NYS Music 20​18

Category: Album Reviews

  • Hearing Aide: Ozymandias ‘Godly’

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

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

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

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

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

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

  • Hearing Aide: Baked Shrimp ‘Feast of Delight’

    Baked ShrimpBaked Shrimp Feast Of Delight, one of Long Island’s best kept secrets, recently released their album Feast of Delight, showcasing the band’s various styles and genres, including multi-part compositions, radio-friendly pop songs and even a folk song in the single “Orpheus.”

    Since forming in January 2017, Baked Shrimp has broken into the Long Island and NYC jam scene and, over the course of the past year, the high-energy rock trio have played unique shows across the Northeast and are looking to build on that success in 2018 with the release of Feast of Delight that puts front and center a distinct ’90s indie vibe.

    “The Manatee,” a 10 minute gentle giant, gets heavy in the right spots, features elements of post-punk emerging throughout and gives off a Disco Biscuits feel with the continuous vibe built throughout. “Dick Turk” has wide ranging guitar play from Jared Cowen, a versatile stand out, especially on “Machiavellian” which contains guitar work that makes the song a distant cousin of Henry Mancini’s calliope in “Baby Elephant Walk,” building firmly and erupting for a fire-y ending.

    “Orpheus” is the lightest fare on the album, but the acoustic sing along makes it a perfect single off the album and stands out just before the closing “Chimera,” which has a distinct Ominous Seapods feel, even if the bands are nearly 25 years apart, and a little dose of Talking Heads’ “Cities,” wrapping up an album that will be perfect for afternoon listening and dancing to late into the night this summer. Tune into Feast of Light below, on Bandcamp, and check out live shows from Baked Shrimp on Archive.org

    Key Tracks: The Manatee, Machiavellian, Orpheus

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

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

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

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

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

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

    The PreVisual can be streamed through SoundCloud.

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

  • Hearing Aide: Ripe ‘Joy in the Wild Unknown’


    Boston’s seven-piece phenom Ripe attacks funk-infused rock, groove, jazz, R&B and even ska, with passion,     precision and purpose, leaving a wake on the dance floor with their debut offering Joy In The Wild Unknown. The album, due out April 6th, is a reflection the highs and lows of life and the musical connectivity in between. With uplifting tracks like Little Lighter, playful songs like Stanky, and songs about love like Downward, Joy leaves an indelible mark.

    Joy in the Wild UnknownRipe’s unbelievably tight jams , genre-bending originality and rapidly growing fan base have helped them rack up over one million Spotify streams with their fan-favorite Goon Squad, over 15,000 followers on Facebook, and landed them on the bill at venues like the House of the Blues, the Roxy Theater, and Levitate Music Festival in July in the coming months.

    Lead vocalist Robbie Wulfsohn’s distinctive and likeable chops allow him to stand on his own amidst the outstanding musicianship of Tory Geismar (guitar), Jon Becker (guitar), Sampson Hellerman (drums), Josh Shpak (trumpet), Calvin Barthel (trombone) and Nadav Shapira (bass). All seven members graduates of Berklee College of Music, this dynamic and well-oiled music machine can easily appeal to the masses and fit into any scene, from festivals to clubs and beyond!

    With two EP’s, Hey Hello and Produce the Juice, under their belts, Ripe launches straight into a musical holiday from the first track of their first full-length album. Simmering bass lines set the stage to usher in Wulfsohn’s powerful opening lines, while funkified guitar licks and a three-piece horn section glue it all together for a polished finish in “Little Lighter.”

    Joy in the Wild Unknown“Downward,” the fourth-track on the album, produced by Cory Wong of Vulfpeck, mixed by five-time GRAMMY-Winner Joe Visciano and mastered by Randy Merrill, reflects the duality of love with its catchy chorus:

    This love keeps pulling me downward

    Pulling me downward

    And I don’t mind the fall

    The fifth track, “Stanky,” swaggers onto the scene with the instruments a funky game of cat and mouse between the bass and horns, with help from the guitar to create a unique syncopation that packs a powerful musical punch.

    Ripe’s debut offering, Joy In The Wild Unknown, may be a studio recording, but it’s basically propaganda to get you out to one of their live shows. The good news is they’re about to hit the road for an extensive US tour to promote their latest album and there’s a good chance they’ll be coming to a city near you! Be sure to bring a toy to donate to the band’s efforts to collect toys for the local Boys & Girls Clubs of America (link) and give their new listen before you hit the show! 

    Key Tracks: Little Lighter, Downward and Stanky

  • Hearing Aide: Bumpin Uglies ‘Beast from the East’

    As spring arrives, so does the release of Bumpin Uglies latest studio release Beast from the East.  The twelve track collection drops Friday, April 6 just as most of the country begins to wake from it’s winter slumber.  And Beast from the East is the perfect soundtrack to that ready awakening.  Packed full of reggae beats, ska energy and punk attitude, Bumpin Uglies unveil the type of album that’s perfect for telling winter to buzz off.

    Beast from the EastBeast from the East marks the band’s fourth full length studio album.  But more importantly, it also marks the band’s first release with keyboardist Chad Wright, whose arrival took the  band from trio to quartet when he joined in December of 2016.  While the album still showcases guitarist and vocalist Brandon Hardesty’s trademark catchy songwriting and clever lyrical poeticism, the addition of Wright rounds out the Bumpin Uglies sound. And that is this releases major win.  Beast from the East showcases not only the band’s growth but also the band’s potential. And despite how Hardesty may lament that he doesn’t “write songs for the radio” in the aptly titled track “Radio”, Beast from the East is full of tunes that reveal otherwise.

    The albums lead track “Could’ve Been Great” switches between edgy guitar riffs and punctuated drums to whimsical reggae cadences with lively keys.  In contrast, Beast from the East closes with the acoustic soul-searching tune “Optimism in F#”. And sandwiched in between these two songs are ten tracks that prove Bumpin Uglies is more than just a white boy reggae outfit.  Beast from the East reveals there are many vastly different sides to this band; all locked, loaded and ready to delight the band’s Uglies Nation fanbase while poised to hook new fans along the way.

    Prior to the release of Beast from the East, Bumpin Uglies treated their fans to a smattering of sneak peeks including “All in Stride”, “Hard Liquor”, “Budtender” and “Crazy”.  While “All in Stride” showcases Hardesty’s ability to write mantra style lyrics that hook you into singing along because you feel like you have been in his shoes, “Hard Liquor” flips you into party mode.  It’s still a song you want to sing along to, but it’s also the kind of song you want to play while hitting the McDonald’s drive-thru at 3am after a night of debauchery.

    “City by the Bay” pays homage to the band’s Chesapeake Bay roots.  The song is subtle, with the punchy horns and mellow timing that takes the listener on a starry-eyed musical journey as Hardesty remembers his past.  In contrast “Crazy” rides the upbeat drive of 3rd wave ska tradition while lyrically the song examines the drama and uncertainty of a dynamic romantic relationship.

    While much of Hardesty’s lyrical content can be described as introspective self-realizations, in tracks like “Apathy” or “Officer O’Herlihy”, he doesn’t shy away from writing lyrics intend to incite questioning of authorities or provoke inciteful thought. We are reminded that “freedom’s like a muscle, when not exercised it’s lost” as Hardesty encourages the listener to challenge what we are told, educate ourselves, and “read between the lines.”

    Beyond the A+ plus lyrical content, Beast from the East also showcases wonderful song structure, thoughtful musicianship and tasteful songwriting.  Bumpin Uglies beautifully melds key elements of reggae, funk, rock, punk, ska and pop while paying homage to the original inspiration.  Anchored by the impeccaible rhythm section of drummer TJ Haslett and bassist Dave Wolf, the duo lays a solid foundation on which Hardesty and Wright blend a cascade of genres.

    Wisely placed vocal harmonies only enhance Hardesty’s vocal chops, which sit on top of the band’s music like milk and honey.  In a time when the world’s music charts seem to be engulfed in autotune, mumble and a general lack of diction, Hardesty’s rich tone makes you listen.  He has a point of view and he wants you to hear it.

    Beast from the East was recorded at the Annapolis Audio labs in Annapolis, Maryland.  The album was produced by Howi Spangler, vocalist and guitarist for the alternative alt-rock outfit Ballyhoo. The album is available for pre-order on iTunes and Spotify.

    Check out Bumpin Uglies tour this spring where they will share the stage with Sublime tribute band, Badfish.

    Key Tracks: All in Stride, Hard Liquor, Radio

  • Hearing Aide: Soviet Dolls ‘Hunters’

    Masters of dark synth pop Soviet Dolls strike again with their new EP Hunters. In a mere four tracks, the Rochester band flaunts their prowess at delivering decadently dark and sensual lyrics shrouded in seductive glittery electronica.

    soviet dolls huntersSoviet Dolls make no bones about their intentions to seduce the listener, starting from the first lines in the title track. “We are the hunters, we make sacrifices. We leave our mothers, cause we have appetites,” croons singer Alexandra Wendt in her deliciously sultry voice. Pulsating beats pound out beside undulating rhythms which swirl together to entice the listener into a mesmerizing hypnotic state.

    In subsequent tracks, Soviet Dolls continue to marry supernatural reveries and pop electronica in a way that will delight fans of new wave acts like Echo and the Bunnymen, The The, and The Cure who are looking for something fresh and new. The gothic storylines also hearken back to classic themes of glorification of eternal life, the thrill of the hunt, and falling in love with a phantom. Hunters is the perfect pick to listen to on a night prowling the town, or indulging in the guilty pleasure of reading goth novels.

    Follow Soviet Dolls on Facebook, and find Hunters on Bandcamp.

    Key Tracks: Hunters, Ghostlover

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

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

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

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

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

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

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

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

    Key tracks: Try Me, Wasted Times, Hurt You

  • Hearing Aide: Haunted Cat ‘Haunted Cat’

    Haunted Cat released their self-titled thirteen-track album earlier this year. The album was a solo project developed by Drew Benton. Benton has played with bands like Complicated Shirt and ToUGH in New York’s Capital Region for fifteen years, and is now working on his own material. The band that stemmed from the advent of this project includes Jason Jette from Complicated Shirt, Moon Worship, and Brevator, Brook Degener from Brent Gorton’s band and Better Pills, and Kevin Flansburg from John Rifle. The record was mastered by Jason Loewenstein.

    This album kicks off with an 18 second Phantom of the Opera-like organ passage in “Carfull of Nightmares.” The introduction quickly transitions into “Sing a Rainbow.” This has a childlike quality to it with the sound of a crib mobile/music box type of sound under the vocals. This sounds just like a ’90s indie track with the simplistic, youthful writing. “I Played a Bored Whore” provides quite the contrast; it sounds like a song straight out of the ’80s with the synthesizer and technological string sounds. The message of the song is a bit unclear, but it’s got a great punchy bass line.

    “Angry is Ugly” sounds just like a Bon Iver song with the vocal distortion technique used. There’s some backward masking in “Spyglass Time Capsule.” It remains to be determined if there is a hidden message within the lyrics. The most unique track is “Funeral for a Bird” which is a classical piano composition. It features no other instruments. The closing song is “Reaper Calls Collect.” This is clever in that the ringing continues throughout the whole song relentlessly; you wouldn’t want to pick up a call from the Grim Reaper if you had the choice!

    The album features unique timbres throughout, raw vocals and interesting harmonies. The collection of songs features something for a wide variety of tastes. The album showcases Benton’s diverse musical talents in both his writing and performance.

    The band is hosting a release party on May 4 at The Low Beat in Albany, NY at 9 pm. Catch Hill Haints at the show as well.

    Key Tracks: Funeral for a Bird, Styrofoam Bird, Posture Lessons

  • Hearing Aide: TAUK ‘Shapeshifter I: Construct’

    The age-old dilemma for musicians who thrive in the live setting is trying to figure out how to take the sounds and experiences they magically produce spur of the moment and capture it on record. While it was no easy task, heavy instrumental rock fusion group TAUK did an exemplary job at taking what makes them pop as a live band and showcasing their unique sound with a fresh batch of compositions for their new EP, Shapeshifter I: Construct.

    TAUK Shapeshifter I ConstructListening to the EP, the first thing that comes to mind is how strikingly appropriate the Shapeshifter name is.  The band is constantly changing their style from track to track, as well as within smaller parts of their meticulously well written compositions. Within a matter of minutes, the band weaves through movements that draw inspiration from a variety of genres from jazz, metal and hard rock to techno, reggae and hip hop. While this may sound like one large sensory overload, TAUK does a fantastic job of blending unlikely melodies and expressions while producing a sound that flows effortlessly and keeps the listener highly engaged.

    If the album did not sound so clean, it would not be crazy to think that each track was taken from a live show. The band does a pristine job emulating their live sound in the studio to the point where, if you close your eyes as you are listening, you can imagine yourself dancing along to the tracks in an imaginary theater with blue and green lights flashing around. TAUK’s unique blend of textured soundscapes and high energy compositions keeps the listener on their toes, constantly fascinated and curious as to when the second Shapeshifter will be released.

    Key Tracks: Square 2, Stranger Danger, Malware

  • Hearing Aide: John Craigie “Opening for Steinbeck”

    John Craigie combines the guitar of Bob Dylan with the idealism of Seeger, the wit of Mitch Hedberg with the longing sound of John Prine. Take all that in, and you’ll get an enjoyable, relaxing, humorous album in Opening for Steinbeck.John Craigie

    The title itself refers to Craigie’s noting that musicians are one of the only professions to have opening acts, as if you would have to read a short story by another author before getting to a work by Steinbeck. Casual wit like this that flickers like a fuse before popping on the punchline is something you might find in Carlin, or Todd Snider, and Craigie makes his own mark as a troubadour, a social satirist and a singer/songwriter with an engaging live show.

    Lightly touching on religion (the hypocrite take down of “Leviticus”) and politics (“Presidential Silver Lining”), John Craigie treats the audience like adults with college humor and observations on life that get far out at times but swing back in with a laugh. Sharing anecdotes about how his father grew up with Michael Collins, he sings on the song of the same name about the astronaut who went to the moon, but never left the spacecraft. “Westbound BART” is a missed connections Craigslist ad that is touchy and easy to identify with. “28” may be the most poignant of all, asking that he make it to 28 and not befall the same fate that Hendrix, Joplin, Cobain, Morrison and so many others found. Craigie takes the dark and makes it light, and does so in a superb album.

    Key Tracks: Burning Man, Leviticus, Westbound BART, 28