NYS Music 20​19

Category: Album Reviews

  • Making A Modern Classic: Tough Old Bird’s ‘The Old Great Lakes’

    The Old Great Lakes is a captivating collection, brimming with the beautiful verse and evocative arrangements Tough Old Bird has become known for. However, this work transcends everything they’ve done, pioneering beyond the confines of traditional folk. Tough Old Bird is the moniker taken on by brothers Matthew and Nathan Corrigan.

    Inspiration for The Old Great Lakes came from a lot of sources: the environment, literature and a lifetime of music appreciation. As the name implies, The Old Great Lakes was shaped by an innate love for geography and environment. Matthew and Nathan have toured quite a bit over the last few years, but their music has always been deeply affected by their Western New York roots. 

    “We grew up in a little one-stoplight town called Fillmore, NY, and that environment definitely found its way into a lot of our music,” said Nathan. “But I think where we grew up probably had less of an influence on this album than on our previous ones. Our music has always felt pretty rural, but this, to me, is more of a city album. I imagine it taking place in more of a rust belt setting – places like Buffalo and Rochester.”

    The Old Great Lakes

    Listening to the album it’s easy to pick out references to a post-industrial backdrop. The percussion in some songs drone on like the trip-hammers of the old mills. And when they sing about a woman in the snow in the alley, one can feel the unyielding cold of New York winters seeping into your bones. 

    Don’t be mistaken, thinking this is a period piece. The songs have a timeless quality about them, and could just as easily be set a hundred years ago as they could today. This comes in part from being steeped in diverse influences from bands ranging in genre – from rock to country, and from the beginning of recordings to the present. 

    Our parents had a huge record collection and started us out on bands like The Beatles, The Moody Blues, Squeeze, or John Prine… I remember our dad calling me downstairs once and we sat and listened to The Wall by Pink Floyd straight through.

    Matthew Corrigan

    “Growing up I felt like a sponge for new music,” he continued. “My teachers showed me Pearl Jam and The National. My friends got me into Iron & Wine and The Avett Brothers. I think I listened to R.E.M. for two years straight in high school.”

    These influences shine through on this album. Whereas their previous work has more of a traditional feel; this time they incorporated more diverse sounds and techniques. The songs carry on the traditions of Americana, but there’s more willingness to take chances on this album – a quickening sense of adventure and risk-taking. It veers away from the expected.

    “We wanted to create something new,” explained Matthew. “Nathan and I both had a vision for what we wanted for this album that dates back several years. We both knew we had to create a certain environment that these songs inhabited, and that environment was different than what we had created before.” 

    Nathan added, “We were a lot more open to electric instruments on this album – electric guitars, keyboards, effects – and more ability to use those things than we had the last time around. I think we’ve had a tendency in the past to think of ourselves as a folk band, and with this album I think it was more important to be open to anything, and not worry about what genre it was or whether it sounded like some abstract idea of how we were supposed to sound.”

    A cohesive concept achieved through the use of repeated motifs and musical phrases make this more than just a collection of tracks. There are melodies that repeat throughout the album, tying the songs together. And the lyrics contain a narrative arc, a sonic novella complete with setting and a cast of characters. 

    The Great Lakes themselves are the most pervasive symbol on the album, they appear in every song in some form. They aren’t the direct subject of any given song, but are placed in the background as an unchanging setting for all of these human stories to take place. They have battered shorelines, sunken ships, lighthouses, and hold watchmen and lost sailors, but they steadily churn and rest at the edge of every city and landscape and story. I feel that they passively narrate the emotional arc of the record.

    Matthew Corrigan

    The musical composition adds to the emotional tug of the album. From the triumphant horns to the maudlin violin, the soundscape mirrors feeling behind the story of each song. They called some friends, old and new, into the studio to execute their vision for the album. Jay Corwin was on upright and electric bass. Charlie Caughlin, of The Brothers Blue, played fiddle on two songs. Sean Ebert from The Fredtown Stompers played trumpet on a couple. And Marty Benzinger played drums. Matthew credits these musicians with bringing the songs to a whole new level.

    Matthew and Nathan went with a new producer this time. They met musician/recording engineer Brent Martone through the Buffalo music scene. Last winter, they got together to turn the vision for The Old Great Lakes into a reality.

    “He did a great job of getting us to push ourselves, but without ever steering the record in a particular direction,” said Nathan. “He also has a lot more know-how when it comes to effects and electronic stuff, so we would try to describe how we wanted something to sound and he would be like: great, here’s five ways we can do that!”

    Matthew added, “I think he understood the songs from the start which created a very freeing environment to work in, no idea wasn’t worth chasing. Brent also challenged us musically and conceptually in ways that we had never been before. Every song on the record benefited from honest critique and deconstruction.”

    The resulting album marks a milestone in their progression as musicians. It builds upon everything they’ve done so far. 

    “Every album we’ve worked on has expanded our knowledge in some way,” said Matthew. “Gambling Days taught us how to work in a studio, Beasts taught us how to flesh out arrangements and put together a batch of songs that was thematically cohesive. All that experience was carried over onto The Old Great Lakes. That being said, there were also several times on this new album that we purposefully rejected things that we had done before.”

    “In terms of lyrics, every song is a push to write a better song than the one before,” he continued. “Every song is a lesson in how to use language.”

    Listen to The Old Great Lakes, which is out now. You can purchase it on CD or digital download on their website. Follow them on Facebook and Instagram. Tour dates to be announced soon. 

  • 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: Melissa Gardiner ‘Empowered’

    Empowered, the new album from trombone player-extraordinaire Melissa Gardiner is a powerful ride of jazz, funk and dreamy atmospheric tracks that captures the listener from start to finish. Gardiner has been on the circuits playing with legendary acts like Aretha Franklin, The Temptations, and Vulfpeck.

    On this record she reaches above the male dominated world of jazz with support from fellow musicians Ingrid Jensen and Tia Fuller. The timing of this inspirational record that dropped on June 21, is a statement against women being a placeholder, rather than featured musicians. On the track “Smile,” which features a brief conversation about entertainers being told they need to ‘appear happy’ on stage and, “Mask,” about women feeling like they must hide their emotions, it is clear that these recordings are not only empowering musicians, but all women. A beautiful sentiment set with incredible harmonies, amazingly-fun and catchy back beats, layered with the strong horn lines are only expected from a Juilliard graduate.

    Another strong tune from Empowered is “Slowly.” Gardiner says, “It’s about feeling invisible, where people are looking at you, but not really seeing you – They’re only seeing your physical body.” With the message of abuse, sexism and trying to breakthrough into an incredible challenging profession, “Slowly” is a wonderful sight on the idea of taking steps forward and finding your way by pressing on. With lovely falsetto vocals and a soaring trumpet leading the way, this is another winner on an outstanding record.

    Engineer and producer, Jeremy Johnston, has worked with Gardiner over the years on various records. He said: “This is such an exciting project. She came to me with her story and I immediately said yes, I want to help you tell it. We had phenomenal musicians and it tuned out to be fun, and I think she made a great one!” Assistant engineer, Alex Lavon, and Johnston recorded in Syracuse at multiple locations, brought in Weedie Braimah on percussion who tracked from New Orleans, and traveled to NYC to work with Ingrid Jensen and Tia Fuller. Naomi Clark added to the post-production of Empowered, with a keen eye on the final touches.

    With Gardiner’s career over many years of taking these steps forward, it is inspiring to see a talent like this rising above and truly shine with her own voice and powerful message. Empowered is a must-listen. The production is next level, as is the artistry.

    Key Tracks: Slowly, Brass Ceiling, Mask.

  • Hearing Aide: SPAGA

    Fresh off the heels of another successful Camp Bisco comes the debut release from SPAGA, a new and exciting Philadelphia-based jazz trio that blends intricate soundscapes and piano-driven melodies with a sturdy rhythm section that’s more than open to improvisation. This new project is the brain child of Disco Biscuits keyboardist Aron Magner, whose delicate piano play fuels the self-titled release. Jason Fraticelli (upright bass) and Matt Scarano (drums) round out this latest addition to the burgeoning Philadelphia music scene, who recently performed at Xerox Rochester International Jazz Fest.

    Those expecting to hear songs similar in intensity and fashion to what the Disco Biscuits live catalog provides should look elsewhere, although there is a track (“Resurrection”) that fans will certainly recognize here. Instead, SPAGA offers a more relaxed and intimate musical environment that’s both technically proficient yet still malleable enough to explore new boundaries. The interplay between these three masters of their respective crafts on this record helps create moods that can range from brooding to blissful, sometimes within the same track. With seemingly only minimal post-production effects mixed in, this “mostly acoustic” album instead pays more attention to the organic nature and simplicity of a three-piece band that’s still able to produce a powerful and engaging sound.

    SPAGA
    © Ashley Smith

    A mix of styles begins the album as tenacious drum work and a foreboding bass line are joined by some ethereal piano-driven melodies, a practice common throughout. By the end, the opening track “Creed” develops a light and pleasant tone before slinking away with the return of the darker opening theme. “Marionette in the Snow,” which follows, may be the most enjoyable listen on SPAGA as it takes the listener on a true journey lasting near nine minutes. A joyous main theme gives way to some crispy drum and bass work, giving Fraticelli and Scarano a chance to take the reigns for a little and show off their chops. “Four Angels” produces an ambient and almost spooky soundscape at its outset before a comfortable groove is established, accentuated by more Magner-crafted melodies on the grand piano. And fans will surely recognize “Resurrection,” an instrumental take on the Disco Biscuits song that flows back and forth between two main thematic tempos, serving as almost a nod to the original and recently re-worked styles in which the song is played live.

    The album may only have six tracks, but each is a unique and easy listen that touches on distinctive elements of jazz, rock and improv that certainly lends itself to a world of possibilities in a live setting. For now, the album, which will be released on Magner’s own label AM Records on July 26, will have to suffice. But the band does have tour dates planned for later this summer as seen below, including a date at New York City’s (Le) Poisson Rouge, serving as the next stage of this musical exploration that’s off to a very promising start. For more information and to purchase tickets for upcoming shows, visit the SPAGA official website.

    Tour Dates

    August 6 – Fort Collins, CO – Washington’s

    August 7 – Denver, CO – Ophelia’s Electric Soapbox

    August 8 – Steamboat Springs, CO – Old Town Pub

    August 10 – Telluride, CO – Telluride Jazz Festival

    August 10 – Telluride, CO – Sheridan Opera House

    August 11 – Crested Butte, CO – Center for the Arts

    September 6 – Ardmore, PA – The Ardmore Music Hall

    September 7 – New York, NY – (Le) Poisson Rouge

    September 21 – Slippery Rock, PA – Resonance Festival

    January 7 – Miami, FL – MSC Divina

  • Hearing Aide: Marty Wendell ‘Rock and Roll Days’

    Ticonderoga native Marty Wendell has been a local superstar since the 1960’s, sharing the stage and touring with musical titans such as Carl Perkins, Arlo Guthrie and Johnny Cash. Drawing from a rich and storied career, nearly sixty years in the making, Wendell returns triumphantly in 2019 with Rock and Roll Days: A Celebration of Sun Records – a stalwart tribute to the early days of rock, and ultimately, a retrospective on the music that shaped his own career.

    On a surface level, Rock and Roll Days stands as a straightforward rockabilly jaunt, full of groove and levity. The occasional solo troubadour, Wendell comes fully backed by his touring band this time around and delivers a clear, strong and confident performance. Subtitled “A Celebration of Sun Records,” Rock and Roll Days was crafted to pay homage to the legendary record company famously considered to have fostered the early development of Rock and Roll in the Mid to late 1950’s.

    Originally founded in Memphis, TN, Sun Records was the support system that helped launch the careers of Sam Philips, Roy Orbison, Jerry Lee Lewis, Elvis Presley and Johnny Cash, among many others. Like young musicians of the time, it was this monumental moment in music history- the birth of rock and roll- that captured Wendell’s imagination like no other, inspiring him to pursue a career in music that would last the rest of his life. Returning to those early days with song, it is that same feeling of youthful inspiration that Wendell tries to preserve on the new album.

    Marty Wendell

    Combining a tasteful blend of new originals and time-honored standards, Rock and Roll Days plays like a love letter. Tracked “old school” in the recording studio (that is to say, live, with the recording musicians all together at the same time), Wendell and his tour band have seen to every detail in creating an album which would speak directly to the history from which is was inspired. The result is something of a sonic scrapbook- a photo album composed of songs in lieu of pictures which serve as aural windows to the past through the scope of one man’s experience. It is a joy to be invited down this hall of memories. Yet we are invited to look forward just as much as we look back thanks to the spattering of new tunes written specifically for the record and the refreshing sincerity of Wendell’s earnest delivery.

    As a young man, Marty Wendell first got his start playing for his church congregation in the 1950’s. Cementing his desire to pursue performance, Wendell went on to continue performing all through his college years. Venturing out of upstate New York in the mid 1960’s and heading into Greenwich Village, Wendell began working with producers who brought him into the recording studio for the first time. Here he produced hits such as “Hey Hey Mama,” “An Ode to Burtis Dean,” and “Bring the Circus Back to Town.” Since that time, Wendell has toured with John Anderson, Lacy J. Dalton, The Hager Twins, Bluesman, T. Graham Brown, The Statler Brothers, and The Carter Family. He has produced more than 10 albums to date and is one of a select few artists to have recorded music in Memphis’ historically renowned Sun Studios.

    Those previously familiar with his work will delight in the re-recorded rockabilly version of “Hey Hey Mama,” arguably Wendell’s biggest hit and the one that gained him a supporting role on Johnny Cash’s Folsom Prison album tour. Cash had remained a tremendous influence on Wendell throughout his entire life. This sentiment is later addressed during the latter half of the album on the heart felt single “Teardrops of Gold,” which is preceded by the story of how Cash came to Marty Wendell in a dream to inspire the writing of that song. The album then closes with a recorded conversation between Cash and Wendell taken from the Folsom Prison tour in 1968.

    With a life-long career to reflect upon, Wendell’s youthful enthusiasm for this music has lost none of its luster in his late adulthood. With timeless authenticity, Rock and Roll Days brings a wholesome and charming facet of one man’s life as a musician, from inspired young man to seasoned veteran, into sparking clarity.

    Key Tracks: Rock and Roll Days, Blue Suede Shoes, Hey Hey Mama.

  • Hearing Aide: Frightened Rabbit ‘Tiny Changes’ is a Monumental Act of Love

    Frightened Rabbit’s Tiny Changes released on July 12 pays tribute to the former frontman, Scott Hutchison.  The album is a collection of covers off their 2008 album, Midnight Organ Fight, which marked the band’s breakthrough into the music scene. Originally, Tiny Changes was meant to be a celebration of the ten year anniversary of Midnight Organ Fight, to be released in 2018. The project was Scott’s, and upon his passing it was shelved until this year. It has now taken on a new meaning for the band.

    The title for the album comes from a lyric in the song “Heads Roll Off” in which Hutchison sang, “While I’m alive, I’ll make tiny changes to Earth.”  It’s a fitting title for a work made to remember a man who did exactly that.

    Whether Scott was aware of his reach, his songs impacted many. Hutchison’s lyrics were always honest and raw, not hiding from the rough emotions stirred up by depression and his own thoughts on suicide. His voice was unmistakable, unique in its rolling Scottish tones and humble sound. Scott had a way of always singing from deep within himself as if he were imploring you for forgiveness for the flaws that come with being human.  Even in his final tweets under the moniker of his solo project, Owl John, Scott asked people to “Be so good to everyone you love. It’s not a given. I’m so annoyed that it’s not. I don’t live by that standard and it kills me. Please, hug your loved ones.”

    Tiny Changes is also the name of the charity started by Scott’s family, created with a goal to raise awareness about mental health issues amongst young people. To donate to the charity please go here.

    Listening to the album Tiny Changes is incredibly cathartic. Each song is a loving memorial to a man who was cherished. The artists took it on themselves to produce a work that carried a tenderness to compliment the sincerity of Scott’s original vocals.

    It’s hard to escape the echoes of Scott’s voice while listening to the album. Even while hearing the covers, his voice still lingers at the edges, vulnerable and raw.

    The album begins with Biffy Clyro’s cover of “The Modern Leper.” Biffy Clyro is a fellow Scottish band who Frightened Rabbit originally toured with in 2008, around the release of Midnight Organ Fight.  In the album liner, Grant Hutchinson, Scott’s brother, says that Biffy Clyro “gave us inspiration and motivation to be as true to ourselves as we could but still aspire to be as big as we hoped we could be.”  

    The song, originally performed with gentle honesty, takes on a harder edge. There are moments of softness when Simon Neil’s vocals are just a quietly spoken plea, but these moments are broken by the jagged rhythms of the guitars. When talking about the song itself, Biffy Clyro comment that “There are very few songs I wish I’d written: ‘The Modern Leper’ is most definitely one of them.”  It’s easy to understand why. The lyrics are brutally sincere, speaking to all the times a person has felt too inadequate for the person they love, too crippled by their own faults and unable to believe that someone would still find value in them. Despite the disbelief throughout the song, there is an ending note of hope, a promise to start over, beginning with a simple conversation about their day. 

    Another particular track that stands out is Benjamin Gibbard’s cover of “Keep Yourself Warm.” In the original version, the song builds, progressing in momentum until the music stills, and you are left with Scott’s voice. It’s as if he’s teaching a lesson. As Scott sings, “It takes more than fucking someone to keep yourself warm” it is almost as if he has come to the realization himself. The naked reality of the lyrics contrasts against the music which comes across as almost upbeat and hopeful.

    Gibbard approaches the song through a haunting distance as if he is transmitting from afar. His words are slightly obscured, only bringing about clarity at the same point in Scott’s version where the music stills. Once more the song crescendos and crashes into you with a wave of emotion. Gibbard found this song particularly striking because he, “…had never heard anyone write about the ugly side of sex with such brutal honesty…”

    This album is meant to be played on long winding car rides into the night with someone you care about.

    When Frightened Rabbit released their album Midnight Organ Fight, they were unaware of the presence it would have on the indie music scene. There was something about the juxtaposition of the hopeful upbeat progressions of the music and the seriousness of the lyrics that struck the heartstrings of listeners. Tiny Changes speaks more to the nature of the lyrics, the singers’ are voices softer, and the songs take on an entirely different tone than they had before. Scott’s raw nature, his willingness to be vulnerable with the world left a mark with his fans. Tiny Changes serves as a loving memorial and a bittersweet reminder of what has been lost. 

    Key Tracks: The Modern Leper, Old Old Fashioned, Bright Pink Bookmark

  • Hearing Aide: Silver Relics ‘Generic.’

    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

  • Hearing Aide: Ignis ‘Mirrorless’

    Albany based duo, Ignis, released their sophomore LP Mirrorless on June 10. The unique styling of the record, comprised of brothers Colby and Tristan Beach. A background in piano from a very early age led both brothers to take on other instruments, and as a result, formed Ignis back in 2017. The brothers have released two self-recorded EP’s to date: Walking, and Cover. In January 2018 they released their first full length album, The Face of Mars. Even though there are issues with the actual production value and execution of Mirrorless, the band is young, with time and perhaps a deft hand in the studio to assist in the production of new material, they will surely be able to overcome these technical deficiencies.

    Unfortunately there are some tracks like “Go With Me” where the guitar is noticeably out of tune. If that was the intention of the duo, it made it an unpleasant experience for the listener. The vocals by lead singer Colby also seem to be inconsistently in tune throughout the LP. Nowhere is this issue more apparent than on both the third song “Fade Away” and the final track “Wombat Master”. There also seems to be some audible timing issues on “Fade Away” as well, which points to potential inexperience at the mixing board.

    There are some positive aspects of Mirrorless that are pleasing. The majority of the musical arrangements show intelligent musicianship. They are able to evoke feelings that Ignis wants to convey to its audience. The duo definitely seem to be working with an extensive musical pallet that includes numerous style elements including keys, percussion and a variety of interesting guitar styles.

    Additionally Mirrorless shows promise with songwriting by the Beach brothers that includes lyrics and rhythms that are both eccentric, introspective and interesting to listen to. Since this is the band’s sophomore effort, there is no doubt that there is still more in store for the future of this group. If the duo continues to evolve and are attentive to the details required of recording, they will be on track towards developing a bigger following and popularity in the Capital District. This of course takes time and experience. That experience comes from playing live and continued time in the studio. If Ignis performs regularly and commits to improving their knowledge of the mechanics of musical recording,  they will be able to develop a more mature sound that will elevate their art to the next level.

    Key Tracks: My Way, Red Dress

  • Hearing Aide: Hasty Page ‘Things To Do Before I Die’

    Hasty Page and their official release party for Things To Do Before I Die is set for June 21 at The Linda WAMC’s Performing Arts Studio located in Albany NY. Tickets are $12.00 and the show kicks off at 8:00PM. The band will be continuing to support their new album with dates slated through the summer.

    It’s been two long years since the Queensbury based alt/indie rock power trio Hasty Page has released new recorded material. Fans will be pleased to know that the wait is over with the release of their second full length LP Things To Do Before I Die, which dropped yesterday, June 20. This 11-track gem is a great follow up to their last release, Distance, and features tasty hooks that give the listener a whole lot. Hasty Page is comprised of Josh Morris (Lead Vocals/Drums), Zane Agnew (Lead Guitar/Vocals), and James Paolano (Bass/Vocals). The band was formed in 2015 and has sound that is reminiscent of such acts as The 1975, Nothing But Thieves and Pearl Jam.

    Morris and Zane Agnew began playing acoustic duo shows around New York’s Capital Region, where they honed both their playing skills as well as their songwriting. A few months in, close family friend James Paolano was added to the roster on bass to fill out the trio. Since then, they have been playing regularly out in the Capital Region at The Hollow Bar + Kitchen, Jupiter Hall, and even made the trip down to the Rockwood Music Hall in NYC.

    Things To Do Before I Die starts out in a very unique way with its first track “Sleep.” The tune is a mellow trance inducing intro that perfectly matches its title. The song features heavy synth and overdubbed vocals that paint a warm spacey dreamscape for the listener. The track quickly crescendos into a shockingly climatic vocal command, “GO TO SLEEP!,” after which the number abruptly ends. The second track, “Wake Up,” is a jolt back to reality that relies heavily on guitar, featuring a tasty musical hook. The song is a sort of call to arms, that lyrically challenges listeners to wake up to the problems that surround them in the world. Morris’ vocal chant, “One in ten of us all pretend,” eludes that people need to take a hard look around themselves and shake off the trance that they fall into while living their mundane everyday lives.

    “Body Shots” is a guitar driven groove fest that highlights both Agnew’s funky guitar playing and Paolano rock steady bass beat. The song is upbeat and perfect for playing out live. The band is tight on this number and the boys are playing to their strengths, drawing on the experience that only a live performance can provide. It features catchy lyrics that reference drinking and sports, a beat made for getting out on the dance floor and moving your feet. “Body Shots” is one of the strongest pieces on the LP.

    Perhaps the most radio friendly track on Things To Do Before I Die is the seventh track “Vices.” The single opens with an orchestrated synth introduction that is reminiscent of The Kings Of Leon and effortlessly transitions into Morris’ infectious vocal. The melody and chorus on this song are so pleasing that it makes perfect sense; Hasty Page would commit their time and energy into creating an expensively produced video for the tune. Although “Vices” features less of Agnew’s signature guitar sound and drifts more into the musical direction of pop, it is a catchy number that is memorable and is destined to be a fan favorite.

    Key Tracks: Vices, Body Shots, Wake Up

  • Hearing Aide: Lettuce ‘Elevate’

    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.

    lettuce 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.

    Key Tracks: Purple Cabbage, Krewe, Larimar

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