Category: Alternative/Indie

  • 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

  • Pearlpalooza 2018 Brings Sunny End to Summer in Albany

    The 2018 Pearlpalooza met a warmer-than-expected Saturday afternoon, bringing plenty of fantastic music to Pearl Street in Albany from both the local and national scenes to mark the last weekend of summer.

    Kicking off the afternoon at 1pm was the winner of Jupiter Hall’s Battle of the Bands El Modernist with a small but engaged crowd of Pearlpalooza early birds. Following El Modernist was another Albany band who’s quickly gaining ground with their garage rock-pop sound, Good Fiction.

    Moving on from one band in particular who caught the attention of many new listeners was Kitten, based out of the New York City area (with some strong Los Angeles roots from singer Chloe Chaidez). The Greeting Committee followed with an upbeat, light-hearted indie rock set before trading off to Vermont’s own  Caroline Rose. Closing out the afternoon with a large gathering in front of The Hollow was London-based Superorganism, an electro-pop group made up of talent from around the world whose stage show had as much detail as the composition of their songs.

  • Warren Haynes Celebrates 30 Years of Christmas Jam

    Boasting an impressive 30 year run, the preparations for Warren Haynes’ Annual Christmas Jam are  underway. The popular, two-night benefit will take place on Dec. 7 and 8 in Asheville, NC at the U.S. Cellular Center. Tickets for presale were released on Oct. 19, along with a limited number of discounted two-day passes and VIP packages. Regular ticket packages go on sale at 10 a.m. on October 26th.

    Grammy Award-winning vocalist-songwriter, prolific producer, and notorious guitarist, Warren Haynes has more than upheld his reputation by continuing to curate performances that draw crowds year after year. Haynes spoke on the event’s transformation over the years stating,

    I can’t believe that it has been 30 years since myself and a few friends held a small event in a local club so we could all play together around the holidays and donate a small amount of money to charity… It’s gone from being a local event to an international one and we couldn’t have done it without the help of all the great artists, bands, and musicians that have donated their time through the years… This is truly going to be the biggest and best Christmas Jam yet.

    This year’s line-up, in alphabetical order, for Dec. 7 is as follows: Dark Side of the Mule, Grace Potter, Jamey Johnson, Marco Benvento, and Mike Gordon of Phish. Dec. 8, also in alphabetical order, includes: Dave Grohl and friends play “PLAY”, Eric Church, Gov’t Mule, Jim James, and Joe Bonamassa. While local and international music fans can expect stellar performances both evenings, the entertainment doesn’t stop there. There’s no need to wait around till dusk; attendees can treat themselves to “Xmas Jam By Day” concerts and events. Also note that there are still other artists to be announced as the Christmas Jam draws nearer so be on the lookout for further announcements.

    The 2018 Christmas Jam marks 30 years of great music, but it also commemorates 20 years of Warren Haynes collecting donations specifically for the Asheville Area Habitat for Humanity. Haynes’ investment in his community and long-term commitment to this cause has resulted in the Christmas Jam collectively raising roughly 2.3 million dollars for Habitat for Humanity. For concert goers looking to be more directly involved in the charity, there is another day event which coincides with the concert. “Before the Jam, Lend a Hand” brings together the musical artists, event staff, and attendees to help construct those homes which are only possible due to concert proceeds.

    The link below is a video of Warren Haynes performing “Melissa” with Warren Haynes with Jake Shimabukuro at last year’s 29th Christmas Jam.

  • Premiere: Animal Sounds debut ‘Antelope’ off upcoming album “Ennui”

    Indie psych rockers Animal Sounds from Rochester, NY will release their debut LP Ennui on Friday, October 26th and today premiere with NYS Music “Antelope.”

    animal sounds antelope

    Guitarist Shawn Brogan had this to say about the track: “Dating in the millennial age is confusing and the lack of communication often results in one person wanting completely different things than the other. “Antelope” was written about witnessing a friends-with-benefits situation turn ugly and the emotional turmoil that came with it.”

    Animal Sounds upcoming LP Ennui showcases a variety of songwriting capabilities and progressive song structures, with influences such as of melodic guitar riffs from Minus The Bear, psych groove’s of Tame Impala, and the rock n roll energy of Cage the Elephant found throughout the LP. Follow Animal Sounds on Soundcloud, Bandcamp and Instagram.

  • Younger Then Performs to Hometown Crowd for Album Release

    Younger Than perform in Hometown at Buffalo Iron Works

    Autumn has finally put summer to rest in Buffalo. The trees are a muted mixture of red, orange, and yellow and the air is crisp as you walk into Buffalo Iron Works. A crowd of excited attendees awaited Buffalo local indie-rock group Younger Then to take the stage in the wake of the release of their most recent album, Bad Life. Younger Then traveled out to Nashville to record at Blackbird Studio, a world-class establishment with a reputation for recording some of the world’s best rock groups. It had been a long time coming, and fans were prepped and ready to go, with about half the house already filled by 8pm to catch the opening acts.

    Buffalo has such a deep collection of indie bands. Supporting the night were Cooler and Feverbox. Cooler has been making noise lately as they continue to play their monthly Wednesday night residency at Mr. Goodbar in Buffalo. Feverbox has been frequenting regional festivals and running the gamut of local venues. Both bands put on exciting sets, with music totally in line with what the crowd had come for. The bill was crafted to great effect, giving the entire flow of performances a nice consistency. Cooler’s emo stylings pull from the early pop-emo greats from the 2000’s, while also hearkening to the kind of alt-driven Midwestern emo that offers a bit more grit. Feverbox checked all the boxes for an on-the-rise indie rock group. The band had good stage presence and original tunes, putting on the kind of set one would expect to see at a SXSW showcase.

    The support set the scene for veteran group Younger Then to take the stage. The venue was packed in, with people opting to stay indoors for the entire set as opposed to standing on the patio- an effect of the brisk fall temperatures. Iron Works was on-point with the light shows as always. The mix of subtle fog painted by combinations of colors set the scene for the band to walk onstage to a big welcome cheer from their supporters. While the cold was effective in forcing people inside, Younger Then’s performance was more than encapsulating to keep people inside. The group played selections from their older discography, and mixed them in with live versions of tunes from their new release, Bad Life.

    The group had great stage presence, only amplified by the playfulness of the lights. Guitarist Austin Dorr was a ham on the stage, stepping up to meet fans near the stage barrier as he walked up in front of the stage monitors during his solo parts. Zack Dupuis voiced his and the band’s gratitude for the support, and eventually organized the crowd to sing the chorus of one of their new songs. The audience responded in kind, singing full voiced back to the band. Drums and bass were on point, with a tight sync between the two accentuated by the thick live mix at the venue. Michael Wirth held down rhythm guitar, playing around with timbre to liven or darken the mood of a given song.

    Younger Than performs‘Bad Life’ itself was a very pristine listen (review here), while the live performance was a lot grittier. As a result of the mix, Younger Then’s music had a slightly harder edge live than the recordings. The raw feel of the performance was a good contrast and comparison to their studio work. The group provides two different feeling experiences with the recorded album compared to their live set. The group also had a good feel for what the audience was hearing, each member laying back or coming forward appropriately for the best live-sound effect. No one overshadowed or stole the show. Younger Then had great chemistry between the members and the audience. In a successful night, Younger Then released their newest album, Bad Life and put on a great show for music fans in Buffalo.

  • Clutch announces holiday run

    Maryland Earth rockers, Clutch have announced a mini-run of shows to finish the year. The quartet will visit Clifton Park’s Upstate Music Hall on Sunday, Dec. 30. Tickets are on sale now.

    clutch

    Joining Clutch on this short run of shows is The Messthetics, a trio that includes the Fugazi rhythm section of Brendan Canty (drums) and Joe Lally (bass) and Anthony Pirog (guitar).

    Also on the tour is the Mike Dillon Band. Dillon is a frequent moe.down guest and has been featured in some legendary vibraphone duels with moe. percussionist Jim Loughlin over the years. Check out some fan-shot video below of Loughlin and Dillon going at it at last year’s moe.down.

    The final band on the bill is fellow Maryland natives Lionized.

    Clutch is touring in support of its 12th studio album Book of Bad Decisions in their return to Upstate Concert Hall Dec. 30. They’re also performing two sold out shows at Irving Plaza in New York State on Oct. 26 and 27.

    Drummer Jean-Paul Gaster sat down with NYS Music two years ago to discuss his style, influences, and choices in equipment. You can read that interview here.

    For more information, visit the official Clutch website.

    Clutch Holiday Run 2018 Tour Dates

    Dec. 27 – Ram’s Head Live! – Baltimore, MD
    Dec. 28 – Starland Ballroom – Sayreville, NJ
    Dec. 29 – Aura – Portland, ME
    Dec. 30 – Upstate Concert Hall – Clifton Park, NY
    Dec. 31 – Masonic Auditorium at Temple Live – Cleveland, OH

  • Walk Off the Earth release ode to New York City with “Fifth Avenue”

    Walk Off The Earth, the indie-pop band from Burlington, Ontario have released the new single, “Fifth Avenue,” ahead of their upcoming US tour this November. As percussionist Joel Cassady explains, “New York has been the source of many important milestones for us on our journey as a band, and it felt like the right time to create a song honoring this amazing city that for us and so many others has helped turn dreams into reality.”

    Billboard describes the track as “Exploring the wonders and challenges of living in the concrete jungle, the upbeat, New York-inspired tune narrates both the coming of age and the constant epiphanies brought by the chaotic — but endlessly inspiring — life in the city.” Comprised of five multi instrumentalists (Sarah Blackwood, Gianni Luminati, Marshall, Joel Cassady, Beard Guy), Walk Off The Earth originally gained massive public attention when their interpretation of Gotye’s “Somebody That I Used To Know.”

    Since then, the band has released a string of successful original songs including “Fire In My Soul” and “Rule The World,” both of which went platinum in Canada and have supported Keith Urban, Snoop Dogg and Steve Aoki, as well as winning the Juno Award (Canadian Grammy) for “Group Of The Year”

    After a summer in Canada and Europe, Walk Off The Earth return to the US in November 2018. Watch video of their performance of “Fifth Avenue” on Good Day New York from October 2.

    Tour Dates
    Nov. 1 – Orlando, FL – House of Blues
    Nov. 2 – Charleston, SC – Music Farm
    Nov. 3 – Atlanta, GA – Tabernacle
    Nov. 4 – Nashville, TN – Marathon Music Works
    Nov. 6 – Charlotte, NC – Fillmore
    Nov. 7 – Raleigh, NC – The Ritz
    Nov. 10 – St. Louis, MO – The Pageant
    Nov. 11 – Indianapolis, IN – Egyptian Room
    Nov. 13 – Austin, TX – Stubbs
    Nov. 14 – Dallas, TX – House of Blues
    Nov. 16 – Houston, TX – House of Blues

  • Hearing Aide: Younger Then ‘Bad Life’

    For a band that doesn’t have unlimited funds, recording in a studio can be nerve wracking. Every minute that passes represents a dollar gone, and the expectation to nail down a cohesive album with tight performances is exponentially higher. Buffalo local indie rock band Younger Then knew the stakes were high when they walked into Nashville based Blackbird Studio- the same studio that recorded albums for the likes of Kings of Leon and Lynard Skynard. With a short time period, and uncertainty surrounding the loss of a bass player, Younger Then rolled up their sleeves and got to work. The product is an expertly produced, 11-track roller coaster of an album that dropped October 12 via Standby Records.

    Their second release, Bad Life, is both a continuation and improvement from their first release. The growth of the band as a unit is evident. The songs are well written and, despite the high-pressure situation in the studio, Younger Then is able to capitalize on the world class studio production and deliver 11 catchy songs in an immersive, exploratory album. Michael Wirth (bass/guitar) provides a strong rhythmic foundation on both bass and guitar that Jeremy Shields (drums) builds upon in a big way. Austin Dorr (guitar) writes lead lines that interplay with Zack Dupuis’ soaring vocals. These elements together, plus the clean production, makes for a big sound with a lot of clarity.

    It was an unexpected surprise to hear the amount of experimentation in each tune. The group is very good at expanding the role of the guitar, finding different tones and timbres to accentuate the mood of a song. The fourth track, “Sarah Told Them,” has a set of reverb-washed guitars and a spacious synth. These mesh to create a beautiful canvas for Dupuis to paint on with his musings on finding one’s way. The song has a steady build and emotes the lyrical content well. This track, while harmonically verdant, doesn’t lean as hard on raw energy as much as a few other tracks.

    The first tune, “All in All”, kicks the album off with a high-energy wind sprint of a song. The sound is huge, and Shields sets the precedence early on that his drums will be a commanding presence throughout the album. The drums are a major highlight from beginning to end. Lightning fills and huge toms round out a massive sounding kit, while Shields is simultaneously able to gently work the hi-hat to give the rhythm a big dynamic range. The bass stays in the pocket for the most part, save for a feature on “Wishing Tree”, but this works with how high-octane the drums are. The interplay between the two services the song more than the individual parts.

    A common theme throughout the whole work is how well each part plays to the larger picture. Analyzing the pieces is somewhat trivial- ‘Bad Life’ doesn’t take many theoretical risks and the instrumentals are simple for the most part. Typically this would be a knock, but with how the songs are written it works great to create a cohesive song, as opposed to a stand-out single instrument performance. The layering of uniquely effected guitars along with Dupuis’ consistently well-executed vocals fit like a glove along with the pocket-bass and the blistering drums. There are points where you’ll be listening in on a single instrument only to be pulled away by something just as interesting coming from your other earbud. Some of the spacious guitar lines sound like something from a deep-cut The 1975 song (like in track 9, “Luna”). These are contrasted at various points in the album by more clean guitars with tremolo and chorus to widen the sound. There’s so much to catch within the confines of each song, every one having replay value.

    Lyrically, there is an arc that the narrator creates. It centers around feeling displaced and unwanted. Further listening will shed more light on the exact meaning of each word and phrase, but for the most part the arc is uplifting yet realistic. It’s not fairy-tale happy and not whiny. It sits in a firm position of realism, acting as another reflection of the maturation of the band’s writing style. On top of this, the melodies themselves outside of the lyrics are sticky. The verses ride easy, and the chorus parts yield ear-worm hooks that’ll get stuck in your head for days. The structures are simple, making the album very accessible and easy to learn as a listener who no doubt will want to sing along. This way, when you catch them live, you’ll be able to sing along with their new tunes! Add ‘Bad Life’ to your fall and winter playlists and be on the lookout for these guys as they begin to branch out of the area and into the larger industry!

    Key Tracks: Sarah Told Them, Bad Life, All in All

  • Interview: Getting to Know Carpool

    This summer, NYS Music premiered the song “Idaho” from Carpool’s debut album. I Think Everyone’s A Cop came out on September 13. The Western NY alternative rock band’s songs contain catchy hooks, emotionally-charged lyrics, mathy riffs, and plenty of guitar pedal effects.

    Carpool weaves together elements from various alt rock sub-genres, which gives them broad appeal. Over the past few years, they’ve opened for a diverse array of national touring acts like Microwave (alternative rock), Tiny Moving Parts (math rock), Roswell Kid (pop punk), and Fossil Youth (Midwest emo).

    Carpool is made of Rochester natives Chris Colasanto (lead vocals/guitar), Blake Weissinger (bass/vocals), Tommy Eckerson (guitar/vocals), and Juan Ortiz (drums). NYS Music sat down with Colasanto to talk about gear, the album, and the Buffalo scene.

    Paula Cummings: Why the name Carpool?

    Chris Colasanto: We originally started as Eyes Wide Shut. It sounded pretentious. So we changed the name to Carpool. It’s about hanging out and sharing good times with your buddies. We actually released an EP, Absolute Loss, under Eyes Wide Shut. It was more straight shoegaze. Carpool is more punky-emo. It’s cutesy – punk, but fun.

    PC: Was this your first time in the studio?

    CC: This was the first time going into a legit studio. We banged it out in four days, 12-hour long days. It’s different from what we used to do. Sometimes we were recording in a bathroom on someone’s computer using Audacity or GarageBand.

    PC: Why did you go with the studio you chose?

    CC: We went with RJ DeMarco at Skyway Studios. Our friends in Ghostpool dropped an EP and we absolutely loved it. We messaged them, and they said to go to RJ. We weren’t pressured, but it felt like everyone was lighting a fire under our asses do our best. We fell in love with Buffalo. It’s why we decided to move here. We visited before, but this was different. We now live in the house we stayed at while we were recording. Everything fell into place nicely.

    PC: What’s the Buffalo scene like?

    CC: Everyone in Buffalo comes out to shows – they go hardcore and support the scene. The demographic is all over. Our last show was at Milkie’s and there were kids, parents, grandparents.

    PC: Tell me about the album.

    CC: We started writing a year ago. The whole thing is about complacency, substance abuse and relationships – like you’re stuck in a stagnant state of molasses.

    PC: I like that, “a stagnant state of molasses.” Your lyrics have interesting ways of turning a phrase.

    CC: We were very conscious of the lyrics this time. We wanted to write songs that everyone likes, that everyone can dance to, but the undertone has more to it. Some of the lyrics are very tongue-in-cheek and quirky. I feel it’s relatable because of those quirks. It’s honest, maybe a little too honest at times.

    PC: Tell me about the gear you used in the studio to create your sound.

    CC: Me and Tommy used my Roland JC120 amp from 1983. It’s awesome, it’s my baby. We used my pedal set-up, primarily Adventure Audio pedals (they’re from Rochester), and Electro-Harmonix and EarthQuaker Devices. Sometimes I get pretty obnoxious with the pedal effects, but it’s fun. Tommy added a BigSky Reverb that added layers and depth – a lot of wet noise. Blake used his Jazz Bass, and he used my Adventure Audio Pedals. It ripped. And we have Juan Ortiz on drums – he’s the man, amazing as always.

    PC: Final question… What would you each sing if you were on Carpool Karaoke?

    CC: Me and Blake would do a duet of “Picture” by Sheryl Crow and Kid Rock. Tommy would do trap rap – “Gucci Gang.” And Juan would do a full 21 Pilots album.

    Purchase I Think Everyone’s A Cop digitally on Bandcamp. Physical copies will be available soon through Syracuse indie label Nothing Feels Good Records. Catch Carpool at Mohawk Place on October 13 with Culture Abuse, Gouge Away, Worse Things, and GOA, or on November 8 with Taking Meds, Teenage Halloween, and Movershaker. Follow on FacebookTwitter and Instagram for upcoming shows and news.

  • Longwave release “Stay With Me,” first single in 10 years

    While their new album is still under wraps, LongWave has “Stay With Me,” the first single from the NY rockers in ten years. Longwave formed in Brooklyn at the dawn of the New York indie rock resurgence in 1999 and signed with RCA Records where it released the Dave Fridmann-produced (Mercury Rev, Flaming Lips) The Strangest Things, who also produced the EP Life Of The Party. The band has toured throughout the world sharing billing domestically and overseas with their friends The Strokes, as well as The National, The Vines, The Doves, bloc party, Blue October, and Kasabian among others.

    The band will embark on a Fall Tour supporting Blue October, kicking off in Royal Oak, MI on October 11th. They’ve also launched a Pledge Music campaign to coincide with the upcoming tour and album release.

    Tour Dates
    (headlining)
    11.17 – New York City, NY @ Bowery Ballroom

    (with Blue October)
    10.11 – Royal Oak, MI @ Royal Oak Music Theatre
    10.12 – St. Louis, MO @ The Pageant
    10.13 – Milwaukee, WI @ The Rave / Eagles Club
    10.14 – Indianapolis, IN @ Egyptian Room
    10.17 – Fayetteville, AR @ George’s Majestic Room
    10.18 – Memphis, TN @ New Daisy Theatre
    10.19 – Tulsa, OK @ Brady Theatre
    10.20 – Dallas, TX @ The Pavilion at Toyota Music Factory
    10.21 – San Antonio, TX @ Aztec Theatre