NYS Music 20​16

Author: Amy Lieberman

  • Hearing Aide: Pete Pidgeon and Arcoda ‘All the Little Things’

    Pete Pidgeon and Arcoda’s latest album All the Little Things, recorded at Applehead Studios in Woodstock, NY, is one of the most diverse albums to hit the record stores in some time. Covering styles ranging from ‘80s rock, to bluegrass, to jazz, to Broadway musical, to Bing Crosby/Frank Sinatra era music, listening to this album is a bit like listening to a playlist on shuffle. Able to switch effectively from its dreamy start with “I Stayed Home,” to the big band brass sounds on “Tonight I’ll Be Staying Here With You,” to the traditional folk style of “But It Don’t Worry Me,” the band showcases its brilliant versatility.

    Made up of a core group of extremely talented and hard-working Colorado-based musicians, including Pete Pidgeon himself on lead vocals and guitar, Glenn Patcha on a variety of keyboards and the accordion, Justin Guip on drums, Catherine Popper on upright and electric bass, these musicians are brilliant enough to have been able to attract and collaborate with some pretty impressive guests on their latest effort. In fact, on the album’s third track “Tonight I’ll Be Staying Here With You,” none other than Levon Helm is featured during one of his last studio performances! (You have to be darn good to be able to put that on your resumé!) On the tracks featuring guest musicians, the band really allowed the influences from their guests’ respective bands to come through, with “Tonight I’ll Be Staying With You” sounding particularly reminiscent of The Band, “The Ways We Change” featuring a more twangy sound most likely influenced by Chris Pandolfi of The Infamous Stringdusters, and the funkier style present on “The Wind and the Lover” in great part due to the help of Ryan Zoidis from Lettuce.

    Pete Pidgeon has an amazing vocal range, both in terms of notes he can hit and styles he covers. His voice sounds like a cross between Ryan Adams, Jackie Greene, and Toy Caldwell, lead singer of Marshall Tucker Band, if you can imagine that.  Joined by his bandmates’ singing on several of the tunes, as well as guest female vocalist Sarah Perrotta (who hails from right here in the Hudson Valley), the harmonies are uncomplicated yet gorgeous. Glenn Patcha deserves a round of applause for the incredible range of sounds and styles that come out of his keyboards, taking the listener on a musical journey effectively changing the mood from song to song during its constant changes of style, providing a solid foundation for the rest of the band to build upon. To top it all off, Pete Pidgeon and Arcoda were joined by the incredible brass sounds of The Two Dolla Crack Horns.

    On Pete Pidgeon and Arcoda’s latest album All the Little Things, no two songs sounded at all the same, yet they all seemed to fit together extremely well. It will appeal to people from across the musical spectrum, and give listeners the chance to effortlessly give other genres a chance. And you wouldn’t want to miss out on the opportunity to hear Levon Helm during one of his last studio performances now, would you?!

    Key Tracks: Tonight I’ll Be Staying Here With You, But It Don’t Worry Me, Wasted Child

  • Hearing Aide: The DuPont Brothers ‘A Riddle for You’

    The DuPont Brothers, a sibling duo from Burlington, VT, have the gift of being both poets and musicians, a rarity these days. It’s always refreshing to hear sibling duos, because you can sense the true bond felt between them. Whether they’re harmonizing or singing in unison, Sam and Zack hit every note head on and flawlessly, while at the same time giving each other the space to shine individually. Joined on their latest album by several Burlington-based stars, A Riddle for You showcases just what this corner of the world has to offer in the way of talent.

    While guitars are the most prominent instrument on this album, interjections from the occasional fiddle, banjo and pedal steel are certainly welcome throughout. The musical influences of Neil Young come through strongly, perhaps most obviously on “Trespassers,” which sounds a lot like “Harvest Moon,” while hints of the musical stylings of Ray LaMontagne can be heard on songs such as “The Arbor.” Then there are songs like “The Positives of Ten Degrees” that offer a more unique and individual style, while staying true to the folk element that seems to prevalent to varying degrees.

    In terms of the vocals, each brother has his own distinctive and divine voice, both being particularly easy on the ears. Zack’s strong vocals seem to come effortlessly, giving the sense that he must share his voice and music-writing talents with the world. With Sam taking over the vocal leads on the album’s fourth song, “Ben’s Song,” one can sense a heavy vocal influence from Nick Drake, with an almost otherworldly tone.

    It would be fair to say that this album would be perfect for a stay-at-home date night, having it playing in the background, while eating a romantic dinner, providing background music during periods of conversation with its mellow under-spoken tone and intelligent lyrics to ponder upon during moments of silence. A Riddle For You has a way of really tugging on your heartstrings, having the quality of sounding familiar while at the same time offering a fresh twist on traditional folk music. The DuPont Brothers’ second album will be available in stores this June, so be sure to pick up a copy.

    Key Tracks: Something to Write About, The Positives of Ten Degrees, Fuse

  • Experience ‘The Last Waltz Live’ with Rev Tour Band and Friends in Oneonta

    The Oneonta Theatre is fortunate to be the next stop on the Rev Tour Band’s northeast tour performing “The Last Waltz Live,” a re-creation of The Band’s concert film. On May 21, join fellow fans of The Band for an evening that has lived on in our memories for so long, and — thanks to bands like Rev Tour Band — will continue to do so for decades to come.

    The Rev Tour Band, founded by frontman Tor Krautter in 1996, has been extensively touring the East Coast since its inception, but more recently, they have come to focus on delivering audiences a live rendition of The Band’s The Last Waltz, a movie that recorded a special moment in rock history, as the iconic group’s final concert. During the concert, which was filmed by Martin Scorsese at San Francisco’s Winterland Ballroom, numerous special guests joined The Band on stage, including Bob Dylan, Joni Mitchell, Neil Young and Eric Clapton, to name just a few. On Rev Tour Band’s “The Last Waltz Live” tour, the roles of these special musical guests are performed by musicians from the local scene, making each show a unique experience as the band travels from city to city. During Rev Tour’s stop in our neck of the woods this weekend, guest performers will include none other than the legendary Darcy Gibson, Ned Brower, Steve Dillon, Randy Miratello and John Scarpulla, among many other equally as legendary local characters.

    On top of the magical night of music you will surely be treated to, you will at the same time be supporting a good cause: the St. James Food Pantry. This worthy organization, through its “The Lord’s Table” program, offers a free hot meal every weeknight for those in need. All concert attendees are encouraged to bring a non-perishable food donation of any size (specific needs at the moment include peanut butter, juice, crackers and rice).

    For those looking to reminisce and re-live an incredible moment in rock history, come on out to the Oneonta Theatre this Saturday night. The show will start at 8 p.m., but doors will open at 7 p.m., so be sure to get there early to grab yourself a drink and settle into a good spot for what’s sure to be a fun musical adventure.

  • Hearing Aide: Radiohead “A Moon Shaped Pool”

    True to form, Radiohead delivers another anthemic masterpiece with their ninth album, A Moon Shaped Pool. The creative masterminds who make up Radiohead, joined by the likes of Pink Floyd and Beck, are some of the few musicians who are able to successfully mix the use of acoustic instruments and the more “techno” side of music via their use of a wide variety of sound effects. A Moon Shaped Pool allows lead guitarist and keyboardist Jonny Greenwood to showcase his impressive orchestral arrangements, balanced by the always quaveringly powerful vocals and brilliant lyrics (including such gems as “Broken hearts make it rain,” “The wings of love fly,” and “This is a low-flying panic attic”) of Thom Yorke.

    Radiohead’s members are collectively so much more than just talented musicians; rather, they seem to be able to tap into our innermost musical yearnings and know how to pull the right heartstrings at the right times. This album does a great job of drawing in listeners who are already diehard Radiohead fans by sticking with some tunes that are more characteristic of their early sound (on songs such as “Daydreaming” and “Identikit”), but it will also attract some new fans with its more innovative and out-there sounds (as if “out there” can’t be used to describe everything that Radiohead does).

    In addition to the more traditional-sounding Radiohead tunes, the band experiments with new and different elements such as the dancey number “Ful Stop,” the island music getaway “Present Tense” and the closest Radiohead will ever come to an acoustic singer-songwriter, guitar duo on “Desert Island Disk.” Perhaps one of the more striking elements of this album is the vastly different feeling between the first and last songs: the album starts with “Burn the Witch,” a rather witty upbeat number featuring choppy fiddles with an underlying layer of electronic buzz, and very stream-of-consciousness lyrics consisting of a string of clichés and non sequiturs, and ends with “True Love Waits,” the quirkiest yet most touching love song one’s probably ever heard. (One nerdy observation — the song list is in alphabetical order; is it coincidence that the order of the 11 tracks makes perfect sense this way, or another testament to the power of the genius that is Radiohead?)

    Radiohead’s latest album can best be summarized as a veritable cacophony of sound. The music moves through your body, pulsates through your veins and takes you on a psychedelic journey, before dropping you off right where you started and wondering what the heck happened during the past hour. For those who are intrigued and desire to go on this incredible musical adventure (which, I assure you, is well worth the experience), A Moon Shaped Pool is available now for digital download, and will be out on CD and vinyl on June 17, with a special edition option available in September.

    Key Tracks: Daydreaming, Identikit, Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief

  • Hearing Aide: Jason Bean ‘Black Then Blue Then Gray’

    Jason Bean, a singer-songwriter originally from Phoenix, NY, and now based in Syracuse, is a worthy local musician to be on the look-out for. Black Then Blue Then Gray sounds very professionally recorded and produced, which is quite notable, being that Bean recorded this, his fifth album, in his home studio, Black Match Studios. Mellow was the first word that came to mind as a very first impression, featuring a simple mix of guitar (played by Bean), vocals (predominantly from Bean himself, but joined by the lovely Kate Crawford on a few of the tunes), drums (masterfully played by Jason’s brother Christopher Bean), and the occasional bass and keys (performed by friend and previous producer Doug Moncrief).

    jason beanThis album can actually be enjoyed on two very different levels. On the surface, if you happen to just be listening in passing, this album can be appreciated for its simplicity and repetitiveness in both the instrumental and lyrical aspects of the music. Full disclosure: I admittedly was not overly impressed by this album when giving it a first listen, in part due to the fact that there aren’t any complicated jams or epic solos, but upon truly listening to the lyrics – which is something you evidently must do to be able to fully appreciate this album – it becomes clear just how impressive this album is. The heartfelt lyrics take you on a journey through something most of us have been through or are presently in: a relationship.

    Black Then Blue Then Gray features more traditional love songs such as “Real,” about new love in its purest sense, on which the “guy” is begging his love interest to let him show her “this is something real,” and “Safe,” about feeling truly comfortable and safe with someone, the type of song you wouldn’t mind someone singing to you! But this album also delves into much deeper and more difficult aspects of the relationship. “Let Her Run” puts a clever twist on the cliché “if you love her, let her go,” while “Our Fears” offers the listener an ironic “non-love” song, repeating the lyrics “Don’t tell me that you love me, it’s all downhill from here.”

    The album then moves on to the break-up stage of the relationship, from the bitter feelings and trying to justify the break-up on “Smokescreen,” to feeling the burn of being replaced by someone else on (the appropriately named) “Someone Else,” to the acceptance of and finding comfort in being alone on “Windows.” The last song on the album, “You,” brings everything full circle, with Kate Crawford joining in again on this nostalgic song of loving memories and regret about the love they have lost.

    Black Then Blue Then Grey presents the listener with a complete story put to music. One could venture to say, even, that the music plays a back seat to the story, while, at the same time, the understated nature of the instrumental components of the album seem to serve as the perfect backdrop to the story: a very symbiotic relationship. This album certainly leaves the listener curious about the four previous albums put out by Jason Bean, as well as those yet to be released.

    Key Tracks:  Our Fears, Safe, Smokescreen

  • Hearing Aide: Town Mountain’s ‘Southern Crescent’

    Town’s Mountain’s soon to be released album Southern Crescent can be characterized as straight up bluegrass, with a classic rock twist and a dash of zydeco mixed in for good measure. The fact that this band is based out of Asheville, North Carolina – a particularly nurturing place for musicians – really comes through in Town Mountain’s music, as they seem as if they are totally comfortable in their skin. Town Mountain is comprised of Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian on bass. These guys are no joke: in 2013, Town Mountain was the recipient of two International Bluegrass Music Awards Momentum Awards, including Band of the Year and Vocalist of the Year for lead singer Robert Greer. It wouldn’t be surprising at all to see these guys at an upcoming bluegrass festival like Grey Fox or Delfest, as they have got something special.

    Recorded in old-time music great Dirk Powell’s Cypress House Studio in Beaux Bridge, Louisiana, in the heart of the bayou, the swampy, twangy, old-timey sound truly comes through on Town Mountain’s fifth album. Huddled around microphones recording their unplugged instruments, with minimal editing, gave this album an almost live quality, giving the listener the feeling of almost being there at one of Town Mountain’s concerts.

    Let’s face it: on any given album, there is typically one song you might think is a bit of a dud, but it is not a lie to say that all the songs on this album are winners. Southern Crescent kicks things off with “St. Augustine,” a one-minute instrumental traditional bluegrass ditty, setting the tone for what’s to come, which is something magical. Although many of the songs sound familiar, like they could be a traditional bluegrass cover, band members Jesse Langlais and Phil Barker, in collaboration with the other band members of course, write the majority of the band’s songs. Many of the lyrics deal with common country/bluegrass themes, such as traveling, hard living, love lost, and gambling, but Town Mountain puts their own twist on things, often adding witty words or chord changes to throw things a bit off what the listener is expecting.

    It becomes evident that these guys are truly dedicated musicians who must spend hours practicing together on a regular basis, especially on songs such as “Ain’t Gonna Worry Me,” which features both flawless falsetto vocals by lead vocalist Greer, and excellent harmonies by Langlais, Barker, and DiSebastian, as well tricky time signature changes, which the band made seem easy. “Comin’ Back to You” introduces a more classic rock side of the band, featuring a nice surprising piano solo, while “Leroy’s Reel” takes the listener on a more international journey, sounding alternately Irish, French, and Russian. Throughout the entire album, though, the band stays true to their bluegrass roots, giving equal opportunities for each band member to step forward and take a solo on each and every tune.

    Due out on April 1, Southern Crescent is a must-have for any bluegrass aficionado, although with its inclusion of classic rock and zydeco influences, the appeal of this album goes well beyond just bluegrass fans. The live quality of the recording, added to the danceability of the tunes, will most likely entice you to want to see them perform live, so be sure to check out their website for numerous upcoming tour dates, including a stop in Manhattan at the Hill Country BBQ on April 8. Be sure to check them out if you’re in town, and while you’re at it, pick up a copy of Southern Crescent! You won’t be anything short of amazed.

    Key Tracks: Comin’ Back to You, Wildbird, Tick on a Dog

  • Hearing Aide: Ten Cent Howl’s ‘Ain’t It Strange’

    Ten Cent Howl does the Americana genre proud on their latest album Ain’t It Strange. Featuring the deep and distant voice of Bill Smith, who sounds like he is coming to us from a different era a half century ago, this band makes it nearly impossible for listeners to not be tapping their feet and singing along after just one listen. All the songs on the album seem to be characterized by the perfect mix of catchy lyrics in the choruses, interspersed with beautiful poetry that is definitely worth focusing on. Also, as an added bonus, if you are of the opinion that one can do no wrong as long as there’s a mandolin playing, then this album is for you.

    Sounding like they come from a simpler time, unspoiled by the marvels of modern technology, Ten Cent Howl offers a refreshing glimpse into rural American living through their vacillatingly uplifting and melancholy songs, many of which are about love lost and found. While one can say this has been done already, Ten Cent Howl manages to put more on the table, with each band member seeming to be giving it their all on each and every tune. Featuring Jerry Hall on the bass, Harmony Griffin and Tim Pitcher on guitars, Peter Ramos on drums, and Bill Smith on guitar and lyrics, this band sounds like they have been playing together for decades, just like the music of the past, passed down through the generations. Listening to this album, one feels as if they have been transported to a country bar in the ‘50s, the way the harmonica licks come flying, the pedal steel strings are picked and the extraordinary harmonies that are belted out.

    From the Johnny Cash-sounding “33 Days” to the Roy Orbison-esque “This Is Real,” there is something to please everyone on this album, appealing to those who appreciate an album for its instrumentals, with its ideal mix of electric guitar, pedal steel, mandolin, and harmonica, as well as to those who are more interested in the vocals, with Bill Smith’s perfectly polished yet old timey quality, and fellow band members Hall, Griffin, Pitcher, and Ramos, who all seem to be able to harmonize so flawlessly. With a growing fan base in the Buffalo area, the band’s hometown, having numerous gigs lined up at local hotspots Sportsmen’s Tavern, where the band celebrated its release of Ain’t It Strange on February 27, as well as other area favorites including 189 Public House and Tudor Lounge, one can only hope that these guys will venture further to bring their wonderful timeless take on Americana music to the rest of the world. In the meantime, give Ain’t It Strange a listen; I can guarantee you won’t be disappointed.

    Key Tracks: Never Ceases, This Is Real, In View of Her

  • Hearing Aide: Bruce Horan’s ‘Tigershark’

    Artist-turned-musician, Bruce Horan offers the listener a glimpse into his creative mind on his debut album Tigershark. A graduate of Pratt Institute with a Masters of Fine Arts, and currently based out of Norwalk, CT, this guy has clearly got talent, which comes through on the seemingly careful thinking that went into each step of producing and recording this album. While primarily an artist (he paints in many mediums), Horan courageously ventures into the world of music through this work. Being a solo venture, with every instrument and vocal part recorded individually and then mixed and mastered at 30 Below Recording Studio in New York City, Tigershark is a true work of art.

    Every song offers the listener a poem put to music. The vocals on this album have an almost spoken word-like quality on many of the tunes, putting more emphasis on the lyrics, which are definitely worth giving a listen to. Some of the lyrics even teach lessons, including “Stalactite,” which contains a description of how stalagmites and stalactites are formed, and “Combined,” which features a whole verse of a couple speaking French that sounds like it is sampled from a language learning tape.

    Although tough to categorize, one could consider the first half of the album to be in the family-friendly genre, with some more repetitive and easy to follow instrumental patterns, and goofy lyrics about how Horan likes his eggs cooked on “Eggs,” and what would happen if the poles were reversed on – surprise, surprise – “If the Poles Reversed.” The second half of the album takes a more “emo” turn, with some more melancholy tunes about unrequited love on “Bumble,” and about having eight different worlds going on in his head on “Entropy.” Overall, most of his songs have a very stream of consciousness-like quality to them, with a bit of a perhaps intentionally unpolished sound. Hints of inspiration from bands like Ween and Weezer seem to come through in Horan’s quirky musical stylings.

    If you are interested in giving Tigershark a listen, you can stream or download it for free on Bruce Horan’s website, where you will also find music from his second album Riptide, as well as samples of his impressive artwork. Horan also keeps his Facebook page pretty well up-to-date with music videos as he produces them, so there are plenty of opportunities to check this guy out. While not currently performing live, one can only hold out hope that he will decide to do some shows in the future. In the meantime, you’ll just have to enjoy the listen.

    Key Tracks: Stalactite, Combined, Peregrine’s Wall

  • Hearing Aide: Larry Keel’s ‘Experienced’

    Larry Keel’s latest album Experienced, due out on February 26, can truthfully be described as ear candy. For those who like music of the bluegrass or blues persuasion, or even for those for whom these are not your favorite genres, this album is a highly recommended addition to your collection. Accompanied by his wife Jenny Keel on upright bass and vocal harmonies, and longtime band-mate Will Lee on vocals and banjo, Keel is also joined on this album by a cast of bluegrass superstars, including none other than Del McCoury, Peter Rowan, Sam Bush and Keller Williams.

    This album has all three elements going for it: the instrumental, the vocal and the lyrical. It takes several listens-through to feel the full effect of this extremely well-rounded album. It is definitely worth “binge listening” to, taking the time to truly listen to each of the album’s elements. Treated to a healthy mix of sing-along-able songs, and those songs that make you want to just sit back and listen to the poetry coming at you, you’ll find it hard to eject this CD from your player.

    It is clear just how much heart was put into each and every word written, and every note sang and played. It also seemed that Keel took the time to write songs that fit well with the musical stylings of his guests. Opening with guest Sam Bush on “Ripchord,” this song manages to tell a silly, whimsical tale without any words, something Bush manages to do so well. On “Fill ‘Em Up Again,” Keel takes the opportunity to employ bluegrass masters Del McCoury and Jason Carter of the Del McCoury Band and Mike Guggino of the Steep Canyon Rangers on this, the most bluegrass of all the tunes on the album. Keller Williams’s fancy guitar picking is complemented nicely on “Miles and Miles,” and Peter Rowan’s signature yodeling is featured on “The Warrior.” The last song, “Another Summer Day,” featuring Anders Beck of Greensky Bluegrass, provides a mellow sing-songy ending to this gem of an album, making you want to start the whole thing over again.

    It’s amazing how different Keel’s voice sounds on each of the tunes. Reminiscent of Eddie Vedder on “Miles and Miles” and Johnny Cash on “The Warrior,” his voice gets so deep on “The Warrior” that it almost sounds like a didgeridoo. Keel’s voice balances very nicely with Will Lee’s more distinctive, mellow, pitch-perfect vocals. Keel’s wife, Jenny, adds beautiful harmonies on several of the tunes, blending perfectly as only a husband-and-wife duo can.

    Larry Keel’s Experienced is essential for any music lover’s collection, no matter what type of music suits your fancy. It is appealing on so many levels, with its approachable more traditional tunes drawing in listeners, and some of the more rhythmically out there songs giving those listeners a taste of something a bit more sophisticated.

    Key Tracks: “Ripchord,” “Fill ‘Em Up Again,” “Another Summer Day”

  • Hearing Aide: Professor Louie & the Crowmatix’s ‘Music From Hurley Mountain’

    Professor Louie & The Crowmatix, hailing from the musical history-rich Woodstock, NY, treats listeners to music and history on their latest album Music From Hurley Mountain, spinning tales of their home and surroundings, clueing listeners in to the rich history and lovely scenery we have right here in our backyard. A “super band” in a sense, with musicians in the band having played with such musical powerhouses as Bob Dylan, Van Morrison, Joe Jackson, and Levon Helm, Professor Louie & The Crowmatix are no slouches themselves. Covering a wide range of musical genres – perhaps leaning most heavily toward folk, zydeco, and gospel – listeners can expect to at times be knocked off their feet with the incredible instrumental collaborations and vocal harmonies, and at other times be glued to their seats just listening to all the local history that has seemed to seep its way into all of the band’s tunes. Song names such as “Hurley Mountain Road” and “Ulster Outcry” will garner reminiscent feelings from locals, and those who are unfamiliar with this region will be drawn to it after learning about all the Catskills and Hudson Valley have to offer.

    Recording engineer and producer Aaron “Professor Louie” Hurwitz on vocals, keyboards and accordion, is joined by his songwriting partner vocalist/pianist/percussionist Miss Marie, drummer Gary Burke, guitarist/vocalist John Platania, and bassist/vocalist Frank Campbell, collectively making up the Crowmatix. To listen to this band’s latest album is to go on a musical journey that takes the listener from an Irish pub on “Four Farms,” to the Mississipi bayou on “Crop Dustin’ Blues,” to a spirited church service on “Hurley Mountain Road.”

    This album has a particularly distinctive beginning, middle, and end. Starting off the album is the 36-second “Golden Morning,” beginning with a trilling accordion sound, which puts the listener right there at an outdoor café in Paris sipping coffee. Progressing through some more spiritual sounding and bluesy tunes, including “Ashton” and “Crop Dustin’ Blues,” the band chose to include “John’s Tractor,” which is essentially just a 30-second recording of a tractor, smack dab in the middle of the album. Given the band’s locale, this could actually be viewed as auspicious timing, as it is quite possible that this is a sound that the band might have had to contend with during the recording of its album in the agricultural surroundings. The album ends with “Goodnight Hurley Moon,” a jazzy/bluesy tune with a French flair featuring the accordion playing major chords juxtaposed against a backdrop of the other instruments playing in a minor key, giving the song a sort of melancholy feel while still remaining positive, a very effective song to end on because it kind of makes you feel like you want to start the whole album over again!

    A folk band in the truest sense of the word, this group would fit in well at festivals like Clearwater and Falcon Ridge. Frequently touring throughout Upstate New York, including upcoming shows at Inquiring Minds Bookstore in Saugerties on January 15, and the Orpheum Film and Performing Arts Center in Tannersville on January 16, there is no excuse not to check out these guys. And for those of you looking for a taste of true Catskill Mountain folk music, you’ll definitely want to pick up a copy of Professor Louie & The Crowmatix’s latest album Music From Hurley Mountain, due out on January 15.

    Key Tracks: Hurley Mountain Road, Ashton, Four Farmers