NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: A Tribe Called Quest “We got it from Here… Thank You 4 Your Service

    Nostalgia has taken over modern pop culture. Star Wars and Ghostbusters are back in theaters, Dave Chappelle guest starring on SNL, and now one of the most influential  American rap groups rises again for the first time in 18 years to release their sixth and final album. It’s a product of the exact recipe of what makes a Tribe album so revolutionary,  but with a slight variation of every ingredient.

    The production value of A Tribe Called Quest We got it from Here… Thank You 4 Your Service is immaculate. It feels like listening to a remastered, never released album, because Tribe led the public to believe their fifth album was their last breaking up in 1998. And even without all of the original members, their sound is still effortless and always moving. The passing of  Malik “Phife Dawg” Taylor was an inspiration for the production of the album that includes a variety of unpredictable, unique jazzy grooves and heavy drum and bass beats, placed under quick and witty lyrics. Putting aside the negative feelings and thoughts was the best thing the members could have done for themselves because once again, the group has created something one of a kind a revolutionary, that listeners can only hope will inspire other artists to follow in Tribe’s footsteps.

    Key Tracks: Whateva Will Be, Lost Somebody, Solid Wall of Sound

    https://www.youtube.com/watch?v=_PdW50Vt4x4

  • Hearing Aide: Chris Robinson Brotherhood ‘If You Lived Here, You Would Be Home By Now’

    It has been a trying year for the music community. Times like these are when we seek comfort. Comfort can often be found in the familiar. There’s nothing more comfortable or familiar than home, and on their new EP If You Lived Here, You Would Be Home By Now, Chris Robinson Brotherhood seeks to get you to that sweet spot as quickly as possible.

    If You Lived Here You Would Be Home By NowLike your upcoming Thanksgiving feast, this compact-yet-sprawling 30 minute companion to their summer release Anyway You Love, We Know How You Feel, is immediately familiar and comforting. Warm, well-rounded, deep, earthy, groovy melt-in-your-ears gravy, ladled generously into every crevice.

    Robinson has unabashedly ridden the coattails of the Grateful Dead to jamband glory. Whereas others have rehashed the material into the ground, the Brotherhood have found ways to pay tribute to their tradition of American roots rock with new original music. The psychedelia shines through again in these new recordings, though without devolving fully into hippy drippy Tofurkey. There’s plenty of muscle and meat on these bones to bite into.

    The familiarity doesn’t end at the Dead. On “Shadow Cosmos,” comfort is found in the fleshed-out country-rock of The Band. “Roan County Banjo,” devoid of actual banjo, finds some nice groovy and funky notes and features an extended organ jam that borrows simultaneously from the recently departed Keith Emerson and Bernie Worrell. “From the North Garden” jumps unexpectedly to Southern Asia with a psychedelic instrumental ramble while closer “Sweet Sweet Lullaby” doesn’t quite let the tryptophan kick in. Rather, it stirs up and invigorates the soul, sending you right back home again. Time to flip the record and have another go.

    If You Lived Here, You Would Be Home By Now, released November 4, was recorded during the Stinson Beach sessions that produced the Brotherhood’s previous 2016 release, Anyway You Love, We Know How You Feel. As Robinson tells it, “these five songs seemed to want to hang together in their own way and tell their own little story, so they were set aside to present separately.” Their release seems perfect for the season and the band will continue to stretch them out on the road, touring extensively out West throughout the late Fall.

    Key Tracks: Shadow Cosmos, Roan County Banjo

  • Hearing Aide: Greensky Bluegrass’ “Shouted, Written Down & Quoted”

    Greensky BluegrassBluegrass is generally known for its solid Americana roots, sans drums, crammed with banjo licks, crisp acoustic guitar and deep bass tones that glue the melodies together. Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.

    Shouted, Written Down & Quoted starts off with an immediate bang that captures the attention of the listener without even trying. “Miss September” dives right in, showing off the beauty of Paul Hoffman’s lyrical and vocal talent.  Heavy on mandolin, this welcome tune eases the listener into the album before “Past My Prime” turns into a more serious ride. Anders Beck dances his fingers around the dobro, creating a gritty tone that craftily weaves around banjo and guitar strokes that are masterfully injected within this track, reflecting the no holds barred attitude.

    A tender “While Waiting” winds through crisp guitar that gently carries the melody with touches of dobro and banjo, once again, dropping in just the right place, creating a beautiful tune. An energetic “Run or Die” rolls along with a quick pace before easing into one of the most tender songs they’ve ever created. “Room Without A Roof” was written by guitarist Dave Bruzza for his wife. Elegant lyrics sung in Bruzza’s deeper vocal tone practically bring the listener to tears as this polished melody is delicately moving and gracefully produced.

    Taking the listener out of the sublime trance from the previous track, “Hold On” picks up the energy at just the right time. Dripping in Michael Bont’s banjo notes that carry the tune along with bending acoustics from Beck’s dobro, this uplifting track puts a smile on the face and instinctively has toes tapping to the beat.  The album title also makes its appearance among the lyrics, so listen closely before they quickly pass by.

    The lyrics within “Merely Avoiding” paint a picture so many have experienced of starting over after moving on from a relationship. Afterwards, the hard hitting track “Living Over” rolls along with deep bass laid out by Michael Devol as clean mandolin notes play along with the guitar and intense dobro action, delivering a stellar melody crammed with an edgier rockin’ energy. “More of Me” eases along with a gentle flow. Carrying the listener on waves of emotion, the instrumental melodies sing the story as the lyrics carry the song across suspenseful ups and downs.

    Bluegrass roots are firmly planted in “Fixin’ To Ruin.” Playfully intertwining the specialties of each musician, this track is stocked solid with the classic energy bluegrass fans have come to love. “Take Cover” carries the album to a smooth finish, fittingly ending with this quick paced bluegrass tune.

    Teetering on the verge of bluegrass, jam and straight up rock, Greensky Bluegrass continues to keep fans captivated by their unique energy. The tracks off this new album leave plenty of room to stretch out and playfully explore during live performances. Don’t let the bluegrass part of their name fool you.  Listeners are in for a hell of a ride with their new album, especially when performed onstage. For more information on Greensky Bluegrass, along with dates for their upcoming winter tour, please visit their official website.

    Key Tracks: Miss September, Room Without A Roof, Living Over

  • Hearing Aide: The Nth Power “To Be Free – Live”

    low-res-to-be-freeThe Nth Power’s latest release To Be Free – Live is exuberantly funky, bursting with spirituality, and clearly on a mission to inspire! After touring to promote their 2015 release Abundance, The Nth Power obliged their fans by creating this nine-track live recording during two nights of performances in Boston, Massachusetts and one night in the band’s hometown of Brooklyn, New York.

    This feel-good 10-track album captures something that you can’t get from a studio recording – the authentic energy that can only come from bearing your soul before a live audience hanging on every note. Anchored in the jazz and funk of New Orleans, The Nth Power’s heady gospel tones and inspirational messages create a well-grounded album which promotes understanding through music. This, my friends, is what love sounds like.

    “Gil said the revolution won’t be televised. These days I start to see it with my own eyes. The media has got you fused with a state of fear. Got you believing all the hate and lies that you feel. I used to believe everything that they tell me was true. But since 9/11 I know I stay lied to. Go smash your TV. You can choose to be free. Stand up and be your own page in history.”

    The lyrics to the song “Truth,”, are a nod to Gil Scott-Heron’s political statement “The Revolution Will Not Be Televised.” With it’s polished yet quirky world-music feel, “Truth” is the track you’d be most likely to hear on your local college radio station. With powerful and poignant lyrics, the song is a call for action, and proof that music is just as powerful of a weapon in this day and age as it was in the 1970’s.

    “Right Now,” featuring a funky Motown vibe, is a reminder to live in the moment, and “celebrate what you’ve been given. This life is so worth living right now.”

    The genre-melding song “Could It Be” mixes a Doobie-Brothers-esque feel –  specifically a throwback to the 1973 hit “Drift Away” – with smooth and sultry vocals, ending in a round of “Stir It Up with You,” conjuring up a bit of Bob Marley’s spirit.

    “Take My Soul” is one of the highlights of the album with the scream of the organ ushering us into roadhouse-style guitar licks and smokey vocals.

    nth-group-1-copy

    Each member of the quartet brings varied musical backgrounds. Nikki Glaspie toured as Beyonce’s drummer for five years before joining up with Dumpstaphunk. Bassist Nate Edgar plays with the likes of Groovechild and John Brown’s Body. Singer and Guitarist Nick Cassarino came from the Jennifer Hartswick Band and toured with Big Daddy Kane. The newest member, Courtney J’Mell Smith, toured with Braimah and was musical director of a church in St. Louis, which comes through in the strong gospel tones on “To Be Free.”

    Since 2013, the Nth Power has performed at renowned festivals including Electric Forest, Bear Creek, Catskill Chill, North Coast Music Festival, and in just the last six months, the group has performed more than 50 shows in 21 states, along with making their second international appearance. Distributed on Harmonized Records, “To Be Free – Live” will be available online and in stores starting November 11th. Check them out on Facebook or visit their website for a full tour schedule! 

    For a sneak peek at the band’s new material, check out their latest video below for “Take My Soul” – a standout blues track from the album which was filmed live in Boston at The Bridge Sound & Stage.

    Key Tracks: Truth, Right Now, Take My Soul

    The Nth Power – Live Album “To Be Free” & Fall Tour Announcement from The Nth Power on Vimeo.

  • Hearing Aide: Haewa “There Is No History”

    haewa_coverHaewa’s, There Is No History, offers a wide assortment of songs, encompassing a range of 90s grunge and jam band influences. Matching its meditating psychedelic album cover, Haewa sets forth a heavier side in the realm of thoughtful soundscape.

    An instantly likeable track is “Born Into the Morning Light,” which has an excellent convergence of drum and slide guitar, both of which work off of each other in a format that seems fitting as what could be part of a film soundtrack. Coming in at the #4 slot on the album this song is a track that utilizes multiple and interlocking guitar riffs that give the song longevity in repeated listens. The lyrics, “I was born in the morning light,” allot this song a hopeful outlook amidst its more serious style. Although somewhat of the black sheep song on the EP, this one definitely deserves attention as a great listen.

    “Chem Division” is a track off the EP that retains much more of the style that Haewa is known for based off of this EP. It’s a heavier jam that has a prominence of layered and unique guitar chords. Similarly related is the Black Keys/Led Zeppelin riffing of “Innovation at the Edge of Time.” This gives great credit to Haewa’s ability to likely be an excellent live show band. “No Ocean” is another fitting jam and be sure to listen to the fluttering guitar work found towards the end of the song.

    Last but not least, “Swamping,” is a key track off the EP, which displays the use of harmonica, feeding into the 90s grunge feel overall. Ultimately, Haewa is a highly guitar driven band that has a great deal of potential going forward with their future EPs, which hopefully come out frequently.

    Key Tracks: Born Into the Morning Light  Swampin’ Chem-de-Vision

    Follow Haewa on Facebook

    <a href=”http://haewamusic.bandcamp.com/album/there-is-no-history”>There Is No History by Haewa</a>

  • Hearing Aide: Tweed “The Chunky Life”

    The Chunky Life, a five song album from Philadelphia band Tweed combines classic synth parts, powerful vocals, and funky grooves to create a whirlwind of vibes that range from the dark and mysterious to those of high energy that automatically warrant head bops after pressing play. The second track on the album, “Best Thing On The Menu,” is composed of many different levels and moods. From the fast paced funky grooves and interesting lyrics to the dark and broody sections that almost sound like modern day dub step garnished with the sound of wailing guitar solos, the song exhibits a very eclectic style of music taste and ability for the band.

    “You,” combines a story told through sound with the same groovy drum patterns and rhythms, although this time incorporates vocals that are similar to and seem to be reminiscent of songs from the late 1990’s or early 2000’s. The solo nearing the end is indicative of the mixed emotions of confusion and lust Tweed tries to emit from this track.

    Other notable songs from this project are “Big Sky” and the strong finishing last song, “Loup-Garou.” All five tracks in The Chunky Life emit the same vibes – maintaining the funk flare that is initially intended. That being said, there isn’t much of a buildup or climax, which makes listeners question the storyline behind the tracks. With songs that end among the six or seven minute range, Tweed creates a head bopping environment that is indicative of the world’s need and, furthermore, necessity for funk music.

    Key Tracks: Big Sky, You, Best Thing On The Menu

  • Hearing Aide: Spiritual Rez “Setting in the West”

    This is not just a reggae album. This group of Boston, Massachusetts dwellers have created an in depth and diverse Jamaican roots album that stands out miles ahead of most contemporary bands alike. Setting in the West is the fourth album from Spiritual Rez since the birth of the band in 2002 and they’ve really nailed the niche they define themselves. Their sound is heavy on a powerful reggae sound, but it’s garnished with a number of genres, with hints of pop, rock and funk that set the sextet above most other reggae groups.

    Each song is diverse and though each song is heavily rooted to a reggae groove, they manage to make the first two songs sound like two different bands. The first track, “Sober,” has the exact recipe for a reggae song, but the drums and bass line gives the song a certain power that isn’t found in most songs in that style. The tonality changes throughout the song so things stay interesting, instead of falling into a drone which some reggae songs tend to do. The sound is still sultry and lazy but a more prominent beat perks up the song while still holding the roots of the genre.

    But then, “Red Room” comes on, and the listener is taken to a whole new world of pop beats. Featuring rapper Duddy B and loads of computer generated tones, this track sounds like something that would be played on today’s pop radio stations. There’s a hint of popping, staccato guitar riffs, but an almost complete delete of all other reggae influences. It’s still just as good as any other song in this collection, but might be a deal breaker for some listeners as well as “Tidal Wave” and “Digital Age.” There are still traces of the defining characteristics that made reggae sound the way it does, but the band is obviously trying to reach a greater audience. The producer of the album, Kenny Carkeet, a founding member of AWOLNATION, might explain the more pop based tunes, which was definitely a smart move as Spiritual Rez strives for greater recognition.

    For those that may see these tracks as the band selling out, worry not because the majority of the tracks stick to a standard reggae formula, still dropping hints of dance, funk and rock into the mix, with “Bad Girl” and “Square Grouper” show casing the talents of the group. The spice of a reggae group is the horn line, with Quinn Carson (trombone) and Julian Dessler (trumpet) deserving much credit for making this band sound the way it does. Although there are countless reggae bands without such, the duo brings a more cultured and complex sound that helps separate this group from others. Of course, the talents of Toft Willingham (vocals), Ian “Meat” Miller (drums), Jesse Shaternick (bass) and Mohamed Araki (keys) are not to be undersold being the backbone of the group, setting up a solid and groove for every track.

    Spiritual Rez will be spending some time in New York this year playing from Canton to New York City all this month. More info is on their website.

    Key Tracks: Sober, Bad Girl, Square Grouper, Whisky

  • Hearing Aide: Balsam Range, “Mountain Voodoo”

    Nestled between the Great Smokies, where the Blue Ridge unites, life is hard but comforting like a cool mountain evening. It is there you will find Balsam Range. Their sixth album, Mountain Voodoo, is nothing short of an award winning bluegrass homage.  Boasting Grammy veterans and an honorary Doctorate among this group, the album leaves you with a taste of life in each of the 13 tracks.

    “Blue Collar Dreams” showcases everything that is bluegrass.  Hard driving rhythms, mesmerizing vocal harmonies, enthralling banjo and a fiddle nicely finishes off this testament to a great American roots genre.

    If you’re looking for a bluegrass anthem, look no further than “Rise and Shine.”  This song bursts with a ray of hope and positivity.  You will not find simple vocal harmonization here, but instead sweet runs of acoustics, entwined in harmonies that offer a breath of optimism.  “Don’t Walk Away” transports you through emotion and gives a glimpse through long vocal runs that we expect and find so comforting about bluegrass music.

    Balsam Range’s “Mountain Voodoo” is set to release on November 11th and if a trip through life in the Blue Ridge is what you’re seeking, let them take you.

    Key Tracks: Blue Collar Dreams, Rise and Shine, Don’t Walk Away

  • Hearing Aide: Ali Carter “Songs of Longing”

    Ali Carter Songs-of-longingAli Carter, singer and songwriter originally from Sydney, Australia has relocated to Brooklyn with the hope of making a name for herself in the music industry. With the release of her debut album earlier this year entitled Songs of Longing, Ali is ready to bring her music to the American music scene.

    Growing up in a household filled with music, Ali was exposed to a wide range of genres of music from an early age. She describes her style of music as soulful, containing some aspects of folk music as well. Her twelve-track debut record embodies both those styles and more, being classified as an indie pop and jazz album. Songs of Longing is a multifaceted work on which Ali contributes both vocals and instrumentals.

    Ali’s unique sound is created by the combination of her dynamic voice and ukulele-driven songs. Her use of the ukulele, traditionally a folk instrument, on an indie pop and jazz album is an original creative twist. Other artists have had success incorporating non-traditional instruments in their performances such as Ian Anderson’s use of the flute in rock music. Her personal and poetic lyrics are further supported by her three-man band and showcased on every song on her album.

    It’s always refreshing to discover an artist like Ali Carter with a passion to create sincere and pure music. Songs of Longing is a cohesive work whose overall unique sound and mellow temperament will leave your ears wanting to hear more.

    Key Tracks: My Heart’s in Union Square, Sex and Cigarettes, Open to You

  • Hearing Aide: Communist Daughter ‘The Cracks that Built the Wall’

    Photo Credit: Communist Daughter WebsiteIt’s a pretty phenomenal album, but only when there is a fairly deep understanding and sympathy for who wrote this and why he did. A naive listener would view this album as just another “hipster” sound with spacey vocals, an indie sound with touches of punk rock. And they wouldn’t be wrong, but the album represents so much more than that.  

    The protagonist of the story is Johnny Solomon and the tale of his musical career started with his first band, Friends Like These, which was allegedly widely recognized, but was short lived as well as his marriage, thanks to substance abuse and mental health issues that landed him behind bars for sometime.

    Needless to say it was a low point in his life and he wanted to push forward and moved to Prescott Wisconsin hoping to escape his demons with the assumption his musical career was over. He found that song writing was the coping mechanism he needed, but little did he know that he would have created some true masterpieces. Friends and colleagues came to help record what Solomon thought would be his eulogy, and before they knew it  Communist Daughter was born. The band launched off, and during all of the success, Solomon leaves for a rehab one more time to be as clear eyed as possible for the release of the band’s debut album, Soundtrack to the End in 2010, an EP Lions and Lambs in 2012 and now, their sophomore album, The Cracks That Built the Wall releasing October 21.

    This new album is very personal, very indie and very well done. The production value is immaculate and their sound, although very familiar, is strong and empowering.

    This big euphoric sound is the most prominent in the first track, “Hold Back”. Like most of these songs, the tone is major and uplifting, but the musicianship is rock based, which tends to have a minor tone to it. That defining characteristic of indie music coupled with what is unmistakably punk or rock undertones, will result in an ethereal tone that  is given power and force which can be synonymous with a feeling of freeing oneself of a physical/ mental hardship or point in life, like what Solomon endured. The album has so much more meaning when the muse of it is fully understood and it’s especially true with this collection.

    Other tracks have the same effect, with some being a bit more dainty than others, like “Strange” with Solomon’s wife, Molly, taking the lead vocals in the track. Her voice is breathy and angelic, with some aid from sound effects and echo, but nonetheless makes this track more ballad-like but still not necessarily depressing, but definitely more uplifting.

    Other tracks “Beach Stalker” and “The Dealer” are harder variations that definitely stick out in the album more than some of the softer tracks. They feel like they have more effort put into the production and songwriting especially when it comes to the direction of the songs. The ones mentioned later are omnidirectional and unpredictable at first listen. The ballads on the other hand can be a bit dreary and lackluster. Arguably, this is album is a representation of his Solomon’s life, which undoubtedly had it’s many, many ups and downs.

    Overall, this album will definitely help launch Communist Daughter into more music scenes, with production value and pedigree being a catalyst. Indie bands are widely abundant and loved these days, which is ironic within itself, but nonetheless will help these very talented musicians make waves in the indie music scene.

    Key Tracks: Hold Back, Beach Stalker, The Dealer