NYS Music 20​18

Category: Album Reviews

  • Hearing Aide: Erez Zobary ‘Love, and Lots of Sleep’

    The end of college can foster a variety of emotions, most commonly fear of the unknown and wonder in where the next path begins. For recent grads like Erez Zobary, her path of music is not only defined, but ensured in the raw talent behind her senior year creation of Love, and Lots of Sleep. This five track phenomena has a emphasis on r&b and soul electronica influences, reminiscent of NAO and Keri Hilson. She released the EP within weeks of graduating college, and with some diverse instrumentation, creative producers, and a lush and powerful voice, this is a strong first step into the music scene for Erez, and we’re certain she’ll have many strong releases to follow.

    Each of the five tracks on this EP offer us a variety of colorful tempos thanks to producer Brian Han (stage name Brahny), with brilliant melodic lines overarching in each song. Most notably, the combination of rhythmic pulsing and melody on the chorus of “Tides” creates a well mixed, layered motion of sound. Contrasting from “Tides” in intensity is the ballad “November,” which features a delicate, tropical backdrop to support yet another catchy and clever melodic line in its chorus.

    Gaining a huge following in her college’s city of Kingston, Ontario, her music still has many miles to travel to reach the ears of her bigger audience. Hopefully her time out of college will make way for more music, allowing her to expand the capabilities of her already well-developed vocal timbre. As she takes more risks as an artist in a post-grad world, we hope to see her grow in popularity, while developing a diverse discography to take her places all over the nation.

    Key Tracks: Tides, November

  • Hearing Aide: Dana Fuchs ‘Love Lives On’

    dana fuchs love lives onIt was the immortal bluesman B.B. King who once deftly stated “As long as people have problems, the blues can never die.”  New Jersey native and soul singer extraordinaire Dana Fuchs is living proof that the King of the Blues was right on the money.  After overcoming numerous trials and tribulations in her personal life over the years, Fuchs has been able to overcome that pain and hardship by channeling it into her music. The latest LP from Dana Fuchs, Love Lives On, was recorded on her own newly formed label Get Along Records in Memphis, TN.  The record features a stellar backup band which includes Dana’s longtime musical collaborator and guitarist Jon Diamond as well as R&B legends Charles Hodges on Organ and Stax Records session veteran Steve Potts on Drums.

    Perhaps the most radio friendly number on Love Lives On is the opening selection on the album, “Backstreet Baby.”  The song has an infectious groove and upbeat vibe that features a nice electric guitar hook by Diamond which is supported by a nicely placed funky horn section.  The lyrics are stark and yes a little dark, but Fuch’s streetwise soulful vocals along with the band’s upbeat tempo really makes “Backstreet Baby” cook.

    Dana’s voice has the ability to conjure visions of such female blues greats as Etta James and Janis Joplin.  The soul that is put into the phrasing in her voice is essential to the classic R&B genre and is most reflective on tracks such as “Faithful Sinner.”  The song’s inspiration comes from Fuch’s late father and their relationship.  The lyrics talk about looking past the faults in people in your life and giving them unconditional love. The tune also features a beautiful organ introduction and in concert with Fuch’s gospel inspired vocals transports the listener to a Memphis church straight out of the sleepy South.

    The acoustic “Fight My Way” is a lyrical declaration by Fuchs that the struggle with darkness in one’s life is real and redemption does not come free or easily.   It is a constant battle that takes both your will and hard work to achieve.  Musically the number features Fuch’s at her soulful best, while Diamond demonstrates his folksy blues side by playing slide acoustic along with a pleasing mandolin accompaniment.

    Love Lives On finishes up strong with  a stripped down version of the Johnny Cash classic “Ring Of Fire.”  The LP’s version slows the tempo of the number down drastically and transforms the defiant and angry number into a classic Soul Cry torch song. The drastic change up from the Cash original totally works, and is a testament to the collaborative creativity that Fuchs and Diamond have developed over the years working together.

    Dana Fuchs will be touring in support of Love Lives On with numerous dates both in the U.S. and Europe this summer.

    Key Tracks: Ready To Rise,  Sittin’ On, Back Street Baby, Ring Of Fire

  • Album Review: Hartley’s Encore ‘Hartley’s Encore’

     

    hartley's encore albumJoining the ranks of Albany’s tasteful and expansive live music scene over the last two years, Hartley’s Encore has become a recognizable name, plastered on fliers at favored venues and taking on hosting duties for local funk nights, and after rounding up a collection of distinguished tracks, the spunky Capital Region locals finally put forth their first, self-titled album on April 20, 2018. 

    The 6-track effort was recorded and mixed by Soulives’ Alan Evans at Iron Wax Recording Studio in Millers Falls, MA and comes stacked with talent, including Luke Malamood (Lead and Backing Vocals, Keyboards, Hammond B3, Percussion), Chris Oliver (Guitars, Backing Vocals), Jeff Nania (Saxophones), Josh Gordon (Bass: tracks 1, 3, 4, and 6), Mike Gilet (Drums: tracks 1, 3, 4, and 6) and the help of Erik Pravel (Drums: tracks 2, and 5), Phil Chow (Trumpet) and Brad Monkell (Bass: tracks 2, and 5).

    From the album’s opening notes, it’s apparent the assortment has one goal in mind: create funky, dance-leaning tracks that leave the live crowd and listener at home no choice but to groove in their immediate proximity. “Take ‘Em Down” and “Can’t Fake the Funk” are full embodiments of dance anthems, complete with transitions between soulful vocals and an impressive horn section splashed throughout. Groovy, harmonized background vocals and a splash of falsetto are quick to grab an ear as well as carefully placed elements of rock and roll.  Although generally funky and soulful, a fiery nugget of psychedelic rock is thrown into the mix with wailing guitar solos by Oliver.

    Rotating focus on which instruments shine, “Keep That Bright Light Shining,” “All My Funky People” and “Hooklynn” highlight the ability to swap musical hats with tasteful drum lead-ins, tickling of the keys and fleeting solos on guitar. Appropriately named “Hartley’s Encore” and placed as the closing track of the album, the repeated mantra of “gonna give you an encore” paired with jazzy pockets of saxophone and trumpet leave you feeling the funk up until the final notes.

    Over six tracks, Hartley’s Encore manages to fuse their chosen genres in a seamless way, weaving rock and roll amidst funk and jazz while keeping the message lighthearted and fun. Between catchy hooks, tasty riffs and feel-good tunes, the up and comers pieced together a collection of tracks suitable for those live on the dance floor, cookin’ and dancin’ at home or anxiously wiggling in the car during rush hour traffic.

    A record release party took place on Friday, April 27 at The Hollow in Albany with special guest Victory Soul Orchestra and was hosted by Guthrie/Bell Productions. They will also perform at Bowery Electric on May 18 in Manhattan. Hartley’s Encore is now available on Spotify and Apple Music.

    Key Tracks: (Keep That) Bright Light Shinning, All My Funky People, Hartley’s Encore

  • Hearing Aide: Spafford ‘For Amusement Only’

    spafford for amusement onlySpafford’s first studio release in 6 years is finally here and it was well worth the wait. The Phoenix, Arizona-based up and comers have spent the last couple of years making a name for themselves through relentless touring and mass amounts of lengthy jams, and they’ve gained quite a following (affectionately called “Spaffnerds”). The group is comprised of Brian Moss (Guitar/Vocals), Jordan Fairless (Bass/Vocals), Andrew ‘Red’ Johnson (Keys/Vocals), and newcomer Cameron Laforest (Drums/Vocals), who is coming up on one year with the band. For Amusement Only mostly consists of songs that have been debuted and expanded upon live already, with the exception of “Fuel.”

    “Ain’t That Wrong” is one of strongest tracks on the album, with a very anthemic and driving sound. The groove is tight and fast paced, the lyrics are catchy, and there’s a jam section towards the end that shows a glimpse of just how impressive their live jams are. It’s quick, concise, and features a thrilling peak driven by a saxophonist named Jason that Moss met on the street while taking a smoke break. The band recently made their MSG debut with this track, which was a smart choice, as this song is bound to gain them lots more fans.

    Another great selection from For Amusement Only is the funky “Mind’s Unchained,” which is based off a poem by Spafford’s former Lighting Director and contributing lyricist, Chuck Johnson. This song was slowed down a bit for its studio recording, but still captures the laid-back nature of the song that fans are familiar with. “Mind’s Unchained” also features a jam section, a bit longer than “Ain’t That Wrong”’s, and a little more focused on the group’s ability to improvise as a whole rather than bringing a song to a peak, though it does end with a remarkable solo from Moss.

    One of the most exciting songs that got a studio version was “The Postman,” one of the more grandiose songs Spafford has in their catalog. The song starts off with a beautiful, complex composed section and moves into the funky verse section that fans all know and love. “The Postman” really showcases each member’s individual talents and how they come together in large-scale compositions. Cameron Laforest keeps everything tight and locked down, allowing for Fairless to stray a bit from the traditional role of a bass player in the rhythm section and keep the whole band moving through chord changes. “The Postman” also rounds out the wide range of styles that Spafford covers on this album, from soulful ballads to funk jams to extensive compositions. For Amusement Only is a really solid studio release that shows off some of the band’s best compositions and is bound to gain them lots of fans.

    Key Tracks: Ain’t That Wrong, Mind’s Unchained, All In, The Postman, Slip and Squander

  • Hearing Aide: The Magic Beans ‘Casino Cabaret’

    Denver-based jam outfit The Magic Beans recently released their second full length LP Casino Cabaret this past March—also the second studio effort featuring Chris Duffy on bass—focusing in on a new sound the band calls Neo-Jam (a merging of the Neosoul and Jam genres), while also staying true to their Space-Funk roots. The group is comprised of Scott Hachey (guitars/vocals), Chris Duffy (bass/vocals), Casey Russell (keys/vocals), and Cody Wales (drums). The album provides studio versions of songs that have been in the band’s live rotation for some time now, and allowed them to expand the sound of the songs with the help of saxophonist Clark Smith, trumpeter Matthew Wilkolak, and percussionist Will Trask.

    casino cabaretThe whole of Casino Cabaret is very groove-driven, with Chris Duffy and Cody Wales working together in a powerful rhythm section. Duffy’s tasteful bass playing is showcased all across this record, especially on tracks such as the title track itself, “Casino Cabaret.” The song has a very spy thriller-y sound to it, and heavily features Scott Hachey and Casey Russell’s ability to work as a duo when laying down the melody.

    “Mr. Scientist” is another choice selection from the album, featuring more of that classic “space-funk” sound fans are familiar with. Some of Russell’s intriguing synth tones are shown off in an impressive solo about halfway through the song, as well as the main melody throughout the track. This song also features Duffy’s extremely impressive slap-bass skills, and some of Hachey’s super tasteful lead playing.

    Another of the standout tracks on the album is “Hanky Panky,” which as Hachey put it during a live show, “…is a song about sex!” There’s no actual explicit lyrics besides the band yelling “Hanky Panky!” during the chorus section of the song. The song has a very fun, upbeat sound, and really showcases keyboardist Casey Russell’s skills on the Hammond Organ, as well as the band’s ability to groove along as a unit of funk soldiers. Casino Cabaret is an impressive studio release from The Magic Beans that features a wide variety of great, soulful music. Catch some of these songs live during their upcoming sets at Domefest in Bedford, PA and pick up the album on their Bandcamp.

    Key Tracks: Mr. Scientist, Inventor, Casino Cabaret, Hanky Panky

  • Hearing Aide: Cousin Earth “Human Music”

    Cousin Earth Human MusicThe greatly anticipated Human Music from Cousin Earth, is unlike any studio album you’ll listen to this year. Immense talent is found in this Brooklyn five-piece, and share a wide range of influences that all align greatly. The variety of songs throughout the album are each presented without pomp or overshadowing any other. Well produced and executed, Human Music is an exemplar of how to showcase the influences of your music while drawing the listener deep into an album.

    “Peculiar Patterns” opens up as the mildly upbeat intro, finding a Goldilocks Zone of not too hard, not too soft – it’s just right, and has a great swell of energy to close. “I Got This” gives off an electric feel and shows fantastic guitar work from Joey Calfa that sends this for a late-80s hair metal loop. “Train Luck” gives the gripes of subway transit in NYC with a Zappa flair and a 70’s era music video to go along with it.

    The EDM-inspired “Super Fun Laser Beams” delivers in spades, driven by ukulele wunderkind Joey Calfa and steady beats from drummer Nate Searing and percussionist Terry Brennan. Clocking in at 9:05, you can easily picture the laser beams on the crowd as they get down. Mid-Eastern flair can be found throughout the mesmerizing “Dirty Wet Rock,” some Latin tanginess in “Puerto Rican Pancakes,” and sax-driven funk throughout “Alive,” all of which burst with ukulele driven jams that take command and guide the song.

    Do you like kazoo in your music? Cousin Earth has you covered on “When the Dinosaurs come back from Outer Space,” a funky ditty that could crossover to a children’s album with ease. Tara Lawton puts on her Broadway musical shoes for “Keep on (Show me the Numbers, Ian),” but she really shines across the entire album, versatile whether singing, on keys or melodica.

    Bassist Corey Feldman charges out of the gate slapping away on the bass for “Capricorn on the Cob,” the final track and an exclamation point on the album. This is the only track that sounds like something from a jamband, with elements of Umphrey’s McGee’s prog-rock, Pigeons Playing Ping Pong’s bouncy, driven rock and flowing jams of moe. The start and finish of Human Music is 100% Cousin Earth and a hearty taste of what you can expect live, where they shine even brighter.

    Listen below on Spotify or purchase on Bandcamp and don’t miss the album release show tonight at Bowery Electric with The Phryg and Hunt for Hunter!

    Key Tracks: Peculiar Patterns, Super Fun Laser Beams, Capricorn on the Cob

  • Hearing Aide: Cold Lazarus ‘Cold Lazarus’

    The eclectic and spacey quartet Cold Lazarus celebrated their first anniversary by releasing a self titled LP comprised solely of original material that showcases the band’s musical originality and diversity. The band, which is based out of Jamestown, NY, is comprised of  Adam Gould (vocals, guitar), Gavin Paterniti (bass), Marc Scapelitte (drums), and Drew Minton (keyboards).  This band of talented musicians creates a hypnotic jam vibe that incorporates a multitude of varying musical genres that the band members refer to as Reggae-infused intellifunk jam rock.

    cold lazarus

    Selections off of the LP like “Pieces,” that clock in at over 10 minutes, illustrate what Cold Lazarus is musically capable of.  This track covers the musical spectrum of reggae, prog rock, and funk taking the listener along for a uniquely enjoyable cosmic ride.

    “Butterflies,” another tune off of Cold Lazarus, is a more traditional reggae song with Gould’s guitar and Minton’s keyboards working in concert to create a sound reminiscent of Slightly Stoopid or Sublime.  The number also features a pleasing saxophone solo by Minton, that provides a sense of warmth and depth while adding a nice bit of contrast to the piece.

    Scapelitte’s skills as a percussionist and Paterniti’s skill on bass are excellently showcased on the intro of the LP’s fourth track “Shit’s Lit Farm”. Vocalist Gould lyrically depicts the trials and tribulations of dating and developing personal relationships in the digital information age.  The number transitions into a fast tempo bridge that features Gould’s craftsmanship on the guitar and Minton’s heavy use of trippy synth, which eventually organically evolves back to the tune’s original refrain.

    Cold Lazarus will kick off their CD Release Tour at Shawbucks in their home town of Jamestown on April 28. They will continue to tour in support of their new LP into the summer of 2018.

    Key Tracks: Maybe, Freaky Little Girl, Sun Song

  • Hearing Aide: tHrOnE “tHrOnE”

    tHrOnEAfter 10 years, Connecticut rockers Throne return with their self-titled full length album. Brothers Casey and Derek Trafton, have revived Throne after disbanding in 2009 when their cousin Justin Trafton left the band.

    In many ways, the Trafton brothers strive to create a sound that is modern while still longing for the sounds of their days touring with bands like Blink-182 and Good Charlotte.

    Few bands have succeeded at this sound in recent, but with the commercial success of Twenty-One Pilots and the return of Blink-182, Throne seems to attempt this.

    What comes through is a very different sound that can be described as a sort of Nu Metal, punk rock. In their nearly ten-year hiatus, the Trafton brothers worked with electronic music, which is clearly an influence in songs such as “That’s Just Me.”

    Throne’s self-title is a far departure from their debut album Balladry. In this latest, the band strives for more pop, catchy choruses, while creating a deeper and darker sound. Throne has become more related to bands like Royal Blood as to their pop-punk days.

    The second half of the album is much stronger with the final three songs on the album, “Make it Move,” “Breathing Room,” and “Stranger Things” all seeming unique to the rest of the album.

    Ten years later Throne has developed into a more mature sounding band, with a much darker sense about themselves and their music.

    Key Tracks: Make it Move, Breathing Room, Stranger Things

  • Hearing Aide: Big Something ‘The Otherside’

    While April 20 tends to be a day known for celebrating greener lifestyles and festivities, for Big Something, it will notch the release and celebration of their latest studio album, The Otherside.

    big something the othersideTucking away their fifth studio effort, the North Carolina 6-piece offers Big Something fanatics a piggy-back off of last year’s Tumbleweed. Thumbing listeners through an encyclopedia of genres, the 2018 release continues the haunting narrative of wandering through the depths of a post-apocalyptic desert while undergoing some serious soul searching, hoping to come out of the clutches of a bad peyote trip. Unable to place the album’s pulse on one particular sound, the sonic exploration allows focus to be placed on the group’s unfolding concept instead.

    The first few notes of “Sundown Nomad” welcome Big Something fans to their familiar, glitchy EWI sounds before diving into a land of spoken word trip-hop. As the eight-track album continues, “Wildfire” follows as a feel-good tune paired with less than hopeful lyrics, repeatedly exclaiming “woe is me.” The tight-knit ensemble of Nick MacDaniels (guitar, vocals), Doug Marshall (bass), Josh Kagel (keys, trumpet), Casey Cranford (sax, EWI), Jesse Hensley (lead guitar), and Ben Vinograd (drums) play with poetic juxtaposition on this track, while the uplifting riffs seem blissful, the lyrics divergently describe one thousand acres burning to the ground and the world going up in a wildfire.

    “We wanted to pay homage to the original concept of ‘an album’ with this release where sitting down and listening to the whole thing is an experience – 20 minutes per side with a break between. Side A complements Side B. This is the first time we’ve setup an album to fit perfectly on a vinyl record like that,” vocalist Nick MacDaniels shared.

    “The Cave” offers a more emotional outlet through Daniels’ heart-rendering vocals and slower time signatures while the album’s title track, “The Otherside,” takes shape of a fleeting 1:47 ambient break in the midst of the album. “Smoke Signal,” a track specifically written for the album and yet to receive the live debut treatment, holds it’s own as a silky smooth jazz track, with a combination of velvety vocals and saxophone. Most tracks are given a new life through Big Something live performances. It’s a wonder what they’ll do with “Smoke Signal” for its first time in front of a live audience.

    Cranford’s EWI majesty helps “Cosmic Dust” tap into 80s synth- Stranger Things theme song elements before the last two tracks showcase the groups funk and hard rock in its finest form. With the help of groovy trumpets and top-notch shredding on guitar, the album finds its fastest and strongest notes at a pinnacle of high-energy upon its conclusion.

    The powerhouse rockers found their voices through storytelling and fusing unique elements together to wrap up the story they’ve been telling since their 2017 predecessor album. Creating another layer of emotion folded into the album, it’s dedicated to the memory of Paul Interdonato, the band’s late lyricist and friend who tragically passed away on December 3, 2017 – the same exact day the band was gearing up to record in studio.

    The Otherside takes on thematics of musical journeys in more ways than one– the story of the album’s troubled, vagabond protagonist as well as a touching tribute of inspiration from a lifelong friend.

    Key Tracks: Smoke Signal, Cosmic Dust, Hole

  • Hearing Aide: Jane Lee Hooker ‘Spiritus’

    Jane Lee HookerJane Lee Hooker is back, and better than ever.

    After the release of their debut album No B! in 2016, the five piece punk-blues powerhouse caught much deserved attention among NYC’s club scene. Since then, Jane Lee Hooker has spread like a wildfire: one that certainly won’t be extinguished anytime soon.

    Spiritus, the band’s second album, was released in November of 2017. Primarily comprised of original music, Spiritus further explores JLH’s unorthodox take on the blues. The ten-track release is riddled with undeniably catchy hooks, superb guitar licks, and just the right amount of grit.

    The album goes from 0 to 60 in a matter of seconds with the first track, titled “How Ya Doin’?” From there, Spiritus takes a step back with some slow/moderately paced jams (including the most popular track “Later On,” which currently has over 21,000 spins on Spotify).

    But don’t be fooled; halfway through, Spiritus lifts off once again with “Black Rat.” Shortly afterward, to the listener’s unexpected surprise, the album takes a moody turn with a downtempo track titled “How Bright the Moon.” And to wrap things up, Spiritus comes full circle with the longest track on the album, “The Breeze.”

    To say the least, Spiritus is bold, nostalgic, and groundbreaking. If you’re in search of a sound that steps far beyond the boundaries of modern rock music, Jane Lee Hooker’s gotcha covered. Keep up with JLH on Facebook, Twitter, and Instagram.

    Key Tracks: Later On, How Ya’ Doin?, The Breeze