NYS Music 20​16

Tag: Album Review

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

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

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

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

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

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

    Key Tracks: Shadow Cosmos, Roan County Banjo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Key Tracks: Truth, Right Now, Take My Soul

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Key Tracks: Hold Back, Beach Stalker, The Dealer

  • 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: 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: Bruce Katz Band ‘Out from the Center’

    91o6m87zkl-_sl1500_Bruce Katz Band, the Hammond B3 and piano legend based in Woodstock, released his latest album, Out from the Center, on September 16. The album, released by American Showplace Music, features Katz’s longtime bandmates Ralph Rosen on drums and Chris Vitarella on guitar and vocals. All three members contributed songs to the effort, with Vitarella receiving a special “featuring” mention for his significant presence throughout.

    The aptly named title track literally sits at the midpoint of the album, but is also it’s centerpiece, it’s highlight, and the gravitational center that pulls the rest of the tunes together. The name is apt also for the feeling actual song itself, with its extended deep dive into swirling organ and languid psychedelic guitar jams, it’s certainly moving ‘out from the center’. If the intent wasn’t quite clear, maybe the parenthetical title “Hippie Tune” will drive the point home a little better. This is the blues through the filter of the Allman Brothers, which makes sense given that Katz has served as sideman for Gregg Allman, Jaimoe and Butch Trucks.

    The surrounding tracks, revolving around it’s jamming core (out from the center), hew closer to the traditional blues. Though, what is your traditional blues? Katz explores them all, in a journey across the blues landscape. From Southern rock to Texan boogie-woogie to St Louis style to New Orleans funk, no lonely avenues are left untravelled. Each style is played impeccably across 11 all-original tunes. These blues aren’t really all that blue though, the music is light and joyful, more of an escape from the doldrums than an excuse to stay there. The album cover’s bright purples, yellows and oranges speak perfectly to the product inside.

    Key Tracks: Blues From High Point Mountain, Out from the Center, Dis-Funkshunal

  • Hearing Aide: The Devyl Nellys ‘Delicious Business’

    devyl-nellys-delicious-businessNew York City-based funk-pop band, The Devyl Nellys, recently released their newest album, Delicious Business in August. The band formed in 2011 and released their major label debut in 2014. They are constantly touring and have a handful of dates in Pennsylvania and Virginia in November and December.

    Delicious Business kicks off with the title track. “Delicious Business” is full of a slow funk groove, reminiscent of Parliament Funkadelic, that sets the tone for the album. It’s followed up by “Rodeo Qween,” which features KC & the Sunshine Band on the track. Impromptu dance parties are bound to pop up wherever this ’70s-sounding funky disco tune is played.

    “Hustle” and “Baad Seed” stray from the funk with their straight-up rock roots, both with a southern vibe. “Baad Seed” could be straight out of Texas both with the sound and the bad girl vibe to the lyrics. The band returns to the funk with “Love Suckaa,” which features Yo Mama’s Big Fat Booty Band. More slow funk groove, similar to the first track, backs lyrics about a bad love.

    The album ends with a quick upbeat funky rock song, “Bloody Merry.” It’s short and sweet and a perfect ending to an overall fun album.

    Delicious Business is a fun, funky album that has a little something for everyone, from rock to funk to disco, listeners will be bopping around wherever it’s playing. The album can be streamed on the Devyl Nellys’ Soundcloud page. Keep updated on their tour on their website and Facebook page.

    Key Tracks: Delicious Business, Rodeo Qween, Baad Seed

    [embedyt] http://www.youtube.com/watch?v=Gal42b11Qm0[/embedyt]

  • Hearing Aide: Lotus “Eat the Light”

    Bringing back that same lovable soul of Nomad, Lotus recently released their thirteenth studio album, Eat the Light. Since their start in 1999, Lotus has been wowing listeners with ways of creating new sounds, while remaining distinctively Lotus, and continuing their legacy with a new 10-track record where every song features vocals.

    Lotus Eat the Light It is a pop record in the sense that the arrangements are purposely simplified and the melodies are catchy,” bassist Jesse Miller said. “We want people to be humming these songs days after hearing them. The album doesn’t need an accompanying catalytic life story to be explained, just put it on the stereo and enjoy.”

    This album includes guests such as, Oriel Poole, Steve Yutzy-Burkey and more. Each track having vocals will certainly open many doors for Lotus, especially in the jam scene with tracks such as “Move too Fast,” which is an evocative and playful track with a skittering drum beat and insistent, syncopated bass line. It evokes the feeling of weightlessness, while having a head-nodding beat and vocals by Johnny Fissinger (Philadelphia’s Damn Right!).

    Not that Lotus needs any help gaining likes, but taking this new approach with Eat the Light will certainly entertain a whole new audience while keeping their diehard fans excited, especially since they plan on releasing a 2016/2017 tour.

    Key Tracks: Fearless, Sleep When we are Dead, Eat the Light