Tag: alternative

  • Hearing Aide: The Black Clouds ‘After All’

    Like many music lovers, I spend a lot of time seeking new artists. Although, the Black Clouds are not new, per se. They’ve been working on music since 2008, and After All is their third effort.

    blackcloudsThe Black Clouds, rock from Monmouth County, New Jersey, just finished recording their newest album, After All, set to hit shelves January 6, 2017. With influences such as Soundgarden and Alice in Chains, I appreciate the enthusiasm present from the beginning to the end of the album.

    Produced by Jack Endino, After All is energetic and fast. From the words of the band themselves, their central dedication is playing fast and hard. That’s exactly what guitarists Neil Hayes and Dan Matthews (vocalist as well) deliver: short, punchy, loud songs identifiable as personal life stories.

    Along with Gary Moses and Cory King on bass guitar and drums, respectively, it’s clear that The Black Clouds have developed cohesively as a team. Numbers like “Self Control,” and “Going Going Gone” display chemistry between all members. Vocal melodies are reminiscent of singers like Dave Grohl and Danko Jones, and the fast, aggressive music mirrors this energetically, but also grants some dynamic range. “Falling” features weaving acoustic guitars and a sad melody.

    Overall, I enjoyed a few listens of this album, and I would go as far as to call it solid, but every album has its weaknesses. After All has a limited amount, if any, musical risk, and in many parts, Layne Staley and Jerry Cantrell may as well have recorded one of their legendary runs over the instrumentals. Although more originality could have been exhibited in many places, one might classify this as a “good problem.”

    I can definitely say I would attend a live show of theirs and enjoy the loudness, as I’m sure many will after hearing After All. For now, The Black Clouds have my attention, and I’m excited to see what silver linings The Black Clouds have in their near future, and for the rest of their career.

    For fans of: Danko Jones, Foo Fighters, Nirvana, Alice in Chains, Soundgarden

    Key tracks: Going Going Gone, Falling, Merchants of Death

  • 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

  • Telegram at Pianos

    Fresh from their appearance at SXSW and a packed week of NYC gigs, Telegram blazed, marched and paraded through a set of tightly wound, well-conceived, and – it must be said – extraordinarily loud songs at Pianos on Thursday, March 24. As a Brit myself I was heartened when the band, with their British accents and modest entourage, quietly streamed into the audience to catch the end of opening act Stephen Babcock and have a Stella or two.

    I mention their entrance to the room, before they even got on stage, because their noticeability in a crowded room is pretty relevant: these guys, with leather tightly fitted and hair impressively styled, properly look like they are in a band. Once they are on stage, photographer Thom McKenna says to me, grinning: ‘One of the most English things I have ever seen.’ I agree, only to be caught off guard by the accent of frontman Matt Saunders as he introduces the band after their second song: ‘We’re from London’, he says, but his voice is not. A furrowed brow and a Google search later I confirm that Matt is, in fact, Welsh. It was the first of many times last night that my expectations were subverted by Telegram.

    telegramTelegram hurtled through their first couple of songs with bold assurance, gain-soaked instruments and a touch, I think it is fair to say, of glam-rock styling. It is tempting to lump Telegram in with a troupe of other ‘new psych bands’, as the Guardian did back in 2014, and as I had mentally done before even arriving at the show. But their third track of the night, ‘Inside/Outside’, with the its syncopated hi-hats and danceable snare cracks sharply glimmering through the mid-range overdrive, sets Telegram apart by the distinctiveness of their instruments and their musicianship. It cannot be overstated quite how loud the set was – one hopes for their sake that Matt, Pip, Moon and Cook wear ear-plugs on stage – but loudness does not equate to a hot mess. The guitar playing got pretty relentless at times, but it was always precise, with the rhythm often only hitting punchy downstrokes and the lead reverberating, echoing, and not ever, to my ear, muffling a note.

    telegramThe bassist, Moon, is normally at the sonic frontier of the band’s sound. This is the case with their cover of Bowie’s ‘Heroes’. The bass is the backbone of the cover, and it does not fail to please the audience. The cover may well have been the highlight of the evening, which is no bad thing; nonetheless, it does make me wonder what it is about the song that makes it stand out just slightly above the rest of the band’s set. Perhaps it is the sheer spaciousness of ‘Heroes’, the way it demands that whoever is playing it give it room to breathe. Telegram’s sound can occasionally get so intense that they miss opportunities to let melodies expand, for ideas to soar and grow, as they instead move swiftly on to the next raging chord. As Telegram moves forward, I wonder if they will try to make room for more of whatever it is they managed to capture in that Bowie cover.

    telegramOn Friday, March 25th,  Telegram played at Brooklyn’s Shea Stadium. I am jealous of anyone who could make it and catch this forceful and impressive band on their last evening in New York City. Here’s hoping they return soon.

  • Stuyedeyed at Shea Stadium

    The Brooklyn/NYC DIY scene is replete with talented bands and artists that offer a plethora of genres for anyone’s taste. Stuyedeyed stands out with their psychedlic, desert-esque facet of punk rock. It’s almost as if Jimi Hendrix, Danzig and Kyuss had a peyote ceremony in the desert and made music. Their live performances are bursting with masses of energy and instrumental intricacies that will have you wondering how they played those notes and moved around so much. Stuyedeyed is Nelson Antonio Espinal (guitar/vocals), Andrea Scanniello (guitar/organ/vocals), Luis Ruelas (drums), and Humberto Geñao (bass).tkenna_stuyedeyed_shea_04

    A recent performance at Shea Stadium in Brooklyn showcased their raw talent and ability to croon a crowd with heavy, crunching guitar riffs, smooth, groovy bass and ferocious drumming that could have you saying a divine four letter word. Although most of the material they performed was brand new, some tracks I’m familiar with made an appearance such as “Land Mines” (from their Cursed EP) which has a melodic guitar riff over a driving force of drums and a bass line that makes you want to groove your hips and bang your head simultaneously. “Erik’s Song” was played (also from the Cursed EP) and its heavy, droning guitar riff over a continuous drum roll matched superbly with Espinal’s aggressive, crooning vocals. Stuyedeyed bleeds DIY and possesses a natural talent not seen in many groups which is why they have become one of my favorite bands in the scene. I heard they may be recording new material soon; I’m very excited to see what comes next for the psych-rock quartet.  Check out their EP, Cursed as well as their Facebook page for upcoming shows in Brooklyn/NYC.

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  • Venue Change: Cage the Elephant to Play Albany’s Palace Theatre, May 11

    On Tues. May 11, rock band Cage the Elephant will now play a 7 p.m. show at the Palace Theatre in Albany. The group was originally scheduled to perform at the Times Union Center. Tickets purchased prior to the venue change will be honored. Floor seat holders are granted general admission access to the orchestra section of the Palace, and all reserved tickets will have general admission seating in the balcony section. Tickets for both price levels ($45 floor; $37.50 balcony) are still available for purchase at the Palace Theatre box office at 19 Clinton Ave. or through Ticketmaster. NYS Music was on hand to cover Cage the Elephant’s stop at Rochester’s Main Street Armory in March for the Spring Fling Tour; read more here.

    Original Post:

    The Grammy-nominated rock band Cage the Elephant will head out in May on a string of tour dates that will route the Kentucky alt-rockers to several venues in New York and neighboring states, plus stops in nearby Toronto and Montreal.

    cage the elephant palace theatre
    Jack White will release new album “Boarding House Reach” on Friday, March 23.

    The headlining North American tour kicks off May 1 in Little Rock, Arkansas, before CTE stops in Canada and takes the stage at Times Union Center in Albany on May 11, the Merriweather Post Pavilion in Columbia, Maryland, on May 15, and at SummerStage in New York City’s Central Park May 16. Supporting acts for this run are Portugal. The Man, Broncho and Twin Peaks.

    Prior to launching the 34-date cross-country trek, which comes to a close June 26 in Phoenix, Arizona, the band is continuing Spring Fling Tour with Silversun Pickups, Foals and Bear Hands with shows billed in Pittsburgh on March 25, at the Main Street Armory in Rochester on March 26, First Niagara Center in Buffalo on March 28, XL Center in Hartford, Connecticut, March 30, followed by Portland, Maine, and Providence, Rhode Island.

    The high-energy quartet consists of singer Matt Shultz, guitarist Brad Shultz, bassist Daniel Tichenor and drummer Jared Champion. CTE is hitting the road following the release of their fourth studio album, Tell Me I’m Pretty. A follow-up to 2013’s Melophobia with hits “Come a Little Closer” and “Cigarette Daydreams,” the 10-track record produced by Dan Auerbach (The Black Keys, The Arcs) debuted in December and features the alternative chart-topping single “Mess Around.” CTE has shared the stage with Foo Fighters, Muse and Queens of the Stone Age, among other big-name artists, and most recently, the group performed on the Late Late Show with James Corden, the Tonight Show Starring Jimmy Fallon and Conan.

    Tickets for all shows go on sale Friday, March 18 at 10 a.m. Passes for the upcoming New York dates are currently available through the band’s website, the respective venues and ticketing sites like Ticketmaster.

    Cage the Elephant tour dates:

    3/16 – Don Haskins Center – El Paso, TX ~
    3/18 – Cox Business Center Arena – Tulsa, OK ~
    3/19 – Landers Center – Southaven, MS ~
    3/20 – Freedom Hall Civic Center – Johnson City, TN ~
    3/22 – Richmond Coliseum – Richmond, VA ~
    3/23 – Constant Convocation Center – Norfolk, VA ~
    3/25 – Petersen Events Center, University of Pittsburgh – Pittsburgh, PA ~
    3/26 – Main Street Armory – Rochester, NY ~
    3/28 – First Niagara Center – Buffalo, NY
    3/30 – XL Center – Hartford, CT ~
    3/31 – Cross Insurance Arena – Portland, ME ~
    4/1 – Dunkin Donuts Arena – Providence, RI ~
    5/1 – Verizon Arena – Little Rock, AR *
    5/3 – Chesapeake Energy Arena – Oklahoma City, OK *
    5/4 – INTRUST Bank Arena – Wichita, KS *
    5/6 – DeltaPlex – Grand Rapids, MI *
    5/7 – Masonic Temple Theatre – Detroit, MI *
    5/8 – International Centre, Arrow Hall – Toronto, ON *
    5/10 – Bell Centre – Montreal, QC *
    5/11 – Palace Theatre – Albany, NY *
    5/15 – Merriweather Post Pavilion – Columbia, MD *
    5/16 – SummmerStage, Central Park – New York City, NY *
    5/19 – Ascend Amphitheater – Nashville, TN *
    5/20 – Infinite Energy Arena – Duluth, GA *
    5/21 – Hangout Festival – Gulf Shores, AL
    6/3 – KFC Yum! Center – Louisville, KY ^
    6/4 – Jacobs Pavilion at Nautica – Cleveland, OH ^
    6/5 – EXPRESS LIVE! – Columbus, OH ^
    6/7 – UIC Pavilion – Chicago, IL %
    6/9 – BMO Harris Pavilion – Milwaukee, WI %
    6/10 – U.S. Bank Theater at Target Center – Minneapolis, MN ^
    6/11 – Coliseum at Alliant Energy Center – Madison, WI ^
    6/14 – Calgary Stampede Corral – Calgary, AB ^
    6/15 – Shaw Convention Centre – Edmonton, AB ^
    6/17 – PNE Forum – Vancouver, BC ^
    6/18 – McMenamins Edgefield Amphitheater – Portland, OR ^
    6/19 – WaMu Theater – Seattle, WA ^
    6/21 – Shrine Auditorium – Los Angeles, CA %
    6/22 – Valley View Casino Center – San Diego, CA %
    6/23 – Bill Graham Civic – San Francisco, CA %
    6/25 – The Joint at Hard Rock Hotel & Casino – Las Vegas, NV ^
    6/26 – Gila River Arena – Phoenix, AZ ^

    ~ Spring Fling tour dates with Silversun Pickups, Foals and Bear Hands
    * with Portugal, The Man + Broncho
    ^ with Portugal, The Man + Twin Peaks
    % with Portugal, The Man