NYS Music 20​18

Tag: New Album

  • Hearing Aide: The Lionfish ‘You Won’t Keep Me Down’

    Fairfield University bred rockers, The Lionfish, sting. Their second studio release, You Won’t Keep Me Down, is as colorful as the marine fish itself. It’s packed stout with driving rock, intimate blues-ballads and sounds that delineate genres. The Lionfish cannot be defined, nor contained. You Won’t Keep Me Down sounds more like a greatest-hits rock party than anything else.

    the lionfish

    The Lionfish will be debuting You Won’t Keep Me Down Friday September 28 at Peaches Southern Pub & Juke Joint from 9:30 pm to 12:30 pm. The beauty and purity of the record will be preserved, performed in its entirety, amidst a non-stop three-hour set.

    “Our origins are not based on a pop single,” said frontman, Robby Schwartz. “We are all raised and influenced on the idea of an album as a whole.”

    The album’s title track “You Won’t Keep Me Down” is a full-fledged swamp tune. Heavy drums hold the band steady, as screaming guitar licks respond to Schwartz’s vocal chants. Each instrument speaks; arpeggiated keys, guitar and bass all crash into the bridge. Their energy is sharp and venom-like. Your feet won’t have a choice. Go ahead and try.

    “The album speaks to a voice in favor of loving your neighbor, instead of building walls. ‘You Won’t Keep Me Down’ was one of the first songs written. It is anthemic in its own way,” said Schwartz.

    “Dogs of Quito” is a more poetic take on rock n’ roll. Schwartz had been writing most of the songs while in Ecuador, volunteer teaching, as “a release from the normal working world.” Inspired by authentic Quito graffiti,  the tune has a recurring theme of Without Love Nothing. The desolate streets can be heard in Schwartz’s distinct ‘howls’ throughout the driving chorus.

    The dogs of Quito are howling / In a fight like there’s no tomorrow / The rest of the world is watching / In a trance of pain and sorrow.

    The Lionfish get intimate with “She Lifts Me Up.” The track is jazzy and soulful, opening with finger-snaps and backed by powerful female harmonies. Schwartz’s keys take off. The dynamic change reveals the subtle articulation of each instrument. “She Lifts Me Up” was also featured as  a NPR fan favorite, submitted as a Tiny Desk entry.

    Acoustic guitar sets the mood for “The Last Town,” with a southern air that makes the listener sway with the breeze. “The first five tunes are my favorite,” said Schwartz. “There were times on the record when I was writing from an outsider perspective.” However, “Some of the tracks date as far back as high school.”

    Other tracks stand out, such as “The Wall,” which features Schwartz on solo piano. “Love (Sin Amor, Nada),” becomes otherworldly, with clave ostinatos and a variety of percussion. “Untitled Blues,” concludes the twelve-track record, with a nine minute anthem of nonstop soul.

    “I think this show at Peaches will be a great opportunity for us to show off how proud we are. We are playing the album in its entirety, along with a bunch of covers. It will be interesting to play it live as a four-piece,” featuring core band members Chris Finelli (guitar), Mark Schwartz (bass/guitar/vocals), Robby Schwartz (keys/bass/trombone/vocals) and DJ Horstmann (drums).

    Key Tracks: You Won’t Keep Me Down, Dogs of Quito, Untitled Blues.

  • Hearing Aide: Turkuaz ‘Life In The City’

    Brooklyn’s own, Turkuaz, has released their fifth full-length studio album Life In The City. With a soundscape more vibrant than a rainbow, each track is crowded with intensity and expressionism. Life In The City paints the aura of a mundane, overstimulated world and bespatters the canvas with electro-funk graffiti. It’s infectious, luring ghost-walkers in from the darkest alleys. Once the nine-piece powerhouse entraps your mind, life as you know it, will cease to exist.

    Turkuaz Life In The City

    The title track, “Life In The City,” sets the stride with heavy isolated synths and layered upbeat guitar.  The pulse is familiar, like walking. Weighted four-on-the-floor kick drum echoes the mass of worn shoes, marching without question. Every step brings a new impetus. The overtones and decay of the drums juxtapose reality as they ring out through a suspended chorus. Choir-esque harmonies, punchy horn lines and random hi-hat splashes seem chaotic, but become increasingly cohesive

    “Life In The City  portrays a dark and dystopian future, or current city environment, full of over stimulus,” said guitar/vocalist Dave Brandwein. “It gets harder and harder to appreciate life. Blind in the spotlight and caught up in the hustle and bustle of the city. We want it to feel that way in our songs.”

    Collectively the album is a constant echo of life. From a willingness to try and “just letting it come out”, themes arose, like the reoccurring ‘city noises’ throughout the record. “Make You Famous” is full of funky-energy, bells and ambient percussion. Freeform keyboard leads squawk, reminiscent of Hancock’s Head Hunters. “The Question” becomes more airy and soulful, with predominant female vocals, but as it fades away, synth taunts us with a motif from the title track.

    Life In The City is the most elaborate Turkuaz collaboration to date, according to Brandwein. “If I Ever Fall Asleep,” was co-written with Baritone Saxophonist, Josh Schwartz, with driving energy. The record was co-produced by Jason ‘Jacko’ Randall of More Sound Studios in Syracuse, Rob O’Block of Nashville and Dave Brandwein in the band’s “home-base,” Galaxy Smith Studios in Brooklyn. Moreover, Jerry Harrison of Talking Heads produced “If I Ever Fall Asleep” at The Bunker Studios. “It definitely doesn’t hurt when an inspiration of the band, like Jerry, is on your side,” Brandwein confessed.

    In comparison to the daunting 24-track Digitonium, this release was boiled down to nine tracks. “All of those nine songs, I stand strongly behind,” said Brandwein. “ We actually recorded 20 songs. We will be trickling out material little by little, which is exciting.” Turkuaz will debut the new record on a upstate New York run in early October at The Westcott Theater in Syracuse, Town Ballroom in Buffalo and Putnam Den in Saratoga with Butcher Brown. The band is excited to make their first appearance at The Capitol Theatre in Port Chester with Cory Henry & the Funk Apostles on October 19.  

    “We’re drawing from an eclectic pool of music,” said Brandwein. For newcomers, check out Turkuaz’s latest in-studio video. “I think that song combines a lot of things into one. You can see our energy. It’s got the full package.”

    Key Tracks: Life In The City, Make You Famous, Lady Lovely

  • Hearing Aide: Roan Yellowthorn ‘Indigo’

    The color indigo is unique in pigment, featuring hues of inspiration across the color spectrum, while staying true to a rather dark disposition. Such is the feeling of the album released by indie pop songwriting pair Roan Yellowthorn, titled Indigo in its own right. You may recognize the last name of the band’s lyricist and lead singer, Jackie McLean, from her father, the great songwriter Don McLean. Following slowly in his footsteps, McLean and production partner Shawn Strack release their debut album with no outside assistance, honing in on their personal vulnerability and growth as songwriters.

    Roan Yellowthorn Indigo

    Supporting McLean’s buzzing vocal lines are a variety of instruments, including soothing piano lines, cranked guitar chords, and interesting choices of auxiliary percussion. The title track of the album is a clear example of this, switching from a soft section to a more abrasive rock interlude, with words of inner crisis to round it out. The duo also released a pulsing preview to the album with the single release of “Talk About It” earlier in August, with a unique video to go along with it. While this song may lead you to believe this album is dance-oriented, it surely isn’t. There are energetic surprises, but the album is about reflection, so the somber tone is an overarching theme of the album.

    The soft guitar strumming of “How Are You” to combat the forceful piano chords creates an inner conflict, a true testament to the band’s ‘indigo’. Arguably the best song on the 10-track album, entitled “Mark My Words”, is slightly out of place from the rest of the album, and ultimately sounds like a sweet serenade of inner despair. Being only about a minute and a half in length, McLean’s voice is filtered with some kind of EQ, giving off the sound of a voice through an old radio, to match the abrasive chords and feedback that resonate behind her.

    All in all, this first crack at audio production for Stack is above adequate, only to improve with the genres of music they tap into in future albums. As this group develops their style, the lyrics will follow, a musical choice that contrasts them at this moment. The group has a series of vignettes to inspire their lyrical creativity, and with some more work to strengthen the backbone of their sound, Roan Yellowthorn is sure to become a beloved duo in the indie pop sphere.

    Don’t forget to follow Roan Yellowthorn on her journey via her website and Facebook page. They’ll also be playing a show at the Bitter End in NYC on October 20th in celebration of their new release, Indigo.

    Key Tracks: Talk About It, Mark My Words

  • Hearing Aide: PEAK ‘Electric Bouquet’

    PEAK Electric BouquetPEAK combine the characteristic flair that a weathered live band brings to the table, along with the instrumental prowess and focus needed to capitalize on recording a studio album with an all-star engineer. Produced by Dave Brandwein (Turkuaz), this thirteen-track epic is aptly named Electric Bouquet for its variety of styles and poetic narrative arc. Vocalist and guitarist Jeremy Hilliard weaves a tale of existential breakdown and regrowth of a relatable narrator. Packaged along with a stellar instrumental backdrop, this album checks the necessary boxes for a song cycle washed in arresting psychedelic musings and jams. The band consists of singer-songwriter and guitarist Jeremy Hilliard, percussionist Dale Paddyfote, bass player Eric Thachuk, and organ/keys player Otis Williams. This album offers a staple sound that PEAK can use to differentiate themselves from an ever-growing list of funk/rock bands.

    Electric Bouquet highlights many aspects of the band’s dynamic approach to songwriting; from the poetic use of narrative to the transitions between songs that create the flow and feel of the album as a whole. From funk, to psychedelia, to folk, Hilliard is deft in his writing and grouping of the songs. The first track, “Barometric Pressure (Here Comes The Rain)” starts off with a heavy hand alongside a drum and bass groove akin to Bowie’s “Let’s Dance.” PEAK wears their funk influence on their sleeve for much of this album, showcasing the ability of the band to lock in on a groove and develop its melodic nuances until the song “peaks” (no pun intended), often with a grand guitar solo. Many of the tracks are built around a bit of a blank canvas that the group paints with aesthetic guitar layering, big Bonham-like drums, and new interesting rhythmic features (like the congas in track 11 “Nothing New Under the Sun”). Thachuk (bass) and Paddyfote (drums) have great chemistry throughout, matching the bass and drum parts to give each song a strong backbone while organist Williams brings color and flavor to the instrumentals, yielding room for Hilliard’s full-toned guitar solos to blast through the mix.

    As the album progresses, there’s a feeling of resolve in the lyrics with an emphasis on coming to grips with the predictable yet arduous nature of life and growing up. It feels like a coming of age story, referencing passing time and transitions from night to day, while simultaneously showing present growth of the narrator. Thematically, the album stays interesting. Instrumentally, the album not only conserves its appeal throughout while taking the listener on a psychedelic funk rock adventure, but also develops and changes as the songs roll on. There’s a gradual departure from the darker and heavier type of psychedelia early on (“Win Some, Lose Some”, “On the Grind”), to a more Grateful Dead or The Band folk rock/Americana feel (“Ballad of Wiley Jones”, “Mama’s Got A Lot of Love”). I would absolutely recommend giving this album a listen. From the production, to the actual performance of each song, it was a treat to look at each one of these baker’s dozens of tunes.

    Stream PEAK’s music here!

    Key Tracks: Barometric Pressure (Here Comes The Rain), Ride Through the Night, Feel Like Moving

    https://www.youtube.com/watch?v=s_WUa7wZXLI

  • Aqueous Discuss Tour, New Album and More at Cobblestone Live Music Festival

    On day two of the second annual Cobblestone Live music festival, three-fourths of Buffalo’s own groove-rock powerhouse, Aqueous, joined me amidst the celebration of music and art. Dave Loss (guitar/vox), Evan McPhaden (Bass), and Rob Houk (Drums) sat down to discuss their incredibly busy summer thus far, coming home to Buffalo, their new studio album, Color Wheel, and their upcoming, and most extensive fall tour yet.

    aqueous cobblestone

    Andy Hogan: Cobblestone Live is obviously a homecoming for you guys, but you’ve had quite the summer away from Buffalo, so far. Between Summer Camp, Mountain Music Festival, Disc Jam, Electric Forest and Peach, what have been some major takeaways from the tour?

    DL: One of the bigger highlights I think was being able to sell out The Bluebird Theater.

    RH: That was a huge highlight of the summer. I think a good rule of thumb is never expect to sell out, and when you’re not in a hometown scenario, you never know what’s going to happen.

    AH: But in Denver, that’s kind of just the scene, right? People just get out and go to see music.

    RH: I feel like it’s become a second home to us. The response to music out there is just something you don’t see…like, every night there is just a banging show.

    AH: And you see those weird kind of pockets even locally, right? Ithaca, for example, has tons of people getting out to see music on a Friday or Saturday night. Where else do you guys see that?

    DL: Burlington, VT for sure.

    RH: Omaha!

    DL: Yeah! Omaha, Nebraska we’ve had three really good experiences. Once with Papadosio, and twice at the Reverb Lounge.

    RH: People go nuts in Omaha…they throw down.

    AH: Coming back to Buffalo for Cobblestone must be a special occasion. Particularly for you, Dave and Evan, having grown up here. To see this area transform, could you have imagined this would be happening even a few years ago?

    DL: No. Even the whole city in general from ten years ago has seen such growth in a positive way. Like you said, this whole area was not a thing, the whole Canalside area was not a thing, so it’s really nice to see all of this happening.

    aqueous cobblestone

    AH: From what I read online, your first time ever playing down here was not too long after Iron Works opened in 2014…is it safe to say Iron Works is your favorite spot around town?

    DL: It was definitely a huge place for us to continue to grow in the city. Josh [Holtzman] obviously runs it, and he’s our homie so it’s been really nice. Even more than that, it’s helped bring a lot of great music into the city…a lot of other acts that hadn’t really been coming to Buffalo prior to it being open.

    RH: It’s a good spot for a mid-level band…they treat you like a king. It’s not just a great spot to play, they also understand what it’s like to be on the road. At the end of the day, when you treat your musicians well, they’re going to play better, your patrons are going to be happier…it works all around.

    EM: It’s definitely a music venue for musicians. Josh actually used to manage us and would come on the road with us. So he’s seen all the venues we’ve been to and knows exactly what he wants for Iron Works.

    AH: Now, there’s something new in your live set that I noticed last night. I saw that both you (Dave) and Mike [Gantzer] are now using PRS (Paul Reed Smith) guitars. How does this affect you sonically?

    DL: Haha, he’s finally seen the light! I love those guitars. What’s cool about his, and mine does it too, but you can coil tap. So there are two humbuckers on the outside that can go between single and humbucker, then there is a single coil in the middle. Plus it’s a bolt on neck, all that adds that like Fender Stratocaster snap that you can get. So he can still get that single coil, fatty-strat kind of sound with that guitar, but he can still get the rippin’ leads with the humbuckers.

    Shortly after this interview, Aqueous announced both Mike and Dave are now officially endorsed by PRS guitars.

    aqueous cobblestone

    AH: Evan, while we’re on the topic of gear, what can you tell me about your bass?

    EM: It’s made by a Polish company called Mayones. Our friend Ryan has one, and I got to play it for a weekend and I fell in love with it. It’s deep, but still bright at the same time. I run it through a TC Electronic Blacksmith…I think it’s 1600 watts, which is, a lot. I also have a 6×10 Ampeg Cabinet.

    AH: Rob, I don’t know anything about drums, but I am curious what kind of kit you play; what are your preferences?

    RH: My kit is a Gretsch Renown Maple with a Pork Pie Lil’ Squealer Snare, which is also kind of weird because I play a 12” snare as my primary. Cymbals, I break them so often that I just try to find something that sounds good, usually used.

    AH: It’s funny, most drummers will tell you they prefer used cymbals. Like in the Phish documentary, Bittersweet Motel, Jon Fishman has a room just filled with old, somewhat beat up cymbals.

    DL: I randomly watched that clip the other day for some odd reason!

    RH: Yeah, some of that stuff really builds character. Like having dirt, and just the grit and oil that gets on them. Some drummers like to clean them until their just shiny all the time…I don’t know, I think that might do them a disservice — that metal is there to develop, it’s part of your sound, part of your tone

    AH: Now the new album [Color Wheel] will be your first studio album since the Best in Show EP. You guys recorded at GCR again, right?

    DL: Yep, with Justin Rose.

    AH: When I had Mike on the podcast, he had said that you guys studied a lot of musicians and artists, not only their music, but also the way they actually recorded. Who were some of those artists?

    DL: Steely Dan was always a huge influence.

    RH: I think we were also looking at some late 90s hard rock albums…some Incubus type stuff.

    EM: Even pop material, as well. I feel like in albums in the past, the way we mixed background vocals were kind of loud. I feel like on this one we had more of a lead singer kind of sound. The Beatles, for example, do a lot of very full harmonies that are always upfront.

    DL: Yes! I always love listening to The Beatles before we go into recording…there’s so many interesting mix choices, tones, ect.

    AH: Well in addition to the new album, your fall tour is coming in quick. Is this the biggest headlining tour to date?

    DL: Yes — we’re really excited. We have a lot of great support on it too; Mungion, Heavy Pets, Goose, and Elm.

    AH: Super exciting. I saw that September 7th you guys will be back at the Utica Brewery with moe. What an honor to play with them, and all these bands you get to play with.

    DL: Yeah doin’ another one with them and getting to play with Umphrey’s again in October.

    EM: I think the last couple of years, we’ve been very lucky to be put where we have been…and we’re very grateful.

    Aqueous kicks off their fall tour Friday, September 7th in Utica, NY with moe. at the Saranac Brewery. For tickets, all of Aqueous’ fall dates, and to pre-order their new upcoming studio album, Color Wheel, visit aqueousband.com.

  • Interview: Roan Yellowthorn is Back with New Music and to Talk about Their Growth

    Since last speaking with Jackie McLean nearly a year ago, she and her partner, Shawn Strack have grown tremendously as musicians. They are known as Roan Yellowthorn – an indie pop rock duo. Shawn, who had never been involved in musical production before, is the main engineer and instrumentalist on the upcoming album, Indigo, which is set to be released later this month.

    Roan Yellowthorn

    Their latest single, “Talk About It” is their audience’s first sneak peek as to how the album will sound. This song is a beautiful take on an unresolved relationship as it winds you through a journey both lyrically and melodically. It has a catchy chorus that will remain in your head long after listening to the song.

    My last discussion with Roan Yellowthorn touched on many of the overarching questions regarding her musical influences and the power of a song. This time around, we delved a bit deeper into her artistic development and how this is reflected in her upcoming project. Read more about Jackie and Shawn’s journey below.

    Sammy Steiner: After listening to “Talk About It,” it was clear that Roan Yellowthorn headed in a new sonic direction. Can you talk about how you have grown since “Child in Chief” and your self-titled EP?

    Jackie McLean: The songwriting process has pretty much remained the same except this time I am making a conscious decision to be more honest in my lyrics. The main difference between my last project, (which was made in 48 hours) and Indigo is not only the time we put into it but also the overall production of every song. On this album, my partner, Shawn and I worked very closely to create the entire album ourselves. Shawn used to be a video editor but had never been involved in production before working on this project. The nature of our relationship made our collaborative process extremely complimentary. He knew how to take my abstract concepts and turn them into a reality. Additionally, since we did everything ourselves we were able to go back and tweak every song until we felt it sounded perfect.

    SS: As a follow-up, what has this past year looked like for you guys in terms of the work you put into creating this album? Where did you draw most of your inspiration from?Roan Yellowthorn

    JM: I am constantly writing songs so by the time I started recording Indigo, I already had the majority of the album written. We spent about one week recording in Upstate New York during August and then the following three months were focused on intense mixing and producing. Shawn played every instrument on the album with the exception of the piano which I played. I would say that the biggest difference since our EP is that now we’re doing everything together as opposed to before when we outsourced most things.

    SS: What are some goals you have for the upcoming album and tour?

    JM: My main goal is to bring our music to more people. I really enjoy being able to interact with the audience and hear their opinions in person. We are currently working on putting together a setlist, which will most likely consist of the entire Indigo album as well as a handful of songs from past projects. We are also excited to be experimenting with the drum pad on stage to enhance our live performances by recreating some of the sounds you will hear on the album.

    SS: I had the privilege of getting a sneak listen to the album – for everyone else, can you tell them a bit about what they can expect?

    JM: This album is very personal and very emotional for me. It came together really organically as I kept writing songs to process my feelings. It is an extremely sincere album and I honestly don’t know if I’ll ever be able to write another album like this one. I dug so many emotions out of my soul but now it feels like I’ve shed a layer. I hope that everyone likes it!

    SS: What was it like for you, Shawn, to produce this album having never done this kind of work before?

    Shawn Strack: I used to work in film, media and television so I had a basic understanding of the software and the editing process. After having many conversations with Jackie, I understood her vision for the album and was confident that I could translate those ideas into the music. To give you an example – she once said to me that she wanted the title track “Indigo” to sound as if she was flying through space with stars exploding around her. I added a post rock influenced guitar under the verses while she played the piano and put drum and guitar layers during the chorus.

    SS: Finally, what does the word ‘indigo’ mean to you and to this album?

    Shawn: The color indigo is present in the colouring of the sounds on the album. It can be dark but there are moments of brightness.

    JM: The last song I wrote for the album was the title track, “Indigo.” This song really encompassed the idea behind the entire album and I had really strong instinctual feelings that the album was done once it was written. Afterwards, I came to find many more meanings behind the word as it is also a feeling, color, mood, idea, etc. I finally had a name for the feeling.

  • Hearing Aide: Cory Wong ‘The Optimist’

    Cory Wong "The Optimist"
    Cory Wong “The Optimist”

    Cory Wong is rebranding what it means to play rhythm guitar. Though it’s often regarded as less expressive than lead guitar, Wong has evolved his own unique style illuminating the magic beyond the melody. He’s recently released his first full length solo project, The Optimist, after his 2016 EP MSP, Part 1. He took some time to chat with NYS Music about the new album, the adorable meaning behind “Juke on Jelly,” and why he continues to confuse (but also impress) people at his shows:

    Ally Dean: Have people been responding well to tunes off the new album during this tour?

    Cory Wong: It’s been great! I’m surprised- oddly enough I did not bring enough records. I’ve sold three times as many albums as I expected as far as physical merch. It’s a great metric- people are receiving it even better than expected.

    AD: That’s so exciting! Speaking of people digging your music, some have referred to you as a “rock god.” Does that do anything for you or do you kind of just shrug it off?

    CW: Yeah, I mean we all have an ego and people stroking your ego and saying insanely complimentary things is very flattering, but it’s also really funny. People know me as “rhythm guitar god” which is a rare thing. When people see a guitar show they expect to see shredding solos and insane scales. So what’s challenging for me is figuring out how to uphold that title but not be “shredder guy,” but playing in a very groove and feel-based way.

    I’ll do all my guitar fireworks but they’re very different. They’re clean, direct and rhythmic guitar. So people will come up to me say that [guitar god] phrase, but with a confused look on their face.

    AD: You’ve collaborated with a lot of different people. Does the dynamic usually involve a sense of shared learning or are there a lot of musicians out there that feel more their way is the right way and they aren’t as open to learning and improving from their peers?

    CW: In general the vibe I try to set up is one in which people feel they can contribute. For me it’s all about the artistic endeavor of it, regardless of whether it’s a business venture. It’s about the art and the craft. Of course I have a radio sensibility because I’ve played in a bunch of bands that have been on the radio so I have a good sense of what is radio friendly and that influences what I do but that’s not the goal.

    So when I collaborate with someone like Robbie [Wulfsohn] from Ripe or Antwaun [Stanley] I say “we’re going for this energy.” Antwaun and I are so close almost like brothers at this point from touring together with Vulfpeck for the past few years. When we get together to write there’s a lot more of a relationship there, it’s not about writing something to pay the bills. Most of the people I collaborate with are guys that have a mutual respect for me. I surround myself with people I enjoy being with. That’s part of the recording process too. Everybody is making themselves very vulnerable with what they’re doing, so you have to have that mutual respect.

    AD: And speaking of Robbie, I was excited to see you collab with him on “Light as Anything” because Ripe is one of my favorite bands right now. I saw them play in Rochester last year and loved them so much I saw them in Syracuse the next weekend. I think the structure of that song compliments his vocals really nicely. How did you choose him for the vocals?

    CW: While I was producing their record, I realized in the process Robbie is legit! And the whole time I was producing their record I had this little selfish wishbone in my rib cage goin’ “you need this guy for your record.” So we had to come up with the right tune because we both wanted to feel good about it. For them, they have such an insane live energy, as you know. The thing about producing that band was how to get that live energy in the studio. What they’re going for is a somewhat more straightforward, radio friendly thing. Robbie and I were talking a lot in that realm and about lyrical concepts for his record, and he had this one idea that didn’t quite make sense for Ripe, so we decided to put it on my record. So it was a lot of fun. And our writing process was a lot of back and forth through voice memos, sharing lyrics and melodies. It was when I was on tour with Vulfpeck and he was on tour with Ripe and then we met up in L.A. to actually record it.

    AD: I love when musicians I adore collaborate on projects. It makes my heart so happy.

    CW: That’s awesome and that’s part of the community thing too. We find time during touring to make it happen. It’s been fun to kind of be one of those community connectors. It does come full circle and the community is not as big as people may think. It is huge but there’s so much interconnectedness.

    AD: I was wondering about another song on the album. The “Juke On Jelly” tune is quite fun. And KATIS [pronounced kaytis] repeats this line really quickly and I can’t quite figure out what she’s saying…

    CW: It’s “Oh my little jelly, get up on the telly.” There are kind of two stories to it. It’s the story of a person trying to audition for a TV thing that didn’t feel the confidence to do so and it’s an encouragement to them. I have a friend whose name is Jellybean and he plays a Telecaster. Jellybean is the drummer from Morris Day and The Time. He’s also a Minneapolis legend and shreds on the guitar. I used to pay guitar with Dr. Mambos Combo, it’s like a house band at a club in Minneapolis. Jellybean would come up and play guitar and it was a Tele. So the song is also kind of asking him to come up and play, but it’s mostly about a person who wants to audition and they’re afraid but they know it’s what they’re meant to do.

    AD: That’s absolutely adorable. So who would you still love to collab with whether they’re alive or dead?

    CW: There’s a handful. I’d love to play with George Benson, a legend guitar player. Always wanted to play with the guys from Bela Fleck and the Flecktones. Seeing them in high school split the door wide open for me to say, “Wow, this kind of music can be done and people will like it. You can have stuff that is both complicated and simple at the same time.” Seeing them was transformative as a musician. Chris Thile is one of the greatest musicians to ever live. He’s a mandolin player. Brad Mehldau is a jazz piano player I love.

    A lot of people I really wanted to collaborate with I’ve already worked with. I wanted to work with Nate Smith for a while and then we did the Fearless Flyers record and now we have a band together. It’s amazing.

    I went to school for science. It was a real leap of faith to choose music as my profession. I knew it’s what I was supposed to be doing with my life. My friends all knew it. Without being too Christian about it, but that’s my background, but I really felt like that’s what God was telling me to do and I still really believe that.

    And now I’m in a band with Nate Smith, the most insane drummer of our time. It’s an amazing reminder that I’m doing what I’m supposed to be doing but also a serious reminder to keep doing it well and treat it with valor. Now that stuff is happening for me, I can’t get lazy, and have to work harder.

    Review: The Optimist is a fitting title to describe both the overall attitude of the album and Wong’s buoyant demeanor. Every song’s distinctive character still brightly demonstrates how Cory Wong is redefining the “guitar god” persona. “Jax” animates the album to life with a sharp infectious rhythm that stimulates the brain, buzzing like the most welcome alarm clock signaling dance time.

    “Jax” is felt more in the brain, but “Light As Anything” is felt more in the heart. Robbie Wulfsohn’s vocals mixed with elegant and thoughtfully placed guitar synthesize so well. “91′ Maxima” grants listeners some of that quirky sensibility that may be familiar to Vulfpeck fans with some viscous, drool worthy guitar work. “Jumbotron Hype Song” opens with thirst quenching bass from fellow Minneapolis musician Sonny T along with surprisingly poppy vocals from longtime collaborator Antwaun Stanley, combining to create a really interesting spread of highs and lows.

    It’s impossible not to smile during “Sitcom” which employs a comically contrived laugh track throughout an already very cheerful tune with happy horns and a ton of momentum. British singer KATIS and German musician Marti Fischer on the clavinet (which is famously and very prominently used in Stevie Wonder’s “Superstition”) come together for “Juke On Jelly” which is an incredibly feel good anthem of encouragement. The title track “The Optimist” is a classy instrumental that rings truest to Wong’s style without being too whimsical. He geniously used the studio recording as a platform requesting famed sax player Dave Koz to make a cameo on the video and IT WORKED (see link above). The album ends with “Massive Action” which brings that heavy bass back with mischievous horns and heavier more lethargic approach that’s just plain cool. The Optimist is available for purchase all over the Internet. Get your copy now!

    Key Tracks: Light As Anything, Sitcom, The Optimist

  • Hearing Aide: Circles Around the Sun ‘Let it Wander’

    CATS are back! Circles Around the Sun will release their second instrumental project August 17, shorn from the pretense of set break music like their first album, Interludes for the Dead. The four-man fellowship is guitarist Neal Casal and keyboardist Adam MacDougall (bandmates in the Chris Robinson Brotherhood), bassist Dan Horne (Jonathan Wilson, Grateful Shred) and drummer Mark Levy (We Dream Dawn, Bonfire Dub).

    The seven-track double album jumps right into the eight-minute “On My Mind” with comforting undertones CATS fans adore, but shedding the lethargic nap time vibes to reveal energizing velocity.

    Chuck D of Public Enemy introduces the second track “One For Chuck,” after hearing CATS record at Castaway 7 Studios, digging their sound, and agreeing to make a cameo on the song. The ensuing low key dance groove offers effects with an uncanny likeness to cats meowing but still pleasantly tickles the ears. You don’t have to like cats to like CATS.

    “Immovable Object” embarks on a sultry trajectory, followed by the near 20-minute “Halicarnassus,” which beckons the listener with another contagious progression, slowly darkening in tone, possibly dragging some listeners into the rabbit hole of their own consciousness without drowning in the abyss. The constant gentle beat is the life preserver that keeps the listener afloat. Casual references to the Beatles love song “Something” add a comforting familiarity.

    “Tacoma Narrows” hits hard with soulful guitar, while the sprightly nature of “Electric Chair (Don’t Sit There) is accomplished with the addition of hand drums. “Ticket to Helix NGC 7293” (an actual nebula in our galaxy) rounds out the album with a feelgood beginning that over the course of 20 minutes devolves into a plasmic soundscape fit for a horror film. Gentle guitar breathes life back into the song to end the album on a high note.

    The experience start to finish is satiating. When jams can be overwhelmingly heavy or too loose and disconnected, CATS swiftly navigate the sweet spot in between. They create songs that have just the right amount of weird to intrigue music junkies but still appeal to a wide audience.

    Let it Wander is an album perfect for those looking to add more tunes to their chill party mix. The album title is a fitting name for the project which includes two near 20-minute tracks that truly allow space for the band to wander with their work, and for the listener to wander with them.

    Catch CATS for one of their small hand full of tour dates while you can! Pre-order the album here!

    August 22 – Asbury Park, NJ – Wonder Bar
    August 23 – Brooklyn, NY – Brooklyn Bowl
    August 24 – Ardmore, PA – Ardmore Music Hall
    August 25 – Burlington, VT – Higher Ground
    August 26 – Pine Plains, NY – Huichica Music Festival

    Key Tracks: One For Chuck, Electric Chair (Don’t Sit There)

  • Hearing Aide: The Big Sip ‘Sip Responsibly’

    America is in the midst of a funk revival and no place is currently funkier than Middlebury, Vermont. Home to The Big Sip, this town has helped the quartet grow their sound since they met on the Middlebury College campus in 2016. With Evan Mercer on the drums, Jack Cattabiani on the bass, Nick Schrope on the keys and Matt Dienar tackling the vocals and guitar, it’s easy to see why they have gained such popularity over the last two years. 

    This past June, The Big Sip unveiled their 2nd release, Sip Responsibly, their follow-up to 2017’s debut EP, Music for Clapping. This fantastic album starts with an immediate gem titled “The Worst of It”. On the first listen, the Elton John and Zappa influences drip out of the speakers but that similarity doesn’t do the track justice. This bubbly lounge song grows on you immediately with its slow crawling groove and sharp beat. 

    Following this is “Midnight Snek”, which sounds like a track from Sonic Spinball, my favorite 1993 Genesis game. When the band plays together, it’s organized cacophony with the guitarist’s high notes bringing the track to a whole new level. This song is very fun in a Richard Cheese kind of way and has a plucky solo to end the jam in this track. Jack really sets the stage for the third track, “Skucking Funks” with his infectious bass line.  Matt balances the vocals incredibly well with his guitar in this song and Nick’s synthy goodness is really apparent in the chorus. Overall this song has a rhythm to it that immediately gets stuck in your head as soon as you hit ‘Play’. 

    The second half of the album begins with “Parking in the Parking Lot”, which takes the mood down a notch with its soulful verses and emotional chorus. The guitar in the intro sounds like rays of sunshine peeking through the clouds while the beat drifts along like a summer breeze. The jam in this song is equally impressive when it takes a little walk, building up more and more before shimmering and diving back into the vocals again. 

    “Two Hips / One Night” starts off with some spooky synthesizer before the band kicks into the groove you’ve come to expect with this album. This song has a lovely mix of different styles and also features a spectacular saxophone solo from Jack to end the track. 

    The Big Sip concludes this album with a truly magical rendition of “Valerie”, the Amy Winehouse classic hit. The track itself starts off slow and unassuming with a lovely organ solo but grows as the first verse unfolds into the famous chorus. For a band that started out covering Vulfpeck tracks, it’s really nice to see them return to form with a cover of this caliber. 

    Sip Responsibly is a magnificent release from the Big Sip and an impressive follow-up to last year’s debut EP. Do your ears a favor and check them out on Bandcamp.

    Key Tracks: The Worst of It, Midnight Snek

  • Hearing Aide: Jeremy Discenza ‘Hearts As Vessels’

    I’ll be the first to admit that it took me a few listens to understand Hearts as Vessels, but I’m curious to hear more from its curator, Jeremy Discenza of Chittenango, New York. The new EP went live 28 April, 2018. First impression is that Discenza is formidable as a musician — he single handedly performed all instruments and vocal parts. Between interlocked, glassy guitar lines, 80’s horror movie soundtrack synths, and escalations to some heavy metal, we end up with a lot to think about. The music takes flight off the strength of influences characteristic of multiple genres, but most notably present is alternative rock. Fans of Stellar Young, Cymbals Eat Guitars, and La Dispute will likely appreciate many aspects of this melodic work.

    While this EP is a generally strong debut, its vocal production leaves room for improvement. This is not to say that Discenza can’t sing — he obviously is competent — but his potential certainly is not realized in this iteration. Track 1, “Burning Up the Night,” features a soaring, sing-along-able chorus, but it’s verse melodies would welcome a second opinion. Needless to say, Discenza stays introspective and nails down meaningful and conceptual lyrics in all songs.

    Hearts As Vessels has a lot of other great things going for it: track 3, “Destroyer of Worlds” includes twisting verse melodies and a driving chorus while remaining catchy and chaotic. “Destined to walk this Earth, created to watch it burn, is this all I am?” Discenza asks. This track stands out as the highlight. Additionally, the track listing on the album ushers the listener through a journey. The EP finishes off with “Goodnight and Goodbye Forever” whose guitar parts tie the album together thematically. In general, Hearts as Vessels does a standup job experimenting with multiple musical genres while keeping my ears tuned in — this is difficult for any musician to do and should be commended. If this is just the first release, I’m curious to see what other music Jeremy Discenza comes out with and how his abilities grow over time. In the meantime, I definitely give Discenza credit where credit is due.

    Hearts As Vessels is available for streaming on major platforms such as Spotify, Apple Music, and BandCamp.

    Key Tracks: Goodnight and Goodbye Forever, Destroyer of Worlds

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