NYS Music 20​16

Category: Album Reviews

  • Hearing Aide: Jerry Joseph ‘By the Time Your Rocket Gets to Mars’

    Jerry Joseph is an American indie rock icon. Playing guitar professionally from an early age, he’s never been uncomfortable expressing exactly how he feels through his music and lyrics. It comes as no surprise then, that his newest offering, By the Time Your Rocket Gets to Mars, sees a meaningful development much in the same direction as his last self-titled LP,  released in 2013.

    By the Time Your Rocket Gets to Mars

    Ten new tracks, including one previously released single “Fog of War,” culminate in an album that appeases long time listeners while sporting a flavor that cultivates new fans.

    Joseph’s minimalist sound manages to cut through today’s overly complex musical landscape. His alternative influences are clear on this album especially, sounding a bit like Elvis Costello meets Leonard Cohen. The lyrics throughout are really more like poetry or prose, touching on subjects such as the environment, friendship, and mortality. The album’s title comes from a sobering conversation that Joseph had with his son, who reminded him that even if humans do manage to land on Mars, Joseph and his generation very well may not be around to see it. The title track, “Mars”, has a somber overtone that represents the general message of the album quite well.

    This isn’t to say there aren’t some upbeat head-bobbers in there as well. “Light of Stone” and “Brother#1” both have a delightfully bluesy tinge to them. The song arrangement certainly makes By the Time Your Rocket Gets to Mars an interesting listen from front to back, providing inspiring peaks and (more often) lugubrious valleys throughout.

    With tour dates set in June with his band the Jackmormons, Jerry Joseph continues his legacy of true rock and roll grit. By the Time Your Rocket Gets to Mars is an absolute must-own for fans of the man and the genre.

    Key tracks: Mars, Brother#1, Fog of War

  • Hearing Aide: Rogue Wave “Delusions of Grand Fur”

    Rogue Wave Delusions of Grand FurCalifornia based Rogue Wave’s six studio album Delusions of Grand Fur – the band’s first release since 2013’s Nightingale Floors – is a progression, if not a departure, from their customary sound. Despite the change of pace, Delusions of Grand Fur provides a welcome and sometimes synth-fueled soundtrack representative of the mellow, coastal sounds of the West Coast. Recorded and produced by the band in their own home studio in Oakland, Delusions of Grand Fur is representative of spring with tracks such as “California Bride” and “Ocean.”

    Rogue Wave is a quartet led by Zach Rogue, who also serves as the principle song-writer. The space between Delusions of Grand Fur and previous albums, and the band’s self-led production, has allowed for growth and experimentation that is apparent on this album. The title itself – a pun meant to emphasize the misconceptions of life in a band – also places emphasis on the listener not to underestimate or enter with preconceived expectations concerning the band’s sound.

    The album opens with “Take it Slow,” particularly reminiscent of The Shins, and sets the tone for the remainder of the album. This leads into the following two tracks “In the Morning” and “California Bride,” the latter showcasing beach-y and pop-y lyrics, with melancholy undertones. While “What is Left to Solve” initially sounds like a departure, with the heavier bass, after a few listens it fits in with the album as a whole.

    Falling” similarly is mellow and harmonic, again pairing positive melodies with more somber lyrics, such as: “We live in an era where everything is for sale.” Lyrics such as these feel particularly relevant given the state of the current primary elections. The next track “Curious Me” is reminiscent of Elliot Smith in sound if not in theme.

    Perhaps a favorite track on the album is “Ocean,” departing from the mellow themes to supply a refreshingly more upbeat and pop-ish reprieve. Though different, it still fits with the remainder of the album. Overall, this is a solid release, if at times certain tracks seem a bit too derivative of The Shins and Simon and Garfunkel (particularly, “Fallen”). Similarly, while enjoyable, the repetition of lyrics in other songs (“Look At Me”) can be a bit trying. These minor aspects aside, this is a great album to sit back and relax to.

    Delusions of Grand Fur is released on Friday, April 29. They are on tour this spring and summer with Hey Marseille and Floating Action.

    Key Tracks: Curious Me, Oceans, Falling

    Catch Rouge Wave on their upcoming tour:

    5/5/16 Oakland, CA @ Starline Ballroom
    5/6/16 Mill Valley, CA @ Sweetwater Music Hall
    5/7/16 San Francisco, CA @ The independent
    5/10/16 Cleveland, OH @ Beachland Ballroom
    5/11/16 Buffalo, NY @ Tralf Music Hall
    5/12/16 Boston, MA @ The Sinclair
    5/13/16 New York, NY @ Bowery Ballroom
    5/14/16 Brooklyn, NY @ Music Hall of Williamsburg
    5/15/16 Philadelphia, PA @ Johnny Brenda’s
    5/17/16 Washington, DC @ Black Cat
    5/18/16 Carrboro, NC @ Cat’s Cradle
    5/19/16 Atlanta, GA @ Terminal West
    5/20/16 Nashville, TN @ Mercy Lounge
    5/21/16 St. Louis, MO @ Old Rock House
    5/22/16 Kansas City, MO @ Riot Room
    5/24/16 Milwaukee, WI @ Turner Hall
    5/25/16 Minneapolis, MN @ Turf Club
    5/26/16 Chicago, IL @ Thalia Hall
    6/9/16 Dallas, TX @ Club Dada
    6/11/16 Austin, TX @ Mohawk Outdoors
    6/12/16 San Antonio, TX @ Paper Tiger
    6/17/16 Los Angeles, CA @ Teragram Ballroom

  • Hearing Aide: Future Rock ‘Long Ago’

    12967984_10154068406074250_61455032667498911_oFuture Rock’s music dances on elegantly etched lines of melody, while their sleek rock beat creates waves in the
    electronic tune; a favorable combination that
    won’t let listeners stand still.     Long Ago, their newly released album, stands out from the rest of their work, as the band continues to experiment with the boundaries between groovy melodies, skillful songwriting and what it means to be a modern dance-rock group. Coupled with the addition of DJ/producer/singer Tibaut Bowman and the exquisite voice of Anna Soltys, the Future Rock trio’s fifth full-length album shows growth in their pursuit of that fusion.

    “Take It Back” kicks off the seven-track album wearing their evolution proudly: we are instantly drawn into the music with Soltys’ voice opening the song, and then pulled up by the Chicago-based group’s fist-pumping beats. Bowman helps tie in what the group does best, plunging their beat to a depth that slows Future Rock’s usual brisk rhythm. “Long Ago” is a track that stays with you, like a bubble of dreamy haze that picks you up and floats you around. The three tracks without Soltys’ voice showcase the band’s synthesis of jumping meters and weaving in and out of progressive house through artful movement of the keys and pulse.

    The album title is an interesting alliance between the group name and their direction: Long Ago by Future Rock. The group has commented saying this union invokes their combination of reaching new heights, while returning to masterful songwriting. The trio includes Mickey Kellerman on keys, Darren Heitz on drums and Felix Moreno on bass guitar.  This is an album you won’t want to miss if you’re interested in the direction that Future Rock is going in. 

    Key tracks: “Take It Back,” “Long Ago,” “A Better Way”

  • Hearing Aide: BREN ‘Hot Lunch’

    BREN, from Plattsburgh, have just released their debut EP, Hot Lunch. In a world where many will say punk rock is dead or watered down, those skeptics have not heard BREN. BREN is a three piece ensemble that can honestly call their music punk, complete with nasally vocals screaming personal lyrics. Yes, this is fun punk rock and you can dance to it, but to actually sit down and listen to the lyrics being sung and written by Matt Hall, there is a lot more going on and that is what makes this debut album a must-have.

    Opening with “Parade”, and the lyric repeating “ There was something there, there was something there! I’m not imagining it.” shows that this punk rocker has a paranoid, more emotional, side to him. This could be ground breaking: a three piece punk band that actually has something personal to say in a punk rock setting. In “If there was something going on.” Hall paints a perfect upstate New York autumn of contemplation and anger. This song is brilliant. But in the 1:28 second rant if you don’t pay attention, the fast paced music will take away from the song’s meaning.

    “Dream Song” is different from the other tracks on the album in a few distinct ways. The lyrics are short, but sweet. Matt sings “ I kissed you in a dream last night” and then there’s an instrumental bit that showcases Sarah Mundy’s bass slapping as well as Zach Hircsch’s drums. This is a direction punk rock does not often take. The songs are usually short and to the point with very little to show in the jamming out sense. This song, however ,was different, letting listeners know that this group is more than three power chords and yelling – they are the real deal. In the album closer, “I’m better now”,the lyrics take us on an American Psycho journey through some very dark imagery in pleading her to talk to him again, because he’s better now. The song seems to be a metaphor for going through a rough patch in life. This album has the potential to reach many different audiences, and each unique listener can find their own meaning.

    KEY TRACKS: Parade, Dream Song, If There Was Something Going on

  • Hearing Aide: Gramatik ‘Epigram’

    EpigramEpigram, a short saying representing a larger meaning or idea. The album art for Gramatik’s ninth album, Epigram, is the epigram. Being an outspoken advocate of free music sharing, Gramatik often engages in discussion on Twitter. The concise and lucid quips people send in 140 characters – epigrams – are often the initial inspiration for his music, which led to the album’s name.

    Epigram is a short, yet powerful, album featuring collaborations with many popular names in hip hop, such as Raekwon, ProbCause, and Adrian Lau. The album’s 10 tracks span the range of electronic music and includes bits of dubstep, downtempo, and straight up electronic hip hop. Gramatik strays from his usual sampling of music from the ’40s, ’50s, ’60s and ’70s for his latest release. Instead, he chose to sample the music of his musician friends. The result is a concise album that flows from track to track and keeps the listener engaged and awaiting the next hook or beat to drop.

    “Tempus Illusio” kicks off Epigram with a short, intensifying tune. “Satoshi Nakamoto” is a rap, loosely based on Bitcoin, invented by Satoshi Nakamoto, sung over jazzy samples. It features both Adrian Lau and ProbCause trading up the vocal duties. “War of the Currents” is straight up dubstep. Gramatik remixes Laibach’s “Eat Liver!” into a more danceable track with elements of dubstep and house. The album closes out with the more downtempo “Anima Mundi,” featuring Russ Liquid, which nicely bookends the first track.

    Overall, Epigram is an excellent collection of beats displaying Gramatik’s skills. In staying true to his ideals, the album is available as a free download or through traditional paid download outlets, such as iTunes and Amazon.

    Key tracks: Satoshi Nakamoto, Native Son, Native Son Prequel, Back to the Future

  • Hearing Aide: Jason Bean ‘Black Then Blue Then Gray’

    Jason Bean, a singer-songwriter originally from Phoenix, NY, and now based in Syracuse, is a worthy local musician to be on the look-out for. Black Then Blue Then Gray sounds very professionally recorded and produced, which is quite notable, being that Bean recorded this, his fifth album, in his home studio, Black Match Studios. Mellow was the first word that came to mind as a very first impression, featuring a simple mix of guitar (played by Bean), vocals (predominantly from Bean himself, but joined by the lovely Kate Crawford on a few of the tunes), drums (masterfully played by Jason’s brother Christopher Bean), and the occasional bass and keys (performed by friend and previous producer Doug Moncrief).

    jason beanThis album can actually be enjoyed on two very different levels. On the surface, if you happen to just be listening in passing, this album can be appreciated for its simplicity and repetitiveness in both the instrumental and lyrical aspects of the music. Full disclosure: I admittedly was not overly impressed by this album when giving it a first listen, in part due to the fact that there aren’t any complicated jams or epic solos, but upon truly listening to the lyrics – which is something you evidently must do to be able to fully appreciate this album – it becomes clear just how impressive this album is. The heartfelt lyrics take you on a journey through something most of us have been through or are presently in: a relationship.

    Black Then Blue Then Gray features more traditional love songs such as “Real,” about new love in its purest sense, on which the “guy” is begging his love interest to let him show her “this is something real,” and “Safe,” about feeling truly comfortable and safe with someone, the type of song you wouldn’t mind someone singing to you! But this album also delves into much deeper and more difficult aspects of the relationship. “Let Her Run” puts a clever twist on the cliché “if you love her, let her go,” while “Our Fears” offers the listener an ironic “non-love” song, repeating the lyrics “Don’t tell me that you love me, it’s all downhill from here.”

    The album then moves on to the break-up stage of the relationship, from the bitter feelings and trying to justify the break-up on “Smokescreen,” to feeling the burn of being replaced by someone else on (the appropriately named) “Someone Else,” to the acceptance of and finding comfort in being alone on “Windows.” The last song on the album, “You,” brings everything full circle, with Kate Crawford joining in again on this nostalgic song of loving memories and regret about the love they have lost.

    Black Then Blue Then Grey presents the listener with a complete story put to music. One could venture to say, even, that the music plays a back seat to the story, while, at the same time, the understated nature of the instrumental components of the album seem to serve as the perfect backdrop to the story: a very symbiotic relationship. This album certainly leaves the listener curious about the four previous albums put out by Jason Bean, as well as those yet to be released.

    Key Tracks:  Our Fears, Safe, Smokescreen

  • Hearing Aide: Landscapes “Modern Earth”

    landscapesBritish natives, Landscapes, have released their 2nd album, Modern Earth. Shaun Milton, Kai Sheldon, Martin Hutton, Tom Paulton, and Jordan Urch were named “One of the best hardcore bands in Britain” by Rock Sound. The album was released April 8 via Pure Noise Records.

    My favorite track on the album and the one that stood out immediately was “Remorser”. The song starts out with what sounds like the plucking from an acoustic guitar. It is just a few chords but it was very different from anything I’ve heard on a metal album. We quickly see that this is setting the tone for the whole song when the vocals begin. Shaun Milton’s voice in this song is deep and monotone. We can feel the depth of his emotion. He doesn’t change his tone until halfway through the song and by this point we are hanging on every word he sings. My only complaint is that the song ends very abruptly, which I found was the case on a few of the tracks on this album.

    “Neighbourhood” and “Escapism” are also tracks that stood out. “Escapism” features two vocalists, one sounding as a shadow to the other. The song seems to move in slow motion, which works very well with the two sets of vocals. “Neighbourhood” begins with a peaceful guitar rift. Shaun does not enter until the one minute mark. The song gets progressively heavier as times passes allowing us to feel several emotions throughout.

    Their were things I enjoyed about this album but their were a lot of elements that seemed rushed or misplaced. The track “Death after Life” sounds like it was thrown together. The vocals do not seem to blend with the instruments. It is a similar situation with the track “Embrace”; the vocals are too harsh for the instruments.

    Modern Earth shows a lot of potential for Landscapes. It is clear with tracks like “Remorser” and “Escapism” that these guys have the talent to wow an audience and still allow a song to have dimension. However, I don’t believe they used those talents throughout the entire album.

    Key Tracks : Neighbourhood, Escapism, Remorser.

  • Hearing Aide: Baked Potatoes “Loaded”

    Baked Potatoes is a group of reggae, ska-rockers based out of Oneonta, New York. The first time I heard their album I was pleasantly surprised to say the least. A lot of the colors in my musical palette have been the likes of Reel Big Fish, Phish, and Badfish, so it was phenomenal to finally find a more accessible, equally talented group.

    baked potatoesThe guys follow opening track “The Builder” with a tune called “Blue Dream,” a lovely reggae song that evokes mental images of innocence, relaxation, and contentment. Guitar and drums gently ease listeners into a euphoric mix of horns and hand percussion. With that, the scene is set for the vocals, sung in a style adds to the overall reggae flavoring.

    After this, “Don’t Close The Door,” a song about winning a breakup, provides a nice change in pace to the album and leads into one of my favorite tracks on the album “Homewrecker.” Horns, a halftime drum shuffle, a vibey melody. THIS, this is what I need more of in my life. The precision of the guitar parts, the lyrics, and the way the instruments blend make this one of the highest of highlights in my books.

    There is no drop in quality throughout the entirety of this album. Sometimes in the middle on album the project’s goals can seem to go off the rails a little bit, not here. ”No Shirt No Shoes,” “Postcard Song,” and “Satellite Beach” are a block of 3 songs that I would say stray out of the norm, and become more like an experiment. These songs seem dip their toes in the water of a more poppy sound, a sound I can still relate to nonetheless.

    The project ends with “Satellite Beach” and “Unity,” two songs that give the album a strong finish. Unity’s rock-jazz influenced complexity makes it a strong ending song, and a great way to close out the project.  I hope that others share my excitement in the future of this great band. Seriously, if Baked Potatoes are in your area, try and make it out to a show. Take it from a guy who’s seen enough to Ska to know the cream of the crop.

    Key Tracks: Homewrecker, Blue Dream, Unity

  • Hearing Aide: Jocelyn & Chris ‘Edges’

    They say that talent runs in the family, and this is certainly the case for Jocelyn & Chris Arndt.  The two siblings are both students at Harvard and have a strong passion for making music.  They just released their LP called Edges on platforms Spotify, SoundCloud, and iTunes.  

    Jocelyn & Chris EdgesThe Arndts identify as rock artists and refreshingly don’t try to get too fancy labeling their music as a sub genre.  They tag team during the writing process and for recording, Jocelyn handles the vocals and keys, Chris plays lead guitar, group member Kate Sgroi plays bass, and David Bourgeois plays drums. Though the artists have management, publicity, booking, and legal representatives on their team, it looks as though they are not affiliated with a record label.  Up ahead in 2016, they two will be playing a few dates a month in places like New York, Virginia, Tennessee, and more.

    The most defining characteristic of their music is Jocelyn’s voice; it’s seductive, powerful, distinct, and quite bluesy.  She has such a unique vocal timbre that sounds like she’s emulating a once popular vocalist while adding a youthful flair.  One complaint or weak aspect of her voice is that each song sounds quite similar.  Furthermore, to get the sound she achieves, it sounds like her throat is constricted during certain notes.  However, it’s truly impressive that a woman of college age can sing with such passion and emotion.  The chorus of “More Than I Say I Do” is a great example of the powerful emotion she conveys through singing.

    The haunting distorted guitar is an element not found in a lot of music today.  Chris does a great job improvising little transition licks in between phrases to keep each song’s momentum going.  He’s jazzy licks and sweeps sound controlled and have direction.  “Cut the Cord” is a slower tune with heavy emphasis the piano’s block chords and includes a violin in the mix.  The texture gets quite light towards the end and the listener can truly appreciate the lyrics before bringing the instruments back.  The bluesy nature of their songs is perfectly exemplified in “Here to Stay.” The song features sax, trumpet, vibes, and a wailing guitar.

    The album sounds like a strong compilation of songs that aren’t overproduced, but allow for the rough edges, as per the album title, to shine through.  It seems like Jocelyn made a little music on her own in 2014 and 2015, but having her brother working with her seems like a move in the right direction.  It’s clear they know how to structure songs and how to incorporate their own compositional elements.  

    Moving forward, the duo/recording group will need to focus on making music in relation to one another.  It sounds as if the players are simply playing in time to cut and dry parts that are quite repetitive.  It almost sounds as if Jocelyn and Chris hired a bunch of studio musicians to follow a chart and provide backing materials.  There lacks a depth and personality with the other instruments.  This sample of songwriting is probably just the beginning and they will probably grow and devote more time to their music once they’ve finished school.

    Key Tracks: Here to Stay, Cut the Cord, Hot

  • Hearing Aide: Snarky Puppy ‘Culcha Vulcha’

    culchaEight years ago, there weren’t many people who knew Snarky Puppy. Heck, the pups were in their infant stages only forming four years prior. That was the last time the band hit the studio though in the traditional sense. Fast forward to today and the band is leading a very real revival of jazz music, gathering fans along the way with recent albums performed and recorded live. After the band’s first Grammy win in 2014 with Lalah Hathaway for Best R&B Performance from Family Dinner – Volume 1, the group followed it up in 2015 with a Grammy for Best Contemporary Instrumental Album with Sylva, collaborating with the Dutch Metropole Orchestra. Both wins showcased the group’s formula of recording an album live with an audience, limiting retakes and capturing raw emotion.

    That was then, this (only one year later) is now. The band has decided to throw their recent formula for success out the window and head into the studio for something one can only expect to be a tightly controlled exploration of freedom and expression. The verdict is in and the new album doesn’t disappoint. On April 29, 2016, Snarky Puppy will release Culcha Vulcha, their eleventh album and first traditional studio album in eight years. Recorded at Sonic Ranch in Tornillo, Texas, the band set their eyes within their home state, just 600 or so miles from where they formed at the University of North Texas in Denton.

    Snarky Puppy is much like the ’92 Dream Team, all supremely talented individuals in their own right. And just like basketball, there’s not enough room within the bounds of a song for each to showcase those deep skills. Lucky for fans, this nine-track release strikes the perfect balance of calling the right player to shine on each track. Their understanding of timbre placement in both the forefront and background is vital in a group layered this deep and the band has always chosen wisely.

    The album is blown wide open right from the start of the first track, “Tarova”, which features a sleazy riff, oozing with confidence, swagger, and a dark, cool demeanor. The opening piece features the most amount of members on any one track (17), giving you their all right up front. The rhythmically syncopated backbeat provides the protagonist to the song’s melodic antagonistic color. Michael League’s bass seems to mediate between the two, but throughout all of the interplay, the song’s identity aggressively shines.

    Snarky-Puppy---Culcha-Vulcha

    As previous recordings have shown, Snarky Puppy has this way of bringing in worldly rhythm and feel to new audiences through their funk-laced, rhythmic jazz. As they say it’s, “music for the brain and booty”. While this influence ebbs and flows, “Semente” and “Palermo” are great examples of the worldly influence being more upfront, drawing a parallel to previous torch-carriers like The Derek Trucks Band.

    The album progresses down many paths, taking on different feels yet always remaining true to the band’s unique sound. It’s the ability to draw with pencil, oil paint, acrylic, or chalk yet still have something that screams your name. Even with a mixed roster on each song, you hear this truth through the evolution. “Beep Box” is a great example of their maturation, featuring a tonally rich, almost J. Dilla, hip hop-esque feel. It’s certainly new ground, but again, inherently Snarky Puppy through and through. The slow moving, futuristic piece strips them down to their forward-moving vision. Chris Bullock’s flute work on this is delicately divine amidst the underlying pulse of the beat.

    As with any other Snarky Puppy recording, it’s not about the individual tracks as it is the body of work and this is beautiful, dark, different, exploratory, and as layered as they’ve ever been. You can tell the band focused less on showing their talents and put that effort into pushing some new boundaries. What they’ve created with Culcha Vulcha is the next evolution of a dog whose getting even more bite.

    Key Tracks: Tarova, Beep Box, Palermo

    Culcha Vulcha will be available on April 29, 2016. You can pre-order the digital version on iTunes, the CD version on Amazon, or the CD and vinyl options through their website (vinyl ships in June).