NYS Music 20​16

Category: Features

  • Interview with Within Shadows: Canadian Metal Band Launches Debut Album and Music Video

    Within Shadows - P. Cummings (5)Within Shadows released their debut album Mind = Enemy on December 21.  In conjunction with the release, they premiered the music video for “Get Up,” the first track on the album. And if that weren’t enough excitement for one week, the band also announced a show on January 14th at Lucky’s Roudhouse in Windsor, Ontario.

    This metal band from Ontario, Canada features Sean Farias (vocals/guitar), Jordan Heffernan (drums), Brad Tiessen (guitar), and Jacob Bailey (bass). NYS Music spoke with frontman Sean Farias about their ambitious 15-track album, the passion they poured into the making of the video, and their plans for 2017 and beyond.

    Paula Cummings: Your album is called Mind=Enemy. How did you choose the title?

    Sean Farias: We chose the title Mind=Enemy because it relates to the song themes that we portray lyrically. The majority of our songs relate to inner battles, struggles that we’ve had and about conquering those. This also helps bring a positive outlook to the listener and help them with the same problems.

    PC: Tell me about the tracks on the album.

    SF: The album is going to consist of 15 tracks, four of them being remakes of older Within Shadows tunes and 11 brand new songs. The songs will range from different metal genres like hardcore, easycore, djent, heavy metal and more. We have a new instrumental track called “Captive” where we try to recreate the concept of our EP song “Regrets” and have guitar solos through the whole song. “Demons” is a remake from an EP released a year ago. We have a song called “Djust Kill Me Now,” which was written during one the darkest times in my life. It is a collaboration with Derek Petricka of Discord Curse and Lucas Mann of Rings of Saturn. We also wanted to showcase that we like to play different genres by including a pop punk song called “On My Mind.” There are many more tracks to this album, and I promise there are many bumpin’ riffs to mosh to.Within Shadows - P. Cummings (3)

    PC: Which bands inspire you?

    SF: Our band is greatly influenced by other bands, such as Slipknot, Lamb of God, Beartooth, Tool, Billy Talent, Rings of Saturn and more. We are influenced by their musicianship and writing styles which we infuse into our own. Also we have seen the majority of these bands perform live, which in its own powerful way leaves us with extreme levels of motivation and the urge to write our own music.

    PC: What was it like to record your first music video together?

    SF: It was incredible! We had the honor of working with Ryan Brough of Zeebrah Media. He is a great guy, easy to work with, and made what was envisioned in our mind come to life. We are just as excited as our fan base to see the finished product. We wanted our first video to be the perfect representation of what we will be like live to anyone who would want to come see us. So it is literally us going buck wild in front of a camera playing our song “Get Up!” We had so much fun shooting this video. Jumping around for three hours was certainly tiring, but we brought the crazy throughout the whole shoot. Jacob Bailey even bled all over his bass from going so full out!

    PC: Jordan got to break out his new drum kit for the video, right?

    SF: Oh yes! He was most certainly excited about that. We all were. This new kit is magical!!!

    PC: You guys also help local charities.

    SF: That is one of our passions. We love to help out those in our community, and also contribute to local charities. When we raise enough money or make enough sales on our music and merchandise, we love to give a chunk of that to charity. For our EP Release the Disease, we ended up donating $500 to our local food bank, because of all the support our fan base gave us. We hope one day we can grow our band to a bigger level where we can help impact more people in a positive way and more on a global scale.

    PC: 2016 has been an eventful year for Within Shadows. What are your band goals for 2017?

    SF: Shows. Lots and lots of shows. Trying to get our band more exposure. Sending our new songs out to record labels and work with many people in the industry and other musicians. Also we want to record a lot more music videos for our tracks.

    Pre-orders for CD’s are being taken at their website. Digital downloads and streaming are available through Bandcamp, iTunes, and Google Play. 

    Photos by Ryan Brough of Zeebrah Media

    Within Shadows - P. Cummings (4)

  • Best of NYS Music 2016: Staff and Reader Picks for Best Shows by Region and Best Venue in NYS

    NYS Music is celebrating the end of 2016 by posting staff and reader picks on 10 various categories, and today we are highlighting the winners of the Best Show by Region and the Best Venue in New York State.

    We polled the staff and asked our readers for their input in eight other categories: Best Albums by NYS Artists, Best Albums Overall, Biggest Musical Loss, Best Live Cover or Tribute Performances, Best NYS Festivals, Best Out-of-State Festivals, Best Music Town, and Bands on the Rise.

    Best venue in New York State:

    The number one venue, according to our staff pick, is the Saratoga Performing Arts Center (SPAC).

    SPAC is a focal point for music for areas like upstate New York, the Hudson Valley, Vermont, the Berkshires, and Connecticut. Originally instated in the late 1960’s,  the concert venue has held some of the greatest acts of our age, including an iconic performance by the Doors in 1968, and others such as, Santana, Guns N’ Roses, Aretha Franklin, Whitney Houston, KISS, Pearl Jam, Bruce Springsteen, Pink Floyd, Phish, Dire Straits and The Grateful Dead, to name just a few. Dave Matthews Band holds the title of the most sold-out performance at the venue.

    This summer, SPAC had a full schedule of not-to-be-missed performances, in celebration of their 50th anniversary summer. NYS Music staff writer, Mike Kohli, wrote a preview to highlight the eventful 2016, that you can read here.

    “…highlights of this season include a three-night run from Phish July 1 to 3 and a double bill of Dave Matthews Band July 15 and 16. Dead and Company pay a visit to SPAC June 21 with John Mayer laying down Jerry’s licks, and Mumford and Sons bring their electric brand of folk to a sold-out show on June 15.”

    We are looking forward to seeing what summer 2017 at the SPAC will bring!

    Our readers picked differently, however, and the winner this year for the Best Venue in NYS was the Brooklyn Bowl. The Brooklyn Bowl was opened in 2009 and has since become one of the more prominent venues in New York State.

    Following closely behind it were The Capitol Theatre, SPAC, The Hollow and The Town Ballroom which all tied for second place.

    Best Show by Region:

    The staff pick for the Best Show by Region was Dead & Co. at the SPAC on June 21.

    Pete Mason wrote the following in his review of the evening:

    “With Dead and Company having started their fall tour in Albany this past October, Capitaland got the first taste of John Mayer in a Jerry Garcia role, one that brought criticism and concern from those who weren’t familiar with Mayer’s guitar prowess but experts in tabloid fodder. But to those in the know, musicians and real fans alike, convivial awe and heightened expectations were the emotions directed toward Mayer, and when the October show ended with “Touch of Grey,” any musical concerns were laid to rest.

    And they were laid to rest over and over, as the tour wrapped around the country, culminating with New Year’s Eve in Inglewood, CA, and now a summer tour that began this month, including a stop at Bonnaroo. Four shows deep and the expectations for the performance at SPAC on June 21 were as high as ever, partially because three members of the original Grateful Dead were back in Saratoga for the first time in more than 20 years, and partially thanks to no repeats in the setlist during the previous four nights.”

    To see a full recap and photo gallery by Jim Gilbert, go here.

    The readers’ picks for the best show were Twiddle, TAUK, Holly Bowling and Matisyahu at Capitol Theater on May 7.

    To read the full review of the event, go here:

    “Take the fastest rising jamband in recent years, add in a hot prog-rock band boiling over with talent, a classically trained pianist performing the music of Phish and The Grateful Dead, and a cross-genre reggae singer and you have the fixings for one of the best nights of live music The Capitol Theatre has seen this year, and that’s saying a lot.”

    NYS Music had a chance to talk to Ryan Dempsey of Twiddle before the show, see the interview below:

  • NYS Music in Motion: An Interview with Dopapod

    Dopapod just wrapped up their Fall Tour with Pigeons Playing Ping Pong, performing more than 30 shows across the eastern half of the U.S. The guys sat down with NYS Music publisher Pete Mason prior to their Putnam Den show on October 26 to discuss collaborative sets with Turkuaz and The Werks, performing at Red Rocks and the return of Neal ‘Fro’ Evans to the lineup.

  • Twiddle Served Double Dose of Awesome to The Capitol Theatre

    Over the weekend, renowned Port Chester, NY venue The Capitol Theatre featured a double dose of Twiddle with supporting acts both nights. RAQ warmed up the audience as the opener on Friday. Funky, fast beats filled the air as the group busted into their grooves. Keyboardist Todd Stoops laid out thick jams while guitarist Chris Michetti was locked in and drove out crisp notes throughout. Psychedelic undertones meandered around the melodies of their set. RAQ kept things interesting as they took off right out of the gate with a solid, energetic jam before cooling things off with playfully gentle tunes, ensuring that fans coming in from the cold were warmed up properly.

    After a brief break, Twiddle took to the stage, opening with “Daydream Farmer,” a tune that was stacked with jammy goodness. Adrian Tramontano of Kung Fu sat in on percussion for the entire evening. Their first set included everything from quick paced tunes, down and out funky vibes and jazzy melodies. Twiddle had a little something for everyone, keeping the crowd energized by the fluidity of music being thrown at them.

    Second set was nothing but magical. Surprises peaked in and out, with Ryan Dempsey’s lone piano kicking things off as they flowed into “Indigo Trigger.” “Classical Gas” morphed seamlessly into an unexpected “Carol of the Bells” Christmas song. Stoops came out to join on keys during “The FRENDS Theme” which was sandwiched between “Tiberius.”

    The evening closed out with an encore that audiences at any show always jokingly request yet never hear.  “Freebird” brought out the lighters in the air around the venue. Todd Stoops, Chris Michetti and Scotty Zwang of RAQ joined the band on stage for this killer finale on night one. Night two was sure to bring out even more musical treats.

    Encore video courtesy of William Corcoran:

    Saturday night’s show brought Burlington, Vermont based band Madaila to the stage, opening the evening with “Nature.”  Their bright white outfits, lined randomly with pink, gold and black striping, wowed the audience when they stepped on stage. This synth-heavy psych pop band that touched upon an 80’s style era sound, and reminiscent of harmony work that hinted of the Bee Gee’s, spilled out energy from the minute they stepped on stage. Guitarist Mark Daly busted into an intense jam that brought the house down during “Secret,” while keyboardist Eric Maier added the spicy musical flavor throughout the entire set. If you’ve never seen this band live, make sure to catch them as they will not disappoint. They are a band to watch in the coming year.

    After a quick break, Twiddle took to the stage and busted into “Subconscious Prelude,” taking the tune into a trippy jam mid-song while teasing Papadosio’s “Find Your Cloud.” The group took the crowd on a ride around the tones filled with Dempsey’s heavy keys and Mihali Savoulidis’ intense guitar.  A solid backline of in the pocket drums were provided by Brook Jordan, with Tramontano once again supporting on percussion throughout the night.

    A stretched out “Doinkinbonk!!!”  sandwiched “Too Many Puppies” before easing right back into “Doinkinbonk!!!.” Dempsey kicked into high gear, providing a trippy key session during the fast paced tune, rolling the melody right along.The venue roared with cheers from the crowd as driving guitar notes brought the energy to soaring heights. Tasty jams with dancing grooves settled in for the long haul during first set. The crowd was pumped as funky beats flowed in and out during “Latin Tang.” Meanwhile, colorful images splashed around the walls and ceiling of the Capitol, offering visual stimulation that heightened the musical journey during the evening.

    The stage cleared as the drum and percussion section eased into a steamy solo, while Dempsey and bassist Zdenek Grubb literally laid out on the floor, gently adding in bass as the jam progressed. The performance was smoking hot. Guitarist Wiley Griffin, of Teddy Midnight, accompanied the band during a smashing “Complacent Race,” helping to bring set one to a close.

    Second set opened with “Cabbage Face.” Dreamy bass bombs burst mid-song during “Mamunes the Faun,” keeping the audience on their feet.  The double dose of Twiddle encored with “Beethoven and Greene,” ensuring fans danced off every last bit of energy in their core. Simply put, Twiddle gave the audience everything they had during the two-night run and the fans walked away on a high note with most leaving the venue plastered with beaming smiles from ear to ear.

    For more information on Twiddle, please visit their official website.

    Video courtesy of William Corcoran:

    Twiddle 12/16/16,The Capitol Theatre 

    Set 1: Daydream Farmer, Beehop>Dr. Remidi’s Melodium#>Beehop, Jamflowman, Moments, Honeyburste

    Set 2: Indigo Trigger, Classical Gas@, Tiberius > The FRENDS Theme^ > Tiberius

    Encore: Freebird$

    # Teased Primus’ “Southbound Pacaderme”

    @ Included “Carol of the Bells” jam

    ^ Featured Todd Stoops on keys (RAQ)

    $ Featured Chris Michetti on guitar (RAQ), Todd Stoops on keys (RAQ), and Scotty Zwang on drums (RAQ)

    Twiddle 12/17/16, The Capitol Theatre

    Set 1: Subconscious Prelude*, Doinkinbonk!!!>Too Many Puppies>Doinkinbonk!!!, Latin Tang, White Light, Complacent Race%

    Set 2: Cabbage Face, Gatsby The Great, Mamunes The Faun, Every Soul

    Encore: Beethoven and Greene

    * Teased Papadosio’s “Find Your Cloud

    % Featured Wiley Griffin on guitar (Teddy Midnight)

  • Hearing Aide: Azure Hiptronics ‘Ignacio’

    Ignacio, the fourteen-track, third studio album recorded by Netherlands band, Azure Hiptronics, never leaves a moment for boredom. Jam band style – yes, although generic jam band – not even close. Mixed with large synth, bass, guitar, piano, and drum parts, each track is completely different than the last, incorporating different elements than those expected.

    azure hiptronicsIgnacio combines genres and sounds that distinguish Azure Hiptronics from the rest. When listening to the fast paced introduction track, “Thgie Neves,” listeners already know that they have something great in store. Even though it does not take up much time, at nine-seconds, the introduction makes the story start by creating the image of a backwards time-lapse – starting the story from the beginning.

    The album tends to roll at a fast pace and then slows down with its various interlude tracks, “Anise Code” and “Interlude.” These pauses create sort of bookmarks that indicate when a new chapter of the story is to begin.

    “Airing” and “Saraswati Mantra” split up the story entirely and take listeners to a new place. They separate the past from the future, which allows for a refreshing break in tone from the first half of the album and adds a completely different element to the equation.

    Although the chapters that are separated by interludes and pace changes represent different stories, within each section there is not much variation of sound. Yes, there are many levels to this album, however at times it is hard to distinguish one track from the one preceding it. Nevertheless, Ignacio is a must listen for music fans looking for a jam band style with a twist. In any case, this album is sure to take listeners on a journey.

    Key Tracks: Work Out Something, Airing, Saraswati Mantra

  • RAQ Ends Comebaq Run: Makes a Splash at Thunder Road with Swimmer

    A double header of Vermont jammers treated a Massachusetts crowd to a night of improvisational grooves, saxophone sit-ins and Christmas carol teases in true holiday fashion at Thunder Road Music Club & Rock n’ Roll Bistro. Vermont’s own RAQ, restocked with a reputable drummer in the scene, teamed with an up and coming group, Swimmer, who share roots in the same town of Burlington. Both drew an impressive gathering of fans both local and branching across the Northeast, making it safe to say many left the MA venue newly admitted “swimmers.”

    The progressive rock-fusion quintet based out of Burlington, took the reigns early in the night, kicking things off with a kinetic performance that displayed a melting pot of genres over a six-song set list. Carefully crafted, it brought forward original compositions intertwined with covers of some of their largest musical influences, Frank Zappa and Phish. The night found mesmerizing flair from keys player Matt Dolliver, bassist Jack Vignone, guitarists Paul Klein and Joe Agnello, who swapped vocals with man behind the drum kit, Cotter Ellis. Original and innovatively named tracks “5 Seed and Feeble,” “Godmeat” and “Sea Cerebral” truly portrayed the unique sound Swimmer bears to those who have never been introduced to their music–seemingly effortless tight grooves, progressive journeys and charismatic originality.

    Highlights of the set instantly point towards Matt Dolliver as he delighted the audience with smooth saxophone performances and Swimmer’s conquering of Frank Zappa’s “Pound for a Brown” > Phish’s “F*ck Your Face” > “The Impossible Engineer,” an original track that ended the set with high-energy and roars of approval.

    RAQ certainly came baq and kept the crowd fully captivated throughout a two-set performance. The audience and RAQ members alike were elated with the fact that former Dopapod drummer Scotty Zwang, has completed the final piece in their lineup puzzle–one that has proven to be tossed up in the past and especially interwoven with Kung Fu. Todd Stoops was nothing short of vocal, proudly admitting from behind the keys that Zwang is the “best drummer they’ve ever had” as he corralled multiple rounds of applause throughout the first set, which included “Bootch Magoo,” “Clamslide,” “Bobs Your Uncle,” “Crazy Tonie” and “Gabvonie.” Before heading offstage for a 15 minute reprieve, RAQ incited a sing-a-long on fan-favorite “Walking in Circles.”

    Also displayed on two TV’s hanging above head at a full-stocked bar, the second set of the performance found a few dressed in Christmas colored velour and blazers in the holiday spirit as their atmosphere quickly turned into a reggae sound-tracked snowglobe. RAQ dove into Peter Tosh’s “Legalize It” before taking on a string of Christmas classics from “The Little Drummer Boy” and “Joy to the World,” to “Rudolph the Red-nosed Reindeer,” which paired nicely with the “Deck the Halls” ornament and garland decor at Thunder Road. Newly confirmed “swimmer,” Stoops, re-introduced Matt Dolliver to the stage after approaching him in the crowd between set changes. An impromptu sit-in on Men at Work’s “Who Can it Be Now?”ultimately brought down the house.

    Swimmer will resume gigs after the holidays with their first 2017 appearances across Clear River Tavern, Showcase Lounge and The Snow Barn in Vermont before heading to Stella Blues in CT. RAQ ended their trifecta of North East comebaq performances, with stops through The Westcott Theatre in Syracuse, a penultimate gig with Twiddle at Port Chester’s Capitol Theatre and last night’s Thunder Road wrap up. Saturday night alone determined that both groups have big moves on the horizon for the upcoming new year.

  • Interview with Fossil Youth: Rising Indie Band Talks about Their Billboard Ranking, Debut Album and Upcoming Tour

    Indie Rock band Fossil Youth has risen from relative obscurity to become one of Billboard’s Top New Artists of 2016 – ranking at number 16. No one was more surprised than the band members themselves – Scottie Noonan (vocals/guitar), Hesston Sween (vocals/guitar), Derek Neef (bass) and Zack Jones (drums). From their hometown in the heartland, they spent a good part of the year crisscrossing the U.S., including a stop in Syracuse last summer.

    Just last month, Fossil Youth released their debut album, A Glimpse of Self Joy, through Take This To Heart Records. This poignant concept album is a meandering journey through a heartbreakingly painful relationship and its inevitable dissolution. However, some of the songs, like “Forest Eyes” and “Watercolor Daydream,” have stood on their own as singles. At times soft and lamenting,  and at other times heavy with angst, the music is always genuine and authentic.Fossil Youth - P. Cumming(1)

    Fossil Youth is embarking on the East Coast leg of their headlining national tour in January, with plans to play The Vault in Syracuse on January 27th.

    Frontman Scottie Noonan spoke with NYS Music about their music, the response to their album, their humble reaction to ranking on the Billboard Top New Artists List, and plans for 2017.

    Paula Cummings: Tell me a little about how you formed as a band.

    Scottie Noonan: The first release is 2014. But we started getting this all figured out in 2013. We all happen to live in the same small city of Oklahoma. We consider our home shows and home town Oklahoma City. We’re actually from a small city called Enid, which is an hour and a half north. In a way having to travel to other cities to play prepared us for touring. Having to drive two hours just to play local shows is helpful for the rest of the year, when we basically do that every day.

    PC: You put out an EP in 2015, Intertwined with You.

    SN: Yeah, and in 2014 we had the split. It was such a small thing. It’s also kind of cool to look back on. One of the songs from the split we actually rewrote and put on our new full-length. If you look it up online, you might actually see that.

    PC: And you did the Little Elephant recording. Tell me a little about that.

    SN: That was actually extremely cool. They’re a few guys out in Toledo, Ohio. And honestly, how it looks in the video is almost actually how it is. We showed up at their house. They already have experience recording bands, so they decided “Let’s put all this in our living room.” I think there was like 30 minutes of prep time and they say “Hey, go.” They set up a few cameras standing in places where they won’t actually get shots of each other and do these live sessions in their home. It’s honestly a whole lot of fun. Very, very nice people. I think that’s what helps make them unique, too, is the general experience.

    PC: It looks really cool. And they said they give half of the money from vinyl sales back to the bands.

    SN: I’m so excited about that because we’re trying to get back in there and do another session for our new songs. And it would be so cool to have a second vinyl release through them.

    [embedyt] http://www.youtube.com/watch?v=P7WKYHlbo_Q[/embedyt]

    PC: You know what else just came out was the Billboard Top New Artists of 2016 – you’re in at #16.

    SN: Out of 150. So to be that high up is truly insane, the most surreal feeling.

    PC: That must be validating as an artist to be recognized.

    SN: It was weird. It’s going to sound so lame, but never would I have ever guessed that maybe this early in our career would we hit that. So many friends are in bands a little bit larger, on larger labels, doing other things that scored really well, and we surpassed them. To have that high of a number was never expected, by any stretch. We were excited, like “Did we get number 150? Did we even just crack in there?” And being told we were number 16 is truly insane.

    PC: That is incredible. So who were some of the bands who influenced you? Who were you listening to ten years ago in your formative years?

    SN: Me, personally, I think some of my biggest influences were definitely some of the big pioneers like Fall Out Boy, My Chemical Romance. I think some that we’re getting compared to that were also a big influence for me were Cartel (I was extremely into the band Cartel), This Providence (a very, very cool band), and Cute is What We Aim For. I feel like that’s one that I don’t hear enough of, but was actually a really big deal for me in junior high.

    PC: Let’s talk about the album, A Glimpse of Self Joy. How was it different writing for the album than for the EP?

    Fossil Youth - P. Cummings (3)

    SN: When we were writing the EP we were excited we were writing songs. It was like “Yo, these are the best things we’ve put together.” And we were excited for that. But when it came time to actually sit and write the full length, we actually had the chance to truly as a group work on it. It was a lot more cohesive and I feel like everyone really put their piece into it. There’s a very light concept going on in the album. So it really felt good to preemptively know exactly how we wanted the story to play out and come across and I think that made it a little bit easier. It also made it very cool to be able to throw a large handful of very personal metaphors within it as well. It took a lot longer. Not only because there were more songs, obviously, but I think being able to actually work as a group made it so much cooler and I think that came with the comfort of being a band for a year and a half after the EP.

    PC: So how do you feel about the response to your album?

    SN: Honestly, it’s going to sound so monotonous, because I’ve said it so many times in this interview. It’s unreal. We knew it was better. I feel like, even from the inside while working on it we were like “Wow, I think we have a really cool thing going here.” But again, to score Billboard, to have our songs on larger Spotify playlists despite not having a large team behind us, having this many listeners putting us on their end of the year list, and this many people tweeting us every day is truly surreal. And on the tour we just did in November, we went to the west coast and we had four sold-out shows. We weren’t on a package, it was just us headlining. To have kids singing along to multiple songs on a set to an album that we just put out was like the craziest and most unreal feeling. And it still just feels like a dream. It’s crazy. And now we’re seeing how many kids are posting the fact that we’re going to the East Coast on this January tour and it’s just insane.Fossil Youth - P. Cummings (2)

    PC: You will be playing The Vault in Syracuse again. Do you remember playing there last summer?

    SN: In August. It was with Bonfires. Very cool show. Everyone was extremely nice. I really like its location. Maybe it’s a lame Oklahoma thing that I paid attention to that, but I love how many other places there were for me to go nearby. That was really cool.

    PC: Who are you playing with in Syracuse?

    SN: There’s a band called Everyone Leaves, from Ohio, and a band called Pine. They’re from Canada. It will actually be our first time meeting them.

    PC: Who are some of your favorite bands to tour with so far?

    SN: That is such a rough question. I think it’s going to be fair to say that there hasn’t been a band so far that we’ve dreaded touring with. But I have to give Bonfires so many props. I haven’t felt like there’s been a full band where like every single member just got us on every aspect. So even on small shows where morale might actually be low, we always had each other. And it felt like there was never a bad day, even when financially it would be a terrible night. Just always fun. Loved it so much.

    PC: What are your plans for 2017?

    SN: Relentless touring. So, so much touring. We’re looking at festivals, tours, short runs, and doing our absolute best to play Oklahoma more. I feel like because Oklahoma’s a smaller market, people may not recognize it. We’re just doing everything we can to hit everywhere and doing anything we want to do.

    [embedyt] http://www.youtube.com/watch?v=pH68cLi-Hs0[/embedyt]

  • Hearing Aide: Childish Gambino ‘Awaken, My Love!’

    Hearing Aide: Childish Gambino 'Awaken, My Love!'
    Hearing Aide: Childish Gambino ‘Awaken, My Love!’

    It’s a cultivation of everything interesting about music. There’s no other way to describe it because there are so many influences, some that the majority of his followers probably don’t know exist. But if it were to be described in a genre, it’d be something along the lines of this tongue twister: Psychedelic funk, rock and R&B with hints of new-age rap and electronic undertones. Unfortunately, he hasn’t created something revolutionary, he’s recreated the sound of the most beloved musicians of all time, and missed the mark on a track or two, but nonetheless has brought back one of the great forgotten sounds of music.

    It’s nothing like his older works which were heavily influenced by modern rap. But it makes for the perfect platform on which to build a fun, but very familiar sound. This is not to say his prior albums were simple, but they lacked instrumental color and were driven lyrically. Before the song-by-song analysis begins, some background knowledge is needed to understand how talented Donald Glover really is.

    He is not a stranger to the arts: He had two full albums and a few single releases prior to this one, he appears as Troy Barnes on Community as well as a starring role in Atlanta, a series which he created. He will also soon star as a young Lando Calrissian in an upcoming Star Wars movie. Point is, the guy knows what he’s doing and he does it pretty well. But of course, such a drastic change in his falsetto will result in a few quirks, because as stated before, this album is nothing close to what he released in 2013-14.

    Almost every track has the funky hooks of the classic 70’s funk bands but with the unpredictable musical direction of Zappa and even the ones that lack a little bit of complexity can still have some value to them.

    The first track is a bit misleading, especially if a listener reads this review first. It’s called “Me and Your Mama” and it can be interpreted as a transition into this genre. It starts with a simple, spacey trap modern rap beat, similar to his former albums, that suddenly drops into a completely different genre. It’s dramatic enough that it may sound like the next song on a shuffled Spotify playlist. The second part of the song is synonymous to that of Pink Floyd, with a slow, swaying groove, a female chorus ringing out in the background and some wailing guitar, that all fades out into something like Funkadelic’s “Maggot Brain” with echoing drums, and droning keys in the back. It’s an intense and perfect introduction to this album.

    “Have Some Love” and “Boogieman” have strong funk influences, with some tricky drumming, catchy breakdowns and that angelic chorus, all garnished with the perfect amount of spaciness. As stated before though, the sound is eerily similar to the funk Gods of the 70’s. This is not to say that he’s not a creative person, he just hasn’t created anything revolutionary here, but his mind is in the right place.

    “Zombies” is one of the tracks that may have “missed the mark.” It’s just weird. There isn’t a lot of musical complexity to it making the lyrics stand out more. But they’re not about anything deep or inspirational. It’s about zombies. “All I see is zombies, feeding all around us, all they eat are people… We’re eating you for profit… there is no safe place to hide.” He’s most likely not talking about The Walking Dead type of creature, but the lack of lyrical eloquence kind of ruins this song. That and it sound like he has a stuffy nose when he’s singing. But they can’t all be winners, as the saying goes.

    “Riot” comes next and brings back the technical funk heard at the beginning of the album, but isn’t necessarily a rioting song. It is still fantastic and fun to listen to though. “Redbone” was one of the singles released before the full album and was the most listened to track on the album according to Spotify. This is a fairly unique one, a little low on energy but it is also a love song, and pretty good one at that. It builds up nicely and has very colorful instrumentation making this a key track.

    As if there weren’t enough hard left turns, “California” pops up next and again gives the impression that the listener hit the shuffle button by accident. It’s a pretty adorable track that sounds like Jason Mraz, Sublime and Glover had a kid…. A really weird kid. It’s a tight sound with a strange association of instruments, including what sounds like glass bottles being blown into. It’s a key track not because everyone will love it, but it just further shows how Glover is taking a totally new direction with his music.

    Glover has got the nail into the board, but he isn’t striking it on the head just yet. At least he’s on the right board though. This must have been a fun project for him, and it’s very obvious that he’s not through with rap, but he’s moving onto more complex projects. Unfortunately, his old audience may not follow him, but he will undoubtedly gain some more attention with this collection.
    Key Tracks: Me and Your Mama, Have Some Love, RedBone, The Night Me and Your Mama Met

    https://www.youtube.com/watch?v=Kp7eSUU9oy8

  • Cole Swindell Brings the Sold Out Down Home Tour to the House of Blues Boston

    Cole Swindell brought his Down Home Tour to the sold out House of Blues in Boston December 10 for what promised to be an exciting night of up and coming country talent. Swindell, who is no stranger to selling out the nation’s largest House of Blues, was also able to do so the last time he played the venue. This time he brought along Cole Taylor and Travis Denning as his tour support.

    First to take the stage was Travis Denning. The Georgia-native has been working to make a name for himself since his move to Nashville less than two years ago. In that time, he has worked both as an artist and a song writer to create a career for himself in music, a dream he has fostered since he was young. Denning did a great job catching the crowd’s interest with his own songs, including “Red, White, and Blue,” which he introduced by speaking not only about those over seas fighting for the country but also all of the people who protect the nation here at home, like police, EMT’s and firefighters. This truly seemed to resonate strongly with the sold out crowd. He carried on into the sing along portion of his set, where he played a song that he penned, “Everyone We Know Does,” which was recorded by Chase Rice. The crowd’s energy peaked during this song as everyone was happily able to sing along word for word. He closed out his set with “Southern Rock,” a song that he explained was very important to him as southern rock is what he grew up on and what inspired his love for music and guitar.

    Cole Taylor was up next and he kicked things off with a fan favorite, “Drop Top,” off his self titled EP, which immediately had the crowd off their feet and singing along. Taylor took the stage with an energy and command of the crowd that one would have expected from a seasoned performer. He demonstrated a great deal of potential when he kept the energy in the room alive during songs the crowd was not necessarily as familiar with as they’d been with “Droptop.”

    A noteworthy song from Taylor’s set was one off of his self titled EP called Boom. The catchy, up tempo song captivated those who knew it already as well as those who were hearing it for the first time. The highlight of his set came when he played a song that he penned for Luke Bryan and Karen Fairchild. The popular “Home Alone Tonight” had the entire crowd singing along word for word. He carried the energy from that song into his closing song, “Cold Beer,” which has been gaining popularity recently. Taylor did a wonderful job amping up the crowd for Cole Swindell and showed a great deal of potential for his career going forward.

    Swindell took the stage with a great deal of energy and command of the stage with “Hope You Get Lonely Tonight,” the second single from his self titled full length release that went platinum and helped create the loyal fan base Swindell has today. He continued on with “Wildlife,” a song from Swindell’s Down Home Series which was released Fall of 2016 and “Brought to you By Beer,” from his self titled release. Other noteworthy songs that Swindell played from his self-titled release included “Chillin’ It” and “The Back Roads and the Back Row.” “Chillin’ It” was the single that helped catapult Swindell onto the map with country radio as it garnered a #1 spot on the US Hot country chart and a #2 slot on Country Airplay, in addition to going RIAA platinum. Its extreme popularity was certainly recognizable among the sold out crowd who all seemed to be singing along verbatim with Swindell.

    Swindell took a few minutes before a performance of “Flatliner” to introduce it as a song he was very excited to have created with the help of Dierks Bentley and even more excited to get to play next spring when he tours in support of Bentley, a tour which should bring much success to both artists. From there he went into a string of songs he penned for some of the most popular artists in country right now, including “Get Me Some of That,” which was recorded by Thomas Rhett and “Roller Coaster,” which was recorded by Luke Bryan. Swindell also took some time to reflect on the origins of his musical journey. Prior to having his own successful career as a country artist, he sold merchandise for Luke Bryan, so later penning a song for Bryan was a career milestone for him.

    Another noteworthy moment of the set came with the last two fan-favorite songs Swindell played: “No Can Left Behind” from his latest full length release You Should be Here and “Ain’t Worth the Whiskey” from his self-titled release. Swindell returned to play two of his own songs, “You Should be Here,” the somber yet catchy lead single and title track from his recent release, and “Let Me See Ya Girl,” the last single from his self titled release. His rendition of “Let Me See Ya Girl” was a treat for fans as it was intertwined with a cover of the ever popular “Closer” which was recorded by the Chainsmokers and Halsey.

    With the Down Home Tour winding down fans should be looking forward to the next run of tours for these three talented young men. Each took the stage with great energy and charisma and demonstrated why they are making a name for themselves within the genre as writers and musicians.

  • Hearing Aide: Root Shock ‘Root Shock’

    It’s been a long time coming for Syracuse roots soul reggae group Root Shock to finally lay down some tracks in the studio to produce the record fans have been lustfully longing for. Their self titled debut is an authentic embodiment of the magnetizing performances that have continued to draw in larger crowds wherever they go. The Root Shock fam is: Jessica Brown (vocals/percussion), Bill Eppel (bass), Nick Kaczmar (keyboards/electronics) Dan Valvassori (guitar), Phil Grajko (guitar/vocals), Fafa Fain (drums/vocals) and Jason Randall (percussion/theremin).

    root shock march madnessRoot Shock has also attracted a diverse fan base because their identity cannot be pigeonholed into the reggae genre. Their varied blend of soul and funk guided by the potency of Jessica Brown’s weighty vocals sets them apart from the droves of white boy reggae groups offering little variation from one another.

    Feeding off the hype from a radio spotlight on 105.9 The Rebel with Dave Frisina, and artist profiles in two separate Syracuse publications in the same week, Root Shock gained plenty of momentum going into their December 17 album release party at Funk ‘n Waffles Downtown. Now, with the album officially out, the band is standing tall and branching out to share the fruits of countless long hours spent in the studio. Curious about the new album, I posed a few questions to shed some light on the inner workings of the thirteen-song compilation.

    Ally Dean: Jason “Jocko” Randall who produced your record at More Sound Recording Studio in Syracuse is now performing percussion with Root Shock during live performances. Is he a long-term fixture? When Root Shock branches out into more extensive touring will Jocko be part of your entourage or is he more of an added spice for local ‘Cuse shows?

    Phil Grajko: Jocko has not only been a huge asset to the band as a producer/sound engineer, he’s also become a close friend and collaborator, both on and off the stage. Having him come on board as a percussionist felt totally natural and easy. His involvement with the band is totally voluntary, and while he’s definitely busy running a successful recording studio, he’s expressed that he loves playing with us and will continue to make himself available as often as possible. He’s already signed on to play several out-of-town gigs with us, so we certainly welcome his presence and count him as a member.

    AD: To follow that up, is it ever weird having your record producer performing with you? Obviously the members of Root Shock have been playing together for several years and know how they want the band to sound but Jocko also has an incredible ear for how he thinks music should sound. Is it ever a contentious issue?

    PG: I think an important point to make is that the band has managed to stay in a pretty steady state of evolution. We’ve had lineup changes from the beginning, and an addition or subtraction of a member is always going to affect the overall feel. Root Shock functions very democratically, so when someone voices an opinion, it’s always heard and respected, often implemented. Having Jocko on board has forced a lot of us to sharpen our attentiveness to some of the finer details of the production/songwriting process. It’s been great having his input, but ultimately decisions are made collectively. There have certainly been some differences of opinion, but the mutual respect we all share for one another has cultivated a really easy environment for those differences to be reconciled.

    AD: The opening of both “Freedom” and “Babylon Tree” contain this echoey chorus that is stylistically reminiscent of classic Jamaican reggae group The Congos. Is it an intentional nod to them?

    PG: “Freedom” and “Babylon Tree” are what I’d call the ‘heavy roots’ tunes on the record. Several of the members (including Jocko) have a deep appreciation for some of the ‘dubbier’, delay/reverb laden roots reggae sounds that came out of Jamaica in the 70’s, and The Congos rank high on our list of the greats from that era. So yes, you could say we’ve drawn some influence from that world.

    AD: Jess, your vocals throughout this album contain the same gut wrenching force you deliver in live performances but in a slightly more controlled manner. Was it difficult for you to translate what you do on stage with what makes sense for a recorded project?

    Jessica Brown: Honestly it was a little challenging. As a mostly live performer who feeds off of the crowds energy and emotions, I had to really channel my own emotions into the songs. Which I do live as well, but this time with my voice under a microscope. It’s a very different experience being in the studio than being on stage in front of a crowd of people. I usually don’t think too much about what I do for a live performance, which is part of the beauty of the experience. There’s a lot of improvisation. For the album, I definitely thought more about note choices and what words and feelings I wanted to emphasize. I really enjoyed the process, even though it was a little scary. But I’m excited to get back into the studio since I feel more confident and experienced this time around!

    AD: Making a record can be an exciting and inspirational endeavor but also a laborious undertaking that tests the limits and patience of band members. Now that the album is finished, do you feel stronger as a band moving forward?

    PG: It was all of those things! We feel truly blessed to have had the opportunity to create this album. We all love each other as people. We believe in each other as musicians and songwriters. We had faith in Jocko and More Sound Studio to create a truly memorable product that was also honest and representative of our real-life sound. In the months leading up to recording, we often referred to our rehearsals as ‘boot camp’ sessions. We trained hard and saw a lot of progress during this period. The whole process before, during and after making the album turned us into better individual musicians and a better band overall. There’s no doubt that we’re a stronger unit. There’s a confidence and a steadiness that wasn’t nearly as pronounced as it is now. And it’s making its way into our newer material in a big way, so we’re excited!

    Review:

    The songs are peppered with Brown’s reflections on her life experiences playing on religious motifs, standing up for what’s right, love, loss, honoring both the natural world and the gift of life itself. While some songs seek to provoke the listener to heighten their mental awareness, others serve as curative tools for self healing through deeply personal, intimate lyrics. The words are delivered through an interfusion of springy beats and heavier instrumental grooves delivering musical diversity that outcompetes a majority of existing reggae.

    The album opens boldly with an onslaught of playful hand percussion, a stomping bass line and a delightfully whimsical whirl of organ in “Come Alive.” This song is a call urging listeners to free their minds from captivity and to open their eyes to the reality around them. It’s a danceable memorandum relevant to the turbulent political and social chaos that pervades human existence. Brown’s impressive vocal range is on full display, particularly towards the end. She hits the notes with crisp clarity as she’s nearly screaming the words “come alive” like there’s a demon holding a knife to her throat.

    “Sunlight” lightens the mood with a breezy, feelgood melody imploring the listener to look within and create the life they want for themselves with the help of a little honest soul searching. The lyrics offer an uplifting four-minute therapy session as Brown cheerfully chirps:

    “If you’re soul doesn’t feel right inside,
    break down those walls that you’re hiding behind
    Happiness comes with the sunlight of a brand new day”

    The brisk opening bass line, uninterrupted tick of tambourine and pulsating organ on “Freedom” forms an underlying urgency before entrancing choral repetition of the word “freedom” opens the sound by creating an expansive distance. This elusive quality complements lyrics speaking to the compelling drive to discover that sense of purpose which can often evade us. “Babylon Tree” is the only song with Grajko on lead vocals and offers that dubbier old school reggae tone. Again the lyrics draw attention to a need for social consciousness:

    “Can’t you see your system is a vampire
    Insatiable wildfire that’s poisoning the air we breathe?
    Here we stand on the brink of evolution
    Yet your minds are on your power grabs of greed
    Don’t need your cursed cash to find some soil and plant some seeds
    But I’ll die on my feet before I live upon my knees”

    “Sage” detours from the overall uptempo rhythm felt through most of the album in exchange for a more delicate, sensual blues tone. It takes its sweet time building tension with a hauntingly melancholy solo from Grajko which sets the stage for Brown to build off it with more of her jaw dropping vocal strength. “Boss Battle” follows as a quick and dirty jam, the only song with no vocals. It’s rather repetitive, not terribly exciting, but makes for a good transition song during live performances.

    Having lost her mother to cancer at age 20, Brown pays tribute to a lost but not forgotten role model in tender love ballad “Sweet Reunion.” Anyone who has dealt with passing loved ones can easily relate to this affectionate homage. The tone is triumphant even in the face of tragic loss, a coming-to terms-reckoning that leaves the listener feeling at peace.

    “Cup” is a lighthearted celebration of love with a buoyant feel, followed poignantly by “Games,” a heavier song, representative of someone who has been dragged through the dirt by a relationship gone wrong. Accompanied by Syracuse trombonist Melissa Gardiner, the horn addition adds great depth to this tune.

    The album culminates with an elevating, uptempo song called “Love Spirit,” with lyrics giving thanks for the strength born from a life of independence. Right at the end of the album, we also get a one-verse taste of Fain’s smooth and soothing, low octave vocals. We leave this thirteen-song journey having danced and cried to a range of relatable experiences. Though many will tempt to emulate Brown as they shamelessly sing along, Root Shock is not responsible for any vocal chords damaged in the process. Root Shock’s self titled debut album will be available wherever music is sold, and will be released on streaming sites within the next few weeks.

    Key Tracks: Come Alive, Freedom, Sage