Category: Genres

  • Best of NYS Music 2017: Bands on the Rise and Artists You Should Know

    As we continue our look at the best of and the brightest in music in 2017, we shift our focus to up and coming bands that are ready to burst on to the national stage.  While our staff picks may mirror those of last year, NYS Music readers have voted for a new act that’s ready to join the ranks of other popular New York bands with bight futures.

    And if you’ve missed any of our previous voting results from earlier this week, check out our winners for Best Venues, Best Albums and Best Festivals.

    Bands on the Rise

    Staff Pick

    Aqueous

    For the second year in a row, our staff has selected Aqueous as a band on the rise as the Buffalo, NY quartet continues their steady progression towards national relevancy.  Playing bigger festivals, opening for acts like The Disco Biscuits, and collaborating with members of moe., fellow Upstate New Yorkers, in addition to a steady touring schedule have all contributed to this band’s surge in popularity.  This should come as no surprise to Buffalo area music fans who have been singing the group’s praises for years now.  They’ll get to enjoy Aqueous back in their hometown as they ring in the new year at Town Ballroom.  Tickets are still available and can be purchased here.

    Readers Pick

    The Other Brothers

    At least the readers of NYS Music have offered up a new taste this year for their Band on the Rise selection as they’ve chosen The Other Brothers.  Fresh off the heels of their recently released EP Jones, this band has seen a steady rise in prominence in 2017 thanks to increased exposure this summer at local festivals like Disc Jam and strong word of mouth.  They hang their hat on being able to mix delicate ballad-like songs with focused and heavy jamming in the live setting.

    Artists You Should Know

    We’re always looking for new music, especially bands from New York State, and this year we stepped up our game and found bands from all corners of the state playing our local bars and clubs, just getting started.

    We checked in with our readers, and they overwhelmingly suggested three New York artists: The Backseat Bullets (for fans of shoegaze and a 90s grunge influence), Aqueous (jam stalwarts of Buffalo), and Hartley’s Encore, the new funk powerhouse in Albany.

    The Backseat Bullets

    Aqueous

    Hartley’s Encore

    Meanwhile, we asked the staff who were some artists readers should know about, and we ended up with an impressive list of 21 different artists to check out. There’s no sense in sending you off to listen to three or four bands worth checking out when there is so much variety in store. So here’s the NYS Music Staff list of Best Artists You Should Know for 2017.

    St. Phillip’s Escalator

    Nathaniel Rateliff & the Night Sweats

    Sydney Worthley

    Big Mean Sound Machine
    King Gizzard and the Lizard Wizard

    The Honey Smugglers

    lespecial

    Pigeons Playing Ping Pong

    Vulfpeck

    Turkuaz

    oh wonder

    The Seratones

    Sofus

    Anderson .Paak & the Free Nationals

    Portugal. The Man

    The Wood Brothers

    Root Shock

    Parquet Courts

    Mary’s Blood (Japan)

    Highly Suspect

    Royal Jelly Jive

  • Save the Date: The Disco Biscuits Announce Camp Bisco 2018

    It’s no secret that the Disco Biscuits are touring, improvisational machines. The trance-fusion foursome offers their die-hard fan base countless opportunities to catch them on the road throughout the year, even if they tend to favor the East Coast, their home base in Philadelphia, PA and the renowned Red Rocks Amphitheatre in Colorado. What remains annually constant, is their long-running Montage Mountain mania. Camp Bisco is now boasting a ‘save the date’ and offering alumni pre sale tickets to bring your ass to the party, taking place from July 12-14, 2018.

    After being held in a total of four different locations and taking a break in 2014, Magner, Barber, Brownie and Allen will bring their flair to Montage Mountain, with Scranton acting as the festival’s residence for the fourth consecutive year. While freshly crafted festivals are popping up each year, Camp Bisco managed to hold its own, on and off since ‘99. With its 16th festival and year in operation, the recurring party provides six Biscuits sets, mesmerizing laser shows, abundant art and camping, cool downs in the pool, 5k marathons, zany color wars and other activities over the course of three jam-packed days. Although hosted and heavily based around the Biscuits, fans favoring a multitude of genres, specifically electronic dance music, find their way to the mountain. In the past, favorable acts have included STS9, Bassnectar, Pretty Lights, Gramatik, Pigeons Playing Ping Pong, Lotus and more.

    Partying isn’t the only thing taking precedence over the weekend, the quartet makes sure they give back to the community by promoting fundraising and food drives, having raised money for hurricane relief and even gathering young fans to register to vote.

    An alumni pre-sale begins this Thursday, Dec. 21 at noon at the Camp Bisco website with the password: ALUMNI. You can catch The Disco Biscuits for the last time in 2017 at NYC’s Playstation Theater from Dec. 28-31.

    The Camp Bisco 2018 lineup is still TBA but check out the official 2017 aftermovie and NYS Music’s coverage of last year’s fest here to hold you over:

    https://www.youtube.com/watch?v=ULVS34FlHus

  • New York State to Aid 2019 Woodstock Anniversary in Event Funding

    Music Festivals are constantly curated and in recent times, unfold in abundance as live music lovers today are spoiled to have their preferred picks of summertime get downs. However, there’s only one original festival that can be credited with truly sparking an endless movement–Woodstock. We’re lucky enough to see footage, listen to wild tales of the 1969 live music renaissance and visit the stomping grounds where the magic of Jimi Hendrix, The Who, Jefferson Airplane, Janis Joplin and so many more were unleashed. Now, New York State has big plans to step in with financial funding to commemorate the fest with a 2019 50th Woodstock anniversary event.

    After rumors have circulated among fake bills, rock music fans can rest knowing that a dream will soon be reality. According to LocalSyr, “The Regional Economic Development Council announced earlier this week includes nearly $690,000 for the Bethel Woods Center for the Arts — that’s located on the site of the original Woodstock Music Festival.”

    Promoter Michael Lang put together two previous anniversary versions of the iconic festival; the first in nearby Saugerties at Winston Farm in 1994. The event featured a raucous mud-throwing performance from Green Day, the Red Hot Chili Peppers, Primus and Bob Dylan. The 1999 edition, held on a deactivated air force base in Rome, is most remembered for its tumultuous ending. Attendees rioted, starting fires and looting vendors as the final bands performed. Allegations of rape throughout the weekend also tainted the festival, putting any further incarnations of it in doubt.

    Having showcased three days of peace, music and love to over 400,000 attendees, the 2019 event will offer the same three-day setup at the 11-year old venue. Bethel Woods oozes history from its amphitheater to its Woodstock Museum that often showcases clothing and special effects from its generation’s biggest stars, offering you a way to get lost in time and get on the bus for a bit.

    We won’t get to see Hendrix shred the “Star-Spangled Banner,” hear Jerry Garcia sing songs to fill the air or listen in awe as Joplin unleashes her raspy vocals to an endless crowd but we can only expect the biggest names to make their way out to the late 1960s and 1970s resurgence. No one who was there will ever be the same, and we’re hoping this statement at least holds up half way for its 50th anniversary bash.

    https://www.youtube.com/watch?v=TKAwPA14Ni4

  • Cal Kehoe Collaborates with Tom Marshall on New Track, ‘Marilyn’

    ‘Marilyn’ from Cal Kehoe, with Tom Marshall, is light, airy and a pleasant thing to have stuck between your ears. I mean that in a good way, the chorus is a bit of an earworm.  At face value, the video and music elegant and emotional, but dig a little bit deeper and listeners will find that the creation of this piece makes it more even more spine-tinglingly good. The production quality is top notch. The song moves effortlessly, making it a great piece of work to add their resume. Before we get into the music itself, there’s a small history lesson to be learned first.

    The song was conceived by Cal Kehoe, Tom Marshall,  Anthony Krizan of the Spin Doctors and independent artist Sherman Ewing. Kehoe says this is the second song a series of tracks that he collaborated on. He will be releasing more tracks over the course of the next few months. Kehoe spoke about the tracks and video’s conception.

    Tom and I met at Madison Square Garden at a Phish show in 2009. We began talking about music, favorite guitar players, favorite Phish songs, etc. I stayed in touch with Tom and we became friends . Last year, I was playing a VIP side stage in Hartford, CT where Phish was performing and Tom came to see my band. He was impressed enough with my guitar work and vocals that he offered to work with me on some original compositions.

    I wrote music for 5 or 6 different songs, until one finally resonated with Tom. That song became “Limbo”, which was loosely based on the Netflix series, “Stranger Things.” During the collaborative process, Tom sent me an unfinished demo he had written with Anthony Krizan and Sherman Ewing.  I began to write and work with Tom on the demo he sent and that song evolved into the final product – “Marilyn”. From there, Tom and I went down to Anthony Krizan’s studio in New Jersey and began recording some vocals and guitar. Tom and his daughter Anna Marshall appear as the background singers on the song “Marilyn”.

    We completed the recording at Tarquin Studios in Bridgeport, CT  with Greg Giorgio (mixing, production for The National, Trey Anastasio, Kurt Vile, etc.) with the help of Rob Allen (formerly of Augustines) on drums and Crispin Cioe (the Uptown Horns, Rolling Stones) on saxophone.

    It’s an incredible thing when musicians of different strokes come together and create a beautiful piece of music.  The song is truly beautiful and the video footage accompanying the track further proves that point. Dancers grace the stage and perform an elegant routine that matches perfectly with the songs tone.

    The song somewhat differs from his prior work, although there are still traces of his earlier characteristics. It’s jammy with some rock feel but this track leans more towards easy-listening elements. It boasts some sultry saxophone, open chords on an acoustic guitar in the background and one of the catchiest chorus riffs you’ll hear.  Most impressive is his guitar solo in this track and across most of his tracks. Every note is logical and fitting for the style, even though it seems he’s trying to break into a scene that thrives off of ten minute guitar solos. He stays humble, wails high up on the fret board for a few bars and backs off. It’s perfect for the genre and revealing in its modesty.

    It seems he’s found a great group of artists that he works well with and initial signs show it’s going to really pay off. Keep track of his newest releases on his YouTube channel, personal page and Facebook page.

  • Hearing Aide: Wavy Cunningham ‘Welcome to the Wave’

    Albany has always had a diverse music scene. The Capital Region has a way of nurturing countless acts and genres throughout the years and our city always seems to have a surprise up its sleeve. The biggest surprise in 2017 has been the release of the newest project from Wavy Cunningham, Welcome to the Wave. This endeavor showcases Wavy’s ear for samples and his ability to paint a story. Ever eloquent, Wavy shows us that he can be the light of the party.

    wavy cunningham
    Wavy’s most ambitious project yet starts with “Sunrays,” a calypso-inspired introduction track whose chorus echoes the theme that persists throughout the album, “518, if you didn’t know you know now.” He peppers his storytelling with various local references and a sound that encompasses the feel of the State Capitol. This is apparent in his upbeat manifesto, ‘Welcome to the Wave,’ which is a prime example of how Wavy can balance the tempo, timbre, bass and rhythm of a track while spinning a yarn to the listener.

    The most impressive aspect of Wavy is the sheer number of genres he uses in his samples. Two shining examples of this are the incredible Barry White sample in ‘Back on the Scene’ and the Bob Marley vibe surrounding ‘Montego Bay’. However, Wavy is able to move past relying on popular samples by creating his own atmosphere which permeates the album. ’Bout Me’ possesses a striking West Coast influence while maintaining Wavy’s Northeast attitude and the angelic track, ‘Ain’t Fo Sho’ flourishes while Wavy floats amongst syllables.

    Welcome to the Wave shows that hip-hop is alive and well in Albany. This is the perfect summertime album and while we may be in the depths of winter, don’t be surprised if the next 518 party you attend has Wavy playing in the background.

    Key Tracks: Sunrays, Welcome to the Wave, Aint fo Sho

  • Victor Wooten Trio Speaks without Words at Anthology

    A modern jazz club manifested at Anthology Thursday, December 14, welcoming Victor Wooten Trio with Dennis Chambers (drums) and Bob Franceschini (sax). A red curtain backdrop stippled with strands of soft yellow lights dripping to the floor radiated an understated elegance, setting the mood for the trio’s dichotomous playing style. A melodic infusion of jazz, R&B and funk abstractly bestowed upon eager ears, many belonging to fellow musicians.

    The relaxed musicians stood comfortably on stage, emulating a nonchalant but composed demeanor similar to one who might stand in the kitchen eating a bowl of cereal while contemplating life’s deep questions. Victor Wooten Trio provided a musical approach that can seem simple upon first listen or to the untrained ear. They offer an underlying complexity that grabs the listener’s attention more fervently with purposeful, controlled sound than a performance riddled with wickedly intricate sequences.

    Their performance seemed to unfurl organically, in a free flow of notes with ever-changing rhythms that kept the head bobbers and toe tappers constantly reinventing their own body movements in a frivolous attempt to mirror the music. Wooten, Chambers and Franceschini know when to push and when to pull back, leaving ample space for each musician to unhurriedly showcase their style.

    In Wooten’s words from a TEDx talk at Gabriola Island a few years back he offered: “To be a good musician you have to be a good listener. Doesn’t matter how great I am as a bassist. We can put five of the world’s best musicians on this stage but if we’re great separate from each other it’s gonna sound horrible. But if we listen to each other and play together, individually we don’t have to be as great and it’ll sound much better.”

    Wooten contrived several noteworthy instances, the least of which was casually slipping from electric to double bass. The latter an instrument he less commonly plays, yet fingertips danced across the fingerboard unabashedly. Fusing classical and modern, he even doubled back to brandish his bow across the electric bass to create provocative sounds. Perhaps one of Wooten’s most intriguing acts unfolded as he utilized his loop pedal to create multiple polyrhythmic melodies, adding each note one at a time. The mounting complexity of this sequence mesmerized listeners because of the precision and patience behind it’s development.

    The method of slowly building a progression note by note could be traced back to Wooten’s TED talk where he describes music as a language, and one that he learned at a very early age, when he was also learning the language of speech. Just as children begin by learning one word at a time to build their vocabulary, Wooten still applies that same basic principle on a professional stage decades later to communicate with his audience.

    Midway through the evening, Wooten introduced his two comrades before jokingly introducing himself as Stanley Clarke, a prominent jazz bassist. Later on in the set, he treated listeners to a mashup of Clarke originals to the delight of those familiar with his work. The trio inserted other Easter eggs throughout the set, including a Stevie Wonder sample, but even these more recognizable riffs were cleverly disguised, detectable to those listening intently.

    What was plainly obvious was Wooten’s almost comically precise ability to manipulate his bass to sound like other instruments. At one point I found my eyes furiously darting across the stage to locate the elusive flute player. Low and behold, it was coming from Wooten’s electric bass. The running joke of the evening was that after talking to him for ten minutes, he could probably make his bass sound like that person’s voice. Perhaps this feat of musical wizardry can serve as his next musical conquest.

    [FinalTilesGallery id=’994′]

  • Hearing Aide: Five Finger Death Punch ‘Decade of Destruction’

    The fact that Five Finger Death Punch falls under the groove metal sub-genre is either fitting or ironic for their latest album Decade of Destruction because I can’t tell if they’ve found their groove (metal) and are sticking to it or have been stuck in a decade long creative rut. For diehard fans of 5FDP the two never before released songs on this compilation album are able to justify picking this album up even if you have all their other albums, but for casual fans such as I who find most songs interchangeable, it gets really difficult to recommend. So to help here are two semi quick reviews of the new songs on the album.

    The first track, “Trouble,” opens with lyrics that I hate to say feel like the band is satirizing themselves:

    “I don’t look for trouble, trouble looks for me/That’s how it’s always been, that’s how it’s gonna be.”

    The song is full of what fans love about 5FDP including aggressive vocals interrupted with anthemic chants, but there’s not much to say about it. If you love 5FDP’s emotional lyrics then this is another song to add to your collection when feeling down or angry at the world, otherwise it’s completely forgettable/replaceable. There’s nothing necessarily bad about the song it’s just another 5FDP song for better or for worse.

    5FDP is known for covering songs, some from fellow metal bands, some from completely different music genres. Their track record is without a doubt a mixed track record. “House of the Rising Sun” and “Bad Company” are well praised and favorites among fans but then there’s songs like “Mama Said Knock You Out” originally by LL Cool J which is best not mentioned. Unfortunately the latest song to be covered by 5FDP, “Gone Away,” originally by The Offspring is most likely to end up sharing company with the likes of “Mama Said Knock You Out” instead of “Bad Company.” There’s just nothing about this cover that warrants its place on a greatest hits album and was also a wasted opportunity of a library such as The Offspring’s which is chock full of songs that fit 5FDP’s usual subject matter. Songs like “You’re Gonna Go Far, Kid” and “The Kids Aren’t Alright” would have been perfect songs to be covered by 5FDP, so to find out that “Gone Away” was the song 5FDP decided on is just truly disappointing.

    Overall this is a mixed and confusing album and not just because it’s a “greatest hits” album with new material. While bands like Cannibal Corpse have also stuck to one sound, refusing to experiment, they have worked to improve that sound so that anyone can hear the difference between Vile (1996) and Red Before Black (2017) but 5FDP has relatively stayed the same for over a decade without improving their sound. In conclusion if you like 5FDP you’ll like ‘Decade of Destruction’ because it’s full of “greatest hits” and two new songs but if you don’t like 5FDP then you should be used to this by now considering they’re for better or for worse the closest thing metal can get to mainstream music.

    Key Tracks:  Lift Me Up (feat. Rob Halford), Jekyll and Hyde, Remember Everything

  • The Addy Opens at Proctors Theatre

    “You should know that as of five o’clock last night there were still lights and speakers still being hung,” said Proctors CEO Philip Morris at a Wednesday morning press conference to announce the opening of the Adeline Graham Theatrical Training and Innovation Center on Nov. 29 (The Addy for short) “In fact, you might even smell the dust burning off of the LEDs.”

    Named after the philanthropist and longtime supporter of Proctors Theatre, the third floor space of the complex now houses a 100-seat theatre, multi-use classrooms, a media lab, a dance studio and a variety of amenities Proctors expects will serve more than 500 students and 10,000 patrons annually.

    Proctors CEO Philip Morris speaks with visitors during the unveiling of The Addy on November 29

    “There is nothing for us as exciting as opening The Addy,” said Morris. “This is as laser focused as our mission gets — bringing together education, entertainment and economic development in one ‘wow’ package. We are beyond proud.”

    The Addy is already in use by the Empire State Youth Orchestra’s CHIME program, serving 60 musicians from local elementary and middle schools. But, in January, The School of the Performing Arts at Proctors will host more than 200 students in weekly classes, including the middle school-based Acting Academy and the high school-oriented TheatreTECH.

    Built as part of a larger capital campaign, the $2.2 million project was supported by grants from Empire State Development and the Capital Region Economic Development Council, Schenectady County, Schenectady Metroplex Development Authority and the Wright Family Foundation.

    “Philanthropy was such an important part of Adeline’s life,” said her niece, Heather Ward, now chair of The Wright Family Foundation, Inc. “She shared this passion with so many organizations, and she dedicated so much of her time and energy to Proctors because she really understood the importance of education, training and community education through the arts.”

    With the Workforce Development Institute and TheatreTECH, The Addy will provide participants apprenticeship programs, training and certification that will allow them to work in a variety of performing arts careers. The performance space will also add another distinct venue to Proctors—serving as art house cinema, concert hall and theatrical stage.

    A classroom currently used by the Empire State Youth Orchestra’s CHIME program at The Addy.

    “Any time you are willing to affect youth, you have an opportunity to change the world,” said Arnold Will, deputy regional director of Empire State Development. “In this case here, it’s really what we’re doing. We’re glad to be a part of taking a vacant facility, renovating it, being a part of the revitalization of downtown Schenectady, and we wish our continued support for Philip and continued success of this project.”

    Ray Gillen, chair of Metroplex, said the new creativity hub should only help Schenectady as a whole, as it adds another venue to attract visitors to the city.

    “This new venue completes the renovation of the cherished Carl Company, one of the last undeveloped spaces on State Street,” he said. “The third floor now features performing and exhibit space, including a versatile 100-seat theatre that will draw more people to downtown Schenectady.”

    This article was originally published by The Spot 518 and is the property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Falling short on a chance to open Albany’s largest block party, The Late Shift thrives nonetheless

    Wednesday night gigs guarantee small crowds. The Late Shift was one of four bands to play Jupiter Hall on what was the final round of Wednesday night shows 102.7 WEQX organized for a weekly Battle of the Bands. The vertical string of mid-week nights strung across the month of August to determine who would open its annual Pearlpalooza music festival in Albany that summer.

    There is, of course, an exception to every rule of thought. It wasn’t just a “battle” amongst musicians fighting for recognition: each band was tasked with the near impossible task of coaxing its fans to come out for support. Thursday mornings are not the time to be nursing a hangover, either from alcohol consumption, sleep deprivation or both. It’s the type of dedication to their bands that fans pay forward with sloppy TPS reports and copious amounts of coffee.

    The Late Shift consists of four guys who graduated from Shaker a few years back. They messed around with some instruments in high school and about five years ago, band frontman Scotty Somerville said they flipped the switch to become the group they are today. That band has cultivated a following that now allows them to host an annual Halloween party on the Captain J.P. Morgan Cruise and a regular “Thanksgiving Eve” gig at The Hollow Bar and Kitchen.

    When Scotty, Mike Davies, Jake Lester, and Sean Murphy took to the Jupiter Hall stage, a relative swell of people crossed the floor towards the stage — relative in terms that a bulge of bodies from the approximately 80 in attendance started dancing. In a competition where the crowd was asked to submit hand written ballots to decide the winner, the proverbial hat had been tipped. Chanting and singing along to the songs, the favorite seemed to have already been named with still two bands yet to perform. But, it wasn’t so.

    Ultimately, Hasty Page won over the crowd as the final act of the evening. The three-piece band out of Albany (has since been playing with a fourth band member) earned the spoils of kicking off the Capital City’s biggest block party of the year. But, it turns out that oft-quoted line by Ricky Bobby “If you ain’t first, you’re last,” isn’t true.

    “Sometimes it’s a humbling experience to go into something very confidently and not necessarily have the results you want,” said Somerville, who added he and his bandmates didn’t walk into the room with the expectation of winning. He acknowledged that the pool of bands they were up against, like Hasty Page, were already “more up-and-coming than us.” [But,] we actually wound up getting a lot of great exposure from it. It really started our relationship with a lot of people.”

    Along with the exposure to additional fans and WEQX, Somerville said Greg Bell of Guthrie Bell Productions was in attendance, too. Bell is responsible for bringing in many of the regional acts who perform at the Palace Theatre, Cohoes Music Hall and The Hollow. Somerville said the performances at the Battle of the Bands impressed Bell enough to have The Late Shift open for Jimkata’s farewell performance at The Hollow in October.

    Jimkata is one of those regional bands with the reputation of working hard, performing more than 150 shows a year. After several years together, the band’s last album In Motion dropped last year, Jimkata decided to call it quits. The opportunity to play with them, Somerville said, was inspiring.

    “It’s funny whenever you get an opportunity to play with a band having a lot of success, whether that success is coming to an end or it’s just starting,” he said. “Just speaking with them, we’ve done a lot of things similar as bands, we know a lot of similar people. It’s amazing to find people who are having a lot of success and see that they do a lot of the things you are, it’s definitely inspiring.”

    Flash forward to the day before Thanksgiving. Another Wednesday night gig. Another surprisingly large crowd. The Late Shift is headlining its “Thanksgiving Eve” party, a show they’ve put together now for four years at arguably one of the hottest joints in a hot local music scene. “There are more and more incredible acts popping up everywhere,” said Somerville. “It seems like on any Saturday, you’ll see several great shows that you actually have to pick and choose between what you can actually go see. To me, although it fluctuates… I see the scene as hot as it’s ever been right now.” And, on an evening before fans go to see family for the holidays, a vibrant crowd packed the Hollow to see The Late Shift, along with local hip-hop artists Wavy Cunningham and DJ Mercy, and The Other Brothers, a funk rock band out of New Paltz. No TPS reports or college papers due the following day so the crowd let loose. Late into the night, The Late Shift lead the crowd into a sing-along to Aerosmith’s “I Don’t Want to Miss a Thing.” It’s an obvious favorite, but it lends something of an anthem. A mid-week crowd wishing it can “stay lost in this moment,” dedicating themselves to both a band and music scene on the rise.

    Plans are already in motion for 2018. Somerville said the band has two more gigs planned this month, including a New Year’s Eve show that’s still being worked out. The band already has the bridge work laid out to follow-up last year’s Fork & Knives.

    “We can’t put a date on it, but there’s definitely some stuff going on behind the scenes,” said Somerville. “There’s some new songs, and some new approaches for some of the songs, too. Some new styles. All within our wheelhouse, but kind of exploring a few different things. There’s some stuff we’re really excited about.”

    This article was originally published by The Spot 518 and is the property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Hearing Aide: Sun Parade’s ‘Shuggy Mtn Breakdown’

    Relinquishing their debut full-length album to the world, Sun Parade successfully tugs at familiar emotions to send listeners on a 12-track sensory highway. Shuggy Mtn Breakdown boasts airy pop-rock blended with vibrant psychedelia that comes crashing down in waves. The 5-piece Northampton, MA outfit take you on a journey through self discovery with thematic commonalities all humans endure–love, life, questioning happiness and how to pursue it.

    With infectious melodies and light-hearted vocals,  Chris Marlon Jennings (vocals, guitar), Jeff Lewis (vocals, guitar), Max Wareham (bass, vocals), Karl Helander (drums, vocals), and Eli Salus-Kleiner (keyboard) are able to instantly grab a listening ear through their radio-ready sound while remaining comfortably candid. Reminiscent of elements of the White Stripes’ prominent and punchy vocals, Tame Impala’s airy singing and the Black Keys‘ american rock tone, the indie, power-pop album was recorded in a one-room studio on the 4th floor of an old industrial Brooklyn building. It’s no surprise that Rubblebucket’s own Ian Hersey sat in the producer’s chair to extend a helping hand and trained ear.

    The whimsical opening track of “Sleep Alone” warmly welcomes listeners into a dream-pop state of mind before launching into the cheeky “Cheer Up,” which does just as its title implies with both tempo and mood simultaneously picking up. Distorted noise and spoken word vocals shine on “Steal My Thunder” while “Game Boy” brings forth an extremely relatable message, embracing hooks and easy-to follow lyrics.

    A relaxed and slowed down “Braindrain” flips a genre switch as it walks away from the bubblegum sound and introduces a more delicate, soul-leaning attitude, complete with mesmerizing synth sounds and whistle-along tangents. The hard hitting and emotional rock track “Psycho” follows with wailing vocals and gritty grunge guitar breakdowns you didn’t see coming but can’t imagine the album without. “Shuggy Mtn” holds its own as the album’s party anthem. The namesake song dives into sonic exploration and punk tendencies by blending psychedelic rock elements with wailing vocals and hard hitting on the drum kit.

    The second to last track on the album, “Echoes of My Heart,” softens the tone and slows the release’s pulse with a quick, dreamy interlude before “Tear (Can’t Stop Believing),” wraps Sun Parade‘s initial release and circles back to the album’s blunt storytelling and hopeful tone.

    Through airy vocals and melodic exploration, the quintet proved they aren’t afraid to have fun and dip their toes in a pool of myriad genres while getting emotionally raw with their audience. Shuggy Mtn Breakdown aims to be timeless, allowing their hopeful and tender lyrics to appropriately contrast and offset its darker rock and roll musical elements.

    Touring in support of their release, Sun Parade will storm through Rochester’s Bug Jar on Dec. 10 just ahead of Swordpaw on Dec. 15. Listen to Shuggy Mtn Breakdown in it’s entirety below:

    Key Tracks:  “Steal My Thunder,” “Braindrain,” “Psycho”

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