NYS Music 20​16

Author: Katie Canete

  • Fetty Wap Leaves SU’s Juice Jam Hanging

    The beginning of the fall semester is the best time for students at Syracuse University. September is the last month where students can enjoy being outside before the arctic tundra plagues the campus. This is the time when University Union showcases their first major concert: Juice Jam.

    Juice Jam, with its alliterative citrus allure, is a small festival-like experience for SU/ESF students. Typically held on a Sunday afternoon, Juice Jam is an all-afternoon event that features artists on their main stage and on their indie stage. (Note: The stages are side by side which makes it easy for the crowd to shift for different acts.)  Unlike a major festival, navigating to food trucks, water stations, bathrooms, and auxiliary activities is quite manageable on the Skytop Field.img_7341

    The 2016 edition of Juice Jam was this past weekend on Sunday, September 25, and tickets were sold out prior to the show.  The lineup featured Tove Lo, marshmello, D.R.A.M., Stephen, and LOLO. The headliner for the event was supposed to Fetty Wap with Monty. Sadly… there’s no coverage of Fetty Wap from the event. Why? Because Fetty Wap didn’t show up. The rapper was supposedly making his way to Syracuse, but due to “travel delays,” he didn’t make his set. He was supposed to take the stage at 5pm, and an announcement cancelling the event (or at least the rest of it) was made shortly after 5:30pm.  According to The Daily Orange, SU’s campus newspaper, University Union will not be issuing refunds to those at the event.  The decision makes sense because there’s no way to track who went to the event once tickets were collected at the gates, but it’s no surprise many students are a bit heated as a result.  There was a mass exodus for the buses/exit gates post announcement as many were majorly disappointed.

    Besides the tragic ending, the day progressed quite smoothly.  The weather was ideal, and the event was extremely organized and well-staffed. Tove Lo did well closing the show, though that was unbeknownst to anyone at the time that she would be last.  Better luck next time!  Looks like Fetty won’t be getting a lot of University love in the near future.

  • Hearing Aide: Ampevene ‘Rometheu’

    12 minutes and 30 seconds. That’s how long it takes to listen to Ampevene’s new EP, Rometheu. But that’s not the total sum of each of the songs; it’s just one extended track!

    Ampevene RometheuAmpevene is a band that stemmed from Gabe Stallman’s solo project as a guitarist.  Now the full band consists of Gabe Stallman on guitar and vocals, Mack Hogan on bass, Bob Morris on drums, and Ava Smith on keys, and Jeff Nania on saxophone.  The progressive rock group is based in Albany, so it wasn’t too far to the studio, The Recording Company, in Esperance, NY.

    It’s not clear by the song why it’s called “Rometheu,” but it is the word “Prometheus” without the first and last letter… Perhaps the song was inspired by Greek mythology?

    Rometheu starts out with a rock blues that’s very guitar and bass ostinato heavy. The beginning is not in standard 4/4 time, but rather it’s written with a 6/8 feel – where the first and fourth beat are emphasized in each measure. This helps give the track a flowing groove. At around 2:47, the mode shifts into a fast 4/4, really driving the piece forward.

    The lyrics are posted to accompany the track on Bandcamp, which is immensely helpful. The lines don’t seem to relate directly to one another in a story; the emphasis and poetry are behind each individual line. There are only vocals in the first quarter and very end of the song; it’s clear the music drives this track.

    The crazy guitar riffs and multi-instrument improvisation are awesome and the instruments sound flawless showcasing their melodic riffs.  There’s a point where there is a lack of a clear tonal center, and the band just creates a powerful wall of sound.  At around 6:07, a slower groove is established without saxophone at first to allow the audience to breathe after the more intense section.  It is here where the piano is high in the mix complementing the haunting guitar melodies. The experimentation with the guitar distortion, some organ sounds, and smooth saxophone is quite soothing and fun to listen to.

    The coolest part of this track is the juxtaposition between musical ideas/styles. It makes the piece dynamic and engaging throughout.  The slow section is immediately followed by a short, quicker ending featuring a quick line of lyrics. Rometheu is very impressive from a compositional standpoint as well as a musicianship standpoint.  It’s a track you can’t help but jam along to.

    Listen to it on bandcamp here.

  • Hearing Aide: Suit of Lights ‘Break Open the Head”

    unnamedEarlier this month, Suit of Lights released their album Break Open the Head.  Suit of Lights is a musical project that was started by Joe Darone who’s played in a number of bands prior to this including The Fiendz and The Rosenbergs.  You can hear Darone singing the vocals and playing keys, Chris Connors on guitar, bass and keys, Billy Carrion also on bass, and Corey Colmey on drums.  Suit of Lights is based in New York City and though the band self-identifies as a rock group, this album is far from a standard rock album.  Most rock albums contain songs that remain in one key and in one time signature.  Break Open the Head pushes the limits of genre categorization and explores the capabilities of musical structure in just ten tracks.

    The title track and first track on the album has a cool groove with offbeat accents on the hi-hat during the verse and then morphs into a half-time feel during the chorus.  In accordance with the groove shifts, the mode of the music changes from minor verses to a more major sound in the chorus and instrumental break.  The song “Break Open the Head” seems to be first so that the songs that follow illustrate what happens once the head (presumably figuratively) is broken or thoughts span outside of the box.

    “New Frontier” begins with a spooky introduction on piano that’s passed off to the guitar.  The chord progression throughout is a little unsettling as there is a harsh balance between tension and release.  Featured on the track is an organ sounding instrument, or better yet, a calliope- type instrument that creates carousel or carnival music.  The instrument comes in when the singer sings about a continuous carousel of time. That’s clever introduction to the timbre but the tones get a little distracting.  The song is slightly unresolved at the end with the guitar feedback, perhaps indicating that the future is uncertain.

    “Monsters” has a neat little 7/8 introduction that features a repetitive guitar melody.  It’s all about getting rid of your monsters; it’s quite empowering.  “Zero Camera,” along with others, frequently changes harmonically with the chord progressions.  Though artistic, someone who doesn’t appreciate the theory may find it unsettling or too dramatic  “Circle the Drain of History” features the lyrical line “monkey with brains all full of mush, about to get the royal flush, circle in the drain…” over and over again, perhaps to reinforce the concept that history repeats itself.

    The instrumental prowess of the musicians is quite strong as, technically and harmonically, the backing works.  But the vocals don’t match.  The tenor tones are a little whiny sounding, almost in the vein of an acoustic pop punk vocalist.  Some upper range notes sound like a push or slightly unrehearsed.  The vocals are on key, but they’re not as strong as the instrumentals.  The purpose of the album may simply be to stand as a work of art.  It may be an album to spark change and stand for something more than notes and rhythms.  In that case, it definitely succeeds in sounding unique and has some catchy lines that may stick in your brain.  They’re not the easiest songs to sing along to as they’re very unpredictable in nature but, over time, they could become participatory.

    Overall, it’s a quick album to listen through and interesting if you’re looking for a change from more mainstream artists.

    Key Tracks: Monsters, The Beginning Is Near, Break Open the Head

    https://www.youtube.com/watch?v=4cslOSbzyss

  • Hearing Aide: Jocelyn & Chris ‘Edges’

    They say that talent runs in the family, and this is certainly the case for Jocelyn & Chris Arndt.  The two siblings are both students at Harvard and have a strong passion for making music.  They just released their LP called Edges on platforms Spotify, SoundCloud, and iTunes.  

    Jocelyn & Chris EdgesThe Arndts identify as rock artists and refreshingly don’t try to get too fancy labeling their music as a sub genre.  They tag team during the writing process and for recording, Jocelyn handles the vocals and keys, Chris plays lead guitar, group member Kate Sgroi plays bass, and David Bourgeois plays drums. Though the artists have management, publicity, booking, and legal representatives on their team, it looks as though they are not affiliated with a record label.  Up ahead in 2016, they two will be playing a few dates a month in places like New York, Virginia, Tennessee, and more.

    The most defining characteristic of their music is Jocelyn’s voice; it’s seductive, powerful, distinct, and quite bluesy.  She has such a unique vocal timbre that sounds like she’s emulating a once popular vocalist while adding a youthful flair.  One complaint or weak aspect of her voice is that each song sounds quite similar.  Furthermore, to get the sound she achieves, it sounds like her throat is constricted during certain notes.  However, it’s truly impressive that a woman of college age can sing with such passion and emotion.  The chorus of “More Than I Say I Do” is a great example of the powerful emotion she conveys through singing.

    The haunting distorted guitar is an element not found in a lot of music today.  Chris does a great job improvising little transition licks in between phrases to keep each song’s momentum going.  He’s jazzy licks and sweeps sound controlled and have direction.  “Cut the Cord” is a slower tune with heavy emphasis the piano’s block chords and includes a violin in the mix.  The texture gets quite light towards the end and the listener can truly appreciate the lyrics before bringing the instruments back.  The bluesy nature of their songs is perfectly exemplified in “Here to Stay.” The song features sax, trumpet, vibes, and a wailing guitar.

    The album sounds like a strong compilation of songs that aren’t overproduced, but allow for the rough edges, as per the album title, to shine through.  It seems like Jocelyn made a little music on her own in 2014 and 2015, but having her brother working with her seems like a move in the right direction.  It’s clear they know how to structure songs and how to incorporate their own compositional elements.  

    Moving forward, the duo/recording group will need to focus on making music in relation to one another.  It sounds as if the players are simply playing in time to cut and dry parts that are quite repetitive.  It almost sounds as if Jocelyn and Chris hired a bunch of studio musicians to follow a chart and provide backing materials.  There lacks a depth and personality with the other instruments.  This sample of songwriting is probably just the beginning and they will probably grow and devote more time to their music once they’ve finished school.

    Key Tracks: Here to Stay, Cut the Cord, Hot

  • UpHill Funk You Up: Ampevene at Funk n’ Waffles, March 12

    Funk 4Last weekend, Funk ‘n Waffles up on the hill showcased two great bands: progressive rock band Ampevene and funky reggae and rock band Barroom Philosophers.

    The show kicked off with Barroom Philosophers from Seneca Knolls.  The group lists David Koegel (vocals), Joshua Way (guitar), Ty Hancock (bass and keys) and Brenden Boshart (drums) as their core members, but for this show, they had another member playing some guitar and some beats on conga.  The added layers of texture made for a nice and fuller sound. They added a vintage touch to the visual aspect of the show with a lit sign of their band name on the keyboard stand.  David Koegel really seemed to give it his all singing and they really brought the funk to the funky venue.

    Ampevene took the stage, but a few folks were thrown off by the brief soundcheck thinking that was the beginning of the show.  This group featured Gabe Stallman on guitar, Mack Hogan on bass, Ava Smith on keys, and Bob Morris on drums.  They were all very talented musicians that really didn’t visibly vibe off of one another, but rather they aurally honed in on what the others were doing.  The synth player was so focused; she kept her head glued to the keys and would ditch her seat entirely during intense bits of the show. It was cool to see them transition between instruments taking over for a solo or short feature.  The synth added a unique flair with some awesome intergalactic timbre.  Vocal interjections were few and far between, but they matched the established instrumental prowess.  Their set was all business. There was no dialogue about the band or their tracks in between numbers and they moved seamlessly from song to song.  It was refreshing not to hear, “Hi we’re [insert band name], please like us on [insert social media].”  They truly were engaged with their sound and didn’t distract from that.

    The biggest bummer of the night was the lacking crowd because students at Syracuse University were off on spring break and couldn’t come out to the show.  However, it was a successful show for both bands in terms of talent and execution.

  • Hearing Aide: Howardian ‘A Smurf At Land’s End’

    Howardian CoverBrooklyn-based band Howardian has released their sophomore album, A Smurf At Land’s End. The group records and operates under the name Howardian, but the band is fronted by and more commonly identified by Ian Vanek.  It’s seemingly more common for artists to brand themselves with the musicians they work with, even when the bulk of the recognition and creative distinction stems from that lead singer or performer.

    Howardian has labeled themselves as an “art rock” band, and that genre is defined by noticeable influences from classical music and/or music that features experimental avant-garde styles.  One listen through the album and the unique, experimental nature of the compilation is quite evident. This is a prime example of genre bending: pop, hip-hop, punk, and rock.

    Samples of pre-recorded voices of short monologues give the tracks more meaning and allow listeners to identify any potential significance for the inclusion.  It’s hard to pinpoint who is speaking in these voiceovers; they could be from noteworthy individuals or events.

    In “Over the Laptop,” you can clearly hear Vanek’s vocals doubled with two separate takes. This technique gives the track a fuller sound, but also gives it an indie flair with the vocal pitches not 100% congruent with each other.  The indie-esque sound is reinforced with the percussion; the snare sounds authentic and not of the best quality.  “Front Street” uses a video game power-up sound every two measures which is a unique timbre that nicely juxtaposes the heavily distorted power chords throughout.  

    “I’m The Ocean” is quite repetitive in nature and it’s important to note that it’s purely instrumental.  The repetitive melodic lines make listeners feel like they are sifting through a monotonous flow of ocean waves.  “Cap’n Such n’ Such” is interesting because the instruments are playing a pretty standard of a rock groove, but the syncopated hook spelling out the band’s name is a bit hip-hop eqsue. “Fulton Mall” is the song that is closest to a standard pop song due to its immensely repetitive nature and backing vocals.

    There doesn’t seem to be one central theme in terms of album’s subject matter, but there is a distinct flow in terms of style that makes the album work.  The instrumental parts of the tracks are not overwhelmingly challenging.  The musicianship is evident, but each song is quite simply outlined with basic beats and chord progressions.  The synth is a crucial element in almost all of the tracks as it breaks up the streams of vocal phrases with a simple top line. However the lack of virtuosity seems to be what the band is getting at.  The band’s sound is quite unique in terms of non-musical elements.  The music seems to be an outlet for artistic freedom, and not a way to showcase high-caliber musical talent.  This album is a cool listen if you wish to diversify your aural palette of music and experience something new.

    Key Tracks: Over the Laptop, Capn’ Such n’ Such, Front Street

    http://www.youtube.com/embed?layout=gallery&listType=playlist&list=UUKJ8qe7vCz4SztGjuZ2gm9A

  • Hearing Aide: tai free ‘Journals’ EP

    tai freeIf you’re on a searching for some smooth and soulful hip hop music, you might consider listening to tai free’s new EP Journals. Each track has a calm, relaxed feel that puts listeners at ease and provides the opportunity to assess the musicality.  The selections aren’t aggressive or fueled by overwhelming rage like some hip hop tracks. This EP wouldn’t be what most would consider dance music, but rather music you can vibe along to.

    The Brooklyn artist has been making music for a while, but only started getting serious about two years ago. tai free writes and performs his own songs, and the EP is appropriately titled as it provides snapshot of his thoughts and experiences. He describes the collection as “a sketchbook of colors, moods, and self-actualizations.”

    In “I’m Not Here,” it’s clear he’s talking to someone close to him saying that he doesn’t want to be lied to any longer and that he is “not here for games.” Whoever he’s addressing was making him wait and reveals that he’s not going to wait around because he’s too focused on bettering his personal situation to be involved.  At the end of “Bite Your Tongue,” he repeats the lines “Baby don’t bite your tongue, baby don’t lie…” seemingly trying to reinforce the idea that he desires honesty. Rap artists frequently draw on personal experiences for lyrical substance and he does so too by subtly depicting his thoughts and goals.

    The syncopated percussion part in “Complications” is slightly unpredictable and bolsters the title and uncertainty of the situation with the girl expressed throughout. “Drive” incorporates female vocals by Francesca in the beginning which lay down the poignant foundation for the track.

    tai free seems to have a lot of raw talent and knows how to write lyrics that can easily fit into a song structure. The dynamic range of his vocal delivery however, could be broader throughout to show more expression and emotion behind the words. The mixes of each track are relatively simple, and more production elements could be added to his music to enhance the texture.  As a newer artist, more consideration for creative direction and collaboration with other songwriters can only benefit his music moving forward. Overall, tai free has taken the right steps and could have a reputable future in music.

    Key Tracks: I’m Not Here, Drive, Bite Your Tongue

  • Hearing Aide: Gone Gone Beyond

    Gone Gone BeyondPicture a small, dimly lit venue with a dusty stage in the back. The ambiance is quite relaxed; the space is occupied, but not packed. There is minimal chatter between young music-lovers who appreciate innovative music and ideas. The crowd vibes in time to a conglomeration of folk, indie, and electronic sounds. This is the mental imagery that could conceivably accompany Gone Gone Beyond’s self-titled debut album.

    Danny Musengo’s raw, captivating vocals are quite prominent throughout the album. The raspy timbre of his voice coupled with the soul behind each note keeps the audience holding onto each syllable.

    “Back Swing’s” electric guitar sounds haunting with the echo distortion and open melodic intervals. More unique instrumentation includes a growly trumpet harmony and violin. “Carnival” nicely juxtaposes what sounds like acoustic piano with electronic percussion. It’s got a flair of EDM with a dance groove towards the end that gives the a song cool ‘B’ section. “Under Seige” implements the innocent female vocals of Colibri which gives the track a refreshing quality.

    Gone Gone Beyond says that the subject matter of their lyrics stems from life, nature, and love- The Human Experience. “Here for A Moment” highlights that love and life are both fleeting, and Musengo sings that he’s “here for a moment, then floating away.” The repetition of the line allows for the layers to build and solidify the concept. In “Ain’t Givin’ Up On Love,” it’s obvious the quest for love is ongoing and shouldn’t be missed out on. The longest and final track called “Long Day” is the longest track in the collection. This song seems to represent life as a whole as life can be thought of as one lengthy day. While lyrics touch on children growing older and seemingly unrequited love, the instrumentals say it all. The soft lull and highs and lows paint an aural picture of the ups and downs of life.

    It is evident that David Block (producer) put a great deal of time and energy into writing and blending each of the compositional elements. The majority of tracks are just over five minutes long, which deviates from the standard four minute norm. There is more consideration for development of phrases and transitions between different ideas, which ultimately takes more time than a regular indie or folk song. Each song begins with a very sparse texture and builds throughout incorporating more and more instruments. The choice of instrumentation and musicianship of the players are what make this album enticing to listen to. Traditional band instruments like guitar and piano are combined with flute, violin, trumpet, double bass, synthesized sounds, and steel pan. Each instrument has a specific purpose and isn’t incorporated for the novelty of doing so.

    This album is quite artistic in creation and the hard work of perfecting each of the elements is very apparent. Check the album out on SoundCloud and Bandcamp!

    Key Tracks: Back Swing, Long Day, Ain’t Givin Up On Love

  • Hearing Aide: Mayve ‘Animals’ EP

    MayveFresh off of Long Island came some hot bagels and Mayve’s new EP entitled Animals. Mayve, pronounced like the Irish first name “Maeve” and not to rhyme with “maybe,” got the inspiration for their name from lead singer Nick Micheline; he liked his little cousin Mayve’s first name. The band is comprised of five guys and they’ve been playing together for a few years. Back in 2012, they were featured on “Rick’s Rising Stars.” On the show, Rick Eberle talks about the best upcoming artists in the local scene. This indie pop band fits the standard rock band archetype instrumentation-wise with some synthesizer ornamenting the band’s recordings.

    They’re currently unsigned to a record label, but the EP was recorded with the help of Rocky Gallo, who has engineered a number of records with many artists like John Legend, Andrew Bird, Jim Wolf, and more.

    Songs like “Hearts on Fire” and “Talking to Myself” aren’t new to their repertoire and have been performed since 2014. But it seems like they’ve compiled five of their more recent original recordings as a marketing tactic to get their songs out there as a unit.

    Overall, the lead singer sounds a bit like Andrew McMahon from Jack’s Mannequin and has a little flair of pop punk with his pronunciation of some lyrics. Almost all of the songs have melismatic repetitive phrases which make them easy for listeners to learn and sing along to. No one in the band primarily specializes on synthesizer, (based on the band’s social media and music videos) but the synth definitely helps augment the sound and give it that edgy pop sound.

    “Hearts on Fire” is all about love, which is the predominant subject matter in each of their tracks. The band sounds much like The 1975, especially with the bright guitar timbre on this track. The lead singer talks about young love and how no one can take that love away. In “Higher,” the idea of animalistic desires as per the EP title is evident in the lyrics with lines like “My body’s taking over; your body’s taking me higher and higher.” The tune has background group vocals singing “higher and higher” throughout which aurally reinforces the lyrics. “Magic” is the only slower song in the lineup, and uses an acoustic guitar to highlight the emotion behind the words. This song also has backing harmonies, which adds some nice texture to the tune.

    The band’s sound is not terribly unique; they sound like a generic indie/pop band. This is just the beginning of their time in the music business with the release of the EP and they have a lot of room to grow. They need to expand beyond what they’re doing both stylistically and instrumentally. They all sound like they are very proficient players, and the production quality is quite high, but they need something to make themselves stand out in a sea of many similar-sounding bands. It will be interesting to see what creative direction they take moving forward.

    This EP is available for free listening on SoundCloud, Bandcamp, and Spotify, and for purchase on iTunes.

    Key Tracks: Talking to Myself, Hearts on Fire, West Coast

    [embedyt] http://www.youtube.com/watch?v=YDrjLlw-d2U[/embedyt]