NYS Music 20​18

Category: Album Reviews

  • Hearing Aide: Monte Vayo “Count Me Out”

    I, for one, am delighted at the resurgence of new wave music. Growing up in the 80’s, synth music was everywhere – top 40 radio, movie soundtracks, and record shops. I’ve spent years as a faithful listener of WBER’s New Wave Wednesday show, waiting for the new generation to bring it back. The resurgence of the genre means having new tracks to listen to, with fresh modern takes.

    Monte Vayo’s new EP Count Me Out is a brilliant little gem, clocking in at under ten minutes. The three-song collection leads with the title track “Count Me Out.” Monte Vayo paints a light and airy soundscape with minimal lyrics, which is a theme that carries throughout the entire EP. It is clear the artist is paying homage to the classics of the heyday of new wave, while at the same time adding contemporary elements for a more ambient sound. It’s the kind of thing I like to hear at an upscale coffee shop or have spun by the DJ at my favorite art gallery.

    While the song’s overall tone is breezy, it also showcase’s Monte Vayo’s innate sense of rhythm. It’s hard to sit still while listening to the undulating beats accompanying the melody. So dedicated was Monte Vayo to creating an authentic sound that he purchased some decades-old drum machines in order to compose and record these songs.

    As “Count Me Out” gives way to “Why” and the final song “Find A Way,” it becomes obvious that Monte Vayo is someone who shouldn’t be counted out. His work would fit in just as easily on a mix tape with Pet Shop Boys, Joy Division, and OMD as it would on a Spotify playlist with modern synthwave acts like Electric Youth, Home, and Humble Braggers.

    Key Track: Count Me Out

  • Hearing Aide: Paranormal ‘The Project For Global Madness’

    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

  • Hearing Aide: West End Blend ‘Live at the Waterhole’

    West End Blend Waterhole

    Say hey to the first live album from Connecticut funk group West End Blend, whose eight-track recording includes a blend of songs from their three previous albums, invigorated with the energy captured during their two-night run at The Waterhole in Saranac Lake.

    Captured on a studio-style soundboard engineered by the GRAMMY award winning Brendan Morawski, the recording is bright and full, bringing fans closer to the band without even setting foot in the venue.

    Overall the live tracks match the recorded versions in quality, but play out a littler longer and showcase the band’s live flair. Purposeful guitar on “Get By” leaves space for a more intense build, intensifying the plea in the song’s lyrics to make a relationship right. The track is cleverly bookended with emotive guitar instead of the layered vocals and sound effects they used on the studio version, adding weight to the song.

    Most of the songs they chose for this album deal with the uncertainties of love (“Day Dreamer” and “The Scene”) and determination and finding inner power (“All You Got” and “I’m Time”). The lyrical content relays compelling and relatable themes backed by powerful dance grooves that emphasize the message.

    There are a couple of dates to catch West End Blend before the end of the year including December 21 at Anthology, and December 22 at The Haunt. Check out their Facebook page for event details.

    Key Tracks: Get By, Day Dreamer, The Scene

  • Hearing Aide: Jackson Cavalier ‘Spellbound’

    Jackson Cavalier is well-known in his hometown of Rochester as a solo act. As a one-man band he has won the city’s Best Busker contest year after year. With guitar in hand and harmonica at the ready, he keeps time with his toes tapping at the tambourine and a rustic suitcase bass drum. His first solo LP entitled Full Moon sounds a lot like his live act, but with a few extra touches. Now, within a span of less than a year, Cavalier has released his second full-length solo album, Spellbound.

    Like the black and white labyrinthine album art, the music at first seems deceptively simple. It soon becomes apparent to the listener that the songs are comprised of multiple layers of acoustic texture and lyrical meaning. Spellbound comes out of the gate at a full gallop with the title track, an acoustic song heavy on guitar and harmonica. The Southwest-inspired finger-picked tune sets the tone for a bewitching tale about trying to avoid a spell, but finding it’s too late. The shanty sets the tone for the entire 12-track album, which shares the common theme of being enchanted – whether by love, death, or even time itself.  

    Cavalier uses the medium of Indie Folk Rock to take listeners on a journey through an anthology of timeless tales. “Mt. Hope Blues” is set in the hills of Rochester’s Victorian cemetery, and told from the perspective of a ghost watching his beloved pick wildflowers for his grave. The boot-stomping song “Sister Prim” tells a story of revenge by a woman scorned. “Razor Wire Death Song,” the one single pre-released before the album, is perhaps the most poetic: “I see the reaper grim and tall / scythe and cloak and horse and all. / He’s not a specter on a hill to be feared, / he’s standing right in front of me beside this mirror.” Later in the album Cavalier reels it way back for the sparse and sentimental ballad “Ribbons.”

    Whereas Cavalier’s earlier original songs with his full band The Fevertones had a more traditional Americana folk styling, with accompaniment by violin and upright bass, his sound has evolved into a distinctive style of folk rock with country flair. The songs on Spellbound have a rich, full quality, in part from the addition of Thomas Draper on bass guitar and Joey Small on drum kit & auxiliary percussion. The tunes are accentuated by a subtle (and sometimes not-so-subtle) sprinkling of melodica and Glockenspiel.

    The harmonious pairing of the music and storytelling has a mesmerizing effect. The result of Cavalier’s adept musicianship is a work that has come by its name honestly, as it truly leaves the listener spellbound.

    Spellbound is available for purchase on Bandcamp or streaming on Spotify. Follow Jackson Cavalier Music on Facebook for the latest news and events.

  • Hearing Aide: Lord Electro ‘Reinvigorator’

    The marriage of electronic and improv-based music was inevitable from the start. The malleability of overtones provides a great platform for on-stage audibles. A lot of groups have used the modern synths to their advantage, although any music hobbyist who has played a synth can vouch for its complexity. Being able to find a good sound that is purely one’s own sound is difficult given the almost infinite parameters contained in modern synths. More so, being able to control those tones on the fly, whether in studio or on stage, is equally hard. Lord Electro, a budding electronic band from Albany, figures out a way to make their synth stand out as a staple lead tone by creating rich rhythmic grooves which fit like a puzzle piece underneath competent key lines with various changing characteristics. Their recent 10-track album, Reinvigorator, gives listeners a lot digest in terms of not only the content of each song, but the emotional arc the whole album follows.

    Dan Gerken, Steve Mink and Jordan LeFleur make up Lord Electro, a trio that fills out a sound of a much larger outfit. One of their main catches, if you’re able to catch them live, is that they are an all-organic electronic group. The album reflects their ambition to remain an organic band. You can feel the chemistry on every track, with different parts within each composition lining up in sync to a level that sounds rehearsed but not computerized. Just about every piece on the album is a true dance track, staying in that sweet bpm range of 120-140. The seventh track, “Broken Glass,” features a more frenzied bass and drum line. The bass lines up almost perfectly with the bass drum accents to give the line a lot of weight, while the key parts mesh one piece providing the chord structure and rhythm while the other lead-synth part drives the melody and development of the song. This is a formula followed throughout much of the album. While this could be redundant, Lord Electro does a great job of varying even just the smallest pieces on a composition to keep it interesting.

    A couple of the songs feature vocals too, whereas the rest is mainly instrumental with some background samples of different speeches or monologues related to the song. The vocal performances add a lot of texture to the album. While sparse, they are powerful and rich, relaying lyrical content that doesn’t delve too deep and provides more of a musing or reflection related to the song. On the eighth song, “Why Wait,” the vocals mirror the emotion of the tune, delivering an empowering message. The album follows a nice transitional arc too, with some tracks acting as a kind of anchor for the true sound and other tracks experimenting around that sound. This provides great variety, with every song feeling like a hard refresh. The ups and downs are in the grittiness of the bass line, or the beautiful melody of a synth lead.

    Key Tracks: Reinvigorator, Butterfly, Why Wait

  • Hearing Aide: Jigsaw Youth ‘Sorry For The Distortion’

    jigsaw youthJigsaw 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)

  • Hearing Aide: Neighborhood of Make Believe ‘Two Nighttimes’

    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

  • Hearing Aide: John Medeski’s Mad Skillet

    The Earth is 4.5 billion years old, yet you are lucky enough to be around for another John Medeski side project. The mastermind of recruiting untouchable supergroups such as Hudson, The Word and Spectrum Road is here to release the newest roster with Mad Skillet. Their fresh, self-titled album features the otherworldly jazz organist along with his New York native buddy, Will Bernard­–an insanely adaptable guitarist that works as a sonic chameleon in the studio.

    Medeski also picked up a pair from the world-renowned Dirty Dozen Brass Band in Kirk Johnson on sousaphone and drummer Terence Higgins–both Louisiana natives and both highly capable of gritty improvisation. The album was recorded on the hallowed ground of a 1930’s wood-framed church across the mighty Mississippi from downtown New Orleans and the Crescent City influence is hammered home throughout the 9-track eclectic spread.

    mad skillet

    Opening John Medeski’s Mad Skillet, “Man About Town” is a great introduction to what this quartet brings to the table. Swirling organ work, bluesy guitar, thick slabs of sousaphone bass and well-executed drumming are poised to take the soulful song in a new direction when performed live. The second track is a Medeski tune called “Invincible Bubble” not to be confused with “Uninvisible” which is the title track from 2002’s Medeski, Martin and Wood album.“Invincible Bubble” is the sound you would expect if the New Orleans-based Popeye’s chicken chain needed an updated theme song for a commercial (and who doesn’t love that chicken from Popeye’s). Each of the four members gets their time to punch in with Higgins driving the train on percussion, Bernard executing a dirty jazz guitar, Medeski nailing a plethora of keyboards, and Johnson bringing a swampy sousaphone reminiscent of an alligator rising up from the murky water.

    Mad Skillet pays tribute to Sun Ra with the fourth track, “Golden Lady.” Sun Ra’s “The Lady with the Golden Stockings” can be found on the 1966 album The Nubians of Plutonia, which featured songs recorded from late 50’s Chicago sessions. Nearly 60 years later, Mad Skillet tightened up Sunny’s loose jazzy sound with their own unique modifications in the studio. The thrilling, Sean Connery approved track would serve as the perfect theme song for an early James Bond flick. Medeski makes his moves with the Mellotron, Bernard vibrates on a wave of surf rhythm guitar and Johnson provides an elusive bassline.

    “Piri Piri” is the poppy street jazz you may find walking around during the heart of Mardi Gras. Medeski’s up-tempo piano keeps a light and swanky vibe throughout while Bernard shows off his nasty versatility by way of melodic guitar. Higgins gets his moment to shine behind the kit and is heard proclaiming, “Nailed that shit! Y’all some bad motherfuckers” at the very end of the ditty. Track 6, “Psychedelic Rhino” was one of two improvised studio sessions along with “Tuna in a Can” to make the Mad Skillet cut and also serves as the longest song on the record. A prime example of their diverse talents, “Psychadelic Rhino” takes a 180-degree turn from the rest of the album and can be attributed to the wild live approach of The Doors, the trippy Herbie Hancock and the Headhunters studio sessions, and a rhinoceros with a head full of acid running around Guitar World. This one opens many doors and ensures that things have the potential of getting pretty weird on the upcoming Mad Skillet tour.

    Speaking of the tour, Mad Skillet will hit Buffalo, Cohoes, and Brooklyn during their visit to the Empire State. A full list of tour dates can be found here.

    Key Tracks: Invincible Bubble, Golden Lady, Little Miss Piggy

  • Hearing Aide: The Breakfast ‘Phantasmagoria’

    It’s been twenty years since the jam band The Breakfast formed. Originally known as Psychedelic Breakfast and based out of Connecticut, the band is releasing their 20th anniversary album, Phantasmagoria, featuring freshly revamped tracks filled to the brim with exploratory attitude. Consisting of members Tim Palmieri on guitar, Chris DeAngelis on bass, Jordan Giangreco on keys and Adrian Tramontano on drums, the long-awaited new album is nothing but explosive energy right out of the gate.

    phantasmagoria

    With eager anticipation, “Metropolis” kicks off with light tones that increase in energy as the tune progresses. DeAngelis and Palmieri take turns strutting their guitar magic midway through, while Tramontano keeps the tune rolling with tireless drumming. The calmest track rears its head second song in as “Shotgun Butterfly” slinks by with sharp lyrics and edgy bass before “Rush” wastes no time jumping in with a brisk tempo and harmonized lyrics. The track takes a surprising twist as the tune creeps into a psychedelic melody crammed with Giangreco’s kaleidoscopic keys. Close your eyes and disappear into a dreamlike state as this tune takes hold of your earholes.

    An upbeat “Reel Time” is a clean tune immersed in sleek vocals, dynamic keyboard tones and crisp guitar. Sliding in and out of time changes makes for a dramatic song full of surprises around every note. Meanwhile, “Rust” electrifies the senses as Palmieri’s masterful guitar delivers by continuously elevating the track just when the listener thinks his solo will come to an end. Intense is a mild word to describe the energy built up during this tune.

    “Episode III (Awakening)” does just that – awakens and stimulates the brain as the track flows in and out of varying musical styles. A rocking, heavier backbone glues the track together while hinting at a touch of jazz, as well as a more classical style, before swinging back into the heavier melody. A bluesy beat also makes an appearance before, once again, sliding right back into a harder tone.

    Wrapping up the album is an expansive 23-minute “Hard Luck Harry.” This final track has the air of accomplishment and triumph streaming throughout a diverse range of tones. Darker notes emit their shadowy depths midway, tiptoeing along the rim of multi-colored tones that dive deep into an exploratory rhythm that stays parked for a good long while. This is one track to listen to in the dark, with headphones on and eyes closed, in order to truly experience the energy created throughout. A sense of being thrown into deep space takes hold while plummeting through the musical rabbit hole of this melody.

    Phantasmagoria is a welcome reprieve from the usual jam band numbers. Tracks throughout are a breath of fresh air. Unexpected tones, experimental melodies and time change treats make this album an innovative blend of musical delights that awaken all the senses. To fully experience this album in all of it’s musical glory, make sure to listen with headphones to capture the true depth of the masterfully produced numbers. If you’re seeking a fresh sound, this album delivers, hands down. The Breakfast is back and better than ever.

    Key Tracks: Reel Time, Rust, Hard Luck Harry

  • Hearing Aide: BoomBox ‘Western Voodoo’

    It’s been a busy two years for the EM musical maestros BoomBox since the departure of original member Russ Randolph in 2016.  Founder Zion Rock Godchaux put the time to good use with the addition of new musical partner DJ Harry and the creation of exciting new material that comprises the newly released Western Voodoo.  This is the Muscle Shoals, AL based duo’s 5th LP and was recorded right outside of their hometown at Rat Nial studios.  Godchaux describes the new tracks as a bit of a departure from their earlier material, “All of the rhythms, melodies, and frequencies add up to these healing properties. I hope people feel rejuvenated and re-focused on some level when they hear us. That’s Western Voodoo.”

    This is readily apparent on the album, and is specifically noticeable on the LP opener “Castles”.  The trance-like intro sets the stage for the entire album.  The track kicks off into a great EM synth hook that precedes Godchaux’s haunting vocal.  The groove on the number is so infectious, I found myself unconsciously moving in my chair, as if movement was a mandatory prerequisite to enjoying the jam fully.

    Another highlight to BoomBox’s latest effort is the 5th track on the LP “Selling Fun”. It combines funky bass with the classic 80’s beats including synthesized horn accompaniment which is reminiscent of the early years of that decade’s dance music.  Groovy guitars help accentuate Godchaux’s lyrics which tells the story of a pusher working the street “selling fun” on his little piece of the dark city.  The rhythm is atypical of the gritty subject matter and is thoroughly upbeat which is in stark contrast to the dark lyrics of the song.

    BoomBox’s hometown of Muscle Shoals, Alabama is famously known for Rick Hall’s historic FAME Studio and it’s famous Muscle Shoals Rhythm Section, commonly referred to as the “Swampers”.  These gifted musicians backed a variety of rock and soul artists throughout the sixties, including legends Wilson Pickett,  Aretha Franklin, and the Allman Brothers Band.  While the “swamp sound” is much different than the EM beats of BoomBox, you can hear these jam influences in tracks like “Easy Operator” which features a laid back enjoyable guitar riff that completely balances out the number.  This relaxed vibe is also reflective of Godchaux’s musical pedigree, a result of being the progeny of two members of the Grateful Dead.

    This is definitely a band to see live in concert.  They boast a killer light show that fits their grooves perfectly.  Both Zion Rock Godchaux and DJ Harry are at the top of their game while performing live in front of an audience. BoomBox’s next outing will be a very special “hometown show” at the Brass Monkey in Florence Alabama on November 30th.  They will continue to tour the US in support of Western Voodoo throughout the remainder 2018 and into early 2019.

    Key Tracks: Castles, Selling Fun, Easy Operator