many of them toss beers into the crowd as they sing? Or catch a fan’s cellphone mid-song, snap a selfie and toss it back without missing a note? Bryan did it all, including rounding up his talented band and pouring tequila shots on top of his piano to toast the crowd.

Opening up the show was Dustin Lynch. The stage chemistry between Lynch and his band is one of a kind — delivering a breathtaking performance every time. While Dustin performed “Halo” and “Mindreader” off his iTunes #1 debut sophomore album Where It’s At. He kept the energy high straight through to the end, and finished things up with his hit “Cowboys and Angels” inspiring a sing along, making all the young women in the room swoon. This talented young man has charisma coming out of his ears and he really knows how to work a crowd.

After a short intermission, it was time to “Go Out With My Boots On” as Randy Houser fiercely entered the stage belting the party tune. Title track from his sophomore album “How Country Feels” stole the show as Randy cleverly performed it as a sing along, involving an eager crowd. Beginning with an acoustic version of the chorus, the #1 single “Goodnight Kiss” permeated the venue as his wildly talented band joined in and kicked it into high gear. He closed out with his latest hit single, “Like A Cowboy.”

From the lawn seats to the pit of the stage, every seat in the house for Luke Bryan and Friends Darien Lake was provided a unique view with a custom concert experience. With three of country music’s most adept stars on one ticket, you will definitely want to catch a ride on the final leg of Kick the Dust Up Tour.

September 8, 2015