NYS Music 20​18

Category: Album Reviews

  • Hearing Aide: Animal Sounds ‘Ennui’

    Animal Sounds EnnuiHaving originally started as a funk-based instrumental group, Animal Sounds is debuting their record Ennui, that will soon define them as one of the indie powerhouse bands that call Western New York their home. The five-piece group released an all instrumental EP back in 2015 titled Fling Mingus which had well written guitar duos and harmonically vibrant compositions that didn’t get too complex, making for an easy and interesting listen. A couple years later, the band released a single titled “Ghost” which had lyrics- marking a change in the group’s direction. Composed of Erik Gordon (vocals), Shawn Brogan (guitar), Alex Brophy (guitar), Angel Figueroa (bass/keys), and Theo Schirmuhly (drums), Animal Sounds presents a versatile and eclectic sound that doesn’t veer far from their roots while also solidifying the band’s progression into a vocally driven sound with intriguing instrumentals. While this new release, Ennui, can take a very strong cue from the group’s main influences, there’s enough in this 8-track album to warrant a close look at how well the band is able to execute these sounds and create a product that oozes the stylings of some big-name alt rock/indie groups.

    A major highlight of the album are the guitar performances. The clean lead duos are reminiscent of Minus the Bear, with both guitars playing melodic parts that mesh as one voice. This is apparent right from the get-go, with the second track “Hesitation” starting off with a conversation between the two guitars, one just slightly grittier than the other so as to differentiate the voices enough. Schirmuhly’s drums do a great job to accent both the bass and guitar lines. On the seventh song, “Wanderlust”, the hi-hat accentuates beats in a way that makes different parts of the guitar line pop out, while the bass drum syncs with the bass to achieve a really big lower end without the frequencies getting muddied in the mix. The bass overall keeps a steady groove in each song, never becoming too flashy but also not becoming redundant or droney. It leaves room for the guitars to shine and will even jump in on a well composed trio part like in “Antelope”.

    The vocals are very strong from top to bottom. Gordon weaves his way through already melodically layered songs, finding open spots to color the music with his own melody. The lyrics seem to ride on one theme- a dissolution with the current state of one’s being and how growing into adulthood amplifies those feelings. It’s a darker lyrical focus, which matches the melancholy mood of the songs well. The harmonies are a big stand-out, with numerous vocal parts being layered to create atmospheric backdrops to mesh with the ethereal guitars. The group displays a lot of chemistry, and strong song structuring.

    One thing that comes out a bit much are the sounds from the group’s influences. A few of the tracks instrumentally sound very similar to a Tame Impala song, sometimes Minus the Bear. Despite these parallels, the songs are well written and do a very good job of nailing down the timbres and subtleties those groups use in their music- an achievement regardless. Animal Sounds has a lot of chemistry, and it’d be interesting to hear a bit less of the influences and more of the unique sound the band can bring to the table. The group puts on a very strong live show too, covering tunes that are complete departures from their influences and making them their own. If you enjoy the album, get out to one of Animal Sound’s shows in the WNY area!

    Key Tracks: Hesitation, Wanderlust, Kid Dankë Schon

  • Hearing Aide: Edward David Anderson ‘Chasing Butterflies’

    Have you ever heard of the genre known as Black Dirt Music? No? Here’s a hint – buy Edward David Anderson’s new release Chasing Butterflies, put on headphones, close your eyes to the world and let the music take over your soul. Recorded in the Muscle Shoals region of Alabama, an area famously known for timeless music recorded here, don’t be surprised if you fall in love with this artist as soon as you hit play. Anderson’s refreshing blend of tone, lyrics and melody make for an exhilarating new batch of Americana tales sung straight from the heart.

    Anderson has a knack for being relatable with his lyrics. Swaying from one end of the emotional spectrum to the other, he hits home with several tracks that everyone can respond to easily. Gut wrenching, soul searching tunes include “The Ballad of Lemuel Penn” and “Crosses.” The former cuts deep into the soul with heart wrenching lyrics that tell the true story of a man who died “because of his own skin.” Though Penn was senselessly murdered by Klansmen, this song still rings true today as racial hatred unfortunately remains alive and well in parts of this nation. The latter reaches into the heart while painting a musical visual of crosses that quietly dot roadsides. Unafraid, this track eloquently speaks of heartache and loss and those who died that are remembered with a simple cross “on the side of the road.”

    Upbeat, spirited tracks also line this well-balanced album. Easily understandable stories are sung within several songs throughout. “Bad Tattoos” speaks just about that – the why and how of a bad tattoo. It’s hard to resist a quick chuckle as the lyrics “if I had to choose, I’d do it all over again” roll by. Who hasn’t seen a few bad ones in their time? Man’s best friend is honored and appreciated in “Dog Days” while “Sittin’ ‘Round at Home” lyrically rambles through noodling around on a guitar and recharging while relaxing at home.

    Graceful melodies that meander along the edges of seriousness and playfulness also show their graceful presence. “Harmony,” “The Best Part,” “Only In My Dreams” and “Chasing Butterflies” flow with melodies that make it easy to sway and tap to without noticing. The Americana spirit winds along the lyrics and melodies of these tracks, maintaining a clean tone while etching a story-filled landscape of emotional appeal.

    Wrapping up the album, “Seasons Turn” flawlessly breathes while inviting the listener to feel the notes as an edgier guitar takes hold. A perfect transition to bring Chasing Butterflies to a close. Overall, Anderson’s latest release is uncluttered with clean lines, graceful lyrics and spirited energy. If you’re searching for a refreshing sound that you can’t put down, this is it. You will not be disappointed.

    Key Tracks: Harmony, Crosses, Chasing Butterflies

  • Hearing Aide: Sister Sparrow ‘Gold’

    “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

  • Hearing Aide: Younger Then ‘Bad Life’

    For a band that doesn’t have unlimited funds, recording in a studio can be nerve wracking. Every minute that passes represents a dollar gone, and the expectation to nail down a cohesive album with tight performances is exponentially higher. Buffalo local indie rock band Younger Then knew the stakes were high when they walked into Nashville based Blackbird Studio- the same studio that recorded albums for the likes of Kings of Leon and Lynard Skynard. With a short time period, and uncertainty surrounding the loss of a bass player, Younger Then rolled up their sleeves and got to work. The product is an expertly produced, 11-track roller coaster of an album that dropped October 12 via Standby Records.

    Their second release, Bad Life, is both a continuation and improvement from their first release. The growth of the band as a unit is evident. The songs are well written and, despite the high-pressure situation in the studio, Younger Then is able to capitalize on the world class studio production and deliver 11 catchy songs in an immersive, exploratory album. Michael Wirth (bass/guitar) provides a strong rhythmic foundation on both bass and guitar that Jeremy Shields (drums) builds upon in a big way. Austin Dorr (guitar) writes lead lines that interplay with Zack Dupuis’ soaring vocals. These elements together, plus the clean production, makes for a big sound with a lot of clarity.

    It was an unexpected surprise to hear the amount of experimentation in each tune. The group is very good at expanding the role of the guitar, finding different tones and timbres to accentuate the mood of a song. The fourth track, “Sarah Told Them,” has a set of reverb-washed guitars and a spacious synth. These mesh to create a beautiful canvas for Dupuis to paint on with his musings on finding one’s way. The song has a steady build and emotes the lyrical content well. This track, while harmonically verdant, doesn’t lean as hard on raw energy as much as a few other tracks.

    The first tune, “All in All”, kicks the album off with a high-energy wind sprint of a song. The sound is huge, and Shields sets the precedence early on that his drums will be a commanding presence throughout the album. The drums are a major highlight from beginning to end. Lightning fills and huge toms round out a massive sounding kit, while Shields is simultaneously able to gently work the hi-hat to give the rhythm a big dynamic range. The bass stays in the pocket for the most part, save for a feature on “Wishing Tree”, but this works with how high-octane the drums are. The interplay between the two services the song more than the individual parts.

    A common theme throughout the whole work is how well each part plays to the larger picture. Analyzing the pieces is somewhat trivial- ‘Bad Life’ doesn’t take many theoretical risks and the instrumentals are simple for the most part. Typically this would be a knock, but with how the songs are written it works great to create a cohesive song, as opposed to a stand-out single instrument performance. The layering of uniquely effected guitars along with Dupuis’ consistently well-executed vocals fit like a glove along with the pocket-bass and the blistering drums. There are points where you’ll be listening in on a single instrument only to be pulled away by something just as interesting coming from your other earbud. Some of the spacious guitar lines sound like something from a deep-cut The 1975 song (like in track 9, “Luna”). These are contrasted at various points in the album by more clean guitars with tremolo and chorus to widen the sound. There’s so much to catch within the confines of each song, every one having replay value.

    Lyrically, there is an arc that the narrator creates. It centers around feeling displaced and unwanted. Further listening will shed more light on the exact meaning of each word and phrase, but for the most part the arc is uplifting yet realistic. It’s not fairy-tale happy and not whiny. It sits in a firm position of realism, acting as another reflection of the maturation of the band’s writing style. On top of this, the melodies themselves outside of the lyrics are sticky. The verses ride easy, and the chorus parts yield ear-worm hooks that’ll get stuck in your head for days. The structures are simple, making the album very accessible and easy to learn as a listener who no doubt will want to sing along. This way, when you catch them live, you’ll be able to sing along with their new tunes! Add ‘Bad Life’ to your fall and winter playlists and be on the lookout for these guys as they begin to branch out of the area and into the larger industry!

    Key Tracks: Sarah Told Them, Bad Life, All in All

  • Hearing Aide: Doug Berns Band ‘Outlier’

    Doug Berns Band release debut albumBrooklyn trio, the Doug Berns Band, are quietly meshing together key elements of rock to create a sound that is both accessible and flashy. The group is fronted by bassist, singer and songwriter Doug Berns (EMEFE, The YeahTones), and features Sean Salant (AwakenTheShadow, Nova Lantern) on guitar and Coleman Bartels on drums. The group is releasing their debut album, Outlier, on October 18th, the same night as their release party at Rockwood Music Hall in NYC. In light of the upcoming release, NYS Music had the pleasure of checking the album out early. At the bottom of this review, the group is premiering their newest music video for their single, “Outlier”, the title track of the album. The nine track album is high octane from start to finish. It meshes the stylings of heavier groups like Metallica, lighter grunge like Alice in Chains, and an element of prog rock with soaring vocals and ripping guitar solos. The group demonstrates their technical ability in a slew of tight performances that highlight each member’s grasp on their intended sound.

    While the Doug Berns Band describes themselves as impressionistic rockers, it is tough to label them in this way. The album doesn’t take too many risks in terms of mood and timbre, but rather leans on catchy instrumental hooks and sticky vocal lines laid over heavy, well-executed instrumentals. Berns’ vocals float over top of thick distorted guitars in a way similar to how LaBrie’s (Dream Theater) vocals are the cherry on top of his band’s instrumental as opposed to being the main focal point. In the second track, “It Gets To You”, Berns shows off his falsetto, and establishes his presence in the mix without standing out too much. The melody is written well, and does a good job of leaving room for the guitar to fill space between phrases. This is especially potent in the fifth song “Mainline”, where the lyrics drive the narrative a bit more and the guitar provides great support to the song as a whole instead of pushing to stand out.

    The bass’ presence in the album deserves a big shout out, as Berns keeps a solid foundation when needed and doubles up with the guitar to add weight to certain lines. The guitar often runs off on its own to great success. The blazing and technically proficient solos are a big stand out. While Salant’s guitar is coated in dirt more often than not, there are a few points (namely in “Hell”) where the clean tones stand out just as much as the gritty lead tones- a nod to Salant’s ability to navigate modes within a key and color the solos so they stand out melodically from the rest of the backing instrumentals. The eighth song, “Ready Player One” features a specifically heavy solo, and covers a ton of harmonic ground. The drums remain pretty true to the genre and breathe an air of familiarity into each song. This might entail keeping the pulse while the guitar plays more complex rhythmic, palm muted riffs (like in the second track “It Gets To You”) or just holding the line on the odd-time parts of songs (like in “Meet Me”). This isn’t to take away the energy Bartels adds with his lightning fills. He shows flashes of his chops, but tends more frequently towards servicing the song as a whole which adds to the flow of the entire work.

    This album offers a good look at a band who is taking pieces from their predecessors and melding them to create a unique amalgamation of elements. In a way, this is impressionistic in itself without having to reach too far into the avant-garde. While the instrumentations are more traditional, the compositions and well-crafted structures allow the band to show their experimental side and give the listener some music theory fodder. Outlier is an accessible and exciting listen, a nice treat to hear for fans of heavier rock.

    Key Tracks: Outlier, Mainline, Ready Player One

  • Hearing Aide: Idle Bloom ‘Flood the Dial’

    Idle Bloom

    Based out of Nashville, TN, Idle Bloom is an indie-rock quartet whose name has been popping up since their first release, Little Deaths in 2017. Since then, the group has covered ground from Tennessee to Chicago, and now they’re taking the larger NY area with their most recent tour. On top of touring more seriously, the band also sounds more matured in their most recent release, Flood the Dial. They build on their prowess for creating uniquely structured songs and excel in experimenting with so many facets of how a guitar can function in a song. Big power chords and traditional rock-guitar stylings still pop up in the album, but not nearly as much as the arpeggiated chordal interplay between two jangly guitars that breathe an air of dream-pop into each track. This experimentation mixed with familiarity pays off in a big way for the band, as they create a musically consistent album that doesn’t lose its luster with each passing song. Olivia Scibelli’s melodic style of crooning places her voice in the spotlight for much of the album, with hers and Gavin Schriver’s guitars taking over in the spaces between vocal lines. These voices float over top of a strong foundation created by Katie Banyay’s steady bass, and a rocket drummer, Weston Sparks, who’s use and placement of fills adds density to the mix. Idle Bloom successfully takes cues from noisier rock groups like Dinosaur Jr. and Pixies, and meshes them with the more pop-sensible songs from groups like Tigers Jaw and Crying.

    Idle Bloom does a really good job of not only maintaining a consistently unique sound through the album, but also build the energy throughout. The first track, “Wasted Time”, offers some jangly guitar interplay mixed in stereo to cover space as it immediately becomes clear that the group is adept at writing more mellowed out songs without sacrificing variety. Sparks keeps a heavier pulse with huge cymbal rides and a specifically thick sounding set of toms. While maintaining its teeth, the song has a nice flow and hook. It doesn’t amp up the energy to 11, leaving room for later on. The build continues through the next few tracks, giving more in terms of stacked harmonies and counterpoint guitars. The bass stays in the pocket and supplements the kick drum really well.

    The third song, “Sleeping In” even introduces a synth that carries over into more songs, and acts as a good transitional voice between songs. It’s hard not to notice how well Scibellie’s lyrics come across not only in flow but also in content. “Sleeping In” emotes a feeling of depression, steeped in the musings of a millennial coming to terms with the current state of the world and opting to keep trying as opposed to sleeping forever. The following track “Exposure” reflects on the heavier topic of sexual abuse/assault and cover-ups- commentary on an age old issue brought to light in modern times. The song is juxtaposed with the bubblier backing track, giving the narrator an edge of empowerment in their situation despite the seriousness of the topic.

    In the ninth track, “Empath”, Banyay and Sparks link up to create a punchy, exciting rhythm part that the guitars are able to accentuate with chucked funk chords and short harmonized lead lines. The melody, namely guitars and vocals, do a good job here of only coming forward when needed. The Steely Dan styled guitar duo on this and the sixth song, “Rewired”, came as pleasant surprises and showcase the versatility of the band. It felt like the band took the kind of American Football/Midwest emo guitar voicings and jazzed them up. This speaks to their ability to color thematically similar songs in a way that differentiates them and adds upon each of the prior tracks.

    The final song, “Contact”, acts as a great closer and culminates with just about every element that made the album such a fun listen. The post-rock experimentation of guitar tones and their function, the harmonized vocals, and a really punchy drum line all trade off the center stage. This is the most dynamic song on the album, and likely the most melodically colorful. From top to bottom, Flood the Dial is an exciting listen. Idle Bloom will be going on tour this fall, making stops at a few NYS locations. Check them out in a city near you, and be sure to stream the album here!

    Key Tracks: Contact, Empath, Wasted Time

    Upcoming Shows:

    October 5th – Ypsilanti, MI @ The Late Station

    October 6th – Cleveland, OH @ @ Happy Dog

    October 7 – Rochester, NY @ Bug Jar

    October 8th – Saratoga Springs, NY @ Desperate Annie’s

    October 10th – Brooklyn, NY @ Secret Project Robot

    October 11th – Philadelphia, PA @ No Face Studios

    October 12th – Baltimore, MD @ The Undercroft

    October 13th – Raleigh, NC @ The Wicked Witch

    October 14th – Johnson City, TN @ The Hideaway

  • Hearing Aide: Mirk ‘Sense’

    Mirk has been a part of the local scene since it first formed in 2009. Each of the band’s previous six releases has its own vibe, which makes it difficult for anyone to pigeonhole the band into a specific genre. The band’s sound is best described as “dance clap,” incorporating elements of pop music from different eras to get audiences onto the dance floor, and clapping.

    In the past, Mirk has played with the harmonizing doo-wop of the ’50s, the horn arrangements common in soul music from the ’60s followed by the predominant guitar and drums of the ’70s. Mirk’s sound, however, never strays from its roots of hip-hop, R&B and soul.

    Mirk’s seventh and latest album Sense is inspired by the music frontman Joshua Mirsky hears from his clients at his Foster House Studios in Albany. Mirsky said it delves more into the pop, which is evident from the electronic beats on some of the tracks. But, overall, the album is steeped in rich and soulful R&B.

    The baseline on “Priceless,” the album’s opening track, sets the tone for the entire listening experience. It introduces the listener to a smoldering atmosphere with a danceable beat with electric accents. It aptly holds your hand into the next track, “Cleopatra,” an equally hot song featuring Stellar Young frontman John Glenn.

    Glenn is one of four local musicians brought along for the ride on this 12-track album. Another, Nick Horace of The 7th Squeeze, lends a powerful performance on the ambient track “First of Her Name.” Tara Merritt lends her vocals on two tracks. The Albany singer has been associated with members of Groovstick and The Chronicles. She really shines through on the final track, “Rapture.”

    Your up-close and personal dance tracks move aside after “Pretty Brown Eyes.” featuring Troy R&B artist James Rock providing the hook with his silky smooth voice. From there, the pace picks up a notch with “Options” and “Living It Up,” only to ease back subtle like.

    By the time you get to “So Bad,” you will understand that this is not a disco dance compilation. Sense is light the candles, turn the lights down low, sexy. This is the soundtrack to your Friday night; whether you have plans with someone, or you plan to cruise the scene downtown. Audiophiles with their headphones should also check this out. Whatever your intent may be, this is good music.

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

  • Mike Powell set to release new solo EP, ‘Shelter Without Walls’

    Mike Powell has had a prolific few years, performing throughout the northeast with his solo act, his duo, and his full band the Black River.  He also released a solo album and an album with his band. This Friday, Oct. 5, Powell will release his latest solo effort, Shelter Without Walls.

    shelter without walls

    The six song EP features two previously released, but re-worked songs, “Twenty One Rounds” and “Sad Day in Champion” and four brand new heartfelt compositions. The album can be pre-saved on Spotify and Apple Music through this link. It will be available on all streaming services beginning Oct. 5.

    Powell is a unique storyteller who writes with emotion, breaking down walls to allow the listener into the story. He writes best when he draws from personal experiences. “Twenty One Rounds” tells the tale of a mother who lost her son while serving his country; something Powell has knowledge of through his upbringing in Carthage, just outside of the Fort Drum Army Base in Northern New York. This much-loved song gets a rework on the new EP and has lost little of the original’s emotional appeal.

    Writing songs has always been a soul satisfying activity for me. I just have a deep love for words and telling stories. Music is the most impactful medium I’ve found for connecting with people and evoking emotion. Being able to play intimate acoustic sets in tandem with rock n’ roll shows with my band is like scratching two creative itches at once. I feel like I have two separate vehicles that share the same fuel system.

    “Sad Day in Champion” recalls the closing of a paper mill in that same region of the North Country that affected so many of the people in the region as well as those close to the young Mike Powell.

    One of Powell’s new songs, “Poison Diamond” closes the record. A dirgy number, highlighted by Hanus’ trademark guitar and a church-like organ, where the narrator laments, “You took my hand/You stole my heart/ You loved me to pieces/That’s what tore me apart/You set the fire/And it made me cold/You made me higher/And you cut me down low/That’s what tore me apart/I need some glue, or something heavy I can hold on to/This old bottle here will do/I’m never together with you.”  This is one of the Powell’s most powerful recordings to date, from the lyrics to the delivery to the musicianship within the song. The subdued duet with a female voice on “I’m never together with you” hits the listener in the heart. This song could be Powell’s launching pad to a wider audience.

    shelter without walls

    “The Polite Rebel” will also embark on the most ambitious month of his professional music career beginning Friday. The busy month kicks off with the Black River opening for Canadian rockers The Trews at Exhibition Hall in Watertown this Friday, Oct. 5. Following the Watertown gig, Powell and his duo partner, John Hanus trip down to Goshen, CT for a main stage gig at the Black Bear Americana Music Fest on Oct. 6. The weekend wraps on Sunday with an intimate gig at The Sinclair in Skaneateles on Oct. 7.

    Powell’s intense schedule continues Oct. 10 and 11 as he makes his solo debut at Ani DiFranco’s 9th Ward at Babeville in Buffalo and Lovin’ Cup in Rochester. Oct. 12 sees Powell closer to home at the Brewerton Center for the Arts for another solo show.

    The most highly anticipated nights of the month occur at the historic Nelson Odeon, a renovated former Grange Hall located in the rolling hills of Nelson, near Powell’s current hometown of Cazenovia on Oct. 13 and 14. These shows will be used to record Powell in both solo and duo formats as well as certain selections with the Black River, to be included in a future live Powell album.

    The Odeon is one of Powell’s favorite rooms to perform and is the reason he chose this historic building for the recording of his first live album. He says of the building:

    The Nelson Odeon stands for everything I love about music. It’s like stepping back to a simpler time. I have always dreamed of releasing a live record and this is the perfect room to try and bottle up a moment in time. It will be a special night.

    The Black River, in addition to their gig opening for The Trews on Oct. 5, will take up a Thursday residency at King of Clubs in Syracuse’s famed Armory Square on Oct. 4 and 18. Dubbed “The Thursday Night Rock Show,” this ongoing event is hosted by the band and features some of the region’s top acts. Capital District rockers Wild Adriatic will join the Black River in a November session of “The Thursday Night Rock Show.”

    Finally, on Oct. 19 Powell makes a trip to Blue Mountain Lake for a performance at the Adirondack Lakes Center for the Arts and wraps up with a songwriters and on Oct. 20 the 18 Songs Tour visits Casita del Polaris in Ithaca. This set brings together three of Central New York’s premier singer songwriters for a night of music – 18 songs- with Powell joined by Charley Orlando and Chris Merkley.

    When not on the road, Powell will be in the studio recording the Black River’s sophomore effort. The band released its debut, Classic Universe in January.

    Check out the video for “Sad Day in Champion” below featuring Powell and members of the Black River.

  • Hearing Aide: The Upstart Crows ‘The Upstart Crows’

    The Upstart CrowsMoving out from a small college town music scene into one of the world’s largest and most diverse arts cities is daunting. For The Upstart Crows, fitting in means being different. So, when they moved from a small college town in New Hampshire into the Big Apple, they were able to settle right in. Late in August the band released their first album; a combination of punk, honkey tonk, and a vaudeville styled theatrical influence. The self-titled album, The Upstart Crows, is a grab bag of these various influences that the band draws from. The two piece group, comprised of Jon Adams (vocals/guitar) and Forest DeCoste (drums/bass), recorded at Proper Pop Studios in Brooklyn, NY. The band seized the opportunity to layer on elements that their two-member setup has handcuffed them from doing; the band plays as a guitar and drum duo typically. The addition of bass and some other backing instruments gives every song more dimension and enabled the group to hash out the ideas a bit more. Despite this, the album does feel a little meandering, focusing on the lyrical theme of sadness but not staying true in terms of genre and flow. The album remains an interesting listen despite the scattershot and shows how well the duo can formulate a song with consistently catchy melodies and tight performances.

    The album opens a little heavier with “Bad Medicine”, the first single The Upstart Crows put out in anticipation of the album. The song feels similar to an early 2000’s era emo tune, without the over-saturated production. The bass line fits well with the drum beat and provides a solid foundation for the rich guitar chords to lay out the progressions. The guitar ultimately leads the bass, with both instruments locking together in such a way you’d expect to hear in a song written by a smaller crew of people. The song is fun, heavy, and not overbearing. Adam’s vocals immediately stand out as theatrical and exciting. A few songs follow this formula of heavier instrumentals and grittier vocals. One vocal performance, from “Lying and Crying”, has Adam’s singing with a distortion on his vocals. This works really well with his higher tenor voice, commanding the listener’s attention. The end of this song also has an octave-matched guitar solo that adds some meat and more development to the melody.

    While the heavier songs provide good energy to the album, The Upstart Crows do really well in their more pop-oriented songs. Adam’s vocals shine in track 7, “Heart to California”. A more bubbly song with an indie/alt vibe, the band takes a catchy hook and layers on a lot of fun percussive parts and some group vocal refrains. Similar to a song you’d hear from The Dear Hunter, this offers a view of the band that would be interesting to hear more of. “What Did I Say” gives a similar vibe, keeping the song fresh with catchy hooks and a honkey-tonk feel. Adam’s vocals float above the instrumental like Ben Folds or Tom Chaplin (Keane). The mix gives the song a heavier feel without pumping the distortion of muddying the vocals. Like a few other songs on the album, this one had a seamless transition from the previous track. The band makes portions of the album feel like they were recorded one after the other without break, which yields a cool effect.

    From the heavy distorted wash of instruments, to a more jangly and organic songs, this album does not get boring. While the rocky flow and genre mixing can be a drawback at points, the ability to write consistently catchy hooks and execute performances that are tight make this album fun to listen to. The Upstart Crows cover a wide spectrum of genres in this album, and it’d be interesting to hear an album (or two) that focus on a steadier narrative and true genre. With this first release, the band has started to establish a theatrical alt-rock sound that can be refined to great effect. Check out the album, and if you’re in the NYC area don’t hesitate to catch a live set! You’ll get something a little different than the album, and that’s a great reason to catch a live set.

    Key Tracks: Heart to California, What Did I Say, Bad Medicine

    https://soundcloud.com/user-362945912/bad-medicine

  • Hearing Aide: The Lionfish ‘You Won’t Keep Me Down’

    Fairfield University bred rockers, The Lionfish, sting. Their second studio release, You Won’t Keep Me Down, is as colorful as the marine fish itself. It’s packed stout with driving rock, intimate blues-ballads and sounds that delineate genres. The Lionfish cannot be defined, nor contained. You Won’t Keep Me Down sounds more like a greatest-hits rock party than anything else.

    the lionfish

    The Lionfish will be debuting You Won’t Keep Me Down Friday September 28 at Peaches Southern Pub & Juke Joint from 9:30 pm to 12:30 pm. The beauty and purity of the record will be preserved, performed in its entirety, amidst a non-stop three-hour set.

    “Our origins are not based on a pop single,” said frontman, Robby Schwartz. “We are all raised and influenced on the idea of an album as a whole.”

    The album’s title track “You Won’t Keep Me Down” is a full-fledged swamp tune. Heavy drums hold the band steady, as screaming guitar licks respond to Schwartz’s vocal chants. Each instrument speaks; arpeggiated keys, guitar and bass all crash into the bridge. Their energy is sharp and venom-like. Your feet won’t have a choice. Go ahead and try.

    “The album speaks to a voice in favor of loving your neighbor, instead of building walls. ‘You Won’t Keep Me Down’ was one of the first songs written. It is anthemic in its own way,” said Schwartz.

    “Dogs of Quito” is a more poetic take on rock n’ roll. Schwartz had been writing most of the songs while in Ecuador, volunteer teaching, as “a release from the normal working world.” Inspired by authentic Quito graffiti,  the tune has a recurring theme of Without Love Nothing. The desolate streets can be heard in Schwartz’s distinct ‘howls’ throughout the driving chorus.

    The dogs of Quito are howling / In a fight like there’s no tomorrow / The rest of the world is watching / In a trance of pain and sorrow.

    The Lionfish get intimate with “She Lifts Me Up.” The track is jazzy and soulful, opening with finger-snaps and backed by powerful female harmonies. Schwartz’s keys take off. The dynamic change reveals the subtle articulation of each instrument. “She Lifts Me Up” was also featured as  a NPR fan favorite, submitted as a Tiny Desk entry.

    Acoustic guitar sets the mood for “The Last Town,” with a southern air that makes the listener sway with the breeze. “The first five tunes are my favorite,” said Schwartz. “There were times on the record when I was writing from an outsider perspective.” However, “Some of the tracks date as far back as high school.”

    Other tracks stand out, such as “The Wall,” which features Schwartz on solo piano. “Love (Sin Amor, Nada),” becomes otherworldly, with clave ostinatos and a variety of percussion. “Untitled Blues,” concludes the twelve-track record, with a nine minute anthem of nonstop soul.

    “I think this show at Peaches will be a great opportunity for us to show off how proud we are. We are playing the album in its entirety, along with a bunch of covers. It will be interesting to play it live as a four-piece,” featuring core band members Chris Finelli (guitar), Mark Schwartz (bass/guitar/vocals), Robby Schwartz (keys/bass/trombone/vocals) and DJ Horstmann (drums).

    Key Tracks: You Won’t Keep Me Down, Dogs of Quito, Untitled Blues.