NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: Bon Iver “22, A Million”

    jv1Five years since the release of Bon Iver, Bon Iver’s Justin Vernon shares yet another piece of his artwork with our world. This indie folk band’s third album 22, A Million is an experimentally brilliant work whose meaning is difficult to fully comprehend.

    While experimenting with the auto-tune and synthetics, Bon Iver explores the world beyond the conventional three-minute song while staying true to himself. Vernon hones his exceptional songwriting abilities throughout the entirety of the album. He revives his style of singing over simplistic piano with his track “00000 Million” just as he did on his 2007 release For Emma, Forever Ago as well as his self-titled work four years later in 2011.

    The interpretation of Bon Iver’s lyrics, which are challenging to decipher is aided by the release of lyric videos to all ten tracks. Each lyrical video is accompanied by symbols that hold personal meaning to individual band members such as the rainbow featured in “33 “GOD””, geometric shapes in “8 (circle)” and countless others. Consistent with Bon Iver’s unique approach to 22, A Million, each song title unconventionally involves language, numbers and symbols to enhance its eccentric nature.

    With every new discovery, this cryptic album continues to fascinate the listener. Beginning with “22 (OVER S∞∞N)” and ending with “00000 Million” as they perfectly sandwich the imperfect “22 #Strafford APTS”. The first time listening to this intentionally flawed song I assumed by headphones had been detached from my computer to only later discover that it was an artistic choice of Vernon to record “22 #Strafford APTS” so that it appears to be breaking up near the tail end of the song.

    22, A Million is a cohesive work that when listened to in its natural order portrays the progression of its ten tracks. “21 M♢♢N WATER” seems almost indistinguishable as it flows into “8 (circle)” while effortlessly maintaining a similar feel in both songs.

    The controversial album that is 22, A Million was successful in reinventing Bon Iver to the extent that he is compared to the works of Kayne West and Frank Ocean. With this album, Bon Iver reaffirms his ability to remain of interest to our scattered millennial generation and the contemporary world.

    Key Tracks: 8 (circle), 33 “GOD”, 22 (OVER S∞∞N)

  • Hearing Aide: Shovels and Rope “Little Seeds”

    Michael Trent and Cary Ann Hearst, better known as Shovels and Rope, pour their hearts out in the newest release, Little Seeds. What I found so fascinating about the album was the fact that they were able to touch upon so many different types of folk and Americana music, but still manage to paint a light coat of something distinctly them. While the songs may sound incredibly different from beginning to end, the duo’s gently massaged track selection presents an incredibly supple flow that highlights their talent and eclectic taste.

    The first and second tracks introduce a band that is confident, gritty and loud! While some of the later songs may be appropriate for a quiet evening of snuggling up with your honey, “I Know” and “Botched Execution” would be more suitable for a late night party with some of your closest friends. It isn’t until the third track, “St. Anne’s Parade,” where we step into the chill zone with the soothing vocal harmonies and soft, simple acoustics that frequently drift into Little Seeds. I would consider this “soulful Americana” as Hearst and Trent passionately belt out the well-written lyrics.

    “The Last Hawk” picks the tempo up in the most pleasant way and reassures the listener that this album is going to stylistically take us for a ride. As much as this studio project was about their personal experiences, many Upstate New Yorkers will connect with the references to Woodstock and Saugerties in this particular story. “Mourning Song” has a lyrical structure similar to that of a traditional Irish folk tune and tells the tale of a grieving wife’s connection with her deceased lover through music. The theme of birth and death and all that we feel in between is presented throughout Little Seeds, but the duo’s songwriting ability is so hardy that the same concepts are presented in such unique and different ways.

    “Johnny Come Outside” is another one of the calmer, thought provoking numbers which has a hook resembling Bob Dylan’s widely covered “You Ain’t Goin’ Nowhere.” Where Dylan has had an influence on generations of folk, blues and Americana artists, Shovels & Rope are planting the seeds that will grow into the next garden of fresh young sonic storytellers. “San Andreas Fault Line Blues” introduces us to yet another taste of bluesy gospel music, but this time one can hear Johnny Cash casting his light on the duo’s lyrical approach. “BWYR” is a haunting and topical song that profoundly delivers the ugly messages of racial injustices in a world where all we need is some peace. The faint sounds of police sirens whisper in the background of this enlightening and important piece of poetry. “Eric’s Birthday” seamlessly fades into the last track, “This Ride,” and delivers the euphoric reminder of life and love before sending us all on our way.

    Whether you have just given birth to a new child or have recently lost someone, Little Seeds will help you reflect. Ever experience loneliness, bliss, heartache or confusion? Listen to this album. If you enjoy gathering around the campfire with family and friends or spending the day alone in a busy city, this release is for you. Filled with powerful messages, spiritual symbolism, and deeply expressed life lessons, Shovels & Rope have created a robust collection of songs that you can play in front of your grandparents, your grandchildren and everyone that you meet along the way.

    Key Tracks: St. Anne’s Parade, The Last Hawk, Johnny Come Outside

  • Hearing Aide: WOLF! ‘1-800-WOLF!’

    If you’re looking for some new music to wind down your day or rev up your evening, dial up 1-800-WOLF! for a good time. WOLF!’s new album was released today by Royal Potato Family.

    1 800 WOLF

    The band consists of guitarist Scott Metzger (JRAD, RANA), bassist Jon Shaw (Cass McCombs, Shakey Graves) and drummer Taylor Floreth. They were booked as the backing band for a singer at a Williamsburg club one night a few years ago. When the singer never showed up, instead of cancelling, the trio decided to play as an instrumental trio. With no material to go on, they winged it, filling the set with straight improvisation. It went exceedingly well and they were asked back for a regular gig. Thus WOLF! was born.

    Most of the music on the record, the follow up to their 2015 self-titled debut, was borne of improvisation, either on stage or in the studio. The only preconceived track is the Metzger-penned Ennio Morricone-esque “You Are No Longer My Friend, My Friend.” Each song soundtracks short scenes the listener can almost visualize. The environment of the music is so clear, and while certainly borrows from music’s past, emerges as an original thought that is entirely of WOLF!’s making. There’s the surf rock late-night blues of “Furry Freedom,” the slinky Cuban groove of “Tomatillo Verde,” the swinging gypsy of “Oaxaca Ox,” the dripping Western romance of “Denim Love Affair” and on and on. “Bohemian Grove,” lilting and lazy, swells like the tide on a secluded island until it crashes in a wave on the sandy shore.

    The only thing that raises questions on this breeze of a listen is the band name WOLF! The music doesn’t have the scream of all-caps nor the exclamatory punctuation. The music moves effortlessly from song to song, scene to scene, location to location. Perhaps, since the band backed into it’s existence, it would make more sense to read the name backwards? Indeed, the name “flow.” would suit this music quite well.

    As good as 1-800-WOLF is, a band born on stage is surely best enjoyed on stage. The tri-state area has multiple chances to catch WOLF! live in the coming weeks, including opening for, and backing, Nicole Atkins on a few dates.
    10/14 – The Acoustic – Bridgeport, CT
    10/15 – Still Partners – Sea Cliff, NY
    10/ 20 – Hometown BBQ – Brooklyn NY
    10 /23 – Ardmore Music Hall – Ardmore, PA
    10/25 – LPR – NYC*
    10/26 – BSP Kingston – Kingston, NY*
    10/28 – House of Independents – Asbury Park, NJ*
    * notes dates w/ Nicole Atkins

    Key tracks: Tomatillo Verde, Bohemian Grove, Slow Stuff

  • Hearing Aide: Green Day’s “Revolution Radio”

    I remember it vividly: On a long bus ride for an elementary school field trip, one of my oldest friends handed me a cassette that would be the very first turning point on the musical journey that my life has become.

    The year was 1993, and I was very much into rap at the tender age of 8. Caleb, who had a serious disdain for my musical choices at the time, took my Walkman and inserted a recently released tape of Kerplunk, Green Day’s second album. I’d never heard of the band, and was not sure what to expect.

    The snarling growl that accompanied Billie Joe Armstrong’s guitar slapped my eardrums around on the opening track, “2,000 Light Years Away,” and I didn’t know what to do. It was odd, at first, but as I made my way through the tracks, I became quickly hooked on the pop-punk that would soon propel Green Day into super-stardom.

    And this was only the beginning of what became my first, and biggest, band obsession. I made my parents get me their debut album, 1,039 Smoothed Out Slappy Hours, which was a compilation of all their earliest material. I loved Green Day before anyone knew who they were.

    Later that year, a friend and I devised a plan to get our parents to take us to see them at Union College in Schenectady. To make a very long and boring story short, the two of us ended up by ourselves at the concert, swinging and swaying in a rowdy group of maybe 1,000 people, and I will never forget the awe I felt seeing a trio of early 20s kids playing the fastest and catchiest rock and roll on the planet. It started a live music obsession that, to this day, comes first in my life after my family and work.

    I can talk about how Dookie is my all-time favorite album ever released by anyone, or about how Insomniac spoke to my pre-pubescent self better than anyone, or how Nimrod, while not universally liked, showed how Green Day can shake things up. What about Warning, which featured a bevy of instruments which helped the band veer away from three-chord pop-punk? Or how American Idiot vaulted the band back to super popularity and brought music and politics together again? I don’t think we need to talk much about 21st Century Breakdown, or their quickly released trio of albums, Uno, Dos and Tres, which were not Green Day’s best efforts.

    Now, 23 years later, Green Day just dropped its 12th studio album, Revolution Radio, and I have to say that for a band I idolized growing up, then grew to despise a bit in the mid-2000s, they have reeled me right back in. Gone are the days of songs about masturbation, moving out of mom’s house and staying up all night snorting meth.

    And while it has some political undertones, Revolution Radio really is a 12-song collection of angst, anger, mortality and youthful remembrance by Armstrong, Mike Dirnt and Tre Cool. And it’s fast, loud, mean and chock full of emotion and that “we don’t give a fuck what you think” attitude that made me fall head over heels 23 years ago.

    “Somewhere Now” starts the album with a Clash kind of feel. Its catchy chorus and clever wording simply give way to the meat of this album. “Bang Bang,” the first single released, shoots out at you like a bullet from a stolen gun. “Daddy’s little psycho and mommy’s little soldier” is a line that hits close to home, as this was me as a child. Great choice for a single, and it’s mean as hell with that charm that only Green Day can insert into a morbid song.

    “Revolution Radio” is the catchiest song on the album, and is as close to classic Green Day as it gets. Think the anger and destruction captured throughout Insomniac and this is what you’re getting in the title track. “Say Goodbye” opens with a vibe of The Wall-era Pink Floyd, then quickly transforms into a preachy ditty that touches on, presumably, the recent spate of violence in this country involving police.

    “Outlaws” is a love song that misses its mark. It is the only song that seems out of place here. “Bouncing Off The Wall” is another throwback to Armstrong’s wilder days, before he went to rehab a few years ago.

    “Still Breathing,” “Youngblood” and “Too Dumb To Die” are a trilogy of songs that I have listened to over and over in the last 72 hours. “Youngblood” is a punk rock love song that ends with the subject saying “but fuck you I’m from Oakland” and is a great way to close it out.

    “Too Dumb To Die” is about reckless behavior from the band’s past, and became my favorite song from the band in many, many years. It’s the most punk rock thing on the entire album, and maybe of the band’s career. “Troubled Times,” “Forever Now” and “Ordinary World” touch back on the societal and political unrest in the country, without slamming it down our throats like American Idiot did.

    Overall, this is the best Green Day album, in my opinion, since Nimrod. Green Day returned to what made the world fall in love with them and made it angrier, faster, louder and catchier.

    I am certainly back into this band like it’s 1997.

    Key Tracks: Too Dumb To Die, Revolution Radio, Youngblood, Bang Bang

  • Hearing Aide: Aqueous ‘Best in Show’

    It’s been almost two years since Buffalo groove rockers Aqueous released their fourth studio effort, the acclaimed Cycles. Shortly after the release, the band’s founding trio found themselves struggling to keep a pair of sticks behind the kit.  After a national search, drummer Rob Houk joined the band full time and the quartet headed into the studio. The resulting EP, Best in Show, is a four song reflection not only of the band’s time without a permanent drummer, but also a glimpse into the band’s future as Houk melts into the Aqueous groove with fluid rhythm that feels as if he’s always been here.

    aqueous best in show

    Kicked off by the infectious opening track, “Don’t Do It,” Best in Show is a shining example of how Aqueous uses time in the studio to expand on their signature live sound.  The band and producer Dan Brace of Sonic Farm Studios find a way to build depth and layers into “Don’t Do It” that surpasses the way the band already deposits the song’s structures live.

    Production on the song, as well as throughout the entire album, is thoughtful and subtle. It leaves room for exploration upon each subsequent listen.  Best in Show presents like a musical onion, revealing something new every time you listen.  It’s a theme that is present in all four tracks.  New nuances, subtle changes, and microscopic effects take some of the band’s newest songs and turns them into some of the band’s most laser focused studio work to date.

    “Underlyer” has seen plenty of stage time, but from the studio the song takes on a whole new life with a slightly different tempo. Tender and soulful, it’s one of the album’s lyrical gems.  Musically, the tune is funky while moving, highlighted by a delicious groove anchored by bassist Evan McPhaden. On keys and synth, Dave Loss creates beautiful and whimsical layers that highlight the song as its most intense yet reflective moments. Lead guitarist and vocalist Mike Gantzer explores moments of falsetto and vocally the song is a showpiece for his continued vocal growth. Gantzer continues to develop a rich, milky quality that settles neatly against Aqueous’ harder and more polished technical musical edge.

    “Random Company” and “Calling Out” although vastly different in composition, highlight Aqueous’ ability to structurally string together a variety of musical genres and styles that you wouldn’t naturally blend.  Listening to many Aqueous tracks is akin to strapping in for the front row of a musical roller coaster. It’s an ebb and flow that is reflective of the band’s moniker.  It’s a musical device that Aqueous executes with precision, keeping their sound fresh and their live shows full of astonishment to first time listeners.

    The four songs are highlighted by tiny nuggets of rightness; lyrically, musically and in its production Best in Show turns a pointed spotlight on how much Aqueous has grown in the two years since their last studio release. But more importantly, Best in Show is Aqueous’ resolve from the challenges they have faced and proves their tenacity to move forward while solidifying their line-up.

    Houk flourishes on drums.  His previous work as a studio drummer is evident with thoughtful punctuation and temperate pressure. But it is also evident that Houk, Gantzer, Loss and McFadden have wasted no time in melding together a sound that is uniform, distinct and cohesive.

    As a producer, Brace clearly utilizes his experience with mixing a variety of the band’s live efforts, including their Aqueous Halloween 2015 Dark Side of the Oz release, to the band’s advantage in the studio. He seems to be coaching them in the best ways to enhance their sound.  A nod to not only his skills as a producer, but also a nod to Aqueous for taking direction in nuance.

    Best In Show will be available through hard copy purchase starting Thursday Oct 13 and Friday Oct 14 during the Best in Show CD release party at Buffalo Iron Works in the band’s hometown of Buffalo, New York.  Digitally, the EP will be available through online services such as iTunes, Spotify, Amazon and Google Music starting Oct 14.

  • Hearing Aide: Phish’s “Big Boat”

    Ever think Phish would start off a studio album with a sort of Brit-pop-punk sounding song?

    Me either, but that’s exactly what the band did by kicking off Big Boat with the Jon Fishman song “Friends,” which is the perfect lead-in to an album by a band that has built its fanbase by throwing it curveballs. Phish’s 13th studio recording is the most genre bending album they have released.

    big boatTeaming back up with Fuego producer Bob Ezrin, Phish has created an at-times overproduced record that probably will not be universally loved by fans and aside from a few tracks, won’t get much play from me. But, the beauty of Phish is that this is perfectly fine because each of these songs will be defined by what they do on stage.

    “Blaze On” and “No Man in No Man’s Land” both debuted live in 2015 and become almost immediate jam vehicles. The album versions of these songs are very strong and have the same feel of the live performances.

    The apocalyptic “Breath and Burning” gives way to the first Page McConnell song, “Home,” which features a very Phishy little synth-driven jam. “Things People Do” is very Mike Gordon-like, but is written by McConnell. “Waking Up Dead,” written by Gordon, is among the few songs that sound Phishy.

    The Anastasio ballads “Running Out of Time” and “Miss You” are poignant, with the latter being one of the more emotive songs the guitarist has written in a while. “I Always Wanted it That Way” goes back toward the synth-pop sound, before straightforward rocker “More” sits as the last barrier until the orchestral composition “Petrichor” closes the album with a complicated, at times intricate but often wandering song that Anastasio initially wrote to be performed with an orchestra.

    Big Boat is not their best album, but honestly, who cares? Let’s see what happens on Fall Tour and during the New Year’s Run.

    Key Tracks: More, Waking Up Dead, Petrichor

  • Hearing Aide: Teddy Midnight “Velvet Blue”

    On September 7 New York City’s own Teddy Midnight released their first LP Velvet Blue. An eight song release captivating their blend of genres from funk, rock, and jamtronica, to so much more.  Recorded at Telefunken Elektroakustik by Alan Venitosh, produced by Sean Silva (synthesizers/bass), and co-produced by drummer Adam Magnan. Velvet Blue was written and recorded entirely by the members of Teddy Midnight with the addition of Amy Grace adding her powerful vocals to “Blue Dream,” the final track. An excellent debut album by a group of musicians that have earned a respectable spot as an up and coming band. Teddy Midnight is hard working, both in and out of the studio.

    Teddy Midnight Velvet BlueEach member patiently brings a noticeable flavor to Teddy Midnight‘s unique sound and brings an individual ingredient that gives their fans that taste they are looking for when looking for the right band to go see. Velvet Blue captures the essence of their raw, high energy jams and electronic influence. A terrific soundtrack to getting down or just listening to good tunes.

    The album opens up with “Velvet Mist” with each member layering in and immediately getting the dance party started. Continuing this theme throughout the entire album with each track holding it’s own.  With tasteful blends of sounds from keyboardist Sean McAuley using full bodied tones complimenting guitarist Wiley Griffin’s seasoned tones and style. Whether the two are syncing notes or complimenting each other, bassist Sean Silva and drummer Adam Magnan lay down a solid foundation for tracks to soar such as “Popo Jijo.”  Subtle uses of an arpeggiator backing track gives this album a hint of what STS9 does when composing music and adding organic energy. Be sure to check out Velvet Blue.

    Key Tracks: Velvet Mist, Turkish Silva, Popo Jijo

  • Hearing Aide: Electric Beethoven’s “Beathoven”

    cover-reedmathis-beathoven_optReed Mathis has a lengthy resume as a bassist in the jam scene as a member of Tea Leaf Green, a touring member of Billy & the Kids and longtime part of Jacob Fred Jazz Odyssey. Seems like he doesn’t take a break in his schedule.

    Recently, while on the road, he decided to rearrange a few of classical composer Beethoven’s symphonies, “Symphony No.3” and “Symphony No. 6.” When finished, Mathis pieced together an incredible lineup of other musicians, and recorded them by traveling all over and record the music in its natural environment. Page McConnell and Mike Gordon, of Phish, Marco Benevento, Matt Chamberlain, Joe Russo, Robert Walter and Mike Dillon are some of the cast Mathis recruited for an album that really re-imagines Beethoven in a modern — and proggy, jammy — way.

    The result is Electric Beethoven, and their debut album Beathoven track “Awakening of Happiness,” featuring Russo and Luke Bolla, answers any question you’ll have about what the band sounds like, as the piano-heavy track melds rock and blues aspects, as well as a little psychedelia, with the noticeable Beethoven composition sound. Andrew Barr and Steve Pryor are featured on “Scene by the River,” before Galactic drummer Stanton Moore and Jared Tyler take over a danceable “Rain Dance.”

    The appetizer of “Shepherd’s Dog” (McConnell and Jason Smart) pairs perfectly with the main course, “In Memory of a Great Man” (Gordon and Russo.) The sometimes jazzy, sometimes trippy “Funeral March” (Benevento and Chamberlain) make up a powerful middle of the order combination, which stands out as the most interesting interpretation on the recording.

    “Rebirth,” featuring the Barr Brothers, and “Finale” (Moore and Walter) close the album with two numbers filled with jazzy guitar lines, intricate piano parts and a dash of some down south funk.

    If you didn’t know who Beethoven was or were unfamiliar with his catalog, you wouldn’t mind in any way. Mathis manages to turn music you focus on into music you boogie to, without losing even a shred of integrity from the original compositions. If this album is any indication, this band is going to see its moment in the sun on the festival circuit in the next few years.

    The band performed last week at the Catskill Chill, and are currently out playing a string of dates in support of the new album.

    Beathoven tracklist

    1. Awakening of Happiness (feat. Joe Russo & Luke Bolla)
    2. Scene by the River (feat. Andrew Barr & Steve Pryor)
    3. Rain Dance (feat. Stanton Moore & Jared Tyler)
    4. Thunderstorm (feat. Matt Chamberlain & Mike Dillon)
    5. Shepherd’s Song (feat. Page McConnell & Jason Smart)
    6. In Memory of a Great Man (feat. Mike Gordon & Joe Russo)
    7. Funeral March (feat. Marco Benevento & Matt Chamberlain)
    8. Rebirth (feat. Brad Barr & Andrew Barr)
    9. Finale (feat. Stanton Moore & Robert Walter)

    Key Tracks: Rain Dance, In Memory of a Great Man, Funeral March

  • Hearing Aide: MarchFourth “Magic Number”

    m4coverart_magicnumber_foilsmallJust when you think you’ve heard it all, suddenly a band crosses paths with your ears and changes everything.  MarchFourth, a twenty piece band based out of Portland, Oregon, are gearing up for the release of their latest album, Magic Number, on September 30th. Fifteen members of this large ensemble trekked down to New Orleans and spent 10 days in the studio building this titillating album, which was produced by Ben Ellman of Galactic.

    Full of auditory goodness, let’s dive right in and examine their long overdue album, that was fan-funded through Kickstarter, track by track.  Take a breath before hitting the start button.  Things are about to get explosive.

    “Call To Action” is jammed with in your face horns that begin nice and steady before blasting off, taking the listener on a brass filled musical escapade. Serious energy from the get go entices listeners to turn that volume dial higher and higher. “The Quarter” slinks into play with smooth tones, funky guitar beats, and playful lyrics before picking things up with “Magic Number.”  With a Spanish flair, the song drops listeners into the heart of Mexico, giving the feel that trouble is around the corner. Quick paced, featuring clean trumpet and jazzy guitar, the energy keeps right on rolling.

    “Push It Back” is heavy on deep funk guitar tones right off the bat, gluing the song together from beginning to end.  With Stanton Moore making a guest appearance on drums, a 70’s vibe is felt, throwing it back to the days of disco balls, feathered hair and bell bottoms.  Don’t be surprised when the repeat button is tapped over and over.

    If a track would be up to no good, “Inventing the Wheel” would be the perfect musical specimen.  This tune is full of attitude, swagger, and stealthily glides along, picking up speed mid-song as if the notes are running to hide from the bad guys. The notes quietly tiptoe back into it’s original swagger, with special guest Trombone Shorty bursting at the seams on the trumpet solo, and Ben Ellman providing harmonica.

    “Hotstepper” musically conjures images of a conversation between instruments, with song lyrics refereeing the energy. Danceable and fun, this quick paced jam keeps the party rolling.  “Drunk Bears” automatically is lovable by name alone. Hit play and be prepared to jump up and down. The deep, low tones of the baritone sax stand out immediately, grabbing other members of the brass family by the balls to take listeners on a crazy ride.

    Mysterious “Jan Jar” has a powerful wanderlust aura dancing around the notes, before “Science (Free Your Mind)” erupts into the ears.  Matt Perrine, of Bonerama, hits up the sousaphone on this track that is soaked in New Orleans flavor. This shattering jam would be very much at home marching down the streets of the French Quarter.

    Fast paced “It’s a Trap” hints at being more of a brass knuckled punk band with attitude.  This speedy tune takes listeners on a roller coaster of a ride, making sure the heartbeat picks up. The album ends on a tender note with “Endless Highway,” shaking off the energy from the explosive beats leading up to this track.

    Magic Number is a solid journey of an album, stuffed with intense toe tapping beats and story telling melodies. MarchFourth has modernized the big band sound to today’s generation; this is an album that should not be missed.  For more information on MarchFourth, visit their official website.

    Key Tracks: Push It Back, Drunk Bears, Science (Free Your Mind)

  • Hearing Aide: Four Star Riot “Waves”

    four-star-riot-wavesJust the first 30 seconds of this album is so refreshing to hear. It’s easy listening, rocking and grabbing songs that don’t get released these days and definitely don’t get enough publicity. Four Star Riot is the epitome of a garage rock band with a little bit of cultivation from other genre’s to make it pop in more ways than one. They consider themselves as power pop and soul rock and say their influences come from stars like Parachute and Maroon 5 and it shows, but they still have their own flavor. Their hooks are catchy, the tone is straightforward and the album is filled with a wide variety of tones, tempos and styles. And although their tracks aren’t ones that will have the listener sitting alone is their room, contemplating the meaning of the lyrics and color of the songs, one may find their music perfect for relaxing drive or a chill hangout night with friends.

    The album does sound similar to their past albums, with only devoted listeners noticing the changes like the lack of keyboards and organs (which did add a nice flare and color to their rock pop sound)  but they still power on without any sense of empty space. Tracks like “Waves” are among the heaviest of the album, with some fairly crunchy, distorted guitar and popping drum tracks. But the heaviness of a song is largely determined by the vocal timbre and vocalist and rhythm guitarist Steve Alex, who’s voice can comfortably reach some pretty impressive octaves, creates a lighter hearted take on a standard rock band sound. It’s his sultry, flowing voice that defines them as a pop rock band. A more aggressive and growling voice would easily turn this into a pop-punk band but Alex’s voice fits the bill perfectly and puts them up there with groups like Parachute and Maroon 5.

    “Empty Spaces” is another track to pay attention to. It has a funkier groove to it , with a steady beat and loads of tricky high-hat rudiments from drummer Mike Chilton as well as plenty of voice from bassist Aaron Akers. Guitarists Alex and Finn Walling also use a variety of tones, from tight, high octave blips of funky guitar to phaser-filled chorus’ to move the styles around throughout the song. It makes for a multidirectional song that would definitely get bodies moving during a live performance.

    Listeners should also delve into “Just Tell Me” to appreciate the versatility of the band. The style in this track could be compared to groups like The Fratellis or maybe even Arctic Monkeys in terms of a more punk-ish sound. The pace is picked up for the first time in the album, and although the guitar might be a bit clean and spacey at first, it quickly changes to a hard, dirty twanging strum that absolutely rocks. The chorus hook is catchy and the songs moves around in different directions, making it a little less predictable than most pop rock songs.

    Other tracks like “Don’t Go”, “Torn & Tattered” and “So Far” lay a little bit lower in terms of energy and instrumental complexity. They’re definitely enjoyable to listen to, but they’re also the most straightforward tracks on the album. Listeners might gravitate towards tracks with more flare like the ones mentioned earlier, and other like “No Shore” which although is fairly predictable, still has a unique reggae taste to it that spices things up just a bit to draw the listener in.

    “Baby Blue” is another surprisingly funky track from the four stars that keeps a consistent tone throughout the track, but makes little variations on each verse and chorus that keeps things interesting. It’s on the shorter side at 3:00 but it has on of the catchiest vocal hooks in the album that will keep the listener humming it day and night.

    As said before, this was a surprisingly refreshing album. There were different styles, all executed and produced perfectly and is definitely worth delving into. There is a least one track that everyone can vibe with in this album and it’s available now on Spotify and iTunes for download.

    Key Tracks: Empty Spaces, Jest Tell Me, Baby Blue