NYS Music 20​19

Author: Dave Ostroff

  • Hearing Aide: Ernie Haase & Signature Sound ‘A Jazzy Little Christmas’

    It’s no easy feat to make a Christmas album stand out these days. There’s a lot to choose from and they all tend of blend into each other. Even original songs can have a tough time climbing the charts, except for Mariah Carey’s “All I Want For Christmas Is You.” No one will ever understand how that song got so popular. Regardless, Ernie Haase & Signature Sound have put together A Jazzy Little Christmas, a unique collection of Christmas classics with a twist as well as original scores that are sure to turn a few heads.

    What’s more, they follow the holiday spirit by vowing to donate a portion of the proceeds to New York Cares’ Winter Wishes program – a branch of the New York Cares group that is dedicated to providing gifts to low income families.

    A Jazzy Little Christmas

    Ernie Haase & Signature Sound is an Emmy-nominated southern gospel quartet stemming from all over the country. They’ve released a copious amount of albums over the years, but this album is their first Christmas album in a decade and it brings that classic, magical, warm Christmas feel that has transcended time. 

    The album is filled with a variety of classics such as “It’s Beginning to Look A Lot Like Christmas,” “Winter Wonderland” and “Mister Santa.” They’re chock full of rich, bold brass instrumentation, swirling strings and, the cornerstone of the group, the unbelievable chops of Ernie Haase, Devin McGlamery, Dustin Doyle and Paul Harkey. Together, they created some otherworldly harmonies and sounds that are warm and inviting, perfect for this time of year. They also created some original tracks that Haase hopes will become holiday classics. In his online bio, Haase tells a heartwarming tale of how his original, “Christmas in Manhattan” came to be. 

    “New York City is a very special place for me and my wife, Lisa. We’re going on 30 years of marriage, and one of the things we started doing when we first got married was going to New York and doing a Broadway blitz, especially at Christmas time. We would get there and just look at the lights and take in the city, so I wanted to write an original love song about those experiences.” 

    It’s a sweet tale that makes the song more sincere and unique. This authenticity, coupled with their charitable nature, makes this an underrated album. So fire up the yule log on your TV, spike the eggnog and fall into the holiday spirit with this in-depth and unique album. Stream it on Spotify, iTunes, or download it on their site.

    Key Tracks:  Winter Wonderland, Mister Santa, Christmas in Manhattan

  • Hearing Aide: Ian McCuen ‘Songs of Fleeting Permanence, Vol. III’

    Curl up, get warm and fall into a world of self discovery, an introspection that Ian McCuen has created. McCuen of Buffalo will release the third installment of his album, Songs of Fleeting Permanence, on November 22, once again capturing a daunting but beautiful atmosphere that anyone can relate to – the feeling of confusion and self exploration that we have all felt at some point in our lives. 

    McCuen has created these last three albums virtually by himself, in his bedroom using using only a laptop, two microphones, and every instrument he could find in his house. His ability to create such an impressive and professional sound under these conditions is jaw-dropping. Yes, technology can give anyone with a computer an opportunity  to reach stardom, but it takes a certain level of creativity, wisdom and soul to do what McCuen has done. He created feelings and sensations that people can relate to lyrically, but most impressively, instrumentally. The timbre of every instrument is ideal for the melancholy mood devised; it brings the whole thing home. 

    A genre like this, with such small orchestration of instruments, can become redundant. But each of the 11 tracks are truly unique, despite using minimalist chord exploration. Defining each track is a well balanced use of major and minor sounds, a colorful use of picking and strumming styles as well as unique percussion choices. The oscillation between these stylistic choices result in an album you can listen to all the way through. There is one thing that could use some balancing; the instrumentation can over power McCuen’s voice at times. When the lyrics are this deep, it’s important to embellish them with a bit more annunciation. 

    When McCuen composed a song as enthralling as “Buried At Sea,” filled with immersive instrumentation and builds, it overpowers his voice. But when you hear McCuen’s deep lyrics, “..bury me at sea, there’s nothing left for me,” it sucks listeners into the storyline, searching for more. In less complex tracks like

    “Don’t,” you hear his wispy, spine-tingling voice speak:  “Don’t want your pity, don’t want sympathy, don’t want your advice on how I’m supposed to be. Don’t need constant scrutiny, don’t you know this is all just chemistry.”

    “Don’t,” – Songs of Fleeting Permanence, Vol. III

    We hear more very honest lyricism in “Giving Up.” “I give up so easily. I can’t seem to follow through with what’s required of me. When I quit on everything else. It’s only a matter of time before I quit on myself.” It takes courage to listen to. These lyrics are revealing and personal, another reason why this album merits respect and attention. 

    This style of music is hard to swallow sometimes. Listeners will need to be in a similar mindset of McCuen’s trials, relating to being twenty-something. If not, the album will draw you to that space. But, we could all use a little self reflection, and listening to someone else’s troubles can bring us some peace, knowing that this was McCuen’s creative outlet that allowed him to work towards a place of homeostasis.

    Key Tracks: Buried At Sea, Don’t, Love Lost, No. VI

    Give Songs of Fleeting Performance a try on November 22 with Soundcloud, Spotify and Bandcamp. In the mean time, listen to the single off the album “Love Lost, No. VI” on his Bandcamp page.

  • Hearing Aide: Holly Bowling ‘Live at the Old Church’

    The mark of an incredible jam band performance is the groups’ ability to be relentlessly creative. When four or five members work in unison to create, explore and build, we are gifted with a sonic adventure filled with memorable moments that can last a lifetime. It’s something only a gifted few can accomplish together. But for one person to achieve this – a full bodied musical excursion with moving parts and emotion – is the mark of a true virtuoso. Holly Bowling does just this as she blesses us with one of the most exotic ideas of what a cover could be, cultivating years of music and experience into one instrument, one voice, in one night, on Live at the Old Church.

    Live at the old church

    She has finally released her first ever live album, which is odd considering her track record of live performances and the genre she has based herself in, but it was absolutely worth the wait. Read our past articles about Holly and her performances to get a better idea of her impressive background and experience.

    Over the course of two and a half hours, we hear her interpretation of well known Grateful Dead and Phish songs, using nothing but her imagination and a stupendously recorded grand piano which was all complimented by the crisp acoustics of The Old Church Concert Hall in Portland, OR. Her ability to explore different emotions and attitudes is astounding.

    Bowling flows effortlessly through “Mountains in the Mist,” emulating Phish’s airy jam with appropriate flair, courtesy to her classical background. But counter to her upbringing, she absolutely nails energetic and experimental tracks like “Slipknot! / Franklin’s Tower” and “Let It Grow.” Her relentless builds and solos are infectious and memorable. 

    The album is hard to sum up. Everyone will take away something different from it, as is the case from any live show. What is arguably most impressive is her ability to catch the listeners ear from minute to minute and track to track. One instrument covering one style of music is bound to become monotonous, but Bowling does the impossible and tours audiences through her interpretation of these pivotal tracks. 

    Bowling will continue to share her prowess with fans in a number of upcoming shows including, The Linda WAMC’s Performing Arts Studio in Albany, on September 11, Le Poisson Rouge in Manhattan on September 14, and the Ghost Light: Borderland Music Festival in East Aurora on September 22. The album is available on Spotify and Apple Music.

    Key Tracks: Mountains in the Mist, Slipknot! / Franklin’s Tower, Let it Grow.

  • Hearing Aide: Vaporeyes ‘Self Titled Album’

    Just try not to dance when listening to this album and your body might just spontaneously combust. Groovy, tight, spacious, perpetual – all things that describe the Vaporeyes‘ third crack at a full length jam/progressive rock album. The group first joined forces in Syracuse in 2010 and has evolved into a well oiled, dance inducing machine, consisting of Jonas Niccolson on keys and vocals, Shannon Zory on bass, Sean Cadley on drums and Pat Tierney on guitar.

    This time around, they’ve brought in a much fuller, spacier sound that is sure to set any dance floor ablaze. Vaporeyes said it themselves ,they are going to, “…breakout onto the jam scene,” according to their press release. Which they have done. They also say they “have put a lot of work and thought into creating an immersive and unique sound and live show.”

    Every track on here is exactly what listeners would expect out of a modern jam album. Catchy hooks, floor-on-the-floor drums, spacey guitar and elaborate solos. But the thing that really separates them from other groups is their vocalist, Niccolson. His sultry pipes are a perfect fit for this new direction. It’s something that seems to escape the scope of a jam bands formula. But arguably, vocals are not the cornerstone of what makes a good jam band – hooks, builds and drops do.

    Let’s look at “Quip Stash.” It checks all the instrumental boxes. We’re thrown right into it with a quirky hook featuring a very prominent, an obese synth working in junction with stupendous guitar tone, that soon combusts into a wide open space for everyone to toy around with. But we’re left in a trance and feel nothing special until Niccolson sneaks in with some lyrics that wrap through the air, breathing new life into a well executed jam song. It’s very well done but it’s not groundbreaking as the band suggests. We see a lot of similarities in “Phantom Pains” as well.  Everything is tasty, groovy and catchy but the groups attitude can easily be lumped into most aspiring jam bands. 

    “Stay” releases a new variety of tones and genres, mainly consisting of blues and rock, laced with psychedelia. It’s a crisp jam with fun hooks and grooves. Once again, we get another taste of lush lyricism from Niccolson which adds unique flavor to the song, but it drops off again after the groups starts to solo. We don’t see much a build and it doesn’t leave much to the imagination in terms of what they might be like live. But, like most jam bands, they feed off the energy from a live setting which fuels creativity and the ‘in the moment jams’ they speak of in their press release. 

    It is not easy to be different in a music scene that is so over saturated. If you like the formula, hooks, upbeat riffs and extensive, experimental solos, than you should check out the album and go see them in a live setting. They are seasoned musicians with tons of experience that will make for a great show. Get to know their prior work on their Bandcamp and Spotify page and keep on eye on their Facebook page for upcoming events. So far, fans can catch them and Funk N’ Waffles on July 27, the same day that their new album us released.

    Key Tracks: Stay, Quip Stash, Phantom Pains.

  • Hearing Aide: Stella Hill ‘EP’

    Sit back, unwind and enjoy the sounds that modern American music was built upon. Stella Hill has created a soft, personal collection peppered with the quintessential sounds of what made Americana music so influential. Listeners will find everything from alt-country rock with a 90s vibe to tasty New-Orleans jazz in their upcoming EP release, available Monday, June 10.

    Overall, we have a very diverse EP. It’s somber but also calming and complex. Group founders, and husband and wife, Josh Massicot (keys) and Liz Ristow (violin) write songs inspired by Bob Dylan, Randy Newman, Norah Jones, Jackson Browne and many more. Listeners will find angelic harmonization from the lead vocalists and perfectly balanced, blended instrumentation throughout the entirety of the album. Stella Hill has created a familiar sound and has managed to add a unique flair thanks to an eight-piece orchestra. String sections fill in the gaps and breathes an etherial flavor to a time tested Americana sound. Tracks like “Gold” and “Tupelo” are solid when performed by a three piece band, but really come to life with help from a set of strings.

    These tracks aren’t something listeners should pick apart. Something so soft, well produced and blended should be taken at face value. Stella Hill has created a simply pleasant, bitesize atmosphere that just about anyone can enjoy in the right setting. They album drops next week and will be available for download on their Bandcamp page, but you can listen to the single, “Fifteen” right now.

    Key Tracks: Gold, Tupelo, Faded at the Seams

  • Hearing Aide: International Orange ‘A Man and His Dog (For Gaku)’

    Losing ones you love stirs up a plethora of emotions that can be hard to process. But confronting the loss head on can be the best way to continue living your best life, the way the deceased would want you to live your life. For International Orange, that meant finishing their sophomore album without their beloved bassist, Gaku Takanashi.

    international orange

    But they pushed through and created a diverse and well executed album. Listeners will find flavors of afro-beat, soul, rock and psychedelic funk, all cut with the jam band flavor we know and love. Although Takanashi did not see the publishing of the album, he did have his hand in nearly half of the songs on the collection.

    In short, everything on here is clean, tight and tasty. Arguably, there’s not really a bad song on here. It’s was even sitting in the No. 7 spot on the Roots Music Report chart when it was first released. You can find it there now, but just a few spots lower in rank. No matter though, the album is still fresh and delicious.  

    Listeners will find a recognizable, contemporary jam sound in “Keep the Blue Side Up” and “Freight Liner.” Unique grooves, time signatures and quirky solos are uplifting and plain fun.

    More experimental tracks like “Olinda” and “Sookie’s Roomba” contain touches of latin polyrhythms and open-ended jazzy instrumentals. It reminds listeners that this group is peppered with highly experienced musicians who have played with the likes of Keith Jarrett, Sting and Chris Potter. The companionship and camaraderie within “Olinda” is particularly fascinating. The groups manages to evenly share the space throughout these complex movements and time signatures which keeps things sonically engaging – no easy feat when it comes to improvisational work. “Olinda” is also a fantastic showcase of Takanashi’s skills as he holds down the beat for the entirety of the song but shows restraint when it comes to exploring the space. He was a remarkable player and we can only hope his peers can carry on his legacy in future work.

    You can find their full length album on Spotify and Bandcamp. Obviously, a live setting is going to sell their sound more than it will on a recording. Unfortunately, there are no upcoming shows, but their Facebook page shows a consistent run of shows over the past few months, mainly in the Brooklyn area.

    Key Tracks: Freight Liner, Olinda, Sookie’s Roomba

  • Hearing Aide: The Abyssmals ‘Gospels, Hymns and Other Trash’

    Just in time for the impending summer heat comes the revival of the generally unappreciated sound of surf rock, unless you’re Quentin Tarantino. Then, a track off this album will likely wind up on your next movie, shot in glorious 70mm film. The Abyssmals are treading new water on their sophomore album as they explore a surf rock sound. The genre is very cut and dry – a good majority of the top surf rock songs of the 1960’s did have a similar feel to it.

    But The Abyssmals try to break out of the mold by mixing in new flavors, both modern and classic. Where would someone listen to something like this? Hard to say. A slow cruise with the top down on a blistering, mid-July heat wave? Tiki bar party, perhaps? The tone of surf rock isn’t what people call uplifting either. It’s odd that it’s associated with relaxing at the beach at all. Nevertheless, it’s timeless sound, and The Abyssals have thrown a unique spin on the genre while flaunting their mastery of the quintessential sound of California’s beaches circa 1960.

    abyssmals

    The album is good fun. It won’t be in the Billboard Top 40 list anytime soon, but it could strike a chord with lovers of surf rock, grunge, psychedelia and even folk. The Abyssmals experiment with a several types of surf rock fusion, each of which has a natural and palatable feel to it, although the influence of grungy, darker tones can be found in almost every track. The album has a very familiar sound, but is also still very unique and almost indescribable. Listeners can pick out influences of anything ranging from Dick Dale to The Beatles, even Queens of the Stone age.

    Listeners can enjoy a mainstream, stereotypical surf rock sound like in, “Enter… The Abyssmals!” and “For All Time.” Quintessential instrumentation will drop listeners right into the bench seat of a ‘37 Split Window Ford, racing to Bikini Beach. Modern recording tactics keeps the sound recognizable but modern and tasty.

    But dive deeper and listeners will find a more unique blend of their influences. Songs like “Sleepwalker” and “See You Go” are built upon surf rock basics but are laced with psychedelia and indie. At this point, their sound is that of The Beatles meets The Black Keys. Lackadaisical vocals from Jarpon Reyes and Bob Forget are coupled with washy but sturdy instrumentation creating a unique atmosphere and a throwback to simpler times.

    This will be fun to see live and there are plenty of opportunities to do so. Check out their Facebook events page for the full list of dates and try to catch them in New York and Massachusetts area where they’ll be spending the majority of their time. The album is up for download on Bandcamp and available to stream on Spotify and Soundcloud.

    Key Tracks: For All Time, Sleepwalker, See You Go


  • Hearing Aide: Megg Farrell & Friends

    There are two types of people in this world: those who like country and those who don’t. It can sound hokey, melancholy and just plain sad. There’s no denying that Megg Farrell & Friends have touches of those iconic country groups, but please, give this a listen. It doesn’t fall close to preconceived notions of country.

    Now a lot of credit needs to go to the production of the album – it helps legitimize the group. In terms of theory, it’s obvious these guys are experts. They sound like they’ve been performing decades, even though they’ve just started to lift off the ground. Perhaps the most incredible thing about this album is how natural everything sounds, considering how many influences are being implemented here. Jazz, country, bluegrass and pop styles are peppered throughout the album.

    It’s an odd combination, but this is good time to be adventurous when it comes to restoring old genres. When groups like Mumford and Sons or The Lumineers first emerged, it was a heavy dose of folk, country, and bluegrass, driven by pop beats that came out of left field. When will it be time for more classical country to shine once again? (Not your bro country) Obviously, this type of music isn’t going to be selling out arenas anytime soon like the above mentioned artists, but it could pave a way for a new style of country. It’s a treacherous frontier, combing jazz, country, bluegrass and pop together but it’s absolutely sublime if done right.

    There are some truly traditional country acts on the album like “Feelin’ Single” and “Tulsa Queen,” which are direct Emmylou Harris covers. The only place Farrell & Friends explore a traditional country space is in “New York Love Song.” It’s everything listeners might expect in a country song – typical instrumentation, lovey-dovey lyrics and a beat which begs for a belt-buckle-grippin’ two step dance. A catchy chorus and an outstanding performance from Farrell. Her raspy, but sultry voice was molded in a variety of genres, fitting seamlessly into this group style. They continue into what is arguably more bluegrass than country with tracks like “New Orleans Waltz” and “Ohh Las Vegas.” Again, they’re undeniable masters of their craft. But as tight and well produced as it is, it’s just not everyones cup of tea.

    “Love Sick Harmony” is one of the best examples of how they have managed to seamlessly blend all of these genres together. Everything is smooth and listeners get a taste of each influence –  a slide guitar lick under verse, a classic “woo” filled chorus and washy, pop drum beat. It’s a real mutt of a song with its bluegrass, country, anti-folk and pop styles. Imagine Regina Spektor, but if she grew up in the deep south.  “Blues In The Womb” is without a doubt their showcase. Please find our detailed analysis of the song here.

    It’s a confusing collection of songs. They may fall back to their country roots in just about every song but there is unquestionably a LOT of experimentation going on. But it’s a 25 minute album – try something new today and do some experimentation of your own.

    This is a group that’s still finding their footing. And as per usual, money is always an issue when trying to get off the ground. Watch their video on how to support the group social and financially. There’s some pretty good incentives to throwing them a few bucks.  They will also be flying around NY for the next few months Brooklyn and Manhattan. Find their events on their Facebook page.

    Key Tracks: Love Sick Harmony, Blues in the Womb, New York Love Song

  • Song Premiere: Megg Farrell And Friends to Release ‘Blues in the Womb’

    Coming this April, Megg Farrell & Friends will release their first country-influenced album. Farrell is a seasoned jazz musician and is now trying her hand at the country scene with their song “Blues in the Womb.”

    The new direction is a result of years of musical experience, as well as a plethora of genres and influences. Megg Farrell & Friends stems from country roots, but dives deeper where listeners will find there’s so much to pick apart and enjoy. Now, this is arguably not their most exciting track, but it will strike some amount of curiosity into anyone who remotely appreciates jazz, country, bluegrass and pop. Weird combo, eh? Well this track is the quite contrary to weird. It’s buttery, exotic, organic and plain fun.

    There’s so much to unpack here. Warm, jazzy guitar lulls us into the space with Farrell’s complementary airy and chipper vocals, setting a sultry scene. The album’s party trick of including country into its jazz roots pops up once again when quintessential bluegrass brush drumming solidifies the beat as a dobro lazily glides around in the background. At this point, listeners may feel compelled to grab a grass skirt, coconut bra and fruity drink, because this sounds very tropical… But wait. Just like that, a clave beat swings in, one that is used very often in jazz music. In this case, it’s a little more aggressive which helps pick up the pace and energy.

    https://youtu.be/42Nu-ZGaQg8

    Now fully immersed in the space they’ve created, listeners can finally relish in Farrell’s outstanding vocal creativity and range. It resembles something similar to Regina Spektor or Fiona Apple, but more full and clean cut. That doesn’t mean she doesn’t have fun though. Her range is phenomenal and the fact she is able to produce such a full sound at such a low register is telling of how talented she is. To the untrained ear it might not be so impressive but rest assured, it’s not something that’s learned overnight. Just as easily as she hits the low notes, she bangs the higher register without hesitation.

    The track finishes with an abstract but palatable solo from an unnamed sax player and a sudden drop off. The track may have felt more tied together if each player had a chance to solo, but they’ll likely have the liberty to flaunt their talents in a live setting. Stay tuned to their Facebook page for upcoming events and news – they’ll be skating around New York for the next few months.

    Again, “Blues in the Womb” is not the ambassador for the remainder of the album. Rather, the song shows how raw talent can pull in vast influences into one track to create something smooth and natural. Although people might shy away when they hear the word “country,” it’s highly encouraged listeners of all types try this one from beginning to end; it’s a near guarantee there’s something that everyone can enjoy. The album drops on April 5 on all major streaming services.

  • Hearing Aide: Bruiser and Bicycle ‘Woods Come Find Me’

    This is Bruiser and Bicycle’s second stab at an album and they have found something worth sticking to. Nick Whittemore and Keegan Graziane decided to make a change of tone and left their first albums, post-punk basement-core group with dark undertones and synesthetic lyrics, as they described it on their Promo Juke Box page. Now, they are pursuing an indie, psychedelic and eccentric writing style that keeps the album spicy and plain fun to listen to.

    They burst out of the gates with a quintessential indie and energetic tone in “The Train,” which is broken up by odd vocals choices. As for as an intro goes, it’s definitely exciting but feels like a big tease. A huge build up, and then drop off. No big jumps or launches. But listen on and you’ll see it’s not their style.

    “Casper” moves into their straightforward, folky roots and we begin to realize how their vocal style and tone separates this group from others. It’s not too deep in terms of production – we hear straightforward instrumentation, but also an omnidirectional and engaging sound. The duo showcases their lead guitar skills with a call and response from two very different voices. Static and distortion precedes a clean and spacious sound but both work over just the a-persistent, folksy guitar riff. It’s brilliant!

    “Woods”  is about as mainstream as the group gets. Without the electronic and quirky touches, we can see how well tuned into the music industry these two are. They know what works and they can recreate popular sounds but make it their own. That’s not a skills everyone has. However, we find ourselves on the other side of the spectrum with “Yonder”  – it’s an acid trip compared to “Woods.” We get very trippy and lazy vocals, omnidirectional and experimental instrumentation and some guitar licks that are plain discomforting. Lets just say the chorus isn’t something you’ll be whistling along to at work.