Full Body is a Rochester-based rock band that has been making music that fits their name. The band’s deep brand of gangly rock is unique and rounded, tying in elements of shoegaze and post-rock to make something in the realm of noise rock. Their most recent release, Always There, cements their sound in a well produced record. The band is composed of Dylan Vaisey, Jack Chaffer, and Jacob Kotler. Full Body has been navigating the local scene with a sound that stands out, relentless in their writing of melancholy and bittersweet music.
The album has just eight songs, but is constantly engaging. Each song has a sweet melodious center, but the band fills out the rest with oblique instrumentals. “Hard Drive” is a great example of this, with its lurid opening slowly building out chorus-washed guitars into a vigorous guitar solo. The vocals carry the tune well, though they never really take the spotlight away from the mood the song is conveying. This is the case throughout the album as each song is more a product of its parts.
The tunes are short and to the point; there’s no meandering and no ideas that feel unfinished. The third track, “Alias,” is a great look at the band’s ability to mesh together different ideas and grooves to create coherent and viable songs. Though each part compliments the others, it should be pointed out that the drumming on this album is stellar and warrants a close look on its own. The deft navigation of song structure in the rhythm section, including bass, adds a lot of thickness to each tune. “Sonic Boom” is another hard hitting song that shows this.
Overall, Always There is certainly worth a listen through. It is short, interesting, and very well written by a band that is making their own sound and owning it. Full Body has found a niche, but they are not afraid to break out of that to take creative risks that ultimately pay off. Be on the lookout for Full Body to come to your town, and make sure to support by streaming their music on services such as Spotify and Bandcamp.
Hailing from Jamestown, NY, Cold Lazarus is a fusion four-piece that melds funk, psychedelic rock, reggae and soul with indie-style vocals and introspective lyrics. With three releases now in their discography, the band is established in their sound and aesthetic. Their albums all have a great flow, and in the past offered consistency with each song. While this is the case as a whole with the new release, Colors and Lights, there are a lot of new ideas presented that break the band away from their regular brand of psychedelic jam-rock. This new release brings a lot of composition and arrangement without compromising on the live feeling Cold Lazarus emulates so well. Cold Lazarus is unconventional in their songwriting, and unrelenting in their audacity to make something distinct.
The opening track on the album, “A Dream Serene” sends the listener straight into space with a multi-dimensional ambient piece with a heavy emphasis on vocals. The harmonies are tight and varied, and offer a real pallet cleaner to usher in the titular track “Colors and Lights.” The low-fi funk opening leaves room for the song to build, as the band expands the production and enters the realm of hi-fi. The composition is very unique to Cold Lazarus- as opposed to each member holding big chords, the group has each person playing one or two notes that create a moving chord progression more similar to classical funk, and even classical music at that. The drums are agile with fills, fresh and diversified between phrases. The keys and guitar find themselves in conversations atop a steady and arresting bass line.
There are some really fun tunes on this album. “Don’t Hide” is a great illustration of how the band can combine extended jams with compact choruses. While the song can meander into new spaces and ideas, there is always a return to home base. Something the band has that sets them in a league of their own are their longer jams that incorporate motifs and themes. The meat of the song is the organic performances in these live-feeling jams, but the potatoes are certainly the choruses. The characteristic harmonies that play off each other give these choruses more muscle and tension.
Between songs you will find interesting electronic-inspired breaks. “Trepidation” and “Dimension Ascension” highlight an entirely new aspect of the band’s abilities. Making use of 606’s and glitchy drum beats, these sketches add more variety to the album than past projects.
Cold Lazarus has certainly accomplished their goal in creating an adventurous psychedelic rock album that doesn’t place itself solely in the realm of one genre. The talent of the band absolutely shines through in different ways in each of the songs. While some of these songs last upwards of 10 minutes, they never become tedious. Interesting composition and tight production work together to construct something that keeps the listener engaged and excited to see what the next turn brings.
Key Tracks: Don’t Hide, Spiral Sea Unending, Colors and Lights
Rochester based multi-instrumentalist Alex Northrup and his band The Backup released their six-song album in March titled Long Story Short. The band is made up of Alex Northrup (keyboard, vocals), Andrew Carter (bass guitar, backup vocals), and Jake Walsh (drums, backup vocals). The trio has a sound that ranges from really small to huge, making use of each member’s prowess on their instrument and their abilities to hold a strong harmony. One thing that pops out in any of Northrup’s recordings is Alex’s ability to take a song out of the pocket with his strong keyboard performances. Evinced by the six tracks on this release, Alex Northrup and The Backup are beginning to carve out a sound all their own.
The opening track “Put on the Break-Up” ultimately sets the overall pace for the album. The sweet vocal melody is hashed out by wonderfully performed harmonies. Nothing here is too pristine; that is to say, the vibe is similar to the old Weezer Pinkerton days. The listener will be able to tell that the process of recording that the band took was organic, leaving the bulk of the work to the musicians to make the songs sound good.
“Sinning on a Saturday” offers a better look at how dynamic the band can be in their orchestration. The bass takes on a life of its own and the texture of the keyboard flexes a bit more as well, as Alex navigates his chord progression to make meaningful and interesting solos. The mood shift that takes place between the verse and chorus is subtle, but noticeable enough to invoke the feelings reflected in the lyrics.
https://www.youtube.com/watch?v=fXOWdRFEhr8
One thing that should be taken note of is how Alex writes his lyrics. He talks casually, and even comically at times, about serious issues while never sacrificing the weight of the song’s topic. “Girl of My Dreams” is one such song. The ballad is a nice throwback to older ballads from the 50’s and the band does the style justice. While most of the songs are written by Northrup himself, he does collaborate with other members of the Rochester music scene. Specifically in “There We Go Again”, where some new creative elements and bass lines are added in by Dave Drago.
The album’s cap is an ethereal instrumental that comes out of almost nowhere to great effect. Each song flows into the next really well, and the entire album felt like it should end much like it does in “Blinded by Delight.” The band’s harmonies are sitting tight in the background behind a beautiful soundscape of textures. Overall, the album’s flow offers a whole new dimension worth analysis of its own. Definitely take a chance on this release, and be sure to find Alex Northrup and The Backup on Spotify, Bandcamp and social media!
Key Tracks: Sinning on Sunday, Put on the Break-Up, Girl of My Dreams
Brooklyn-based quintet Of Clocks and Clouds is a psychedelic rock powerhouse whose sound has been turning heads all over NYS and beyond. Their inclusion on numerous lists of bands to keep an eye on isn’t uncanny, it’s deserved. Through hard work and perseverance, the band has created a sonic experience that sets them apart from the litany of jam bands that have been popping up all over the northeast. Composed of Joe Salgo, Nick Salgo, Tom Salg, Yuri Soussov and Zander Ryzinski, the band offers fans of live music a look at their progressive psychedelic rock with this release of their set Live at Brooklyn Bowlfrom February 3, 2019.
Fusing elements of electronic music with their deft ability to improvise, based on style adherent chord progressions, is what gives OCAC such a characteristic sound. The first track of the live release, “Cold Hearted Woman” drives this point home, with each member adding in subtle elements to a core blues tune. The keyboard breaks open chords and sets a basis for a hard-hitting blues guitar solo. The drums do an excellent job of knowing when to break out of the pocket – the fills will range anywhere from lightning-fast to minimalist, with the overall mood of the song being reflected in the fills.
The live recording captures the band’s aesthetic really well. It’s evident that they are able to feed off of the audience and drag out jams without losing their interest. This translates really well on record too, with the 11+ minute “Worst Look” being a testament to that. OCAC starts their songs off similarly, with a slow build transitioning into an intro jam. Yet each time they do that, the outcome is sonically different. The band members find their own place within the song to either stand out or step back. The bass barrels forward without hesitation, accenting the grooves underneath the lush orchestration that the keys and guitars create.
While instrumental skill surely defines the band, something must be said about their vocals. The 90’s alternative rock style vocals fit well with the sound. It takes the listener out of the busy composition and bring focus to the anthemic nature of the lyrics. There’s also a lot of versatility in the singing – their cover of Rage Against the Machine’s “Bullet in the Head” is well worth checking out.
It’s impossible to listen through this live album and not notice how well the flow of the set moves. There are dynamic shifts, exciting developments, and headbanging instrumental breaks. With so much to love, it’s no wonder Of Clocks and Clouds is gaining so much steam nationally. Check out this NYS gem’s release, and be sure to catch them live if they come to your town!
Key Tracks: Worst Look, Cold-Hearted Woman, Hole in My Head (Pts. 1 & 2)
New York City based duo, Silver Relics, is Alex Sepassi and Justin Alvis. Their latest release, Generic., is anything but what the title suggests. Sepassi started writing songs and singing at the age of ten, and over the years his craft has been incorporating elements of the influences he listens to. This runs anywhere from 80’s indie rock and post-punk, to 90’s grunge. The duo’s songwriting first philosophy lends itself to this easy-listening album. The familiar song structures and melodic phrases give heed to pop-punk, while the instrumentation is rich and intriguing, with aspects of countless genres woven throughout the songs. Each tune brandishes a fun chorus, while the verses and intermittent instrumental parts hash out the soundscapes that Silver Relics build.
The production on this album is a bright spot. Sepassi has worked with New York producer, Howie Beno, since meeting him in 2016. The skills he’s honed in those years, evinced by the loaded yet not bloated instrumentals. The second song, “Generic,” opens with a cinematic string intro that eventually turns into an quasi-prog rock song with shoegaze elements interspersed throughout. Here, the verse and chorus are well defined apart from each other, and flow well in and out. While the songs are not structurally challenging or progressive, the way the atmosphere changes between these parts is noted and appreciated as a transition mechanism.
A standout song with a lot of grit, ‘Timebomb’, offers an edgier look at the band. Much of the song is unrelenting; its furious intro leads the listener into an anthemic chorus, as a beautifully effected shoegazuing guitar outlines the nuances in the chord progression. For fans of shoegaze like My Bloody Valentine or Slowdive, this album provides a shmorgishborg of tried-and-true shoegaze guitar tones that sit well on top of vintage synths and spry drums. The tenth track, “Yellow Master Motive” opens with a very intricate vocal part, performed to great effect. The opening instrumental that follows is lush and sits well behind the spotlighted vocals. There’s a lot of moving parts here, as the song slowly builds up into a rock anthem.
Overall, Generic. was an exciting listen. The energy is kept up, as Silver Relics blast out earworm after earworm while leaving traces of their influences hidden underneath the solid base of the song. The songwriting first philosophy the group took in recording this record really shows. What the songs lack in compositional variety, they make up with instrumental diversity. Huge ranges of tonality come together as a woven basket, with each influence offering an essential purpose to the whole product. Generic.is streaming now!
Key Tracks: Time Bomb, Yellow Master Motive, Wanderlust
Brooklyn based funk outfit, Lettuce, has been one of the pioneers in modern funk and jam music. The band’s skill and taste, combined with their ability to blend historic and popular music aesthetics together puts them in the spotlight for aspiring bands. The spotlight is nothing new to Lettuce and they are perpetually growing a global fan base. In fact, members Adam Deitch (drums/percussion), Adam “Shmeeans” Smirnoff (guitar), Erick “Jesus” Coomes (bass), Nigel Hall (keyboards/vocals), Ryan Zoidis (saxophone) and Eric “Benny” Bloom (trumpet) have been doing this for 25 years, scoring Grammy’s and working with some of the biggest forces in music such as Ahmir “Questlove” Thompson, Kanye West, and Stevie Wonder, to name a few. It’s no wonder the glamor for more original Lettuce music after a three-year wait was at an all time high. That time has come with their new album, Elevate.
The opening track, “Trapezoid” walks the listener in slowly, offering a close listen at the eccentric synth patches featured. Soon enough, a dark, unrelentingly ‘dub’ bass shatters the ground underneath the lush combination of squeaking synth, ambient whistles and palm-muted guitar. Deitch’s live drums are performed with machine-like technical skill. That is, until the unmistakably Lettuce horn lines kick in. Absolutely huge melodic phrases are composed with ease into tighter chorus hooks and are climaxed right before a colossal bass drop. While there is a chance that mashing up elements of trap, dub, funk, ambient and hip hop could go wrong, Lettuce navigates each mood change with confidence and expertise. The band’s grasp of their song’s structures at large is most easily seen by their ability to essentially re-write “Trapezoid” at the end of the album in “Trapezoid Dub.” There’s much more music to go before that arc is completed, but it is something to keep in mind when considering the magnificent flow of the album.
Something Lettuce does as well as anything else is write true funk tunes. “Royal Highness” is a great example of this, with simple yet effective instrumentation coming together with well-organized rhythmic grooves blooming into a great dance tune. This instrumental leads in for the 60’s Ethiopian funk song, “Krewe,” which features arguably the best sax solo on the album. This track has a nice blend of high-energy rhythm with darker but upbeat instrumentation; an intriguing juxtaposition.
The cover of Tears for Fears’ “Everybody Wants to Rule the World” is a fresh take on a classic tune. Lettuce brings the song out of its comfort zone, adding a swing, along with a more compelling instrumentation. The vocals make their debut here and do a great job of adding flavor and depth to the song, outside of simply holding down the famous melody. The bass really shines and punches along the deep end, supporting the layered vocals and the occasional soaring flute line.
Flourishing trumpet fanfares and melodic horn phrases find their rhythmic soulmate in “Larimar.” The bass heaves along with a parallel guitar line, yielding a thick baritone guitar feel without sacrificing density. This song hits in two halves; the first half being a funk groove with attitude, which transitions into a cheekier outro groove. The instrumentation remains largely the same keeping the experience of the song isolated, but still very unique in its progression. “Love Is Too Strong” is a blues rock song, heavily influenced by the gospel and blues of the 60’s, but with some more 70’s styled mixolydian guitar solos and tones. The vocals are a highlight here as well, offering a strong, resonant lead melody with a raspy blues aesthetic, with accents and emphasis being added by a backing gospel choir.
There’s a lot in this album in the way of genre, evinced by the Brian Eno/J Dilla inspired ambient hip hop instrumental, “Purple Cabbage.” Lettuce flexes their creative muscles here. The output is an atmospheric soundscape, which acts as the backdrop for an echo-laden layering of guitars to sputter around an unmistakably potent beat from Deitch. The horns, which maintain a strong presence throughout the album, remain front and center for much of the tune, stabbing right at the heart of the melody hidden in the backing soundscape the band creates. Running at just over nine-minutes, this song is steeped in timbre of all sorts. Listeners will be able to find something completely new with each listen.
To be clear, this is the case with the album as a whole. Such a diverse selection of songs can be tough to wrangle into one concise piece of work, yet Lettuce does just that. The band transforms constantly from the start to end. Their final song “Trapezoid Dub” is a different version of the first song on the album, which is hardly noticeable unless looking at the track titles. Once you notice though, it becomes apparent that the framework for both tunes are the same, but Lettuce has managed to create an entirely different listening experience. A shining example of the band’s ability to adapt and reimagine.
They change, while remaining just enough of the same Lettuce, that fans have known for all these years. The improvisational aspect is not lost among the composition, and the experimentation takes front seat just long enough for each tune (and the album in general) to have an unexpected but fulfilling arc. It’s not enough to say, “keep an eye on Lettuce.” Rather, this album marks the opportunity to appreciate their determined foray into seemingly unrelated genres and pull out exactly what pieces best fit their sound. Mesh those into tracks that are not only stunning, but also a whole lot of fun.
Hail the almighty bass – a beautiful cornerstone of countless bands through history. Its versatility is a product of its transformation over time, to become a tool that is both seismic and transient. With such a dichotomy, the possibilities are endless, and that attracts some of the most sagacious of musical minds. Chris “Freekbass” Sherman is one such person; his bombastic aesthetic and revolutionary playing style is evened out by his time learning from one of the most accurate and revolutionary funk bassists of all time (Boosty Collins).
In this focused yet unrestrained way, Freekbass explores the extremes of his instrument while never venturing too far into the obscene, instead riding the line of being an accessible yet progressive artist. Freekbass himself is one of the true cornerstones of a band, with a physical image formed around his vision and shaped by the eccentric. In this new album, All The Way This. All The Way That., Freekbass puts on a clinic for bass enthusiasts, as he invites along a cast of immensely talented musicians to create a work that takes the listener on a travel through funk music’s past, present, and future.
The band on this album is stellar in every performance aspect. The Freekbass Experience is composed of all-star players Rico Lewis on drums (George Clinton & Parliament-Funkadelic), Sky White on keys (Foxy Shazam), and Sammi Garett on vocals (Turkuaz). Every track is unique in its usage of the band, with Freekbass’ bass lines acting as a centerpiece for most tracks, developed further by his supporting cast. In general, each song could be described as being steeped in a sort of chaotic beauty, creating a very instrumentally deep album that breathes an air of robustness. This is one of the things that defines Freekbass’ aesthetic in a way; from his image to his stage presence, it’s wild, yet neither ignorant nor forced. It’s large, but never overwhelming.
“Blizzard Lizard” offers a great look at this dynamic. A soft opening gets the listener comfortable before the bass slaps them awake, ushering in a groove so funky it warrants a spray of Glade air freshener. While this track has a darker mood, the energy remains potent as heavily effected guitar and synth lines swirl above a dark, black-hole of bass.
Much of the time though, the album has a brighter nature with springy instrumentals and sing-able hooks. An unrelenting pulse between the bass and the drums sets the tone in “You Make Me Wanna Dance.” Here, the vocals sit nicely in an agile arrangement with a lot of interplay between the organ and bass. Added strings nod to older funk and disco. Vocal “ooh’s” on top of that work to create a cinematic atmosphere – a unique experience in a mostly pocket-funk styled song. One thing that stands out here, as well as in numerous places elsewhere on the album, are the transitions between the song’s parts. There is a well-phrased melodic line in “You Make Me Wanna Dance,” much like something out of a Stevie Wonder song. In the more 80’s funk-pop styled song, “Your Love Is Always On Time,” you find a lot of bass fills between side-chained sub-bass and drum breaks alaPrince. And speaking to that point, it’s evident that these modern funk figures, such as Stevie and Prince, lent as much influence to this album as did pioneers like James Brown and P-Funk.
The intricacies in more pop-oriented songs are a testament to the skill of the band on this record. Take “Steppin’ Outta Line” – this song could have easily gotten away with a simple drum beat; bass drum on the one, snare drum on the two, and so on. Instead, you’ll notice that the bass drum lines up almost perfectly with the bass line, which does move around a fair amount without becoming too evasive. One of the lyrics on this song offer a great explanation as to why this type of intricacy is preferred to the more modern simplicity in this funk-pop: “Some may conform with the norm of the time / Others fly the coop / Steppin’ out of line.”
Composition on this album stands out in a big way against the back drop of good-ol’-fun funk jams. Accessible and technical! Modern, yet paying homage to what made this type of music so intriguing to begin with.
The closing song, “Thrust”, sends the album out on a high note, acting as a good cap to a breakthrough album. The chorus holds strong as an earworm. The drums are accurately performed, filling out their function as the co-equal to the bass while breaking out in fills at just the right time; vocals are layered so thick that they are felt seismically. It’s just as much as the bass, though their presence makes it so a voice never get lost in the mix. This chorus is likely the strongest on the album, and along with the chipper instrumental, it is a great end to an absolute trip. As the song fades out, the need to listen through again will surely arise.
Chris Sherman’s on-stage persona is a sight to witness. That taken along with this new album, one should expect to be seeing the name Freekbass more and more over the next year. Make sure to listen on Spotify, and visit Freekbass’ website for upcoming show information as well as live content. Follow on Instagram, Twitter, Facebook and more! And if you’re in NYS, you can see him in Marlboro for Mazzstock 2019, playing onstage with Zach Deputy.
Key Tracks: Thrust, Fre3kroNomoKon, Gotta Get Back To You
The family band has a certain quality that’s tough to emulate. In Binghamton, there’s a band that is doing just that. Composed of Michael Toyryla (guitar), Jesse Wheeler (guitar), Keagan Toyryla (bass/vox) and Caleb Wheeler (drums), Tijuana Danger Dogs are a rock and roll family. Michael and Jesse met in 1999, subsequently gigging in various hard-rock projects. In 2010, an accident left Michael unable to perform live. Continuing to pursue the passion, Michael worked at recovery and the duo were able to find their niche in the studio. Here they cut their teeth songwriting and producing. Eventually, after a miraculous recovery, Tijuana Danger Dogs were able to start performing live again. This time, each of the original two members brought their son on board. Keagan and Caleb rounded out the lineup and the rock family was in full action. Their new release, All My Friends: Vol. 1 finds the band with various featured vocalists. Each song offers a different view of the group and leaves a lot to look forward to in future releases.
Overall the album has an encompassing rock n’ roll theme,
dipping into such influences as Pearl Jam, Radiohead, and Green Day. The
featured vocalists provide nice variety in every tune and tend to be the
solidifying factor in the atmosphere of each song. While the rock is relentless
throughout, the songs sometimes lack a certain build and dynamic range, which
is partly a product of the production quality which can come off as more lo-fi.
The hooks on the songs are great, and the melodies stack up well against the
instrumental backdrops. The second track, “All My Friends (f. Tim Ruffo)” is a
nice country themed song that highlights some of the band’s best qualities. The
harmonies are executed well and the lead guitar offers a colorful solo. The
drum performance is tight and meshes well with the bass line.
There are some Fueled by Ramen (record label) type aesthetics on here, particularly in the third song, “Getaway (f. Asia Toyryla)” where the vocal inflections tend towards pop-punk. Little soundscape additions at the end of the tune add character to the recording and outline some of the interesting ideas the band includes in their tracks that will differentiate them from other rock families. The album runs the gamut of rock influences and dips into some of the budding ideas the band has of their own. Each track has a nice variety, though the energy is often static on portions of tracks. This isn’t to say the energy isn’t that of typical rock style- there are some hard hitting parts. It will be interesting to hear what the Tijuana Danger Dogs have planned next- future studio work and live shows are on the horizon for a band whose potential is evident in this release. Check out the album on their website and catch them live as they begin to hit the road again.
Every now and again, a local NYS band will come from seemingly nowhere to drop an album with next level performances. Come January 12, one such band will release a 5-track album that has potential to impress rock fans not just in NYS, but around the country. Tortoise Forest is a Buffalo-based quartet whose sound resides somewhere in the realm of Porcupine Tree, Dream Theater, and Umphrey’s McGee. A mixture of prog with aspects of jam, dub, and jazz give the group an eclectic sound that departs just enough from its classical music roots to create something exciting and new sounding. Their self-titled release, Tortoise Forest, offers a great re-imagination of the live versions of some of the tracks that the band has been playing for a while. This gives each piece a well crafted structure and a huge range of dynamics and aesthetic. The band’s current lineup is comprised of Dan Gagliardi (drums), Tom Varco (bass), Mike Cassidy (guitar) and Max Davis (guitar). This first release from Tortoise Tree actually features their past drummer, Laith Al-Khalidi, but the chemistry of this group on the album does not waver despite any pending lineup changes that would occur post-production. As far as albums in 2019 go, this is an incredible start and showcases one of the hidden up and coming gems of NYS.
Tortoise Forest has this very slick way of working in electronic aspects into their music with their use of effects, but even more so, they are able to maintain an untreated sound that borders on a live performance experience. The first song on the album, “140×148,” starts off as a statement for the album in its entirety, offering a smattering of much of what comes later on. This isn’t to say that this reveals too much, but rather that the band does a good job of achieving their sound. A little bit of amp buzz in the background during the opening riff pulls the listener in, and reveals just how real the technical proficiency of the band is. There is no heavy or imposing production here, nor anywhere else on the album. The performances are what take the spotlight. A heavy set of drums give pulse to the groove and cuts up the intro guitar section to create intrigue and some build. A layering of shimmering guitars creates a lush ambiance for a lead guitar to come in screaming over top of the established rhythm. A build about two minutes in takes the song in a more visceral direction, which eventually changes course to a funkier groove with the progressive edge that characterizes the band. Guitar duets develop a smattering of motifs and melodies, giving character and life to each theme that Tortoise Forest explores. A climactic tapping duet between the guitars helps bring the song to a softer ending. From the first song alone, it is clear that the group has set forth on an ambitious project with how clean and well performed the intro song is.
The other four tracks do not disappoint in any aspect. Every song features a variety of ideas and timbres that keep the songs from getting redundant. The composition of “Mooncones” is a great example of this. The bass in the beginning of the track is subtle, grooving quietly underneath the soundscape set up by the guitar harmonies. As the song builds, the bass becomes more apparent and begins to shape another aspect of the song that wasn’t there initially. They write these builds in that are more angular as opposed to linear, with different instruments coming in and out of focus without ever completely dissipating. Every piece matters in the context of the entire song.
The guitar duo also do an incredible job of using their effects pedals tastefully. The band is aware of this and leverages it appropriately. The inflections and nuances added to the riffs separate the phrasing of their lines from being clean, sweep-picked arpeggios to pieces of a conversation where every inquiry has an equally impressive and important reply. The timbre of the guitar parts speak just as loud as the content of the notes. Perhaps a bit more bite will be added to a guitar line that sits on a grimier bass; sometimes the use of a whammy pedal will be the driving force of a guitar line. Overall, their usage of pedals on top of the already very proficient performances separates these guitar players from the likes of players such as Plini.
Much of the album is very serious, even without lyrics. The mood is often heavy and the theory behind some of the modulations can be hard to grasp on first listen. This really only gives the listener a reason to listen again. But don’t be fooled by the heavier tone of the album, the band can have fun and they do a good job of keeping the songs accessible. There are little additions here and there that inject much character to these instrumental tracks. A couple of lines from a well known Aesop’s Fable make an appearance, as well as a tease of “Streets of Cairo.” The band performs without so much as a hiccup. Each song is a combination of a hurricane and a sunset. Tortoise Forestis bound to turn heads in 2019. The album drops on January 12 on all major streaming platforms. Tortoise Forest will be playing their album release show at Mohawk Place in Buffalo the same day and will have hard copy CDs available for purchase.
The staff of NYS Music is always on the lookout for music by New York State-based bands. We are excited to introduce our new Spotify playlist which feature music from some of the state’s biggest artists, as well as many up-and-coming local acts that you should be listening to.
We are constantly adding to the Spotify playlist and are welcoming submissions via our Submission Form. We are only considering submissions made by, or for, NYS-based artists and musicians.
