NYS Music 20​16

Category: Reviews

  • Hearing Aide: Bump ‘Broken Fix’

    One of the timeless dangers of cataloguing relationship woes through song is the risk of drowning in cringe-worthy cheesiness. Bump and their debut album Broken Fix is swimming in an industrial vat of artery-clogging Velveeta. Released in October, the self produced album was recorded over the course of a week in an old barn in Cambridge, NY. Mixed by JJ Beck at Akin Studios and mastered by Larry DeVivo at Silvertone Mastering.

    bumpFormed in Saratoga Springs, cheesemongers Todd Pasternack (guitar), Angela Ford (bass), Gregory Nash (drums) and special guest Kirk Juhas (piano/B3) comprise Bump, and have formulated an almost unpalatable recipe over-salted with boring and predictable lyrics in a watered-down interpretation of Red Hot Chili Peppers. Any hope for attaining béchamel quality music on this album is melted by weak vocals.

    The first track “Hello Again” serves up Pasternack’s whiney voice with Ford’s backup vocals adding more confusion than complexity to the laid-back rock flavor. He opens the song, “Hello again, did my text get through? And are we still friends, or did we lose that too? Just send me a picture of your broken heart, tell me once again we should never have started to care.” Predictability breeds familiarity, so despite the eye-roll inducing lyrics, many listeners can at least relate to their meaning.

    “Wrecking Ball” opens with grungy guitar before Ford’s voice emerges, evoking a gentle Pocahontas quality that doesn’t support the musical tone reminiscent of “The General” by Dispatch. An alien-like mid-song lyrical breakdown is an intriguing experiment that seems out of character for the album as layers of Ford’s voice hauntingly echo each other.

    In full Flight of the Concords fashion, “How Could You Go So Low” presents feathery falsetto and restrained instrumentation, emphasizing the exaggerated vocals. “Anymore” holds a promise of redemption with bluesy jazz instrumentation and whirling organ before the words “Just can’t maintain this lifestyle anymore/Will my spirit no longer fly? The wings are paralyzed,” interrupt the mystical instrumentals.

    Key tracks: Wrecking Ball, How Could You Go So Low, Anymore

  • A Pleasant Hudson Valley Sunday With Gin Blossoms and Joe Duraes & The Skills At Paramount Hudson Valley

    A decent sized crowd gathered at Paramount Hudson Valley this past weekend for a Valentine’s Day pairing of rock acts from opposite ends of the United States. The Paramount has been building a record of supporting local music, this time inviting Gin Blossoms and Peekskill-based Joe Duraes & The Skills to open the night following an open mic set they did at the theater Nov. 2015.

    The Skills’ set was driven by the band’s enthusiasm for sharing the stage with a band they listened to throughout the 90s and undoubtedly for the first large show they’ve played. From start to finish the crowd was impressed by a band who made it clear that they were genuinely having fun on stage. After a set of all original tunes, The Skills broke out their own version of “Pleasant Valley Sunday,” which they recently recorded as a single. Though they were the opening act, their performance put them at a level where they could have been mistaken as a co-headliner instead.

    S Malinski - Joe Duraes The Skills - Paramount HV-4

    Long-time Gin Blossoms fans cheered on as Robin Wilson led the band on stage but the energy was slow to build through their set. While Wilson was animated, the overall stage presence felt static to a degree. The music was solid and fun to hear but the disengaged crowd early on made it difficult to get excited about the show. The first portion of their set was filled mostly with songs off of their last two albums, No Chocolate Cake (2010) and Major Lodge Victory (2006), both of which charted though not as highly as their two albums released in the 90s.

    The energy picked up a bit more as the set progressed and Gin Blossoms steered toward their earlier releases which the crowd seemed to have a greater familiarity with. It took some prompting from Wilson for the audience to get on their feet once they broke out “Til I Hear It From You,” but from that point until the end of the show there was a much greater connection between the stage and the audience. Gin Blossoms closed their two-song encore with “Until I Fall Away,” which fit well as a conclusion to the show. Despite the slow energy of their set, the upbeat nature of Gin Blossoms’ songwriting made the entire set enjoyable.

    S Malinski - Gin Blossoms - Paramount HV-9

    Setlists:

    Joe Duraes and The Skills: Everybody Needs To Have Some Fun, Hudson River, Crash, Anything For You, Mixed About You, Ebb and Flow, Pleasant Valley Sunday

    Gin Blossoms: Don’t Change, Somewhere, Allison Road, Lost Horizons, As Long As It Matters, Miss Disarray, 29, Dead or Alive on the 405, Hands Are Tied, Wave Bye Bye, I’m Ready, Til I Hear It From You, Found Out About You, Follow You Down. Encore: Hey Jealousy, Until I Fall Away

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  • Hearing Aide: Major Player ‘Grift & Gum’

    Major Player

    Jeff York and Liz Strodel of indie soul/rock project Major Player kicked back at a local bar to discuss wardrobe malfunctions, zodiac signs and how Major Player was almost a funk cover band. Amidst the silly antics, York and Strodel expressed serious enthusiasm about the recent release of their debut album Grift & Gum, which was recorded, mixed and mastered at More Sound Studio. Their playful demeanors in conversation slightly contradict the album’s make-up, which manifests a moodiness wrought with the emotional drudgery of deteriorating relationships.

    The somber title track offers minimalist guitar and drum work with Hammond organ weaving through ambiguous lyrics. The song grapples with the need to persevere in the face of an uncertain fate.  York postulates “I laid down by better days/Reach out for better days,” his words chased by echoing organ, produce a resounding emptiness to match the dark intangible hope for a better future.

    York notes how the straightforward instrumentation on the record affords the musicians wiggle room to improvise and experiment with live performances. Improvisation may become most necessary in instances when Strodel’s sticks weasel their way into the tangle of bracelets on her wrist, causing her to obscure the beat. Such was the case during their December show at Funk ‘N Waffles downtown, much to the audience’s amusement. York views these occasional hiccups as happy accidents explaining, “When she messes up, it sounds good.” Strodel jokingly mused how she can play down offbeat occurrences with an “I meant to do that” attitude.

    The second track, “Hailey,” careening through slightly more buoyant rhythm, questions the validity of a soured relationship, asking as many couples have, “Could this mean at last now/that we’ve past our/infatuated moment/What drew us so close in.” “Static Noise,” speckled with bluesy guitar riffs imparts a dejectedness often felt after a breakup. Heavily distorted instrumentation adds a sense of unfamiliarity akin to the newly single state in which one relearns how to act independently. “Hard From Now On” showcases the most progressive rhythm on the album. The lyrics allude to finding new love in religion, or some greater cause contingent on the listener’s perspective.

    Despite the melancholy nature of the album content, the abbreviated collection of songs is alluringly presented in the vein of ethereal trip hop. York assembled this first taste of Major Player from a larger catalogue of material he’s already written. As York plans to release more songs in the spring, the entire band also plans to write material collaboratively and continue to characterize their musical identity. Though Major Player has strayed from becoming a cover band devoted to The Meters, as was the original intent, listeners might recognize a cover or two thrown into live performances in the near future. York and Strodel, along with bandmates Nick Mazzeo (keys) and Andrew Greacen (bass) are looking forward to performing more in the warmer months.

    With beer glasses nearly empty and conversation winding down, Strodel sarcastically offers to disclose their zodiac signs for interview purposes. So for anyone curious, York is an Aquarius and Strodel is a Saggitarius. Both wryly smiling York added, “Take that for what it is.” A simple sentiment which also reflects the bands’ laid-back attitude for their open-ended future.

    Key tracks: Grift & Gum, Hailey, Hard From Now On

  • Hearing Aide: Subsoil ‘On the Bus’

    Stealing a page from the late great Ken Kesey, Rochester’s Subsoil opens their new album proclaiming, “You’re either on the bus, or you’re off the bus.” This bus, number 585 (Rochester’s area code), is bound for “trans-dimensional hyperspace.” With a destination like that, how could you resist at least one trip On the Bus with Subsoil?

    The album consists of reggae, soul, R&B, jazz, funk and rock, sometimes fused, sometimes fairly straight. Ted Ladwig has a knack for catchy keyboard nuggets, whether they come to the fore (“High Noon”) or hide just under the surface (“Zombies”). He sets up Wil McKenna for an array of surprising and diverse guitar solos which can echo Santana’s tone (“Surrender”), wail like an Allman Brother (“Meditation”), or crunch out some funky rhythms atop Ladwig’s whirling B3. Sprinkle in some well-placed saxophone blasts by Bill Smith and lay it all over some steady work by the rhythm section and you have yourself an enjoyable and bouncy ride.

    Oh wait, did I forget to mention that front-men Moon-Roc and Laz Green are rapping over the whole thing? It’s a combination that can be reminiscent of the trip-hop of the 90’s and bands like Buckshot Lefonque and Us3. Steve Gutenberg, Tetris, Muhammed Ali, Walter White, Eazy-E, Scooby Doo and obviously the aforementioned Ken Kesey all get referenced, and that’s just in the album-opening title track. Later on Captain Trips gets a call out, though likely in reference to the Stephen King character from The Stand, and not Jerry Garcia. Plenty more pop-culture references, both historical and current, and clever word play make their way into this tight 30-minute set.

    Released early in 2016, On the Bus was recorded and mixed by Josh Russell at Spring House Recordings in Oswego and mastered by Jason “Jocko” Randall at More Sound Recording in Syracuse. It is available at many area record stores, as well as online retailers including Subsoil’s website, and streaming on Spotify and YouTube. So get on the bus.

    Key tracks: High Noon, Surrender

  • Lil’ Wayne Lights Up The Blue Cross Arena In Rochester

    On Saturday, February 20, Lil’ Wayne brought “The Dedication Tour” to Rochester. The performance was held at the Blue Cross Arena at the War Memorial which has had a busy year so far. Prior to the doors opening, not many fans were seen lining up outside the arena, which was surprising considering Rochester hit a high of 55 degrees.

    lil wayneThe night started off with a performance by S – Eighty who only had about 10 minutes of stage time. During this quick set, fans were busy trying to find their seats on the floor and around the area. Surprisingly, the floor was all assigned seating, which is why no one had to line up early to secure a spot on the floor. Shortly before 8pm, Rae Sremmurd took the stage. For 30 minutes these guys got the crowd on their feet dancing and singing along. The two brothers Khalif “Swae Lee” Brown and Aaquil “Slim Jimmy” Brown were a great choice as an opener for Lil’ Wayne on this tour. The crowd’s reaction was purely positive and it seemed like everyone wanted a little bit more.

    Even though Rae Sremmurd put on a great performance, the crowd came to Blue Cross Arena for one man and his name is Lil’ Wayne. Weezy took the stage shortly before 9pm and the crowd went wild. The night was started with Wayne’s classic “Mr. Carter”. As fans stood up on their chairs and waved their hands in the air, the appreciation of support was shown by Wayne. Throughout the night Lil’ Wayne thanked fans for coming out and supporting him while reminding them that he’s the best rapper alive. Between every couple songs, Weezy would also ask where the real Lil’ Wayne fans were and the entire area would chat “Weezy!”.

    For an arena that looked empty to start the night, the floor was filled from front to back and the lower bowl was packed. To no surprise the music of Lil’ Wayne got the entire place on their feet dancing, literally everybody. Hit after hit Weezy kept pleasing the crowd who were having an absolute blast. The vibes throughout Blue Cross Area were incredible and it goes to show how powerful music can be. Toward the end of the show, Weezy brought out a handful of up and coming rappers so they could show the crowd what they were made of. One thing that Wayne is good at is finding new talent and collaborating with other artists. The show ended with all the guys on the tour coming out on stage celebrating a great show and also included an appearance of Weezy’s son who looks like a mini version of his dad.

    For those who missed the show, Lil’ Wayne should be pretty busy this year on the road with the highly anticipated release of his last Carter album, the Carter V. Although the album is finished, its release has been held due to issues with the record label. Regardless of when the album finally gets put on shelves, Lil’ Wayne will be out on tour to give his fans their fix of Weezy.

  • Wild Adriatic Record Live Album in Saratoga at Putnam Den

    Wild Adriatic brought its show to the Putnam Den in Saratoga Springs with a bit more hype than a typical show. The three-piece rock band, based out of Albany, announced months ago it was going to record a live album on February 20 in the Spa City. For a group that has been on a straight upward trajectory, which included an appearance at Bonnaroo last year after winning a lengthy Battle of the Bands put on by the Den, Wild Adriatic seems to have the hunger and determination to rise to the top of the rock world.

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    But before the near capacity crowd would be treated to two hours of in-your-face rock and roll by Wild Adriatic, Greenwich-based Let’s Be Leonard set the tone for the evening with a jazzy, up-tempo performance that lends itself somewhat to Steely Dan-meets-Herbie Hancock. The five-piece — displaying two guitars, bass, drums and a saxophone — weaved together a show reminiscent of a sunny Saturday afternoon set at a small festival. Guitarist Matt Griffin and saxophonist Connor Dunn traded solos over Karl Bertrand’s chunky rhythm and Chris Cronin’s bopping bass. Paul Gauy provided the beat.

    Toward the end of Let’s Be Leonard’s set, the Den grew crowded as fans filled in to support the local boys. Wild Adriatic’s drummer, Mateo Vosganian, was darting around the venue, greeting friends and fans. There was a festive and mildly rowdy feel, as many people had undoubtedly enjoyed the Saratoga Beer Summit in the hours prior.

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    As soon as the trio took the stage, the energy in the room grew electric. “Never Enough,” “Letter,” “Tight Grip” and “Lonely” started the show and saw guitarist Travis Gray and bassist Rich Derbyshire hop around the stage. Gray’s voice is a solid fit for their sound, which has a classic rock with an edge feel. The crowd in the front sang along as the band kicked it up with some fiery guitar work from Gray.

    After a breather, they launched into the Led Zeppelin favorite “The Ocean.” Gray again danced up and down the fret board with precision. “Can’t Be Your Man,” “Woe” and “Because of Me” continued the energetic theme. A spirited take on Neil Young’s “Keep On Rockin’ in the Free World” showcased Gray’s vocal abilities.

    Derbyshire and Vosganian provide an air tight rhythmic combo that gives Wild Adriatic a sound that is unique, funky and noticeable. Add in Gray’s fret work, and the band has a winning combination, no better displayed than during the show-closing combo of “Good Times, Bad Times”>”Communication Breakdown.” The crowd hadn’t thinned out at all and judging by the satisfied look on most faces, Wild Adriatic accomplished what it set out to do. It will be exciting to see how the raw energy translates to tape.

    Wild Adriatic Setlist:

    Never Enough, Letter, Tight Grip, Lonely, The Ocean, Can’t Be Your Man, Woe, Because of Me, Trouble, 40 Days 40 Nights>Rockin In The Free World>40 Days 40 Nights, Heavy Soul, The Fool, The Spark, Cooperstown, Use Me, Bound To Let You Go, Lose My Mind, Strange Persuasions, Mess Around

    Encore: Untitled New Song, Superstition, Good Times Bad Times>Communication Breakdown

    Let’s Be Leonard Setlist: 

    Jumpship, Rocky Road, Open Your Eyes, Comet> High and Dry, Most Days> LGWC> Most Days> Sad Town tease> Boy Into Man> Pourdungchoo> Sad Town, TOT, Wandering Frisbee

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  • Lotus Rocks Terminal 5

    On Saturday, February 6, Lotus played Terminal 5 in NYC and brought some serious funk and covers for this stop on their Winter tour.

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    Arriving at the venue, the line stretched almost the entire length to the West Side Highway. Faces of eager fans contorted and cringed at the thought of waiting in the cold to see Lotus bring the heat. Once inside, the familiar funk of “Greet the Mind” warmed things up a bit; it’s a great opener in terms of getting everyone grooving and in terms of title. Lotus continued the funk with “Philly Hit” and then laid into some heavy jamtronica grooves with “Neon Tubes.” We were only three songs in and it seemed as though the crowd were bobbing their heads and weaving their shoulders in unison. They closed out their first set with “Age of Inexperience” which had guitarist Mike Rempel laying down some fiery licks.

    Second set opened with “Eats the Light,” a newly released single which is a Lotus track in every way, shape and layer. Keeping the flow with “Kodiak,” “Spaghetti,” and “Nematode,” Lotus jumped into an excellent vocoder-laden cover of Tame Impala’s “Elephant.” For their encore, Lotus played “Behind Midwest Storefronts” and then busted out an amazing rendition of Talking Heads’ “Once in a Lifetime.”

    Set 1: Greet The Mind> Philly Hit> Neon Tubes, Molluskunk, Travel> Greet The Mind, Marisol, Age Of Inexperience
    Set 2: Eats the Light, Kodiak, Spaghetti> Nematode, Elephant*, In An Outline, 128
    Encore: Behind Midwest Storefronts, Once in a Lifetime**
    * – Tame Impala Cover
    ** – Talking Heads Cover

  • Hearing Aide: tai free ‘Journals’ EP

    tai freeIf you’re on a searching for some smooth and soulful hip hop music, you might consider listening to tai free’s new EP Journals. Each track has a calm, relaxed feel that puts listeners at ease and provides the opportunity to assess the musicality.  The selections aren’t aggressive or fueled by overwhelming rage like some hip hop tracks. This EP wouldn’t be what most would consider dance music, but rather music you can vibe along to.

    The Brooklyn artist has been making music for a while, but only started getting serious about two years ago. tai free writes and performs his own songs, and the EP is appropriately titled as it provides snapshot of his thoughts and experiences. He describes the collection as “a sketchbook of colors, moods, and self-actualizations.”

    In “I’m Not Here,” it’s clear he’s talking to someone close to him saying that he doesn’t want to be lied to any longer and that he is “not here for games.” Whoever he’s addressing was making him wait and reveals that he’s not going to wait around because he’s too focused on bettering his personal situation to be involved.  At the end of “Bite Your Tongue,” he repeats the lines “Baby don’t bite your tongue, baby don’t lie…” seemingly trying to reinforce the idea that he desires honesty. Rap artists frequently draw on personal experiences for lyrical substance and he does so too by subtly depicting his thoughts and goals.

    The syncopated percussion part in “Complications” is slightly unpredictable and bolsters the title and uncertainty of the situation with the girl expressed throughout. “Drive” incorporates female vocals by Francesca in the beginning which lay down the poignant foundation for the track.

    tai free seems to have a lot of raw talent and knows how to write lyrics that can easily fit into a song structure. The dynamic range of his vocal delivery however, could be broader throughout to show more expression and emotion behind the words. The mixes of each track are relatively simple, and more production elements could be added to his music to enhance the texture.  As a newer artist, more consideration for creative direction and collaboration with other songwriters can only benefit his music moving forward. Overall, tai free has taken the right steps and could have a reputable future in music.

    Key Tracks: I’m Not Here, Drive, Bite Your Tongue

  • RAQ Stuffs the Hollow on Reunion Run

    RAQ is baq. Let’s hope they continue this upward trajectory.

    The four-piece band has not played much in recent years due to members being tied up in a cavalcade of other projects. A somewhat perfect storm recently paved way for the band to start playing shows again, and let’s just say the group’s performance in Albany, N.Y. at the Hollow proved these guys are quite well-oiled.

    Guitarist Chris Michetti and keyboardist Todd Stoops seem to have a connection that goes beyond what might happen between confident and talented band mates, as displayed by the opening pairing of “Premium”> “Hannah,” which saw virtuous playing from both. Drummer Neal Evans and bassist Jay Burwick held down the rhythm section, which settled nicely into the background.

    “Push the Lil Daises”>”Late Night”>”Will Run” kept the show at a sprinter’s pace, before “Momamoth”>”Dance Hall Days”>”Momamoth”>”Wax” did nothing to put anyone to sleep. Michetti is a guitar player who can shift from trance to metal to jazz to chunky rhythm and back around again without missing a measure. I don’t know how else to describe him.

    “Transcontinental,” “Shirley,” “Donkey Show” and a “Late Night” reprise closed out the rocking set. The encore consisted of “Tequila All Day”, “Nationwide”, and the ever elusive “Sweet Cream Butter”. The packed crowd exited the Hollow content, from what I could tell.

    Let’s hope that RAQ decides to keep this train rolling so that everyone who wasn’t there last week can experience this group for years to come.

  • Hearing Aide: Wray ‘Hypatia’

    Wray Hypathia AlbumUpon first listen, it would be easy to mistake Birmingham, Alabama’s Wray for a band from Birmingham, England. The initial chords of Wray‘s sophomore release, Hypatia start the listener on a shoegazing journey back to the London scene of the early 1990s.

    Bands such as Lush, Ride, My Bloody Valentine and Jesus and Mary Chain were the prominent purveyors of the scene then and are obvious influences for Wray today. But while many of those earlier bands dealt in the drone of dark introspection, one can easily see the members of Wray (lead singer/bass player David Brown, guitarist David Swatzell, and drummer Blake Wimberly) pogoing along with the audience, especially during songs like “Regular.”

    Reverb-drenched guitars are at the forefront here, recalling Link Wray’s surf style guitar in several spots throughout the album.

    The title song is a song where one could imagine the audience singing along with Brown. The song opens with a heavy steady drum beat that is maintained throughout with a chord structure reminiscent of The Cure‘s “Just Like Heaven” with a slight Feelies sway.wray

    All earlier references aside, Wray is surely a band that will resonate with fans of The National, My Morning Jacket and Silversun Pickups. While deeply rooted in the sounds of 90s London, Wray distinguishes itself with an American take on the shoegazer sound by mixing in a bit of southern jangle pop, establishing a unique sound in today’s indie rock scene. Wray is currently touring in support of Hypatia.

    Key Tracks: Hypatia, May 23rd, Regular

    https://vimeo.com/144731589