NYS Music 20​17

Tag: New Album

  • Hearing Aide: Chris Eves and The New Normal ‘Find Your Way’

    Chris Eves and The New Normal debut their album Find Your Way this Friday night, December 22 at Funk n Waffles in downtown Syracuse, and on a busy night of Christmas parties and shows, its a must-see show given the prowess shown on this release. Recorded, produced and mastered at More Sound Studios in Syracuse by The New Normal and Andrew Greacen, this homegrown album and band sound ready to deliver in a live setting.

    chris eves Find Your Way
    Chris Eves Band

    Opening tracks “Remember to Forget” and “Green and Blue” show off the guitar work of Jay Lock, with the latter a stand out track on the album, truly soaring to height after height. “Walking on a Wire” is light and poppy in a Dave Matthews/Dispatch way, down to the built in crowd sing along. “Find Your Way” – all eight minutes of it – is a journey of a song, with peaks and valleys with an Assembly of Dust vibe throughout, down to Mike D’Ambrosio’s keys, which shine even more on “On Rainy Days.”

    The album doesn’t have a lull or soft spot, and halfway through there’s a steady rock groove that gets harder with “The Chains You Wear,” with an early Soundgarden vibe.  “Fall” is the hardest rocking track, bringing to mind moe.’s “McBain” and “George” amid an accelerated raging first half and a mellow reflective second one that turns up with Bayliss/Cinninger-esque guitar licks. Eves’ vocals are a treat throughout the album – like a diamond in the rough of jam band vocalists – notably, on the soul-extending “New Normal” and song of longing that closes the album, “Flown Away.”

    Most tracks clock in between 4-6 minutes, giving a sign that these songs will stretch out much further in a live setting. After a few listens to the album, two things are apparent: Find Your Way is a debut album with shine and depth, and The New Normal might be the best new band out of Syracuse.

    Key Tracks: Green and Blue, When the Stars Start Falling, Fall

  • 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

  • Hearing Aide: Tart Vandelay ‘Flow’

    In nature, flow is associated with movement, like water rippling down a current. In psychology, finding flow is associated with engaging in an activity which brings on a feeling of being energized, focused, fully aware and conscious. Rochester indie pop artists Tart Vandelay have linked these concepts in their new release, aptly entitled Flow.

    tart vandelay flowThe jazzy four-track-long collection paints a landscape filled with images of whipping whirlpool winds, relentlessly echoing rays of sunshine, midnight moonlight, and misty rain clouds. The elements of the cosmos become metaphors for emotional states, as a story unfolds about facing fear and uncertainty. Tart Vandelay isn’t just stopping to smell the roses; they’re making a mindful exploration into the cyclical rhythms in the universe and tendency for tumult to succumb to order. Songstress Katie Halligan draws from her own experiences when writing, however her words strike a chord deep within. She taps into her uncanny ability to connect what’s personal to what’s common to the human experience. “Sun, melt away by fright, tell me it’s alright,” she pleads in the song “Cloudy Doubts.”

    Book ended with birdsong, the instrumentation on the album mirrors the sentiment of the songs and compliments Halligan’s crisp, sparkling vocals. Marty LoFaso’s jazzy guitar work serves as a vibrant accompaniment. The bass line provided by Pete Zamniak and percussive stylings of Christopher Dubuc-Penney intersect to form in an undulating groove that adds dimension to the soundscape. The music demonstrates restraint during the apprehensive disquietude of the first two songs “High Noon Haze” and “Lonely Girl.” Then it swells during “Cloudy Doubts,” before reaching a magnificent crest in “Drifting.”

    As the sequel to last year’s debut EP Frontier Pioneer, Flow offers further proof of Tart Vandelay and their endearing ability to uplift and inspire through music. Recorded at Wicked Squid Studios in Rochester, and produced by Josh Pettinger, Flow is available on Bandcamp. You can follow Tart Vandelay on Facebook, Twitter, and Instagram.

    Key tracks: High Noon Haze, Cloudy Doubts

    https://soundcloud.com/tartvandelay/sets/janus?si=5c79b8de02a34701b7369c0c7641603e

  • Hearing Aide: Sharon Coates ‘here now’

    Rochester-based songwriter and vocalist Sharon Coates recently released her second album just in time for winter, entitled here now. This eleven-track jukebox brings a variety of styles to our ears, with a persistent folk and americana intention, only complimented by her soft vocal timbre.

    Her intriguing lyrical stories take us through her personal timeline, apparent in her reminiscent song “The Town Where I Live,” and in her evolution of complex concepts through poetry in “Cathedral.” Joining her on the record are instrumentalists Dave Drago, Alex Northrup, Jacob Walsh and Dave Chisholm, and in sync, their sound is familiarized as Southern country, with use of an accordion, banjo, organ, and even a trumpet to round out the sound.

    With interesting rhythm changes and unique guitar strumming patterns, songs like “Mexico” and the major-minor combative “Just Don’t” stand out as the album’s commanders. The song’s opening track “A Bullet Ain’t Got A Name” has a slight Tom Petty hint to it, with a light, smooth groove to introduce Coate’s new chapter. Her initial release was back in 2016, and it wasn’t long before she was ready to release new material to her listeners, and this album was well delivered the second time around. There’s no reason for her to be here now, when she’s been here all along, releasing music back-to-back.

    Despite her library of music, Sharon Coates puts her music in few places. To listen to her full album, you can go to her Bandcamp site, or stream a few songs form her album below.

    Key Tracks: Mexico, Just Don’t

  • Hearing Aide: Mistar Anderson ‘Mistar Anderson’

    Mistar Anderson, a Columbus, Ohio based ensemble, have released their self-titled album, which is currently available for streaming and for purchase. The vinyl, though not yet obtainable, will be up for grabs within the coming weeks.

    mistar andersonThe group was founded in 2012 by Andre Walker (drummer) and Eric Rollin (vocalist). As a larger ensemble, the musicians within the group change from time to time. However, Walker and Rollin are the two members that have remained a constant over the years. Guitarist Ryan Sullivan, trombonist Elaine Mylius, and saxophonist Jon Weisbrot are featured within the current line-up, as well. Though Mistar Anderson started as a cover band, the group has expanded throughout the years and has begun to release their own songs, all of which hold a unique sound.

    The album Mistar Anderson contains a total of 10 tracks, each of the tunes varying in length. “Alley Talk,” the 5th tune on the album, starts with an interesting melodic marriage between Rollin’s vocals and a groovy line played on the the flute. Rollin’s deep, raspy voice is brought to a short stop as the tune transitions. His sound is then presented in a different light through rap verses. This track teeters from short bars and back to the experimental hook introduced in the beginning, making the song a unique listening experience. The track gets a bit repetitive over the span of four minutes, without many new elements introduced aside from the hip-hop flair.

    “Need Love,” the 3rd song on the album, contains a deeper tone quality, the rich sound driven by a strong bass line and lightened up by the funky twang of guitar. Rollin can be heard singing the hook and rapping the verses on this track, similar to “Alley Talk.”

    This group combines funky jazz sounds with hip-hop elements, creating a style that is uniquely their own, and it shines through on this album. They have experience with performing live shows, having performed over 100 as a group to date. The members seem comfortable on stage, interacting with the audience to a degree, front man Rollin animated as he moves around the stage whilst the band plays, as seen in a clip below. They are a different listen, and it seems that they are a unique group to see live, as well. If you’re on the look out for a new type of sound to incorporate into your music library, then give Mistar Anderson a listen.

    Key Tracks: Need Love, Pure Bliss, Para Mi Brotha B

  • Hearing Aide: Jorian Holka ‘EP1’

    At times it seems like the world of popular music is caught in a cycle of poppy repetitive chord patterns and excessive autotuned tracks. Diversity among genres is something that is beginning to thin more and more as specific niches become more established. With his new release, EP1, Buffalo-local Jorian Holka aims to break away from the mold, and weave the world back to the days when hard rock and alternative-influenced music reigned supreme with a diverse new collection of songs.

    Jorian Holka EP1The EP begins with a statement, both musically and lyrically, with the hard-rock anthem “Rock’s Not Dead.” The up-tempo rocker starts off relatively quietly with an energizing guitar riff before quickly exploding into a full rampage, which sounds like a combination of Black Sabbath and the Foo Fighters. The sentiment of “Rock’s Not Dead” is very apparent, as the feeling that our society is losing sight of what true high energy rock music is defined as slaps the listener in the face. As the album continues, it is very clear that Holka yearns to bring back the days of lightning-fast guitar licks, heavy bass lines, and catastrophic drum solos. Elements of alternative, pop, screamo and hard-rock can be found throughout the album, as Holka does a virtuous job at keeping his influences close while establishing a sound of his own.

    Influences of Green Day, Billy Talent, Royal Blood, Nickelback, and Avenged Sevenfold, among others, can be heard echoed throughout this debut EP. While most of the EP can be defined as raw, edgy hard rock, there are often glimpses of a more lighthearted musician throughout, as seen in the intro of “Ordinary.” Holka spills his soul into the EP as the sole writer, instrumentalist, and producer, and it clearly pays off. The EP may come as a relief to many with the way popular music has drifted in the past twenty years. For as long as there are still musicians who demand loud, screaming guitar solos and the desire to play until their eyes are burning with sweat, Holka is correct in saying “Rock’s Not Dead.”

    Key Tracks: Rocks’ Not Dead, Terrible Paradise, Party Lines

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

  • Hearing Aide: Collin Jones ‘Specimen’

    If you’ve ever experienced live music in Western/Central New York, the chances are you’ve heard Collin Jones. Whether he is out playing with Haewa, Ocular Panther, Stereo Nest, or collaborating with other local artists, the man exhales music. His new EP Specimen is a beautiful assortment of innovative folk-inspired melodies, and a raw reflection of the true essence of human existence.

    Collin Jones SpecimenThe first notes of Specimen transport the listener to a different dimension. The intricately woven acoustic rhythms and spacey loops featured throughout create an aura that is somewhere in between the past and future, but certainly not in the now. If you close your eyes and dig deeper into the EP you may suddenly get the feeling that you are alone, lost on a farm in Medieval times. However, you cannot be sure you have gone too far into the past as spaceships and the glowing effects of technological advancements cautiously linger above. The combination of folk-influenced songwriting with psychedelic loops throughout create a futuristic Americana sound that can delicately be defined as an Emersonian audio experience.

    It would not be fair to single out any particular track when discussing this EP, as each individual song molds together to create a magnificent sum. Had Jones decided to record the songs as a string of instrumental tracks it would be worth your listen, but thankfully he chose to layer it with soothing vocals and thought-provoking samples. The theme of the album can be heard scattered throughout, and demands that you truly examine the human condition. He asks substantial questions like why are we here, and what’s it all for? However, he dares not provide answers, but rather guides the listener to an optimistic acceptance of the world we live in. As you reach the end of the final track, ‘Chapel Perilous,’ you are a caught in an anxious daydream of wanting more with the feeling of being lost in a snowstorm and glad to have nothing left to do but keep wandering. It would not be inappropriate to queue up “Throw Hands” again, and spend a little more time in the angelic world of Collin Jones.

    Key Tracks: Throw Hands, Specimen, Cube

  • 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

  • Hearing Aide: Pigeons Playing Ping Pong ‘PIZAZZ’

    Once you fall down the rabbit hole and begin obsessively following the “Jam Scene” you quickly take note of which bands are the real deal and which ones will soon become another fourth-tier festival causality. Since their birth in 2009, Baltimore natives Pigeons Playing Ping Pong have quickly pulled themselves up the ropes and show no signs of slowing down. Progressing from simply a name you saw on the line-up of nearly a dozen festivals and hearing about them for Phish after-shows to headlining their own two-set shows and establishing an obsessive fan-base of their own (often referred to as “The Flock”), PPPP has secured a spot in the rank of bands you absolutely must see if they are within driving distance (eight hours is driving distance… right?). With the release of their new album PIZAZZ on October 20, the band solidifies that they are here to stay and only getting better with age.

    PIZAZZIf you’ve ever been fortunate enough to catch a show, then you already know how much energy this band has at all times. For the right person, a PPPP show is the equivalent of running a 5K on acid. Prior to your first show I would recommend going to the gym three times that week to prepare for the number of funk-driven convulsions your body will encounter. While it is often difficult to translate what a band can achieve in a live setting to a studio album, PIZAZZ is about as close as it gets. This is the essential “dancing your ass off in the kitchen while cooking dinner and you’re so into it you don’t even notice your roast has burnt” kind of album. It is genuinely fun, with each track offering a different form of exhilaration to keep the listener engaged. It is often difficult to choose music that satisfies every guest’s tastes when throwing a party, but with PIZAZZ you are guaranteed a bridge that will keep everyone satisfied and may even inspire a few hallway dance circles.

    The album starts off hot with its first single “Fun in Funk” which epitomizes what the band and album is all about. The lyrics are playful and self-aware, but musically it is clear that they are not messing around. While “Fun in Funk” has already debuted live, like many other tracks from the album, the studio version is cleaned up and polished, while not at all overproduced. The second single “Something for Ya” follows keeping the energy going, but after listening through the album a couple of times you realize that they could have release almost any other song as their second single and it would fit. The album flows like a well-thought out 11-song set. As you reach the end of the final track, the mystical “Poseidon,” you have the urge to let out a little yell and clap for a couple of minutes until they come out for an encore. While we will have to wait a bit for the encore, this album is certainly one you will listen to over and over until it comes.

    Key Tracks: Fun in Funk, Something for Ya, Poseidon

  • Hearing Aide: Blind Owl Band ‘Skeezy Patty’

    Just in time for peak fall foliage, the Blind Owl Band are set to release their third studio album, Skeezy Patty on October 13.  Hailing from the beautiful Saranac Lake region of the Adirondack Mountains, this 7-year-old quartet resembles the type of grizzly musicians you expect to see kicking up dust at a bluegrass festival. The self-proclaimed “Freight Train String Music” that they create can be heard heading down the tracks with a thunderous roar that certainly resembles bluegrass, but with a little extra coal added to the fire.

    In the third spot, “Hit Em High” clocks out as the longest track on the album and tightly packs a fantastic bass breakdown into the genre-blending composition.  Christian Cardiello’s uniquely placed slaps add a jazzy undertone to the heavily bluegrass driven tune which combines the elegance of a downtown Manhattan lounge with the rowdiness of an Upstate NY dive bar.  The clever lyrics are sung as a team and give each of the members a voice in the storytelling.  Imagine a group of gnarly pirates sitting around a bottle of whiskey as the waves chaotically surround and collide into their ship and that is “Hit Em High” in a nutshell.

    “Reloading” was thought up by guitarist Arthur Buezo who exchanges lyrics with James Ford on banjo for the song.  As the band developed “Reloading” for live shows some of the stylistic layers were transformed into the current composition.  One major addition to the studio version is the voice effect used.  It is reminiscent of the Tom Waits appearance on Primus’ “Tommy The Cat” which adds a haunting and sadistic character to the lyrics which cover the topic of rejuvenation.  For a band that has played over 700 shows since 2011, they know a lot about being on the road and the importance of time management.  “We are stronger than we were” suggests that these periods of reloading have been an integral step to developing their first studio album in almost 5 years and now that they are refreshed, they can showcase their growth on the road.

    “The Gates” has a waltzy ballroom feel before energetically dancing back into the bluegrass barnyard realm that primarily rules the album.  Buezo’s burly and hellish vocals are complimented by the speedy mandolin playing of Eric Munley.  As a special addition, an electric guitar finds its way into the studio full of wood and steel for a rare and powerful moment.  “Two Sides of Story” is the final track and once again the intelligently crafted lyrics are the highlight of the piece.  It comes as a surprise to hear the hipster-esque “Hey!” chant in the background, but this dark and stormy album is anything but predictable.  The straightforward composition is a soothing way to close out an album full of peaks and valleys, much like the land where the band was born.

    The first Skeezy Patty release party will take place this Friday, October 13 at the Westcott Theater in Syracuse before making their way east to The Hollow in Albany for round two of their album release.  Tickets for both shows are available online or at the box office on the day of the show.

    Key Tracks:  Hit Em High, Electric Chair, Waterhole