NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: The Broadcast ‘From the Horizon’

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    Within a flashy realm of brass interludes, conventional chord structures and foot-tapping rhythmic changes, the Broadcast will soon release their third studio album, entitled From the Horizon.

    As every grassroots band from Asheville, North Carolina, faces in their early stages, the eagerness to record, sell and play often sidetracks the artist from the bigger picture: the feeling of  security in their sound. And after three initial releases of Days Like Dreams (2010), Live (2012) and Dodge the Arrow (2013), the Broadcast’s upcoming record From the Horizon is a sonic gearshift from classic funk-rock to Americana roots-rock that offers listeners a soulful soundscape of influences. As the band’s sound continues to mature, so does their self-confidence, and it is here that we learn what defines the Broadcast musically, at least for now.

    From the Horizon is declarative in its intentions, and has enough variety to please all ears. Frequent festival-goers who prefer a more summer-in-your-backyard tune will most likely gravitate toward “Double Down” and “Eyes of A Woman,” embodying illustrious riffs from guitarist Aaron Austin and a Grace Potter-like writing style delivered by powerhouse vocalist Caitlin Krisko. For others who thrive in the stomping and hollering kind of rush, jump right to “Every Step” and “Bring It On Home” with the on-target rhythm section featuring bassist E’Lon Jordan-Dunlap and percussionists Jaze Uries and Tyler Housholder. The most contrasting part of the album sits on the slide of Austin’s guitar in the bluesy twang of “Battle Cry,” which boasts an equally rebellious lyrical message to match.

    There’s no doubt that the Broadcast has finally found their sound in From the Horizon, being that they were able to land Grammy Award-winning producer Jim Scott (Wilco, Tedeschi Trucks Band, Sting) in their control room and have already secured several festival dates sure to draw in new crowds this summer. With a variety of folk-timbred instrumentation, aux percussion and soulful growls, this is a band that has potential for great success in the live music sphere. However, their musical vision quest is hardly over, and they’ll need a little more development before taking on the world of recorded rock and Americana, but we’re happy to follow along.

    From the Horizon officially drops on June 17, but a selection of the album’s tracks can be sampled on soundcloud. Keep up-to-date with the Broadcast on their website and Facebook page.

    Key Tracks: Every Step, Bring It On Home, Battle Cry

    https://www.youtube.com/watch?v=p3tqkBoQ35c&feature=youtu.be

  • Hearing Aide: The Honeycutters “On the Ropes”

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    A follow-up to the chart-topping breakout album Me Oh My (2015), the Honeycutters’ latest release, On the Ropes, brings a breezy soundtrack for Sunday driving down that lonely country mile.

    Frontwoman Amanda Anne Platt (lead vocals, rhythm guitar) comes on strong in the record’s opening title track, before lulling listeners along in “Blue Besides.” It’s the third song, “Golden Child,” that demands full attention, with its bluesy vocals, relatable lyrics and soul-bending composition.

    Throughout 12 original songs, Platt shares personal stories from the battlefield that cover the spectrum of love, loss and learning, writing “I’ve been a stranger here before, I’ve been a soldier, I’ve been the war, and I’ve done my time on the wrong side of the door, I’ve been peaceful, I’ve been wild, I’ve been a Golden Child.” She’s down-to-earth in her delivery of tell-it-like-it-is advice (“hang up that halo and get by with the rest of us, let those wings go to rust…you’re not taking any chances, you’re looking for that easy answer”) from one strong-headed woman who’s “not hanging up my spurs, I’m just telling you I’ve learned.”

    Although not as mountain as Gillian Welch, the Hastings-On-Hudson native and Skidmore College graduate’s sweet, natural vibrato is a refreshing sound coming out of the songstress’ current base of Asheville, NC. And accompanying bandmates, Rick Cooper (upright, electric bass), Josh Milligan (drums, vocals), Matt Smith (pedal steel, electric guitar, dobro) and Tal Taylor (mandolin), are the perfect mixer for a polished concoction of rock and country elements with a sprig of rural Appalachia.

    From swingy, borderline pop-twang in “The Handbook” to steady rock in “Back Row,” highlighted by harmonica (played by Platt’s father, Mark) and electric guitar, to the slouchier slide and mandolin in “Useless Memories” to the trimmer distortion in “Ache” that makes the raw emotion feel real, and a jaunty, shimmery cover of Leonard Cohen’s “Hallelujah,” it’s all here, before the record is capped off with a dusty picture of gunslingers and barroom girls in “Barmaid’s Blues.”

    The Honeycutters have surely made something out of nothing with their fourth studio album, On the Ropes (out now through Organic Records); it’s alternative Americana at its finest, and Platt’s sincere songwriting is the gravy on the biscuits.

    Key Tracks: Golden Child, Back Row, Ache, Hallelujah

    https://soundcloud.com/user-123099651/sets/on-the-ropes

  • Local Limelight: Seymour – Indie Rock from New Paltz

    Anyone whose life revolves around music, seeks out new ear candy as often as possible. The most difficult thing is to find something that really piques your interest, especially a complete album. During my third listen through the new self-titled album by Seymour, my interest was certainly piqued.

    seymourIn a recent phone conversation with Steve Geary (rhythm guitar, bass, vocals), who co-founded the band with Avery Maracek (rhythm guitar, bass, vocals), I was able to learn quite a bit about the up-and-coming band from New Paltz. Steve and Avery met their bandmates, John Morrison (lead guitar) and Brandon Bera (drums), while they all attended SUNY New Paltz. As is common among college friends, they all hail from different places around New York State; Steve and John grew up in the Capital Region, Avery is from Western NY and Brandon is from the Westchester area.

    They came together and melded their influences, which range from Avery’s exposure to jazz guitar via his father, to Steve’s adoration of ’90s indie rock and mixed it all with John and Brandon’s love of jam bands. The final product? A mixed sound of Weezer and Fountains of Wayne (circa Utopia Parkway) pumped into your ears from headphones, reminding you of your teenage years. Steve explained that he and Avery share the songwriting duties. He feels that with both of them writing they are able to create a symbiotic relationship, which generates a more than gratifying result.

    seymourWhen you press play to listen to the new album, you are instantly hit with the meta tune “Seymour,” their self-titled song off of their latest release. Although this is their first full-length album, these boys have an arrangement that shows just how much work they’ve put into the last two years since forming April 2014. While listening through the record, other earworms present themselves; the somber love song “Bleeding Heart” shows how there isn’t just surface feelings built into Seymour’s music, and this depth is further accentuated in their short but introspective song, “Tethered.” As mentioned before, this first Seymour album is truly easy to listen to on repeat.

    To check out Seymour’s new self-titled album, you can visit their Bandcamp page. Also, be sure to check out their Facebook page and website. You can also catch them live at their upcoming show at Bearsville Theater in Woodstock, NY, on June 18.

  • Hearing Aide: The Macpodz “Underwater Encounters”

    The MacpodzThe jazz-fusion, disco-funk band from Michigan, the Macpodz, recently dropped their latest release, Underwater Encounter, and this album will light up a room. “Leijah’s Victory Lap I” eases listeners in with a breezy jazz tempo, while introducing the album via electronic voice. “Cities, Highways” is the perfect song to listen to while stuck in traffic, as it gives the feeling of moving beyond the bottleneck at that one exit, only to proceed to step on the pedal and floor it to 70. This jam is not sorry about bringing the funk with a continuous build.

    The jazzy “Until the Next Time Around” is filled with smooth moves, organ slams and bursts of trumpet that demand attention. Between tracks, a quick “Quiz” from a children’s electronic toy is in store; listen carefully, and see if you can decode the answer. “$5s & $10s” is crammed with sexy tones that aren’t afraid to let loose during the slow and easy flow of this track.

    A groovy “Bouncin’ Off Satellites” creates an infectious tone, and dancing is the side effect. There’s no avoiding the need to get up and bounce around the room to this track. With intense energy exerted from dancing, “Hitchhikers Love Song” is the breather halfway through the album. Sleepy trumpet notes dance through this relaxed tune before sliding into the jazzified “Put Some Stank On It.”

    “No Dead Air” keeps the chill vibe rolling with hints of Frank Zappa, while “N Congress” brings a supercool rhythmic flow. “Sammy’s Reprise” is heavy on organ and spoken word, a spiritual nod to the musical influence on life. The soulful “Temesgen’s Homies”  is packed with slapping guitar strokes and down and dirty brass, coupled with keys that aren’t afraid to dance around the other instruments.  The album wraps up with the outro of “Leijah’s Victory Lap II,” bringing a clean close to Underwater Encounter.

    Overall, this record is the perfect playlist addition to an evening with friends, when attempting to capture the heart of a woman, or when in need of something funkadelic. Crammed with musical surprises, beats that take you way up high and then back down for a cool break, Underwater Encounter will surprise and delight even the most discriminate music fan.

    Key Tracks: Cities, Highways, Put Some Stank On It, N Congress

  • Hearing Aide: Eric Clapton “I Still Do”

    Eric Clapton released his twenty-third studio album, I Still Do, on Friday, May 19, in what may be a farewell to a storied career as the blues and rock legend interprets his own musical heroes and peers across 12 well placed tracks. If this is goodbye to a 50+ year musical legacy, it is a fitting tribute to his career and those of friends who have passed in recent years and given him food for thought as he retired from the road in recent years.

    The songs selected by Slowhand on I Still Do read like a life reflection, opening with youthful, bluesy and upbeat numbers “Alabama Woman Blues” (Leroy Carr) and “Can’t Let You Do It” (JJ Cale), and wrapping up with songs that reference aging quite bluntly: “I Dreamed I saw St. Augustine” (Bob Dylan), “I’ll Be Alright” (traditional) “Somebody’s Knockin’” (JJ Cale) and “I’ll Be Seeing You” (best known by Billie Holiday). Overall, the album is about as good as studio Clapton gets, bringing together originals, songs from familiar influence Cale and Johnson, as well as deeper cuts from Skip James and Carr. With producer Glyn Johns, whom Clapton worked with on 1977’s Slowhand, this possibly final album is one of Clapton’s best.

    “I Will Be There” (Paul Brady) is the good vibes sing along of the album, with supportive lyrics “If you need someone to help you through, just call my name, and I will come running to your side. Don’t be afraid, I will be there,” one that gives casual fans a connection to the many sounds of Clapton, a combination of “Tears in Heaven” and “Change the World.” Of note is the credit to Angelo Mysterioso, denied by Clapton as being a posthumous George Harrison cameo but speculation that it may be the late Beatles’ son Dhani Harrison.

    Two originals, “Spiral” and “Catch the Blues,” are the meat of the album, the former grittier and the latter smoother with a shade of Bossa Nova mixed in. Skip James’ “Cypress Grove” is a fierce number, true Delta blues style. A lullabye, “Little Man, You’ve Had a Busy Day” changes the tempo of the album to a more calm, acoustic, before Robert Johnson’s “Stones in My Passway” reflects on losing power over body and soul. The cover art to I Still Do brings to mind Robert Johnson’s classic image, one legend paying tribute to another: a straightforward, no frills bluesman looking right at you.

    There is a lot of life left in Clapton, make no mistake, and a smattering of shows each year will be a staple of his as old bluesman are wont to do – they never seem to go out quietly, nor fade away slowly, but instead be ever present even as performances decrease in number.

    Key Tracks: Can’t Let You Do It, Cypress Grove, Stones in my Passway, Somebody’s Knockin’

  • Hearing Aide: Andy Black “The Shadow Side”

    Andy Black, also known as Andy Biersack or Andy Sixx, is the lead singer and one of the founding members of the band Black Veil Brides. On May 6, Andy Black released his first solo debut album called The Shadow Side.

    andy blackWhile Black’s fans are normally used to hearing him sing hard rock or metalcore styled music he is taking is solo debut in a different direction. The Shadow Side is comprised of a much more of a pop-rock sound than we’re used to hearing from Black.

    The album starts out with the song “Homecoming King.” This is the longest song on the album at four minutes and fifty-six seconds. It’s a bit of a more relaxed song to help ease us into the transition of the different genres. His low raspy voice is great blend with the background instruments, there’s a nice blend between his voice and the percussion.

    As the album moves on it begins to pick up in beat with the next song “We Don’t Have to Dance.” This was Black’s first released solo single from the album. This is one of the most pop sounding songs on the album and already has music video with over seven million views.

    Andy Black’s dark voice is only more complimented by the pop-rock music performed on the song “Louder Than Your Love.” It’s another upbeat song towards the end if the album that kind of wants to make you get up and dance. The album rounds out at the end with the songs “Broken Pieces” and “The Void.” Both of these songs are more deep and musically relaxed than the rest of the album. Black’s raspy voice is a good contrast to the piano in “The Void,” giving the song that pop-rock sound.

    The whole album is a bit of a different direction for Andy Black, hopefully it’ll pay off in the way he wants. Black will be touring the entire The Shadow Side album starting in the UK on May 10. He will be playing a show at the Highline Ballroom on May 27 in New York.

    Key Tracks: Homecoming King, We Don’t Have To Dance, and Stay Alive

  • Hearing Aide: Christopher the Conquered “I’m Giving Up On Rock and Roll”

    christophertheconqIowa based Christopher the Conquered’s first full-length album I’m Giving Up On Rock and Roll, released May 13, is made up of personal lyrics, powerful vocals and theatrics that are hard to match to any of his contemporaries. While listening to the album, one can often draw parallels to Elton John and Billy Joel, while the lyrics, drawing upon universal themes and experiences, are occasionally reminiscent of Ben Folds. Despite these attempts at drawing parallels, in the end, the sound is uniquely that of Christopher the Conquered, leaving the listener sold from the first track.

    The nine-track record opens with the song “I’m Giving Up on Rock and Roll,” complete with powerful vocals reminiscent of Allen Stone and gospel-like background singers, before slowing down to only Christopher’s voice. Christopher has explained that the song ultimately is about giving up on the idea of living behind a facade and misrepresenting oneself, adding that the person he wants to be onstage is the same person he wants to be offstage. Ultimately, one begins to see the truth behind this sentiment in the lyrics throughout the album.

    In the second track, “Mystery,” Christopher sings: “I’ve been thinking a lot these days about how life’s not really real/We all wanna believe it’s there/but it’s just this thing meant to conceal/The fear we have about our end and what it’s gonna do with us.” With lyrics such as these, he perhaps emphasizes a universal feeling many have experienced but do not often articulate.

    In the following song, “On My Final Day,” Christopher highlights the realization — or fear — of what people will say once he’s gone. He sings, “I just tried to share what I found to be the truth/But no one wants to listen when they know they know it, too.” These seem to be the key lyrics to the album, continuing the lyrical themes grounded in shared experience and struggle.

    The middle of the album slows the tempo down, sidestepping previous themes to discuss love and relationships. The song “Everybody Rains,” stands out because of the upbeat piano and positive feeling it creates in the listener, blending thematically with the following “Be A Good Person.”

    The album ends on a humorous, tongue-in-cheek note with “I’m Not That Famous Yet.” Lyrically, this album is memorable due to its honesty, while its sound feels simultaneously retro and contemporary.

    Christopher the Conquered is currently on tour in support of his latest release. He has two New York dates: Aug. 4 at Mercury Lounge in New York City, and Aug. 6 at Amityville Music Hall.

    Key Tracks: I Guess My Heart’s Out of Tune Again, Everybody Rains, On My Final Day

  • Hearing Aide: Radiohead “A Moon Shaped Pool”

    True to form, Radiohead delivers another anthemic masterpiece with their ninth album, A Moon Shaped Pool. The creative masterminds who make up Radiohead, joined by the likes of Pink Floyd and Beck, are some of the few musicians who are able to successfully mix the use of acoustic instruments and the more “techno” side of music via their use of a wide variety of sound effects. A Moon Shaped Pool allows lead guitarist and keyboardist Jonny Greenwood to showcase his impressive orchestral arrangements, balanced by the always quaveringly powerful vocals and brilliant lyrics (including such gems as “Broken hearts make it rain,” “The wings of love fly,” and “This is a low-flying panic attic”) of Thom Yorke.

    Radiohead’s members are collectively so much more than just talented musicians; rather, they seem to be able to tap into our innermost musical yearnings and know how to pull the right heartstrings at the right times. This album does a great job of drawing in listeners who are already diehard Radiohead fans by sticking with some tunes that are more characteristic of their early sound (on songs such as “Daydreaming” and “Identikit”), but it will also attract some new fans with its more innovative and out-there sounds (as if “out there” can’t be used to describe everything that Radiohead does).

    In addition to the more traditional-sounding Radiohead tunes, the band experiments with new and different elements such as the dancey number “Ful Stop,” the island music getaway “Present Tense” and the closest Radiohead will ever come to an acoustic singer-songwriter, guitar duo on “Desert Island Disk.” Perhaps one of the more striking elements of this album is the vastly different feeling between the first and last songs: the album starts with “Burn the Witch,” a rather witty upbeat number featuring choppy fiddles with an underlying layer of electronic buzz, and very stream-of-consciousness lyrics consisting of a string of clichés and non sequiturs, and ends with “True Love Waits,” the quirkiest yet most touching love song one’s probably ever heard. (One nerdy observation — the song list is in alphabetical order; is it coincidence that the order of the 11 tracks makes perfect sense this way, or another testament to the power of the genius that is Radiohead?)

    Radiohead’s latest album can best be summarized as a veritable cacophony of sound. The music moves through your body, pulsates through your veins and takes you on a psychedelic journey, before dropping you off right where you started and wondering what the heck happened during the past hour. For those who are intrigued and desire to go on this incredible musical adventure (which, I assure you, is well worth the experience), A Moon Shaped Pool is available now for digital download, and will be out on CD and vinyl on June 17, with a special edition option available in September.

    Key Tracks: Daydreaming, Identikit, Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief

  • Hearing Aide: The Hairs “While I Hated a Life Barbarian”

    The Hairs is the freak-pop project of Kevin Alvir. Inspired by underground comics, alternative comedy, DIY K-records pop, and Flying Nun records, the Hairs write songs about dying houseplants, barbarian life, prison stays, gay male bonding, mind-bending anxiety, and other fun things. The Hairs are rounded out by fellow collaborators Jacob Sloan & Steve Tarkington.

    From the start of this album this writer did not know what to expect by the album title, the first track “Barbarians” really sets the tone for the rest of the album. With a Beatles-esque feel with the driving rhythms of the guitar and percussion along with monotonic vocals is a very nice blend making this album a favorite for anyone that loves progressive rock. From start to finish this album allows the listener to really encapsulate themselves inside the album, with the use of powerful lyrics throughout. After a few listens through this album was when the appreciation for the mastery that is being put on display began to sink in. Finding drifting away as I sit at my local coffee shop as certain tracks on this album would be quite fitting to be played inside of one.

    This writer is normally not one to listen to this genre of music very much; but was truly reveled at how enjoyable this album was, definitely one that would be recommended to giving at least one full listen to. Finding a deep connection with certain tracks as listed below, this is definitely a band that would be intriguing to see live one day. “Barbarians” This song is the perfect way for this album to kick off. As stated above this is one of the tracks on the album that would be heard being played inside of a coffee shop. Very mellow but upbeat, this song is the perfect start to the road trip ahead of you with the following tracks. “That Witch” We’ve all wanted to write a song about a girl that has caused some kind of annoyance in our lives. This track is exactly that, uplifting as the track may sound the lyrics is exactly the opposite, “That Witch, that witch she took away my feelings that witch that witch I haven’t slept for weeks.” Just an example of the power behind the lyrics throughout this song definitely one to listen to either after a fight with your significant other or a breakup as it is most fitting for such reasons. “Homeboyz” Out of all the tracks on this album, this one sticks out to me the most. With the lyrics striking a chord about the mundane and depressive thought of no one coming to your funeral including your closest friends. As depressing as the lyrics are on this track, it allows you as the listener to reflect on what truly means the most in your life.

    Key Tracks: Barbarians, That Witch, Homeboyz

  • Hearing Aide: Mulberry Soul “Mulberry Soul”

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    It’s been interesting to watch bluegrass music evolve the past couple of years to expand the definition of bluegrass sound, instruments and style. Talented new musicians are emerging continuously, creating their own original sounds, and garnering the interest of new followers. A band rising with potential, Mulberry Soul, spices the traditional barn burnin’ bluegrass we’re used to with their original songs.

    Mulberry Soul formed at the Rochester Folk Art Guild, an art community outside of Naples, NY. Their self-titled album will be released on May 19, featuring their beautiful, harmonizing tones, progressive bluegrass and their soul-stirring songwriting. Band members Gabriel Schliffer (fiddle), Scott Calpin (mandolin), Chris Machanoff (acoustic guitar), Aaron Oldweiler (bass) and Cordelia Hall (banjo) all bring something different into the concoction.

    Mulberry Soul, a 10 track album, begins with a dramatic and eloquent “Lincoln Town,” which dips you in with Schliffer’s fiddle, weaving your soul into the music, while the bands’ skillful polyphony stitches the beat. The fourth track, “Peace Like A River,” surprises with a foot-tapping rhythm and a catchy tune that tempts you to whistle along. A personal favorite, the unforgettable “Mulberry Jam” haunts you with its poignant sound. The “Wilding Grove” stands out from the rest of the album with a different, fervent sound. Fittingly, the album ends with “What We’re Made Of,” a slow, sing-song ditty featuring Hall on vocals.

    After four years of developing their sound through various live shows around NY, Mulberry Soul has grown in popularity, performing around artists like Donna the Buffalo and Scott Regan.

    The band will kick off an album-release tour at Nietzsche’s in Buffalo on Thursday May 19, moving to the Naples Hotel on the 20th and Flour City Station on the 21st. You can catch the band at various festivals this summer such as, The Great Blue Heron Festival, Sterling Stage Folkfest and more. The band will also perform live cuts from their new album on WRUR’s Open Tunings on May 16th.

    Be sure to catch Mulberry Soul at one of their gigs this summer, so that you can experience the high-energy artistry that these musicians spark for yourself.

    Key Tracks: Harlem Blues, Peace Like A River, Mulberry Jam, What We’re Made Of