It’s eerie, dystopic, and a little unsettling – it’s fantastic. Paranormal, a.k.a Emmanuel Fernandez, takes a refreshing step away from what is considered popular and successful rap. The beats are intense and hard hitting, just like Fernandez’s voice and lyrics consisting of his view on a corrupt and crumbling world that is sure to resonate well with a mass audience. The attitude of the whole album The Project For Global Madness is an anthem for the public that believes reform is necessary for the world to continue on.
The instrumentals on “The Writing is in the Sky” are a slightly tweaked cover of Radiohead’s “Climbing Up the Walls.” Although it’s already an eerie feel, fitting for the album, some more personality could have been used. Fernandez and producer Nea use all original instrumentation on the remaining tracks.
Regardless of the instrumentals, the message behind this track is powerful. “Fear are the gears to the propaganda machine/ Media terror etc, do you believe what you see?/ Divide and divert, diverge on the word, squirm with your fellow serpents/ Blessed are those who believe without sight…”
“Blood Streaks of Stars and Stripes” is another key track due to it’s well produced beats and intense lyricism. We’re hit with more thought provoking lines like, “We tend to duck when the truth spits/ Gun clicks in consonance with the concept of time…tick, tick/ My environment devised by lying men…” It’s short and to the point, allowing listeners to soak everything in and analyze the track
As the tracks play on, we start to hear Fernandez’s influences. He pulls inspiration from so many different genres: post punk, hip hop, rap, etc and creates a sound synonymous to Deltron 3030 but much darker.
‘Shine Eternal’ focuses on something more specific – media and entertainment. This one stands out for it’s futuristic sounds rather than dystopian ones found on other tracks. That, coupled with a quicker tempo is a refreshing change of pace after six tracks of sludgy and eerie beats.
The focus on the media and the spread of misinformation is the first time on the album Fernandez hones in on a specific issue: a practice that would prove successful on future work. It helps set the song apart from the others and perpetuates interpretation, leaving a good taste in the mouth.
There is endless room for interpretation on this collection. Each line is worth picking apart which is great, but listeners will find themselves getting caught up in each line rather than soaking up the track as a whole. Fernandez has fantastic ideas and is inspired without a doubt. Not only that, this style of music is much needed in an era of rap reaching a ceiling of mumbling and trap beats. And if Fernandez can hone in on one idea within each track, (i.e. media, politics, money in war, corrupt businesses, famine) in future recordings, he’ll continue to inspire thousands of people who want political and social reform.
Key Tracks:The Writing is in the Sky, Blood Streaks of Stars and Stripes, Shine Eternal
Jigsaw Youth came out swinging with their sophomore album, Sorry for the Distortion. The biggest change this time around is the production value. Their style, attitude and sound is similar to their first collection but great production value, layering and adventurous blending of genres breathes new life into the group. New York natives Nastacha Beck, (guitar) Julia Mannarino (drums) and Maria Alvarez (bass/vocals) have obviously poured their heart and soul into this one and created a highly polished album.
Punk is all about fuzzy guitar, relentless drums, powerful lyrics and-chant worthy choruses, but when an album is under-produced, it can make it indigestible. I’m all for dirty and washy punk-ish sounds, but if instrumentation isn’t balanced then the group can come off as illegitimate. Jigsaw Youth overcame this, striking gold with producer Gary Nieves Jr. of Cobra Sun Studio. This is not to say Jigsaw’s song writing and talent doesn’t deserve any attention, because they have created some fiery and energetic songs.
Hit play and “Stillborn Black” blasts out with a quintessential punk sound. Alvarez’s vocals are an instant hit. They’re baritone, atonal and at times, loud and crackly – she’s a perfect fit for this genre with her talents shining throughout the album. This one has a catchy chorus, a good harmonic break mid track and is a fantastic prelude to what the rest of the album has to bring. It also features an exciting solo from Beck – great choice in guitar tone as well.
After listening to “Stillborn Black” and “Don’t Make Me Freak,” it’s obvious this group’s source of inspiration is powerful female punk groups. Instrumentally, there’s a lot of similarities to L7 and Bikini Kill but the group is really separated by Alvarez’s aggressive vocals. What I’m loving about this group is their ability to give the songs more depth by jumping into different sounds mid track. Instead of a constant barrage of punk, “Freak” jumps into a ballad with acoustic guitar work and ethereal singing from the group. We also hear how versatile Alvarez can be when she goes sultry before turning savage towards the end of the song.
“Flirts of Fire” is a nice change of pace from a latter, dark tone. We still hear influences of popular female punk groups though. It showcases an upbeat and major sound and we get to hear the talents of Mannario on drums. She’s clean, precise and gets to flaunt her ferocious speed with her wild single stroke rolls.
This group really checks all the boxes in the punk genre. “Serotonin” is a sluggish but powerful track with Nirvana’s slimy, grunge sound that made them so popular. “Serotonin” may be slow and lazy but it’s layered with airy backup vocals throughout that give it some more depth as well as valley and peaks of tempo changes and attitude. Did I mention Alvarez’s voice is really good?
“Surf Rock Song” is another key track. It’s a great blend of classic punk and (believe it or not) surf rock. It’s not something that’s been heard too often and it’s just fun to listen to. “All Around (Fucked Up)” is a great cap off for the album – it’s the best summary of the groups unique sound. This song perfectly blends their influences together and gives Alvarez a chance to show off both her sultry and intense side of her vocals that make this group stand out from the rest.
This album is going to yield a great deal of recognition from their community and in a live setting, will definitely rake in some new fans. So far, the only place to see them is on Saturday, December 1st in The Loft at City Winery. Tickets are $10 online, $12 day on the day of show. Stay tuned to their Facebook page for more info.
Key Tracks: Flirts of Fire, Surf Rock Song, All Around (All Fucked Up)
Take the attitude of Dr. Dog, the horn line spice of Cake, and the essentials for a modern folk group and you get Neighborhood of Make Believe. Okay, that’s a very general statement but there’s a lot of experimentation going on in NOMB’s debut album so it’s hard to say what their sound is exactly – flowing, warm and washy are definitely some constants. That being said, listeners will have to cull through the 12 track collection to find something they like, but it’s still worth giving a listen to from beginning to end. They’ve dropped their songs strategically throughout the album so it’s a bit of a roller coaster which will hold the listener’s interest. Maybe not one with corkscrews and loops, rather a traditional wooden one with some exciting drops and turns.
Songs like “Track Name’s,” “Fairness” and “Thin Soup” are easy going, slow moving and have a great sense of peacefulness. The immediate emotion isn’t sadness – it’s only until listeners dive into the lyrics of the track do they then understand the direction and purpose of the song. I suppose that is true to most songs in this genre but they’ve found a well working formula and they stick to it, creating an engaging album when combined with the following contrary tracks.
We find more energetic and multilayered tracks like “When Willem’s Wife Was Wet” that add some flavor to the album. “Willem’s Wife” has the most depth and direction in the collection and it’s something this group should definitely try to reproduce in coming works. Instrumentation is crisper and clearer, movements are well defined – it’s much needed separation as well as mood booster from the other, lower energy tracks.
“Faces” is worth dissecting as well. Some might say it’s lacking in direction but its just omnidirectional. It’s ominous, then jovial, hopeful and open – it’s just interesting. It’s not necessarily catchy but is definitely fun to listen to. The chord progressions are bizarre and just blend into each other enough to create a unique atmosphere.
Things get more interesting as we’re introduced to a western, backwoods feel in “Traveling Standing Still.” Complex guitar work, odd time signatures and a super cathy bridge/ chorus create another fantastic space with loads of potential and direction, although the song drops off without any sort of climax. Still one of the coolest works on the album.
The remainder of the tracks reflect their style at the beginning of the album which is a bit of a let down to be honest. The prior three tracks were highly engaging, unique and just plain fun to listen to. It would be music to our ears if we could hear these guys come back with another album following the abstract sounds found in “Standing Still”, “Faces” and “Willems Wife”. Die hard indie/ folk lovers will enjoy this collection for sure. Give it a once over and you’ll find a several things to enjoy.
Key Tracks: When Willem’s Wife Was Wet, Faces, Traveling Standing Still
“As an artist, we have to evolve. If we stay the same, then we’re going backwards.” It came straight from the ‘bird’s’ mouth – bands need to evolve to stay on top, and that’s what Sister Sparrow and the Dirty Birds have done in their latest album, Gold. It’s their first studio album since 2015 and it’s a smash hit. Long time fans and new ones alike will find something to enjoy, which is no easy feat. Arleigh Kincheloe disclosed in an interview with NYS Music that she and producer Carter Matschullat worked together to create a collection of songs that shed some light into Kincheloe’s life experiences and creative thought process. The result is something spectacular and different from the group’s three prior studio albums.
Each track has been placed carefully within the album in an obvious effort to ease people into Sparrow’s new direction. Gold kicks off with the ‘Birds’ immaculate horn line and Kincheloe’s blissful, soulful powerhouse pipes. It’s classic Sparrow but with hints of contemporary beats and hooks. Kincheloe speaks about her love life and how she’s a woman with “gold” love. The track is digestible and an earworm listeners will happily have stuck in their heads all day.
“Leave Here With Me” gets a bit more experimental. The production value is phenomenal thanks to Matschullat. It breathes a new life into the group that will absolutely help propel them into a new genre. Listeners get hints of that hard-hitting horn line and Kincheloe’s soulful voice but all with a very mid 70’s soul, love song vibe. It’s a pretty gutsy move considering they’ve rooted themselves in a very jam-ish genre, but they nailed the formula.
“Ghost” is the most poppy song on the album which Kincheloe confirmed in our interview with her. It consists of a four on the floor beat, prominent bass and lyrics about tough times with unstable men. It’s hit or miss for long time fans but it shows how versatile the group and Kincheloe can be. Over all, it’s a dancey, radio ready hit with great production value and a wide range of experimentation that may not hit home with long time fans but will definitely rake in some new ones.
When we spoke with Kincheloe, she revealed some of her biggest influences for the album which really shine through on “Can’t Get You off My Mind”. they include: The Staples, Aretha Franklin, The Pointer Sisters, Bill Withers, Paul Simon and Joe Cocker. Listeners get a little taste of her brother’s, Jackson Kincheloe, harmonica skills followed by a classic 70’s blues and soul feel. Imagine a Bill Withers back beat with the passion of Aretha Franklin. Listeners can find a similar sound in “Frankie” and “Plastic Paradise”, although “Plastic Paradise” definitely has more modern influences, mainly found in the lyrical aspect of the track.
The album is tied up in a bow with a dance ready, four on the floor track called “You’re My Party”. Listeners can analyze each layer and find something delicious to soak up. There is a lack of power and edge that would have been the icing on the cake, asserting that Sister Sparrow hasn’t completely lost their roots. The only trace of their distinctive horn line is on the final arc of the track which leaves a good taste in the mouth but definitely doesn’t feel like dessert, but more like an after dinner salad.
All in all, this was a fantastic effort by Sister Sparrow and friends. They put a lot on the line with this collection and obviously gave it their all. After looking at social media responses to the album, it’s fair to say that it was a polarizing move but fans still presented a monumental amount of support for the group. Long time fans should consider this: there’s a time and a place for all music. Sister Sparrow has simply created a different sound for a different environment. The group was thoughtful enough to remember their loyal fans and put in a tremendous amount of effort to find a middle ground. Give each song a few listens instead of a one and done. This was an unexpected move for us as well, but after analyzing the songs and speaking with Arleigh Kincheloe, their intentions became clear. And that’s something worth supporting them over.
Sister Sparrow will be touring with this album for a few more months. They’ll make appearances in NYC at The Egg on November 10 and Irving Plaza on December 1. If you miss those shows, find them in CT at the Infinity Music Hall in Hartford on November 8 and in Fairfield at Fairfield Theatre Company for an NYE show.
Key Tracks: Gold, Leave Here with Me, Can’t Get You off My Mind
In the middle of her move out of Brooklyn, Arleigh Kincheloe of Sister Sparrow carved out some time to speak with us about her upcoming album and the end of her tour as she hits a few more spots in NY.
Kincheloe and the Brooklyn-based Dirty Birds got their start in this borough in 2008 and have made quite the name for themselves, performing in almost all of the 50 states and over 10 separate festivals. Their latest work has evolved into something unique compared to their three studio albums. Kincheloe speaks about the reason for the change, the source of her inspiration, as well as a few words of reassurance about the albums development and sonic success.
Sparrow and the Birds will fly through The Egg on November 10 and Irving Plaza on December 1 – two venues that Kincheloe has deep connections to.
Dave Ostroff: There’s something different about this album. What would you say is setting this one apart from your previous work?
Arleigh Kincheloe: This one is a different for me because this is more of a solo project. It’s something I’ve been wanting to do for a long time and I never really had the time to do it. I had a baby and all of a sudden we had to stop touring for a while and I focused on this record and started writing some of the songs while I was pregnant … then when my son was two months old I started going into the studio and working on it. One of the reasons I wanted to do this was we made a lot of records as a band and most of those records were created in a live style – we’d go in and together and try to capture our live side. What I really wanted to do for the first time was let the production side (take control) and kind of explore things I’ve always wanted to try in the studio that I never had because we were trying to go for that live band sound. It was really fun for me. I was trying to be creative in a new way and I was writing with a lot of different people and was really just stretching my legs a little bit. And also I was trying to figure out how to be a new mom. It was a crazy time in my life and I think this record was made all out of love (along with) a lot of exciting stuff happening in my life.
DO: There’s definitely tons of experimentation in there and it’s very successful experimentation. What kind of musical inspiration have you channeled into this album?
AK: I always wanted to try too marry modern sounds, hip hops elements, soul and funk stuff that I love. I sometimes still listen to the track and say, ‘I can’t believe it came out like this!’ I have a whole Spotify playlist that was my soundscape for this. The Staples, Aretha Franklin, The Pointer Sisters, Bill Withers, Paul Simon, Joe Cocker – a very ’70s vibe. But I tried to add the modern techniques and drum sounds. The person I worked with in the studio, his name is Carter, we really got each other. I met him because of a song songwriting session where we created “Gold”. After working with him that one day, he got a exactly what I‘m going for. I verbalized exactly what I was picturing and I said, ‘ build me this world!’ and five minutes later he completely created that world. I wanted to make the rest of the album with him because I thought he just nailed it. So that’s where it’s all coming from. It was such a fun experience and it was just the two of us a lot of the time.
DO: I’ve done some digging and found some initial reactions to the single “Ghost” and your fans loved it. But some are saying they think it’s too poppy and they don’t like the change in style. What would you like to say to some of those people to reassure them this album has a lot more to offer than this one track?
AK: I want express as an artist that we have to evolve. If we stay the same, then we’re going backwards. We have to try new things and not everyone will like it all the time, but that’s why it’s art and music is subjective and that’s why we’re all entitled to our own opinions. I would definitely like to say wait and listen to the whole album to get a bigger picture because “Ghost” is definitely one of the more poppy songs on the album. I hope people stick around and check the rest of it out. It definitely has a little bit of everything on there. Some of the tracks lean closer to the Dirty Birds sounds and some lean farther away.
DO: When is the release date?
AK: It’s October 12th. It’s going to be everywhere that day. You preorder it on iTunes, you get two of the songs now. We’ll be pressing vinyl which is very exciting. The vinyl will have a couple different versions of the songs that we have – Ghost will be different on that vinyl.
DO: Moving on to the tour and the shows – you’ve found a full time keys player, Nat Osborn. What’s his story? What does he bring to the table?
AK: We brought him on to be the keyboard player when we did a cover show of Aretha Franklin’s Live at the at Fillmore West album. We did that at the Brooklyn Bowl and we obviously needed a piano player because that album has her playing the organ. We all got along so well – he’s actually an old friend of a couple of the guys in the band and I personally got along really well with him. It’s been adding a lot of freedom in other ways. Whereas my brother on harp, a lot of time he was holding down the organ sounds through his pedalboard and his harmonica, so he now has the freedom to mess around with a different things. My brother is also playing lap steel (guitar) now so we’re bringing a lot of dynamic sounds to the mix which is a lot of fun for us. That is helping bring in the new album songs to life. It’s been really fun and I’m really excited for the rest of the fall.
DO: You have three NY shows coming up, out of those, do you have a favorite?
AK: New York is a hometown. I was born in Albany and raised in the Catskill Mountains so Albany is a hometown show in that my dad will be there, my friends from high school will probably come up and see that one. Aand then here in Brooklyn, this is where the band started and where I’ve been for the past decade so those two are both going to be really special.
DO: I wanted to close out with this – to those who haven’t seen a Sister Sparrow show, what would you say to that are on the fence about seeing you guys live?
AK: If you’ve never seen us before, we’re all just having a good time. For me, the whole point of this is to have a good time, to spread that feeling of joy and dancing – that’s a very important part of it for me and I hope people also feel the same way. It’s just a good time. We’re a little bit loud, a little bit rock, a little bit emotional as hell. We’re trying to bring everything together, spread a little love, spread a little joy – I know it sounds so cheesy but it’s true! That’s my mission and if I could have a good time up there, hopefully it’s contagious. When the crowd is having a good time then we’re having a good time and visa versa.
Marc Broussard, a master of bayou soul, is currently on his 2018 tour which will feature tracks from his new album, Easy to Love. And even though he was 3,000 miles away in Switzerland in the middle of sound check, Broussard was able to carve out a few minutes to talk about his current tour, albums as well as his current and future philanthropic endeavors.
Dave Ostroff: Your father is a renowned guitarist – did he have an influence on you musically?
Marc Broussard: He introduced me to some of my favorite singers in the world; playing records in the house like Stevie Wonder, Otis Redding. My father was and continues to still be one of my biggest influences.
DO: What influences did you take way from him in terms of music?
MB: He’s a lead guitar player – I don’t think I’ll ever be a lead guitar player. I just don’t have the discipline to practice as much as you have to practice to be good at that instrument. But I did get a wealth of knowledge in regards to his theory. He just showed me a ton of different chords that a lot of my friends, that are great guitar players, don’t know how to play. I think, he gave me what I needed to start writing songs.
DO: What can both fans and newcomers expect to see at your FTC show?
MB: We’re a four man wrecking crew. We put on a dynamic show that has a nice ebb and flow to it. And by the end of it, we’ll hopefully bring our audience into a frenzy state. We’re looking to have a good time. I think that’s what our job is, [to give] people a couple hours of time away from the daily grind of life to hang out, drink, and dance a little bit.
DO: Your music is definitely perfect for that. The new album, what sets it apart from your prior work?
MB: This actually wasn’t supposed to be a record project. We were going in to write for a film and TV placement. But after the writing session, we decided to go ahead and make a record out of it, but we only had 6 original songs. So we had to start culling through my back catalogs to find some quality tunes to knock the record out quickly. My goal as a creator is to proliferate as much as I can, to put out as many albums as I possibly can to feed the demand of my audience. I don’t think that I can outpace my fans desire. My fans generally receive new music quite well and within 2 weeks they’re asking me when the next record is coming. So that’s why we went in and knocked this record with a combination of original material and covers. This was the first original indie album of mine. I’ve put out two records prior but one was a cover album and the other was a Christmas album. This was my first, original indie album and I want people to know that I’m definitely back in the driver’s seat. I think that the final product showcases something very authentic.
DO: Half the proceeds from your album, S.O.S. 2, benefited the City of Refuge project. Do you have plans to do anything else of that philanthropic nature?
MB: We have have S.O.S. 3 coming out this year, a lullaby album that is going to benefit the St. Jude Affiliate Hospital in Baton Rouge. It should be coming out the fourth quarter of the year. I wrote a children’s book that goes along with it.
DO: You mentioned that you’re definitely a philanthropist and that you gravitate towards the problem of homelessness and general poverty. Was there someone in your life that makes you think this way?
MB: I encounter homeless people all the time. We generally try and get a hotel close to the venue so we can walk around in major cities. So I encounter a large number of homeless people across the U.S. and the world. After sitting down with some folks that work closely in that area (homlessnes and general poverty charities) it became evident that something needed be done. Lack of housing is the real cause but there are loads of other problems that homeless people encounter in life. It’s difficult to land a job if you don’t have an address. If the boss says, “where do I send the paycheck,” and you don’t have an address to send it to, it can be a big deterrent for an employer because it signifies to the employer that you don’t know how to manage your life. And that most certainly is not always the case. So my goal is to do everything I can to help give those folks another chance. I’m doing a very small thing in reality. I’m donating proceeds from the sale of the record, but there’s folks out there doing the actual ground level work, day in and day out, and those are the folks that I’m trying to support.
DO: Tell me about the S.O.S. foundation.
MB: I started the S.O.S. Foundation. The S.O.S. projects are all going to be single projects that will be associated with a single organization. S.O.S. 2 is affiliated with homelessness, S.O.S. 3 will be for children that are terminally ill and moving forward, we may try to work with ALS on S.O.S. 4 with the Team Gleasons Foundation. I’ll do these records to go after all of my philanthropic passions. And hopefully in the process feed a wealth of money into a wide variety of organizations. Hopefully, each record will be attached to a single organization and vision.
Broussard will come back stateside for a show at FTC in Fairfield on June 19, jump back over seas and finally make his way back home to hit the Brooklyn Bowl on December 15.
Connecticut based Bobby Paltauf featuring The Package released their debut studio album Why, on Jan. 10 on Spotify and iTunes. The albums holds, “songs that will challenge the status quo, posing questions about how we live life, how we engage and communicate with each other, society, religion and politics.” The majority of the album is lyrically driven and on the lighter, easy listening side of the spectrum, which is a bit of a change from Paltauf’s prior work which was heavily influenced by rock and blues.
What’s most impressive is that no one in this group cracks the age of 30. Lee Falco (drums) Will Bryant (keys) Bobby Paltauf (guitar/vocals) and Brandon Morrison (bass) work effortlessly together to create unique, expertly produced tracks filled with bluesy, smooth and sometimes funky sounds.
Their opening track, “Put It Down” speaks about society’s addiction to technology, mainly our phones. Instrumentally, the track is smooth and light, a theme which transcends the majority of the album. Other songs like “Why,” “Now” and “It’s Own Way” are laid back but could use some more energy in spots. The songs are full of emotion and climaxes, but could use more power.
Paltauf hasn’t lost sight of what made his first studio tracks so attractive, though. Songs like “A Day Late” and “Wasted Grooves” are undoubtedly the key tracks off the album. They’re lyrically impactful and their catchy funk tones separate them from the rest of the tracks. They’re beaming with energy and are exactly what we’d like to hear from a young and talented group of musicians.
Find the album on iTunes and Spotify and keep an eye out for any upcoming shows on Bobby’s Facebook page.
It’s eerie, dystopic, and a little unsettling – it’s fantastic. Paranormal, a.k.a Emmanuel Fernandez, takes a refreshing step away from what is considered popular and successful rap. The beats are intense and hard hitting, just like Fernandez’s voice and lyrics consisting of his view on a corrupt and crumbling world that is sure to resonate well with a mass audience. The attitude of the whole album The Project For Global Madness is an anthem for the public that believes reform is necessary for the world to continue on.
Take the attitude of Dr. Dog, the horn line spice of 
“As an artist, we have to evolve. If we stay the same, then we’re going backwards.” It came straight from the ‘bird’s’ mouth – bands need to evolve to stay on top, and that’s what Sister Sparrow and the Dirty Birds have done in their latest album, 
