Tag: rock

  • Hearing Aide: Suit of Lights ‘Break Open the Head”

    unnamedEarlier this month, Suit of Lights released their album Break Open the Head.  Suit of Lights is a musical project that was started by Joe Darone who’s played in a number of bands prior to this including The Fiendz and The Rosenbergs.  You can hear Darone singing the vocals and playing keys, Chris Connors on guitar, bass and keys, Billy Carrion also on bass, and Corey Colmey on drums.  Suit of Lights is based in New York City and though the band self-identifies as a rock group, this album is far from a standard rock album.  Most rock albums contain songs that remain in one key and in one time signature.  Break Open the Head pushes the limits of genre categorization and explores the capabilities of musical structure in just ten tracks.

    The title track and first track on the album has a cool groove with offbeat accents on the hi-hat during the verse and then morphs into a half-time feel during the chorus.  In accordance with the groove shifts, the mode of the music changes from minor verses to a more major sound in the chorus and instrumental break.  The song “Break Open the Head” seems to be first so that the songs that follow illustrate what happens once the head (presumably figuratively) is broken or thoughts span outside of the box.

    “New Frontier” begins with a spooky introduction on piano that’s passed off to the guitar.  The chord progression throughout is a little unsettling as there is a harsh balance between tension and release.  Featured on the track is an organ sounding instrument, or better yet, a calliope- type instrument that creates carousel or carnival music.  The instrument comes in when the singer sings about a continuous carousel of time. That’s clever introduction to the timbre but the tones get a little distracting.  The song is slightly unresolved at the end with the guitar feedback, perhaps indicating that the future is uncertain.

    “Monsters” has a neat little 7/8 introduction that features a repetitive guitar melody.  It’s all about getting rid of your monsters; it’s quite empowering.  “Zero Camera,” along with others, frequently changes harmonically with the chord progressions.  Though artistic, someone who doesn’t appreciate the theory may find it unsettling or too dramatic  “Circle the Drain of History” features the lyrical line “monkey with brains all full of mush, about to get the royal flush, circle in the drain…” over and over again, perhaps to reinforce the concept that history repeats itself.

    The instrumental prowess of the musicians is quite strong as, technically and harmonically, the backing works.  But the vocals don’t match.  The tenor tones are a little whiny sounding, almost in the vein of an acoustic pop punk vocalist.  Some upper range notes sound like a push or slightly unrehearsed.  The vocals are on key, but they’re not as strong as the instrumentals.  The purpose of the album may simply be to stand as a work of art.  It may be an album to spark change and stand for something more than notes and rhythms.  In that case, it definitely succeeds in sounding unique and has some catchy lines that may stick in your brain.  They’re not the easiest songs to sing along to as they’re very unpredictable in nature but, over time, they could become participatory.

    Overall, it’s a quick album to listen through and interesting if you’re looking for a change from more mainstream artists.

    Key Tracks: Monsters, The Beginning Is Near, Break Open the Head

    https://www.youtube.com/watch?v=4cslOSbzyss

  • Photo Gallery: Happy Owl Fest 2016

    This past Saturday, on one of the hottest days of summer, the Happy Owl Fest flew into the quaint, Grateful Dead-esque ‘venue bar’ known as American Beauty, located in the midtown section of Manhattan. Typically, I would not be very excited to be inside for a festival in the middle of the summer, but fortunately, this venue’s air conditioning battled the 100 degree heat without mercy. At times, there were rumblings of people actually being cold. Add to this the ample selection of good craft beer, and American Beauty’s only food offering, a free personal cheese pizza with each beer, and you have a lovely way to spend the better portion of your weekend day. I haven’t even talked of the line up yet, which of course was the reason I was there in the first place.

    The schedule was ambitious, including nine acts between the hours of 3pm and 3am, with a bonus side hustle of the Phish webcast from Chula Vista, CA, which was projected in the main bar while the bands played on in the main stage area. I was one happy camper that I was able to catch the full sets of Polyvamp, Sylfox and the Hustler, Formula 5, and Sprocket. Alone across these four bands was an eclectic mix of music that should satisfy a majority of musical tastes. In sum, the Happy Owl Fest navigated improvisational rock, funk, and electronic with a dash of blues, not necessarily all at the same time.

    Should this event take place again next year under similar circumstances, I wouldn’t hesitate to make the trip. The balance between venue, beer, food, music and price of admission was quite welcome. The only suggestion I would make is for the venue to make a small investment in a house lighting system. On one hand, the noir scene makes for a rare experience in dedicated club venues these days. On the other hand, a little lighting action would would inject some energy into the room, in this photographer’s opinion.

    Till next year, enjoy my gallery from the first Happy Owl Fest.

  • Hinder Brings its Stripped-Down Acoustic Show to Binghamton

    Hinder, best known for their hits “Get Stoned,” “Lips of an Angel,” “Better than Me,” “How Long,” “I Don’t Wanna Know,” and many others brought their acoustic set to Magic City Music Hall in Binghamton, NY, on June 7 in support of their new six-song acoustic EP titled Stripped. Stripped was released on May 13 via the End Records and includes the songs “Not An Addict,” “Intoxicated,” “Wasted Life,” Hit The Ground,” “If Only For Tonight” and “Get Stoned.” This is the band’s first strictly acoustic project to be released and is their second EP; the first being their 2003 debut Far From Close.

    hinder Binghamton

    In March, the band announced the album would be titled Stripped and would be released on May 13. At the time the band also announced that they would be touring June through July with the New Zealand-based rock band Like a Storm in support of the new EP.

    hinder Binghamton

    hinder Binghamton

    After a stellar didgeridoo-infused, 45-minute acoustic performance by Like a Storm, who played several numbers including “Becoming The Enemy,” “Amazing Grace/Southern Skies,” “Love the Way You Hate Me” and a cool rendition of Coolio’s “Gangsta’s Paradise,” Hinder took the stage and began their set with “Intoxicated,” “I Don’t Wanna Know” and “What Ya Gonna Do” that had lead singer Marshal Dutton and the band joking with the crowd about mixing up the brands when your usual whiskey “ain’t workin’ no more.”

    Despite a smaller than expected crowd, longtime band members Mark King, Joe “Blower” Garvey, Mike Rodden, Cody Hansen and lead vocalist and guitarist Marshal Dutton put on a fun-filled, entertaining and interactive show with an intimate audience and performed each song exceptionally well with great vocals and musicianship that they are known for. At times throughout the evening, various members swapped instruments with each other, showcasing how musically talented they are as individuals as well as a band. Hinder played a 12-song set with fun interactive breaks at times between songs and swapping instruments.

    hinder Binghamton

    Hinder and Like a Storm continue their acoustic tour throughout the summer. If you’re out there and looking for a great show this summer, be sure to check out Hinder and Like a Storm.

    Hinder Set List 6/7/16:
    Intoxicated, I Don’t Wanna Know, What ya Gonna Do, Shoulda Known Better, Hit the Ground, Last Kiss Goodbye, Not an Addict, Red Tail Lights, Better Than Me, Get Stoned, Pussy Control, No Excuses

  • The Temperance Movement Premieres ‘White Bear’ Video, Announces Tour

    This summer, English rockers the Temperance Movement will debut the sophomore album, White Bear, followed by a headlining tour.

    The five-member outfit kick off the July run at the Ride Festival in Telluride, Colorado, and are scheduled to make stops at Lost Horizon in Syracuse, Mercury Lounge in New York City and Underground Arts in Philadelphia before the tour closes in Detroit. And on May 15, the group exclusively premiered the video for the record’s title track via Loudwire.

    TTM_website_bg_image-777x777

    The three-minute video was the creation of noted photographer and director Steven Sebring, who used his signature “revolution system” camera techniques to produce a stunning visual manipulation of time and light. Sebring also created the album’s cover image “of a girl and a bear, interlaid and overlapping in magical realism” inspired by Fyodor Dostoevsky’s essay, Winter Notes on Summer Impressions. 

    The rising rock band that includes vocalist Phil Campbell, bassist Nick Fyffe, drummer Damon Wilson and guitarists Paul Sayer and Matt White. Although bearing the same name as the prohibitionist social movement of the 1900s, the Temperance Movement is not straightedge when it comes to gritty rock and roll. They have opened for heavyweight acts like the Rolling Stones, and this summer, the group shares the Ride Festival bill with Pearl Jam and Cage the Elephant, among others.

    White Bear officially drops July 15 via Fantasy Records, but is available for pre-order now via iTunes and Amazon. If you want to see them live, scan the dates here or below to see if the Temperance Movement is coming to a venue near you.

    The Temperance Movement summer 2016 tour:

    7/9-10 – Ride Festival – Telluride, CO
    7/12 – Marquis Theatre – Denver, CO
    7/14 – Bottom Lounge – Chicago, IL
    7/15 – Limelight – Peoria, IL
    7/16 – The Stache at Intersection – Grand Rapids, MI
    7/18 – Lost Horizon – Syracuse, NY
    7/19 – Mercury Lounge – New York, NY
    7/20 – Underground Arts – Philadelphia, PA
    7/22 – A&R Music Bar – Columbus, OH
    7/23 – The Shelter at Saint Andrews Hall – Detroit, MI

  • Miles Deep: Lucid Bids Farewell

    Before I could even step inside I was already spotted. Walking down Brinkerhoff Street in downtown Plattsburgh on a Saturday evening, the bright lights of the newly reopened Strand Theatre could be seen for several blocks. And as I rounded the corner and approached this beacon of culture for the Lake City, numerous familiar faces turned towards me, smiled and ran over to say hello.

    It sure had been a long time. And yet, it all felt like one gigantic moment, hung proudly on the mantle of my soul. Standing in front of the theatre, the sounds of legendary North Country rock act Lucid spilled out onto the streets — echoing across the deep waters of nearby Lake Champlain and pushing up in the heavens, ultimately swirling around the ancient Adirondack Mountains to the west. For the last 14 years, their melodies have been the soundtrack of the Champlain Valley and beyond, and now, it was time to put the record on pause with the recent announcement of their hiatus.And yet, the irony lay right at the start of the evening. You see, for as long as Lucid has been together, the Strand Theatre has been under renovation, a longtime storied venue whose rejuvenation rolled along at such a slow burn, one wondered if the embers were just some glowing mirage we’d only hoped for in dreams.

    Lucid bids FarewellWandering into the large building, hundreds of glorious beings milled about, most of which standing like a rippling ocean of rhythmic movement at the base of stage. And just as stood there in awe of the spectacle, you heard a noise above you and looked up, only to realize there was a full balcony of music freaks overhead. Sure, there were two full sets of music, roaring like a freight train across the spectrum of the band’s career, making musical stops ranging from reggae to hip- hop, gypsy to nitty-gritty blues. And yes, it a performance that sent a chill through your body, where you raised your arm and could see the goose bumps emerge. But, that wasn’t what the evening was about, at least for those in the band and their inner circle.

    Lucid is (was) about creating a space for all walks of life to converge. It was a scene that was created to foster change, understanding, and happiness. It was about pulling into some random North Country town and showing them just how beautiful and mesmerizing the circus can be. It was about you, and me, and all of us. The power of their music, and their presence, is what was at the core of Lucid. They preached love, personal growth, and the joyous possibilities of humanity, where you can wake up everyday and conquer the world with your positive intent and bright light radiating from within.

    Lucid bids FarewellAnd as I stood there on the side stage, watching my musical brothers take their final encore for may be awhile, I was struck by how loud the standing ovation was from the enormous crowd. It wasn’t surprising, it was more so awe-inspiring, this never-ending roundabout circle of passion and energy shooting back and forth between the band and the audience — the essence of what music is, always and forever. Lucid chose “Whiskey Dreams” for their encore, a song whose word ricocheted around the depths of my heart when the lyric “we are them, and they are us…” catapulted out of the speakers, tying a bow on a career that, to at least myself, still
    has a few chapters left to write.

    Life is beautiful, grasp for it, y’all.

    Set 1: Suenos Intro Mind Trippin Four Winds>Gemini Eye* Boats Ancient Incantations Green Money Whoa Mamma$ Rainbow* San Pedro^ Po Man’s Blues^ Miles Deep Pushin Dirt

    Set 2: Black Smoke Blessed and Cursed Ground on Up Tight Tight Body in Free*% Psychedelic Bad Habit Break a Man* Lucky Dice Came and Went>Silhouettes Styles of the Smooth Backwoods^

    Encore: Whiskey Dreams$

    * – Meadow Eliz
    $ – Chris English
    ^ – George Wurster
    % – Catherine Wurster & Shannon Rigsby

    Lucid bids Farewell

  • 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

  • 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.

  • 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

  • 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

  • Zuli at Le Poisson Rouge

    Zuli took the stage at Le Poisson Rouge on Monday, January 25th, for their first Manhattan show of the year. The New York City based four-piece played a set involving strong three-part vocal harmonies, a complex instrumental cover and striking dynamic changes. I got the sense that the whole thing was admirably unlabored, despite the highly detailed musical composition, as the band moved between songs with a casual ease. Some thoroughly speedy guitar work, courtesy of frontman Zuli (Ryan Camenzuli), was underpinned by the nord electro keyboard and the bass, which made the songs followable, fun and accessible.

    zuliZuli arrived just in time for their 9.30 slot, having played another set – in another borough, no less – just beforehand. A pretty intense schedule didn’t impede the joyous musical moves that were on display throughout their performance. A large room like LPR, when not-quite-full with the mixed crowd of a Monday night – fans, friends of the other bands, NYU juniors catching up after their Christmas breaks – can create an awkward vibe for some live bands. If Zuli sensed this difficulty at all, they tackled it with jesting stage banter, the settling of a beef about their favorite restaurant (it might, after all, be CJ’s), and a set full of rhythmic surprises emerging like bold rabbits pulled from sonorous hats. I sense that Zuli are not quite at their peak, yet: they’re probably building up momentum for the spring, when they’ll hit SXSW and the West coast. In the meantime, Zuli have a busy March lined up with shows DC, Charlotte, New Orleans and Phoenix.

    zuli