NYS Music 20​16

Tag: #albumreview

  • Hearing Aide: Haewa “There Is No History”

    haewa_coverHaewa’s, There Is No History, offers a wide assortment of songs, encompassing a range of 90s grunge and jam band influences. Matching its meditating psychedelic album cover, Haewa sets forth a heavier side in the realm of thoughtful soundscape.

    An instantly likeable track is “Born Into the Morning Light,” which has an excellent convergence of drum and slide guitar, both of which work off of each other in a format that seems fitting as what could be part of a film soundtrack. Coming in at the #4 slot on the album this song is a track that utilizes multiple and interlocking guitar riffs that give the song longevity in repeated listens. The lyrics, “I was born in the morning light,” allot this song a hopeful outlook amidst its more serious style. Although somewhat of the black sheep song on the EP, this one definitely deserves attention as a great listen.

    “Chem Division” is a track off the EP that retains much more of the style that Haewa is known for based off of this EP. It’s a heavier jam that has a prominence of layered and unique guitar chords. Similarly related is the Black Keys/Led Zeppelin riffing of “Innovation at the Edge of Time.” This gives great credit to Haewa’s ability to likely be an excellent live show band. “No Ocean” is another fitting jam and be sure to listen to the fluttering guitar work found towards the end of the song.

    Last but not least, “Swamping,” is a key track off the EP, which displays the use of harmonica, feeding into the 90s grunge feel overall. Ultimately, Haewa is a highly guitar driven band that has a great deal of potential going forward with their future EPs, which hopefully come out frequently.

    Key Tracks: Born Into the Morning Light  Swampin’ Chem-de-Vision

    Follow Haewa on Facebook

    <a href=”http://haewamusic.bandcamp.com/album/there-is-no-history”>There Is No History by Haewa</a>

  • Hearing Aide: Dave Keller “Right Back Atcha”

    Northeastern blues can be heard echoing from the mountains of Vermont in Dave Keller’s new album Right Back Atcha. The September 23 release date came just a day after the start of fall and his lyrics are symbolically vibrant with a colorful spirit and a life-changing attitude.

    dave kellerRecorded in the Green Mountain State, Keller recruited a 3-piece horn section, two backup vocalists and a small string ensemble to collaborate with his usual members of The Dave Keller Band. The diverse talent was used right off the bat in “It’s Time You Made Up Your Mind,” which serves as the opening track and the lone cover on the album. Willie Clayton originally brought the song to the studio during the peak of his funk-soul era in 1974 and much like Keller, Clayton didn’t see much in the way of commercial success or critic recognition until he was ripe into his 40s. Keller tips his hat to the roots he knows best while adding his own modern blues sound to this underplayed gem.

    Title track, “Right Back Atcha” has a very seductive brass and bass combination highlighted by Jessica Friedman’s baritone sax. Although the lyrical structure is very inventive, I found the song somewhat off putting, as I know that Keller is around the same age as my father and singing about his sexy time with a woman.   The album artwork on the back of his LP lets us know Keller is still getting freaky and his not-so-subtle innuendos complete the picture. Putting my personal issues with the song’s story behind, Keller nails his silky guitar solo and gets some help from the backup vocalists to bring this sonic, sweaty bang to a finish.

    After the most provocative track on the album, Keller hits us with his first love ballad entitled, “Deeper Than The Eye Can See.” Original band member, Ira Friedman, warms the tune up with a soft piano introduction before Keller gently harmonizes with the female backup singers. This lyrically and vocally soulful composition is reminiscent of Van Morrison’s “Tupelo Honey” and will leave you feeling all the feels the same way Van the Man does.

    “Circles” clocks in as the longest track of Right Back Atcha, which allows time for the Hammond B3 organ to really drive home the profound message. If “Deeper Than The Eye Can See” is Keller’s way of expressing the beauty of being in love, “Circles” tells the tale of how shitty life can be during the confusing parts. He lets his guitar solo do the crying as Friendman’s B3 steals the show during this deep-rooted blues piece.

    Vermont may one of the least populated states in the country, but that doesn’t prohibit their bands from getting funky. While Keller’s subject matter may be geared towards an older crowd in terms of the over-the-hump, post mid-life crisis topics presented in the lyrics, I can still get down with the eclectic musical arrangements he brought to the studio. This isn’t the type of album that someone in their twenties would throw on during a party, but give me twenty more years of experience and Right Back Atcha may be found on my iPhone 17 shuffle.

    Key Tracks: Right Back Atcha, Circles, You Make It Easy

  • 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: ShwizZ ‘…and then there were Trollz’

    New York quartet ShwizZ have released a new EP ‘…and then there were Trollz’, the band’s third studio effort marking a new and fresh mature sound for the ascending band. The new album blends a completely original sound of progressive rock and roll with elements of traditional funk. The precision behind the dueling guitars drives the listener through a series of meandering twists and turns that are anchored beautifully by the tight rhythm section. The band’s sound sends listeners across a broad spectrum of progressive rock and roll, where it’s not uncommon to find piercing guitar solos draped across heavy drum beats encapsulated around the band’s pensive lyrics. In a realm where the listener can expect the unexpected, ShwizZ’s unique sound reigns supreme.

    The EP kicks off with “Rude Shoes” which drops into a thick grove immediately without wasting a second. This anthem will surely become a crowd favorite as the lyrics are catchy and the musical breakdowns are sharp. “Brain Dead” features a darker and more mysterious undertone at first, with the lyrics surfacing with a filter. The song ends up finishing strong with a lot of room to improvise in a live setting. This number will surely grow to be one of the band’s many jam vehicles. “Hog Thai” is one of the more introspective takes on the new EP, featuring soft melodic fills that get whiplashed into a series of fast paced solos. The band really showcases their range and flexes their musical adeptness on this track. “Transmit and Receive” finds its way into a transcendental like jam, with a space like feel that breaks through to another Umphrey’s-esque prog rock chord progression. The EP wraps up with “The Breach” which is one of the band’s more psychedelic successes.

    Currently the band is embarking on a tour through the mid-west, with dates booked on the east coast in support of the new EP. ShwizZ is also confirmed to play Domefest this year. The New York quartet continue to push the envelope in the studio and they continue to perfect their live performance. Fans have may reasons to rejoice and the new EP is a celebration of the band’s many successes.

    Key Tracks: Transmit and Receive, Brain Dead, Rude Shoes

    https://soundcloud.com/shwizzband/rude-shoes

  • Hearing Aide: Howardian ‘A Smurf At Land’s End’

    Howardian CoverBrooklyn-based band Howardian has released their sophomore album, A Smurf At Land’s End. The group records and operates under the name Howardian, but the band is fronted by and more commonly identified by Ian Vanek.  It’s seemingly more common for artists to brand themselves with the musicians they work with, even when the bulk of the recognition and creative distinction stems from that lead singer or performer.

    Howardian has labeled themselves as an “art rock” band, and that genre is defined by noticeable influences from classical music and/or music that features experimental avant-garde styles.  One listen through the album and the unique, experimental nature of the compilation is quite evident. This is a prime example of genre bending: pop, hip-hop, punk, and rock.

    Samples of pre-recorded voices of short monologues give the tracks more meaning and allow listeners to identify any potential significance for the inclusion.  It’s hard to pinpoint who is speaking in these voiceovers; they could be from noteworthy individuals or events.

    In “Over the Laptop,” you can clearly hear Vanek’s vocals doubled with two separate takes. This technique gives the track a fuller sound, but also gives it an indie flair with the vocal pitches not 100% congruent with each other.  The indie-esque sound is reinforced with the percussion; the snare sounds authentic and not of the best quality.  “Front Street” uses a video game power-up sound every two measures which is a unique timbre that nicely juxtaposes the heavily distorted power chords throughout.  

    “I’m The Ocean” is quite repetitive in nature and it’s important to note that it’s purely instrumental.  The repetitive melodic lines make listeners feel like they are sifting through a monotonous flow of ocean waves.  “Cap’n Such n’ Such” is interesting because the instruments are playing a pretty standard of a rock groove, but the syncopated hook spelling out the band’s name is a bit hip-hop eqsue. “Fulton Mall” is the song that is closest to a standard pop song due to its immensely repetitive nature and backing vocals.

    There doesn’t seem to be one central theme in terms of album’s subject matter, but there is a distinct flow in terms of style that makes the album work.  The instrumental parts of the tracks are not overwhelmingly challenging.  The musicianship is evident, but each song is quite simply outlined with basic beats and chord progressions.  The synth is a crucial element in almost all of the tracks as it breaks up the streams of vocal phrases with a simple top line. However the lack of virtuosity seems to be what the band is getting at.  The band’s sound is quite unique in terms of non-musical elements.  The music seems to be an outlet for artistic freedom, and not a way to showcase high-caliber musical talent.  This album is a cool listen if you wish to diversify your aural palette of music and experience something new.

    Key Tracks: Over the Laptop, Capn’ Such n’ Such, Front Street

    http://www.youtube.com/embed?layout=gallery&listType=playlist&list=UUKJ8qe7vCz4SztGjuZ2gm9A