NYS Music 20​17

Category: Album Reviews

  • Hearing Aide: Foxtrot & The Get Down ‘Roots Too Deep’

    Philadelphia rockers Foxtrot & The Get Down have had their share of success between touring and playing hometown shows in the city. The February 24 release of their full length album Roots Too Deep finds the band creating a more focused sound with nostalgic lyrics and high energy blues/rock songs. Lead singer and songwriter Colin Budny has a voice that was clearly meant to be paired with pristine rock guitar tones. Erica Ruiz provides the background vocals, fitting perfectly between Budny’s voice and the band’s driving rock melodies.

    The first track “Postal” is a great intro to the album, but the second track is where the good stuff begins. “Roll Down The Road” is the anthem song, tugging at your urge to sing it loud and proud. Ruiz and Budny have the perfect duet of voices that can instantly make listeners smile. Blues rock bands often fall back on familiar habits, but Foxtrot & The Get Down have developed their own style without totally losing that thing that makes a good band great. “Roll Down The Road” is peppered with catchy lyrics and is a fantastic representation of what the band is striving to show their audience.

    “Letter To Myself” slows it down a bit, opening with a guitar riff very reminiscent of Led Zeppelin. The song features Ruiz singing lead, with a voice that is the perfect mix of sultry and strong. The lyrics are a perfect reminder of what not to do, providing a fantastic build up to a guitar solo that bursts open the song at the seams.

    Track seven “Ramblin’ Back To You” switches up the genre a bit, with more of a lighter, Americana feel. If you’re at all a fan of The Eagles, then this is the song that will bring you back to your roots. There really is something for everyone on the album, including rock ballads, love, loss and a yearning for something more. Budny and Ruiz’s harmonies have the ability to really tie certain songs together, providing the perfect backdrop for the rest of the band to shine.

    Foxtrot & The Get Down currently share their time between the City of Brotherly Love and Nashville, where they were recently signed to indie record label American Echo records in 2015. There aren’t currently any tour dates listed, but keep an eye on their Facebook page and website for upcoming shows.

    Key Tracks: Roll Down the Road, Just A Kid, If I Had It My Way

  • Hearing Aide: Spoon ‘Hot Thoughts’

    After what felt like an eternity, Austin-based indie rock band Spoon returns on St. Patrick’s Day with their ninth full-length album, entitled Hot Thoughts. They haven’t released a full album since their 2014 masterpiece They Want My Soul, which contains some of the best silver in Spoon’s musical vault. The gold goes to their 2007 record Ga Ga Ga Ga Ga, which not only has some noteworthy songs, but truly put them on the map towards success and credibility as songwriters.

    This new 10-track release on Matador Records drives the band in quite a millennial-type of electronica direction, while maintaining the same pure frustration of garage punk that made us fall in love in the first place. Songs like “I Ain’t the One,” “WhisperI’lllistentohearit,” “Shotgun,” and the title track “Hot Thoughts,” can only be described as disco punk, with a driving rhythm section featuring bassist Rob Pope and drummer Jim Eno, that feels easy to dance to. Add in synthesizer effects that not only compliment a willful resistance, but also engage in a transient, almost Beatles-comparable element to balance out the aggression. Spoon properly confuses the listener, tossing in sample bits and adding artistic effect pedals to give each instrument its own voice and purpose.

    Sprinkled throughout the album, in tracks like “Pink Up” and the final song “Us,” Spoon throws us some instrumental curve balls, featuring cameo appearances from a strings section and a mysterious saxophone solo. In their sexiest tune and pre-released single “Can I Sit Next to You,” we hear a sarangi-sounding pitch bend technique by synth guru Alex Fischel. The arguably best song on the album, “Do I Have to Talk You Into It,” bestows upon us a somber intonation in singer and guitarist Britt Daniel’s voice, as almost a means of inner disapproval. The song’s lyrics are hard to pin to a particular event or substance, but its dark descriptions certainly contrast the overall uplifting feel of the song. Once again, this band tricks us into calling them a punk band, and then convincing us that they can do rock (and even jazz) just as easily. To say this band parallels the indie rock genre isn’t completely accurate, as they are always dipping their feet into deep musical waters, and surfacing with sensibilities similar to Trent Reznor, John Lennon, Chris Martin, and Miles Davis to create a multitude of concepts. This album shows us that Spoon is going in a new direction, but they remain true to their roots. This album features electric guitars, xylophones, honky-tonk pianos, strings, saxophones, and sampling experiments that mock existing ideas, while also creating new ones. This album represents the ‘hot thoughts’ that have been stirring in the brain of Spoon, and this album meets and exceeds expectations of anyone who listens to Spoon, or ‘indie rock’ in general.

    Just in time, Spoon is touring their way around the country, conveniently making stops in NYC for the annual Panorama Festival, followed by an appearance at the XPoNential Festival in Camden, NJ. For more info and to purchase tickets, visit Spoon’s band page.

    You can hear the full album on Spoon’s Soundcloud.

    Key Tracks: Hot Thoughts, I Ain’t the One, Do I Have to Talk You Into It

  • Boogie Low Celebrating New Release in Syracuse Saturday

    Syracuse-based groove rockers Boogie Low have a hometown party planned for the release of their new eponymous album at the Westcott Theater Saturday March 18.

    Photo Credit: Nicole Carey Photography

    Opening for Boogie Low Saturday night are fellow Syracuse-area natives, Barroom Philosophers, who are also promoting a new release.  Tickets for the show are $10 and can be purchased at Sound Garden in Armory Square or online through the Westcott Theater’s website.

    The quartet first formed as the Boogie Low Trio in 2011. Founding members Tommy Dennis (bass), Loudon Smith (guitar/vocals) and Brandon Caza (drums) used a reggae-tinged sound reminiscent of Sublime and other Long Beach, CA bands of the early ’90s as a base. The band ditched the “Trio” from its name when it brought on guitarist Matthew West in 2012. The band parted ways with Caza in 2013 and was replaced by Brandon Au, completing the band’s current lineup. Other contributors to the new album include Ray Wiggins on drums, Ty Hancock on keys and Josh Alaniz, also on keys.

    The new album, simply titled Boogie Low, has influences ranging from the aforementioned Sublime to Santana, moe., Umphrey’s McGee, 311 and Calexico. This range of influences allows Boogie Low to create its own distinct sound that encapsulates all of them.

    Smith’s vocals are rhythmic, soulful and smoky, while West’s western-style guitar solos wouldn’t be out of place on a Quentin Tarantino soundtrack. This is especially prominent on the tracks “Mexico,” “Eldin” and the band’s signature jam vehicle “Shadows,” which closes the album.  Wiggins’ drumming and Au’s percussion work is what keeps this train moving. Their beats are at the forefront of Boogie Low’s sound. The accents Wiggins and Au provide help to propel the rest of the band to the next level. One can easily feel the jamming possibilities in a live setting being propelled by the percussion.

    The CD was produced at SubCat Music Studios in Syracuse by Jeremy Johnston and mastered by Patrick MacDougal. The band credits Johnston as being the captain of the ship from start to finish. Physical copies of the album will be available at the Westcott Saturday night or directly through the band’s website. Following the show, the album will be available through iTunes, Spotify and on Pandora.

    Track list:
    1. Mexico
    2. Eldin
    3. Back to Nothing
    4. Better Way
    5. Colas in the Sky
    6. Annie
    7. Miss Bliss
    8. Tommy’s Song
    9. Walk On
    10. Mckenna
    11. Shadows

    Key Tracks: “Mexico,” “Colas in the Sky,” “Shadows”

  • Hearing Aide: Lord Electro ‘Business’

    The Albany based trio Lord Electro has made an epic sound for such a humble group, their debut album Business is highly synthetic, immersive and overall impressive. This is the first full length album for the group and they’ve done a immaculate job. The production quality is top notch, their performance is tight and it will leave listeners with a few pleasant ear-worms. They’re playing all over the tri-state area, mainly focused in New York, as well as an album release show on Friday, March 10 at The Hollow in Albany, NY.

    They’ve played with big names like The New Deal, Soule Monde (Ft. members of TAB), Roots of Creation, Conehead Buddha and have been influenced by groups like The Disco Biscuits, Lotus, Phish, NERVE and STS9. They haven’t reinvented the livetronic style, but they have created a great album to add to the library of livetronica lovers. The group consists of Dan Gerken on Synth, Steve Mink on bass and synth and Jordan LeFluer drums.

    The title track “Business” is first up and it’s a little generic to start, but as the saying goes, ‘If it ain’t broke, don’t fix it.” It builds nicely through a variety of unique tones from Gerken and is very spacious and trance-like with mild peaks and drops. The direction isn’t very surprising but it will definitely get people moving in a live setting. Vocal hooks will have listeners humming the tune for days making this a key track. Again, it’s easy to forget that only three men are creating this music, through the help of loops and drum tracks of course, but it is still impressive nonetheless.

    “Spiral” is truly encapsulating, partly because of the instrumental track, but also because of the thought that went into the vocals. Again, Gerken’s voice is sultry and spot on, harmonized at some points and thoroughly impressive. That voice laid over a never-stopping beat is a really nice touch considering it’s an overlooked aspect of livetronica.

    “The Slumber” is another track that incorporates that fantastic voice from Gerken. That, on top of a darker take on a trance tone makes for an excellent song. The verses aren’t the most incredible pieces of music ever created, but the chorus is astounding. The lyrics, “Too much, too fast” will be ringing out in the heads of listeners as well as this washy, never ending riff that leaves listeners feeling trapped in a whirlpool of sound.

    Towards the end, “Reflections” comes in a little slow to start, but pulls through in the end in the best possible way. LeFluer stays consistent the whole way through, Mink lays down a fantastic, highly addictive, but slightly repetitive groove and Greken digresses from a peppy and tight synth run to an intense, falling lick that gives a nice contrast of light and dark tones.

    Overall, this album won’t revolutionize the livetronica genre, but it is well thought out, well produced and will be an absolute blast to see performed live. Lord Electro perform later this month at Dino BBQ in Troy NY, March 24, The Monopole in Plattsburgh NY March 25 and several other New York based shows mid March through late April. Tour dates are on their Facebook page as well as hard copies of their CD for purchase and digital downloads available on iTunes.

    Key Tracks: Business, The Slumber, Reflections

  • Hearing Aide: Telehope ‘Chasing Dreams’

    The Cincinnati, OH based band Telehope released their debut and self-produced album Chasing Dreams on January 1 of this year. Lengthwise, the group’s eight-track album fits in between some people’s description of an EP and a full-length album. With that being said, Telehope most certainly does not lack content as each song showcases the best of what this up and coming band has to offer our thriving music scene.

    This quintet, consisting of Mark Brad, Adolph Goetz, Ben Malson, Nate Trammel and Brett Sackenheim, combines each of their individual talents to create the sound that is Telehope. In most of today’s music, musical interludes seem to be less prevalent than they used to be. Telehope has thankfully not fallen into this trap and utilizes the emotional power of instrumental outros in songs such as “Joy” and “Have My Heart”.

    They have also effectively matched a song’s musical mood with a title’s intended meaning as seen in “Insomnia,” the third track on their album. “Ghost” is another interestingly arranged song as it begins stripped down with merely vocals and ukulele. Near the end, just as you think the song is beginning to wind down, the volume of all the instruments and vocals drastically increases for a split second catching the listener (certainly myself) off-guard. Though at first I questioned this creative choice, I came to the conclusion that it added an element of surprise ‘coincidentally’ reflecting the purpose of the song’s title.

    Pulling from influences that are visible in their music such as Walk the Moon and The 1975, this indie/pop band hopes to shine positivity through their music and succeeds in doing just that with their first album.

    Key Tracks: Joy, Have My Heart, Ghost, Chasing Dreams

    https://www.youtube.com/watch?v=m-LHDgwukA8

  • Hearing Aide: JAZZ IS PHSH ‘We Never Spoke A Word’

    Get ready for the Chase Brothers to take your ears by storm. JAZZ IS PHSH, founded in 2015 by Adam and Matthew Chase, are releasing their debut album, He Never Spoke A Word, on March 3. The group is well known for having an ever-revolving cast of musicians joining in during shows. The concept behind JAZZ IS PHSH is that an instrumental jazz feel is brought to Phish songs, leaving plenty of room for exploration and improvisation on stage. Stacked with special guests throughout, including Kofi Burbridge, Jonathan Scales, Chris DeAngelis, Holly Bowling, and Carl Gerhard to name a few, twists and turns of musical delight await. Hold on to your seat, or not, as the album is broken down track by track.

    JAZZ IS PHSH We Never Spoke A Word“Ghost” quietly tip toes into the melody with gentle steel pan and keys leading the way. Rich and airy flute meander their way through the tune, as warm keys float along with deep bass tones.  This breezy song is a classy start to an album full of joyful music. Trumpet, trombone and sax meet up to fill out the melody as if it’s a cocktail party, with each musical instrument socializing with others before all meeting up in the same room to toast in celebration. The champagne has been popped and the album is off to a glorious start.

    Now that the listener is in a relaxed state, “Cars Trucks and Buses,” steps things up as horns kick into gear, and bass slaps remain a constant. Trombone bending notes fill out midway, only to hand things off to the tenor sax before the other instruments join in on the fun. “Weigh” holds a beat that insists on movement. That slide trombone reaches out and begs to take the listener by the hand to the dance floor. Close your eyes and it’s easy to forget this a jazz interpretation of a Phish song. Rockin’ guitar chords step in for a brief moment, without losing the calm mood that lingers along.

    “Foam” is a combination of melodies dancing around each other, but never losing sight of the core undertones. Lighthearted steel pans, coupled with sax, jazz the hell out of this track, imploring listeners to get those feet tapping forward and back to the beat. Up and down, around and around, the kaleidoscopic rhythm flows without hesitation, as guitar intertwines for the duration. A sunshine lit song, this is one to play repeatedly on rainy days to lift the spirit and soothe the soul.

    Switching gears, “46 Days” takes off with heavy bass bombs, crunchy guitar, and funky keys. Easy trumpet paces its way early on before handing off the beat to the guitar for layered, soulful chords. Don’t be surprised if this jam creates visions of riding in a Cadillac with the top down, rolling down the strip in Vegas, without a care in the world. Don’t break that vision yet, as “Dog Log” busts onto the scene with a muted trumpet, creating a smooth blend of piano, sax, and trumpet as they join in full force. The silky drums on the backend hold the tune together while explorations on horns take charge. This track brings the listener back into Phish, but only for a moment, before the band takes off into jazzy directions full of zest.

    The stereotypical feel of a jazz club, complete with half empty whiskey glasses and ever present cigar smoke, takes hold as “Lawn Boy” makes it’s entrance. Seductive guitar tones fill the air, as teasing trumpet and sexy sax traipse along. “Meat” pulls the listener out of that smokey club and back onto the dance floor to sway along with a partner. Snapping out of the leisurely melodies, “Camel Walk” takes the listener on an energetic ride. Jazzy guitar, followed by warm trombone, carry the majority of the track. Towards the end, a switch up occurs with the beat, the key, and the variety of instruments that bring the track to a solid close.

    Throwing it back to the jazz era, “Magilla” throws splashes of images reminiscent of backroom speakeasies. Feet that can’t stop dancing to the quick tempo come alive. The trumpet flits about the melody, as the saxophone darts in and out of the notes, producing a colorful creation of tones that chase each other as the jazzed up number swirls along. Closing out the album, a jazzy jam sandwich featuring “Alumni Blues>Letter To Jimmy Page>Alumni Blues” wraps up the musical journey in style. Free flowing flute slide around, bouncing in and out of the horns, keys, and guitar tones, cooling down the listener and taking the music full circle.

    Overall, He Never Spoke A Word is brimming with colorful imagery drawn out by the improvisational melodies and experimental tones, having fun with each song. It’s easy to forget that this album is stacked with jazz interpretations of Phish songs, with hints here and there reminding the listener of the true beginnings of each tune.

    For Phish fans who’ve never been truly introduced to jazz, and for jazz fans that are unfamiliar with Phish, this is the perfect cross over album for fans of both, as well as lovers of music in general. He Never Spoke A Word truly reaches admirers of music across the board, both young and old alike. This is perfect accompaniment music for any occasion and would fit well in everyone’s musical catalog.

    For more information regarding JAZZ IS PHSH, along with tour dates and their debut album, please visit their official website.

    Key Tracks: Foam, Lawn Boy, Magilla

  • Hearing Aide: Crystal Fighters ‘Everything Is My Family’

    Everyone needs some feel good dance music in their life and mainstream pop doesn’t always tickle the fancy of listeners. Crystal Fighters found a way to create a cultured, unique and all around fun album to enjoy, with past albums like Cave Rave and Star of Love inspiring some good feelings. A majority of their songs were uplifting but some had a darker, more intense feeling to them. Their new album, Everything is My Family, is a bit contrary to their prior work. It has a more straightforward structure to it and many characteristics of today’s pop songs. But the groups Bosque roots and use of organic instruments from that area of Spain sets this apart from mainstream pop songs and it makes for an interesting and different take on the genre.

    The sound isn’t the only thing that’s interesting; The story behind the group’s beginnings is almost too good to be true. Group vocalist, Laure Stockley, found her deceased grandfather’s unfinished opera that he started in his last days when he was deemed insane, according to The Guardian. Earlier albums were created in an attempt to finish and recreate some parts of the unfinished play, but that vibe and character they have created has taken on a life of it’s own which now isn’t so dark and insane. It’s more uplifting and motivational and heavily based around partying and having a good time.

    Some people might think the lyrics a little corny, but deep lyrical content was never the focal point of pop/dance music. Looking past that,  listeners will find the group has a great story and inspiration behind it, along with a tasteful twist on a tired out genre.

    “Yellow Sun” is up first and it could be seen as background music for a Corona commercial, where “twentysomething’s” dance  around a makeshift bonfire under a moonlit sky. There’s a fair amount of acoustic instrumentation with hints of synthetic sounds and it makes for a good segue into the moral/ direction of the album. The following track “Good Girls” has the same feel but includes more of a synthetic sound. They’re both key tracks that prepare listeners for Crystal Fighters’ change of pace.

    “Live For You” is the only ballad on the album.  It’s a spacey and euphoric tune that’s synthetically driven but includes a plethora of unique but pleasant tones that make it intriguing and immersive. Vocalists whisper lyrics through a slightly auto-tuned tone but it’s sung over acoustic drums and acoustic guitar which gives a cool contrast.

    “Ways I Can’t Tell” is one of their less impressive songs. It was definitely created for the rave scene. It’s very predictable and has no other purpose but as a build of for a drop. The drop isn’t really that special either, but it’ll make a nice addition to a dance/ pop playlist for die hard fans of the genre.

    “All Night” is going to be hit or miss with listeners too. It’s very tribal with light touches of synthetic instrumentation but it’s very busy and polyrhythmic, meaning there’s a number of conflicting rhythms and percussion instruments. It’s what gives music that primitive or tribal sound. Fighters uses it a lot in this album but it’s very prominent in this track.

    “Fly East” is one of the most interesting songs on the album. It builds in the strangest way and at first listen is completely unpredictable. It’s the longest track on the album and it needs to be because it’s always changing direction and tone. It’s light and dark, excitable then settled and is over all just epic. The end of the song is unfortunately a let down. There’s so much time spent building up this feeling with different directions, and it lazily concludes with a fade out. At the same time, it’s hard to imagine what would be the perfect ending for the song would be.

    “Lay Low” caps off the album with a natural and uplifting tone. It consists of almost all acoustic instruments and holds a powerful message about living life to the fullest while it’s still good. The music isn’t very complex so listeners can focus on the meaningful lyrical content a little bit more. The music is still catchy and fun and it makes a perfect ending to an inspiring album.

    The album is available on multiple platforms and are coming to Brooklyn’s Music Hall of Williamsburg April 5 and 6.

    Key Tracks: Yellow Sun, Fly East, Lay Low

  • Hearing Aide: The Big Takeover ‘Silly Girl’

    Silly Girl is The Big Takeover’s fourth full-length release since their last album three years ago. Neenee Rushie, a Jamaican-born songwriter and powerhouse singer leads this six-membered band in their musical endeavours. A tight-knit ensemble, made up of two horns including the trombone and saxophone, backs her up. A bass, guitar and drums accompany this unique horn section to create a sonically distinctive sound for the group.

    the big takeover silly girl

    From New Paltz, NY The Big Takeover’s infectious twelve-track Jamaican R&B sound has got everyone grooving along starting with the first song, “Rubber Biscuit.” This opening track doesn’t waste a beat as they begin with a quick drum section by band member Hector Becerra and go immediately into the horns played by Andy Vogt and Chas Montrose. The singing takes a backseat in this song unlike in the track “Things You Do” in which the vocals are definitely noteworthy.

    The string instruments, with Kerry Shaw on the guitar and Rob Kissner on bass, play a major role in establishing the head-bobbing rhythm of songs like “Love Understands” and the namesake song, “Silly Girl.” A personal favorite is “Come Before Five” and was released off the record prior to the album release date itself. Its catchy tune just can’t seem to leave my head – but that’s a good thing in music!

    With hints of soul and Motown also peaking through in their songs, The Big Takeover successfully join the popular music movement while still paying homage to their influences in reggae and ska music.

    Key Tracks: Silly Girl, Love Understands, Come Before Five, Rubber Biscuit

  • Hearing Aide: Battle Beast ‘Bringer of Pain’

    Imagine this scenario if you may: you are about to enter an epic battle of man vs the world. You have your leather wrist bands and your battle vest prepared for combat. The boots are all laced and ready to kick up the mud. Deep inside you know something is missing. What could it be? Suddenly the answer came from the metal gods, a wicked and powerful soundtrack to capture the energy of a true warrior. The battle hymn of choice goes by the name, Bringer of Pain from Finland’s own Battle Beast! Today we shall fight for the metal.

    Battle Beast Bringer Of PainNo strangers to the way of steel, Bringer of Pain, is the fourth installment to be added to the band’s ever growing discography. This follow up from their 2015 release Unholy Savior (via Nuclear Blast) and my personal favorite Battle Beast (2013 via Nuclear Blast), they once again present their own unique brand of heavy and power metal to the metal masses. The vocal approach by Noora Louhimo will capture the hearts of the male fans and inspired many females lurking in the genre to take up the horns. With such powerful tracks like “We Will Fight” and “God of War,” they will ignite a flame inside the listener  that will burn brighter than any other star in the sky. The guitar work of Juuso Soinio and the drumming of Pyry Vikki will remind you of Odin’s eight hooved horse galloping to crush the enemies of metal. You will find yourself doing your battle cry as you raise your sword or roll a d20 while playing DND, as each soaring guitar solo with the help of bone crushing war drum makes the opposition tremble before you. Critical hit; victory is yours.

    When it comes to power metal, you know there will be some songs that hit you hard straight into your soul. The track on the album that puts the emphasis of emotion is the very passionate song “Far From Heaven.” The vocals mixed with the guitar skills of Vikki and Björkroth created a masterpiece of melody and melancholy resonance. I am a big scary looking guy and let me tell you, this track makes me feel like a hopeful teenage boy again; simply beautiful. I do admit this is my personal favorite from the new release. Another track that has a wonderful executed dread-filled painted landscape is “Lost in Wars” which features Tomi Joutsen (Amphoris). His deep sorrowful vocals mold a dark picture where a world lost all hope and light because of man’s own doing. It will send chills down your spine with the bass playing of Sipilä giving the song as if it was a funeral dirge. I do see this song  becoming the most popular one on the album in the coming weeks as well as help the band grow their devoted fan base.

    If I could give this album a rating, it would be a solid 5 out of 5. You may order it from the band’s page and your local record store. Buy it and together we will fight with Odin!

    Key Tracks: Bringer of Pain, Lost in Wars, We Will Fight

  • Hearing Aide: Sister Sparrow & The Dirty Birds ‘Fowl Play’

    If success is playing over 700 shows and releasing three wildly successful studio albums, then Sister Sparrow & The Dirty Birds have it. Their presence on stage is infectious, contributing to a vast and ever-growing festival scene. The Brooklyn-based Sister Sparrow and the Dirty Birds just released their newest addition to the catalogue, a two-disc live album titled Fowl Play, that provides enough horsepower and sheer grit to get you in the mood to roll down the windows and hit the road.

    The album starts hard and heavy with “Freight Train,” complete with wailing horns and a voice that could bring just about anyone to their knees. It’s no surprise that lead vocalist Arleigh Kincheloe can use her voice to soar over the rest of her seven-piece band. “Freight Train” is how you start a live album. If you’re new to the band, then that’s the song that will keep you listening.

    “My House” slows it down, with that 50’s soul feel almost comparable to a Sam Cooke ballad. The song is bookended with Kincheloe’s sultry voice, but the meat of the song is the guitar solo in the middle. You’ll definitely want to go back and listen again to get the full effect. For a band who prides themselves on hard-hitting, gritty rock, the ballad is where you really see the definition and talent. Ballads can be tough for a large band, but their ability to settle down and hit you with the feels is undeniable.

    Disc two opens with “Dirt,” which is a prime example of why you should set the computer down and go see them live. The attitude and low-end growl is what makes Sister Sparrow & The Dirty Birds so popular among a vast fan base. The harmonica and sax solo battle is one for the ages, grabbing your attention from every angle. Arleigh’s brother Jackson Kincheloe on harmonica and Brian Graham on saxophone somehow fit more notes into a solo than what should be possible. But nevertheless, it builds to a full-band roar, like a battle cry after winning the war.

    Fans crave live albums, and this one does not disappoint. It appeals to just about every genre, and provides funky, gritty jams that can get just about anyone moving. Get your copy on their Bandcamp where you can also preview the album. They don’t currently have any tour dates announced, but keep a close eye on their website for upcoming tour and festival announcements. Do yourself a favor and hop on the Dirty Birds train, because wherever it’s going, you’re in for one wild ride.

    Key Tracks: Freight Train, Dr. Feelgood, Dirt