NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: Record New Highs Debut EP

    RNH EP Front CoverIn the years 1998 and 2003 a collaboration of musicians assembled to record 3 songs.  Lead by David “Solid” Gould, formerly of John Brown’s Body, Record New Highs features artists such as Brian Wilson (Anna Koogan, Johnny Dowd), Nate “Silas” Richardson (10 Ft Ganja Plant, Black Castle, Sim Redmond Band), Mark Berney (Itzhak Perlman, formerly of the Skatalites), Jhakeem Haltom (Thousands of One), and Craig Akira Fujita (Pressure Cooker, 10 Ft. Ganja Plant).

    The EP’s 3 songs, “Unity,” “Duva Duva,” and “Rebirth” are explored inside and out; they are first displayed in their original form and then represented with slight variation with either a dub style or with a DJ to give a subtly different tone.  When these songs were created and recorded Gould didn’t feel that it was the right time to bring them to bear.  Instead, he waited 13 years to finally give the public a taste of his and Record New Highs’ eclectic and jazzy ambient tones.  According to the collaborative’s website, Gould had “been patiently waiting for the right time to release this debut EP.”  He decided that in January the time had finally come. Keep an ear out for more innovative sounds from Record New Highs, as there are plans of fresh releases in the near future featuring the melodic and percussive sounds of the West African inspired tongue drum.

    This EP is available on Bandcamp to listen to and purchase, and is available for streaming on Spotify.  To get a taste of these “new” eclectic recordings check out both “Unity” and “Unity DJ Style” below.

    [embedyt] http://www.youtube.com/watch?v=Bu2k7gJi7VM[/embedyt]

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

  • Hearing Aide: LYON “Trinity”

    LYON TrinityWhat does a music-monger love more than great weather on Shakedown Street? The answer is a solo project from a member of a favorite band.

    SOLARiS drummer Dan Lyons has released Trinity, the third studio album from the New York City producer, recording as LYON. As a member of Ithaca’s electro-rock band SOLARiS and touring for years at smaller venues around the Northeast and at festivals such as Catskill Chill, LYON brought together numerous contemporaries for this compilation, including guitarist Wiley Griffin and producers Binary Bits and Digital Davy. Members from Horizon Wireless and SOLARiS also guest starred. Trinity was mastered by Disco Biscuits‘ archivist and sound engineer Rich Steele.

    Each of the 11 songs on this album is seamlessly put together and downright smooth; and each tune features unique euphoric sounds with steady drum beats that seduce a perpetual head bob. The first key track on the record,”When I Was Young,” is a bouncy collaboration between Lyons and Horizon Wireless, while “Hydrocuff” flows as an alluring trance with touches of Caribbean steel drums mid-song.

    “Midnite Society” offers listeners a surprising and fun mixture of disco and pile-driving guitar jams, and it lead my mind to start jamming into LOTUS shortly after. The title of “Clock Strikes 12’” nicely closes out the collection, as Trinity is the perfect soundtrack for those impromptu after-hour dance parties. Or for listening to as the western sun floated down through the window and left me bouncing and grooving in my chair, feeling completely relaxed and at home in myself.

    LYON’s beautiful new release, Trinity, can be streamed in full via the artist’s Bandcamp page, and if you find yourself impressed, there is no shortage of live SOLARiS documentation to check out.

    Key Tracks: “When I Was Young,” “Hydrocuff,” “Midnite Society,” “Clock Strikes 12′”

  • 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: Husky Burnette “Ain’t Nothin’ But a Revival”

    Husky-Burnette--Aint-Nothing-But-A-Revival-album-coverThe blues aren’t played. The blues aren’t heard. The blues are felt. And on his latest album, Ain’t Nothin’ But a Revival, Husky Burnette is feeling it, and his audience surely will too.

    This isn’t your back porch strumming blues. This isn’t your dance hall boogie blues, nor is it your big city soaring guitar blues. This is the blues born on the Southern highways, in its barbecue joints and roadhouses.

    Think: trucks cruising on a rainy night with the opposing traffic’s headlights dancing all over the wet roadways; slow-smoked ribs being ripped from the bone by hungry, bearded mouths dripping in grease and sauce; burly men slamming down large beers on the charred and stained wood bar top, as another patron crosses a friend—this is how this record feels.

    Throughout the 11 tracks, listeners will need a sickle to navigate through Husky’s (nee Brian) rough voice, dirty guitar and crunchy harmonica. The guitar comes in heavy and hard from the first track on that will no doubt make listeners bob along before venturing into some full-fledged head banging. But it’s not all pedal to the metal. The songs “36 Degrees” and “Busted Flat” are welcomed slowdowns, where more nuanced performances allow Burnette to display the extended range of his talents.

    From Chattanooga, TN, the relative of rockabilly kings Johnny and Dorsey Burnette, Husky has music in his blood. Recorded by Andy Gibson in Nashville, Ain’t Nothin’ But a Revival is Burnette’s second album under the Rusty Knuckles label. Released the last week of February, the album is available now, so pull up a stool, grab a bottle of beer and a plate of ribs and dig in.

    Key tracks: “36 Degrees,” “See,” “I Moan the Blues”

  • Hearing Aide: Cactus Blossoms ‘You’re Dreaming’

    The-Cactus-Blossoms-Youre-DreamingMinneapolis based brother duo The Cactus Blossoms recently released their first full length album You’re Dreaming on Red House Records in January. In a nod to some of the great country classics, they deliver a beautiful album, complete with golden harmonies and thoughtful instrumentation. For those who still yearn for the simple, heart-wrenching melodies of an era long past, this is the album for you.

    The first track “Stoplight Kisses” has a Buddy Holly feel, with an upbeat, uplifting tempo and strong harmonies right from the start. Within seconds, listeners are thrown back in time to an age when music was a little more understated. The clean guitar melodies and soft harmonies never aim to overwhelm; instead, it allows you to sit back, relax and enjoy the scenery.

    “Clown Collector” energizes the album, giving listeners a taste of vintage rock ‘n’ roll. Without getting too over-the-top, they keep it controlled and purposeful. If you aren’t paying attention, you may think that you’re listening to something straight out of the ’50’s. However, their sound is very new and very now.

    “Change Your Ways Or Die” is where the album takes a turn as it has a darker theme, with an eerie instrumentation and melodies that are reminiscent of Tom Waits. The duo wears a more brooding theme well, lending a spice to the album which is mostly sweet and wholesome.

    Overall, The Cactus Blossoms deliver an endearing album, complete with sincere ballads and uplifting rock ‘n’ roll. In a time when complicated music is popular, this duo brings to life something that may have died off years ago, but just needed some reviving. There is a little something special for everyone, giving listeners a very full-circle experience.

    Key Tracks: Clown Collector, Change Your Ways Or Die, No More Crying The Blues

  • Hearing Aide: Funktional Flow ‘Time Will Tell’

    flowBuffalo’s Funktional Flow is starting to gain momentum.  The start of 2015 saw the band undergo line-up changes. By the end of the year, Flow (as they are simply called by their fans) was in the studio recording their latest release Time Will Tell. The band has just under six years in the city’s emerging jam scene, but they are a prominent force in Buffalo’s budding community.  Time Will Tell is a reflection of that.

    The band’s latest release is an amazing representation of what Funktional Flow has become known for in the Queen City – organic funk fusion. They create a swirling blend of funk rhythms laced with Americana.  Hints of folk, rock and bluegrass pour from the guitar work of Jeffrey Kuebler and Joey Lewis.  Matt Lester adds his own variety of swing style keys and saxophone jazz elements to the mix. Bassist Ben Whelan and drummer Jim Edgar head up the band’s moniker funk sound with a solid foundation of groove and drive.

    Time Will Tell is Funktional Flow’s coming of age album.  Recorded and produced at Sonic Farm Studios in Colden, NY, the album is a glimpse into a group of musicians with no restrictions on their artistry.  The album is varied from personal and upbeat, to relaxed and driven.  With producers Dan Brace, Scott Nadolinski and Nick Sonricker, Funktional Flow have created a recorded look into a sound that is distinctly their own.

    Of the albums twelve tracks, “Back Door” is by far the most successful.  It’s an earworm.  The kind of song you want to listen to on repeat.  It has the qualities of a song that gets people to listen to a band later simply because they want to hear “that” song again.  With a catchy chorus and a definitive groove, “Back Door” may just be the song to launch Funktional Flow out of the Western New York scene.

    “Strong Feeling” could be the album’s most overlooked track, with a 90’s fusion that playfully captures the best of the decade’s sounds of ska, jam and college rock.

    Songs like “Moving On” and “Time Will Tell” are the true showcase pieces of the signature Flow sound.  Thoughtful fusions of reggae, funk, and rock that feel like soundtracks for a day at the beach or an early summer drive with the windows down.

    Funktional Flow isn’t afraid to go toward a more intimate place either.  The album’s second single “On the Way” is a personal look at embracing life’s changes – a song written by Kuebler after learning he and his wife were expecting.  And whereas a song of that style could lend itself to popish tendencies, there is a beautiful resolve to this tune that balances both the subject matter and the musical style.

    The album concludes with an instrumental titled “Ben’s Beach”.  Its may sound fairy tale inspired, but it’s the kind of song you might listen to while sitting on the coast line at night.  There is a cool, calm variety of groove that at moments almost nods to fellow Buffalo groove rockers Aqueous’ in its spaciness and layered technical execution.

    Funktional flowMusically, Flow is heading in the right direction.  Vocally, there is room for growth.  The bands two main vocalist, Kuebler and Lewis have very distinctive and different vocal styles.  And generally on the album, you hear them separately.  But if they can figure out a way to fuse their two styles and play more with harmonies and lyrical exchange, it could just be the extra “something” that makes Funktional Flow stand out.

    Time Will Tell drops for official release on Saturday March 5. The band will be hosting a Roaring 20’s themed CD Release party at Buffalo Iron Works with special guests AjamajA. The CD will be available for purchase through Bandcamp.

    Key Tracks: “Back Door”, “Strong Feeling”, “Time Will Tell”

  • Hearing Aide: Chris Maxwell’s ‘Arkansas Summer’

    Chris Maxwell‘s Arkansas Summer is his first release as a solo artist, but the Woodstock resident first appeared in New York’s music scene in the mid-1990’s, when his band Skeleton Key became known for its well-tailored combination of unruly grunge and mass-appeal rock ‘n roll. The right-place-right-time conglomeration of sub-genres landed Skeleton Key a major label deal, resulting in the 1997 Fantastic Spikes Through Balloon. After a period of touring behind the album, hitting several continents and playing shows with some of the era’s best-known alternative acts, Maxwell left the band and struck out on his own.

    In the time since, he’s accomplished seemingly everything in a solo career other than putting out an entire record under his own name. He’s been a producer, a co-writer, a composer for commercial projects like Bob’s Burgers and Inside Amy Schumer, and he’s used these experiences to built up to what is now Arkansas Summer, an album whose title fittingly circles back to the beginning of it all.While the album’s stylistic shifts and carefully unfolded genre transitions contextualize the extensive musical background Maxwell has developed, the album consistently stays grounded in the traditional americana influence of an upbringing in the South.

    Leading with an ethereal, sentimental track titled “Strange Shadows,” the record quickly sets a standard for swift changeovers by evolving into “Have You Ever Killed Yourself,” an aurally uptempo song defined by its hammond organ grooves and its electric guitar riffs. The two songs show serious Jeff Tweedy characteristics in their personal lyricism and Maxwell’s seemingly cigarette-stained – yet controlled, graceful – vocals.

    It’s the introduction to the album’s fourth track, which follows a brief recording of a woman candidly speaking in the assumed accent of Maxwell’s native Little Rock – driving home a wistful thematic overture of Maxwell’s roots – that the Tweedy comparison is at its most obvious. “Imaginary Man” begins with an intricate display of acoustic picking patterns coupled sparingly wth the musician’s engaging vocals. Eventually building up to a full-band finish reminiscent of Jakob Dylan’s Wallflowers days, the track is a definite American Summer highlight.

    Much like the initial stages of the record, tracks five through thirteen each show a different take on Maxwell’s ability to express his history through songwriting. “Arkansas Summer” is a patiently epic piano ballad, and “Devil Song” offers impressive production skills with its ominous and eclectic instrumentation.

    It’s taken a long time and great deal of experience for Chris Maxwell to get to the point at which he finds himself with American Summer.  If the album feels like winding, compelling journey for the listener, it’s because this is exactly what shaped Maxwell’s ability to make the album. From start to finish, American Summer is the work of someone who has earned his credibility, his influence, and his wisdom.

    Key Tracks: Imaginary Man, Arkansas Summer, Devil Song

  • Hearing Aide: ‘Vinyl: Music From the HBO Original Series — Volume 1’

    Atlantic Records and Warner Brothers Records have teamed up to release the official soundtrack of the new HBO series Vinyl. The first volume was released on February 12, two days before the series premiere on Valentine’s Day. The second volume is expected to be released on April 15, two days before the season finale. Both volumes are expected to be released on vinyl (how fitting).

    Vinyl director Martin Scorsese is easily one of the greatest filmmakers of all time. It’s not just his ability to craft and tell a story, or his unique vision, or his fearlessness to never stray from anything dark and controversial,  Scorsese really rises above the rest by incorporating music into his projects flawlessly. Whether it’s introducing a character, a love scene, or a couple of wise guys getting whacked, Scorsese always manages to find the perfect sounds that clutch to our emotions. Scorsese is no stranger to the ever evolving music industry, especially with legendary rockumentaries attached to his name like The Last Waltz, Shine A Light, No Direction Home: Bob Dylan and George Harrison: Living in the Material World; it is clear he has a finger on the pulse of some prolific music.

    Martin has never been shy about projecting his love for the Rolling Stones and he frequently dips into their catalog. Whether it was “Jumping Jack Flash” in Mean Streets when Johnny Boy (DeNiro) is first introduced, as he walks into a bar with two women on each arm in the peculiar dark red lighting, or the opening scene of The Departed when “Gimme Shelter” opens the film, painting the picture of pure evil with the lyrics “rape, murder, it’s just a shot away.” “Gimme Shelter” also makes appearances in Casino and Goodfellas as well because why wouldn’t it?

    Scorsese’s most recent project finds himself side by side with his idol Mick Jagger as co-creator of the new HBO series Vinyl (along with Terence Winter). The series takes place in New York City in the early 1970s, the epicenter for sex, drugs and rock and roll. The story follows a record executive, Richie Finestra, as he tries to adapt to the changing tides of the music scene, especially with punk and hip-hop on the horizon. Finestra is head strong on finding new talent to save his tanking record label and he has a laundry list of problems, including a cocaine habit that makes Scarface look like he had his shit together.

    Scorsese uses music as good as he ever has in this series. The first volume includes takes from The Meters, Otis Redding, Edgar Winter, and even the fictional band from the series, the Nasty Bits (fronted by Mick Jagger’s son, James Jagger). With the series currently underway there’s a lot that can still happen, but after three weeks it seems like the series is setting itself up for a twist. Vinyl airs on Sunday nights on HBO and HBO streaming services.

    Key Tracks: The World Is Yours, Sugar Daddy, Rotten Apple

  • 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 Aid: Gibbz ‘Above Water’

    You’re young, fashionable, talented, hip and completely full of love. But time after time, you get “friend zoned.” gibbz-3That’s right, you’re ready to take your friendship to the next level, but shorty just wants to keep it platonic. This is the mental picture I got when listening to Above Water, an independent album to be released March 8 by Long Island singer, songwriter and producer Gibbz.

    Above Water is an electronic pop/R&B album with some surprise elements of funk and a whole lot of soul. Gibbz is as talented on the turntable as he is on the mic. The album’s lyrics bring you to the bar, on a date and to the bedroom.

    The album begins with “Stay for a While,” with an upbeat tempo and a beat comprised of the sounds of a ping pong ball hitting the table. The lyrics are mundane and the vocals have an audible resemblance to that of Ben Gibbard of The Postal Service and Death Cab for Cutie. Throughout the album, Gibbz vocals are reminiscent of various other familiar artists including Michael Jackson and Sam Smith.

    The first single “Higher than I’ve ever been” features Dominic Lalli of Big Gigantic on the saxophone towards the end of the track. The abundance of synthesized tones throughout the track is on the cusp of irritating but the chorus is purely delightful. The vocals are impressive, giving the song a fun, flirty vibe. This is a great song to get a party started.

    “I Really Love You,” is again upbeat and playful, but in this case the chorus loses me. There are too many sounds happening all at once and what sounds like a guitar comes off as muffled noise. My least favorite track of the album, it also happens to be the second single.

    No matter though, “Feel Good” featuring Russ Liquid on the trumpet wins me back. This song is energetic. The rhythm is fast and forces you to clap along. It is arguably the best track on the album.

    Gibbz supported Cherub, if only for a month, but this experience is evident when listening to “Too Too Shy.” His high pitched voice reminds me of the Nashville electro-duo. The song is heavy on the synth tones once again, with robotic bass lines.

    The album concludes with “How it’s Supposed to Be.” It’s a song of a hopeless romantic. The lyrics encapsulate the vision many of us have of the support between two lovers in it for the long haul. As a heterosexual woman, it’s everything I’d want to hear in a romantic interest.  But coming from a friend, it would sound desperate.

    Above Water put me on a roller coaster of relatable emotions from hope, excitement, infatuation, heartbreak and ultimately love. My level of affection for the album parallels this variance. Gibbz has the potential to be a household name. But I wouldn’t want to lead you on, at times it feels like this New York producer attempts to add too many layers. Gibbz, we can be friends, but nothing more.

    Key Tracks: Higher than I’ve ever been (featuring Dominic Lalli) Feel Good (featuring Russ Liquid) Too Too Shy, How it’s Supposed to Be