NYS Music 20​16

Tag: indie rock

  • Hearing Aide: Eastern Electric ‘Suburban Daydreams’

    Eastern Electric, alternative indie rock from Guilderland, NY, put out their latest album, Suburban Daydreams, on December 9, 2016. The album opens up with the title track, led by Will Burger’s dream-like voice, and sets the listener up for the rest of the album which can be characterized as emotional and dynamic. With a balanced blend of simple yet layered ambient instrumentation, Eastern Electric delivers an impactful performance on par with most signed, touring and recording acts. Immediately upon hearing their single “She’s a Quiet Driver,” I was greatly impressed by the talent and writing of this young band, but there was no way I could have anticipated how much I would enjoy the full album. With proper determination, I could easily see a larger audience listening to Eastern Electric.

    Engineered, produced, mixed and mastered by Scoops Dardaris at the World Citizen Party House in Albany, NY, Suburban Daydreams clocks in close to thirty minutes in length. At first listen, all types of different influences are present. Tracks such as “I Don’t Know Yet” and “Raise My Fucking Grade” pull sounds from legendary rockers such as Nirvana and Brand New, especially between their bassist Ryan Keegan and drummer Jack Buttridge. Adding simple yet effective smoothness to the mix are Jackson Wolfe on guitar and Michael Beeche on keys.

    I think the key element that gives Suburban Daydreams its x-factor is that none of the musicians featured on the album overplay. While the album certainly could have been longer and still kept the listeners attention, it is devoid of over complication or long, 80’s style guitar solos or extra sprinkled toppings, save a trumpet solo in “Whispering Goodbyes,” a violin lead in “Ignite,” and a harmonica featured in “Blue Eyes Cryin’.” Eastern Electric gets on their metaphorical stage, plays without giving a speech in between songs, finishes the set in short time, but leaves the metaphorical crowd in awe. Outside of metaphors, I’ve seen them live in Albany, NY and can attest to their professionalism and quality.

    But Eastern Electric didn’t just put out a good album. They surpassed expectations set out for local bands at this stage in their career. They have my attention, and my respect, as I’m sure they will from many who enjoy groups such as City and Colour, Brand New and Cymbals Eat Guitars as well as many others. Personally, I’m looking forward to hearing their future work and seeing them live.

    Key tracks: Suburban Daydreams, She’s a Quiet Driver, Blue Eyes Cryin’, Raise My Fucking Grade

  • Local Limelight: Seymour – Indie Rock from New Paltz

    Anyone whose life revolves around music, seeks out new ear candy as often as possible. The most difficult thing is to find something that really piques your interest, especially a complete album. During my third listen through the new self-titled album by Seymour, my interest was certainly piqued.

    seymourIn a recent phone conversation with Steve Geary (rhythm guitar, bass, vocals), who co-founded the band with Avery Maracek (rhythm guitar, bass, vocals), I was able to learn quite a bit about the up-and-coming band from New Paltz. Steve and Avery met their bandmates, John Morrison (lead guitar) and Brandon Bera (drums), while they all attended SUNY New Paltz. As is common among college friends, they all hail from different places around New York State; Steve and John grew up in the Capital Region, Avery is from Western NY and Brandon is from the Westchester area.

    They came together and melded their influences, which range from Avery’s exposure to jazz guitar via his father, to Steve’s adoration of ’90s indie rock and mixed it all with John and Brandon’s love of jam bands. The final product? A mixed sound of Weezer and Fountains of Wayne (circa Utopia Parkway) pumped into your ears from headphones, reminding you of your teenage years. Steve explained that he and Avery share the songwriting duties. He feels that with both of them writing they are able to create a symbiotic relationship, which generates a more than gratifying result.

    seymourWhen you press play to listen to the new album, you are instantly hit with the meta tune “Seymour,” their self-titled song off of their latest release. Although this is their first full-length album, these boys have an arrangement that shows just how much work they’ve put into the last two years since forming April 2014. While listening through the record, other earworms present themselves; the somber love song “Bleeding Heart” shows how there isn’t just surface feelings built into Seymour’s music, and this depth is further accentuated in their short but introspective song, “Tethered.” As mentioned before, this first Seymour album is truly easy to listen to on repeat.

    To check out Seymour’s new self-titled album, you can visit their Bandcamp page. Also, be sure to check out their Facebook page and website. You can also catch them live at their upcoming show at Bearsville Theater in Woodstock, NY, on June 18.

  • Slothrust Shreds at Baby’s All Right in Williamsburg

    Slothrust shreds. This past Saturday Slothrust (Leah Wellbaum on guitar/vocals, Kyle Bank on bass, and Will Gorin on Drums) played Baby’s All Right in Williamsburg with Diet Cig, the playfully charming pop punk duo from Upstate, New York and YUNG, the killer rock band hailing all the way from Denmark. The show was sold out, the music was powerful, and the whole venue seemed to hum with the undeniably infectious energy of being young and alive in Brooklyn.

    slothrustSlothrust finished up a month long tour at Baby’s that night and closed out the show. Their tour hopped all over the country, including five showcases at SXSW. As I watched them set up I wondered if they were worn out from tour, burnt out from travel, the back to back shows, the van life. I thought maybe their set would be a bit sluggish. I was dead wrong. They were tight. They are always so incredibly tight.

    To start, they hit the crowd with a jam that was heavy like a ton of bricks and by mid set had leveled things out with both “Magnets part 1” and “Magnets part 2”,  dark yet delicate crowd pleasers. The whole performance was a perfect balance; new songs and old favorites that provided a trip through intimate, emotional lyrics that were delivered with captivating, deadpan vocals and guitar riffs that rip right through you. It can’t really be compared to anything else. Slothrust is it’s own kind of strange darkness. Straight up grunge rock that can get you all choked up without a single cliche lyric to be sung.

    slothrustThey closed their set with “Crockpot” which is a spot-on representation of who they are as a band. It’s a sample of the dichotomy the trio has mastered; soft yet strong, gentle but raw and raging. A spellbinding sweetness broken by a build up that makes the blood flow faster through your body. As “Crockpot” rang out, the back lights made perfect silhouettes of the three talented musicians responsible for making the packed house sing along at the top of their lungs. It was then that I truly realized the power of Slothrust. I wholeheartedly believe their future holds something huge- something great. If you haven’t heard Slothrust yet, listen to “Of Course You Do” (their latest album which is an absolute masterpiece), get yourself to their next show, or do both if you know what’s good for you.

  • 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.

  • 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