NYS Music 20​18

Category: Reviews

  • Hearing Aide: Dan Zlotnick ‘Bumpers’

    Sometimes in life you need to stop stressing about everything, take a deep breath, and focus on what’s truly important; love, joy, adventure. That is exactly what the Somers, NY local Americana musician Dan Zlotnick did when he sat down and wrote his second album Bumpers. Driven by his soothing yet powerful voice, Zlotnick’s Zen-like stories of love and life inspire listeners to seek out the nearest mountain range and get lost in a world of childlike wonder.

    dan zlotnickWhether you are having your Sunday morning coffee, embarking on the road trip of the decade, or just need to smile, Bumpers is a versatile album worth revisiting again and again. The album begins on a genuine positive note with “Ballad of Dreamers,” a song that makes your body sway without realizing it and immediately establishes trust with the narrator, which bonds stronger as the album progresses. Throughout each track, Zlotnick speaks to the human element of who we are as a species and how, in many ways, we are all the same. Although we may seem different and lead individual lives, all everyone truly wants in life is to be happy. His thoughtful lyrics in the title track “Bumpers” reflect this as he urges listeners to enjoy every moment for what they are, good or bad, and reminds them that they owe it to themselves to be happy.

    What separates DAn Zlotnick from other Americana musicians these days is the fact that he does not take anything too seriously. His songs are bright and full of joy, and it is clear without knowing him that he is a playful person. Songs like “Hide and Seek” and “Creatures” attest to this, for although they delve into a deeper romantic world at times there is always a juvenile sense of play at hand. If you are in the Hudson Valley you can catch Zlotnick perform live at the Towne Crier Cafe in Beacon (opening for Patty Larkin) Jan 20, or at the Paramount Theater in Peekskill (opening for Marc Cohn) Feb 16, and for a full list of shows visit DanZlotnick.com.

    Key Tracks: Ballad of Dreamers, Bumpers, Creatures

  • Ominous Seapods reunite for first shows since 2011

    It’s been six years since the last Ominous Seapods show, but after two sell out shows in Cohoes and a first time performance at Brooklyn Bowl, you’d be remiss not to wonder why they don’t reunite more often. With fans flying in from as far as the Carolinas, Germany, and the west coasts of America and Australia (where gitarist/vocalist Dana Monteith has made his home in Perth), three impressive reunion shows found audiences reuniting and excited for all that was in store. As Mike Wren mentioned in passing that night “Every so often, it’s a bookmark you come back to,” and perhaps that best describes the audience support and reverence for the Seapods. 

    ominous seapods reuniteThe Ominous Seapods have a lasting legacy of influence on musicians in the jam scene. They are held with reverence by fans and music journalists who are still enamored (and rightly so) by the jam scene of the ’90s, and continue to inspire awe and musicians today. Promoter Greg Bell of Guthrie/Bell Productions spoke on January 12 about his history with the band dating back to 1992, and was all smiles throughout the night, having brought back to Albany the elder statesman of the jam scene. Despite it being a warm night outside, it was far from a warm up night inside, as the band hit the ground running and hit all the marks, right off the bat.

    Cohoes Music Hall was the perfect venue for this show, as it has been for Max Creek, Garcia Project, and soon Turkuaz and Melvin Seals with JGB. The fourth oldest music venue in New York, the 1871 hall has undergone a transformation in the past two years and become an excellent show location that fits perfectly between clubs like The Hollow and Putnam Den, and larger rooms such as The Egg. So with two sold out shows, bassist Tom Pirozzi’s 50th birthday and a reunion of Plattsburgh Mutants on tap, the Music Hall was abuzz early thanks to Stone Brewing’s DidgeriDoom IPA, a nod to Monteith, who moved to Perth, Australia following the last Seapods show in 2011 at Valentines. Monteith also sported an AC/DC shirt, perhaps a subtle reference to their then-final show where they performed “It’s a Long Way to the Top (If You Wanna Rock ‘N’ Roll).”

    Opening up with “I Hope I Shall Arrive Soon,” the first big jam of the night came from “Theme for Another Enlightened Rogue” and the segue into “The Guide to Roadside Ecology” with Dana getting down to business early, and often. A few acoustic numbers came next, notably “Branch’s House” which grew smoothly into “The Pull from Adirondack Blue” and “Waiting 4 the Bomb to Drop” and Pirozzi and guitarist/vocalist Max Verna driving the set ending sandwich of “Sally” > “Cali” > “Sally.”

    The energy continued to flow out of the setbreak with “Leaving the Monopole” getting checked off everyone’s ‘must hear’ list. The Seapods’ signature song still finds fans today who visit the ‘Single Stick’ in Plattsburgh and explore the lore that influenced the band’s writing. A debut of “Cumberland Blues” caught a few off guard, but it was pleasantly surprising that the band chose to throw a new cover into the mix this weekend. The jam of the set was around “Schizophrenic Rain,” which bookended “Oberon and Titania” and “Passengers En Route” and served as the most fluid and dialed in portions of the night, with a keys/bass/drums jam in the midst of the medley. A rockin “Sneakin’ Sally Through the Alley” kept the flow of the night going, with “Hey Donnie Osmond” closing the set out. An encore of “That’s How they Got Along” and “Michael Murphy 3” left a great deal of tunes in the tank for Saturday night.

    Setlist, January 12, 2018
    Set 1: I Hope I Shall Arrive Soon, 1/4 lb. Hot Dog, Theme For Another Enlightened Rogue ->
    The Guide To Roadside Ecology, Millworker’s Lament*, Long Black Veil**, Guardian Angels*** -> Candy Cane Flame***, Branch’s House**** -> Jam -> The Pull From Adirondack Blue, Waiting 4 The Bomb To Drop, Sally Simpson -> First Day In California ->. Sally Simpson,

    Set 2: Econobrain intro^ -> Old GP, Leaving The Monopole -> Counting Time -> Cumberland Blues^^, Schizophrenic Rain -> Oberon And Titania -> Passengers En Route -> Schizophrenic Rain -> Sneakin’ Sally Through The Alley, Hey Donnie Osmond

    Encore: That’s How They Got Along, Michael Murphy 3

    *Max solo acoustic
    **Lefty Frizzell cover, first time played, without Mangini, Verna on acoustic guitar and Pirozzi on upright bass
    ***Verna on acoustic guitar
    ****Monteith on acoustic guitar
    ^with Doug Burns
    ^^Grateful Dead cover, first time played

    Entering night two with much colder weather at their back, fans returned to Cohoes Music Hall sporting a variety of flannel on par with an L.L. Bean outlet.  “Jet Smooth Ride” lifted the crowd up and into the night. “Cary Suite” and “Final Destination” had the band finding the pocket and staying there, jamming without the drawback (or benefit, if you will) of ADD. The jams were even more on point and didn’t let up or evaporate before their time. The set ending pair of “Anything is Possible” with Monteith on egg beater and “Blackberry Brandy”

    A second set that flowed freely was on tap, starting with a more than 15 minute “Jump for Joy” opener. Monteith took some time to mention how hard it was for him to leave Perth to get to New York for these shows, but expressed casual gratitude for the response from fans. A string of segues led to a 12 minute “John Henry’s Hammer” and a second “Pull from Adirondack Blue” in as many nights. “Bong Hits and Porn,” one of the best song titles ever, was slid into a sweet groove and held on for nearly 15 minutes and found Monteith back on eggbeater.

    For the final song of the night, Pirozzi took over on guitar for “Ship,” and led the crowd in the sing-along. With fans cheering for one more, my friend David leaned over and said “You can’t finish the weekend without “Leaving the Monopole,” and lo and behold, they would not. Once again, we got the Seapods tune, and the fans who were only there that night revelled, danced and sang the words as easily as they did in 1995.

    Setlist: January 13, 2018
    Set 1: Jet Smooth Ride, Cary Suite, Final Destination > She Makes the Journey, Serpents in the Sand, Railyard Scene > Somedays > Stephen O’Rourke > The Fiesta, Anything Is Possible (w double Eggbeater jam) > Blackberry Brandy

    Set 2: Jump For Joy, Sad Corner > What’s the Buzz, Keep in Mind > Waiting Room > Gunshot Static > John Henry’s Hammer > The Pull from Adirondack Blue, Bong Hits & Porn*

    Encore: Ship, Leaving the Monopole
    * with Monteith on eggbeater

    For the final set of the reunion, a performance at Brooklyn Bowl was the perfect closing to the weekend. Owned by former Wetlands owner Pete Shapiro, having Ominous Seapods perform at Brooklyn Bowl brings them full circle and to a stage built on the shoulders of former Wetlands staples like themselves. The performance was an opening slot for the Zen Tricksters, and would be a distilled, “best of” set compared to the previous two shows. Fan Gabe Sasso noted that the crowd ate up how tight the band sounded, with one standout highlight “Josephine’s Grand Motion” which was not played the previous two nights. And with the final note of “Bong Hits and Porn,” Mutants are back to waiting for the next reunion shows to be announced, and based on response from these shows, one would hope it will be less than six years between shows.

    Setlist, January 14, 2018
    Set 1: Blackberry Brandy, Sneakin’ Sally Through The Alley, The Guide To Roadside Ecology, Michael Murphy 3, Josephine’s Grand Motion, Sally Simpson > First Day In California > Sally Simpson, The Pull From Adirondack Blue, Leaving The Monopole, Bong Hits And Porn

  • Hearing Aide: Ignis “The Face of Mars”

    Albany two-piece Ignis released their first full-length album The Face of Mars on January 9, premiering their blend of folk, rock, and Americana. The album evokes a feeling of timelessness, seeming to borrow from many iterations and generations of rock music, from a Bowie-esque 70’s quality to a post-punk 90’s Seattle sound. The singing is memorable, somewhat reminiscent of Mark Sandman of Morphine and Ian Curtis of Joy Division, with an impressive vocal range and a very moody quality. Ignis manages to shift deftly between slow build-ups and high-energy releases.

    The album opens with a slow ballad titled “AS,” that showcases the emotional side of their songwriting, and then follows it with the faster paced, grungy “Not Yet.” The third song out, “Don’t Go” starts with atmospheric guitar and then allows the drums to slowly build up to a satisfying crescendo.

    “Chloe Dancer” features singing that reminds the listener of singers like Morrissey, while allowing the pianist to show his talents. “Paper” presents a change of pace, with the guitarist adopting a different, sultry style as the song takes on a jazzy feel. Each song of this album is short and to the point, with a definitive style and tone that encompasses much of the record.

    “273” is a huge departure from the general tone of the album, beginning with a danceable funk riff then dropping back into a Smiths-inspired vocal melody and some sludgy guitar work. The following song, “Sink,” takes a mellower approach, while still boasting their signature guitar tone.

    “Tunnel Vision” features a memorable riff set to sad lyrics, while “Could it Be” ventures into power ballad territory. The album then closes out with “Follower,” which hearkens back to the 80’s. Ignis presents a promising first effort, successfully melding a variety of styles into an atmospheric, original record. Available on Bandcamp, Itunes and Spotify.

    Key Tracks: Tunnel Vision, Could It Be

  • JRAD sells out three nights at The Capitol Theatre

    Joe Russo’s Almost Dead started off 2018 with a string of sold out shows at the Capitol Theatre in Port Chester, NY this past weekend. The band debuted six new songs during the run and teased countless more throughout the weekend.

    Friday’s show kicked things off with an intro Jam that made its way into “Brown Eyed Woman” and an extended “Jack Straw.” “Shakedown Street” with a “Here Comes Sunshine” Jam to close the first set is a must-hear if you weren’t at the show. The second set opened with “Rosa Lee McFall,” a Charlie Monroe cover that the Grateful Dead played 18 times throughout their career and last on 10/27/80. This set also featured JRAD’s first “Atlantic City” since 4/28/17.

    The boys came out swinging on Saturday with a debut each time they came on stage. “Pride of Cucamonga” was well-received in between “They Love Each Other” and “Playing In The Band” in the first set and Led Zeppelin’s “Your Time Is Going To Come” flowed from a fantastic “I Need A Miracle.” They saved the best for last with an encore starting with a Marco Benevento solo into Chuck Berry’s “The Festival.” Marco took the lead on this song about a music festival featuring The Band, The Who, CCR, The Beatles, Hendrix, Joplin and of course, The Grateful Dead.

    Sunday closed the weekend with two more debuts and the return of Stuart Bogie for a number of songs. He last joined up with the band during their October Brooklyn Bowl run and he especially shined during the debuts of “Chinatown Shuffle” and Dr. Feelgood’s “She Does It Right” during the encore. However, the highlight of the night was the “Dancing In The Streets” that ended the second set. It was spacey 27 minutes of bliss as the band teased Dire Straits as well as others to end the last full set of the weekend.

    Joe Russo’s Almost Dead returns to New York on March 15 in Syracuse and March 16 in Albany.

    Tune into the shows on Relisten Friday 1/12/18, Saturday 1/13/18 and Sunday 1/14/18

  • Hearing Aide: The Creptter Children ‘Asleep With Your Devil’

    The Creptter Children’s EP Asleep With Your Devil is without a doubt packed with tons of variety while keeping a common gothic sound throughout the EP but that’s either its greatest strength or greatest weakness.

    The first two tracks “Watching You” and “Crazy” have a unique mix of industrial and symphonic metal that play in the background of the gothic vocals, which is rather unfortunate since the blending of industrial and symphonic is the highlight of the tracks.

    “Asleep With Your Devil” opens with loud rapid drumming that are in your face but then the vocals are introduced and the song felt like it was confused as to what kind of attitude the song should have. There’s just too much variety in the vocals, at first there’s regular vocals but quickly move to clean then seconds later there’s choir like vocals. Light gutturals follow, which were in the song for what felt like the equivalent of a pointless celebrity cameo in a generic big budget movie, all the while there’s random injections of what sounds like some kind of ancient prayer or spell in an indistinguishable language. The song is at its best when the guitars are given focus while the drum machines fill in the back and there’s no vocals.

    “It’s A Game” starts with the beating of a drum accompanied with quiet cheerful onomatopoeias of the drums that gives the feeling of marching and slides into gothic vocals full of eerie lyrics that compliment the constant beat of the drums while having clean symphonic vocals thrown into sections that give a nice variety.

    “Killer” is the fastest paced song in the EP and the best track to head bang to the simpler lyrics that are chanted. This is a song that is probably best experienced live rather than through a recording due to how much energy the band clearly put into it.

    Over all Asleep With Your Devil is an EP that feels like a cross between a variety pack and a set of experiments but either way fans of heavy music that has a melodic or symphonic twist won’t have trouble finding at least one song that they can enjoy.

    Asleep With Your Devil was released January 12, 2018. Head on over to the official website to order now.

    Key Tracks: It’s A Game, Killer

    https://www.youtube.com/watch?time_continue=2&v=4l62_1BEP8s

  • Hearing Aide: Bobby Paltauf “Why”

    Connecticut based Bobby Paltauf featuring The Package released their debut studio album Why, on Jan. 10 on Spotify and iTunes. The albums holds, “songs that will challenge the status quo, posing questions about how we live life, how we engage and communicate with each other, society, religion and politics.” The majority of the album is lyrically driven and on the lighter, easy listening side of the spectrum, which is a bit of a change from Paltauf’s prior work which was heavily influenced by rock and blues.

    What’s most impressive is that no one in this group cracks the age of 30. Lee Falco (drums) Will Bryant (keys) Bobby Paltauf (guitar/vocals) and Brandon Morrison (bass) work effortlessly together to create unique, expertly produced tracks filled with bluesy, smooth and sometimes funky sounds.

    Their opening track, “Put It Down” speaks about society’s addiction to technology, mainly our phones. Instrumentally, the track is smooth and light, a theme which transcends the majority of the album. Other songs like “Why,” “Now” and “It’s Own Way” are laid back but could use some more energy in spots. The songs are full of emotion and climaxes, but could use more power. 

    Paltauf hasn’t lost sight of what made his first studio tracks so attractive, though.  Songs like “A Day Late” and “Wasted Grooves” are undoubtedly the key tracks off the album. They’re lyrically impactful and their catchy funk tones separate them from the rest of the tracks.  They’re beaming with energy and are exactly what we’d like to hear from a young and talented group of musicians.

    Find the album on iTunes and Spotify and keep an eye out for any upcoming shows on Bobby’s Facebook page.

    Key Tracks: Day Late, Wasted Grooves, Searchin

    https://www.youtube.com/watch?v=J3tHb0rpDwQ

  • Black Label Society and Corrosion of Conformity roll into Clifton Park

    Black Label Society along with Corrosion of Conformity and EyeHateGod performed at the Upstate Concert Hall Sunday, January 7. With the venue near full capacity, Zakk Wylde and his band of brothers played a high energy show pleasing fans old and new.

    Black Label SocietyBlack Label Society opened the show with the fast paced “Genocide Junkies,” following up with “Funeral Bell.” Zakk Wylde made no hesitation to melt the crowd’s faces off from the beginning all the way through the whole setlist including crowd favorites “Suicide Messiah” and “Fire it Up.” Later this month, Black Label Society’s new album “Grimmest Hits” debuts. Do not get confused. This is not a greatest hits album.

    Black Label SocietyBlack Label Society brought along Corrosion of Conformity for the tour. Fans in the area were happy to see Pepper Keenan and Corrosion of Conformity back in Clifton Park. From crowd favorites to new songs, Corrosion of Conformity had a song for everyone. They have a new album coming out January 12th called No Cross No Crown. Corrosion of Conformity got the crowd singing with “Albatross,” followed that with an introduction of the rest of the band, before ending the show with “Clean My Wounds.”

    Black Label Society

    Black Label Society Setlist: Genocide Junkies, Funeral Bell, Suffering Overdue, Bleed for Me, Heart of Darkness, Suicide Messiah, All That Once Shined,  Room of Nightmares, Low Down, Bridge to Cross, In This River, The Blessed Hellride, Fire it Up, Concrete Jungle, Stillborn

    Corrosion Of Conformity Setlist: Bottom Feeder (El que come abajo), The Luddite, Seven Days, Vote With a Bullet, Long Whip/Big America, Who’s Got the Fire, 13 Angels, Broken Man, Albatross, Clean My Wounds.

    Black Label Society

  • Hearing Aide: Umphrey’s McGee ‘it’s not us’

    Jam band is a term thrown around, generally referring to the length and frequency of improvisatory segments a band employs in their live shows. But in the higher rungs of the quasi-genre, it could also be used to describe the amount of styles and influences that are ‘jammed’ into a single concert, album, song, or even lick.

    it's not usPut on it’s not us, the latest studio output from rockers Umphrey’s McGee, and your friends will be impressed with the playlist you put together, showcasing your eclectic taste. Would you take credit, or own up to the fact that it was indeed just one band? And one album?

    The album exhibits McGee at their most dynamic and most intriguing. Celebrating their 20th anniversary in 2018, they’re still a band on the rise, tackling new ground, finding ways to innovate and improve along the way. If an album is a band’s current singular statement, this one screams, “This is us!” That certainly defies the chosen title, which they chose as a reference to their beloved fanbase. This collection of songs isn’t a new direction for the band, rather a culmination of everything that has come before, and it is most certainly “them.”

    Their previous release, Zonkey, was a virtual jukebox, with wild mashups of different popular songs. This one plays like a jukebox also, but more impressively, and more successfully encompassing entirely original material. Barroom rock (“The Silent Type”), electric dance pop (“Forks”), 80’s hair band heaviness (“Looks”) or jazzed-up funk (“Speak Up”) all find a home in this player. The infectious blues groove of the not-so-cleverly named “Whistle Kids” would sound right at home billowing up from the smoke at any Dinosaur BBQ. “Remind Me” opens in a slinky groove but switches into a blistering metal rocker, with some signature slash and burn guitar that rears its head throughout the album. It stands in immediate contrast to the ensuing “You & You Alone,” a stripped down folksy track. Though it’s not us is not an album with a finite order, It will hold up well when listening on shuffle, which is how the kids do it these days anyway. Each song stands strongly alone, and like an Umphrey’s McGee setlist, could be reordered on each listen for a unique experience every time.

    it’s not us introduces 11 new songs to the ever-expanding Umphrey’s McGee catalog in a tight 50 minute package with impeccable production value. The sound is rich, from the highest high hat to the lowest bass hit. It won’t sound this good live, even if you spring for the high-end earphone experience. And that’s how it should be, a detail that often gets overlooked by bands that value the live performance as much as this band. Nevertheless, these songs will adapt well to the live shows and find a welcome home on many setlists to come.

    Key tracks: Looks, Whistle Kids, Forks, Dark Brush

  • Hearing Aide: Dave DiPrimo Band ‘Reflections’

    One day photographer Michael Slattery found himself chasing elusive clouds with his camera, only to find the perfect shot in his passenger side mirror. Like the artwork memorialized on its cover, Reflections by Dave DiPrimo Band grasps for things in the past, just beyond reach. It’s an album rife with ruminations and dwellings.

    At a time when many of their college-age peers are churning out angsty pop punk, Dave DiPrimo and his bandmates are composing alternative folk songs featuring soulful saxophone riffs. DiPrimo makes references to his maturity in the song “Fall Down,” with the lines “You can call me old fashioned/I prefer to be called an old soul.” Weaving in threads from influences as wide and varied as Otis Redding and The Front Bottoms, Reflections is a contemporary yet traditional tapestry of Americana.

    The title track “Know You Best” sets the nostalgic tone for the poetic, introspective collection. It’s a song about unrequited love and longing for connection. It alternates between pleading verses and a bellowing chorus. “Now” is another contemplative track, rueful oozing with melancholy. “Every day it gets a little bit colder/ every day I get a little bit older,” sings DiPrimo. The slight distortion on guitar lends a distant, dreamy effect. The melody is set to the a rat-tat-tat drum beat laid down by Reid Hoffmeier and deep rhythms from Ian Benz on bass. The saxophone played by Karis Gregory is featured prominently on the bittersweet ballad “Caroline.” The indie rock anthem “Glory Days,” wraps up the album, ending on a slightly higher note with remembrances of happy times.

    Dave DiPrimo Band recorded Reflections in a single day at The Green Room. The 9-song collection was mixed and produced by studio owner Matt Ramerman. CD’s are available at their live shows. The album can be found digitally on multiple music platforms, including Spotify and iTunes.

    Key Tracks: Know You Best, Fall Down, Now, Caroline, Glory Days

  • Hearing Aide: Cosby Gibson ‘Into Mid-Air’

    Albany local Cosby Gibson has released her new album Into Mid-Air on November 17, 2017. Gibson’s previous album, Talking to Echos is an award winner for Best Folk Album in 2017 and was also accepted to the first ballot for Grammy consideration. Gibson performs in solo and duo acts, and leads a non-profit music performance troupe.

    Cosby GibsonWith a positive reputation, Gibson’s music is an experience to be had. Into Mid-Air contains thirteen tracks, one of which holds the title of the album. “Whispers on the Water,” the third track on the album, starts with the happy, twinkling sound of guitar, only to then blend with Gibson’s voice. Her voice is soulful and holds a carefree quality to it, making her songs that much more down to Earth. All of her music is “low-fi,” meaning that the sound is more organic. In this case, that sound adds to the “self-made” feeling Gibson’s music gives off. “Into Mid-Air,” the title track of the album, is a shorter tune with a deeper sound quality, adding some contrast to the album. There is a recurring theme in her lyrics, showing off the fact that her musical inspiration oftentimes comes from nature itself. Gibson’s style could be considered “earthy” as a whole, making each of these musical elements blend together quite nicely.

    Gibson herself seems to be a free spirit. It is notable in her songs, in her style, and in her live performance. If carefree, folky tunes are a sound you would enjoy exploring, Gibson might just be a listen for you.

    Key Tracks: Whispers on the Water, Never Did Let Go, Into Mid-Air

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