NYS Music 20​17

Category: Alternative/Indie

  • 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: 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: Periodic Table of Elephants ‘Henry’

    If there ever was a formula behind the iconic music of the 90s, many would say it would be “Guys with instruments & vocals” + “Guttural feelings” + “Garage.” While rock is not as dominant on today’s airwaves, some artists such as Rochester, NY’s Periodic Table of Elephants keep this classic formula alive and well. With Jason Pariseau on vocals and guitar and Sean McGinnis on drums, the Periodic Table of Elephants (PToE for short) puts together a rough guttural punch-your-boss-in-the-face sound sure to cause a riot at a pub or dive bar. As of a few months ago, PToE released their first EP titled Henry.

    Periodic TableWhile PToE sights influences such as Green Day, Biffy Clyro and Blink 182, the vocals on this EP remind me of Smashing Pumpkins and instrumentals remind me of Canadian rock duo Death From Above 1979. What I mean by this is that Jason Pariseau chooses a guitar tone with a lot of bass in it to compensate for lack of a bass player, while Death From Above 1979 utilizes a bass guitar with various distortion pedals which yields a similar sound in lieu of a guitarist. Overall the production on the four-song EP was delightfully under-produced. Too often do you see up-and-coming bands using excessive production to polish their albums to the point where it no longer sounds organic. While this may boil down to preference, many purists prefer when drums hits aren’t 75 percent sound replaced.

    In terms of the songs themselves on the Henry EP, the lyrics while straightforward, do the job in terms of connecting with the listener’s gut. The track “Better Off Dead” is the mosher’s anthem when played at a local show. The lyrics literally capture the intent of rage in the song with a lyrical pattern of coming back to a statement of physical action, each time increasing in violence. For example, things escalate from “I’m gonna punch you in the face” to “I’m gonna punch you in the throat” to “I’m gonna punch you in the dick”…ouch… Not the most poetic lyrics but the song was meant make an audience go wild. Out of the four songs on the EP, three of them are in your face and are very grungy while “Pile of Bones” is the one that breaks up that sound with something a bit softer and lyrically deeper. This is the track on the EP where PToE puts it all together in my opinion. It seems like Jason and Sean channeled their inner Foo Fighters on this track.

    Periodic TableThe Henry EP is a good start for Period Table of Elephants. As with any band’s first EP, this is the band trying to establish their identity and sound. The rough-around-the-edges feel will appeal to angsty millennials and Gen Xers looking for something that relates to their high school and college days. On the same token, this particular sound won’t appeal to those looking for mainstream appeal. With that being said, this EP is a tribute to the spirit of 90s alt rock…that RATM mantra of “F*ck you I won’t do what you tell me.”

    Key Tracks: Pile of Bones, Better Off Dead

  • Hearing Aide: BIG Something ‘Tumbleweed’

    When BIG Something arrived on the scene back in 2009, their name made it apparent they knew what the future had in store for them. Fast forward eight years later and the funky, electronic, alternative rockers have gone nowhere but up, managing to keep climbing the ladder of fame. Continuously bringing the high-energy jams to east coast music festivals, the group crafted their own annual fest in Mebane, North Carolina: The Big What. After three studio albums, the six-piece hailing from NC decided 2017 was the year to put forth their newest endeavor titled Tumbleweed, the namesake of their December 2016 teaser single. If Tumbleweed is any accurate indication, 2017 is already shaping up to be huge for them.

    In anticipation of their then-impending album, the group decided to launch “Tumbleweed,” paired with a quite jarring narrative, giving fans a spoonful of what was to come in the following weeks. The name “Tumbleweed” references the main character of the track who finds himself endlessly wandering through the depths of a post-apocalyptic desert. If that’s not enough of a concept, he’s hallucinating on peyote, too–quite a trip. The album’s narrative is centered on his lonesome and dark destination and his will to survive and keep movin’ on.

    Released on February 24, 2017 and recorded at Echo Mountain Studios in Asheville, NC, the album blew into the speakers of many, proving to be an apt addition to their album lineup: 2010’s Stories From the Middle of Nowhere, 2013’s self titled venture and their penultimate release in 2014, Truth Serum, in addition to a number of live releases. The 8-track album covers a lot of ground, taking a step away from the group’s more lighthearted, carefree and fun tone, bringing it down to a darker realm of sonic trips through barren desserts. Of course, some tracks held true to an upbeat feel but for this runaround, the group decided they’d convey a heavier temperament while flying through a variety of genres.

    The title track, acting as the first glimpse of the album produced by Grammy-nominated John Custer, leaves listeners feeling as if they’re the ones left deserted on the cracked earth beneath a heavily beating sun. The opening notes alone spark an instant curiosity and yearning to hear more. The lyrics, “Cactus tripping/eclipse the sun/mind or mirage/are you having fun?”and synthy keys conjure up psychedelic inspiration and provoke deep thought with airy guitar solos to match.

    This is quickly juxtaposed by “Song for Us,” the second track on the album. Desolate emotions are exchanged for happier, reggae tunes solidifying the fact that the listener is on their own unique journey through Tumbleweed, one they must come out of in their own way, as they bounce between lighter and darker moods. Allowing an ending guitar solo to smoothly transition into “Passenger,” the track begins to grab at bluegrassy (think String Cheese Incident), western influences and spirals further into the theme of wandering in darkness.

    “Blue Dream” follows, introducing a jammier, space rock sound to the album that has yet to be seen. Regardless of being instrumental in its entirety, the track demands your attention. Contributing to the southern rock theme and tying in psychedelia, this track mirrors the album artwork nicely, which displays major sci-fi nods with images of UFOs and alien life. “UFOs are Real” brings a bit of kitschy lyrical fun with groovy bass lines, an added horn section and a quick ability to force you on your feet to dance. The penultimate track, ironically titled “In the Middle,” brings some Californian vibes with surfer rock mentality through its vocals. Wrapping up the 2017 release, “Waves” proves to be a fitting closing track, offering a powerhouse of a crescendo that softens into reminiscent tunes from the album’s opening track. Listeners are seemingly looped and dropped off at the beginning of their own desert trip, left to reflect on the highs and lows the last eight songs challenged them with.

    Tumbleweed is a gripping, innovative release chock-full of imagery, creative instrumentation and solid production, which gave Nick MacDaniels (vocals, guitar), Doug Marshall (bass), Josh Kagel(keys, trumpet), Casey Cranford (saxophone, EWI), Jesse Hensle (lead guitar), and Ben Vinograd (drums) the opportunity to shine in their respective areas and display their utmost dynamism, both in the studio and on stage. Although unmistakably dark, the album grounds the listener and helps them come to terms with the fact that we are all just tiny ants on this humongous globe in space, dragging ourselves through the scorched earth beneath our feet. It’s up to us to keep going.

    Key tracks: Tumbleweed, Blue Dream, Waves

  • Gin Wigmore interviewed by Recess with Spinelli

    Originally hailing from Aukland, New Zealand but now residing in Los Angeles, USA, Gin Wigmore is known for her powerful vocals and melodies.

    gin wigmore

    Listen to the interview with Gin Wigmore by Alexander Spinelli/Longbow Media/Recess with Spinelli:

    Ms. Wigmore originally came to my attention while I was in London, England in 2012.  While surfing the channels on the (in the local vernacular) “telly,” I stumbled on a James Bond, “Skyfall” commercial featuring Gin’s song, “Man Like That,” off here 2011 release “Gravel & Wine.”  At this point, I was as Peter Pan may say, ‘hooked.’

    gin wigmore
    Gin Wigmore at the Hollow Bar and Kitchen in Albany, NY

    Ms. Wigmore’s 2013 release, Blood to Bone lived-up to her reputation and in fact, ever solidified her growing American fanbase, with songs such as “Written in the Water” and “New Rush.”

    Back in December, Gin came to Hollow Bar and Kitchen, in Albany, NY to a packed audience in support of her upcoming album and newly released, bold single “Mercy.”

    I interviewed Ms. Wigmore ahead of the show, during which she speaks of her musical progression, move to California, the upcoming album and much more!

    You can also listen to the full radio broadcast here:

    Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli:

    Instagram Twitter Facebook Youtube Soundcloud Mixcloud and online at longbowmedia.us

  • Hearing Aide: Spoon ‘Hot Thoughts’

    After what felt like an eternity, Austin-based indie rock band Spoon returns on St. Patrick’s Day with their ninth full-length album, entitled Hot Thoughts. They haven’t released a full album since their 2014 masterpiece They Want My Soul, which contains some of the best silver in Spoon’s musical vault. The gold goes to their 2007 record Ga Ga Ga Ga Ga, which not only has some noteworthy songs, but truly put them on the map towards success and credibility as songwriters.

    This new 10-track release on Matador Records drives the band in quite a millennial-type of electronica direction, while maintaining the same pure frustration of garage punk that made us fall in love in the first place. Songs like “I Ain’t the One,” “WhisperI’lllistentohearit,” “Shotgun,” and the title track “Hot Thoughts,” can only be described as disco punk, with a driving rhythm section featuring bassist Rob Pope and drummer Jim Eno, that feels easy to dance to. Add in synthesizer effects that not only compliment a willful resistance, but also engage in a transient, almost Beatles-comparable element to balance out the aggression. Spoon properly confuses the listener, tossing in sample bits and adding artistic effect pedals to give each instrument its own voice and purpose.

    Sprinkled throughout the album, in tracks like “Pink Up” and the final song “Us,” Spoon throws us some instrumental curve balls, featuring cameo appearances from a strings section and a mysterious saxophone solo. In their sexiest tune and pre-released single “Can I Sit Next to You,” we hear a sarangi-sounding pitch bend technique by synth guru Alex Fischel. The arguably best song on the album, “Do I Have to Talk You Into It,” bestows upon us a somber intonation in singer and guitarist Britt Daniel’s voice, as almost a means of inner disapproval. The song’s lyrics are hard to pin to a particular event or substance, but its dark descriptions certainly contrast the overall uplifting feel of the song. Once again, this band tricks us into calling them a punk band, and then convincing us that they can do rock (and even jazz) just as easily. To say this band parallels the indie rock genre isn’t completely accurate, as they are always dipping their feet into deep musical waters, and surfacing with sensibilities similar to Trent Reznor, John Lennon, Chris Martin, and Miles Davis to create a multitude of concepts. This album shows us that Spoon is going in a new direction, but they remain true to their roots. This album features electric guitars, xylophones, honky-tonk pianos, strings, saxophones, and sampling experiments that mock existing ideas, while also creating new ones. This album represents the ‘hot thoughts’ that have been stirring in the brain of Spoon, and this album meets and exceeds expectations of anyone who listens to Spoon, or ‘indie rock’ in general.

    Just in time, Spoon is touring their way around the country, conveniently making stops in NYC for the annual Panorama Festival, followed by an appearance at the XPoNential Festival in Camden, NJ. For more info and to purchase tickets, visit Spoon’s band page.

    You can hear the full album on Spoon’s Soundcloud.

    Key Tracks: Hot Thoughts, I Ain’t the One, Do I Have to Talk You Into It

  • Primus and Clutch Announce Summer Tour

    Primus has announced a slate of dates for July and August.  The band takes to the road with special guest Clutch starting July 17 in Charlotte.primus clutch

    Claypool and company have only announced one stop in New York State, July 21 at the Dome in Henrietta, just outside of Rochester. The two-month long tour includes a variety of stops across the country including eastern dates. in Raleigh, Detroit, Lancaster, Boston, Portland (Maine), Burlington, Asbury Park, Philadelphia and Pittsburgh. The July 27 show in Burlington is a part of the Lake Champlain Festival, which also includes Twiddle’s Tumble Down Festival.

    The tour heads to the midwest and west coast in August with dates in  Milwaukee, Mankato, Cedar Rapids, Kansas City, Dallas, Tempe, Las Vegas, Bonner, Troutdale, Eugene, Seattle and Stateline before closing the tour at the Greek in Berkeley on the 18th.

    According to Clutch’s website, both bands will be performing full sets with no openers or supporting acts.

    Tickets for these newly announced shows go on sale this Friday, March 24 at 10 a.m. local time. A pre-sale begins Tuesday, March 21 at 12 p.m. ET via Primus’s website.

  • This Week in Protest Music: Snoop Dogg, Juliana Hatfield, Sex Pistols and Stefan Lessard

    Snoop Dogg released “Lavender” (Nightfall Remix) featuring a clown named Ronald Klump, who wants to deport all doggs, and later Snoop fires a fake pistol at Klump, who later in the video is in chains. Watch the roller coaster video and judge for yourself:

    Boston-based soul/rock band Dan & the Wildfire released their new single, “Nothing But Love” on February 22nd and will donate all proceeds to the ACLU.

    Juliana Hatfield will release a Pussycat, a politically themed album, on April 28. Hatfield said of the release, “I wasn’t planning on making a record … All of these songs just started pouring out of me. And I felt an urgency to record them, to get them down, and get them out there.”

    Tom Maxwell profiles The Hutchinson Family Singers, who were abolitionists with an anti-slavery anthem.

    https://www.youtube.com/watch?v=tyoC-JccYcc

    Katy Perry released “Chained to the Rhythm”, a ‘purposeful pop’ protest song, which was then skewered by the NY Post.

    Protest music towards Trump has taken off globally, and through dance music, as detailed by The National, based in United Arab Emirates.

    Connecticut based saxophonist Noah Preminger released Meditations on Freedom, on Inauguration Day and Mike Hamad at The Hartford Courant breaks down the albums political themes.

    Canadians are getting in on protest music too! Hollerado from Ontario wrote “Grief Money” prior to Trump’s election but it was “It was an unhappy coincidence” the song had a secondary meaning. Blood, Sweat and Tears former singer David Clayton-Thomas wrote “Ode to the Donald” and Wintersleep wrote “Amerika,” tunes that show the interconnectedness of American policy and our Canadian neighbors.

    Jon Lydon of the Sex Pistols, who rebelled against the system with punk in the 70s and 80s sees the bright side in Trump, in a new interview with Vulture.

    Stefan Lessard of Dave Matthews Band spoke out on the inclusion of political themes in the group’s music as a rebuttal to some fans disagreeing with combining politics with music.

    The Colorado Springs Independent takes a look at The Politics of Protest Music.

    Matthew O’Neill released “Louisiana” with all proceeds benefiting Earth Guardians.

    Portland, Oregon’s Jeffery Martin released “What We’re Marching Toward,” and the Worcester Telegram breaks down the song’s message.

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