NYS Music 20​18

Author: Zach Hitt

  • Hearing Aide: Jeremy Discenza ‘Hearts As Vessels’

    I’ll be the first to admit that it took me a few listens to understand Hearts as Vessels, but I’m curious to hear more from its curator, Jeremy Discenza of Chittenango, New York. The new EP went live 28 April, 2018. First impression is that Discenza is formidable as a musician — he single handedly performed all instruments and vocal parts. Between interlocked, glassy guitar lines, 80’s horror movie soundtrack synths, and escalations to some heavy metal, we end up with a lot to think about. The music takes flight off the strength of influences characteristic of multiple genres, but most notably present is alternative rock. Fans of Stellar Young, Cymbals Eat Guitars, and La Dispute will likely appreciate many aspects of this melodic work.

    While this EP is a generally strong debut, its vocal production leaves room for improvement. This is not to say that Discenza can’t sing — he obviously is competent — but his potential certainly is not realized in this iteration. Track 1, “Burning Up the Night,” features a soaring, sing-along-able chorus, but it’s verse melodies would welcome a second opinion. Needless to say, Discenza stays introspective and nails down meaningful and conceptual lyrics in all songs.

    Hearts As Vessels has a lot of other great things going for it: track 3, “Destroyer of Worlds” includes twisting verse melodies and a driving chorus while remaining catchy and chaotic. “Destined to walk this Earth, created to watch it burn, is this all I am?” Discenza asks. This track stands out as the highlight. Additionally, the track listing on the album ushers the listener through a journey. The EP finishes off with “Goodnight and Goodbye Forever” whose guitar parts tie the album together thematically. In general, Hearts as Vessels does a standup job experimenting with multiple musical genres while keeping my ears tuned in — this is difficult for any musician to do and should be commended. If this is just the first release, I’m curious to see what other music Jeremy Discenza comes out with and how his abilities grow over time. In the meantime, I definitely give Discenza credit where credit is due.

    Hearts As Vessels is available for streaming on major platforms such as Spotify, Apple Music, and BandCamp.

    Key Tracks: Goodnight and Goodbye Forever, Destroyer of Worlds

  • Hearing Aide: B. Chaps ‘Clips’

    I really have nothing bad to say about B. Chaps’ debut album, Clips, which released April 18, 2018. In fact, when I first turned it on, I was surprised at how much I liked it straight out of the gate. I love music more than anything, but it’s rare that this happens.

    On the first track, Chaps announces that he “was created to create;” but this is an understatement as this album covers multiple genres, lyrical topics and stylistic choices. Aside from this, it includes diverse and often surprising production choices, mostly written and performed by Chaps personally, who is gifted as a producer and recording engineer at Foster House Studios in Albany, NY.

    Clips had me hooked within about ten seconds of the first track, “Morning Music.” It begins with a wavy synth plus a soulful, jazzy set of guitar riffs sitting on a slanted electric piano. “How long I gotta wait?,” Chaps asks, correctly wording the feeling of anticipation that the instrumental gives the listener. But what works so well for this song is not the overt melodies or musicality, but rather all the subtleties that made me want to listen a few times — there’s a piano played backwards, a tape playing sound effect to add some nostalgia, and other little things that end up adding a lot to the overall mix.

    Some of the strongest aspects of Clips are all the subtleties in each song which, together, add greatly to the album. While guitar riffs (performed by Matt Dalton, Kevin Bohen and Pat Flores) and piano decorate this work, it’s the little stuff in the background that earn Chaps the win.

    In “Dip,” the third track, we hear the sounds of traffic mixed with a trippy beat played between a xylophone and an 808 type drum kit. Chaps credits Kevin Bohen for performing the guitar part on the song, and the stuttering beat creates a perfect bed for hip-hop vocals that dance on the edge of catchy and chaotic. “I’m so spaced out in my UFO / Haven’t seen the ground in a year or so.”

    I’m surprised that I haven’t heard “Blow My Money” on the radio just yet, but it won’t be long. This song works so well because it starts out with a sugar – dipped melody (with backing vocals by Valerie Barbosa) and includes relatable lyrics, but has enough obscurity to draw attention without being a distraction. He also stays away from false claims and keeps it honest, “Money ain’t a thing / ‘Cause I ain’t got shit,” he admits.

    Chaps states that he is “from another planet,” which is verifiable, but also causes me to ask the question: why isn’t this the name of the album? I avoid backseat producing at all costs, but this seemed like the one missed opportunity. I can easily forgive this because the album appealed to me on all angles. Influence wise, there’s something here for everyone. I’d be genuinely surprised if someone told me they couldn’t listen to this at all.

    “Feel Something” would be a great number live, especially for dancing. It starts out with a presto, hurried Latin beat on horns and bongos, but it also twists ears by going back to that 808 sound heard earlier in the record and completely changes the direction that I thought the song was going. Likewise, “No Sneakers” has more of an underground hip-hop sound, including more bass and samples — with a sound reminiscent of Weerd Science.

    Overall, I’m excited to hear more music from B. Chaps. Clips is a solid first effort — having a diverse and listenable sound — and I would not be surprised if this launches a full scale career with more albums ahead. Until then, I’ll be playing this album around the pool and barbecues this summer.

    Clips is available digitally through all major streaming platforms such as Spotify and Apple Music.

  • Hearing Aide: Ozymandias ‘Godly’

    “I won’t stop until they put me in the earth” and “I’m here to bring a vibe,” Ozymandias says on his newest album, Godly, released March 30, 2018. These two lines could be the spoken synopsIs of the 14-track album which follows up on previous efforts IDKNID and Blvck Cvstles (2017). Godly discusses many topics, features local collaborators and presents polished, yet atypical, production styles.

    We are introduced to the story through the baited dial tone and answering machine that plays Ozymandias’ preoccupied voice, asking for his caller to leave a message. “I’m not picking up my phone for some reason,” he admits, sounding uncertain, as if he does not yet know the reason.

    Throughout the album, we hear the voicemails of others asking the performer why he has not picked up his phone in juxtaposition with lyrics about human connection, love, equality and strong work ethic. One could conclude that a theme of the album is ignoring modern technology in favor of more genuine, and personal, means of communication.

    Godly follows the release of a few singles, “MadMax” (produced by 4k) and “Aim High” (produced by Savion), each accompanied by a cinematic music video. From these crumb trails, listeners take away a potent sample of what to expect from the album: polished, sharp production sandwiched between obscure noise-based tracks, dressed in 808 hits. This type of production is especially found on songs such as “Temporary” (produced by L. Davis), and “No Losses” (produced by Nick Cavs). Ozymandias’ composition follows the sounds found in his previous effort Blvck Cvstles, in particular, but he all but dismisses anxiety over the past. “If I lose it all, I’mma get it back,” Ozymandias says, summing up parts of his stated world view in one line.

    Overall, Godly conveys a series of meaningful messages which could apply to many situations. Much like influencers J. Cole and Kendrick Lamar, the album pairs deep beats with wide reaching lyrics with cuts like “Work” (produced by LebanonDonBeats). Yet, even with obscurity, the album has few, if any, skippable moments. At worst, it’s a solid effort with a few bangers and, at best, an anthemic, insightful crowd pleaser.

    Either way, the album is genuine and convinces the listener that it’s taken blood, sweat, tears and multiple drafts. “I pray that honesty hit ‘em,” the artist says in “Winter Bluez” (produced by Kelly Portis). His lyrics reflect the depth of challenges such as relationships, love, friends, parenthood, sociopolitical issues, and just trying to make it in his career. “Possibly the reason God challenged me is because he sees potential,” he says in the same song. None of this album is subtle, and it shouldn’t be.

  • Hearing Aide: BG the Boy Genius, ‘The PreVisual’

    BG the Boy Genius, a hip hop artist based in Albany, launched The PreVisual, a mixtape, on March 30 through Genius Minds. The project consists mostly of his poetic verses matched with already established instrumentals within the hip hop and pop industries. As a prelude to an upcoming album, PreVisual serves as a brightly lit roadside attraction in the path to future works. It’s also simply a strong sample of BG’s writing and vocal abilities.

    The mixtape opens up with “PreVisual In Ya Ear,” in which a series of news program introduces the listener to a slew of current issues. Boy Genius rhymes over a soulful, old school beat just to establish a timeline. “You look confused. Have you read the news?,” he asks. This provides an excellent rhetoric for the rest of the album which discusses a lot of modern issues and social situations, such as presidency, politics, trends, financials and interpersonal relationships. “I’m just honest…when I’m making comments,” he says. Honesty is another concept which comes up in the emotional “Let You Down” (originally recorded by NF, David Garcia, and Tommee Profitt).

    PreVisual covers a lot of modern musical ground, one track that jumps out of the fray is “Morning in America,” whose cadence mirrors a song of the same title by pop artist Jon Bellion. “We’re out of control, and everyone knows,” BG sings around a song about having children in a chaotic place, while trying to grow up himself at the same time. His lyrics fit the tune of the song better than the original artist, and “Morning” is not the only spot where this is the case.

    Another notable song is “Bank Account,” a perpetually annoying, yet strangely catchy number by 21 Savage. “I got 8, 7, 6, 5, 4, 3, 2, 1, none, zero fucks to give,” BG raps, eloquently (possibly accidentally) stating how many people feel about the original track. Regardless, this and all other songs on the tape communicate a clear command of language and poetry.

    Overall, PreVisual is a win for BG the Boy Genius as he displays mastery over his field, but does not need to say much for his abilities — they speak for themselves. Part of this is the teamwork that went into the project. Along with his own versions of already popular songs, BG credits both Phoenix, the producer, with production and engineering; as well as Travis Manney who performs on the seventh track, “Trav’s Interlude.” Other producers included Fat Cat and Blanco. If PreVisual is just a prelude to other upcoming projects, BG has set the bar high for his future, and he even leaves the listener with an idea of what to do if he doesn’t meet this bar. “If this album trash, all my fans, you can leave me,” he commands. PreVisual gives a lot, but leaves enough to the imagination for what listeners can expect in the future.

    The PreVisual can be streamed through SoundCloud.

    Key tracks: “Let You Down,” “Morning In America,” “Bank Account.”

  • Hearing Aide: The Weeknd, ‘My Dear Melancholy,’

    The Weeknd released a six-track EP called My Dear Melancholy, as a surprise in the early morning of Friday, March 30, following up his previous effort, 2016’s Starboy. Earlier that day, The Weeknd had posted a photo of the cover art of the EP with the caption “tonight,” leading fans to correctly speculate that they would hear new material that evening.

    My Dear Melancholy, was launched through XO and Republic Records. It’s a direct, dark message that describes the lows that come with ending a relationship. Its synth waves matched with blunted 808 kicks and lo-fi Moog leads create the perfect film noir atmosphere for a dramatic reading of this letter in a high pitch, saccharine croon. The featured vocal style features a redux of influences like Michael Jackson and Prince, and mingles well with contemporaries such as Bruno Mars and 6lack. Much like the cover art, Melancholy is a unique cross between new age R & B; hip hop bass and drum lines with Halloween synth parts and moody melodies.

    The Weeknd My Dear Melancholy“Call Out My Name” opens the EP and describes a bad relationship, labeled a “mistake” in the first verse. The narrator, born Abel Tesfaye, 28, denies responsibility for the relationship’s downfall, accusing the former partner of “wasting [his] time.” The theme of time wasting comes up again as the title of the third track, “Wasted Times,” where Tesfaye introduces a second relationship, one that occurred a long time ago. In this track, he compares the two relationships, saying that “she wasn’t even half of you,” as an ode to the one who got away.

    Perhaps his downfall is that his lyrics have no repentance. He refuses to see his own faults in the described situation and he attempts to make the subject jealous, while also complaining that she dates other people. Instead of contemplating what he could have done better, he wastes time by both bragging about his wounds and shifting blame throughout the narrative. But his broken heart is consumable. It works. It sells. It’s tearfully, deliciously entertaining.

    Although Tesfaye has possibly the most recognizable face in modern hip hop and pop music, he keeps a relatively low profile in the public eye, rarely giving interviews or confirming information about his personal life. This adds to the air of mystery that is also carried through the image and production of the EP. Melancholy hosts collaborators such as Gesaffelstein, who produced tracks 4 and 5, “Hurt You,” and “I Was Never There.” Other producers, co – producers, and collaborators included Frank Dukes (tracks 1, 2, 3, 4, and 6); Cirkut (track 5); Marz (track 2); and more. Tesfaye handled executive production after multiple tours throughout 2016 and ‘17 following Starboy.

    Overall, My Dear Melancholy, keeps the presentation short, sweet, and sad; yet hopefully open-ended like the comma attached to the title. It’s a tragic story, but it gives a lot of insight into its subject in a way many listeners can understand. Atmospheric, smokey production with a few plot twists that work are a great pairing with the emotional lyrics and intense delivery. Although sometimes extra, The Weeknd delivered a solid performance and debuted a message about a darker time in life, and his pain comes across as genuine.

    My Dear Melancholy, can be found on all major digital music platforms.

    Key tracks: Try Me, Wasted Times, Hurt You

  • Albany Hip Hop Outshines Headliner Riff Raff at Jupiter Hall

    Local hip hop acts found their beat at Jupiter Hall in Albany, on March 10, sharing the stage with headliner RiFF RAFF. The evening saw multiple acts from the Capital Region of New York bring short, yet effective sets to the futuristic venue tucked inside Lucky Strike at Crossgates Mall.

    Interestingly, hardcore metal band Misgiver joined the opening acts with a loud, yet memorable performance. Misgiver’s sound is unexpected at a hip hop show, and certainly memorable and surprising. To their credit, it is certainly difficult to perform as an “outlier” at a show, and with a quick set, they showcased their abilities well.

    Along with them, Philly Fine$$e delivered a high strung hip hop set joined by DJ David Acevedo, SwaggyT, and friends. Having streams on songs like “Lonely,” “GUCCI,” and “Like This,” Fine$$e and his fellow performers got the eyes of the crowd in a short amount of time. Their show has entertaining potential, and their music lends itself seamlessly to the club scene and they were received well by the crowd, even in the earlier part of the evening.

    Along with Philly Fine$$e, show attendees dove in for Wavy Cunningham & DJ Mercy, a creative duo who mix wide varieties of samples with old school sounds to create a fun, beach-type atmosphere. Their music is a departure from stereotypical thoughts of hip hop being such a serious matter, and in a lot of ways it has the ability to make the listener smile. The two took the stage with huge smiles and vibed with onlookers. They politely commanded their setlist with no pretense, and just played music for enjoyment. People danced, sang along with tracks such as “Mass Appeal,” and stayed open to newer songs such as “1000 Verses.”

    The more Wavy and Mercy performed, the larger the crowd got, with audience members even asking for an encore. This energy cleared the path for Clear Mind, who also drew a large following. He released his project, “Swords, Metaphors & Pressure Points,” in November of 2017, which included instrumental production by himself as well as a variety of others.

    Clear Mind’s own unique voice is not lost in the wide variety of sounds used in both his live set and his album. His lyrics cover a multitude of modern subjects, including parenthood, love, personal struggles, and more. As many people can relate to these topics, he continued the energy and grew the audience even more. Few artists have the bravery to perform a song acapella — without musical accompaniment — but Clear Mind did, and his seamless infusion of this into his set won him a great deal of respect amongst those unfamiliar with his music.

    He, Wavy Cunningham, and DJ Mercy, all set a tone with their common charismatic approach to the stage — their futures as performers, locally and beyond, carry promise. Likewise, DJ duo, The Dropouts, consisting of Eric Whin and David Acevedo, played music from multiple popular artists such as Post Malone, but infused their own mixes and synth parts, just continuing to excite the crowd with their mastery of modern sounds. Their lightshow and visuals, as well as excited persona added to the mix and certainly won the crowd over.

    But as the cliche goes, all good things must come to an end. Although it is typically expected that the headliners would have more experience and production value, this did not appear to be the case for RiFF RAFF or 2 Stoned. Their respective shows got stolen by all the opening acts. Although both performed with some professional proficiency, neither went above “ just getting the job done.” 

    Since RiFF RAFF and 2 Stoned are both portrayed in media as flamboyant and defiant, one would have thought their sets would have both been more exciting, but this was not the case. Perhaps this may be seen as a rush to judgment by an unfamiliar viewer, but one would think a performer would want to be as interesting or more, than his backing tracks, lightshow, clothes, and hairstyle, but sadly this was not the case. Overall, the headlining part of the show could have been missed in favor of the energetic opening acts.

  • Hearing Aide: The Plot In You ‘Dispose’

    The Plot In You premiered their latest album, Dispose, on February 16 on Billboard Music. Lead singer and songwriter Landon Tewers co – produced the album in Los Angeles with Drew Fulk, known for his work with Crown The Empire and I Prevail. As their first album with Fearless Records, Dispose contains ten tracks total and steers away from the band’s signature, heavy sound, leaving just a risky, yet shell of their previous work — and in its place a calculated contingency away from the past.

    For the most part, the album backs off the heavy guitars, defiant lyrics, and warmongering breakdowns. Once classified as a metal band, The Plot In You both proves their versatility and bends unspoken rules characteristic in their previous albums, such as 2011’s First Born, instead turning to multiple genres such as pop, rock, and electronic.

    Dispose opens up with “Rigged,” a slow, intense build of a track centered around a few clean, crisp guitar riffs which transition into a tense progression of Nine Inch Nails – esque industrial electronic sounds and a chaotic blitz, culminating with Tewers asking the question, “What’s left in me? Guess we’ll see. Didn’t see this coming.” This question sets the tone for the rest of the album.

    While every track experiments with the extensions of the band’s songwriting abilities, such as “One Last Time,” and “Paid in Full,” Dispose falls victim to the bane of many modern releases: tracks set in a difficult – to – follow order. However, this is not an unforgivable sin as many of the songs stand well on their own to be played as one – offs as opposed to a back to back listen. A few points’ deduction, but not a total loss.

    In fairness, The Plot In You, takes an exciting artistic risk. While their heavy side still exists in songs such as the anthemic “Feel Nothing,” they leave room for a Frank Ocean/Ed Sheeran – type ballad with “The Sound,” which introduces a soulful, lounge saxophone solo to accompany Josh Childress’ shining, dramatic guitar performance. Tewers plays with this same concept on “I Always Wanted to Leave.” Both songs deal lyrically with the stages that many relationships go through: comfort and security, and then betrayal and loss.

    The band’s unsung heroes, however, are drummer Mathis Arnell and bassist Ethan Yoder, who hold down the basis of this rock/pop – driven album. Songs such as “The One You Love” and “Disposable Fix,” both use a building block approach, starting with input from the rhythm section and centering around their pocket. Along with Childress, Arnell and Yoder keep the instruments minimalistic yet intentional. The space left in each song provides a mysterious effect which draws the listener in and allows for the breathing and taking in of fine details in each painting. This is also true for the music videos of the album, “Feel Nothing,” “Not Just Breathing,” “I Always Wanted to Leave,” and “Disposable Fix,” all of which Arnell directed.

    Although Dispose has been met with mixed criticism over the band’s changed sound, their songwriting, engineering, and production deserve acknowledgment. And whether most fans enjoy these changes or not, some credit must be given to the group for sticking to their intentions and musical wishes. Independent of any previous claims, songs, or performances, Dispose objectively displays cohesion, weighted movements, experimentation, and vulnerable soul. At the very worse, it could be a small misstep in a continuing career; at best, a welcome change in direction, an honest set of thoughts, and a passionate description of current events with a unique blend of genres. That is to say, overall, it’s a solid effort that The Plot in You can be proud of.

    Dispose is available digitally and physically at all major platforms.

    Key Tracks: “Feel Nothing,” “The One You Loved,” “The Sound”