NYS Music 20​17

Category: Album Reviews

  • Hearing Aide: The Bowling Alley Sound ‘The Bowling Alley Sound EP’

    On Friday, February 24, New Jersey’s own The Bowling Alley Sound will release their self-titled EP on their label 46 West. Their sophomore release brings musical and physical growth, as the original 4-piece has now transformed into a quintet with the addition of bassist and album cover artist, Andrew Capuano.

    The post-rock follow up to their 2014 debut, Metaphysical You, begins with the most energetic release of the four-track list, “Henry and Clark.” Well-known bands in the post-rock genre such as Explosions in the Sky and Mogwai can be heard echoed in their opening song as EP producer and guitarist, Mike Basil, kicks it off with a soft and subtle rift. Nick Looney’s drum playing anchors the song in place until the final section finds Issac Rubins’ violin eerily bringing the song to an end.

    “Night Flight” recreated the rich and repetitive textures heard in the first track, but much like the song title, the listener is reminded of dreams about flying. While the song will not make you want to get up and dance, or get up at all really, it would fit well at a yoga studio, meditation session, or music score of a Planet Earth episode.

    During the final two tracks, they inject muffled crowd noise to bring the listening audience together as one with the band. The group attempts vocals for the first time during the closing track, “The Conversation Of The Street Lights Will Pass As Quickly As Our Words,” a title almost as long as the EP itself. The post-rock vocal approach is very different from the typical verse-chorus structure found in many other rock genres, and The Bowling Alley Sound stay true to form using soft, spoken words to poetically describe a 2017 New Year’s resolution. While I would have liked to hear more trumpet textures from Danny Molloy, the final track sends the listener off in a tranquil and serene mood.

    The digital-only release of The Bowling Alley Sound will be available on all major platforms and can be pre-ordered now for only $1 (US currency).

    Key Tracks: Henry and Clark, The Conversation Of The Street Lights Will Pass As Quickly As Our Words

  • Hearing Aide: Ross Jenssen ‘Stories’

    Future groove group Ross Jenssen put forth their sophomore release February 7, titled Stories. The instrumental nature of the album , sans lyrics, provides a suitable backdrop for listeners to marry their own imagination with the instrumentation. A frantic moodiness looms throughout the EP, keeping the listener ever so slightly on edge. Ross Jenssen (writer/producer), Brian Ross (bass), Sam McGarrity (guitar), Jules Jenssen (drums/moog), and Ricky Tiven (violin on tracks 2,3) are the instrument wielders behind the madness.

    Stories opens with “The Chronicle,” which begins with brooding bass before quick and subtle percussion and guitar distorted with a trace of metal lend the song a sense of urgency. “The Tall Tale” holds a beat that ceaselessly drives the song forward before sliding into its own noodly jam. “The Myth” rounds out the three-track trio with a flurry of wavering tempos that suggest the group couldn’t settle on a cohesive rhythm for the closing tune.

    The songs are similar enough in style that if you were to listen without paying attention to track numbers or knowing this was a three song EP, you could mistake it as one lengthy jam. It’s a bit too repetitive, although the musicianship is crisp and controlled. Recorded at Sub Station Studio in Housatonic, MA, the EP was engineered by Jackson Whalan, Jules Jenssen, Ian Stewart, mixed by Ian Stewart, mastered by Taylor Larson (periphery, veil of maya, FFTL) with album cover by Simon Ban. Get the album here.

    Key Track: The Chronicle

  • Hearing Aide: SCHMAVE ‘Painted Post’

    There’s always that one, odd, sunny day at the tail end of winter that breaks away from the routine gloom and darkness characteristic of the past few months. The sun is shining and there isn’t a soul that’s not outside enjoying the weather. SCHMAVE, an indie rock band out of New Paltz, New York, embodies that spirit in their debut album, Painted Post.

    Each track on this seven-song project has a story and is told through seeable lyrics and tangible melodies. While songs like “Drunk” and “Hand Washed Clothing” are reminiscent of Local Natives style rhythm section and melodic structure, songs like “Fruitless” provide a jumpy alternative, creating a refreshing change of pace from the rest of the album.

    Recently, the indie rock music scene has definitely emitted great projects, although most of them visibly try to create for themselves a unique sound that has never been heard before. After a while, the definition of “unique” gets lost among the saturation of bands trying to set themselves apart from the rest. Painted Post proves that a band doesn’t need a completely original sound to get recognition. In effect, SCHMAVE makes a name for itself by simply making good, relatable, honest music.

    As the opening track, “Alfred” symbolizes the rising of the sun with an open chord structure and uplifting melody, the final song, the albums title track, symbolizes the setting of it. This irregular sunny day is now over and tomorrow the weather returns to the dreary winter cold, as spring tries to officially push through to the surface. Yes, tomorrow will not be the same, although those fleeting hours were the perfect remedy to getting through the rest of the season.

    Key Tracks: Drunk, Hand Washed Clothing, Painted Post

  • Hearing Aide: Overkill “The Grinding Wheel”

    It is already the second month of 2017 and it is already showing this year is the year of the thrash! With Kreator’s Gods Of Violence and Sepulutura’s Machine Messiah released in January, both are perfect examples why the genre will never go down without a fight. Now it is time for another thrash/speed heavyweight to show the spirit of cheap beer and denim is still alive. I am speaking of course of the mighty Overkill with their latest album, The Grinding Wheel, released via Nuclear Blast. Time to give this giant a well deserved review.

    Being the eighteenth studio album from Bobby “Blitz” and the boys, it is safe to say these veterans of the genre know what makes the name Overkill so great. A great follow up from White Devil Armory (released 2014 via Nuclear Blast), this album has their brand of metal written all over it. The groove aspects of D.D Verni (bass guitar) and Derek Tailer (rhythm guitar) gives the album many memorable tracks. The most dominant tracks on the album that showcase their type of approach are the tracks “Come Heavy” and “Red White and Blue.” With “Blitz” vocals, you will find yourself singing along while the general public just stares at you. Let them stare! You are a thrasher. These tracks just keep you bobbing your head more than a headbanger from “Brütal Legend”. It is called heavy metal.

    Another key element of this album are the 80s classic thrash riffs that makes you wanna toss your friend in the circle pit while you hold his beer. You totally got it dude! The single off the album, “Our Finest Hour,” is the powerhouse staple that drives the aggression from start to finish on this shred-tastic release. The machine gun style drumming of Eddy Garcia, always keeping up the groove and the pace of the song, is like a kick in the jaw. . Every snare and cymbal hit sounds as if a storm is coming over the horizon. You might as well get a mouth guard while listening to it. It is a a non-stop ride of pure danger, but we know you love the abuse.

    There are so many tracks on this work of art which which will keep you windmilling for days. It is safe to say this album will constantly be blasted by those who are thirsty for the glory days of American thrash. Prepare those neck muscles. This album gets a 4.5 out of 5 stars. Pick it up now via Nuclear Blast or at your local record store.

    Key Tracks: Come On Heavy, Our Finest Hour, Red White and Blue.

    Overkill is currently on a North American tour w/ Nile, Amorphis and Swallow The Sun.
    Overkil. Hitting up Clifton Park at Upstate Concert Hall on September 3rd, 2017.

    For all concert check the band’s page. http://wreckingcrew.com/Ironbound

  • Hearing Aide: Her Harbour “Go Gently Into the Night”

    The fifth track of the second album by Her Harbour, Go Gently Into the Night, is titled “Memento Mori,” Latin for “remember death.” Even without a track title such as that, it’s difficult to not have death on the mind as you listen to this album. Beyond the death-alluding album title and the frequent references to it in the lyrics, Go Gently Into the Night sounds like death personified. Every piano note played and every syllable voiced by Gabrielle Giguere feels like it’s possessed and able to possess you at moment’s notice.

    Her Harbour Album standout “Hewing Crowns” kicks things off. It wraps you into the murky environment, with Giguere sounding akin to a more gothic Angel Olsen. “Sheared skin and old fur/Sorcerer could conjure demon in anything” she sings against somber piano. If you cannot stand the piano on this track, then you are going to have difficulty with the rest of the album, as that one of the main things tying the songs together. Giguere is not a flashy performer. However, this works to her benefit, as she is able to summon the vitality out of every syllable she sings, making her one of the best female singer/songwriters making music right now.

    On “Hewing Crowns,” she makes a particular dark declaration with “you conjure demon in me” and goes on to say “your baths are drawn from my tears.” It is intensely immersive stuff that summons you to see what else drives Giguere. As the album progresses, her vocals get more and more naked. On “In Nude, In Fog and River,” her voice is particularly pained, sounding like she would need to bite her lip to keep it from quivering. “Below Breaths” mixes lower register hums with shimmering guitar strums as Giguere coyly asks “What’s killing you darling?” “Chim and Knell” is particularly teasing, with a two-note piano motif that seemingly serves to put the listener in Giguere’s obsessive headspace as she sings about a love diminished, if not quite lost.

    The death in the album doesn’t seem to be just that of a specific physical loss. With lyrics like “The spring is a cruel time/a thousand bodies become the soil again to feed new life,” it seems Giguere is most fascinated by the cycles that must exist. On the morbidly-titled “Death Mask,” she sings “In the time I’ve lived here, I’ve watched a tree grow.” It comes towards the end of the album, and it’s the kind of sentiment that gives you some hope. If everything must eventually die, then we should appreciate it for when it’s alive. An additionally intriguing aspect of the album is how Giguere appears to be commanding nature on the tracks. On “Memento Mori” she urges the “juniper and cypress tree” to “lay [someone] down and don’t be cruel,” and another track is titled “Come Half Moon.” She might know it’s futile, but she wants to try nonetheless.

    The somber nature of Go Gently Into the Night makes it simultaneously relaxing and unsettling. The ambient nature of Giguere’s arrangements and her soft vocals might help you drift off into sleep. However, there is a sense of urgency in how she presents everything. It’s an album that doesn’t bark at you to sit up and listen but beckons you with the sincerity of its message. If you have space in your music heart for a little existentialism, give Go Gently Into the Night a listen.

    Key Tracks: Below Breaths, Memento Mori, Death Mask

  • Hearing Aide: John Ginty ‘Rockers’

    John Ginty has recently released a new album titled, Rockers, featuring his band’s new lead vocalist, Aster Pheonyx. This is his fourth studio effort, which was set into motion following his discovery of Pheonyx’s powerhouse vocals when she opened for his band at the Wonder Bar in Asbury Park. Following some backstage conversation and jamming, he invited her to perform with his band and the chemistry during the unplanned performance was what led to the birth of this swell new line-up and album.

    Ginty is a celebrated performer and recording artist, known not only for his mastery on organ and keys, but also his extensive catalog of performances as a session musician. His career kicked off in the mid-1990’s following his contribution on Neal Casal’s “Fade Away Diamond Time,” which opened a number of doors for him. He joined Jewel’s touring band soon after, and then, went on to perform on records by Citizen Cope, Matthew Sweet and Shannon McNally. Ginty joined Robert Randolf in 2000, as a founding member of Robert Randolf & the Family Band. He has performed with nationally acclaimed artists such as, Warren Haynes, Albert Castiglia, Cris Jacobs, Alecia Chakour, Todd Wolfe and more.

    His band also features Justine Gardner on bass, Maurice “Moe” Watson on drums and BKG vocals, and Mike Buckman on guitar. Special guests on the album include Jimmy Bennett (guitar), Paul Gerdts (BKG vocals), Josh Gannet (guitar, percussion, backwoods), Paul Kuzik (bass) and Reggie Noble as DJ.

    Aster Pheonyx certainly brings her own flair to the table, bringing spice to Ginty’s expertise with her compelling vocals. Pheonyx, a three-time winner of the Top Female Vocalist from the Elephant Talk Indie Music Awards, is influenced by artists like Beth Hart, Susan Tedeschi and Amy Helm, which is undeniable in the way her sound ripped through the 12-track album that she co-wrote with Ginty.

    https://www.youtube.com/watch?v=WZgPXVv1Z5o

    The first track, “The Shark,” doesn’t feature vocals, and instead eases you in with a funky melody that has Ginty rip-roaring the organ. “Lucky 13,” a hard rocking blues number that features the full band and Aster’s raging vocals that fit the music like a glove, was released as a single prior to the album release, with an accompanying music video. It has an urgent tone that shows right off the bat the power of Pheonyx’s vocals, underlined by the band’s rock fusion. “Believe in Smoke” is a great track, because it showcases the successful combination of Ginty’s sound buttered by Aster’s vocals, before diving into a great jam at the end of the song. “WKYA” breaks up the music a bit with an amusing skit featuring Reggie Noble as a radio DJ interviewing Ginty.

    Another favorite was “Mountains Have My Name,” which is where one can really hear the Susan Tedeschi influence on Aster’s voice, while the keys in this track add a special element. This beautiful soulful number features Ginty on piano and is about a woman who is called away from her man by the mountains. The instrumental title track, “Rockers,” is the last track, and it is a great way to close the album, because it leaves the audience with a full lick of their musical capacity.

    John Ginty is currently on tour in the south. He returns to the Northeast for an album release party on Feb. 17 at Revolution in Morristown, New Jersey. He also plays the Fountain House in Newton, New Jersey on Feb. 24. Rockers will be released on Friday, Feb. 17. For tickets and more information visit here.

    Key tracks: Lucky 13, Believe in Smoke, Mountains Have My Name, Target on the Ground, Captain Hook

  • Hearing Aide: Thievery Corporation ‘The Temple of I & I’

    Rob Garza and Eric Hilton, better known as the electronic duo, Thievery Corporation, have been genre-blending their way from upbeat dance halls to groovy lounges for over two decades. Their new album, The Temple of I & I, which drops on February 10, presents two middle-aged music-heads redefining their sound once again. While their last album, Saudade, took the group to Brazil to gather ideas from their bossa nova upbringing, Temple drops them off on the beautiful beaches of Jamaica in search of inspiration from a higher power.

    The roots rock reggae feel can be found immediately as “Thief Rockers” treats listeners to their first hit and much like featured artist Zee’s lyrics indicate, the sound has also “got the magic ganja gonna make your head spin.” The delicate mix of ambient-dub with Jamaican vocals sets the vibe for the remainder of the hour-long Caribbean vacation.

    Thievery Corporation is known for eliciting talent from hip-hop to trance backgrounds, and in their new album, they discovered Kingston’s own singer and MC, Racquel Jones. “Letter to the Editor” is the first of two tracks she appears on and her fast paced flow glides well with the disco-dub beat. Long-time collaborator, Mr. Lif, uses his lyrics to tackle worldwide socioeconomic conditions in “Ghetto Matrix.” After a highly political 2016, this protest-tronic piece fits into early 2017 with unfortunate ease. “It’s a complex plan that keeps us confined,” can be easily said about political interest in Jamaica as well as here in the states and around the world.

    Our nation’s capitol is where Thievery Corporation calls home and in tracks like “Weapons of Distraction,” “Road Blocks,” and Mr. Lif’s second appearance, and“Fight to Survive,” there are signs of revolt and reaction to injustices from the duo and the supporting artists. While The Temple of I & I could serve as a good sit-down and smoke a joint album, it also works as a stand up and raise a fist mix.

    “Strike the Root,” showcases a Thievery Corporation regular, Notch Howell, singing over a dub beat with a horn section that sounds reminiscent to the Star Wars “Force Theme.” “Let The Chalice Blaze” is a timeless track from these electronic kingpins that would fit nicely on to any one of their eight studio albums. The Temple of I & I may be one of their wordiest releases to date, but this instrumental track brings new and old Corp. fans to a safe space.

    In reference to the record’s title, Hilton explains, “It is a place of worship that exists only in our imagination.” While the album sounds uniquely different from previous releases, there is the central theme of consciousness and self-reflection that melodically finds its way into most of their work. The eclectic arrangement of varying themes and sonic journeys give each listener a chance to enter one’s own temple.

    Key Tracks: Thief Rockers, The Temple of I & I, Let The Chalice Blaze

  • Hearing Aide: Laughed the Boy ‘Here Is Fine’

    At long last, some honest indie rock rolls around and it comes from the great white north, of all places. Laughed the Boy‘s style is guitar driven, easy to enjoy and  edgy. They’ve had some time to nail their sound so it’s very refined and professional. That, coupled with the production quality makes this a record that will definitely yield some recognition.

    Most of their music was created by singer, guitarist and bassist Chris Panacci and were brought to fruition with help from his brother Sean who plays drums on the recordings. Their goal, according to a press release, was to create “honest and unpretentious 90’s nostalgia inspired songs,” and it’s safe to say that’s a mission accomplished. The brothers recorded a few albums together and soon after brought bassist Brennan Hrehoruk on board so they could perform their creations live. During rehearsals, they created several new songs that will be released as a full album on February 10.

    There’s a few key tracks that listeners should look into that will quickly help them decide if this is their cup of tea, and “Autumn” is the best place to start. The tone is fairly melancholy, with chord progressions that don’t seem to flow together nicely, but somehow work perfectly. It’s a bit like anti-pop (pop meaning popular music in general) but their sound is natural and doesn’t come across as ostentatious. Instead, listeners get the sense that the songs are inspired and genuine. In other words, it doesn’t feel like they listened to a four chord  pop/rock song and say, “let’s do the opposite of that.”

    They created something that comes across as a real expression of themselves. “Autumn” is definitely the least aggressive track and is more dainty with most of the attitude coming from a lightly distorted guitar solo found at the tail end of the song. Laughed the Boy’s music is very reminiscent of the Pixies’ “Where Is My Mind”  but a little more brushed up and refined. This is definitely true when compared to “Bell Rock” and “I Sold Out For This.”

    Another key track is “Warm Hands Cold Feat.” It sounds very much like Ben Folds without the piano, which isn’t a bad sound for them, but it most likely won’t be a direction they will go with on future records. It’s a little too airy and lighthearted for them, but it’s definitely one that people will enjoy. It’s a nice segue into the realm of indie/punk/rock because it can be very hit or miss with listeners. Many of their other songs sound pretty similar, like “Double Down” and “Trip Down the Gold Mine.” They’re well done, but the works mentioned before are definitely ones to be looked into first.

    This is a great album for those interested in delving into the world of indie rock. The name of the genre  brings to mind a sound of angst and pretentiousness which can push people away, but if listeners dig deep enough they can find groups like Laughed the Boy that create quality work that’s fun and addictive.

    The album drops Friday, February 10th. Listeners can find singles from the new album on their  Soundcloud account.

    Key Tracks: Autumn, Bell Rock, I Sold Out For This, Warm Hands Cold Feat

  • Hearing Aide: Hand Habits ‘Wildly Idle (Humbly Before the Void)’

    Hand HabitsA persistent cold rain taps the window while the trees shake it off with the blowing breeze. But you sit comfortably warm in your living room. Feet warming by the fire. Belly warming by a glass of your favorite brown liquor. Ears and soul warming by the new Hand Habits’ album, Wildly Idle (Humbly Before the Void).

    It fills the empty void of sound in the room pleasantly enough. As your mind grows heavy with thoughts of the day, it almost passes by without notice. Then it grabs you. Maybe it was the angelic harp-like strum from “Actress.” It could have been the softened “I Want You (She’s So Heavy)”-esque building progression of “In Between.” Or perhaps it was the gentle hook and groove in “All the While.” Regardless, it grabbed you, and trained your ears on the subtler moments.

    The moments grow and feel more complex with each listen. The droning proggish guitar lead in “Book On How To Change” gets punctuated in the background with slashes of reverb-drenched guitar. “Nite Life,” a pleasant psychedelic groover, has layer upon layer of musical treasures floating just below the surface. The repetitive vocal close of “Demand It” is decorated with a swirling multi-part guitar jam.

    Each moment on Wildly Idle (Humbly Before the Void) feels crafted to the nth degree, but remains simple, sparse and intimate. It makes sense then that multi-instrumentalist Meg Duffy is responsible for every bit of instrumentation and production. A native of the Albany area, she has been playing extensively with Mega Bog and Kevin Morby for the past few years. Now striking out on her own, Hand Habits becomes the latest branch on a Woodsist family tree that has been sprouting incredible talent at an impressive pace.

    Key tracks: All The While, Book On How To Change, Nite Life

  • Hearing Aide: Popa Chubby “The Catfish”

    “Going downtown to meet my old girl Mary, her legs are long and her lip is hairy.” This is one of the lyrics from the opening song “Going Downtown” on Popa Chubby and his newest album to date, The Catfish. Popa Chubby, hailing from the Bronx, is a blues rock veteran with a remarkable discography to his name that is also a hilarious play on words. My initial impression of Popa Chubby through his music is cemented by the literature found in the inserts of his CD; a humble and experienced artist who pours his soul into creations.

    Popa Chubby The CatfishMusic isn’t music if it does not evoke and inspire some sort of feeling in your heart. As I listen through “The Catfish”, I feel as though this is the soundtrack to driving through the countryside or mountains upstate in a drop-top Chevelle or low-riding Harley-Davidson. Popa Chubby brings clean and driving blues guitar (with great choice of tones, by the way) coupled with rock n’ roll vocals that have a hint of that iconic guttural 90s alt rock feel. Throughout the album, there is a fairly balanced trade-off between vocals and lead guitar, as though the guitar tells a story that words simply cannot. As for the story being told, it is the simple yet widely relatable message of embracing life through love, lust, pain and freedom.

    It’s my personal thought that music, like food, can be made even better when paired with the right choice of drink. I would pair something grungy like Nirvana with a tall pint of stout, or something smooth and jazzy like Amy Winehouse with a glass of cherry wine. I feel like hearing the songs on this album live at a bar or club would be best enjoyed with a glass of bourbon poured neat. And live, I can’t even imagine how enjoyable the songs off of The Catfish would be. Popa Chubby shows his versatility and songwriting skill by fusing multiple styles of music on a number of tracks. For example, the song “Bye Bye Love” features a reggae inspired rhythm section with Jimi Hendrix-esque lead guitar. “Wes Is More” is jazz to the max, and features solos from all instruments on the track. One of my personal favorites, “Slow Down Sugar” features a drum beat and trumpet that any hip hop producer would sample quick, fast, and in a hurry, and there’s even Red Hot Chili Pepper-style rapping on the song too.

    Overall, “The Catfish” from Popa Chubby is an enjoyable experience that you can lose yourself if you are looking to drive around without purpose or get your mind off of stressful thought. The solos are memorable while not overbearing, and the instrumentation is top notch. Kudos to Popa Chubby for being the multi-instrumentalist that he is, as well as the musicians he credited for the studio recordings. The lyrics capture the humble, experienced yet larger than life personality I imagine Popa Chubby to have and his voice captures the soul he’s got. The album takes you through ups and downs, like any good record should.

    Popa Chubby is currently touring the U.K. and Europe, and if you are on the other side of the pond you’ll be able to catch through Mid-February. He returns for several state-side shows starting in Schenectady, February 17 2017 at the Van Dyke Lounge. If you’re in town, get a taste of his blues rocker stylings with that glass of bourbon I was talking about. Order the album here.

    Key Tracks: Going Downtown, Bye Bye Love, Wes is More