NYS Music 20​16

Tag: hearing aide

  • 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.

    nth-group-1-copy

    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: Pete Pidgeon and Arcoda ‘All the Little Things’

    Pete Pidgeon and Arcoda’s latest album All the Little Things, recorded at Applehead Studios in Woodstock, NY, is one of the most diverse albums to hit the record stores in some time. Covering styles ranging from ‘80s rock, to bluegrass, to jazz, to Broadway musical, to Bing Crosby/Frank Sinatra era music, listening to this album is a bit like listening to a playlist on shuffle. Able to switch effectively from its dreamy start with “I Stayed Home,” to the big band brass sounds on “Tonight I’ll Be Staying Here With You,” to the traditional folk style of “But It Don’t Worry Me,” the band showcases its brilliant versatility.

    Made up of a core group of extremely talented and hard-working Colorado-based musicians, including Pete Pidgeon himself on lead vocals and guitar, Glenn Patcha on a variety of keyboards and the accordion, Justin Guip on drums, Catherine Popper on upright and electric bass, these musicians are brilliant enough to have been able to attract and collaborate with some pretty impressive guests on their latest effort. In fact, on the album’s third track “Tonight I’ll Be Staying Here With You,” none other than Levon Helm is featured during one of his last studio performances! (You have to be darn good to be able to put that on your resumé!) On the tracks featuring guest musicians, the band really allowed the influences from their guests’ respective bands to come through, with “Tonight I’ll Be Staying With You” sounding particularly reminiscent of The Band, “The Ways We Change” featuring a more twangy sound most likely influenced by Chris Pandolfi of The Infamous Stringdusters, and the funkier style present on “The Wind and the Lover” in great part due to the help of Ryan Zoidis from Lettuce.

    Pete Pidgeon has an amazing vocal range, both in terms of notes he can hit and styles he covers. His voice sounds like a cross between Ryan Adams, Jackie Greene, and Toy Caldwell, lead singer of Marshall Tucker Band, if you can imagine that.  Joined by his bandmates’ singing on several of the tunes, as well as guest female vocalist Sarah Perrotta (who hails from right here in the Hudson Valley), the harmonies are uncomplicated yet gorgeous. Glenn Patcha deserves a round of applause for the incredible range of sounds and styles that come out of his keyboards, taking the listener on a musical journey effectively changing the mood from song to song during its constant changes of style, providing a solid foundation for the rest of the band to build upon. To top it all off, Pete Pidgeon and Arcoda were joined by the incredible brass sounds of The Two Dolla Crack Horns.

    On Pete Pidgeon and Arcoda’s latest album All the Little Things, no two songs sounded at all the same, yet they all seemed to fit together extremely well. It will appeal to people from across the musical spectrum, and give listeners the chance to effortlessly give other genres a chance. And you wouldn’t want to miss out on the opportunity to hear Levon Helm during one of his last studio performances now, would you?!

    Key Tracks: Tonight I’ll Be Staying Here With You, But It Don’t Worry Me, Wasted Child

  • Hearing Aide: The DuPont Brothers ‘A Riddle for You’

    The DuPont Brothers, a sibling duo from Burlington, VT, have the gift of being both poets and musicians, a rarity these days. It’s always refreshing to hear sibling duos, because you can sense the true bond felt between them. Whether they’re harmonizing or singing in unison, Sam and Zack hit every note head on and flawlessly, while at the same time giving each other the space to shine individually. Joined on their latest album by several Burlington-based stars, A Riddle for You showcases just what this corner of the world has to offer in the way of talent.

    While guitars are the most prominent instrument on this album, interjections from the occasional fiddle, banjo and pedal steel are certainly welcome throughout. The musical influences of Neil Young come through strongly, perhaps most obviously on “Trespassers,” which sounds a lot like “Harvest Moon,” while hints of the musical stylings of Ray LaMontagne can be heard on songs such as “The Arbor.” Then there are songs like “The Positives of Ten Degrees” that offer a more unique and individual style, while staying true to the folk element that seems to prevalent to varying degrees.

    In terms of the vocals, each brother has his own distinctive and divine voice, both being particularly easy on the ears. Zack’s strong vocals seem to come effortlessly, giving the sense that he must share his voice and music-writing talents with the world. With Sam taking over the vocal leads on the album’s fourth song, “Ben’s Song,” one can sense a heavy vocal influence from Nick Drake, with an almost otherworldly tone.

    It would be fair to say that this album would be perfect for a stay-at-home date night, having it playing in the background, while eating a romantic dinner, providing background music during periods of conversation with its mellow under-spoken tone and intelligent lyrics to ponder upon during moments of silence. A Riddle For You has a way of really tugging on your heartstrings, having the quality of sounding familiar while at the same time offering a fresh twist on traditional folk music. The DuPont Brothers’ second album will be available in stores this June, so be sure to pick up a copy.

    Key Tracks: Something to Write About, The Positives of Ten Degrees, Fuse

  • Hearing Aide: The Macpodz “Underwater Encounters”

    The MacpodzThe jazz-fusion, disco-funk band from Michigan, the Macpodz, recently dropped their latest release, Underwater Encounter, and this album will light up a room. “Leijah’s Victory Lap I” eases listeners in with a breezy jazz tempo, while introducing the album via electronic voice. “Cities, Highways” is the perfect song to listen to while stuck in traffic, as it gives the feeling of moving beyond the bottleneck at that one exit, only to proceed to step on the pedal and floor it to 70. This jam is not sorry about bringing the funk with a continuous build.

    The jazzy “Until the Next Time Around” is filled with smooth moves, organ slams and bursts of trumpet that demand attention. Between tracks, a quick “Quiz” from a children’s electronic toy is in store; listen carefully, and see if you can decode the answer. “$5s & $10s” is crammed with sexy tones that aren’t afraid to let loose during the slow and easy flow of this track.

    A groovy “Bouncin’ Off Satellites” creates an infectious tone, and dancing is the side effect. There’s no avoiding the need to get up and bounce around the room to this track. With intense energy exerted from dancing, “Hitchhikers Love Song” is the breather halfway through the album. Sleepy trumpet notes dance through this relaxed tune before sliding into the jazzified “Put Some Stank On It.”

    “No Dead Air” keeps the chill vibe rolling with hints of Frank Zappa, while “N Congress” brings a supercool rhythmic flow. “Sammy’s Reprise” is heavy on organ and spoken word, a spiritual nod to the musical influence on life. The soulful “Temesgen’s Homies”  is packed with slapping guitar strokes and down and dirty brass, coupled with keys that aren’t afraid to dance around the other instruments.  The album wraps up with the outro of “Leijah’s Victory Lap II,” bringing a clean close to Underwater Encounter.

    Overall, this record is the perfect playlist addition to an evening with friends, when attempting to capture the heart of a woman, or when in need of something funkadelic. Crammed with musical surprises, beats that take you way up high and then back down for a cool break, Underwater Encounter will surprise and delight even the most discriminate music fan.

    Key Tracks: Cities, Highways, Put Some Stank On It, N Congress

  • Hearing Aide: Radiohead “A Moon Shaped Pool”

    True to form, Radiohead delivers another anthemic masterpiece with their ninth album, A Moon Shaped Pool. The creative masterminds who make up Radiohead, joined by the likes of Pink Floyd and Beck, are some of the few musicians who are able to successfully mix the use of acoustic instruments and the more “techno” side of music via their use of a wide variety of sound effects. A Moon Shaped Pool allows lead guitarist and keyboardist Jonny Greenwood to showcase his impressive orchestral arrangements, balanced by the always quaveringly powerful vocals and brilliant lyrics (including such gems as “Broken hearts make it rain,” “The wings of love fly,” and “This is a low-flying panic attic”) of Thom Yorke.

    Radiohead’s members are collectively so much more than just talented musicians; rather, they seem to be able to tap into our innermost musical yearnings and know how to pull the right heartstrings at the right times. This album does a great job of drawing in listeners who are already diehard Radiohead fans by sticking with some tunes that are more characteristic of their early sound (on songs such as “Daydreaming” and “Identikit”), but it will also attract some new fans with its more innovative and out-there sounds (as if “out there” can’t be used to describe everything that Radiohead does).

    In addition to the more traditional-sounding Radiohead tunes, the band experiments with new and different elements such as the dancey number “Ful Stop,” the island music getaway “Present Tense” and the closest Radiohead will ever come to an acoustic singer-songwriter, guitar duo on “Desert Island Disk.” Perhaps one of the more striking elements of this album is the vastly different feeling between the first and last songs: the album starts with “Burn the Witch,” a rather witty upbeat number featuring choppy fiddles with an underlying layer of electronic buzz, and very stream-of-consciousness lyrics consisting of a string of clichés and non sequiturs, and ends with “True Love Waits,” the quirkiest yet most touching love song one’s probably ever heard. (One nerdy observation — the song list is in alphabetical order; is it coincidence that the order of the 11 tracks makes perfect sense this way, or another testament to the power of the genius that is Radiohead?)

    Radiohead’s latest album can best be summarized as a veritable cacophony of sound. The music moves through your body, pulsates through your veins and takes you on a psychedelic journey, before dropping you off right where you started and wondering what the heck happened during the past hour. For those who are intrigued and desire to go on this incredible musical adventure (which, I assure you, is well worth the experience), A Moon Shaped Pool is available now for digital download, and will be out on CD and vinyl on June 17, with a special edition option available in September.

    Key Tracks: Daydreaming, Identikit, Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief

  • 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: David Gilmour ‘Rattle That Lock’

    In the former Pink Floyd guitarist’s recent solo release Rattle That Lock, David Gilmour, who recently celebrated his 70th birthday, continues on his journey of exploring his own sound and style without confining himself within boundaries.

    rattle that lockPrior to Rattle That Lock, Gilmour’s previous solo release On An Island was released almost a decade earlier in 2006. In the span of that near decade, terminal frost glazed over Pink Floyd’s wind-swept field as the band sealed its continuance with the concluding release, The Endless River.

    In the later years of Pink Floyd after Roger Waters left, it was Gilmour’s creative bounty that gave the band a generationally different sound from its psychedelic roots, a trait that progressed all the way from A Momentary Lapse of Reason to the final song on The Endless River, “Louder Than Words.”

    After Pink Floyd’s The Endless River set an incredibly high bar for future work from the PF family, one might expect Rattle That Lock to be a sort of continuance of that album. Instead, Gilmour crouches beneath the eminence of Pink Floyd’s shuttered doors and reaches his hand back to On An Island, met by a hand reaching back from the shadows.

    Though a significant portion of Rattle That Lock is exploratory in nature, Gilmour gives us three tracks whose sound can be traced back to Pink Floyd’s Momentary Lapse of Reason, the first post-Waters album where he took the forefront of the creative body. The title track “Rattle That Lock” has a clever premise behind the music, where Gilmour turns a jingle heard in the mass transit system in France into a strong beat rock groove.  “In Any Tongue” takes the ballad form similar to “On The Turning Away,” with an orchestration that embosses an added beauty to that sound. “Today” shares some elements of Momentary Lapse of Reason, though resounds more with 80s rock brightness heard on Gilmour’s solo 1984 release About Face.

    The album commences with Gilmour asserting his ethereal guitar sound blended with a simple acoustic harmony, essentially translating his name through his guitar from the start. From there, Rattle That Lock does not follow a story line per se but has a clear structure as Gilmour weaves in and around exploring different musical elements anchored by his inimitable sound and intrinsic ability to compose and navigate the fretboard in all of the landscapes on the album. Just as it starts, Gilmour concludes the album with an instrumental précis that captures the essence of his renowned performance.

    With Gilmour’s exploration on Rattle That Lock, the album features a few welcome surprises, though perhaps consternations to some. He incorporates jazz in a couple of spots including interludes on “Dancing Right In Front Of Me” and the jazz combo setting of “The Girl In The Yellow Dress,” along with an overall mellower tone than in previous recordings. Reading through the liner notes, it is easy to grin a bit as the cast of guest musicians reveals itself. David Crosby and Graham Nash, who also sang on On An Island make a return, and Gabriel Gilmour (David’s son), Jools Holland, and Roger Eno (brother of Brian Eno) all contribute piano parts. His touring band also includes many of the studio musicians who recorded with Gilmour on this album.

    One striking moment on the album is when Roger Eno’s separated piano chords introduce “A Boat Lies Waiting” before Gilmour layers his guitar on top. With the theme of The Endless River still firmly planted in mind, the recognition of this song as a veneration to the late Rick Wright is almost instantaneous. In today’s multimedia setting, Gilmour has released several music videos on his YouTube channel to accompany the album, including “Faces of Stone,” “Rattle That Lock,” “In Any Tongue,” “Today,” and “The Girl In The Yellow Dress.”

    Complimenting the music are the lyrics penned mostly by Gilmour’s wife Polly Samson. Most notably, the powerful “In Any Tongue” prods at hearstrings with a blunt perspective and conflict of a soldier – no sugar is enough to bring sweetness to his cup / I know sorrow tastes the same on any tongue. Gilmour’s lyrical writing on a few of the songs complements Samson’s well and is as fluid and lucid as the music itself.

    Rattle That Lock diverges from the standards and expectations set by Pink Floyd’s final years as Gilmour greets an old friend and picks up where two left off those several years ago. It may take more than one listen to settle in but with more consideration beyond just one listen Rattle That Lock strikes a deep chord of appreciation for the music. But, it is not a bad thing that more than one listen might be required. It shows that Gilmour has done something noteworthy with Rattle That Lock: he has invoked us to think about the music just a little bit more.

    Key Tracks: Rattle That Lock, In Any Tongue, The Girl In The Yellow Dress

    Be sure to catch Gilmour’s final North American tour stops this weekend in New York City and follow NYS Music for a review of his performances. He is at Radio City Music Hall Sunday April 10 and at Madison Square Garden Monday and Tuesday April 11/12.

  • Hearing Aide: Town Mountain’s ‘Southern Crescent’

    Town’s Mountain’s soon to be released album Southern Crescent can be characterized as straight up bluegrass, with a classic rock twist and a dash of zydeco mixed in for good measure. The fact that this band is based out of Asheville, North Carolina – a particularly nurturing place for musicians – really comes through in Town Mountain’s music, as they seem as if they are totally comfortable in their skin. Town Mountain is comprised of Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian on bass. These guys are no joke: in 2013, Town Mountain was the recipient of two International Bluegrass Music Awards Momentum Awards, including Band of the Year and Vocalist of the Year for lead singer Robert Greer. It wouldn’t be surprising at all to see these guys at an upcoming bluegrass festival like Grey Fox or Delfest, as they have got something special.

    Recorded in old-time music great Dirk Powell’s Cypress House Studio in Beaux Bridge, Louisiana, in the heart of the bayou, the swampy, twangy, old-timey sound truly comes through on Town Mountain’s fifth album. Huddled around microphones recording their unplugged instruments, with minimal editing, gave this album an almost live quality, giving the listener the feeling of almost being there at one of Town Mountain’s concerts.

    Let’s face it: on any given album, there is typically one song you might think is a bit of a dud, but it is not a lie to say that all the songs on this album are winners. Southern Crescent kicks things off with “St. Augustine,” a one-minute instrumental traditional bluegrass ditty, setting the tone for what’s to come, which is something magical. Although many of the songs sound familiar, like they could be a traditional bluegrass cover, band members Jesse Langlais and Phil Barker, in collaboration with the other band members of course, write the majority of the band’s songs. Many of the lyrics deal with common country/bluegrass themes, such as traveling, hard living, love lost, and gambling, but Town Mountain puts their own twist on things, often adding witty words or chord changes to throw things a bit off what the listener is expecting.

    It becomes evident that these guys are truly dedicated musicians who must spend hours practicing together on a regular basis, especially on songs such as “Ain’t Gonna Worry Me,” which features both flawless falsetto vocals by lead vocalist Greer, and excellent harmonies by Langlais, Barker, and DiSebastian, as well tricky time signature changes, which the band made seem easy. “Comin’ Back to You” introduces a more classic rock side of the band, featuring a nice surprising piano solo, while “Leroy’s Reel” takes the listener on a more international journey, sounding alternately Irish, French, and Russian. Throughout the entire album, though, the band stays true to their bluegrass roots, giving equal opportunities for each band member to step forward and take a solo on each and every tune.

    Due out on April 1, Southern Crescent is a must-have for any bluegrass aficionado, although with its inclusion of classic rock and zydeco influences, the appeal of this album goes well beyond just bluegrass fans. The live quality of the recording, added to the danceability of the tunes, will most likely entice you to want to see them perform live, so be sure to check out their website for numerous upcoming tour dates, including a stop in Manhattan at the Hill Country BBQ on April 8. Be sure to check them out if you’re in town, and while you’re at it, pick up a copy of Southern Crescent! You won’t be anything short of amazed.

    Key Tracks: Comin’ Back to You, Wildbird, Tick on a Dog

  • Hearing Aide: Ten Cent Howl’s ‘Ain’t It Strange’

    Ten Cent Howl does the Americana genre proud on their latest album Ain’t It Strange. Featuring the deep and distant voice of Bill Smith, who sounds like he is coming to us from a different era a half century ago, this band makes it nearly impossible for listeners to not be tapping their feet and singing along after just one listen. All the songs on the album seem to be characterized by the perfect mix of catchy lyrics in the choruses, interspersed with beautiful poetry that is definitely worth focusing on. Also, as an added bonus, if you are of the opinion that one can do no wrong as long as there’s a mandolin playing, then this album is for you.

    Sounding like they come from a simpler time, unspoiled by the marvels of modern technology, Ten Cent Howl offers a refreshing glimpse into rural American living through their vacillatingly uplifting and melancholy songs, many of which are about love lost and found. While one can say this has been done already, Ten Cent Howl manages to put more on the table, with each band member seeming to be giving it their all on each and every tune. Featuring Jerry Hall on the bass, Harmony Griffin and Tim Pitcher on guitars, Peter Ramos on drums, and Bill Smith on guitar and lyrics, this band sounds like they have been playing together for decades, just like the music of the past, passed down through the generations. Listening to this album, one feels as if they have been transported to a country bar in the ‘50s, the way the harmonica licks come flying, the pedal steel strings are picked and the extraordinary harmonies that are belted out.

    From the Johnny Cash-sounding “33 Days” to the Roy Orbison-esque “This Is Real,” there is something to please everyone on this album, appealing to those who appreciate an album for its instrumentals, with its ideal mix of electric guitar, pedal steel, mandolin, and harmonica, as well as to those who are more interested in the vocals, with Bill Smith’s perfectly polished yet old timey quality, and fellow band members Hall, Griffin, Pitcher, and Ramos, who all seem to be able to harmonize so flawlessly. With a growing fan base in the Buffalo area, the band’s hometown, having numerous gigs lined up at local hotspots Sportsmen’s Tavern, where the band celebrated its release of Ain’t It Strange on February 27, as well as other area favorites including 189 Public House and Tudor Lounge, one can only hope that these guys will venture further to bring their wonderful timeless take on Americana music to the rest of the world. In the meantime, give Ain’t It Strange a listen; I can guarantee you won’t be disappointed.

    Key Tracks: Never Ceases, This Is Real, In View of Her

  • Hearing Aide: Bruce Horan’s ‘Tigershark’

    Artist-turned-musician, Bruce Horan offers the listener a glimpse into his creative mind on his debut album Tigershark. A graduate of Pratt Institute with a Masters of Fine Arts, and currently based out of Norwalk, CT, this guy has clearly got talent, which comes through on the seemingly careful thinking that went into each step of producing and recording this album. While primarily an artist (he paints in many mediums), Horan courageously ventures into the world of music through this work. Being a solo venture, with every instrument and vocal part recorded individually and then mixed and mastered at 30 Below Recording Studio in New York City, Tigershark is a true work of art.

    Every song offers the listener a poem put to music. The vocals on this album have an almost spoken word-like quality on many of the tunes, putting more emphasis on the lyrics, which are definitely worth giving a listen to. Some of the lyrics even teach lessons, including “Stalactite,” which contains a description of how stalagmites and stalactites are formed, and “Combined,” which features a whole verse of a couple speaking French that sounds like it is sampled from a language learning tape.

    Although tough to categorize, one could consider the first half of the album to be in the family-friendly genre, with some more repetitive and easy to follow instrumental patterns, and goofy lyrics about how Horan likes his eggs cooked on “Eggs,” and what would happen if the poles were reversed on – surprise, surprise – “If the Poles Reversed.” The second half of the album takes a more “emo” turn, with some more melancholy tunes about unrequited love on “Bumble,” and about having eight different worlds going on in his head on “Entropy.” Overall, most of his songs have a very stream of consciousness-like quality to them, with a bit of a perhaps intentionally unpolished sound. Hints of inspiration from bands like Ween and Weezer seem to come through in Horan’s quirky musical stylings.

    If you are interested in giving Tigershark a listen, you can stream or download it for free on Bruce Horan’s website, where you will also find music from his second album Riptide, as well as samples of his impressive artwork. Horan also keeps his Facebook page pretty well up-to-date with music videos as he produces them, so there are plenty of opportunities to check this guy out. While not currently performing live, one can only hold out hope that he will decide to do some shows in the future. In the meantime, you’ll just have to enjoy the listen.

    Key Tracks: Stalactite, Combined, Peregrine’s Wall