NYS Music 20​19

Category: Album Reviews

  • Hearing Aide: Full Body ‘Always There’

    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.

     

  • Hearing Aide: Jazz at Lincoln Center featuring Wynton Marsalis “Big Band Holidays II”

    The holidays are fast approaching, and if you’re not ready, a listen to Big Band Holidays II will surely get you looking forward to the final months of 2019. The sequel to the critically acclaimed 2015 release from the Jazz at Lincoln Center Orchestra with Wynton Marsalis features original arrangements of holiday classics, and are joined by an all-star assortment of guest vocalists, including Veronica Swift, Denzal Sinclaire, Catherine Russell, Audrey Shakir, and the Queen of Soul herself, Aretha Franklin.

    There are familiar classics (“Cool Yule,” ft. Catherine Russell) and newer songs (“Rise Up Shepherd and Follow,” “(Everybody’s Waitin For) The Man with the Bag”), all kicked off by a brassy rendition of “It’s the most Wonderful Time of the Year.”

    A solo piano rendition of “O Tannenbaum,” featuring the late, great, Aretha Franklin, has never before been released and serves as one of her final recorded performances. Her brief and passionate take on the classic was a surprise performance during the 2015 edition of Big Band Holidays.

    Big Band Holidays II

    A jazzed up “We Three Kings” featuring Denzal Sinclaire, and “What will Santa Claus Say? (When He finds Everybody Swingin’)” is fast moving with Carol Russell on energetic lead vocals. “Silver Bells” with flute and bass highlighted, and the smooth instrumental “Snowfall” nicely varying the tempo of the album.

    The upbeat “Brazilian Sleigh Bells” has a Bossa Nova beat that speeds things up, making for one of the most energetic holiday songs you’ll encounter. “Silent Night” starts out heavier and bolder than familial versions, before soothing vocals from Sinclaire and Audrey Shakir, who trade verses before joining together in the final minutes.

    Listen to the original album below, and enjoy the holidays this season with these fresh takes on classic songs.

    Key Tracks: O Tannenbaum, Brazilian Sleigh Bells, Silent Night

    https://www.youtube.com/watch?v=Z6nKzMHBV8Y

  • Hearing Aide: Noon Fifteen ‘At the Festival’

    Ithaca, NY based progressive soul band, Noon Fifteen is set to release its epic prog-pop suite, At the Festival, Halloween weekend. Packing a punch in its 22 minute run-time, the album is a brilliantly-efficient storyteller.

    The members here are key to its delivery, starting with Mandy Goldman on vocals, whose dynamic range and myriad styles power this piece. Rounding out Noon Fifteen are: Samuel B. Lupowitz (keyboards & vocals), Joe Massa (guitars), Harry Nichols (bass, percussion, & vocals), and Phil Shay (drums & vocals).  Joining the band on this outing is Chris Ploss, not only on percussion and vocals, but he also recorded and mixed the album at Sunwood Recording in Trumansburg, NY.

    At the Festival explores the mood of Hero, the protagonist of the piece, as he contemplates the state of his life – past and present. Wondering where the time has gone and trying to truly feel his emotions, Hero conversely numbs himself with liquor and pills. It is this internal struggle that underlies the entire mini-rock opera.

    The alternate musical styles of At the Festival drive the narrative through the album. The band shines here moving effortlessly between pop soul sounds, prog rock riffs and sonically soaring movements. The free, yet vocally stunning “Wandering” showcases the beautiful harmonies this group can deliver, and simultaneously offers a small respite to Hero. As the story works to conclusion, it is apparent that Hero’s struggle is not over as he is battered by mourning and lost love in “Rock Bottom” and he defiantly disavows everyone in “My Ghost.”

    Well-crafted and performed, At the Festival is a testament to Noon Fifteen’s willingness to explore and grow musically. This is an effort to be cheered.

    Key Tracks:  Time for Me, Rock Bottom, My Ghost

    Join Noon Fifteen for their album release party at The Range in Ithaca on Saturday, November 2.

  • Hearing Aide: Glass Pony ‘Glass Pony’

    Albany, NY based band Glass Pony is dropping their debut self titled album today, November 2, on all streaming platforms. The seven-track album has head-bopping beats that make you want to get up and move. The four piece band made up of guitar, bass, and drums gets inspiration from everything in between the 60s and 90s, with influence from rock, punk, indie, and jam band genres, according to their bio.

    The album starts with “Grover’s Mill 1938,” which is a groovy opener. With a runtime dropping in just under 9-minutes, it’s a long listen, but one worth listening to. Its usage of multi layered vocals has a somewhat ‘Pixies meets jam band’ feel to it, that keeps you entertained throughout. 

    Glass Pony

    If you aren’t into songs long songs, Glass Pony might not be the band for you; about half of their songs hit in the 8-10 minute mark and take their time to get in the groove with long intros and outros. Their second song on the album, “Swing That Maximus” has a full two-minute instrumental intro. With tempo changes up the wazoo throwing the listener from dance-y beats that make you want to get up and boogie, to slow sections you would barely move your body, they are definitely the type of band you can let loose to live or shamelessly-groove-to on your daily commute. Glass Pony brings you out of the mundane with some chaotic, yet systematic rhythms and beats that make Glass Pony one of a kind. 

    Shorter songs like, “Too Close To The Sun” (under 5 minutes), follow suit with their routine guitar riffs, solid beats and smooth tempo changes. Glass Pony is a band to keep an eye on, with this solid album in their arsenal.

    Key Tracks: Stardust, Grover’s Mill 1983, Too Close To The Sun.

    Listen to Glass Pony on CD Baby or Apple Music.

    Their album release party is on November 2nd at the Parish Public House 388 Broadway Albany, NY 12207.

    Doors are at 7 PM with the show starting at 8 PM.

    For more information visit Glass Pony’s website.

  • Hearing Aide: Mike Powell & The Black River ‘Gypsy Winnebago’

    Mike Powell and the Black River are set to release their second full-length studio album, Gypsy Winnebago. The album was recorded in the band’s loft, The Family Room, overlooking Armory Square in Syracuse over the course of the summer and features contributions from two new band members.

    Joining Mike Powell (guitar/vocals), John Hanus (guitar), Joe Bell (bass) and Dom Scicchitano (drums) on this outing are Brian Lauri (keyboards) and Jason “Jocko” Randall  (percussion).

    The ten-song album reveals a band coming into its own following its 2018 release Classic Universe. A few years under their belt and a series of weekly residencies at Downtown Syracuse’s King of Clubs has helped this band to really grow as a unit. Powell’s songwriting on this album is some of his best.

    Gypsy Winnebago

    The most apparent difference between this record and their first is the vocal harmonies. “I had a long conversation with the band and emphasized how much I felt these songs needed more voices,” says Powell. “There’s something really powerful about human voices singing one message together. The guys obviously have great ears so they grabbed ahold of the harmonies right away and it really brought these songs to life.”

    Fans who have attended the “Thursday Night Rock Show” residencies at King of Clubs have witnessed the band’s progression from a blue-eyed soul band, as exhibited on the debut Classic Universe to a well-rounded rock band with jamband tendencies. This transition can largely be attributed to the addition of Lauri and Randall.

    Many of the songs included in this collection are not new to the die-hard Black River fan. Bandleader and lead songwriter Mike Powell and his partner John Hanus have been performing songs such as “Gone Too Far” and “Moonlight, Sunshine, and Rain” in front of audiences for several years. These songs have also been incorporated into the full band sets as well yet they still reveal a freshness on this recording.

    Gypsy Winnebago
    John Hanus & Mike Powell

    The production of Gypsy Winnebago showcases the individual members of the band, particularly drummer Dom Scicchitano and relative newcomer (to The Black River at least) Brian Lauri on keyboards.  Lauri is also a member of the Syracuse-based roots-reggae band Root Shock.

    Lauri uses his synthesizer to transport the listener back to the ’80s at times, especially in “When I Was a Fire.” The Cars’ Greg Hawkes and Genesis’ Tony Banks would approve.

    “CAW” is a recent composition that can’t help but be influenced by the band’s frequent opening slots for the Canadian surf/spaghetti western/psychedelic rockers The Sadies. John Hanus’s guitar, paired with Scicchitano’s galloping drums and Powell’s haunting whistling transports the listener to the old west, one of Powell’s frequent lyrical destinations.

    In short, Gypsy Winnebago is an album that exhibits a maturing band that should garner some attention for The Black River from critics and fans alike. The album will be released on Friday through all the major streaming platforms. It can be preordered here.

    Key tracks: CAW, Renegade Rhythm, Finer Things

  • Hearing Aide: Mud Head ‘Black Blood, Black Tongue’

    We live in a world of singles and streaming, and it’s amazing to see bands boast over a series of releases they’ve contributed in a year’s time. For Rochester rock duo Mud Head, the work doesn’t stop after album one. Formalizing their group in January of this year, this industrial alternative outfit has delivered a self-titled album, exclusive single and follow-up EP, all by the end of September, growing their following with every release, rocking 2019 for sure. The group’s latest EP Black Blood, Black Tongue is by no means a wrench in this roaring machine.

    This EP is loaded with ruminating lyrical confessions to echo over wet drum slaps and rattling chimes, rising and falling in a progressive rock nebulous. The opening track “Sunshine Boy” has a Floyd-like overture, mimicking clocks with cymbal strikes as a brooding energy builds to the opening down beat.

    Considering their lack of bandmates, this duo makes a loud bang when they emphasize their most vulnerable moments. The lyrics are relatable and expressive, without pushing towards a particular source. They know the capacities of studio recording and how to alter them, suiting the EP in an industrial armor.

    Stripped clean is the final track of the EP “Hiding Beneath Ladders,” where we see the softest side of Mud Head. The meter is deceptively mixed, and the somber chord progressions lead us into an uneasy waltz. Bands with this versatility only come around once in a while, and performing their discography live would not only bring their music to new heights, but welcome them to develop their image, message and in due time, a massive following.

    Key Tracks: Sunshine Boy, Hiding Beneath Ladders.

  • Songhoy Blues kick off United Nations Change Week, release ‘Meet me in the City’ EP

    Songhoy Blues are set to release their new EP, Meet Me in the City via Fat Possum on October 18 in support of a 5-week North American tour. The band also helped kick off the United Nations Climate Change Week in New York City with a breakout performance in support of the historic Great Green Wall initiative they are helping bring to life.

    songhoy blues

    The EP is their first collection of new music since the critically acclaimed album Résistance, which Rolling Stone called one of the best albums of 2017, and will be released on special edition yellow vinyl. 

    They recently shared two versions of the EP’s title track — one mixed by Blake Mills (Grammy-nominated producer of Alabama Shakes’ Sound & Color, John Legend’s Darkness and Light, and Perfume Genius’ No Shape) and the other by David Ferguson (known for his sound engineering work with “Cowboy” Jack Clement and on Johnny Cash’s American Recordings). The title track was written by Junior Kimbrough (with additional lyrics by Songhoy Blues and produced by Matt Sweeney).

    Steeped in the deep traditions of classic Malian music & desert blues fused with a youthful and super-charged sound of today, Songhoy Blues formed in 2012 in Bamako after its members had left Timbuktu, which was under siege by Islamist militants. The band released their debut album, Music In Exile, in early 2015 receiving across the board praise, including a 5/5 rating in The Guardian who claimed, “they have all the makings of African-rock crossover heroes.”

    Songhoy Blues says, “We’re really happy to introduce this new EP and our English-language debut on the song ‘Time To Go Home.’ Please enjoy it and get ready for a heavy new album coming up very soon.”

    On PBS’ American Masters, Will Oldham spoke of working with Songhoy Blyes, saying, “They are a Malian band that’s really trying to make sense of what they’ve been witnessing, what they’ve been experiencing, and create or transmit a message to people about what they’re seeing and how they’re trying to understand it and make change…And to think, well I want them to know that I’m trying to listen and trying to understand, and if I can give voice to some of what they’re experiencing, that they might be emboldened by this musical connection.”

    Most recently, the band completed a sold out run of UK dates, recorded a live session for BBC 6 Music; filmed an episode of the new UK TV show Noughts & Crosses in South Africa; featured in a new photography exhibit called My Rockstars by Hassan Hajjaj at La Maison Europeenne de la Photographie in Paris; and collaborated with UK artist Andy Morgan on a multimedia exhibition called Music & Conflict at the Imperial War Museum, which debuted in June 2019. 

    Songhoy Blues are also proud spokespersons for the charity WaterAID, and have helped to raise money & awareness toward providing relief in their native Mali. They will be appearing in an upcoming documentary on climate change in the Sahel; and were featured in the award-winning documentary “They Will Have to Kill Us First”, about the plight of musicians in war-torn Mali.

    Songhoy Blues – remaining 2019 Tour Dates

    10.17 – St. Paul, MN – Turf Club

    10.19 – Chicago, IL – Lincoln Hall

    10.22 – Toronto, ON, Canada – Great Hall

    10.24 – Brooklyn, NY – Baby’s All Right

    10.25 – Easthampton, MA – New City Brewery

    10.26 – Portland, ME – Port City Music Hall

    10.27 – Boston, MA – Brighton Music Hall

    11.07 – Edinburgh, UK – Usher Hall (with Vampire Weekend)

    11.08 – Manchester, UK – O2 Victoria Warehouse (with Vampire Weekend)

    11.09 – Manchester, UK – O2 Victoria Warehouse (with Vampire Weekend)

    11.11 – Birmingham, UK – O2 Academy (with Vampire Weekend)

  • Hearing Aide: The Drunken Hearts ‘Wheels of the City’

    I can imagine it is sometimes difficult to be called an Americana band. I’ve heard a number of music fans hear that description and respond, “You mean they sound like Mumford and Sons, or The Avett Brothers?” That response is not only limiting, it’s unfair. Listening to The Drunken Hearts pending release, Wheels of the City, dispels the notion that they are a one dimensional entity. There is country, with pedal steel and banjo, as well as elements of soul, some of the classic Laurel Canyon sound, touches of rock comparable to Drive-By Truckers, and alt-country stylings reminiscent of Son Volt.

    The Drunken Hearts

    The album, recorded at Denver’s Silo Sound Studios, starts out with “Fire in a House,” slowly building an intro, leading to a verse, a piano melody, and continuing with layers of other instrumentation and backing vocals. The tune eventually deconstructs to some degree toward the end, sonically arriving back where it began. “Alive ‘n Free” reflects the overall upbeat feel of Wheels of the City, as evidenced by the lyrics

    “Sometimes in life, you get to where you want to / Sometimes in love, you fall just where you’re meant to / Sometimes this world shows you how to be free / Alive ‘n free.”

    The addition of strings and a female accompanying vocal on “Passchendaele” lend a sense of sad elegance to a song about one of the most prolonged battles of World War I, and a soldier discovering lost love after returning home from war. “In the Middle” is an uptempo tune that can easily have the listener singing along, tapping their toes and swaying to the music.

    “Two Hearts (On a Limb)” perhaps best fits the “Americana” genre, although The Drunken Hearts display a much broader range than any one single style. That range is displayed on “Wheels of the City.” The title tune begins with a country music feel, and as horns come in midway through the song, it morphs a bit into a soul sound. That subtle transition reflects the chameleon-like qualities of the songs, and the band as a whole. By virtue of the way the songs take advantage of multiple band members’ instrumental skills, this may well be a group that hits its stride in live performances more so than in a recording studio. That’s not to say Wheels of the City is lacking in any way, it’s simply that some bands build their chops over the course of hundreds of live gigs, and the band took a decidedly different approach to this release – writing and recording eleven new songs in eleven days, rather than recording familiar pieces that had been road tested.

    The album closes with “The Cave,” which begins with a spoken word intro and leads into an instrumental section which is markedly different than the rest of the album. As noted, the band’s novel approach to this recording was a rather daring roll of the dice, with unknown possibilities.

    Wheels of the City will be released on multiple platforms as well as the band’s website on Friday, October 18. For more about the band, click here.

    Key Tracks: Alive ‘n Free, Two Hearts (On a Limb), Wheels of the City

    The Drunken Hearts current tour will provide opportunities to see them throughout New York State. All five of those shows are in support of Yonder Mountain String Band. The Saturday, October 19 show will be a homecoming of sorts for bassist and vocalist Jon Macartan, a native of nearby Guilderland, New York, in the capital region. The New York State days are listed below.

    Wednesday, October 16, at Buffalo’s Tralf Music Hall Tickets here.

    Thursday, October 17, at Center for the Arts of Homer Tickets here.

    Saturday, October 19, at Putnam Place in Saratoga Springs Tickets here.

    Thursday, November 11 at Brooklyn Bowl Tickets here.

    Sunday, November 17 at Levon Helm Studios in Woodstock Tickets here.

  • Hearing Aide: Ashley Sofia ‘Shades of Blue’

    The Adirondacks are known for their mountains and beautiful scenic views, but soon they are going to be known for being from where singer-songwriter Ashley Sofia hails. Her new album Shades of Blue dropped on September 6 and is definitely something folk enthusiasts should look into. She not only holds the sole songwriting credit on every track, but also takes inspiration from her travels across America and her own family history to create this unique album in a time when uniqueness is becoming harder and harder to find. With 13 original tracks, the album builds off of Sofia’s Adirondack roots and Nashville sound where she is currently living, writing and recording music.

    Ashley Sofia
    Album cover of Ashley Sofia’s new Album ‘Shades of Blue.’

    The album starts with the track “Slowing Down”  which has an eerie violin introduction which bleeds into a soft plucking guitar that builds into Sofia’s vocals stepping out from nowhere. It’s an unarguably folksy sound with Sofia’s ‘just so slight’ country twang that creates a beautiful, and slightly haunting, song that will stick with the listener as feeling familiar yet unknown at the same time just like its subject matter: love. It keeps with the folksy feel while also keeping a bare bones track with just vocals, guitar and violin occasionally dropping by that fits with the bittersweet lyrics. 

    The track that stuck out the most was “Tangerine and Blue” with the upbeat and full band accompanying the strikingly opposing colors in the song’s name and chorus. “Tangerine and Blue” mirrors the conflicted feelings about leaving that Sofia is singing about within it. There’s something about Sofia’s lyrics that keep her songs fresh even though they are revolving around cliche’ and typical topics. They don’t come off that way though because of her word choices that create vibrant visuals for the listener. 

    Some of Shades of Blue was hard to really connect with. She has a lot of songs with American tropes like freedom, and dreams, which paired with the country folk sound but wasn’t really my thing. But her song “Looking For America” redeems this aspect of her work for me. It’s not all “rah rah rah” America, it focuses on how America isn’t how it should be. This isn’t something I usually come across in country-influenced folk music. The song revolves around how the American dream isn’t something that’s realistic and how she’s looking for the America she wants to believe in which was refreshing to see within this genre. 

    Ashley Sofia wasn’t someone on my radar before but she definitely is now. Her take on folk country isn’t one that has been overplayed and has lyrical integrity and uniqueness with groovy tracks that build up perfectly which keeps the listener coming back to listen to Shades of Blue over and over again. For more information visit Ashley Sofia’s website.

    Key Tracks: Tangerine and Blue, Looking for America

  • Hearing Aide: Willem debuts EP

    Willem takes the modern languid sounds of Post Malone, Mac Miller and combines it with the mellow tones of WIlco and Neutral Milk Hotel. He hails from Albany but is currently a musical engineering student at Purchase College.  His debut EP uses the elements of his previous collaborations with NRV and SIMONEAR (Tomorrow, Mrs. Rebound) and blends them into a moment leaving you wanting more.  

    “Hit the Floor” was released as a teaser for the EP in the spring: it’s joyful, flirtatious lyrics are combined with a soft but driving beat that ends with the listener yearning for summer.  “November” reminds you of rainy, bittersweet days in bed with a partner and recognizing that winter is coming just like the end of a relationship. 

    The interlude between the tracks provides the emotional space for one to consider the next song title. 

    “We Could Be Friends” brings about the renewal and inner maturity needed to release the listener from grappling with the previous tracks themes. With “Lately,” Willem’s voice reaches a place unexplored earlier; he takes it down a step and explores a level a loneliness that resonates with the rest of the EP but holds the potential for more to come.  

    What more is there to say?  It’s short but not in a way that punk, grindcore, or any other genre priding itself in brevity could hope to muster. Willem achieves something that many young artists want but rarely earn: writing a debut worth listening to on repeat and being able to do so if you have more than 10 mins to spare–it’s like Reign in Blood for the digital era, but without the physical sensation of flipping a cassette to hear the same good time again.

    Key Tracks: Hit the Floor, November

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