“If there’s one thing that can be said about the album, it is that it is brimming with emotion,” said guitarist Sam McGarrity. Boy, he wasn’t kidding. This emotional direction is a new concept for this group, but that doesn’t mean they still haven’t lost sight of their style. I only say this because as good as their first track sounds, it is very misleading in terms of the direction of the album. As for the rest of their work, it’s well orchestrated, produced perfectly and gives each member a chance to shine. One of their most notable traits is their ability to build upon ideas while keeping things linear. With rock based bands, things can get a little repetitive. But The Nice Ones never get comfortable and can keep things interesting throughout the entirety of a track.
“Siren Song” is a surprising first start for the group. They’ve released two albums prior to this one and none of them are styled in the way “Siren Song” is, but loyal fans can rest assured that they haven’t lost their roots. With delicate instrumentation and Patrick Surdam’s fragile voice, the song acts as prelude which attests to McGarrity’s claim of the collection being full of sentimentality.
“Know Better” jumps right into their rock and roll style with the only similarity being Surdam’s voice. It’s a straightforward and completely contradictory song to the the prior track. It has a great instrumental hook in the chorus and, again, the group has done a stupendous job of building an arc worth waiting for. There’s plenty of highs and lows to keep thing interesting in an otherwise very rudimentary song.
“Good Kids” is dance worthy, glowing with positive energy and is a track that would be a tremendous hit in a live setting. The guitar hook is an ear worm, in a good way. And once again, they create an arc in their song that builds in a direction that a new listener would never expect. This is undoubtedly one of their key tracks.
Don’t be fooled, “Surfer Girl” is not what it seems. The tone switches back and forth several times and ends in a way that’s completely different than the intro in terms of instrumental and lyrical content. Surdam first speaks of a girl that he “thought of kissing” and ends the song talking about how he should have killed this girl when he had the chance. This one will be listed as another key track because of its contradictory style and, once again, the incredible rise and fall of emotion.
What I’m loving most about the album is how their songs never finish the same way they start. The only similarity is the key, and even that’s arguable. “John Honre Burns!” is one of the most dynamic tracks on the album and has an incredibly misleading intro. The only other time we hear the sultry riff of the intro is half way through the track when it repeats and that’s it. After the second verse, the feeling of rage grows exponentially until the end of the song when it comes crashing down.
Lastly is “Burn it Down,” the most anxious and chaotic track on the album. It leaves a bit of a bitter taste in the listener’s mouth considering what the tone was at the start of the album. It’s fast, rambunctious, but oddly good. McGarrity said this was an emotional track and anger is the emotion that this album was missing. Well, listeners will sure get their fill of anger with this one. It just isn’t a track most groups would place at the end of an album. Looking past that, it’s well orchestrated and a fun listen.
Although the album is “brimming with emotion,” it is a little sporadic. This isn’t an album that people will listen to from beginning to end; it’s too all over the place. I encourage people to riffle through the album to find something they like because there really is something for everyone.
Key Tracks: Siren Song, Good Kids, Burn it Down
This album comes to us a half-century after their debut release, Shake Down. Thirty albums and countless tours later, they’ve honed their craft to show that they are one of the best blues acts around. That experience shines in the sheer grittiness of this album, which only begins to describe the feeling this band delivers from start to finish.
The group was founded in 2012 by Andre Walker (drummer) and Eric Rollin (vocalist). As a larger ensemble, the musicians within the group change from time to time. However, Walker and Rollin are the two members that have remained a constant over the years. Guitarist Ryan Sullivan, trombonist Elaine Mylius, and saxophonist Jon Weisbrot are featured within the current line-up, as well. Though Mistar Anderson started as a cover band, the group has expanded throughout the years and has begun to release their own songs, all of which hold a unique sound.
The EP 
The first notes of Specimen transport the listener to a different dimension. The intricately woven acoustic rhythms and spacey loops featured throughout create an aura that is somewhere in between the past and future, but certainly not in the now. If you close your eyes and dig deeper into the EP you may suddenly get the feeling that you are alone, lost on a farm in Medieval times. However, you cannot be sure you have gone too far into the past as spaceships and the glowing effects of technological advancements cautiously linger above. The combination of folk-influenced songwriting with psychedelic loops throughout create a futuristic Americana sound that can delicately be defined as an Emersonian audio experience.
The album, Darkroom foundation is created by the hands of David Manzano (drums), David DiNiro (guitar/vocals), Jeff Brown (bass/vocals), Ronnie Dark (guitar/keyboards/vocals) and Steve Kratz (vocals). This motley group of guys know how to package something old and to make it as if it was brand new. The album presents itself with so many classic rock influences from all across the rock realm spectrum. With tracks like “Trouble” and “The Hunted,” the energy of that rebel rock hits you hard like a brass knuckled punch. The fact that “The Hunted” is actually about a famous serial killer in our area really gives it that nice tongue in cheek play with the lyrics. Manazo really can show you how he can make his kit come alive keeping that nice jazz and blues infused playing on the tracks. Let us not forget Brown’s bass playing pretty much hits in the same ball park paving the way with some hints of funk aspired basslines, keeping that rampant energy striving.
The first single off the album, “Legs,” sets the alluring tone and foundation for the piece. It compounds a very dark and melancholy setting which is created by Cash’s mental state and musical influences. The melody really resonates inside the listener. You feel like you are being seduced by something wicked, but the temptation is very much there with the need to explore deeper into that realm. The sound of the drums sounds like your very heart is about to give out with each passing second. The bass plays with that idea well as it creates a very soothing, yet uncomfortable tone. I feel what really gives this track the passion and drive the most is the guitar combined with Cash’s vocals. The high screams are vicious and the more calming vocals really do play on that high emotional factor. It does feel as if you are fighting to be both good and evil at the same time with some inner demon. It is both a demon and an angel that you will find yourself becoming with “Legs” as the puppet master.
The entire album has the coherent flow of a concept album, with its many themes seeming to bleed effortlessly from one song to the next. The introductory track, entitled “Donut Ghost House 1” sets the mood with a creepy, moody instrumental that slowly builds up with a hypnotic bassline and ambient keyboards, before the somber opening riff of “Onlookers” leads to some thoughtful verses. One of the notable improvements Lespecial has made with this album is an improvement in both vocals and lyrics.