NYS Music 20​17

Category: Album Reviews

  • Hearing Aide: Woods ‘Love is Love’

    Some protest music speaks to specific events. Sometimes it commands specific actions. Other times it is a non-specified reaction. Woods’ Love is Love is a reaction to the unexpected turn of events that flipped the United States on it’s head last November.

    Recorded in the immediate months that followed, it is not overly negative, angry or sad. As the title clearly states, it is steeped in feelings of love. If you made a word cloud of the compiled lyrics of this six-song EP, ‘LOVE‘ would stand central, big and bold, eclipsing all others by a large margin. This is a record borne in protest, but one that exists to lift up and comfort. If the ‘Love Trumps Hate’ slogan needs a soundtrack, this is it.

    Woods fans will find immediate comfort in the familiar psychedelic rock sounds with it’s signature mix of Ethiopian jazz influences as the band had built into their last standout record, City Sun Eater in the River of Light. Horns, psychedelic guitar, groovy bass and in-the-pocket rhythms wrap around each other to form a bond not easily broken throughout this tight 30+ minute set.

    The record kicks off with positivity and warmth on the title track. It’s a song that instantaneously gets added to the Woods canon like it was there all along. “Bleeding Blue” sounds like the soundtrack to a Rocky montage, had Rocky been training in the streets of London while being chased by a throng of young screaming women. “Lost in a Crowd” brilliantly adds a sunny splash from the Caribbean to the already thick mix. Beginning with a din of digital crickets, “Spring is in the Air” builds to colorful and blooming horn blasts, but never quite explodes through to summer. Instead it falls quietly into “Hit That Drum.” The EP isn’t just oozing positivity, doubt and struggle do rear their ugly heads. But lead man Jeremy Earl more or less explains the main drive for the album in “Hit That Drum,” singing “Feeling dark / feeling down / I hit that drum / It takes me away.”

    They end it with a return to the title track, and a question, “How can we love with this kind of hate?” And comes the answer: “Say that love is love.”

    Key tracks: Bleeding Blue, Lost in a Crowd, Spring is in the Air

  • Hearing Aide: Arthur Moon ‘Our Head’

    Arthur Moon, the transcendental Brooklyn-based project, has released its expanded debut EP entitled Our Head. The band’s founder and song-smith Lora-Faye Ashuvud was born in Sweden and raised in Brooklyn. She studied contemporary art at Smith College in Northampton and later relocated back to NYC to pursue music. The remaining members of the six-piece band consists of Rachel Brotman (keyboard and banjo), Nick Lerman (guitar), Marty Fowler (bass), Dave Palazola (drum) and Aviva Jaye (back-up vocals).

    arthur moon our head
    Lora-Faye Ashuvud lead singer of Arthur Moon

    Ashuvud has a unique way of creating the lyrics for her songs. She cuts out words from magazines and randomly combines them, thereby creating a contemplative and creative texture to her raw and hypnotic vocals. The first track and latest video from Our Head entitled “Room” showcases this unique process, with the addition of Lerman’s reverberating guitar and Brotman’s stark banjo creating a puzzling menagerie that the listener will relish deciphering.

    The politically minded track “Wind Up,” also recently released by the band as a video directed by film maker Sam Jones, interlaces spoken phrases from a robotic male voice that comments on today’s daily hypocrisies combined with Ashuvud’s haunting vocals. The track’s repetitive chorus, “Oh but the mind is narrow, love little wind up bird” is illustrative of a multi-layered critique of today’s social and political landscape.

    Tracks like “Bold Affair” and “Boxing” both use generous amounts of Palazola’s percussion which showcases various rhythms and time signatures that keep the listener actively engaged with the music. These tunes forces the audience to pay attention to the band’s musical details, a definite contrast from most contemporary popular music artists who do not exact that kind of scrutiny from their listeners.

    Arthur Moon’s fifth and final track on their EP Our Head is simply named “The Beatles Cover.” The song is the band’s modernistic homage to The Beatles’ White Album classic, “While My Guitar Gently Weeps.” Ashuvud and company took many liberties with their take on this Beatles gem, one of which was the omission of the title phrase “While My Guitar Gently Weeps” from the chorus of their rendition entirely. “The Beatles Cover” also has a surprising lack of guitar on a track that historically relies heavily on the instrument for it’s renowned lengthy solos. The band fills this void with multiple synthesizer overlays and Ashuvud’s vocals creating an original version that is almost as creative and unique as the band Arthur Moon itself.

  • Hearing Aide: The Damn Truth ‘Devilish Folk’

    Someone really pulled my leg to check out this band known as The Damn Truth.  Based out of Montreal, this bluesy hard rock outfit’s sophomore effort Devilish Folk, from Fineline Records, is catchy as hell.  Now the most mind baffling thing is, when you listen, you would think this band came from the South or something.   The production isn’t the greatest, but how this album makes up for it is the high octane energy and catchy hooks.  Metal heads, hard rockers, hipsters, indie and blues fans can definitely get behind an album like this.  Whether you need an escape, or are just trying to get through the day, check this album out.

    the damn truthVocalist/guitarist Lee-La Baum has a rockin’ voice on top of the bluesy guitar work from Tom Shemer, and the heavy bass lines from PY Letellier mixed with the heavy backbone beats of Dave Traina make this a band to look out for in the future.  Hopefully, this band can book some shows in New York State soon.   Some of the tunes I enjoyed on this record are the opening track “White Lies” and “Broken Blues.”  But, overall, the album is consistent and fun.  Keep your eyes open for The Damn Truth.

    Key Tracks: White Lies, Pirates And Politicians, Broke Blues

  • Hearing Aide: Big Mean Sound Machine ‘Runnin’ for the Ghost’

    Big Mean Sound Machine is an instrumental funk group which has been evolving since the summer of 2009.  The adjectives in the band’s name are normally used to describe a Godzilla-like monster and this 9-piece out of Ithaca, NY has a sound that is far from gorgeous.  While members have come and gone to aid in the experimental efforts, their urge to grow creatively never ceases to amaze their loyal fan base.  Known for throwing some of the sweatiest dance parties in the Northeast, Big Mean Sound Machine has been ambitiously touring and working hard to welcome new followers with no plans of slowing down.  The new fan-funded album, Runnin’ for the Ghost, is just one example of how relentless experimentation on the road can lead to something positive and fruitful in the studio.

    The opening track, “Return of the March” begins with sound effects reminiscent of spaceship maintenance from a galaxy far away.  The futuristic afro-beat introduction to the album peppers in the perfect amount of brass giving it a relaxing hookah lounge feel.  “Runnin’ for the Ghost” features haunting synthesizer-bass interplay with a worldly drumbeat acting as the powerful nucleus.  The title track is the longest on the album, inviting listeners to embark on the meanest, craziest and biggest journey of all and is sure to become a staple of their already bustling live music repertoire.  “Hired Guns” takes to the streets of New Orleans for a straight forward funk piece that would mix well with any Mardi Gras influenced cocktail.  Extremely danceable and groovy, the track exits on the other side of the Earth with a tribal, West African percussion section.

    Big Mean Sound Machine attempts to travel to all parts of the globe in terms of musical influences and in “Burning Van” they cover the slums of Latin America.  The tenor sax and trombone combine forces as other band members delicately weave in and out of the track to create a perfect theme song for any 1970’s police detective TV montage.  Every band has a song that can attract attention simply based on the name.  On their newest release, “Triple Bacon” is that song.  While the title may induce hunger for one of our planet’s finest meat products, the gritty jazz will help you get your ass on the floor and burn some calories.  The 11 tracks come to an end with “Another Grain of Sand” returning to the afro-beat and Jamaican dancehall influence that has appeared throughout the 44-minute album.  An Epcot-like adventure through many different cultures and influences proves that these talented musicians have studied the encyclohpedias of sound.  From James Brown to Fela Kuti, the ghosts of artists that have come before them are sure to be dancing wherever they may be.

    Check out Big Mean Sound Machine on tour and pick up Runnin’ for the Ghost now!

    Key Tracks: Runnin’ for the Ghost, Hired Guns, Triple Bacon

  • Hearing Aide: Evolfo ‘Last of the Acid Cowboys’

    Raunchy, horny, raw and unfiltered.  No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys.  This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture.   If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage.   NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”

    When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.” 

    The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades.  About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk.  The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus.  Think Black Keys featuring the Nitty Gritty Brass Band.  Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.

    “Bloody Bloody Knife” has a 60’s punk  feel that makes you feel guilty for listening.  The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it.  “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem.  The decision making on track placement is as ambitious as the tracks themselves.  The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album.  The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form.  Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power.  “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool.  Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.

    “Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece.  The sweet sounding “Peachy” has the loungiest feel of the record.  Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track.  After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.

    Buy Last of the Acid Cowboys now and see them on tour ASAP!

    Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys

  • Hearing Aide: Vassals ‘Halogen Days’

    Brooklyn-based trio Vassals return in 2017 with a four-track EP entitled Halogen Days. It’s their newest release since 2015 and, overall, they’ve had a short musical career, only releasing their first album in 2012. Their style can best be described as dazed and confused indie rock with some slight bits of punk rock sprinkled in. Their rhythms are switched up constantly in creative ways, yet they maintain a sludgy movement throughout the EP to embody the exhausting, contradicting ideas that quarrel their brains.

    What this band makes up for in rhythmic syncopation, they truly lack in artistic flare. They have a slight tendency to embody the styles that we’ve heard before from bands like Silversun Pickups, or even Local Natives, but there are no fresh ideas that truly make them stand out among other artists of their style. Songs like “Sea Spells” and “Moonless” seem to start off on a good foot, but after a few minutes of listening, we are almost grateful for the rhythmic changes that follow. “Ghostwood”, the final track on the album, has one of the best punk-sensible interludes towards the end of the tune, but even the very final idea on the album is kind of a lost one.

    The saving grace on this EP is “SoHo” which has received notoriety not only for its garage-punk angst but also its bizarre, drug-induced music video (which I recommend watching for the Garfield and Tom Cruise cameo appearance). While Vassals may not be our first pick for musical innovation, their career is still taking off. And for anyone who has not yet listened to them, there are likely to be more unique works in their earlier releases as well as their releases to come.

    Top Tracks: SoHo

  • Hearing Aide: Formula 5 ‘All Points North’

    On All Points North, the new album from Albany jam-rockers Formula 5, ‘North’ is not a physical direction, but a mental state. North is up, and up is good.

    And so we begin with a happy-go-lucky blast of B3 on album-opener “Come Along.” Even a dark turn toward a minor key on the following “Sad Bed” quickly escapes to a frenetic organ and guitar groove that mostly bobs and floats above the surface.

    There are plenty of extended instrumental moments to satisfy fans of the band’s penchant for live improvisation. “Trout Waters Pt I & II” is a two-part instrumental that begins rocking in a Widespread Panic sort of way, climaxes midway with some surprisingly nifty guitar howls, then finishes off with a funk that attempts to match the Headhunters in it’s depth and length but perhaps wanders on too long. “Excalibur” twists and turns in almost disorienting fashion, but always settles back to North. The highlight of the instrumental gymnastics comes in “Q & A,” a near twelve minute multi-section workout that hits all the sweet spots. Early moments borrow elements from Frank Zappa and the Grateful Dead, piano and guitar intermingle in a light and airy mid-section before it all builds to a triumphant finish.

    Though, the best moments on All Points North, Formula 5’s third studio recording, come in the shorter, song-centric tracks. In the jam band world, this is remarkable and refreshing. A sign of maturation and of great things to come for this young band. There’s the feel-good blues of “It Goes…” and the Southern-rock-meets-soul anthem “The Birch Tree.” Strongest of all is the slinky groover, “Do Tell.” Vocals, guitar, keys, horns and cymbal-washed rhythms softly smudge together eliciting the moment where an early morning Sesame Street montage and a late night smokey jazz lounge meet halfway at a time that is either too late or too early. The set finishes strongly with “Figure Out a Feeling,” which finds a happy medium between the band’s songwriting and desire to stretch the limits.

    Key tracks: Do Tell, Q & A, Sad Bed

  • Hearing Aide: The Werks ‘Magic’

    At this point in their career, The Werks are one of the best established jam acts on the circuit today.  Through brilliant marketing with their festivals and events, relentless touring, and (most importantly) their entirely unique
    brand of rock and roll.  All of these facts considered, it should come as no surprise that their newest album, Magic, released on March 17, finds the Ohio natives sounding more comfortable in the studio than ever before.  Their familiarity with the recording process is evident upon first listen, even without the knowledge that this is their fourth full length studio album since 2009; no small feat considering the studio presence (or lack thereof) that most groups of the genre display.

    the werks magicWritten in their ‘sonic dojo’ The Werkspace, the album features eight inspiring tunes which traverse several different genres of rock.  Right out of the gate with the first two tracks, the delightfully upbeat “Wide Awake,” followed by the title track, the listener realizes that this isn’t going to be another pentatonic wank session that seems much too common in today’s rock landscape.  The Werks have an eclectic sound, reminiscent of 70’s rock gods yet avoids coming off as a cheap imitation.  “Slab” really hits the spot, with a gut buster of a riff that offers a pleasantly abrasive counterpoint to the smooth lyrical caress of the first few tracks.

    “Moonset” sees the boys moving in an even more experimental realm; a trance-fusion arrangement matched with ruthlessly proficient lead guitar that could get any naysayer’s head bobbing as if they were raging the Big Tent around 3 AM at the old Bisco.  The track took full advantage of the Sonic Lounge studio’s 1 of 13 in the world soundboard, found in Grove City, Ohio.  “Moving On” is the longest track of the album, coming in at 8 minutes and 36 seconds, providing a well needed canvas for perhaps the single most diverse track of the record.  Beautiful melodic hooks and a jaunty rhythm pull rock aficionados in like a sirens call, while the bridge section exhibits some bass runs that’d make Getty Lee pay attention.  “Lights Out” wraps the album up with some assistance from Ohio’s own Hoodoo Soul Band, who laid down some one of a kind horn riffs over the concluding tune.

    Key Tracks: Slab, Moonset, Moving On

    Magic can be yours today for the wonderful Name Your Price option on The Werks’ bandcamp.  Be sure to visit their website as well for upcoming tour dates, possibly near you!

  • Hearing Aide: Gordon St. ‘Gordon St.’

    From Schenectady comes Gordon St., a rock and roll band known for their unique music and diverse cover songs in concert. The band is made up of four members including Dan Noonan as the lead vocalist and bassist, Ritch Harrigan on the guitar, keyboardist Mark Bertini, and drummer Jason Nowak. The group’s upcoming debut, self-titled album will be released in its entirety on April 29.

    Gordon St. features either original tracks including two singles on their album – “Right as Rain,” a song that seemingly begins as an acoustic number right before the electric sound kicks in with an ear-pleasing groove. “King of Hearts” has the listener following the infectious sounds of the drummer throughout the piece. Another featured song, “Until We Meet Again,” had me hooked from the beginning as it starts with a stripped down vocal accompanied by the organic sounds of snapping fingers.

    Other tracks that accentuate the raw musical talent of these musicians are “Peppermint Chamber” and “The Equation,” both consisting of instrumental intros. “Paranoid Jones” is yet another example of a song with a musical outro and exciting guitar riffs, which are commonly heard in the group’s music.

    Although the band’s genre is generally classified as rock and roll, Gordon St. draws from their many influencers to create an original sound. A number of their tracks experiment with different styles of music and subtly cross over into other genres as well. Take a listen for yourselves on their album release!

    Key Tracks: Peppermint Chamber, Right as Rain, Until We Meet Again

  • Hearing Aide: Mastodon ‘Emperor of Sand’

    With 2017 underway we already have seen so many great releases in the metal world. We had Kreator’s Gods of Violence, Obituary’s self-titled album, and even Overkill with their thrashing hit The Grinding Wheel. Now it is time for perhaps the most anticipated sludge and progressive metal album this year. If you are a fan of those genres then you know exactly which album I am speaking of! Mastodon’s seventh studio album Emperor of Sand released March 31 has given many people a metalgasm! Might need to clean yourself up after checking out this album review.

    mastadon Emperor_of_sand_coverEmperor of Sand (released via Reprise records) is a follow up from the band’s 2014 hit Once Around The Sun (released via Reprise). This album has started an uproar since it was teased with such singles like “Sultan’s Curse” and “Show Yourself.” As the clock hit midnight and my phone notified me it was ready to be viewed on Google Play Music, damn skippy I played it as soon it was ready for my puny mortal ears to binge on. The album continues the progression the band has been going with for sometime with more audible vocals approach and a more lean guitar sound. It has created a great energy of soothing jams like “Show Yourself” and “Steambreather” taking center stage for this formula in perfect harmony. The combination of Brent Hinds and Bill Kelliher’s vocals really shows the band’s strong suit making catchy song structures while keeping the skilled technical foundation strong. This album is perfect for those who enjoy bands like Red Fang and Baronness. American sludge progressive metal bands like these are slowly taking over the metal scene once again.

    Sure the album may have some mellow songs, but these guys still know how to get some sweet aggressive playing going on. “Clandestiny” is the dose of heavy sludge that the doctor ordered! With the great drumming work of Brann Dailer and the bass playing from Troy Sanders it is one solid heavy sludge tune. It is for the fans that need some progressive in their life mixed with some heavy licks to get them stoned or drunk. Hey perfect tune to try to drink the Mastodon beer to! Cheers! This album is pure awesome with a side of bad ass and it will quickly climb to the top of the metal charts and hard rock. It would not shock me if it becomes the number one release in it’s genre. I will put money on that! You can say all you want about the boys, but they will always remain a steamroller force of pure genius!

    This album gets a solid 5 out of 5 from Black Metal Steve. Go buy the album from your local record store or from the band’s website.

    Key Tracks: Show Yourself, Sultan’s Curse, Steambreather