NYS Music 20​17

Category: Reviews

  • Hearing Aide: Darkroom ‘Darkroom’

    Remember those glory days of rock n roll when such bands like Kansas, Bad Company, Blue Oyster Cult, and many more classic giants reigned supreme? Something about that sound and tone of those bands really made an impact on music history. So many active audiophiles know you can never appreciate the modern sounds we have now, without paying homage to the ones that set the classic rock standard. Yet, we keep on forgetting that type of sound still carries a  large fan base. Even to this day we have radio stations, podcasts, and concerts all dedicated to that chapter of rock. Let me tell you though brother, that sound is still kicking and screaming! This proves to be the very case with a band hailing from the snowy land of Syracuse, Darkroom, whose textbook rock vibe will bring back that sound of the past and bring it to new light!

    darkroomThe 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 guitar work from both DiNiro and Dark really gives the album a clean guitar style, which in this day in age is extremely missed in the modern rock era with great melodies with huge hints of progressive influences if you listen closely enough. With Kratz on main vocals, you really can hear the passion this guy has while presenting the final product. Sometimes I feel like listening to these tracks he could give some classic rock heavyweights some run for their money.  If you enjoy groups like Bad Company, you will find these two tracks to be your gateway drug to something simply incredible.

    If you are like me, a man who likes to enjoy a nice cold beer, sometimes you just gotta have the perfect tunes to enjoy that said beer. The band possesses many diverse  elements which come alive on this album. They are able to create a very calming and at peace vibe on some tracks. Tracks like “Fly” and “Reflections” really carry that bar rock sound with great approach from the guys. “Reflections” has strong presence of The Eagles as it presents some great catchy lyricism and fabulous groovy sections. “Fly” has that type of energy that makes you just kinda want to put a quarter in the jukebox, order yourself a beer, and relax a bit after a tough day at work. The slow and steady style really makes this track one hell of a great song and with some of the most intriguing keyboard playing I heard in the last couple years from Dark. The keys shaping that ambient  background really helps amp up that idea of just taking it easy.

    In the end, it looks like that rebel rock attitude and perfected sound will continue to beat in the hearts of the fans. With Darkroom always finding new ways to make the material of the past interesting and relevant, I have no doubt these guys will not give up with that strong of a drive to keep on exploring new and old territory.  This album gets 4.5 out five stars. Checkout the band’s page and give them a good hard listen to!

    Key Tracks: The Hunted, Fly, Trouble

  • John McLaughlin Kicks Off Meeting of the Spirits Tour in Buffalo with Jimmy Herring

    Jimmy Herring and the Invisible Whip struck the match. John McLaughlin and the Fourth Dimension fanned the flames. Together, using material from a 45 year old band, McLaughlin’s Mahavishnu Orchestra, they built a blazing fire inside the University at Buffalo Center for the Arts Wednesday night on the Meeting of the Spirits Tour.

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    It was the first night of a fusion guitar lover’s dream tour, dubbed The Meeting of the Spirits. It will be the last ever North American visit for the legendary British septuagenarian guitarist.

    The opening set from Jimmy Herring’s new solo outfit, was anything but your typical opening set. The seats in the theater were full and the crowd was at full attention from the first notes. Herring showcased his talents in restrained spurts, masterfully directing his bandmates through 50 minutes of exhilarating instrumental fantasies. His crack squad of Jeff Sipe, Jason Crosby, Matt Slocum and Kevin Scott were with him every step of the way through a seven-song set including “1911” and “Jungle Book.” Their mid-set rendition of “Les Brers in A Minor” made clear that it was a jazz fusion tune hiding out in a Southern rock band all along.

    McLaughlin’s Fourth Dimension is another band brimming with talent. Bassist Etienne Mbappe, drummer Ranjit Barot and keyboardist/drummer Gary Husband all had ample space to showcase their talents throughout the set. Masterful bass solos were met with drum solos complete with mind-boggling scat drumming. Husband made the synthesizer a chameleon, realigning the sound continuously. “Kiki” and “Miles Beyond” gave way to more mellow material like “Gaza City” and “El Hombre Que Sabia,” a tune McLaughlin meant to record with Paco Delucia before he passed away, which now he plays as an homage. He wandered the wide-open stage as he played, effortlessly creating guitar sounds that were impossibly perfect at impossible speeds. As their set ended, McLaughlin was ready to keep it going, calling for Herring and band to come out. Call it a first night mix-up, apparently there would need to be a quick break.

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    For the third set both bands combined to form a 9-man fusion supergroup. This was headphone music and luckily the theater’s acoustics were up to the challenge. The sound was impeccable. And the playing was too. Double drummers, double bassists, double keys, and McLaughlin pulled out the double-neck guitar to boot. Somehow as the band doubled in size it only grew tighter. McLaughlin played facing the band for most of the set, not only lead-guitarist but musical director, steering the monster band through a selection of classic Mahavishnu Orchestra tunes. “Meeting of the Spirits,” “Trilogy,” “The Dance of Maya,” not quite as fresh and vital as they were 40 years ago, but still powerful and invigorating. The maestro was in and the class was in session. “Eternity’s Breath” showcased the intensity of a band where every member is a secret weapon. Though perhaps they were most impressive on the mellower “Earth’s Ship,” as the bassists weaved lines around each other and the rest of member’s distinct sounds were teased apart gently to beautiful effect. The inner mounting flame was burning, unfortunately it couldn’t be eternal.

    Leaving a Buffalo stage for the last time, McLaughlin said his final goodbye to the city with a quote from the Eagles, of all things, “We may lose and we may win though, we will never be here again.”

    Take it easy, John.

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  • Lespectacle VII: Happy Hallo-CHEEN…

    For the past six years during the Autumnal Equinox in late September, what has been described by hosing band Lespecial as a “Pagan inspired multi-media mini-fest” has taken place.  After making its rounds at various venues in both Boston and New York, Lespectacle VII landed at one of the top music clubs in the country, Brooklyn Bowl, which Rolling Stone ranked the venue 20th in the nation in 2013.

    lespectacle VIIThis year the “psychedelic, haunted circus” not only featured stage design provided by The Reliquarium, a multi-media light and visual show from Vin Pugliese, and was boasting the best lineup of musical acts the mini-fest has seen yet, it was also moved to be held on October, 31… Halloween night. Oh, and did I mention Lespecial would be taking the opportunity to release their second studio album, Cheen? Trick or Treat Lespecialists… Happy Hallo-CHEEN!

    Supporting acts included Dallas’s “The Funky Knuckles,” New York’s own Horizon Wireless, as well as a set from Oakland California’s legendary hip-hop act Zion I with non other than your hosts Lespecial as the backing band. That collaboration first came about with a set at The Great North Music Festival. After working with Zion I, Lespecial decided to feature the MC on the 4th track of the new album titled “Sound That We Do.”  The set at Lespectacle 7 was the second time the cross-genre on-stage collaboration took place. Luke Bemand’s heavy bass and Jonathan Grusauskas’ sampled sounds and synth-scapes lend themselves well to the prolific word flow Zion I has been bringing to the stage since the early 2000’s.

    As for the new sophomore studio album, Cheen, we find a band unafraid to challenge the concepts of traditional genres. They have taken a step further in refining their style by not adhering to the preconceived notions of what that style should be. In fact there is hardly a genre this album doesn’t touch. They have become known for their metal/funk mash up sound on tracks like “Skull Kid” featuring samples of Jack Nicholson as the  Joker in the Tim Burton’s 1989 film Batman, and the Primus-esque “American Apocalypse”  However the track “Stolen Land” brings in a roots-rock/dub sound, and tracks like “Sounds That We Do” and “Donut Ghost House I” and “Donut Ghost House II” bring a hip-hop sound to the album. It’s as if someone said “It’s all been done before” and Lepecial said “Then let’s just do it all.” Spotify player below.

  • This is Dopapod Halloween: Grateful Sabbath Set Stuns at Putnam Den

    Looking ahead just a few months from now, the year 2018 will be Dopapod-less, which means fans have flocked from inner cities, out of town and hours away just to catch what will be their remaining shows ahead of hiatus. Bringing the heat during each gig on fall tour so far, word traveled fast that their Halloween bash at Saratoga Springs’ newly renovated Putnam Den wasn’t one to be missed, a Grateful Sabbath if you will.

    Adorned in an astronaut suit, Eli Winderman and company would eventually sit behind the keys and prepare to launch the outrageously dressed and over-excited crowd into outer space for the remaining hours of All Hallow’s Eve.

    Kicking off the night for the quartet was rising Burlington outfit, Swimmer, who previously took the reigns of opening for Dopapod in the past. Walking on stage in an assortment of costumes from a bassist puppy dog (Jack Vignone), a guitar wielding, “all you can eat Jimmy Buffet” pun (Paul Klein), a keys/sax playing Santa Clause (Matt Dolliver) and Alladin’s Abu on drums and vocals (Cotter Ellis) the prog rock 5-piece swiftly grabbed attention of Den dwellers as the room began to fill over the course of their set. The crowd quickly realized why these guys have been able to snag opening gigs and musical praises from Dopapod–their sound can be sentient and groovy and in seconds build to heavier territories, never executing boring composition.

    The “No Shape” musicians warmed up the crowd with “Turko,” “Murphy’s” Song,” “J.I.G.” and an enchanting, jammed out “Sea Cerebral” as well as an appropriately placed HalloWeen cover of “Put The Coke on my Dick” with Ellis nailing the familiar vocal outcries. Taking full command of the exponentially growing audience, a masked and shirtless Joe Agnello (guitar/vocals) corralled the colorful crowd and had them dancin’ into set break with Prince’s party anthem “1999.”

    Trick of the night:  Ellis cracked his snare mid jam in true rock and roll fashion, although his relentless and professional playing fully disguised it. Both relying on lip reading and hand gestures, Dopapod’s Neal “Fro” Evans saved the day by hand-delivering his own snare to a fellow drummer in need.

    Astronaut Winderman, a monkey headed Chuck Jones, a low key Rob Compa and Evans were greeted on stage with a “This Is Halloween” introduction before a stacked set one of continuous, hard-hitting originals came into orbit–exactly what fans needed to submerge themselves in during the concluding gigs of 2017. Offering up fired-up favorites with an opener of “Black and White” paired with color coordinated lighting, each studio album was given a taste with as Never Odd or Even’s “Present Ghosts” trailed right behind. Serving up “Sonic,” “Bubblebrain” and a fix of the latest efforts on Megagem, a fun delivery of “Mucho”  found extensive live twists creatively altered from the studio version, giving those already familiar with the tune a fresh way to remember its live adaptation. Somehow managing to find time to squeeze in a sit in with Moe’s Vinnie Amico on drums for a gratifying and turbulent “8 Year’s Ended,” Redivder’s funky “Blast” closed out the powerhouse set which was ultimately a lengthy, indulgent Saratoga Springs get down.

    Hopping back on the tightly packed stage to settle down a wondering crowd, all eventually found themselves puzzled yet enlivened to be singing along to the words of the Dead’s “Eyes Of the World,” as Dopapod’s imaginative flair inventively took on the American rock classic. Hinting at a full cover set, a fierce and expressive Black Sabbath cover of “War Pigs” came next as it completely paralleled the carefree feel of it’s predecessor. The third song took some time to gain recognition as eventually the lyricism from Scarlet Begonias and intense anatomy of Sabbath songs magically fused together to create the ultimate Halloween treat.

    Treat of the night:  A Grateful Sabbath Bust-Out set.

    Looking back at the group’s latest moves on social media, they teased the second set theme by uploading two photos of frontmen Ozzy Osbourne and the late Jerry Garcia with the caption “milk,” to their Instagram feed. Each song execution conjured stupefied giggles and pure astonishment as Dopapod managed to fully rework well-known songs into interchanged genres, pulling off Sabbath’s “N.I.B.” with a laid-back Californian twist.

    Inspiration behind the set came to fruition years ago when Fro realized that Black Sabbath is “just the Grateful Dead playing minor instead of major,” as divulged on a recent Facebook post. So for those who never thought they’d get to see “Friend of the Devil” and “Sweet Leaf” performed in the same set, anything can transpire during a Dopapod Halloween gig. Adopting the Drums>Space routine of the Grateful Dead, Fro as well as wildly talented light/sound engineer and friend Luke Stratton were given time to shine as eye-catching shapes and colors rapidly twisted and whirled across the blank canvas of the Den walls.

    Adding to the themed mash-up, Sabbath lyrics were placed mainly to the tune of  “Terrapin Station” and introduced a long-haired “Jerry Osborne,” aka Stratton, to the stage for electrifying assistance on guitar and costume hilarity. A rebellious “Fire on the Mountain” making nods to the tunes of “Paranoid” and “Iron Man” closed out the eclectic bust out set with vigor. Quickly returning for encore, the four approvingly spliced together a tight delivery of 2009’s “Indian Grits” with the Dead’s groovy “Shakedown Street.”

    Everyone already had the seed planted in their minds to scurry to the remaining Dopapod gigs of the year but when you’re told not to miss a show, there’s probably good reasoning. In a matter of hours fans were scavenging on the Internet for Grateful Sabbath sound boards and video clips, surely face-palming envy deep into their hands. With just 28 gigs standing between the Boston-born band and a touring recess, catch the duo of Swimmer and Dopapod again at Providence’s Fete Music Hall for a Dec. 30th gig in Rhode Island with Hayley Jane and the Primates.

    Putnam Den 10/31/17 Setlists:

    Swimmer: Turko, Murphy’s Law, Put the Coke on my Dick* > J.I.G > Sea Cerebral, 1999^

    *Ween ^Prince

    Dopapod: This Is Halloween* (Walk out music), Black and White^, Ghosts ->, Sonic ->, Braindead, Mucho, 8 Years+, Blast

    Set II: Eyes Of The World$ >, War Pigs& ->, Sabbath Begonias@, N.I.B.**, Friend of the Devil^^, Sweet Leaf++ >, Drums >, Space >, SweetLeaf++, Black Sabbath$$, Fire on the Mountain&&

    Encore: Grits@@, *From Nightmare Before Christmas, walk-out music

    ^This Is Halloween tease +with Vinnie Amico of moe. sit-in on drums $Grateful Dead cover &Black Sabbath cover @Scarlet Begonias (Grateful Dead) lyrics in a Black Sabbath style **N.I.B. (Black Sabbath) in a Grateful Dead style ^^Friend of the Devil (Grateful Dead) lyrics in a Sabbath style ++Sweet Leaf (Sabbath) lyrics in a Grateful Dead style $$Black Sabbath (Black Sabbath) lyrics in a Grateful Dead style (mainly Terrapin Station), Jerry Osbourne (Luke Stratton) sit-in &&Fire on the Mountain (Grateful Dead) lyrics in a Black Sabbath style (mainly Paranoid and Iron Man), Scarlet Begonias tease @@Elements of Shakedown Street (Grateful Dead), Trapper Keeper teases

  • Jimkata Says Farewell at American Beauty

    Ten Years, six albums, and hundreds of shows ago, three friends from Oneonta formed the electro-rock band Jimkata. After kicking off in Ithaca and accumulating a dedicated fan base across New York State and beyond over the past decade, Evan Friedell, Packy Lunn, Aaron Gorsch packed up the synths said farewell with a five show/eight night run across New York State. The tour came to an end on Saturday October 28 at American Beauty in Midtown Manhattan.

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    The sold out room could barely contain the energy as Halloween costume adorned fans flooded the room. “I knew them back at Ithaca University…” One fan reminisced just before the start of the show. “…I would see them all the time, and when they announced their last show would be in the city I couldn’t miss it.” The conversation was abruptly interrupted when “Jurassic Park Theme” by composer John Williams was played as the band emerged from the green room and took the stage together. With no plans for a return, fans cheered and sang along for what could be the last time.

    Photo Gallery By Chris Capaci/Capacity Images

  • Hearing Aide: Ghost Atlas ‘All is in sync and there is nothing left to sing about’

    If you follow any releases or bands under Sumarian Records belt, then you probably heard of the metal band ERRA and Jesse Cash!  Stepping away from the more heavier sound, Cash has created his own solo project, a more melodic alt-rock approach with an immense amount of emotion driven lyricism. His solo project is called Ghost Atlas. Cash had previously created under the Ghost Atlas name in 2014 with Gold Soul Coma and then in 2015 with the Immortal Youth EP. Now with the full-length All is in sync and there is nothing left to sing about is set for release independently on November 17th. This review will help not only spark your interest, but enhance your need to feel all across the emotion spectrum.

    ghost insideThe 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.

    Some tracks from groups can really make you feel like you are about to lose it all, yet slowly but surely, grounds you where you need to be. The song “NightDrive” is that very song where you can set your inner most secrets free. It starts off  on a very sorrowful note. The slower pace of “NightDrive” really creates that atmosphere and it could be described as almost suffocating. Cash implementing so much of the human psyche in this track, if you listen closely enough and feel enough, the lyrics starts to paint a picture. The need to find where you belong in this world in my opinion shines in this amazing piece of audio. If you ever had any skeletons in the closest, this song really makes you try to confront them. The over the top slow, but heavy melody-induced guitar playing in the beginning slowly crates your trouble mind into submission. Halfway through, the chaos starts to awaken in the tune. You really do feel as if you are struggling to find a way out of a bad situation. The bass and drums propels the listener to different dimensions of the inner workings of what makes us human. Cash continues to serenade and becomes the medium for the listener to discover the most surreal self-awareness inside ourselves.

    With his time with ERRA, Cash still knows how to create some great explosive creative pieces as well. “Badlands” is the track that has a real punch to it. The overall theme of the album is still found in here, but it does have more attitude than the other tracks on the album in my opinion. You have the whole idea that things are changing around us, which  it is something we all know very well, and is something we have to deal with in this world. The bass comes alive in this, letting down a solid catchy bass line. The drumming is very addicting to follow along to while getting lose in the world Cash has created. I would say “Badlands” is the song off the album that will make you move around a bit with a sense of questioning what you are willing to change in your life, while getting lost in the event of experiencing new things. I have a gut feeling this song might be one of the most adored tracks. among be masses!

    All is in sync and there’s nothing left to sing about is the very manifestation of Cash’s emotions and ideology. Investing thousands of his own money into the creation of this  project comes to show how much heart and blood he has placed into this. This album will destroy the charts in the alt-rock genre without a doubt in November. If you like Deftones with a hint of mid-2000’s alternative influences, you will find a new album to be obsessed with.  This album gets 4 out of 5 from me. Do not forget to pick up your copy on November 17 on the official bandcamp.

    Key Tracks: Legs, NightDrive, Badlands

     

  • Primus Still Sucks, Ambushes Albany’s Palace Theatre

    Primus has never fit the mold of conventional music, so it was only fitting the trio helped kick off Halloween weekend in appropriately eccentric style. Playing to a sold out crowd of not only those who grew up on Primus in the eighties, the packed Palace Theatre housed an audience that ranged from elementary-aged, youthful rockers to unsuspecting parents with college students. Having only performed in Albany three times prior, the fourth run-around brought tricks on stage and treats in unique encores as bodies dressed head to toe in spider webs, sequin dresses and spooky masks trashed around for a three-hour show. Yes, Primus still sucks.

    Equipped with video screens behind them, Les Claypool, Larry LaLonde and Tim Alexander began the night with the help of quirky British flash animation series, Saladfingers, as the first set was jam-packed with Primus favorites. Quickly following, “Too Many Puppies” spiked ultimate excitement in the regal downtown Albany venue. While the short, hard-hitting tracks seemed fleeting, “Sgt. Baker” found its way into an energizing “Too Many Puppies” sandwich as technicolor prisms were projected onto the Palace ceiling and Claypool stomped circles around the stage with grit. More classics like “Last Salmon Man,” “Mr. Crinkle” with a Zeppelin “Kashmir” tease and “My Name is Mud” popped up throughout the set with tempo-matching,  psychedelic video footage before a fun “Candy Man” called for clips of hypnotizing and colorful candy-like claymation.

    Primus Still SucksLaLonde and Les Claypool left the stage for an anticipated drum solo as a hooded Alexander led the show. Claypool shortly returned while sporting a pig mask and breaking out the Whamola for entrancing sounds. This time, the video projections offered clips of instrument strumming, as it matched up perfectly in sync with the live strums of Claypool’s Whamola. Interacting with the audience every so often with small interjections like “beautiful building you’ve got here,” Les Claypool asked the crowd to guess the ending track of set one with the firm strike of one note. Without a doubt– “Jerry Was A Racecar Driver” would close out the night with clips from the music video displayed symbiotically.

    Trading in a pig mask for a ram head, set two unleashed the force behind the Ambushing the Storm tour as Primus shredded through their latest studio effort, The Desaturating Seven, finding applause during every passing silence.  Eerie cartoon goblins found their way dancing across the screens in the Palace, the same ones from an Italian children’s book, The Rainbow Goblins. The newest album was heavily influenced on the Ul De Rico-written book, one Les Claypool used to read to his children. Played front to back, the unique seven-track album reminded everyone why Primus still sucks after all these years. On the heels of ending a grimy Halloween weekend performance, the trio ended with a triple-header of an encore with special dedications to the devastating fires in California. “Groundhog’s Day,” “Wynona’s Big Brown Beaver” and one they rarely ever play, “Tommy the Cat,” all welcomed extended guitar solos and wicked improvisation from LaLonde as well as shrieks and rock on symbols from the crowd.

    Primus Still SucksWith their last Palace Theatre gig in 2014 and before that 2009, for some this was a short-lived chance to catch the seasoned rockers in person.  There are two situations where walking by talking animals and skipping pirates is the norm: during halloween festivities and leaving a Primus show,  as a satisfied audience quickly flooded out of the venue and infiltrated an already amped up South Pearl Street crowd.

  • Hearing Aide: Veil of Maya ‘False Idol’

    Veil of Maya the metalcore quartet based out of Chicago,IL was founded in 2004 by Marc Okubo and Sam Applebaum. The band is currently on their sixth album release with False Idol being the latest album released off of Sumerian Records. Including Okubo (guitar) and Applebaum (drums); the band also consists of Danny Hauser (bass) and Lukas Magyar (vocals).

    Their new album False Idol released on October 20 is the follow up album to the 2015 album Matriarch. Following in the direction they lead off with Matriarch, False Idol continues down the strong melodies and hard vocals that preceded this album. Right off the start “Lull” leads perfectly into the second track on the album “Fracture.” Magyar’s vocal range is really shown off in this song as he hits very low and high pitched screams into melodic singing. At the two minute mark, the song slows down and you can grab your dance partner as the melodies of the band and Magyars vocal make a beautiful blend. The pace is brought back up with eerie keyboards and chuggy guitars.

    “Overthrow,” the first single released off of the album is one of those songs that when you hear it at a concert, in your living room, or your car; wherever you are you immediately begin to bang your head, as this writer is as he is listening to the track. Once the chorus hits…

    “We refuse to live, Only sparing breath, We’re caged in silence, We will soon begin, Bringing forth the end, To all this madness, Hold me high above the rest, We speak through defiance, We refuse to live, In this pattern of death, Return the violence”

    Try to not sing along with it when you hear it all blended together pumping through your ears. The song hits a massive breakdown and puts you into a zone that leaves you wanting more and more. When the song finally ends you look around and realize that you’ve destroyed your house thrashing and dancing around to the track.

    “Graymail,” the eighth track on the album starts off at a slower pace and works its way up to the quick pace the album had previously established. The chorus of this song has a very powerful message that is proved with the lyrics and the power of the band behind them:

    “To the honest man I’ve broken apart (broken apart), But they fail to understand that, Their ridicule has made me what I am”

    To anyone that has been pushed around, bullied or felt unwanted by those around them, these lyrics will make you want to stand tall and look at yourself in the mirror and say screw the haters, the doubters and all the naysayers, “I am who I am and those that have caused me trepidation can kiss my ass.”

    Veil of Maya have hit the ground running with False Idol, this album from front to back is a masterpiece. Every note sang and played is so perfectly melded together making you want more and more. Follow Veil of Maya on Facebook, Instagram and Twitter

    Key Tracks: Lull, Fracture, Overthrow, Graymail

  • Hearing Aide: Lespecial “Cheen”

    Scheduled for release on Halloween of 2017, Lespecial return with their first full album since 2015’s breakthrough album, Omnisquid. Continuing to forge their unique sound and amalgamate several genres, Cheen showcases the power trio’s considerable talent and innovation.

    Originally from Connecticut, Lespecial has spent several years cultivating a dedicated fanbase with a sound that cleverly interweaves psychedelia, technical math-rock, metal, electronica, and a tribal influence that feels like it comes from deep in the jungle.

    lespecial cheenThe 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.

    The third track, “Jackwise” begins with a treading drum beat and an incredibly memorable heavy metal riff, followed by a catchy, funky verse. They really show their propensity for genre-bending here, as this song has elements of metal, funk, reggae,  and rock. It’s followed by “Sound That We Do (Featuring Zion I,) which begins with a Middle-Eastern influenced guitar riff that quickly supports rapper Zion I’s angry, prophetic and politically-charged verses.

    “Gallows Hill” opens with a spacey keyboard riff before dropping into a mellow, jazzy groove that takes the listener on a spacewalk. The song steadily builds as the verses are sung, then morphs into an infectious rythym as the bassline climbs and climbs. “Pentachronic” follows afterward, juxtaposing the sad, atmospheric nature of the last song with a whimsical, vibrant instrumental that manages to still deliver a high energy while sounding undeniably peaceful

    In typical Lespecial fashion, this levity is short-lived, as the aptly-named “Skull Kid” follows, shedding darkness on the listener with more Middle-Eastern influence in the guitar and a tribal drum sound reminiscent of bands like Tool. The following guitar riff is simultanously heavy and quirky, and the rest of the song plays like an ominous horror soundtrack, complete with spooky samples. “American Apocalypse” starts with a fast, funky, slappy, bassline, and continues with a sound that only be described as a cross between horrorpunk, funk, and metal. The lyrics and lyrical deliver remind strongly of Les Claypool and Primus.

    “Stolen Land” begins the process of winding the album down with a slow, trancey, reggae sound, as well as some highly accusatory lyrics before “Donut Ghost House 2” bookends the album. Lespecial’s new release, the dark, atmospheric, trippy, and over-all fun romp into the weird side of rock music, arrives just in time for Halloween in 2017, and proves that Lespecial is starting to gain some serious momentum in the music world.

    Key tracks: Gallows Hill, American Apocalypse, Skull Kid

  • Hearing Aide: The Ghost of Paul Revere ‘Monarch’

    As autumn sets fire to leafy landscapes, The Ghost of Paul Revere is turning over a new album, Monarch, transitioning through the seasons with an altered lineup, but staying true to their self-proclaimed “holler folk” inclinations.

    ghost of paul revere monarchMonarch emerges Oct. 27, borne from the minds of Ghost’s three mainstays: Griffin Sherry (guitar/vocals), Max Davis (banjo/vocals) and Sean McCarthy (bass/vocals). Though the recent departure of harmonica man Matthew Young has trimmed Ghost to a trio, by no means has their sound been diminished. This album abundantly features a kaleidoscope (also the term for a group of butterflies) of instrumental contributions including drums, cello and piano.

    Thematically the songs hover heavily over heartache, with lyrics written by Sherry and Davis. Sherry’s more straightforward, relatable verses are delivered with a slight gruffness compared to Davis’ more poetically descriptive, obscure language and delicate vocals. The three musicians harmonize beautifully, adding a warmth to even the saddest of songs. Several of the songs pose questions for the introspective: “Little Bird” asks “Do your bones feel hollow? Do you tremble and shake? Do you cry when you’re all alone?” “Kings Road” ponders “What will you tell the dogs of your past? What will you tell the rest of your bloodline pack?” “Montreal” achingly offers “Are we growing apart or are we growing up?”

    Not many songs on this album will induce a stomp and clap barn dance, but the music is gripping. The musicians add weight to their lyrics through beautiful intonation, where seemingly mundane words suddenly become powerful. There is a lot of power in feeling pain. Hardship often leads to metamorphosis.

    Catch The Ghost of Paul Revere as they swing through the southern states into early November before heading up north, where they will play at Rough Trade in NYC on December 2 – be sure to keep an eye out for Monarch, released via Kobalt Music Recordings.

    Key Tracks: Little Bird, Wild Child, Monarch