NYS Music 20​18

Category: Reviews

  • Mikaela Davis Joins Bob Weir and the Wolf Brothers in Syracuse

    Bob Weir brought his new trio, the Wolf Brothers, featuring Jay Lane on drums and Don Was on bass, to the beautiful Landmark Theatre in Syracuse, and invited harpist and singer Mikaela Davis up for a few songs. After the sellout crowd settled in, the band emerged and took their time tuning and prepping for the night ahead. The show got off to a bit of a sluggish start with an uninspired and sloppy “Jack Straw” that included some unnecessarily long rhythmic interludes. Weir switched to the acoustic and kicked into “Gonesville” off 2016’s Blue Mountain. The trio seemed custom-built to handle this slice of Weir’s repertoire and played more inspired as they locked in nicely for the short country ballad.

    Mikaela Davis Bob Weir

    The set could have stood to have some more from that album, but they switched immediately back into the tried and true Grateful Dead trademarks. Sticking with the acoustic, the run of “Me and My Uncle,” “Peggy-o” and “Deep Elem Blues” hewed folksy and sounded great, Weir added a fresh shine with some subtle shifts in the melodies. There was an air of intimacy as he stopped to provide snippets of the songs’ histories.

    Moving back to electric, “Althea” transitioned nicely out of “Deep Elem Blues” and the set started to pick up some steam as “Loose Lucy” followed. Pushing past 70 minutes, the set felt like it might be winding down when a harp came rolling from backstage. Rochester’s own Mikaela Davis followed closely behind to join the trio for a version of “Bird Song” that provided a real kick in the pants to close out the first set. The added melodic flourishes from the harp gave Weir something to play off and showcase his true rhythmic guitar genius.

    The second set continued to build on the energy from the first. “All Along the Watchtower” was played jagged and grungy with Weir taking on a languid psychedelic tone. The band showcased its agility and morphing ability in a shifty “The Music Never Stopped.”

    Mikaela Davis Bob Weir

    After the bluesy “Standing on Shaky Ground,” the harp came rolling back out and the band started up “Wharf Rat.” Davis confidently took on a more prominent role and the band dug out a nice space for her and Weir to take the jam to strange and beautiful places. The ensuing “China Cat Sunflower” played right into Davis’ strengths. The longer she held court on stage, the audience became more rapt with the sounds she brought into the mix. By the time “I Know You Rider” wound around, Davis was controlling more of the reins, providing the tune with extra bounce, and the crowd responded with increasing excitement.

    The harp remained on stage after set close and they returned for the encore as a quartet. Not only was Davis feeling more comfortable, she was now ready to lead the band and counted out the start as they kicked into Neil Young’s “Down By the River.” It was a Neil Young cover, sure, but it was Davis’ version, and the one she’s been playing on tour all year. She sang and played the lead with the seasoned veterans backing her all the way. Jay Lane powered the jam with incredible pounding flourishes to shoot it into the stratosphere, and the crowd roared in appreciation. “Ripple” was the perfect nightcap to emerge out of the fizzle, and a full crowd sing-along had everyone leaving fully satisfied with the songs that filled the air.

    Bob Weir and the Wolf Brothers, featuring Mikaela Davis – November 9, 2018 – Landmark Theatre, Syracuse, NY

    Set 1: Jack Straw, Gonesville, Me and My Uncle, Peggy-O, Deep Elem Blues > Althea, Loose Lucy > Bird Song*

    Set 2: Easy to Slip, Two Djinn, All Along the Watchtower, Music Never Stopped > Shaky Ground, Wharf Rat* > China Cat Sunflower* > I Know You Rider*

    Encore: Down By the River*, Ripple*
    * – with Mikaela Davis on harp and vocals

  • Hearing Aide: Neighborhood of Make Believe ‘Two Nighttimes’

    Take the attitude of Dr. Dog, the horn line spice of Cake, and the essentials for a modern folk group and you get Neighborhood of Make Believe. Okay, that’s a very general statement but there’s a lot of experimentation going on in NOMB’s debut album so it’s hard to say what their sound is exactly – flowing, warm and washy are definitely some constants. That being said, listeners will have to cull through the 12 track collection to find something they like, but it’s still worth giving a listen to from beginning to end. They’ve dropped their songs strategically throughout the album so it’s a bit of a roller coaster which will hold the listener’s interest. Maybe not one with corkscrews and loops, rather a traditional wooden one with some exciting drops and turns.

    Songs like “Track Name’s,” “Fairness” and “Thin Soup” are easy going, slow moving and have a great sense of peacefulness. The immediate emotion isn’t sadness – it’s only until listeners dive into the lyrics of the track do they then understand the direction and purpose of the song. I suppose that is true to most songs in this genre but they’ve found a well working formula and they stick to it, creating an engaging album when combined with the following contrary tracks.

    We find more energetic and multilayered tracks like “When Willem’s Wife Was Wet” that add some flavor to the album. “Willem’s Wife” has the most depth and direction in the collection and it’s something this group should definitely try to reproduce in coming works. Instrumentation is crisper and clearer, movements are well defined – it’s much needed separation as well as mood booster from the other, lower energy tracks.

    “Faces” is worth dissecting as well. Some might say it’s lacking in direction but its just omnidirectional. It’s ominous, then jovial, hopeful and open – it’s just interesting. It’s not necessarily catchy but is definitely fun to listen to. The chord progressions are bizarre and just blend into each other enough to create a unique atmosphere.

    Things get more interesting as we’re introduced to a western, backwoods feel in “Traveling Standing Still.” Complex guitar work, odd time signatures and a super cathy bridge/ chorus create another fantastic space with loads of potential and direction, although the song drops off without any sort of climax. Still one of the coolest works on the album.

    The remainder of the tracks reflect their style at the beginning of the album which is a bit of a let down to be honest. The prior three tracks were highly engaging, unique and just plain fun to listen to. It would be music to our ears if we could hear these guys come back with another album following the abstract sounds found in “Standing Still”, “Faces” and “Willems Wife”. Die hard indie/ folk lovers will enjoy this collection for sure. Give it a once over and you’ll find a several things to enjoy.

    Key Tracks: When Willem’s Wife Was Wet, Faces, Traveling Standing Still

  • Hearing Aide: John Medeski’s Mad Skillet

    The Earth is 4.5 billion years old, yet you are lucky enough to be around for another John Medeski side project. The mastermind of recruiting untouchable supergroups such as Hudson, The Word and Spectrum Road is here to release the newest roster with Mad Skillet. Their fresh, self-titled album features the otherworldly jazz organist along with his New York native buddy, Will Bernard­–an insanely adaptable guitarist that works as a sonic chameleon in the studio.

    Medeski also picked up a pair from the world-renowned Dirty Dozen Brass Band in Kirk Johnson on sousaphone and drummer Terence Higgins–both Louisiana natives and both highly capable of gritty improvisation. The album was recorded on the hallowed ground of a 1930’s wood-framed church across the mighty Mississippi from downtown New Orleans and the Crescent City influence is hammered home throughout the 9-track eclectic spread.

    mad skillet

    Opening John Medeski’s Mad Skillet, “Man About Town” is a great introduction to what this quartet brings to the table. Swirling organ work, bluesy guitar, thick slabs of sousaphone bass and well-executed drumming are poised to take the soulful song in a new direction when performed live. The second track is a Medeski tune called “Invincible Bubble” not to be confused with “Uninvisible” which is the title track from 2002’s Medeski, Martin and Wood album.“Invincible Bubble” is the sound you would expect if the New Orleans-based Popeye’s chicken chain needed an updated theme song for a commercial (and who doesn’t love that chicken from Popeye’s). Each of the four members gets their time to punch in with Higgins driving the train on percussion, Bernard executing a dirty jazz guitar, Medeski nailing a plethora of keyboards, and Johnson bringing a swampy sousaphone reminiscent of an alligator rising up from the murky water.

    Mad Skillet pays tribute to Sun Ra with the fourth track, “Golden Lady.” Sun Ra’s “The Lady with the Golden Stockings” can be found on the 1966 album The Nubians of Plutonia, which featured songs recorded from late 50’s Chicago sessions. Nearly 60 years later, Mad Skillet tightened up Sunny’s loose jazzy sound with their own unique modifications in the studio. The thrilling, Sean Connery approved track would serve as the perfect theme song for an early James Bond flick. Medeski makes his moves with the Mellotron, Bernard vibrates on a wave of surf rhythm guitar and Johnson provides an elusive bassline.

    “Piri Piri” is the poppy street jazz you may find walking around during the heart of Mardi Gras. Medeski’s up-tempo piano keeps a light and swanky vibe throughout while Bernard shows off his nasty versatility by way of melodic guitar. Higgins gets his moment to shine behind the kit and is heard proclaiming, “Nailed that shit! Y’all some bad motherfuckers” at the very end of the ditty. Track 6, “Psychedelic Rhino” was one of two improvised studio sessions along with “Tuna in a Can” to make the Mad Skillet cut and also serves as the longest song on the record. A prime example of their diverse talents, “Psychadelic Rhino” takes a 180-degree turn from the rest of the album and can be attributed to the wild live approach of The Doors, the trippy Herbie Hancock and the Headhunters studio sessions, and a rhinoceros with a head full of acid running around Guitar World. This one opens many doors and ensures that things have the potential of getting pretty weird on the upcoming Mad Skillet tour.

    Speaking of the tour, Mad Skillet will hit Buffalo, Cohoes, and Brooklyn during their visit to the Empire State. A full list of tour dates can be found here.

    Key Tracks: Invincible Bubble, Golden Lady, Little Miss Piggy

  • String Cheese Incident Finish Strong in Worcester

    After an incredible Suwannee Hulaween and Philly run, The String Cheese Incident finished their Halloween  tour with two incredible shows in Worcester, Massachusetts at the Palladium on November 2 and 3.

    Friday, Night One

    With 7 Hulaween sets and 4 in Philadelphia under their belt in the week prior, fans were unsure how the boys would be feeling coming into the weekend. Starting the first set off with the southern rock hit “On The Road,” they quickly dove into an incredible jam-filled “Sometimes a River.” Michael Kang belted on an 11-minute “Come As You Are” straight into an epic cover of Stevie Wonder’s “Boogie On Reggae Woman.” From Stevie, the boys continued this long string of non-stop jams to their salsa-inspired “Latinnismo,” last played in July of 2007 at Horning’s Hideout. They were really pulling out all the stops.

    The second set continued the high energy of the first with just six songs. There are almost no words to describe how heavy and jam-filled these were, as there were very few words to be heard from the band. After a long “You’ve Got The World” to start, they began what would be close to 75 minutes of non-stop music. Cheese slowed down only slightly for one of Bill Nershi‘s bluegrass classics, “Windy Mountain,” and the set ending with a 20-minute, extremely heavy “Howard.”

    Saturday, Night Two

    There didn’t seem to be any way that String Cheese could match their intensity from night one. Everyone was sure they would have a very bluegrass-heavy night, which would still have been amazing, but they were wrong… very wrong. The first song was a powerful “Let’s Go Outside,” into The Who’s “Eminence Front,” then back into LGO. They began a long string of classic fan favorites with “Little Hands,” covering Bob Dylan’s “Just Like Tom Thumb’s Blues,” and ending the first set with yet another full fired rendition in “Rosie”.

    There is a lot of disagreement among Cheese fans about what they’re best at. Many love them for their roots as bluegrass greats, while others can’t seem to get enough of their heavier, more electronic bangers. The final set of the Halloween tour was one that everyone could enjoy. It was almost comical when the band went from one of their heaviest songs “Rivertrance” into “Pretty Polly” and back into Rivertrance. What makes this so incredible is Polly has long been sought after by the bluegrass-friendly fans, as it had not been played since October of 2013. After the set was finished with an eardrum-bursting “Beautiful,” you could tell the band was in high spirits. With incredible jovial energy, they ended their Halloween run with one of their all-time greats, “Colorado Bluebird Sky.”

    Fans old and new agree that these will go down as two of the best nights of Cheese in history, as would quite a few from this run, and a few more this year. The String Cheese Incident is one of the few bands that just continue to get better after 20 years together. They return to Colorado this New Year’s Eve to Broomfield. They also have their Jamaican Incident in January. They have yet to release any other information for 2019, but rest assured, each show and every set will be very Gouda, whether aged or smoked.

    Check out the photos from both nights below by Zatchmo Lives Media!

  • String Cheese Incident Make Halloween Shine in Philadelphia

    The String Cheese Incident are finishing up an eastern stint of shows, with last night and tonight seeing them play at Worcester, MA’s Palladium Night Club. Earlier this week, the band spent Halloween in Philadelphia, performing two back to back shows at the city of brotherly love’s The Fillmore.

     After a monumental weekend at Hulaween, in which three headlining nights from the band included plenty of guest sit-ins and lots of musical surprises, the hype for String Cheese’s Fillmore run was pricked with anticipation. Many were wondering if they had steam left after delivering such a jam-packed weekend, and others had no doubt at all.

    Fillmore Night One

    That these were going to be some strong shows was definitely clear soon enough into night one’s firs set. A “Song in My Head” > Can’t Stop Now brought the first smiles of the run, and the band was at least in tight form, if not risk-taking right away.” Way That it Goes” through “Believe” saw incredibly heavy Cheese. The intensity, not to mention the sheer decibel level, on even an old school jazzier number like “Pirates,” was pretty staggering. A first set “Sympathy For The Devil,” sung by Keith Mosely, was our Halloween nugget for the night, and it certainly seemed appreciated given the enthusiasm emanating from the crowd all the way through. 

    Set two invited the most electronic side of Cheese to party, with a “Tinderbox” to start that saw the band enter full-on dubstep style. The crowd appeared to dig on it, though, and so the band followed it soon after with a similarly crystallized version of “Bumpin’ Reel.” Kang broke out the fiddle here, and buttoned up this wildly looped jam with some choice intermittent soloing.There were a few big gems of this two-night run, and arguably the first came in night one’s final, towering segment that kicked off with a “Miss Brown’s Teahouse.” While this was a straightforward version, it rolled on in mystical fashion towards a highly received “Land’s End,” perhaps one of the most appreciated songs in the Cheese catalogue. The band took their time gracefully here, treading thoughtfully through a section of space, comprising a “Glory Chords” jam, but soon enough took off running into a “Just One Story” to close out—another one of Cheese’s most appreciated numbers.

    This magical combo worked with the encore to leave The Fillmore fully satisfied for night one. The encore which might have actually stood out in the context of the whole run. A very fun “Born On The Wrong Planet” segued with ease into an “I Know You Rider” that saw the latter of those two tunes fleshed put nicely, complete with a slowly cascading reggae jam, to be a standout version.

    Fillmore Night Two

    While Halloween have default regard as special shows, it stands that String Cheese’s second night in Philadelphia came as the better of two nights—nothing damnable about making the next show better than the last! Again, the band made fast moves to show their chameleon-like ability to divert musical styles and moods. After a welcomed “Don’t It Make You Wanna Dance” opened it up, the engine for the evening really starting revving with a funky, murky jam coming out of ‘Eye Know Why.” The band was in sync, and they were making improvisational choices with confidence.

    The “Shine” to end the first set was fine and feel good as any other, but the “Outside and Inside” coming before it was the real ticket: a type two version that flung itself into the first set ender with pure adrenaline. But, if you were to listen to just one song from this entire two night run, make it the “Lonesome Fiddle Blues” that blew out the doors of The Fillmore on night two, set two. The crowd was caught off guard with the insanity of this one, and when Hollingsworth helped catapult this eruptive version, with an organ solo that still has this writer shaking his head, nearly everybody in that room went from chill to berserk in seconds flat.

    The set only evolved from there, with the band venturing into some of the most improvisational territory yet with a fantastic “Best Feeling.” After some cosmic interplay led to a tension-tinged climax, “Feeling” dropped succinctly into “Illegal,” a song that has been a big hit with Cheese fans this year. Over the last week, the band has been cycling through the new material penned by each member of the band, and this one, composed by drummer Michael Travis, is a doozy. It’s neat, coastal-vibe like chorus gives way, in back and forth style, to a wicked prog-rock like instrumental section, which the band nailed here at The Fillmore with a real tenacity.

    Coming back for the encore, Hollingsworth recounted warmly he grew up down the street from The Fillmore, and that all six of his siblings were in attendance. Nershi commented: “Seeing family come to all the shows makes us feel like we’re doing this thing right. And you all of course are our family too.” The band played a textbook “Restless Wind” to finish out, highlighted with a great few minutes of solo trading between Kang and Nershi, and brought a terrific two-night stand down for a soft landing.  

    String Cheese Incident’s next scheduled concert appearance is their highly anticipated three-night New Years Eve run at 1st Bank Center in Denver, Colorado. For more information visit their site at http://www.stringcheeseincident.com.

  • Hearing Aide: The Breakfast ‘Phantasmagoria’

    It’s been twenty years since the jam band The Breakfast formed. Originally known as Psychedelic Breakfast and based out of Connecticut, the band is releasing their 20th anniversary album, Phantasmagoria, featuring freshly revamped tracks filled to the brim with exploratory attitude. Consisting of members Tim Palmieri on guitar, Chris DeAngelis on bass, Jordan Giangreco on keys and Adrian Tramontano on drums, the long-awaited new album is nothing but explosive energy right out of the gate.

    phantasmagoria

    With eager anticipation, “Metropolis” kicks off with light tones that increase in energy as the tune progresses. DeAngelis and Palmieri take turns strutting their guitar magic midway through, while Tramontano keeps the tune rolling with tireless drumming. The calmest track rears its head second song in as “Shotgun Butterfly” slinks by with sharp lyrics and edgy bass before “Rush” wastes no time jumping in with a brisk tempo and harmonized lyrics. The track takes a surprising twist as the tune creeps into a psychedelic melody crammed with Giangreco’s kaleidoscopic keys. Close your eyes and disappear into a dreamlike state as this tune takes hold of your earholes.

    An upbeat “Reel Time” is a clean tune immersed in sleek vocals, dynamic keyboard tones and crisp guitar. Sliding in and out of time changes makes for a dramatic song full of surprises around every note. Meanwhile, “Rust” electrifies the senses as Palmieri’s masterful guitar delivers by continuously elevating the track just when the listener thinks his solo will come to an end. Intense is a mild word to describe the energy built up during this tune.

    “Episode III (Awakening)” does just that – awakens and stimulates the brain as the track flows in and out of varying musical styles. A rocking, heavier backbone glues the track together while hinting at a touch of jazz, as well as a more classical style, before swinging back into the heavier melody. A bluesy beat also makes an appearance before, once again, sliding right back into a harder tone.

    Wrapping up the album is an expansive 23-minute “Hard Luck Harry.” This final track has the air of accomplishment and triumph streaming throughout a diverse range of tones. Darker notes emit their shadowy depths midway, tiptoeing along the rim of multi-colored tones that dive deep into an exploratory rhythm that stays parked for a good long while. This is one track to listen to in the dark, with headphones on and eyes closed, in order to truly experience the energy created throughout. A sense of being thrown into deep space takes hold while plummeting through the musical rabbit hole of this melody.

    Phantasmagoria is a welcome reprieve from the usual jam band numbers. Tracks throughout are a breath of fresh air. Unexpected tones, experimental melodies and time change treats make this album an innovative blend of musical delights that awaken all the senses. To fully experience this album in all of it’s musical glory, make sure to listen with headphones to capture the true depth of the masterfully produced numbers. If you’re seeking a fresh sound, this album delivers, hands down. The Breakfast is back and better than ever.

    Key Tracks: Reel Time, Rust, Hard Luck Harry

  • Photo Gallery: Phish dresses up as Kasvot Växt, Faceplants Las Vegas into Rock

    Phish fans got a trick, and a treat on Halloween. For their Halloween show, Phish didn’t cover a classic rock album like fans hoped, but instead did something far scarier – they performed brand new music as Kasvot Växt to a sold out MGM Garden Grand Arena in Las Vegas, NV.

    kazvot vaxtCombining their 2013 (Wingsuit) and 2014 (Chilling Thrilling Sounds of the Haunted House) costumes, Phish created something completely different, brand new and unique, to say the least – they invented a band, backstory and full album to cover, performing as Kasvot Växt, a Scandinavian prog rock outfit dressed all in white and bringing an incredibly fresh sound to Phish’s legacy of Halloween runs.

    kasvot vaxtWearing all white suits on an all white stage and playing all white instruments, Phish performed i rokk, which when combined with Kasvot Växt translates as ‘Faceplant into rock.’ All 10 songs were brand new Phish, or Kasvot Växt, depending on how you look at it.

    What was most amazing about the show is the level of secrecy that kept this set so under wraps that no one knew what would really happen until the first notes of the set. Performing a new album has been done before in 2013 with Wingsuit, and again in 2014 in Las Vegas with Chilling Thrilling, but combining those two efforts and writing 10 songs in a prog rock/metal-ish style AND the Kazvot Växt persona to go along with it is a level up, even for Phish.

    Setlist via Phish.net

    Set 1: Buried Alive > Ghost > Crazy Sometimes > Free, More, Halley’s Comet > Ocelot > Theme From the Bottom > First Tube

    Set 2: Turtle in the Clouds[1], Stray Dog[1], Everything is Hollow[1], We Are Come to Outlive Our Brains[1], Say It To Me S.A.N.T.O.S.[1], The Final Hurrah[1], Play by Play[1], Death Don’t Hurt Very Long[1], Cool Amber and Mercury[1], Passing Through[1]

    Set 3: Set Your Soul Free > Tweezer > A Song I Heard the Ocean Sing > Backwards Down the Number Line > Meatstick, Bug > Run Like an Antelope

    Encore: Loving Cup > Tweezer Reprise

    [1] Debut.

  • Hearing Aide: BoomBox ‘Western Voodoo’

    It’s been a busy two years for the EM musical maestros BoomBox since the departure of original member Russ Randolph in 2016.  Founder Zion Rock Godchaux put the time to good use with the addition of new musical partner DJ Harry and the creation of exciting new material that comprises the newly released Western Voodoo.  This is the Muscle Shoals, AL based duo’s 5th LP and was recorded right outside of their hometown at Rat Nial studios.  Godchaux describes the new tracks as a bit of a departure from their earlier material, “All of the rhythms, melodies, and frequencies add up to these healing properties. I hope people feel rejuvenated and re-focused on some level when they hear us. That’s Western Voodoo.”

    This is readily apparent on the album, and is specifically noticeable on the LP opener “Castles”.  The trance-like intro sets the stage for the entire album.  The track kicks off into a great EM synth hook that precedes Godchaux’s haunting vocal.  The groove on the number is so infectious, I found myself unconsciously moving in my chair, as if movement was a mandatory prerequisite to enjoying the jam fully.

    Another highlight to BoomBox’s latest effort is the 5th track on the LP “Selling Fun”. It combines funky bass with the classic 80’s beats including synthesized horn accompaniment which is reminiscent of the early years of that decade’s dance music.  Groovy guitars help accentuate Godchaux’s lyrics which tells the story of a pusher working the street “selling fun” on his little piece of the dark city.  The rhythm is atypical of the gritty subject matter and is thoroughly upbeat which is in stark contrast to the dark lyrics of the song.

    BoomBox’s hometown of Muscle Shoals, Alabama is famously known for Rick Hall’s historic FAME Studio and it’s famous Muscle Shoals Rhythm Section, commonly referred to as the “Swampers”.  These gifted musicians backed a variety of rock and soul artists throughout the sixties, including legends Wilson Pickett,  Aretha Franklin, and the Allman Brothers Band.  While the “swamp sound” is much different than the EM beats of BoomBox, you can hear these jam influences in tracks like “Easy Operator” which features a laid back enjoyable guitar riff that completely balances out the number.  This relaxed vibe is also reflective of Godchaux’s musical pedigree, a result of being the progeny of two members of the Grateful Dead.

    This is definitely a band to see live in concert.  They boast a killer light show that fits their grooves perfectly.  Both Zion Rock Godchaux and DJ Harry are at the top of their game while performing live in front of an audience. BoomBox’s next outing will be a very special “hometown show” at the Brass Monkey in Florence Alabama on November 30th.  They will continue to tour the US in support of Western Voodoo throughout the remainder 2018 and into early 2019.

    Key Tracks: Castles, Selling Fun, Easy Operator

  • Vusi Mahlasela brings Township! and the sounds of South Africa to The Egg

    With a crowd diverse in age and race, a lively audience came to the Swyer Theater at The Egg in Albany for a night of South African music that was engaging and inspired dancing in the crowd all throughout the evening. Celebrating the 100th birthday of global peacemaker Nelson Mandela and nearly 25 years of freedom from apartheid, Vusi Mahlasela paid tribute to South African music legends Miriam Makeba, Hugh Masakela, Dorothy Masuka and Brenda Fassie with ‘Township!’Vusi Mahlasela

    South African music was hard to come by for the mid-late 20th century, due to the cultural boycott on the country due to apartheid, and at home, black South African music was banned from the radio, so American records were played at pubs. Known as “The Voice,” Mahlasela hails from Mamelodi Township, outside Pretoria and experienced this music embargo first hand, yet became an international legend starting in the late 1980s. Accompanied by Mongeze Ntaka on guitar, Jimmy Mgwandi on bass and Ian Herman on drums, Mahlasela took the audience on a tour of South Africa’s sights, sounds and languages through a variety of songs from the influential artists that came before him.

    The night opened with the acoustic “Ubuhle” in the Hosa/Zulu dialect of South African – where there are 11 official languages – and was followed by a song about the beauty of the land, “Silang Magele” and “Jabula,” a song sung by a dove during harvest season. “Draaikies” by Dr. Phillip Tabane, was sung in a slang language of South Africa, combining elements of regional and European dialects. An untitled song referenced the pain of separation and was written on toilet paper while in jail. Here, Mahlasela spoke of Africa deserving better because Africa has been giving all along – through slavery, raw materials, and colonization, and still today through the neo-colonization seen by China.

    “Our Sand” was dedicated to the San people, who were the first people to walk the earth, also known as Bushmen. The upbeat and joyful Township songs closed the performance, starting with “Jesu” and “Uncolo.” “Unomeva” was inspired by the speakeasies of South Africa and the characters and musicians that were found there. Finally, Mahlasela mentioned the concept of Ubuntu, the quality of human virtues, including humanity, compassion, tolerance, love, among others. “Say Africa” was sung with the audience enthusiastically serving as the chorus. An encore of “Woza” gave a swingtown vibe to the Township we were welcomed into this evening.

    Setlist: Ubuhle, Silang Magele, Miyela Africa, Jabula, Amdokwe, Draaikies, When You Come Back, Untitled, Our Sand, Jesu, Uncolo, Unomeva, Say Africa

    Encore: Woza

  • Hearing Aide: Animal Sounds ‘Ennui’

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

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

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

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

    Key Tracks: Hesitation, Wanderlust, Kid Dankë Schon

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