NYS Music 20​18

Category: Album Reviews

  • Hearing Aide: Lakecia Benjamin “Rise Up”

    Lakecia BenjaminLakecia Benjamin is a funk, jazz, and R&B artist from New York City. She is best known for her own recorded saxophone work and her group Soul Squad. She has also performed with other great names including Alicia Keys, Stevie Wonder, Clark Terry, and many more.

    Her latest album titled, Rise Up, comes to us from the New York label Ropeadope. The LP features 13 tracks of a funk and jazz fusion led by Lakecia’s voice and her Alto Saxophone. The lyrics span a variety of topics but there is a clear focus on social justice and particularly the issues facing the African American community.

    In opening jam, “March On,” Lakecia’s vocals and instrumentation command your attention and set a poignant tone for what is to come. Track two, “On The One” keeps up the momentum, but adds smooth male vocals for a different flavor; of course Lakecia continues to flourish with her evocative saxophone. After a thoughtful and meaningful lull in the middle, the album turns it back on with the song “Little Children.”

    The powerful record not only calls people to arms, but it also offers encouragement to those who have already joined the fight. It’s tracks like “Takeback” that Lakecia is able to say so much, without actually “saying” very much at all; her saxophone screaming at the top of its lungs, heavy undulating bass and drums marching forward, and a complete atmosphere of power holding it all together. Perhaps the most urgent and evocative track from the album is “Little Children,” which harkens back to the blistering pace and utter catharsis of “Sinnerman” from Nina Simone.

    Lakecia’s saxophone playing has intensity and poise. Benjamin manages to sew together lead riffs that bring the songs a strong cohesiveness, while also taking the audience on a more personal journey during her improvisations. The instrumentation is akin to the work of Kamasi Washington and the work he did with Kendrick Lamar on To Pimp a Butterfly, but with Lakecia’s own unmistakable style.

    For all things Lakecia Benjamin, find your way to her website. The album will be available on bandcamp, and iTunes come March 23.

    Key Tracks: March On, Little Children, Cornbread

  • Hearing Aide: Progger ‘Dystopia’

    Progger has put together a masterful ensemble to release an album that consists of layers of different music to stimulate all your senses. Progressive jazz-rock-funk fusion Progger released their fourth album Dystopia recently. Twelve musicians make up the credits for the album — from New York City, Austin, Texas, and Los Angeles.

    This album puts some of the best work right in the beginning to show listeners how explosive this band can be. “Oba-bow” sets the tone for the album with a dramatic build-up that teases the expectation of a musical journey that takes you high and low.

    The bass must be played at an appropriate level when listening to Dystopia. Without proper speakers, the listener will not get the full effect of the tremendousness of the sound Progger creates.

    Progger does a great job of mixing energy and taking it away to a peaceful melody. On “Housewives” the soothing, soft sounds go from an R&B feeling to something grittier when the guitarist shows off his skills.

    The brass and keys really give Progger their impressive sound. The album title track, “Dystopia,” brings out a progressive melody from the saxophone, while delivering some pretty sounds from the piano and going off the other end with the keyboards. Some of it is reminiscent of classical music.

    “Adryllanin” is a crescendo that has a very soft beginning and progresses into a loud collaboration of all the instruments to pull together a beautiful song. “Adrenal Interlude” brings out some different sounds from Progger. The funky dance beat is fun. It’s just a short song, but perfect for the middle of the album to keep the energy flowing. The energy stays consistent through “Morning Star.” The end of the album transitions to softer, soulful sounds. “Choom” keeps the same level throughout and is an easy-listening song for relaxation.

    “Sinister decisions” features a mellow, energetic tone. The harmony between all the instruments takes on a different journey. “Haunt” comes in soft like a lullaby. The album’s structure flows well to end with softer songs. Beautifully written, “Haunt” feels like a proper conclusion to a good time. One last song, “Sinister Prelude,” is a short outro to conclude the album with just a few more fun noises from the band before they go.

    Progger’s Dystopia is a quality album that deserves recognition and accolade. The music is a soundtrack to a good time. Whether you are relaxing by yourself or hosting a party with a few friends, Dystopia is an album to keep in your collection for the right moment.

    Performing on this album are Daniel Watson (drums), Devin Collins (drums and electronic percussion), Steve Anthony Belvilus (drums on “Morning Star”), Nicholas Clark (electric bass and synth bass), Bryan Ladd (electric bass), Isamu McGregor (keyboards), Carter Arrington (guitar), Daniel Muniz (guitar), Akira Ishiguro (guitar), Matthew Muehling (guitar), Paul Deemer (trombone), and Brian Donohoe (saxophone, keyboard, drum loops, and additional guitar).

    Key Tracks: Oba-Bow, Housewives, Sinister Prelude

  • Hearing Aide: Townhouse Warrior ‘Words, Unsaid,’

    Reigning from Upstate New York, the group Townhouse Warrior are set to release their third full-length album on March 20. This four-man punk rock band released their debut album just three years back and followed it up with their sophomore album in 2016. The group is back with their newest project and is ready to share it with the world. The latest addition to their group is guitarist Tim Hall who joins original members Zack Fitzgerald on lead vocals/guitar, Kyle Malfa on drums and Joshua Rivet on bass to take their high-energy sound even further.

    Words, Unsaid, features twelve songs; each one is a powerhouse track in its own right. Every song brings a level of upbeat intensity starting with track one, “Echoes.” The opening to track three, “So Left, It’s Right,” slightly differs from the others as the guitar and drums are panned left and right respectively. This adds more layers to the song and encourages a head-bobbing reaction to its rhythm right off the bat.

    I am personally a big fan of the album title namedrop in the song “Fake Confrontations.” The lyrics tell the story behind the title Words, Unsaid, giving this title a deeper meaning. Other noteworthy tracks on this album include “Toll Taker,” as it begins with an almost soothing electric guitar solo before introducing the sound from rest of the band. Likewise, “Daydreaming” is an inherently dynamic song as takes its listeners on a journey through soft and high-energy segments.

    In my opinion, Townhouse Warrior is the perfect fit for the DIY music scene. Their fast-paced musical style has the power to electrify an audience and I would personally love to catch them performing in a basement venue.

    Key Tracks: Echoes, Far Away, Daydreaming

  • Hearing Aide: Toubab Krewe ‘Stylo’

    Earlier this month, Toubab Krewe released their third studio album, Stylo, (pronounced Stee-lo), and have since hit the road for a tour following a two-year hiatus. Their last album, TK2, was released in 2010 so fans have been anxiously awaiting this new one that is simply chock full of energy, positive vibes and soul filling goodness. With Stylo, they continue their combination of musical twists and turns that ebb and flow from Appalachian and West African tones to funk, jazz and jams galore.

    The album eases listeners in with “That Damn Squash.” Stocked with an endless supply of percussion on the back beat, the tune rolls along, begging listeners to get up and sway their hips. Clean guitar tones carry the song making it impossible not to bob your head to the beat. “Night Shade” hints at Middle Eastern styling, with an edgier guitar flowing along the edges of the song, creating a musical ride of ethnic rhythms that have no barrier.

    As “Stylo” touches upon layers of Spanish flair, the melody brings out visions of beaches, cold umbrella drinks and toe tapping sways of dancing under the starry sky. An easy track that puts the listener into a carefree mood, it’s hard not to smile when this tune rolls along at a relaxed pace. Be prepared to suddenly want to take a vacation in the Caribbean and enjoy a cold one at the swim up bar with this track.

    The Caribbean infused, African timbre shines through once again on “Saba Meniya,” picking up the beat with whimsically magical chords that tiptoe around the track, creating a beautifully mixed ensemble of musical genres. “Salut” is stacked with crisp guitar, tight drums and percussion, releasing a breath of fresh air with this uniquely laid track before heading into a quick paced jam towards the backend.

    “Lafia” wastes no time taking off with an upbeat melody. A slight taste of funk and deeper rocking tones break through ever so slightly, though maintains the energetic vibe that drips throughout the entire album. Brisk notes ramble along this jam, though holds a heavier feel before emerging into a calmer “Miriama.” This melody features vocal notes and foreign lyrics, forging an air of spiritual soul that embodies this innovative song. Wrapping up the album is “Southern Tracks,” a calm track that blends mystical rhythm with psychedelic accents, bringing the entirety of the album to a clean finish.

    Overall, Stylo presents a unique blend of sounds, tones and styles into a tightly wound package of creative musical melodies. If you are seeking something different and outside the box creative, this is the album to grab. It’s different, will keep you moving and a plaster a constant smile on your face.

    Key Tracks: Stylo, Salut, Lafia

  • Hearing Aide: Marquee Grand ‘Another Toke’

    Nothing beats that rush of nostalgia when listening to classic 90’s anthems from artists such as Third Eye Blind, Weezer, Spin Doctors, and the men who Fight Foo. It’s a shame there aren’t any modern day bands emulating this sound through their original music…or are there? If you’re looking for songs that’ll bring you back to a simpler time, look no further than the entire catalog from Marquee Grand.

    Marquee GrandMarquee Grand is an alternative rock band from Buffalo, NY with deep-seated roots in 90’s alt rock. Recently, the four-piece released a single titled “Another Toke,” the first among a series of singles the band plans on releasing over the next few months.

    If you don’t like catchy guitar riffs or powerful sing-along choruses, you should probably stay as far away as possible from this track. Otherwise, throw on some over-ear headphones, and bring yourself back to the days of smoking doobies on the couch in your mom’s basement.

    If you’re in the Buffalo area, be sure to catch Marquee Grand in concert!

    3/23/18: Spring Kickoff at Mr. Goodbar on Elmwood @ 11PM
    4/20/18: with Ponder at Milkie’s on Elmwood @ 9PM
    4/28/18: Daemen SpringFest at Daemen College
    5/25/18: Countdown to Summer at Mr. Goodbar Elmwood @ 11PM

    ‘Another Toke’ was released on February 6, 2018. Marquee Grand consists of band members John Richter (Guitar/Vocals), Josh Owczarzak (Guitar), Sean Szymanski (Bass/Vocals), and Matt Lawniczak (Drums). Keep up with Marquee Grand on Facebook, Instagram, and Twitter.

  • Hearing Aide: The Plot In You ‘Dispose’

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

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

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

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

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

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

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

    Dispose is available digitally and physically at all major platforms.

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

  • Hearing Aide: Soulive ‘Cinematics Vol. 1’

    Soulive Cinematics Vol. 1Easy Rider, Boogie Nights, O Brother, Where Art Thou?, Pulp Fiction. What do these films have in common? Fantastic soundtracks. But what if the soundtrack preceded the movie concepts and producers were asked to build their storyline around the music? This is the question that New York’s funk trio Soulive takes aim at with their new EP, Cinematics, Vol. 1.

    When you’re an all-star in any profession in life, people want you to play for their team. This is why it has taken guitarist Eric Krasno, drummer Alan Evans and keyboardist Neal Evans six years to join forces and release new material. Individually keeping busy and immersing themselves in a universe of sound has always been the formula they have used since the birth of Soulive in 1999. After nearly 20 years, the sonically mature threesome continues to say it best with their instruments and give listeners a chance to go on a wordless adventure of their own. “We didn’t have to talk about anything,” Alan says. “It all unfolded as we were working on it; one song influences the direction of the next, and soon you find yourself going down this path. We want this music to take people on a little journey.”

    The “Ad Lib” puzzle of carefully crafted soundtrack material begins with “Kings March,” a vintage villain theme song for any 70’s James Bond flick. When the movie theater displays the rules before the film begins, they always ask you to “turn your goddamn phone off” in the politest way possible and occasionally they will add some universally intimidating music to the background. That is “Kings March.” “Bluebird” is the easy rider of the 5-pack EP and offers listeners the opportunity to mellow out and grab some more popcorn. Imagine a drug-dealing montage where everything is going well in the storyline… there is probably trouble and intensity lurking but it is the mystery that keeps us entertained and “Bluebird” is the sound heard in the backdrop.

    “Sidekick” sits in the middle of ‘Cinematics’ and highlights Neal’s ability to blast some interstellar effects into the number. Serving as a platform to give Robin some love in a world of Bruce Wayne, “Sidekick” reintroduces us to the Soulive studio time we have been asking about for the better half of a decade. Authentically groovy with a psychedelic backdrop, this track will hopefully find itself sampled on the next Wu-Tang Clan album.

    Quentin Tarantino would kill for the rights to use “Millers Last Stand,” the spaghetti western infused cocktail that can be ordered on the newest Soulive menu. Krasno’s wobbly guitar is at a standoff with Alan’s whip cracking drum kit and creates a sonic landscape as vast as the desert for listeners to explore. The EP comes to a crashing finish with “Waves,” the calm, salt-water soaked ditty that gives our imaginary character some alone time to tell Sandy she’s the one that he wants.

    The beauty of jazz is that like a great film, it is timeless and thought-provoking. Soulive can throw these tunes into any of their cataloged creations and fans might not tell the difference, but it is the way they place each track into a story that gives it power. While ‘Cinematics, Vol. 1’ will not win an Oscar, the next all-star director may throw on some headphones and space out to the mix, finding the next ET, Dirty Harry, or Black Panther.

    Key Tracks: Kings March, Sidekick, Millers Last Stand

  • Hearing Aide: Justin Trawick and The Common Good “The Riverwash EP”

    Justin Trawick and The Common Good are a budding new name to keep on your radar. The “Americana” band, fronted by Justin Trawick (lead vocals, guitar), Josh Himmelsbach (mandolin, resonator, vocals), and Jean Finstad (upright bass, vocals), combines the comforting notes of folk with elements of bluegrass, and even hip-hop to produce an upbeat, happy-go-lucky debut EP. The Riverwash EP, comprised of five original songs, takes on a myriad of tones, lending to a diverse, yet cohesive storytelling experience.

    Inspired by Bob Schneider, David Gray, The Tallest Man on Earth, among others, fans of The Avett Brothers and even Jack Johnson will also immediately be enamored with Trawick’s optimistic, yet realistic lyrics and tunes that set the tone of this album early on. In fact, optimism appears to be a theme of the album, indicating that no matter the losses, or longings we face, we have the capability of resilience that will keep us going.

    Justin Trawick and The Common Good

    Swinging right into the heat of things, “This is Love” kicks off the EP, played in by light percussion, and bouncing right into the prominent notes of the mandolin. The rhythmic airy tune is offset by quick paced lyrics calling out to a lover. This first track sets the tone for the album, foreshadowing the elements and themes to come.

    Taking it down a half notch, both in tone and beat, the harmonies and the lingering notes of “Ten Long Years” in the chorus remind me of indie band The Head and the Heart. The simple rhymes indicate that, played live, this song would be an audience favorite, for picking up and singing along to the lyrics would be a quick process. Piano makes its sole appearance on this track, fostering somewhat melancholy undertones, contrasting to the uncontestedly positive leading track. However, despite these nostalgic lyrics that are tinged by a slight sadness, that hint of optimism is still there, illustrating that there’s hope in moving forward, and moving on.

    “All That I Lack” is my personal favorite on the album, as the thoughtfully crafted lyrics and myriad of instruments create a comforting and beautiful track. I’m always a sucker for violin, so with the stringed instrument weaving throughout lyrics such as “All that I need/Is still all that I lack/Just the love from a friend/Who won’t love me back,” I couldn’t help but feel sad as I reflected on my own past friendships and relationships. But that’s the power of good music: to make you feel and think.

    https://www.youtube.com/watch?v=Na1dMGnSu88

    The final two original songs on the album “The Bright Side” and “All the Places That I’ve Been” couldn’t be more different. While the former is a bouncy and catchy ear-worm, “All the Places That I’ve Been” is a thought-provoking track inspired by Trawick’s 98-year-old grandma. The lyrics on this song provide the most thorough and descriptive story-telling experience of the album, with Trawick taking us through the events that occurred during a full, and well-lived life. It’s a stunning song that provides a sense of closure for the album.

    But just when you think the album is finished, the band launches into their own take on Oasis’s “Wonderwall.” The way Trawick chops up well-known the lines, as well as the incorporation of the mandolin creates a fresh new take on the original track. It’s a timeless tune with a folksy interpretation, officially closing off this debut album with a sense of peaceful finality.

    My favorite parts of this album are when Trawick really lets himself go and unleashes his vocals. They’re strong to start, of course, but during the loud lingering notes, you can really feel his passion for his work. You can hear a smile in Trawick’s voice throughout, and can’t help but to have fun with him. Although the band has been playing together for over ten years, it wasn’t until this debut EP that they created the sound they’re rocking now.

    The Riverwash EP had a widespread release on CD, iTunes, Amazon, and Spotify on January 22. The group performs at Rockwood Music Hall Stage 3 in NYC on February 27.

    This article was originally published by DCMusic News and Review and appears as a special to NYS Music as part of the Regional Music Alliance. The Regional Music Alliance was founded in 2018 as a partnership between regional websites to provide readers with in-depth coverage of the music scenes on the East Coast. 

  • All-Star lineup featured on Wynton Marsalis ‘United We Swing: Best of the Jazz at Lincoln Center Galas’

    United We Swing: Best of the Jazz at Lincoln Center Galas, is soon to be released compilation of selections from shows that Wynton Marsalis and his Septet performed from 2003–2007. An all-star cast of musicians joins the compilation, set for release on March 23.

    marsalis united we swing

    Joining Marsalis on the compilation are Eric Clapton, Bob Dylan, Lenny Kravitz, Willie Nelson, John Mayer, John Legend, Blind Boys of Alabama, Derek Trucks, Susan Tedeschi, James Taylor, Ray Charles, Natalie Merchant, Jimmy Buffett, Carrie Smith, Audra McDonald and Lyle Lovett. Marsalis says of the the release, “On this recording and in these concerts, we came together to affirm common roots, to celebrate the diversity of our creativity, and to pass the reality of our best achievements on to our kids. We were, and are, United in Swing.”

    Pre-order United We Swing here, with all album proceeds supporting children’s music education around the world.

    United We Swing Tracklist

    1. “The Last Time” feat. Blind Boys of Alabama
    2. “It Takes a Lot to Laugh, It Takes a Train to Cry” feat. Bob Dylan
    3. “I’m Gonna Move to the Outskirts of Town” feat. Ray Charles
    4. “I’m Not Rough” feat. Eric Clapton
    5. “Creole Love Call” feat. Audra McDonald
    6. “Milk Cow Blues” feat. Willie Nelson
    7. “I’m Gonna Find Another You” feat. John Mayer
    8. “My Baby Don’t Tolerate” feat. Lyle Lovett
    9. “The Worst Thing” feat. Natalie Merchant
    10. “Please Baby Don’t” feat. John Legend
    11. “Mean Old Man” feat. James Taylor
    12. “Are You Gonna Go My Way” feat. Lenny Kravitz
    13. “Fool’s Paradise” feat. Jimmy Buffett
    14. “Empty Bed Blues” feat. Carrie Smith
    15. “I Wish I Knew How It Would Feel To Be Free” feat. Susan Tedeschi and Derek Trucks
    16. “What Have You Done?”

  • Hearing Aide: Ampevene’s ‘Ephemagoria’

    Complex isn’t always good, but in Ampevene’s case, it’s raw, emotive and highly expressive. The Albany-based quartet will unveil their latest live album, Ephemagoria at The Hollow Bar + Kitchen on Feb. 9 with the helping hands of their friends in Cousin Earth. Having teased fans along the way with the releases of “Valencia” and “Rometheu,”  the complete live effort commands attention from its earliest, distorted notes. Over a 10-track sonic highway, the prog rockers take listeners for a noisy ride as they blend blatant psychedelic rock influences with their own gritty flair and unique cocktail of spellbinding genres. 

    Branching off of Gabe Stallman’s solo project as a guitarist, Ampevene is completed by Stallman on guitar and vocals, Mack Hogan on bass, Brian Fahey on drums and Ava Smith on keys. Seeing a minor lineup change, Fahey is the current drummer who took over for Darryl Kniffen, the recorded drummer on the album. The first few tracks come as an attack on your senses, kicking off with a myriad of sound and distortion as an 8-minute journey unfolds within “Florida.” While the group is undoubtedly influenced by psychedelic rock before its time, (think Pink Floyd’s Syd Barrett era) Ampevene channels those visceral tendencies and matches them with the gripping mood and scaling of metal progressions and often hard to compute math-rock.

    Just when you get settled into a groove, it doesn’t last for long before you’re tossed into new kaleidoscopic arrangements and time signatures. The first half of the album relies solely on storytelling through music before a 12-minute “Rometheu” introduces the first glimpse of vocals on the album, although that’s not the pinnacle of the track. While fleeting, Stallman’s vocals are comparable to the tone and echoing of groups like Circa Survive and the Mars Volta, with the latter covered later on the album. With the first and fourth beats emphasized in each measure, the song picks up speed with compositional mastery as the foursome jerk the steering wheel into fresh segments, a common thread throughout Ephemagoria.

    “Hill” comes as a hard-hitter with all the focus placed on tight drumming at the album’s peak with an explosion of sound before introducing the first cover in a somber, slowed down version of Nirvana’s “Smells Like Teen Spirit.” With a new age take on a beloved classic, the warped arrangement and unique style almost makes the song unrecognizable at times, if not for the lyrics. A second cover comes as a crisp version of the Mars Volta’s “Goliath,” mimicking the song’s natural sound and Omar Rodriguez-Lopez’ distinct vocal inflections.

    The live album as a whole features classic and never before recorded Ampevene songs as well as covers, capturing the feel of a live performance at The Recording Company in Esperance, NY, and mixed by Tim Lynch with mastering by Alan Douches of West West Side Music. Ampevene has the raw talent of making their multi-segmented tracks seem like effortless jams spliced together at all the right, unexpected times. With the ability to entice fans to try to follow along and eventually surrender to the flow, the quartet seems to have mastered their live presence and execution while diving deep into guitar solos, exploratory jazz segments and thrash metal elements.

    Catch the high-energy release Friday night when Ampevene takes The Hollow stage at 9:30 PM!

    Key tracks- Rometheu, Hill, Tumultuous