NYS Music 20​19

Category: Album Reviews

  • Hearing Aide: Katie Louise ‘Unleash’

    When I first interviewed Katie Louise, it was hard to wrap my brain around her talent. A classically trained pianist who is now trying to break into the pop scene? How is that even possible?

    Well, she proved it’s possible. She’s even proved it’s not only a formidable attempt, it’s a smash hit.

    The seven song EP, Unleash, released March 15. Louise and her team kicked off the new album with a show at Jupiter Hall.

    Katie Louise Unleash

    Before I heard the full EP, I spoke with Louise. I had listened to two songs before the interview. Even then, I knew she was onto something special. The sultry “Imprisoned in Paradise” is slow, but poignant and powerful. I could feel her emotion throughout the song, and could identify with her rhetorical opener (Why would I want to sit all day and stare at only black and white?). Louise’s ability to speak about how she can see things and feel things, that those around her do not understand, is phenomenal. I felt her pain. “Imprisoned in Paradise” is truly one of my favorites on the EP, which is hard to believe because I’m a die-hard rock ‘n’ roll, go as fast as you can music fan.

    spotify:album:6JAdwa5YmQtd4fjh60xXp2

    Another true highlight is “Broken,” which Louise told me was one of the first songs she wrote. Another sultry, breathy ballad, Louise is able to use language as a medium to communicate the pain and sorrow the song is based on. A gentle piano melody supports her gentle, but strong voice: “I need you to hear me before we’re fighting because I don’t want to lose you / but I can’t do this without you / I need you to love me when I’m not broken.”

    This is by far the strongest lyric in the song written by Louise, with her vocals bringing you to the scene of her pain, with a front row seat to watch it all unfold. I felt this lyric; I was able to relate my own emotional journey and feel the exact same pain. As the song picks up, the song becomes a little faster and is complimented with a drum beat that brings the element of pop into the forefront.

    Louise talked about how this EP was a work of “baggage,” as she used some of the harder parts of her childhood and earlier life as a vehicle for her songwriting. Each song demonstrates a different part of her journey, with “Damn Good” bringing a danceable beat and feel-good lyrics (I ain’t gonna lie/ life is pretty damn good/ and I’m sure as hell proud of it) to an album of raw pain and redemption. The guitar solo also gives rock listeners, like myself, something to latch onto, making sure almost any listener has something they like within the brief EP.

    Louise’s piano skills are not lost in this album. The solo in “Unleash” gives you just a taste of what she is capable of. I truly felt an old soul in this solo, as if I’ve heard this a million times, yet not heard it at all. Louise uses her impressive talent to introduce you to the world of piano in a way you might have never seen it before. As she’s clearly demonstrated, piano doesn’t have to be classical; it can be the melody and co-star of a modern pop album.

    If I had to pick only one song from this album, it would be “You Can’t Talk To A Woman Like That.” A female empowerment anthem about what women want in a relationship and the bouncy beat will have you singing along with your sunglasses on, and windows down, as you drive home. The lyrics will have you singing for days (trust me, I sang it on loop for almost a week), while subconsciously thinking about what a woman should, or should not, demand in her life. The lyrics (You call it feminist/ I call it common sense/ and maybe baby you should get some of it) gives the listener an insight of the woman Louise is; you understand she’s here to fight for the respect, platform and place she rightfully deserves in the music industry, and for that matter, life in general.

    Overall, Katie Louise has made a formidable splash into the scene with her first EP. I’m already a huge fan.

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com

  • Hearing Aide: Jocelyn & Chris Arndt ‘The Fun in the Fight’

    Jocelyn and Chris broke into Billboard’s Top 40 in the Adult Album Alternative chart with “Red Stops Traffic,” the third single off their 2017 release, “Go.” The album as a whole was Jocelyn and Chris’ most successful release. It peaked at No. 2 on Relix’s Jamband Top 30, and stayed there for three straight months. Perhaps what’s most notable fact about the album is it was produced while Chris was still attending Harvard.

    The Jocelyn and Chris team chase radio play. It involves networking, sending tapes, exchanging phone calls and logging miles between more than 120 radio stations that fall under the AAA format. When “Outta My Head” debuted with Parade Magazine last November, David Bourgeois, the band’s manager at Bridge Road Entertainment, said it caught the attention of different radio stations. And, that’s exactly the point they’re trying to make.

    The Fun in the Fight, promises to be a venture that will take the band into new territory. It’s debut track “Outta My Head” starts off with Jocelyn singing over Chris’ bluesy guitar riffs, but it then turns into something different. It swiftly progresses into a layered, contemporary production; it’s uptempo and hook-focused. It is the most commercial-leaning song the two have yet to produce. And, that’s just the beginning. Other songs within the 11-track album suggest Jocelyn and Chris could take aim at alternative radio in addition to the AAA and jam-band genres they are accustom to playing.

    The album’s opening track sets the table for Jocelyn and Chris’ styling of a new generation of classic rock, featuring Danny Louis of Govt’ Mule. “Witness” is a love letter to all artists that have influenced the sister-brother duo since they were young children. A powerful guitar riff leaves bread crumbs in a lyrical homage to Ozzy Osbourne, Prince, Pink Floyd and more.

    Any given live, Jocelyn and Chris, performance is defined by both power and energy. “Kill in the Cure” may best capture that. It’s a controlled burn, with emotional vocals from Jocelyn and metronomic guitar playing from Chris. It’s an appropriate segue to “Outta My Head,” which within itself, beautifully progresses from Jocelyn’s lyrics to a craftily layered track worthy of its debut status.

    Chris plays a mean blues guitar and it stands out on a track that also features Beau Sasser on the Hammond Organ. The two are paired well on this darkly powerful, midtempo groove.

    “Don’t Hang Up” is a stop-and-listen track. Dark lyrics reveal one side of an intimate phone conversation from someone desperate and contrite. Jocelyn’s voice is front and center in a ballad that lingers on through the next track. A stark contrast to “Problematic,” which follows with a pure rock riff.

    Featuring Vulpeck’s Cory Wong on lead guitar and Louis again, this time on the Hammond, “Be That as it May” is an all-out jam. It starts slow and busts out into a stomping, danceable track. “Original” is yet another track that’s going to get you up and moving.

    “Things I’ll Never Know” is a retro ballad that, again, reveals the roots to Jocelyn and Chris’ influences. More organ in the back, allowing Jocelyn to take the listener to church on this love song.

    The album ends on two fun tracks, “The Western” and “Weatherman.” “The Western” is a story, as one would imagine, with pistols and a climactic duel, complete with a trumpet that will place you into the middle of a spaghetti western. The flute playing in “The Weatherman” accentuates yet another retro track that harkens back to the wistful ballads of Linda Ronstadt and Dan Fogelberg that dominated radio play in the 70s.

    Jocelyn and Chris Arndt have shown versatility, and The Fun in the Fight showcases an effort that should help push the band out in front of different audiences. It’s a road map of where the two have been over the past several years and it shows where they plan on going from there. Should you be one of those who has not yet picked up on this duo, pick this up.

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com

  • Hearing Aide: The Dirty Pennies ‘EP’

    With 2017’s Kick Out The Rocks, The Dirty Pennies blend blues with other styles of music, feeling out the boundaries of how far they could push the genre. Now with their new EP (aptly entitled EP) they’ve mapped out their niche: grungy rust-belt garage rock, steeped in surf rock and blues.

    EP is short, but sweet, containing only three songs. “I’m Giving Up” whets the appetite. The song starts off slow and surreal, but picks up by the end of the first chorus, effectively changing the song from an end-of-the-workday dirge to a happy-hour anthem. The music video for this song is a lot of fun, too. It features the band members breaking free of the drudgery of banal workaday life. “I’m a sad man, too. I’m your poor man’s blues,” sings Ryan Klem with a slight warble. “But I know, yeah I know it ends somewhere.”

    “Things You Say” is a heavy-hitter. Drummer Lucas Howe pulls no punches as he shows off with his ability to both unleash the beast within and reel it back in. Joe Mungo holds down the rhythm on bass, keeping the song grounded so Klem can let-fly some lofty guitar riffs.

    EP ends with the five-plus-minute ballad “Kingpin.” It’s heavy and heady, with an undulating psychedelic beat. The washy guitar effects and the repetitive lyric “I get up/I get down” leaves the listener entranced. About halfway through, the tempo changes and they’re injecting some good old fashioned rock and roll. The song comes full circle, winding back down. “You can’t stop me. I’m not as easy as they come. Stuck in the same frame, I’m making my way out on my own.”

    The Dirty Pennies have come a long way since Kick Out The Rocks. You can still hear elements the members’ various musical interests (including Americana, hard rock, and alternative), but they’ve blended them in such a way as to make a sound all their own. Not some polished newly minted copper, but a sound that befits their namesake.

    EP was recorded at Rochester’s Wicked Squid Studios, where it was engineered by Josh Pettinger and mixed and mastered by Greg Thompson. Album artwork credit goes to Mike Turzanski.

    Listen to the release in full on Bandcamp. And while you’re there, check out their merch store stocked with copies of EP and Kick Out the Rocks as well as some new t-shirt designs. Copies of EP will also be available at the release party at The Bug Jar in Rochester on Friday April 19.

  • Hearing Aide: Megg Farrell & Friends

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

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

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

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

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

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

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

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

  • Hearing Aide: Bad Luck ‘Drug Phase’

    Bad Luck’s new EP, Drug Phase, is the perfect vessel for launching a comeback. Bad Luck. continues to tick all the right boxes: fast tempos, aggressive guitar work, pop-influenced melodies and clever lyrics. The solo-project-turned-band cranked out a couple promising releases in 2014 and 2015, then went quiet until last year, when they announced signing with Take This To Heart Records. Fortune seems to be favoring Bad Luck. as they enter this new phase of their career. Bad Luck. leads with “Impressive Depressive,” in which they channel some serious My Chemical Romance vibes with their dark lyrics and edgy riffs. The mood lightens up in the next track, “Mean Dudes.” The uptempo bubblegum-pop serves as a perfect contrast to lyrics, oozing with sarcasm and disdain. The title track “Drug Phrase” has more bite to it. The gritty, grungy song is a brutally honest reflection on a dark time: Used to say I’m okay/ I could try a bit/ Just for the hell of it. The EP switches gears again with “Sheep Song.” Even though the lyrics are about herd mentality and blindly following along, it’s a challenge not to sing along to the “ba ba ba ba” chorus. This is followed by “Wish We Still Talked.” Abrasive vocals belt out raw emotional lyrics riddled with regret. The layered vocals are reminiscent of Taking Back Sunday. Drug Phase ends with a track called “P.S. Wiffle Ball.” The jangly tune on acoustic guitar is accompanied by whistling and a sing-song melody. The simplicity of this track evokes nostalgia for youthful ignorance and bliss.
    The collection creates a story arc that follows the rise, fall and rebirth of the jaded-yet-relatable protagonist. But unlike most concept-based albums, each of the songs can stand on their own and still make sense. There’s no filler or transitional tracks. The music is compactly arranged – tight, well-paced and cohesive. All music and lyrics were written by vocalist/guitarist Dominick Fox. His brother Joseph Fox plays bass. The band is rounded out with Charlie Caruso on lead guitar and Michael Sichel on drums. Drug Phase was engineered, produced and mixed by Jim Wirt at Crushtone Studios, and mastered by John Naclerio at Nada Studios. Drug Phase is out now on Take This To Heart Records. Purchase merch and music directly or buy/stream on your favorite major music platforms. Bad Luck. celebrates the release with a four-date Northeast tour that started in Boston last night, and hits Albany today, Brooklyn on March 30 and Philly on March 31. They’re also slated to play BLED FEST in May. Follow them on Facebook, Instagram, and Twitter for updates. Key Tracks: Impressive Depressive, Sheep Song, Wish We Still Talked

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

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

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

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

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

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

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

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

  • Hearing Aide: Driftwood ‘Tree of Shade’

    Driftwood is set to release their fifth studio album Tree of Shade this coming spring. This folk-rock and Americana-influenced band has grown over the years from a duo to a five-piece group. Band members include Dan Forsyth (guitar/vocals), Joe Kollar (banjo/guitar/vocals), Claire Byrne (violin/vocals), Joey Acuri (bass), and Will Sigel (drums). Each additional instrument and added vocalist serve to create the rounded and wholesome feel of Driftwood’s music.

    Reminiscent of the sentiment of their band name, Driftwood continues to evolve with the passage of time. Tree of Shade consists of eleven tracks and represents the group’s sonic evolution as they experiment with slower paced music. Personally, listening to this album puts me back around a campfire on a chilly summer night. The opening track “California” (which also happens to be violin/vocalist Claire Byrne’s favorite track) helps set the tone for the rest of the album as it embodies the previously described ambiance.

    Perhaps one of my favorite aspects of this album is the quality and quantity of the vocals. Songs like “Conquering Man” and “Santa Fe” beautifully portray the strength and conviction in Byrne’s voice while “Stick With Me” demonstrates the bright harmonies the group is capable of delivering. “Stick With Me” is another standout track for guitar/vocalist Dan Forsyth as he loves “how simple and timeless it is.” Other noteworthy elements in their music consist of the raw sounds from the guitar and banjo as well as the ever-present violin as heard in the closing few bars of “Tree of Shade,” the title track of the album.

    The group created this album in the Catskill Mountains and undoubtedly captured the energy of their surrounding environment. They said it was their first time working with a major producer like Simone Felice and he really encouraged them to keep it simple and stick to whatever captures the song.When I first heard songs like “Lay Like You Do” and “What You Do to Me,” I couldn’t help but think of other beloved bands who create similar sentiments in their music. Driftwood, like The Zac Brown Band and Mumford and Sons, succeeds in inciting feelings of togetherness through the power of music. Some groups the band cite as their biggest musical influences span across generations including Paul Simon, Dr. Dog, Brandi Carlile, and Bob Dylan. It is evident by this list that they value “great songwriting and music that comes from the heart” as they told me.

    “The album is emotional, mature and introspective. In some ways it’s really folky but there are also some tracks that we really took chances on.” The group shared that their goal for the upcoming album is “just to touch people’s hearts” as they “want to connect with [their] audience and share the music and this life.”

    Key Tracks: Lay Like You Do, California, What You Do to Me

    April 12 &13: Syracuse, NY – Funk N Waffles

    April 20: Rockwood Music Hall – New York, NY

    May 17: Ransom Steele Tavern – Apalachin, NY 

    May 18: Albany, NY – The Hollow

  • Katie Louise Unleashes Debut EP

    Capital District pop artist, Katie Louise, is releasing her first EP, celebrating with a no-holds-barred show at Jupiter Hall. Louise, 21, will release Unleash today, Friday, March 15.

    The seven-song EP will show its feathers later that night. The show will start at 7:30 p.m. and feature other local artists like Justin Charles, Nick Rossi and the Broken View. Tickets range from $15 to $20 and can be purchased at ticketfly.com. Jupiter Hall is located at 1 Crossgates Mall Road, inside Lucky Strike Social Club.

    For Louise, this is an album of baggage. It’s also an album of redemption, empowerment and validation. The young star started as a classically trained pianist; she was on the fast-track to professional stardom at just 14 years old.

    “I always had this talent for piano and in a lot of ways, I was just pushed into following that skill until the end,” she said. “I had written ‘Imprisoned in Paradise’ and realized I had the ability to write music. However, when I wrote ‘Broken,’ I realized this was something I really needed to pursue.”

    Katie Louise faced some adversity from those around her, particularly from those who were in the classical music circuit. As she transitioned into pop, she had to dig down to find the empowerment to keep going.

    “This EP is so incredibly vulnerable and real for me because I really open myself up in my songwriting,” she said. “I’ve always been blessed to be able to open up relatively easy, but I’ve been through a lot of pain in my childhood and this not only helped me express it, but helped me let some of it go.”

    Fans can expect a mixture of sounds. The two singles she has already released, “Imprisoned in Paradise” and “You Can’t Talk To A Woman Like That,” are drastically different — “Paradise” is more of a ballad with dreamy accompaniment, where Woman has a kick in its step. Louise said each song will be markedly different from the one before it, but they all complete the bigger picture and help answer the question of who she is — in all of her facets. All songs are written organically, with Louise finding inspiration in things she says or what she sees around her.

    She hasn’t completely abandoned her roots. Louise is excited about the piano solo on “Unleash,” the namesake of the EP.

    “It’s like I’ve blended my two biggest passions now and am able to draw from what inspires me in both,” she explained. “I’m confident that I can do this. I’m nervous, excited, stressed and overwhelmed.”

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Hearing Aide: Todd Snider ‘Cash Cabin Sessions, Vol 3’

    The album Cash Cabin Sessions, Vol 3, which features vocals by Jason Isbell on one track, goes back to Snider’s more quiet, folk-based roots. While he composed the lyrics for the songs in Stinson Beach, California, the melodies to the songs came to him behind Cash Cabin.

    Cash Cabin Sessions
    Todd Snider

    The album as a whole can be attributed to a list of things that are happening in the world, told in the form of satire with songs about reality TV, the government and just the conspiracy of it all. Calling this album a nod to the world we live in is perfectly conveyed throughout in songs like “Talking Reality Television Blues,” “The Blues on Banjo” and “Framed.”

    With the influence of Johnny Cash on his side and, of course, his recording studio, courtesy of Cash’s son John Carter Cash, Todd Snider really taps into the essence of the legendary musician with his Cash Cabin Sessions, Vol. 3.

    Snider cites working in the studio and actual reoccurring dreams of Johnny Cash that he had that led him to record in this studio in 2016 and 2017 with his supergroup Hard Working Americans. This, however, is his first solo album produced here.

  • Hearing Aide: Say What You Will ‘Anything, Everything’

    Vignettes of heartache, redemption, hometown joy and drama fuel Anything, Everything, the sophomore album from the Connecticut-based pop-punk band Say What You Will. Hailing from New Haven, the band is Christine Sabol on bass guitar, Shane Emery on vocals and lead guitar, Chuck DeFilippo on drums and Ethan Griffeth on lead vocals. Amongst changes in personnel and other identity shifts since 2017’s Seconds to Home, the new album is a work of passion and exploration, sure to excite longtime fans and attract new ones. The band supported the album release by debuting their music video for the feature track, “Southbound,” in late February.

    Drawing from the likes of State Champs, Grayscale, Sleep On It and others, Say What You Will found a way to create a distinctive, unique sound while paying homage to their influences. Recorded with Chris Piquette at No Boundaries Studios in Rhode Island, the record marks a new age of growth and maturation for the band. Anything, Everything is set to release on all platforms next Friday, March 15.


    “We’ve always tried to incorporate so many influences into our music, and I think that this time around we were more focused on making something that sounded like us.”

    Shane Emery

    From the start, “Break Away” pulls listeners in, skipping casual orbit and launching them directly into the fiery atmosphere of Anything, Everything. The restrained, energy-building intro showcases the band’s chemistry by allowing Griffeth’s expressive voice to sit on top of the rhythm, culminating in a quick stop and explosion of layered melody sure to get peoples’ bodies moving.

    Moving on, it’s clear that a key strength of the album is how it dynamically shifts between the blasting, yell-along, triumphant choruses and the sensitive, yearning reprieves. “Carolina” stands apart as a pop-punk ballad, an ode to a specific place and time, displaying Emery’s journeying, skilled guitar and the interplay between drums and Sabol’s bass. The record picks up the pace again in “Lake Zoar,” filled with jump-along moments.

     

     

     

    Distinct from the instrumentation of each song, there are the stories Griffeth shares through emotive vocals and heart-wrenchingly piercing lyrics. “Summer Haze” ends the album with a story of a woman who’s struggled with helping her significant other with drug addiction. Inspired by heroin epidemics in Griffeth’s hometown, the song is the band’s plea to shine a light on dark moments.

    Anything, Everything has all the elements of what makes a great pop-punk record, though it doesn’t stop there. The album represents a refined and redefined sound identity for the group. Listeners will always find their way to the catchy hooks, the grooves and breakdowns in the songs that feature boundary-pushing infusions from other genres. Say What You Will has put all their cards on the table, successfully creating something unique and inspiring. Pop-punk fans will find plenty of value and perspective from picking up this album.

    [accordions title=”Tour Dates:”]
    [accordion title=”March 9: Tierra’s Tropicales – Ossining, NY” load=”hide”]March 10: The Raven – Worcester, MA
    *March 29: Wamleg – Wallingford, CT

    *Anything, Everything Release Show*
    [/accordion]
    [accordion title=”April 6: Pauly’s – Albany, NY” load=”hide”]April 15: Encore Live Room – Dayton, OH
    April 16: Evolution Music – Downers Grove, IL
    April 17: Laundry Room – Nashville, TN
    April 18: The Depot – Baltimore, MD
    April 26: Ralph’s Diner – Worcester, MA
    May 3: Cianfano’s – Elizabeth, NJ
    May 4: The Barbary – Philadelphia, PA[/accordion]
    [/accordions]

    Photo: Megan Greer

    Listen to Anything, Everything and learn more here.

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