NYS Music 20​18

Tag: New Album

  • Hearing Aide: Lord Electro ‘Reinvigorator’

    The marriage of electronic and improv-based music was inevitable from the start. The malleability of overtones provides a great platform for on-stage audibles. A lot of groups have used the modern synths to their advantage, although any music hobbyist who has played a synth can vouch for its complexity. Being able to find a good sound that is purely one’s own sound is difficult given the almost infinite parameters contained in modern synths. More so, being able to control those tones on the fly, whether in studio or on stage, is equally hard. Lord Electro, a budding electronic band from Albany, figures out a way to make their synth stand out as a staple lead tone by creating rich rhythmic grooves which fit like a puzzle piece underneath competent key lines with various changing characteristics. Their recent 10-track album, Reinvigorator, gives listeners a lot digest in terms of not only the content of each song, but the emotional arc the whole album follows.

    Dan Gerken, Steve Mink and Jordan LeFleur make up Lord Electro, a trio that fills out a sound of a much larger outfit. One of their main catches, if you’re able to catch them live, is that they are an all-organic electronic group. The album reflects their ambition to remain an organic band. You can feel the chemistry on every track, with different parts within each composition lining up in sync to a level that sounds rehearsed but not computerized. Just about every piece on the album is a true dance track, staying in that sweet bpm range of 120-140. The seventh track, “Broken Glass,” features a more frenzied bass and drum line. The bass lines up almost perfectly with the bass drum accents to give the line a lot of weight, while the key parts mesh one piece providing the chord structure and rhythm while the other lead-synth part drives the melody and development of the song. This is a formula followed throughout much of the album. While this could be redundant, Lord Electro does a great job of varying even just the smallest pieces on a composition to keep it interesting.

    A couple of the songs feature vocals too, whereas the rest is mainly instrumental with some background samples of different speeches or monologues related to the song. The vocal performances add a lot of texture to the album. While sparse, they are powerful and rich, relaying lyrical content that doesn’t delve too deep and provides more of a musing or reflection related to the song. On the eighth song, “Why Wait,” the vocals mirror the emotion of the tune, delivering an empowering message. The album follows a nice transitional arc too, with some tracks acting as a kind of anchor for the true sound and other tracks experimenting around that sound. This provides great variety, with every song feeling like a hard refresh. The ups and downs are in the grittiness of the bass line, or the beautiful melody of a synth lead.

    Key Tracks: Reinvigorator, Butterfly, Why Wait

  • Hearing Aide: Jigsaw Youth ‘Sorry For The Distortion’

    jigsaw youthJigsaw Youth came out swinging with their sophomore album, Sorry for the Distortion. The biggest change this time around is the production value. Their style, attitude and sound is similar to their first collection but great production value, layering and adventurous blending of genres breathes new life into the group. New York natives Nastacha Beck, (guitar) Julia Mannarino (drums) and Maria Alvarez (bass/vocals) have obviously poured their heart and soul into this one and created a highly polished album. 

    Punk is all about fuzzy guitar, relentless drums, powerful lyrics and-chant worthy choruses, but when an album is under-produced, it can make it indigestible. I’m all for dirty and washy punk-ish sounds, but if instrumentation isn’t balanced then the group can come off as illegitimate. Jigsaw Youth overcame this, striking gold with producer Gary Nieves Jr. of Cobra Sun Studio. This is not to say Jigsaw’s song writing and talent doesn’t deserve any attention, because they have created some fiery and energetic songs.

    Hit play and “Stillborn Black” blasts out with a quintessential punk sound. Alvarez’s vocals are an instant hit. They’re baritone, atonal and at times, loud and crackly – she’s a perfect fit for this genre with her talents shining throughout the album. This one has a catchy chorus, a good harmonic break mid track and is a fantastic prelude to what the rest of the album has to bring. It also features an exciting solo from Beck – great choice in guitar tone as well.

    After listening to “Stillborn Black” and “Don’t Make Me Freak,” it’s obvious this group’s source of inspiration is powerful female punk groups. Instrumentally, there’s a lot of similarities to L7 and Bikini Kill but the group is really separated by Alvarez’s aggressive vocals. What I’m loving about this group is their ability to give the songs more depth by jumping into different sounds mid track. Instead of a constant barrage of punk, “Freak” jumps into a ballad with acoustic guitar work and ethereal singing from the group. We also hear how versatile Alvarez can be when she goes sultry before turning savage towards the end of the song.

    “Flirts of Fire” is a nice change of pace from a latter, dark tone. We still hear influences of popular female punk groups though. It showcases an upbeat and major sound and we get to hear the talents of Mannario on drums. She’s clean, precise and gets to flaunt her ferocious speed with her wild single stroke rolls.

    This group really checks all the boxes in the punk genre. “Serotonin” is a sluggish but powerful track with Nirvana’s slimy, grunge sound that made them so popular. “Serotonin” may be slow and lazy but it’s layered with airy backup vocals throughout that give it some more depth as well as valley and peaks of tempo changes and attitude. Did I mention Alvarez’s voice is really good?

    “Surf Rock Song” is another key track. It’s a great blend of classic punk and (believe it or not) surf rock. It’s not something that’s been heard too often and it’s just fun to listen to. “All Around (Fucked Up)” is a great cap off for the album – it’s the best summary of the groups unique sound. This song perfectly blends their influences together and gives Alvarez a chance to show off both her sultry and intense side of her vocals that make this group stand out from the rest.

    This album is going to yield a great deal of recognition from their community and in a live setting, will definitely rake in some new fans. So far, the only place to see them is on Saturday, December 1st in The Loft at City Winery. Tickets are $10 online, $12 day on the day of show. Stay tuned to their Facebook page for more info.

    Key Tracks: Flirts of Fire, Surf Rock Song, All Around (All Fucked Up)

  • 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: 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

  • 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

  • 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

  • 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

  • Hearing Aide: Doug Berns Band ‘Outlier’

    Doug Berns Band release debut albumBrooklyn trio, the Doug Berns Band, are quietly meshing together key elements of rock to create a sound that is both accessible and flashy. The group is fronted by bassist, singer and songwriter Doug Berns (EMEFE, The YeahTones), and features Sean Salant (AwakenTheShadow, Nova Lantern) on guitar and Coleman Bartels on drums. The group is releasing their debut album, Outlier, on October 18th, the same night as their release party at Rockwood Music Hall in NYC. In light of the upcoming release, NYS Music had the pleasure of checking the album out early. At the bottom of this review, the group is premiering their newest music video for their single, “Outlier”, the title track of the album. The nine track album is high octane from start to finish. It meshes the stylings of heavier groups like Metallica, lighter grunge like Alice in Chains, and an element of prog rock with soaring vocals and ripping guitar solos. The group demonstrates their technical ability in a slew of tight performances that highlight each member’s grasp on their intended sound.

    While the Doug Berns Band describes themselves as impressionistic rockers, it is tough to label them in this way. The album doesn’t take too many risks in terms of mood and timbre, but rather leans on catchy instrumental hooks and sticky vocal lines laid over heavy, well-executed instrumentals. Berns’ vocals float over top of thick distorted guitars in a way similar to how LaBrie’s (Dream Theater) vocals are the cherry on top of his band’s instrumental as opposed to being the main focal point. In the second track, “It Gets To You”, Berns shows off his falsetto, and establishes his presence in the mix without standing out too much. The melody is written well, and does a good job of leaving room for the guitar to fill space between phrases. This is especially potent in the fifth song “Mainline”, where the lyrics drive the narrative a bit more and the guitar provides great support to the song as a whole instead of pushing to stand out.

    The bass’ presence in the album deserves a big shout out, as Berns keeps a solid foundation when needed and doubles up with the guitar to add weight to certain lines. The guitar often runs off on its own to great success. The blazing and technically proficient solos are a big stand out. While Salant’s guitar is coated in dirt more often than not, there are a few points (namely in “Hell”) where the clean tones stand out just as much as the gritty lead tones- a nod to Salant’s ability to navigate modes within a key and color the solos so they stand out melodically from the rest of the backing instrumentals. The eighth song, “Ready Player One” features a specifically heavy solo, and covers a ton of harmonic ground. The drums remain pretty true to the genre and breathe an air of familiarity into each song. This might entail keeping the pulse while the guitar plays more complex rhythmic, palm muted riffs (like in the second track “It Gets To You”) or just holding the line on the odd-time parts of songs (like in “Meet Me”). This isn’t to take away the energy Bartels adds with his lightning fills. He shows flashes of his chops, but tends more frequently towards servicing the song as a whole which adds to the flow of the entire work.

    This album offers a good look at a band who is taking pieces from their predecessors and melding them to create a unique amalgamation of elements. In a way, this is impressionistic in itself without having to reach too far into the avant-garde. While the instrumentations are more traditional, the compositions and well-crafted structures allow the band to show their experimental side and give the listener some music theory fodder. Outlier is an accessible and exciting listen, a nice treat to hear for fans of heavier rock.

    Key Tracks: Outlier, Mainline, Ready Player One

  • Hearing Aide: Idle Bloom ‘Flood the Dial’

    Idle Bloom

    Based out of Nashville, TN, Idle Bloom is an indie-rock quartet whose name has been popping up since their first release, Little Deaths in 2017. Since then, the group has covered ground from Tennessee to Chicago, and now they’re taking the larger NY area with their most recent tour. On top of touring more seriously, the band also sounds more matured in their most recent release, Flood the Dial. They build on their prowess for creating uniquely structured songs and excel in experimenting with so many facets of how a guitar can function in a song. Big power chords and traditional rock-guitar stylings still pop up in the album, but not nearly as much as the arpeggiated chordal interplay between two jangly guitars that breathe an air of dream-pop into each track. This experimentation mixed with familiarity pays off in a big way for the band, as they create a musically consistent album that doesn’t lose its luster with each passing song. Olivia Scibelli’s melodic style of crooning places her voice in the spotlight for much of the album, with hers and Gavin Schriver’s guitars taking over in the spaces between vocal lines. These voices float over top of a strong foundation created by Katie Banyay’s steady bass, and a rocket drummer, Weston Sparks, who’s use and placement of fills adds density to the mix. Idle Bloom successfully takes cues from noisier rock groups like Dinosaur Jr. and Pixies, and meshes them with the more pop-sensible songs from groups like Tigers Jaw and Crying.

    Idle Bloom does a really good job of not only maintaining a consistently unique sound through the album, but also build the energy throughout. The first track, “Wasted Time”, offers some jangly guitar interplay mixed in stereo to cover space as it immediately becomes clear that the group is adept at writing more mellowed out songs without sacrificing variety. Sparks keeps a heavier pulse with huge cymbal rides and a specifically thick sounding set of toms. While maintaining its teeth, the song has a nice flow and hook. It doesn’t amp up the energy to 11, leaving room for later on. The build continues through the next few tracks, giving more in terms of stacked harmonies and counterpoint guitars. The bass stays in the pocket and supplements the kick drum really well.

    The third song, “Sleeping In” even introduces a synth that carries over into more songs, and acts as a good transitional voice between songs. It’s hard not to notice how well Scibellie’s lyrics come across not only in flow but also in content. “Sleeping In” emotes a feeling of depression, steeped in the musings of a millennial coming to terms with the current state of the world and opting to keep trying as opposed to sleeping forever. The following track “Exposure” reflects on the heavier topic of sexual abuse/assault and cover-ups- commentary on an age old issue brought to light in modern times. The song is juxtaposed with the bubblier backing track, giving the narrator an edge of empowerment in their situation despite the seriousness of the topic.

    In the ninth track, “Empath”, Banyay and Sparks link up to create a punchy, exciting rhythm part that the guitars are able to accentuate with chucked funk chords and short harmonized lead lines. The melody, namely guitars and vocals, do a good job here of only coming forward when needed. The Steely Dan styled guitar duo on this and the sixth song, “Rewired”, came as pleasant surprises and showcase the versatility of the band. It felt like the band took the kind of American Football/Midwest emo guitar voicings and jazzed them up. This speaks to their ability to color thematically similar songs in a way that differentiates them and adds upon each of the prior tracks.

    The final song, “Contact”, acts as a great closer and culminates with just about every element that made the album such a fun listen. The post-rock experimentation of guitar tones and their function, the harmonized vocals, and a really punchy drum line all trade off the center stage. This is the most dynamic song on the album, and likely the most melodically colorful. From top to bottom, Flood the Dial is an exciting listen. Idle Bloom will be going on tour this fall, making stops at a few NYS locations. Check them out in a city near you, and be sure to stream the album here!

    Key Tracks: Contact, Empath, Wasted Time

    Upcoming Shows:

    October 5th – Ypsilanti, MI @ The Late Station

    October 6th – Cleveland, OH @ @ Happy Dog

    October 7 – Rochester, NY @ Bug Jar

    October 8th – Saratoga Springs, NY @ Desperate Annie’s

    October 10th – Brooklyn, NY @ Secret Project Robot

    October 11th – Philadelphia, PA @ No Face Studios

    October 12th – Baltimore, MD @ The Undercroft

    October 13th – Raleigh, NC @ The Wicked Witch

    October 14th – Johnson City, TN @ The Hideaway

  • Hearing Aide: The Upstart Crows ‘The Upstart Crows’

    The Upstart CrowsMoving out from a small college town music scene into one of the world’s largest and most diverse arts cities is daunting. For The Upstart Crows, fitting in means being different. So, when they moved from a small college town in New Hampshire into the Big Apple, they were able to settle right in. Late in August the band released their first album; a combination of punk, honkey tonk, and a vaudeville styled theatrical influence. The self-titled album, The Upstart Crows, is a grab bag of these various influences that the band draws from. The two piece group, comprised of Jon Adams (vocals/guitar) and Forest DeCoste (drums/bass), recorded at Proper Pop Studios in Brooklyn, NY. The band seized the opportunity to layer on elements that their two-member setup has handcuffed them from doing; the band plays as a guitar and drum duo typically. The addition of bass and some other backing instruments gives every song more dimension and enabled the group to hash out the ideas a bit more. Despite this, the album does feel a little meandering, focusing on the lyrical theme of sadness but not staying true in terms of genre and flow. The album remains an interesting listen despite the scattershot and shows how well the duo can formulate a song with consistently catchy melodies and tight performances.

    The album opens a little heavier with “Bad Medicine”, the first single The Upstart Crows put out in anticipation of the album. The song feels similar to an early 2000’s era emo tune, without the over-saturated production. The bass line fits well with the drum beat and provides a solid foundation for the rich guitar chords to lay out the progressions. The guitar ultimately leads the bass, with both instruments locking together in such a way you’d expect to hear in a song written by a smaller crew of people. The song is fun, heavy, and not overbearing. Adam’s vocals immediately stand out as theatrical and exciting. A few songs follow this formula of heavier instrumentals and grittier vocals. One vocal performance, from “Lying and Crying”, has Adam’s singing with a distortion on his vocals. This works really well with his higher tenor voice, commanding the listener’s attention. The end of this song also has an octave-matched guitar solo that adds some meat and more development to the melody.

    While the heavier songs provide good energy to the album, The Upstart Crows do really well in their more pop-oriented songs. Adam’s vocals shine in track 7, “Heart to California”. A more bubbly song with an indie/alt vibe, the band takes a catchy hook and layers on a lot of fun percussive parts and some group vocal refrains. Similar to a song you’d hear from The Dear Hunter, this offers a view of the band that would be interesting to hear more of. “What Did I Say” gives a similar vibe, keeping the song fresh with catchy hooks and a honkey-tonk feel. Adam’s vocals float above the instrumental like Ben Folds or Tom Chaplin (Keane). The mix gives the song a heavier feel without pumping the distortion of muddying the vocals. Like a few other songs on the album, this one had a seamless transition from the previous track. The band makes portions of the album feel like they were recorded one after the other without break, which yields a cool effect.

    From the heavy distorted wash of instruments, to a more jangly and organic songs, this album does not get boring. While the rocky flow and genre mixing can be a drawback at points, the ability to write consistently catchy hooks and execute performances that are tight make this album fun to listen to. The Upstart Crows cover a wide spectrum of genres in this album, and it’d be interesting to hear an album (or two) that focus on a steadier narrative and true genre. With this first release, the band has started to establish a theatrical alt-rock sound that can be refined to great effect. Check out the album, and if you’re in the NYC area don’t hesitate to catch a live set! You’ll get something a little different than the album, and that’s a great reason to catch a live set.

    Key Tracks: Heart to California, What Did I Say, Bad Medicine

    https://soundcloud.com/user-362945912/bad-medicine