NYS Music 20​17

Category: Album Reviews

  • Hearing Aide: Positive Mental Trip ‘The Black and White Album’

    Positive Mental Trip recently released The Black and White Album, a collection of 15 songs that spans the genres of reggae, progressive rock, alternative rock, and more. The band is from Catskill, and The Black and White Album is their sophomore album coming five years after Change Your Mind. The band’s core writer/recording musician is Luke Weiler; he taught himself drums and bass to record nearly every instrument you hear on the album. The few exceptions are the sax parts in “The Bronco Rides at Midnight” and “Circles,” recorded by Chris Bonnano, and additional guitar from Steve Repka on “Circles,” “The Happy Old Man,” and “As a Friend” and Walt B on “The Bronco Rides at Midnight.”

    The album kicks off with two reggae-styled tracks: “The Road” and “The Happy Old Man.” “The Happy Old Man” is one of those feel-good songs with simple structure, ending each lyrical phrase with “cuz I’m the happy old man.” It makes good use of percussion and guitar arpeggios. “The Road” is one of the best on the album with a laid-back groove emphasized by the scratchy/distorted guitar. “December Winds” stands out as the heaviest track on the album, greatly juxtaposing the lighter works throughout. It has a driving backbeat and prominent guitar until the end where the track suddenly shifts to a slower, lethargic tempo. “Sleeping Dreamland” artistically features some flat pitch bending in the guitar to illicit a dream-like or even a disoriented state by the listener. “Circles” closes out the album with an upbeat, funky, progressive jam that really caps the project with an exclamation point!

    The album is quite diverse in song structure, featuring tracks only about a minute long up to almost 12 minutes, and it’s also inclusive of multiple genres; it has something for all listeners. They used a number of vocal effects which added a bit of depth to the vocalist’s sound. Weiler mixed and mastered the entire project with a little help from Tony Gonzo on “The Road.” The bass and drums could have been higher in the mix throughout to give the music a little more support, but still impressive nonetheless that Weiler crafted this album himself.

    The album is a bit more experimental than the last, illustrating the artist’s growth in musicianship and willingness to diversify the writing. The band took some liberties with the recording process by tracking anywhere from 5 to 12 layers of guitar and including an array of instruments throughout. They’re not touring in support of this album, save for the CD release party in Athens, NY. So this allowed them to focus on creating densely textured tracks without worrying about how to recreate them live. Click here to check it out!

    Key Tracks: The Road, The Happy Old Man, and The Bronco Rides at Midnight

  • Hearing Aide: Suffocation ‘…Of The Dark Light’

    We all have heard of the many wonders of New York City. From the beautiful architecture of the towering skyscrapers to the world famous restaurants for those who desire nothing but the best in taste bud stimulation. But beneath the beauty of this majestic place lurks something ugly, distorted, and heavy; death metal! N.Y. has always been a generator of some of the best death metal bands since the birth of the genre. From bands like Immolation and Mortician, this city bleeds for it’s death metal community.  Now with the release of Suffocation’s latest blistering piece, ….of The Dark Light, it shows NYDM will never die!

    Suffocation Of The Dark Light…Of The Dark Light (via Nuclear Blast)  is the eighth studio album from the NYDM legends. This is a long awaited follow-up from the band’s crushing 2013’s album Pinnacle of Bedlam (via Nuclear Records). Recorded at Full Force Studio with the expertise of Joe Cinecotta, you can bet those walls were rattling like a crazy mother from those devastating sonic assaults. Just by looking at the magnificent artwork cover by Collin Mark, the design will catch your attention. It features a beautiful humanoid in a dark blacken blue abyss, slowly becoming one with the unknown. You can just feel the hairs stand on end when you look at this artwork, knowing it will be one hell of a journey. The album starts off on a highly aggressive and technical foot with the track “Clarity Through Deprivation.” You can hear the quick precision from both Terrance Hobbs and Charlie Errigo finger work all across this sonic barrage!  It proves the young bands still can learn a few things from their death metal ancestors in perfect timing and song construction.
    Like most old-school death metal fans, I need some deadly grooves to get my rotten corpse moving in the pit. Lucky for us, groove is not forgotten on this little gem! We have the track ‘Return To The Abyss’ to have you breaking some bones. This song is powered by the blood, sweat, and sacrifices of Eric Morotti (drums) and Derek Boyer (Bass) with their enriched flavor of rhythmic sauce! From the very start to the dreadful end, the track will make your neck muscles spasm and will cause one hell of a head rush. Prepare that icepack after blasting this beast!
    Frank Mullen’s vocals are still more intense and demonic than any singer I know in the death metal genre. His vocals all over this album are perfectly executed with so much testosterone and energy, especially on the tracks “…Of The Dark Light” and “Return To The Abyss,”  it will melt your face so much that even Leatherface will need a backup!
    With the legends in extreme metal going strong like Obituary, Cannibal Corpse, and Dying Fetus still vomitting out great albums, death metal will never die! I give this album 5 tombstones out of 5. Check out the band on tour right now and pick up this album at your local store or buy it through the official band site and to check out the tour dates for a show by you!
    Key Tracks: Clarity Through Deprivation, Your Last Breaths, …Of The Dark Light

  • Hearing Aide: Danzig ‘Black Laden Crown’

    You find yourself in bed with the wind screaming outside your bedroom window like a banshee. Shadows dancing and morphing into sinister shapes upon the walls . Indeed the world is different once the warm embrace of the sun abandons us in the hands of the unknown abyss. Demons both of man and out of this world come out to play. Seducing  the weak and creating nightmares that no man should ever experience, but there will always be some who seek out these dreaded apparitions. For them there is a soundtrack that catches the beauty of the night, I am speaking of Danzig’s 2017 release Black Laden Crown (released via Evilive Records). Here is another album review for those who love all things metal and dark!

    Black Laden Crown is Danzig’s first original album since 2010’s release of Deth Red Sabaoth. The album features Glenn on vocals as usual and Tommy Victor behind the devil’s axe. You have Johnny Kelly, Joey Castillo, Karl  Rokfist, and Dirk Verbeuren featured on this release for drumming sessions on the album. Recorded at East West Studios in Hollywood, California, Danzig once again generated his own brand of metal mixed with blues with the help from the undead! The track that really sets the mood for the album is the first single, “Devil On Hwy 9,” which first premiered on Full Metal Jackie’s show Whiplash on April 02, 2017. This song starts with a strong, straight for the throat blues-induced attack. The guitar solo by Victor and the slow bass playing really creates that sense of becoming dangerous for the listener. The drumming on this track by Castillo is a savage skull beating, which no man can help but feel the tribal need to go out on a hunt. With the lyrics being so simple and addicting, fans will imagine themselves behind the wheel on a forbidden highway with demons flying by and cursing through the night. With Glenn’s vocals being so raw and deeply disturbing, it gives the track a real element of morbid obsession.  A perfect song to drive late at night. Just make sure you keep your eyes on the line!

    With “Devil On Hwy 9” being such a direct approach of pure danger and blood boiling elements, we see this element in some other songs like “But A Nightmare” (Dirk on drums). Now we all do love Danzig for his slower stuff as well. I am a blues and a metal fan at heart, but sometimes the slower songs can be much heavier in terms of approach compared to the aggressive counterparts. With the second single “Last Ride,” it has that eerie sensation running down your spine as if death is waiting for you to greet him in your blacken room. It is very much in the veins of Black Sabbath and The Doors with the slow bass line and  a wall of sound from the experienced mixing hand of Chris Rakestraw, which helps develops the vibe of the track.  You see this same direction on the final track on the album, “Pull The Sun.” These two songs contain so much dismay and loathing  you will find yourself drinking to these tunes at the bar with your friends. Pray that it is not your last drink my friend!

    This album is a solid release from start to finish. This album is perfect for both metal fans and blues fans. With so much influence from past and new releases, this album is in my top ten of favorite albums to be released  halfway through 2017. This album gets 4.5 out of 5 stars in terms of production, lyrics, and imagery. If you haven’t picked this beauty up, then you are missing out on something that is both dark and beautiful. Pick it up now through the  Danzig official site.

    Key Tracks: Last Ride, Devil On Hwy 9, Pull The Sun

  • Hearing Aide: Midnight North “Under the Lights”

    On the third album from Midnight North, the band captures their growth on the road, the trials and errors, the good and the bad, all celebrated in Under the Lights, a perfect summer album. With a sound that draws comparisons to Railroad Earth, Tedeschi Trucks Band and Donna the Buffalo, the entire Americana album has a ‘never too light, never too heavy’ quality of perfection in song writing and delivery, making Under the Lights a must listen.

    Recorded by David Simon-Baker (Los Lobos, ALO, Jackie Greene, Mother Hips) at the Greene Room and Allegiant Studios in California, Under the Lights is a repeat listen album – each track has a familiarity that invites passive and active listening. With a lineup of Grahame Lesh (vocals, guitar), Elliott Peck (vocals, guitar), Alex Jordan (vocals, organ), and Connor O’Sullivan (bass), the band’s young musicianship comes alive throughout the album with insightful, relatable lyrics and a consistent flow that makes it hard to tune out.

    The high energy Americana-rock “Under the Lights” kicks off the album fantastically, reckoning the Traveling Wilbury’s tight harmony and memorable lyrics. On both “Playing a Poor Hand Well” and “Greene County,” the gorgeous vocals of Elliott Peck shine brightly, a gentle Midwestern accent sliding along her flawless delivery. “Everyday,” a sing-along with great potential live, has excellent horns alongside excellent vocals, one of the many strengths on this album while “Roamin’,” the first darker turn on the album, rolls with an intensity that balances the lighter tracks that begin the album.

    Grahame Lesh singing “Back to California” is appropriately reminiscent of Phil’s There and Back Again solo album from 2001; there is a distinct similarity with a few tracks between the father and son’s initial releases. “One Night Stand” a twangy blues number with Peck on lead, is followed by “Echoes,” a high energy Mudcrutch-style rocker. “The Highway Song” is the single off the album, although it is one of many strong tracks. The slick guitar lick from Grahame and geographic tour of the country make for a classic country song that can get stuck in your head in the best way possible. Rounding out the album is “Little Black Dog,” telling the kind of story you might hear on Garcia and Grisman’s Not for Kids Only. 

    Key Tracks: Under the Lights, Everyday, Back to California, The Highway Song, Little Black Dog

  • Hearing Aide: Andy Hall & Roosevelt Collier ‘Let the Steel Play’

    Roosevelt Collier, the pedal steel player from the Lee Boys, and Andy Hall, the dobroist for The Infamous Stringdusters, forged a friendship aboard the Jam Cruise in 2012. Since then, they’ve managed to play together occasionally when their schedules aligned. The relationship grew and has finally borne fruit, in the form of their new release, Let the Steel Play.

    Collier was born into the church music of the sacred steel tradition while Hall’s life has been steeped in the roots of bluegrass. Different musical worlds bridged by steel strings and glass slides. The resulting sound is a perfect blend of the heavenly and the down home, a religious experience happening casually from the porch of a country home.

    The set opens with “This Little Light of Mine,” a tune familiar to both gospel and bluegrass. It serves as the perfect introduction to the unique blended traditions present throughout. The melody flips back and forth between the two instruments flawlessly. Their version is wordless, but by the end you’ll surely be singing along, “This little steel of mine, I’m gonna let it shine!” And shine they do.

    The album borrows from the rich traditions of both players with their takes on some more old traditional tunes, like the stunning beauty “Maiden’s Prayer,” a bopping run through “Reuben’s Train” and the spirited “Power in the Blood.” They also try their hands at a more modern classic with a version of The Grateful Dead’s “Crazy Fingers” that will steel your face right off of your head.

    Interspersed with the traditionals, the album includes a handful of original tunes the pair wrote specifically for this outing. Collier’s steel sounds almost organ-like on the fun “Rosebud,” while “Remington” is a great ‘newgrass’ tune where the part of fiddle is played by a pedal steel. It would be a surprising head turner were it not already in the context of this album. “The Darkest Hour” gets more deliberate and less freewheeling in a fairly sinister sounding turn. As an added bonus, the album closes with a three-way steel stringed jam, with Greensky Bluegrass’s Anders Beck joining the duo on another dobro. A thorough exploration by two masters of their craft, this album is certainly a must listen for any pedal steel or dobro fan.

    Key tracks: Reuben’s Train, The Darkest Hour, Rosebud

  • Hearing Aide: Cycles ‘Vacation’

    Cycles is a three-piece band from Denver, CO that performs “psychedelic rock fusion” with a blend of other genres like jazz, funk, and more. The band features Patrick Harvey on guitar, Michael Wood on drums, and Tucker McClung on bass and vocals. They’re celebrating the release of their new album Vacation with a show at Cervantes Masterpiece Ballroom on Saturday, June 3. This new album comes a little more than a year after their 2016 EP Loads of Fun.

    cycles vacationVacation was masterfully recorded in Blackhawk, CO at Mountain Star Studio. There’s a high attention to detail with every note throughout as the band writes each song themselves. The title track on the album kicks off with a great instrumental build into the lyrics where McClung sings that “you’re just along for the ride”- the ride through this aural vacation of an album. “The Aloe Parade,” cleverly named after the post-beach sunburn remedy, features some funky bass techniques throughout that are sure to have listeners grooving along. Instrumental track “Green” sounds like a tune you want to have playing as you drive to a great vacation destination to somewhere open and scenic. 

    Characterized by repetitive rhythms and clean doubling between guitar and bass, ”The Store” is quite unique with its various changes and phrasing. The listener doesn’t stay too comfortable in a mode before switching. The band artistically paints the picture of a day in “Twilight” with ascending chordal motifs in the first half of the song to show the progression of the sun, and descending motifs once ‘twilight’ hits, signifying the sun has almost set. To ruminate means to meditate or ponder. “The Ruminator,” a funky and slower jam, shows the process of pondering a situation or making a decision. The listener thinks the song is over about halfway through it, but the driving ride cymbal lets you know that the song isn’t quite done, showing a thought or idea changing its shape during the second half.

    This album blurs lines between genres and takes listeners on a sonic journey. The album is quite symbolic inside and outside of the lyrics, and each song plays around in different modes showing the diverse capabilities of the group. It’s evident that they strive for variety in both their recordings and performances. This album accurately reflects the groups’ writing talents and individual musicianship as they manage to produce a full sound with just three members.

    Cycles is hitting the road this summer on a tour appropriately called the “Summer Vacation Tour.” They’re set to hit many spots around Colorado and they’re branching out of state to Kentucky, Ohio, Illinois, Texas, and more. Try to catch them in action on the road!

    Key Tracks: Green, Everything Must Go, The Call

  • Hearing Aide: The Mountain Carol EP

    There’s not much information to be found about The Mountain Carol aside from their origin and what their intentions are. They’re from Saranac, NY and make “infinite music for infinite people.” They say their creations are the result of “countless musical and non-musical influences [formed] into a sound described by some spiritually-minded fans as ‘too powerful.’” It’s an ambiguous statement but the mysteriousness of the group does make the tracks more intriguing.   

    the mountain carol

    This EP has just three recordings but sheds enough light on the band to give everyone an idea of what they’re after. Their tracks can be a tad repetitive due to the drum track, but a relentless, chopping beat gives the laid back melody some direction and energy. The guitar gives every track a hopeful and pleasant drifting-through-space experience as well as a subtle synth that contributes to the same feeling. The percussion is distant, lacking of bass tone and the vocals are a little unintelligible as a result of loads of echo, but it creates the open and spacey effect they’re going for.

    “Mountain Carol” is up first and has a synthesized, persistent drum beat that contrasts with a clean and reverb-filled guitar. Under the breathy vocals is drone tone from a synth that helps fill out the song and gives it more life. It would have been nice to see a change of scenery in the percussion section because the track does clock in at 6:11 and the same beat over and over again does get a little monotonous. At the very least, a break in the drum track would be extremely impactful. Although the song does blend very well from  section to section, it can be easy to get distracted, making it hard to appreciate each part.

    “All Is Lost” has a less organic feel to it, containing a funkier guitar and a very 80’s drum fill that jumps out from time to time. This song does take a rest from the relentless drum beat which makes more of an effect than the group might think. The point of the song style is to put listeners in a trance, which it does well, but a quick pause from the perpetual drums is a quick and simple way to draw the listener’s ears back in. One would hope they would continue to do this trick in future tracks because the ears tend to wander as they delve into a song that’s over six minutes long.

    “Adventure Safari” is a change of pace, moving back to more natural sounds with the most prominent tone coming from an acoustic piano which sounds a bit dated but holds a beautiful character. The track would not have sounded the same with an electric piano and it was an excellent choice to use an acoustic one. The transition from bridge to what could be defined as a chorus is a little rocky, but the track is still unique and true to their ideologies. Listeners get the sense that they’re being carried along through a variety of environments, all of which are pleasant places to be with bright lights awaiting them at the end of their trips. This track is the most captivating of the the three because there’s less obvious instrumentation and more alluring sounds, like that off wisps of wind and drops of rain, all of which are synthetically created.

    It’s a special collection and a valiant effort from the group. A bigger sound would be a good step forward – maybe more instruments and less obvious ones that could definitely make this sound more immersive than it already is. The EP is available on BandCamp.com with an option to purchase all the tracks.

    Key Tracks: Adventure Safari, Mountain Carol, All Is Lost

  • Listen to the Exclusive Premiere of Wurliday’s Debut EP ‘Bedtime Blazer’

    NYS Music is proud to present the exclusive premiere of Wurliday’s new EP Bedtime Blazer! Co-written by frontman Justin Henricks (Beau Sasser’s Escape Plan, The Chronicles) and Arielle O’Keefe (Girl Blue), the EP was recorded and produced at Alan Evans’ (Soulive) Iron Wax Studios in Millers Falls, MA.

    Bedtime Blazer is the first look into this group’s sound, giving audiences a chance to listen before the band officially kicks things off this summer. The EP offers a fresh and modern take on funk and soul, and you can hear soulful vocals and harmonies by Arielle O’Keefe, Jennifer Hartswick (Trey Anastasio Band), and Tyrone Hartzog. The EP features some great synth/organ overlays throughout with a consistently funky guitar. With just four tracks, you’re left wanting more! The clean recordings are pleasing to the ear, and the individual musicianship sounds effortless. Click here for an interview with bandleader Justin Henricks.

    Be sure to catch Wurliday live at The Hollow for their EP release party on June 30th! The party kicks off at 8 pm and the band will be joined by special guests The Rechorduroys and Olivia Quillio. Wurliday will also be part of Albany’s Alive at Five on July 13 when they open up for New Orleans legends The Funky Meters.

  • Hearing Aide: St. Phillip’s Escalator ‘The Derelict Sound’

    Come on out to the garage, it’s hot in here. Rochester’s St. Phillip’s Escalator released its latest batch of psych-garage-blues rock on Record Store Day. The Derelict Sound, the band’s second full-length, is just that, an amalgam of the influences this power trio has cited since first forming as teenagers back in the early aughts.The band, guitarist/vocalist Ryan Moore, drummer Zachary Koch and bassist Noel Wilfeard, have been best friends since childhood and have been playing together as a unit just as long.

    The Derelict Sound is heavily rooted in the psychedelic sounds of the late ’60s garage bands. Many of the tracks wouldn’t be out of place on Lenny Kaye’s Nuggets compilation. Yet while there’s that trace of the past in the band’s sound, there’s a sense of looking forward as well. “New Age,” the lead single from Derelict signals just that in the band’s sound. It’s a swirling, not-quite-a-pop song that takes a step back from the band’s more frequent references of the Stooges, the Sonics and Blue Cheer.

    The album was recorded live at Temperamental Recording in Geneseo near Rochester. In an interview with NYS Music in March, Koch spoke about why they chose to record live, “It was not just a live record, but the bass, drums, and guitar, the core of it we played together because it’s the only way we could draw that energy. We tried before to record separately.” This is a band that thrives in a live environment. That is apparent when listening. The production feels live and gives the listener a great indication of what to expect in person.

    While the production value isn’t exactly what one would call “clean,” it is, after all, a garage rock album and it hits all the right spots. “Turn On, Get Out” opens with uptempo snare drumming reminiscent of Mudhoney. Koch’s beat drives this one and is one of the high points of the album. A Ron Asheton-style guitar solo kicks the frenzy up a notch before settling back in to Koch’s pocket.

    Influences are a-plenty throughout. Aside from the Stones, Stooges and Sonics references, there are times one can pick up shades of the Dickies’ “You Drive Me Ape (You Big Gorilla)” at the open of “Outside Mind.” The Escalator then brings you back down to Fun House-era Stooges dirge before kicking you over the rail into Dickies territory again. Koch is the driving force on this album. It is obvious that he is informed by such icons as Ginger Baker and Keith Moon.

    Ultimately, The Derelict Sound is a highly satisfying record that implores repeated listening. The band had a limited edition run of 300 copies printed in vinyl format. It is also available for download/streaming and on CD.

    Key Tracks: Turn On, Get Out, New Age, Outside Mind

    The Derelict Sound Tracklist:

    1. Sleepy Silver Train Haze
    2. Turn On, Get Out
    3. New Age
    4. Outside Mind
    5. Find My Way
    6. She’s Gone
    7. Turn the Blame
    8. Whiskey Woman Blues
    9. Undone
    10. All is Lost

  • Hearing Aide: Yoko Miwa newest album ‘Pathways’

    Without a word, after reviewing jazz pianist Yoko Miwa and her longstanding trio’s newest album Pathways waltz you from the dance floor to the back alley with hints of everything from standards to show tunes and a few surprising renditions in between.

    Released by Ocean Blue Tear Music on May 12, the album features pianist Yoko Miwa, Bassist Will Slater (with Brad Barrett stepping in for one track), and drummer Scott Goulding (Miwa’s husband). A highly affable experience featuring three seasoned and spectacularly attuned musicians, Pathways is a timeless album that goes down smooth from start to finish.

    Things get rolling with a rare reprisal of Bill Evans Trio Bassist Marc Johnson’s “Log O’Rythm” which is also joined by another one of Johnson’s songs, “After You” on Pathways. Miwa also borrows from a page of Joni Mitchell’s songbook with a rendition of “Court and Spark.”

    “Lickety Split” takes listeners on a spin across the dance floor with fast-paced crescendos, spiraling into spontaneous jazz riffs. Like a rollercoaster ride, the song has peaks and valleys, with appropriately placed drum and bass solos building anticipation which Miwa rises to meet.

    Pathways’ finale, a heartfelt rendition of the Beatle’s “Dear Prudence” could not be a more appropriate ending to a gorgeous piece of musicianship. A perfect blend of simplicity and beauty, the eight-plus minute track unfolds gradually and deliberately, with some sections of improvisation dispersed among this familiar classic.

    Yahama Pianos Artist, JVC Victor Entertainment recording artist, and an assistant professor at the Berklee College of Music, Miwa came from Japan to Boston to attend Berklee in the late-1990s on a full scholarship and never left. With more than a decade and a half together, the jazz threesome holds down weekly residencies at several renowned Boston venues. This is Miwa’s sixth album. Give it a listen and let Pathways bring pure beauty into your world.

    Key tracks: Lickety Split, Dear Prudence