BHuman has crafted the soundtrack to your next intergalactic dance party. BMovie is a theatrical concept album of interstellar proportions, springing from a love of sci-fi and 1950’s horror flicks enjoyed by Londoner Billie Lloyd and New Yorker Harrison Scott, the members of this queer pop duo.
In dramatic fashion, BMovie offers an overture, intermission, and interlude-providing segues. These futuristic instrumental tracks use clips of dialog, including lines from old movies, serving as a fun way to weave their work with the existing framework of sci-fi pop culture. They also help to lend context to the songs and move the story line forward.
The first song on the album is a cover of Cher’s mega-hit “Believe.” BHuman has stripped back the song to emphasize the bittersweet sentiment of the lyrics, then contrasted it with light and airy percussion and synth. The song debuted earlier this year, just in time for NYC Pride.
As delightful as this opening is, it’s only the beginning. BHuman’s original songs interlace captivating synth pop melodies and fantastical vocal hooks to create soundscapes that are out of this world. The music maintains an ethereal levity as BHuman explores interpersonal relationships and learning how to be comfortable in one’s own body.
The album builds to an incredibly vulnerable and touching climax with “Teachmehowtobeyourgirl.” We’ve moved past believing in life after love, past using people in “Distraction,” through the web of lies that people weave in “Fiction.” Here we enter a space where it is safe accept one’s self, to love another person, and to discover what it really means to be human.
Key Tracks: Distraction, Fiction, The Other Way, Teachmehowtobeyourgirl
The Great Lakes are the biggest lake system on Earth with a total shoreline of 10,900 miles, more than the East and West US coasts combined. It should come as no surprise that Syracuse is home to a burgeoning Surf Rock scene and the birthplace of Underwater Bosses. These guys have been playing together in numerous projects for over 2 decades, but finally formed this band last September. Their debut album, Aqua La Vista, was released in April and consists of 12 original tracks that perfectly capture the spirit of the sport, that made the genre famous.
“Ride of the Surfers Ride” opens the album with everything you’d hope for in a surf rock song. Wet, arching guitar riffs, head bobbing drum beats and a bass line to boogie to. “Basshead” takes that and turns it up even higher, all while adding a salty organ to the mix. This is the kind album you play in your car on a sunny day with the windows down. In fact, it was the “Between the Black Sea and Me” that made me get into my car to take a drive in order to fully appreciate the sound and style of this album.
“Red Tide” is a prime example of how this band’s sound can make their music feel oceanic in size. This song itself is a powerhouse; large from the get-go like the algae blooms it’s named after. This band continues to encapsulate the feeling of surfing with a sound that swells in and out like the sea itself. “KGB Tsunami,” my favorite instrumental surf track on the album, has a super catchy guitar riff and Chris Stewart really lets his inner Dick Dale shine as he makes you feel like James Bond is catching waves. Bob Breen’s intense drumming can’t be highlighted by a single track but “Surfin Hand” really showcases his talent. The same can be said for Greg Bresett on bass, who obviously shines on “Basshead” but really kicks it up on “Heavy the Ride.”
This album also consists of two vocal surf tracks and the really hold their own amongst the instrumental surf tracks. “Turtle Neck Sweater Zombies” is infinitely catchy and fits nicely in the first half of the album. However, “Surfin Lullaby” is the most unique song on this album and also the most beautiful. It shines a lovely light on how great this band is and would be a lovely cap to the album, but a better one is certainly the last full track, “Surftacular”. It’s just one last all-out surf fest until the end. While this album is a must-listen for any fan of the surf rock genre, I would absolutely recommend it to anyone looking for a fast, fun and frenetic sound.
KeyTracks: KGB Tsunami, Surfin Hand, Surfin Lullaby
NYC’s brass-funk quintet Lucky Chops are releasing their brand new, self-titled album Lucky Chops to the public tomorrow. Fans who donated to support the album’s production were treated to the full album a day early.
Lucky Chops isn’t their first recording, however, the 11-track album marks their first full-length studio effort that brings a collection of original songs to their growing fan base, marked by careful attention to detail in the compositions and production. Their first release, NYC, came out around the same time that their New York City subway performances gained viral attention on social media and is comprised mostly of covers, and subsequent single and EP releases that established a foundation of original material leading to this latest project.
Lucky Chops performing at Brooklyn Bowl (April 2019)
There is no single defining sound that the band has laid down on this latest release. By the fourth song, Lucky Chops has defined a well-crafted blend of original sounds for this multi-genre, multi-decade influenced banger of an album.
The medium paced disco groove of “Halfway to the Hudson” leads things off with interludes laced with brassy, Daft Punk-inspired licks. From this catchy attention grabber, the album quickly flaunts a diversity in sound, traveling through a lighthearted “Dancing Babies” to the heavy, steady beat of “Traveler” where their own original dance style shines through.
The album’s prominent track and first single, “Full Heart Fancy,” is the best demonstration of Lucky Chops’ writing and performing skills, with each of the five members featured throughout the song.
The album, as a brass band recording, is naturally instrumental and sans vocals. However, a unique part of their compositions is that several of the melodies beg the attentive ear to search for its own lyrics to sing in tune or harmony with those melodies. “Flyway,” as an example, is a relaxed tune where the tenor sax line resonates with the familiar feel of Paul McCartney’s singing on “Yesterday.” Naturally, or even instinctively, unspoken words form at the tip of the tongue while listening to the album.
In a broader sense, Lucky Chops brings that aspect out in many of the tracks by how well the subtlety (and sometimes the obvious) blend into their arrangements prominent elements of some of the pop music styles of 1950’s surf rock (“Dance Nights”), and 1990’s/2010’s alt/pop (“Familiar Places,” “Mo’ Mo,” “Memories”).
Lucky Chops represents a step forward for the band in the effort and craft in composing/producing/recording, and for the perseverance they have shown fans through an unavoidable delay in the release. The band’s new music continues in the band’s tradition of having a wide appeal, enjoyed at home or at one of their high energy club/concert hall shows.
Before heading out on an extensive European tour in a few weeks, Lucky Chops will be doing a special live stream performance on their social media channels today from the Times Square subway station (by the A-C-E lines/Port Authority) at 12:30 EST. The band will also host an additional special album sneak peek live stream/Q&A on their YouTube channel beforehand at noon. The album can be purchased and streamed here.
https://www.youtube.com/watch?v=_D5RFEiPbOk
Key Tracks: Full Heart Fancy, Memories, Familiar Places
Track Listing
Halfway To The Hudson
The Dancing Babies
Traveler
Dance Night
Full Heart Fancy
Flyway
Pizza Day
Familiar Places
Memories
It’s Not Goodbye
Mo’ Momo
Lucky Chops will return to touring around the US this spring with several East Coast stops (listed below), including two nights at Brooklyn Bowl. Full tour dates, along with ticket information, can be found here.
March 27/28 – NYC – Brooklyn Bowl April 1 – Pawling, NY – Daryl’s House Club April 2 – Hamden, CT – Space Ballroom April 3 – Somerville, MA – ONCE Ballroom April 4 – Syracuse, NY – Syracuse University April 10 – Philadelphia, PA – The Foundry at The Fillmore April 11 – Washington, DC – Union Stage
Sometimes, often unexpectedly, life decides to take a plate of glass and smash you right in the face. When that happens, you can either retreat and regroup or take that sharp, broken glass and smash back. That is what Adapter did with their first EP, Period. This is a band with a chip on their shoulder, and the chops to go out and make a statement about it.
First impressions as a modern mix between Zeppelin and The Allman Brothers Band are never a bad thing, but as you dig deeper you realize Adapter subtly carved a sound of their own. Their sound can loosely be described as a new aged hard rocking spin on classic blues; however, they possess the in-your-face rock and roll spirit that once dominated life for many. Even through headphones there is a sense of electricity and danger, both musically and lyrically, with explosive rocking chords that nearly beg to be vibrating wall to wall in an arena.
Lyrically, Period is a familiar peek into a songwriter who has been damaged and cannot decide what to do next. The hard-rocking opening track “The Pains” delves deep into the mental struggle of whether to go back to a lover who has hurt you. This all too human battle continues as the EP continues with “Mean Bitch Blues,” where the band transports you to that dark unknown where you don’t know what to do next now that it has all ended except express anger and sadness. While only five songs, Period gives a good snapshot of the band’s capabilities melding between hard rock, trippy blues, and a more subtle, lighter side at times. Already sounding like a refined, authoritative group, Adapter will be a fun band to watch grow as they continue making music.
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
Within Shadows burst onto the Canadian metal scene a couple years ago, garnering a following with their relatable lyrics, emotionally-charged vocals and instrumental innovation. This summer, they released a few remastered songs from their 2017 album, Mind = Enemy, and launched their latest collection of work, Face to Face.
Within Shadows started as the solo project of singer/songwriter and multi-instrumentalist Sean Farias. He’s worked with a handful of musicians over the years. On this album, Farias worked with Derek Petricka on writing, recording, engineering and producing the album. The album also features collaborations with Oshie Bichar (Beartooth, City Lights), Lucas Mann (Rings of Saturn) and Joe Farias (Intruder X).
Face to Face at its core is metal catharsis. The music contained herein is a conduit for channeling primal pain and political angst. From the anguish of “My Sorrow” and the agony of “Betray” to the politically charged anthems “Uprising” and “Our Revolution,” the music provides a space for purging emotions. They are personal but also strike a resounding chord within the listener. Intense and brooding, Within Shadows does not merely ride out the storm, they charge into it headfirst.
There’s a little something for everyone on Face to Face, as the 13 tracks adeptly flow through various styles including hardcore, metalcore, hard rock, and djent. The album has a broad appeal, speaking to those who spent their formative years hanging out at the metal stages at Warped Tour as well as those of us who grew up on Black Sabbath and Metallica.
Marco Benevento who hails from New Jersey and now calls Woodstock home, could be described as a jack-of-all-trades, playing in jazz groups, the premier Grateful Dead cover band and touring with members of Phish and numerous other projects. With Let It Slide we get a true taste of the genius of Benevento’s tastes, influences and abilities with tight arrangements and gorgeous songwriting.
Photos: Matt Long
After his first album Invisibile Baby was nominated for the prestigious Independent Music Awards’ Best Jazz Album, it is interesting to see how far this Berklee School Of Music has delved into the indie and jam band scene, covering artists such as My Morning Jacket and The Knife on his second record. Much of this was self-produced, so now with Let It Slide, Benevento has an incredible treasure trove of experience and influences. Combined with the incredible producer Leon Michels, also from Upstate NY, this record flows together impeccably. Benevento claims, “This record has a really nice mix of what Leon does at his Diamond Mine Studio and what I do at Fred Short Studios. The final call on everything was always Leon’s though, because I trusted him completely. I’d never put my music in someone else’s hands before. I’d been hesitant to work with outside producers in the past, but the experience of making this record ended up being so freeing and exciting! I loved every single minute.”
The new record showcases Benevento’s ability to slide in and out of genres. At one moment he can catch you with the seemingly endless hooks and beautiful layers of the title track and then move to an atmospheric love song like “Solid Gold,” celebrating the joys of living in the moment, a notion often lost in this day of technology and dating services.
One of the most beautiful tunes on the record is the John Lennon-esque “Lorraine,” co-written by Simone Felice. Benevento says of his songwriting, “I started as an instrumentalist so I tend to write the music first and come to the words after. Often I don’t know what the song is about at first and then I see my own personal philosophies subconsciously bubbling up throughout.”
Another favorite of this reviewer is the very catchy and groovy “Send It On A Rocket” that almost sounds like a Beck tune from Mutations. Fans both new and old can be thankful that this new record really hits an incredible stride and works as an entire piece of art. The maturity of the songwriting showcases Benevento’s more than 20 years long career of creativity. Upstate, NY is truly lucky to have such a talent, so be sure to catch him on the road with his own band, JRAD or “The Duo” with Joe Russo. Let It Slide is another incredible installment on the continuous journey of an amazing player and poet.
Let It Slide comes out September 20 and can be pre-ordered on vinyl, cassette and CDs currently HERE. The record is under Beneveto’s own label, Royal Potato Family. The official album release party is October 12 with support from Mikaela Davis at The Cohoes Music Hall.
TRACK LIST:
1. Let It Slide 2. Solid Gold 3. Baby Don’t Make Me Wait 4. Gaffiano #1 5. Say It’s All The Same 6. Humanz 7. Gaffiano #2 8. Send It On A Rocket 9. Lorraine 10. Nature’s Change 11. Oh Baby Can’t You See 12. You Got Away 13. Gaffiano #3
Wallis Bird‘s upcoming album, Woman, is both a rebellious act of self-advocacy and a call to action. Wallis Bird is an accomplished musician from Ireland with a unique sound. When she was young, Wallis was involved in an accident where she lost all of the fingers on her left hand. Fortunately, all but one were able to be reattached. This has impacted the way she plays her guitar. She performs with it flipped, lending to her distinct musical quality.
Womancomes twelve years after her first album, and it is a reflection on the things Wallis has learned, both about herself and humanity. It serves as a way to impart what she has discovered and to rouse her audience into wanting change. To change the world around them; to be a kinder place.
In “Life Is Long,” Wallis reminds us that while a lifetime may seem like a long period, time itself is very brief. Each moment needs to be savored, which is something that is easy to forget in a world of instant gratification and constant distractions.
In “Salve,” a previously released track from the album, Wallis sings, “I’m practicing what I’m preaching, no else is going to save me,” a lyric which shows she has learned responsibility for her own self-growth. It’s easy to be sold on a version of yourself when you’re constantly fed images via social media. The desire to model yourself after someone else, who appears to be living an ideal lifestyle is tempting, but Wallis seems to ask you to step back from all of that, to evaluate yourself based on your own standards and decide what it is that you truly value. Create your own rubric to measure yourself by and define your own happiness.
Wallis invites introspection in her track “Brutal Honesty,” where she is, as the title suggest, with herself and shows awareness about how her own words impact others. She invites the listener to step inside her thoughts, where an act of intimacy becomes a shared experience with many. In “Repeal” she advocates for the right to decide what is best. In the current political climate, as a woman, others in power feel that it is up to them to make decisions for you. Wallis Bird speaks out against this, fighting to take ownership of her own choices in life.
Wallis Bird presents you with singable tunes that are joyous in sound yet carry deep messages that comes from introspection and reflecting on the changing world at large. It is a blend of soul roots and her love of the various genres that have influenced her. It stands as a testament to who she is and who she has built herself to be.
“Woman” will be released on September 27th. To catch her on tour, you can find her upcoming shows here.
Key Tracks: Salve, Brutal Honesty, As the River Flows.
Lonely Dakota is a UK based southern rock band. What? A UK based southern rock band. If baffled by this identification, the band’s debut EP End of Days will remove any confusion to who they are.
Recorded in April 2019 at Ranch Production House in Southampton, England, End of Days opens with “Victoria,” a bare bones rock anthem. Hearing lead singer Luke ‘VonDee’ Varndell’s raw vocals and Craig ‘The Machine’ Sepala’s authoritative drumming, you’ll find yourself pumping your fist in the air and letting out a YEAH as the song builds. The title track (and first single) “End of Days” follows. The song solidifies the band’s rock status with its hard-hitting drive, highlighted by Paul ‘PJ’ Jackson’s potent guitar work.
Track three is “Medication,” a slight shift melodically from the first two songs but kept to the bands creative dimension. Rounding out the collection are “Overdrive” and “15 Years,” songs that maintain the musical landscape established by the opening numbers.
“End of Day” cover art
So let’s review:UK, southern rock; UK, southern rock. Got it? Doesn’t matter. Just remember that Lonely Dakota’sEnd of Day will rock you, no matter where you are from.
Since their inception back in 2004, The Wood Brothers have been creating their own flavor of American traditional music on their own terms. The trio is comprised of brothers Chris (bass & vocals) and Oliver (guitar & vocals) Wood , as well as Jano Rix (percussion & shuitar). Together they have been successful in creating a unique musical gumbo which includes the combination musical styles including Blues, Folk, Country, and Rock.
The Wood Brothers also recently received critical acclaim for their latest studio release, 2018’s One Drop Of Truth, which included a Grammy nomination for Best Americana Album. If that weren’t enough to keep the band busy, The Wood Brothers have just released Live At The Fillmore a new live album, their fifth, that was recorded over a two night stint at San Francisco’s famed musical landmark. The trio is famous for their live performances and the band shines on the stage. The opening track on Live At The Fillmore is “Blue and Green,” which is a stripped down, intimate number off of 2011’s Smoke Ring Halo LP. The deft vocals that Oliver and Chris deliver, as well as the ambient noise of the crowd, easily transports the listener to the gig at the historic Fillmore.
The boys tear it up on the third track “Snake Eyes” with a great percussion intro by Rix, which leads into a nicely executed guitar accompaniment by Oliver, featuring some heavy feedback. The Wood Brothers infectious performance, along with the a little on stage prompting from Oliver persuaded the audience to join the band in the chorus of the upbeat number, creating a vivid picture in the mind’s eye of the listener. The trio’s harmonies were spot on and the track wrapped up with another nice guitar fill by Oliver.
The Wood Brothers keeps the energy flowing with “Raindrop,” the fifth track from Live At The Filmore LP. Oliver and Jano constructed an intro featuring guitar and percussion which effortlessly leads into the jamming number. With the catchy opening vocal “Broke a heart for a cheap thrill. Seemed worth it at the time. There’s a hundred of ’em out there still. You can hear ’em all cryin’,” Oliver is able to evoke the frustration that anyone can feel while trying to get over a painful breakup.
The sixth tune, “Chocolate On My Tongue,” has an infectious groove that will get your foot tapping along with The Wood Brothers as they expertly ply their trade. Catchy riffs and smooth harmonies make this tune a true gem of a performance and a highlight on the LP.
Overall the fourteen tracks on Live at The Filmore are successful in proving The Wood Brothers are at their comfort zone on stage, playing for a live audience. It also illustrates how proficient the trio, who have had extensive time on the road performing, are able to anticipate and coordinate their playing together as a road tested unit. Oliver Wood once said while talking about selecting songs for a set list: “Sometimes it is like choosing between your children, you don’t want to have to do that but sometimes you have to.” Luckily for fans of The Wood Brothers, the band chose extremely well on Live At The Filmore, creating a voyeuristic experience where the listener gets to experience the best of two nights in the life of a great live band playing at a historic musical venue.
