NYS Music 20​15

Tag: New Album

  • Hearing Aide: ShwizZ ‘My Good Side/My Bad Side’

    ShwizZ‘s bad side is better than most bands’ best sides. Hell, I think their bad side is better than their own good. Listening to the NYC-based band’s new double-album release, My Good Side/ My Bad Side for the first time, I couldn’t help but wait to listen to it again.

    The first listen was to satiate my thirst; once I hit play, I devoured both albums. The second time through was for pleasure; minute intricacies revealed themselves around each corner of the compilation and lead to aural ecstasy.

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    Praise should be dealt out in heaps for this production. Aptly titled tunes feature deftly mastered compositions and perfectionist attention to detail. “Annie Pt. 1,” on My Bad Side, is a beautifully somber song with Pink Floyd’esque roots that later flow into the intro of Part 2, which evolves into a ShwizZy glory jam. Meanwhile, throughout the Bad Side, a shadow of Umphrey’s McGee’s primordial beast surfaces again and again—listen to the breakdown in “Orange Wreck” or the Prowler-like pick-me-up to “Doorbell”. That jam turns video-gamey in a “I just double-fisted the 1-up green mushroom and power-up red mushroom” kind of way. Dream Theater’s keyboardist Jordan Rudess cameos on My Good Side’s “Duggan,” but Dream Theater’s influences are just as evident in My Bad Side‘s “The Zone.”

    ShwizZ’s Good Side aptly demonstrates the band’s diversity. The double-set’s eleventh track, “Number Twelve” is simply put, an incredible rock song. It features heavy shredding, great transitions, and immaculate composition. “What Does This Mean” may be the most palatable tune of the bunch. Tight verses, heavy breakdowns, and furious instrumentation are supplemented by the relatable, sing-along’able chorus. Like both albums, this tune’s ebb and flow will leave you feeling insatiated; the only thing that would make it better is more.

    It’s hard to define ShwizZ’s genre. “Slow Down” is a groovy funk-fest that evolves into a percussion-infused jazz odyssey. “Orange Wreck” features a section of tango and they literally “Summon the Fawn” with an orchestral masterpiece early on in My Good Side. The guitar, bass, drums, keys, sax, even triangle are all highlighted throughout the albums; everyone gets their shot and plays their part. They shift seamlessly between sexy grooves and grueling shafts. At times I sat still, enthralled by each note, captivated and wondering what was next. Other times, my shoulders began shaking as the vibrations ignited involuntary one-man dance parties.

    Once in a while you listen to a new album from a rising artist and know they’re the real deal (Tauk’s Collisions comes to mind). Add ShwizZ’s My Good Side/My Bad Side to that list. They were a blip on my radar before, but now ShwizZ is squarely on the map. I love to say I told you so when I say, “these guys are here to stay.”

    Keytracks: Orange Wreck, What Does This Mean, Duggan

    The official album release party will be held on Saturday May 16 at The Knitting Factory in Brooklyn, New York.

  • Hearing Aide: The McLovins ‘Beautiful Lights’ and ‘Funk No. Uno EP’

    New lineup, expanded sound, refined digs. 2014 was a big year for Hartford-based jam band The McLovins, releasing their fourth full length studio album Beautiful Lights earlier in the year, with a CD release party at Garcia’s shortly after. A coming-of-age album for The McLovins, Beautiful Lights gives us sounds that are an entry into the mid-leagues of regional jam bands with followings in various reaches of the country. To top off Beautiful Lights, The McLovins have released a funky four-song EP this past summer, Funk No. Uno.

    mclovins beautiful lightsThe McLovins had already released three full-length albums prior to Beautiful Lights, which are good listens and made for awesome live sets but were largely based off the jam-and-shred platform which made for a better live presentation. On their newest full-length album, the band steeped the tea for just the right amount of time and built off their foundation to refine their sound and focus on the songwriting aspect. One of the great things The McLovins have demonstrated with this album is their ability to write and record a solid four to six minute studio track that can render into a longer jam when performed live.

    After guitarist Jeff Howard left the band in late 2011, founding members Jake Huffman (drums, vocals) and Jason Ott (bass) welcomed Justin Berger on guitar and added Atticus Kelly on keys. Not only did the urge to record new material fall into place after that, according to Huffman, but the change-up also brought in some new ideas and influences which possibly drove some of the tighter song structure we see on Beautiful Lights.

    With twelve songs totaling a little more than what would fit on a typical LP record, the album is laid out in a way that gives it that feel of an A and B side. As far as influences, Jake Huffman attributes them in two takes, which shapes that album-side feel. Huffman told NYS Music, “There are two different vibes, this really old school Grateful Dead-y type sound, and then you have this other type of sound like Lotus or Disco Biscuits. The first half of the album and the second half of the album have two totally different types of vibes.”

    The difference is pretty clear too, listening to the album from start to finish. The first five tracks fit well with a summer party groove and the flip side renders, for the most part, an Americana-rock experience. Several of The McLovins’ influences shine through as well with occasional Trey Anastasio style licks that sing, soar and don’t snore and other throwbacks to The Band (particularly on “Yankee Rose”) and The Grateful Dead, with a very brief, maybe accidental, tease of the start of a verse from “St. Stephen” on “Shivers.”

    mclovins beautiful lightsInstrumentals can sometimes make or break a record, or might just be there like too much water added to a can of condensed soup. The title track and only instrumental track off Beautiful Lights particularly caught our attention. A cohesive, open-to-interpretation instrumental, this song is in some ways like an aural Rorschach test. Dim the lights, close your eyes and let it take you to your city’s evening star-lit overlook or in a sunny field running toward the next big thing on your horizon. If the jam band world had its version of “Eye of the Tiger” it would be this song. Paired with the following a capella tune “Cold Cold Iron” these two songs jet up as the divider between the two halves of the album.

    The Funk No. Uno EP also marks a new strut for the McLovins. It is, after all, only an EP but features four tracks built off their native style blended and molded with an added horn section and heavy influences of jazz, fusion, R&B and plenty of funk. Unlike the complete 360 in sound Mumford & Sons pulled on their latest Wilder Mind, the sounds of Funk No. Uno are like a side of sriracha to kick up the main course – there’s no ditching the old here. It would certainly be awesome to hear more of this from the band down the road.

    Beautiful Lights and Funk No. Uno are a far cry from a disappointment to the ears and worth adding to your library. If you’re not familiar with The McLovins, we’d suggest checking out their earlier releases and bootleg soundboard/live recordings as well.

    Key Tracks: Beautiful Lights, Yankee Rose, Birthday

  • Hearing Aide: Jeffrey Pepper Rodgers ‘Almost There’

    Jeffrey Pepper Rodgers recently released his fifth album, “Almost There” and quickly garnered the 2015 SAMMY Award for Best Americana recording to his list of accomplishments. They’ll be celebrating the SAMMY at Small Plates in Syracuse, 116 Walton St., on May 6 with doors at 6pm, music at 7pm.

    Jeffrey is a grand prize winner in The John Lennon Songwriting Contest, the founding editor of Acoustic Guitar Magazine, a regular contributor to NPR’s “All Things Considered” and author of “Rock Troubadours” (featuring his interviews with such artists as Jerry Garcia, Paul Simon, Joni Mitchell, and Dave Matthews) as well as other books on music. From his Upstate NY base, Jeffrey teaches courses on songwriting and creative nonfiction writing in the honors program at Syracuse University and leads workshops on guitar and songwriting. If that wasn’t enough, he performs solo and with The Jeffrey Pepper Rodgers Trio, members of which are featured on this release.

    Joining Jeffrey (JPR) – lead vocals, acoustic guitar, Strumstick, tenor banjo, are Trio members, Wendy Ramsay (The Unstoppables) – backup vocals, flute, clarinet and glockenspiel, and Joshua Dekaney (Grupo Pagan, Mark Doyle’s Guitar Noir, Mary Fahl) – percussion kit, backing vocals (tracks 3,6) and chimes, along with John Dancks – upright bass, Rani Arbo – backup vocal (track 1), fiddle and Jason Fridley – saxophone. This offering was recorded and mixed by Andrew Greacen and mastered by Jocko Randall at More Sound, Syracuse with additional recording by JPR at home. All songs by JPR except ‘Almost Home’, words by JPR and music by JPR and Wendy Ramsay.

    JPR may be the quintessential acoustic singer-songwriter, but he colors with a full palette of folk, rock, blues and soul. Adding elements tastefully to create works that entice rather than overwhelm, he makes the mixes of genres seamlessly smooth, while retaining the emotion of his topics. “Eight Days In January”’ opens with all elements on deck, banjo, guitar, upright bass, fiddle and drums telling a tale of love and loss in the internet age. So sweet and sad it’ll make you move and think at the same time, in a zydeco kinda way. “The Wrong Way Home” adds the seasoned harmony combination with Wendy and Joshua creating a bridge with the chimes, his playing is a voice of its own, integrated so delicately you just float on it. “Closer” gets funky and the band warms immediately, JPR’s expressive vocals along with Wendy and Josh’s harmonies swirl sweetly together. The rhythm section has obviously been here before and JPR’s staccato guitar line just rides on Josh’s double snare hits. A get up and dance number, no doubt.

    Switching gears quickly, “Don’t Think I Can Stay Goodbye” highlights JPR’s varying acoustic styles through an emotional expose that is illuminated by fiddle and flute, accentuated by Wendy’s voice as almost an echo, reminding the protagonist why he wrote it in the first place. “Almost There” would sound great in nearly any format, it has bits of folk, pieces of rock and plenty of drive, it’s light, but pushes and pulls against the forms, very cool. “Enough About You (What About Me)” is a jaunty little number that seems to rail against social media and the opinionated, self-involved who live there. Where friends and fans count as statistics and it’s all about the ‘me’ agenda. Quite biting and hits the nail right on the head, smart and sarcastic! “I’ve Got It Here Somewhere” is a solid folk-rocker, it has plenty of room for JPR to exercise his acoustic riffs and expressive voice. A little funky, a little soulful, but right to the heart of what he’s about. Genre-defying folk rock, certainly not the easiest take. “My Bad” may hold my favorite lyrical twists that seems like opposite world, written in counter-point to what is reality.

    “‘Somehow” gets slow and soulful, sensual in its analogies, slow-moving, innuendo-fired, full of wanting. There’s something familiar in the voice/guitar interplay, I can’t place it. Wait, it’s “That Heaven” from David Gilmour’s “On An Island”, not only my favorite guitar player, but one of my favorite musicians. That’s a feel that’s reminiscent throughout and sticks in my ears in a very good way. ’Turn Away’ is JPR at ease, light on his feet, singing and playing up, his band bouncing with him in full form. A love song full of confidence and conviction, self-assured and certain. “Proof” follows with another upbeat ride, call and response vocals and flute lightly accent the rhythmic acoustic and bottom line. While each piece is tied together, they each bear individual styling that can easily stand alone. Like the samba-feel that Josh drives the closer, “End Of The Line” with. JPR jumps right up and Jason’s sax flavors it perfectly, their acoustic/sax dual melody is masterful. All this song begs for is to played again and again, much like the rest of this album, I’m confident it will be. I await its highway test, I know it will pass with flying colors.

    Key Tracks: The Wrong Way Home, Somehow, End Of The Line

    JPR has a great website where you can learn more about the man and his varied interests. Yes, he does social media too, on Facebook and Twitter or better yet, see him live!

  • Hearing Aide: Keller Williams’ ‘Vape’

    Vape, Keller Williams‘ 20th album, is a collection of 10 tracks that flow smoothly and whose sum is greater than any of the individual parts. Quirky vocals and pleasant plucking are aplenty on the new release, which may be best enjoyed relaxing on a lazy summer afternoon.

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    One of the two instrumental tunes, “Off Time Chorus Line,” kicks things off and sets a mellow tone that resonates through the album. Unique to the opening jam is some silky electric guitar playing on a mostly acoustic compilation. It’s easy for your mind to wander peacefully like a dove throughout Vape, as the second tune,“Mantra,” iterates.

    “She Rolls” tells the story of a girl who surprises a state trooper with a kiss and dances on stage in her underwear. “High and Mighty” reminds us most disputes can be settled by uncorking another bottle of wine, and “Jesus’s Gun” lightly critiques Americans’ obsessions with guns. Williams’ soft style never allows the intensity to escalate too much.

    Keller informs listeners that he loves donuts in a way reminiscent to Phil Collins once stating he doesn’t care anymore: “do-nuts, do-nuts; no more, no more.”

    He wraps up the album by attesting he loves California…and Virginia…in “Cava.” Throughout Vape, whisks of Williams’ unique storytelling style and ability lead the album along a serene meandering.

    Williams describes Vape as “highly concentrated music that can be heated up and inhaled through your ears.”

    Be prepared to nod along lightly to the easy-listening album that will transport you to a state of tranquility and can only aptly be described as Keller-esque.

    Key Tracks: She Rolls, Jesus’s Guns, Donuts

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  • Hearing Aide: Wild Adriatic ‘Never Enough’

    Saratoga area trio Wild Adriatic haven’t stopped picking up speed in the past few years, gaining fans worldwide with their contagiously fun and dance-able yet heavy in just the right ways blend of blues, soul and good ol’ straight up rock ‘n roll. They released a full length album in January 2014 and since have been on the road almost non-stop, touring coast to coast and for the first time taking their live show overseas on a European tour. During a six-week residency in Austin, Texas they released a new five-track EP on March 17 titled Never Enough that is a fantastic sampling of the talents and sounds they bring to the table.

    wild adriatic never enoughThe title track to this release starts off with a big, dirty, head bang inducing guitar riff that will grab any listener’s attention whether they’re ready for it or not. Then when the sounds of Mateo Vosganian on drums and Rich Derbyshire on bass join in together, it’s clear that it’s time to crank the volume as loud as possible, because this band is about to show you a damn good time.

    The second track, “Strange Persuasions” slows down slightly, with hip swaying grooves. After an electrifying solo towards the end of the song, when guitarist/vocalist Travis Gray comes back in with the words “Tell me now do you want me?” you can envision the ladies in a crowd nodding, weak in the knees after the shredding that just swept them off their feet. Then they let the listener down softly for a moment with the ballad “Because of Me” showing that although good times are what they’re known for, they’re equally able to melt every heart in the room. The last-minute of the song Gray lets his guitar take a verse, showing that his playing can portray the same level of emotion as his soaring falsetto vocals.

    The fourth track, “Trouble” full of hard-hitting yet intricate drum fills, funky keys, pulsing bass lines and rocking’ riffs, is a song that in the live setting would be a challenge for anyone to sit still through. This release is short and sweet, and for a new listener, an ideal introduction to what this band on the rise has to offer. Yet the studio version of this trio is only a fraction of the band that they are on stage, a true powerhouse of sound and energy where they take their songs to new levels in each performance.

    Oh, and there’s also a cover of Bill Wither’s “Ain’t No Sunshine” but not much needs to said about that. When this trio decides to do a cover, they fill it with soul, make it their own, and exceed all expectations.  From releases to live performances, everything Wild Adriatic does continues to set the bar higher and higher for the band. They are truly a band to watch this year and beyond as they continue to grow their sound, picking up influences and styles as they continuously hit the road running. With their intense touring schedule, it’s likely they’ll be in a town near you soon, but until then, Never Enough will keep you smiling, dancing, and singing along from whatever speakers you’re blasting it from.

    Never Enough is available at wildadriatic.bigcartel.com and via iTunes.

    Wild Adriatic have announced tour dates through August, including Bonnaroo (Manchester, TN) and Summer Camp (Chillicothe, IL). Full list of dates can be found at wildadriatic.com

  • 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: 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