Tag: New Album

Hearing Aid: Blitzen Trapper ‘All Across This Land’

At its core, Blitzen Trapper is, and always has been, a rock band. All Across This Land, released last Friday, is first and foremost a rock record, and probably their most focused effort yet. As has been the case for most of their career, the music on this latest album is heavy on the influences, some more apparent than others.

Blitzen Trapper is able to combine these and morph them into something unique. They’re like the Frankenstein’s monster of rock bands. Taking bits and pieces from music’s past and stitching it all together to create a new whole. It is possible to pick it apart and figure out where each piece originated from, but it would be futile, and in the end would ruin the result. It’s best to accept it for what it is, and not try to attack with pitchforks and torches.

Speaking of torches, the album swings open the gates with the bombastic barn burning title track. From there, the music slowly fades from classic rock to classic country over the tight 40-minute set. Over the course of the 10 tracks, each one slowly picks up some twang and loses a little of the rock attitude. Acoustic guitars replaces electrics, pedal steel and banjo appear, the drums mellow and soften until they eventually disappear completely in the album-closing “Across the River.” With autobiographical songs, tales of loss, and rock songs about rock music, the album hits it’s sweet spot in the gooey center. It is here that the rock and folk blend beautifully, and that is where Blitzen Trapper has always shined brightest.

While they capture their sound very well in the studio, Blitzen Trapper is still a band best enjoyed on the stage, where their energy comes unharnessed and pushes the music to greater heights. Currently touring in support of All Across This Land, they’ll make two stops in New York State this weekend. Saturday night they’ll be at the Town Ballroom in Buffalo. Jesse Malin, who was slated to appear at the Waiting Room was just moved to this bill along with the support from that show. So it will be a 4-act evening starting around 8pm, with The Domestics and Matthew Ryan getting things started. Then Sunday night they’ll be appearing at New York City’s Bowery Ballroom with the Domestics opening at 9pm.

[embedyt] http://www.youtube.com/watch?v=xl45V3e4SQY[/embedyt]

Full tour dates below:

Oct 9 Horseshoe Tavern Toronto, ON
Oct 10 Town Ballroom Buffalo, NY
Oct 11 Bowery Ballroom New York, NY
Oct 13 The Sinclair Cambridge, MA
Oct 14 Johnny Brenda’s Philadelphia, PA
Oct 15 Black Cat Washington, DC
Oct 16 Cat’s Cradle Carrboro, NC
Oct 17 The Loft Atlanta, GA
Oct 18 Exit / In Nashville, TN
Oct 19 Saturn Birmingham, AL
Oct 21 The Parish Austin, TX
Oct 22 Club Dada Dallas, TX
Oct 23 The Opolis Norman, OK
Oct 24 Bottleneck Lawrence, KS
Oct 26 The Bluebird Theater Denver, CO
Oct 27 The State Room Salt Lake City, UT
Nov 9 HiFi Music Hall Eugene, OR
Nov 11 SOhO Restaurant and Music Club Santa Barbara, CA
Nov 12 The Observatory San Diego, CA
Nov 13 Teragram Ballroom Los Angeles, CA
Nov 14 Don Quixote’s International Music Felton, CA
Nov 15 The Independent San Francisco, CA
Nov 16 Sweetwater Music Hall Mill Valley, CA
Nov 17 Humboldt Brews Arcata, CA
Nov 19 Neptune Theatre Seattle, WA
Nov 20 The Biltmore Cabaret Vancouver, BC
Nov 28 Revolution Hall Portland, OR

October 9, 2015
Hearing Aide: Widespread Panic ‘Street Dogs’

Widespread Panic and their latest studio album, Street Dogs, combines the best of Panic’s southern sound – straight rockers, New Orleans-inspired funk, and choice covers – honed over nearly 30 years on the road. Recorded at Echo Mountain studios in Asheville, N.C. by longtime producer/collaborator John Keane, Street Dogs finds the band recording together for the first time, leading to a refined yet not polished album, one that commands repeat listens.

Alan Price’s “Sell Sell” opens the album, a driving version of the original with John Bell following the varying cadences of the tongue-tying lyrics. “Steven’s Cat,” an ode to the influential Cat Stevens, is the first Panic song written in the studio by the band and stands out as one of the strongest songs of the album, both for the thought-provoking lyrics and the blend of all six band members sound – no one outshines another.

“Cease Fire,” a JB rap that dates back to 1999 is reborn as one of the strongest new jam vehicles of 2015, which, along with “Honky Red,” (Murray McLauchlan) is Exhibit A in the musical relationship between Father-in-Law/Son-in-Law Duane Trucks and Jimmy Herring, showcasing a guitar/drums combo rarely found with such polish. “The Poorhouse of Positive Thinking,” a classic JoJo Hermann number, uses colorful lyrics and a Professor Longhair-style yarn to frame a mild piano ride. Willie Dixon’s “Taildragger,” the third cover on Street Dogs, is tailor made for Herring’s guitar and JB’s guttural vocals, while the album wraps up with the title track, a sing along that vivdly returns the listener to the streets of New Orleans.

Key Tracks: Steven’s Cat, Cease Fire, The Poorhouse of Positive Thinking, Honky Red

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October 7, 2015
Hearing Aide: Holly Bowling ‘Distillation of a Dream’

Listening to tribute albums of your favorite band can be hit or miss, but it’s almost always an interesting experience. Holly Bowling’s Distillation of a Dream is no different. She took an assortment of Phish songs, listened to them and transcribed them by ear for solo piano. This album is different from past Phish tribute albums, such as the bluegrass or string quartet tributes, in that it consists of a single musician on a single instrument. The sound and feel are very different.

The aural skill required to take on the task of transcribing not only studio versions of songs featured on the first disc of Distillation of a Dream, but also the complex jams in the three live songs Bowling recorded for the second disc, is commendable. She does justice to the variety of songs she chose for the album. While many fans might already be familiar with her rendition of the “Tahoe Tweezer,” it’s worth giving a listen to the other songs. The album starts off a bit rough with “My Friend, My Friend,” but improves immediately with “The Horse > Silent in the Morning.” Some of the songs seemed to be odd choices for solo piano, such as “Wingsuit” or “A Song I Heard the Ocean Sing”. But those turned out to be some of best songs on the album. There are moments when some of the songs seem unrehearsed. There are moments with small imperfections. Some of these imperfections, like pauses that don’t fit with the song, detract from the music, while others, like slight variations in the tempo, bring that organic feeling of Phish.

Overall, Distillation of a Dream is a solid, creative tribute to Phish. The album reflects the difference between studio Phish as heard on disc one, and live Phish as heard on disc two. However, it is almost as though the first disc feels like a warmup to the more complex second disc. Bowling’s musicality, experience and talent are in full display on this album. The creativity and effort put into the re-creation of these Phish songs and jams make for a fun and interesting listen.

Holly Bowling will be making a few stops in the northeast on a short fall tour. She will perform at The Massry Center for the Arts at The College of Saint Rose on Oct. 28, and in nearby south Burlington, VT at Higher Ground supporting Pink Talking Fish on Oct. 29. She will also be performing at Rockwood Music Hall Stage 3 in New York City on Nov. 8.

Tickets for both shows are still available. You can also follow her on Facebook, Twitter, Instagram, and YouTube.

Key Tracks: Harry Hood, Wingsuit, Fly Famous Mockingbird, all of disc two

[embedyt]http://www.youtube.com/watch?v=b_5l6zMrcD0[/embedyt]

October 2, 2015
Hearing Aide: Turkuaz ‘Digitonium’

The nine piece funk phenomenon known as Turkuaz are releasing a new studio album Digitonium on Oct 2. The 23 track album is a mature testament to the bands growing sound that continues to push the boundaries of funk with heavy ’80s influences. The album is full of instrumental segues of experimental melodies that set the stage for evolutionary funk tunes with classic, raw Turkuaz energy. Digitonium is built upon layers of exploratory themes, characters and repetitive lyrics that get the listener to pause, rewind and think outside the album. It’s the future of retro pop funk.

While the entire album is thoroughly enjoyable, some songs are sure to be stand out favorites. “Nightswimming” has that familiar Turkuaz pop rhythm, blaring horn build ups and catchy chorus that is sure to make it a big hit when performed live. “Percy Thrills The Moondog” explodes out of the speakers in true Turkuaz nature of slamming guitar riffs and crashing cymbals, complete with growling, barking and howling.“Doktor Jazz” has groovy bass plucking with rain fall synth melody and haunting, echoing vocals that give it a mad scientist toe tapping vibe. One track with possibly the heaviest 80s sound is “European Festivity Nightmare” with dark lyrics set to an upbeat digitalized street rhythm that sends the heart racing like Talking Head’s “Psycho Killer”. Digitonium is the ideal listen for any pre-party or when you are just ready to share in the groove.

In celebration of their new album, Turkuaz will perform a two night run at Brooklyn Bowl in their hometown of NYC on Sept. 29 with Polyrhythmics and Yo Mama’s Big Fat Booty Band on the 30th with the PitchBlak Brass Band on both nights. You can pick up a copy of Digitonium at their merch table at any of their many fall shows across the country or download online via iTunes on Oct. 2.

Key Tracks: Nightswimming , Percy Thrills The Moondog, Doktor Jazz

Fall Tour Dates:

09/29 – Brooklyn, NY – Brooklyn Bowl**+
09/30 – Brooklyn, NY – Brooklyn Bowl*+
10/01 – Boston, MA – Paradise Rock Club*
10/02 – Ardmore, PA – Ardmore Music Hall*
10/08 – Phoenix, AZ – Last Exit Live
10/09 – Joshua Tree, CA – Joshua Tree Festival
10/10 – Flagstaff, AZ – Orpheum Theatre
10/11 – Albuquerque, NM – Marble Brewery
10/14 – Kansas City, MO – Knuckleheads***
10/15 – Ozark, AR – Phases of The Moon
10/16 – Ozark, AR – Phases of The Moon
10/17 – Denver, CO – Cervantes Masterpiece Ballroom****
10/20 – Missoula, MT – Stage 112
10/21 – Moscow, ID – John’s Alley Tavern****
10/22 – Boise, ID – The Reef****
10/24 – Placerville, CA – Hangtown Halloween Ball
10/25 – Placerville, CA – Hangtown Halloween Ball
10/28 – Bend, OR – Domino Room****
10/29 – Seattle, WA – Tractor Tavern****
10/30 – Portland, OR – Wonder Ballroom****
10/31 – Eugene, OR – HiFi Music Hall****
11/04 – Fort Worth, TX – The Live Oak Music Hall
11/05 – Austin, TX – Spider House Ballroom
11/06 – Houston, TX – Last Concert Cafe
11/07 – New Orleans, LA – The Parish at H.O.B.
11/10 – Birmingham, AL – Zydeco
11/11 – Atlanta, GA – Aisle 5
11/12 – Charleston, SC – Charleston Pour House&
11/13 – Jacksonville Beach, FL – Freebird Live&
11/14 – Boca Raton, FL – Funky Biscuit&
11/15 – Tampa, FL – Crowbar Live&
11/18 – Charlotte, NC – The Rabbit Hole&
11/19 – Raleigh, NC – The Pour House&
11/20 – Richmond, VA – The Broadberry
11/21 – Baltimore, MD – Baltimore Soundstage

* with Yo Mama’s Big Fat Booty Band
** with Polyrhythmics
*** with Roxy Roca
**** with The Quick & Easy Boys
& with The Fritz
+ with PitchBlak Brass Band

September 30, 2015
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