NYS Music 20​19

Category: Reviews

  • Hearing Aide: Sharon Coates ‘None Of The Above’

    This is what happened when I dusted off my lovely Fender Strat, reads the beginning liner notes of Sharon Coates’ latest album, None of the Above.

    Coates and her Strat were joined in the studio by Dave Drago on guitars, Jacob Walsh on drums, Alex Northrop on organ and Josh Massicot on piano, with Jeff Beam lending a hand on guitar for a couple tracks. 

    None of The Above from Sharon Coats is chock full of songs exploring a wide range of sounds and topics about feminism, love, longing, and friendship. From the pop rock sound of the opening track “Radio” to the surf-rock undertones of “Hey Man;” and from the lofty echos of “I Look For You” to the slow smolder of “One of Those Nights,” driving guitar riffs tie everything together. The vocals, lyrics and other instruments are arranged like pieces of glass in a mosaic. Each sound has been thoughtfully placed to create an auditory kaleidoscope of sound with Coates’ beloved strat as the centerpiece. The steady back beat keeps everything grounded, and the moderate use of the Hammond organ adds a colorful touch. 

    Here’s to hoping the dust never has a chance to settle on this indie rocker’s Fender Strat again.

    Key Tracks: Radio, I Look For You, One of Those Nights

     

  • The Elements of Aqueous: Part One – David Loss

    Animas City Theater in Durango, CO, a venue nestled in La Plata County, is where Buffalo’s Aqueous kicked off their five night Colorado run. Co-headlining a 20-date tour with BIG Something, Aqueous has once again proven that they are a fundamental force in the Colorado music scene. The 270 capacity venue filled up quickly with Colorado residents and familiar faces, that made the trek from the East Coast in support of their favorite band.

    Aqueous opened the Durango set with “Second Sight,” a fan-favorite from the Element Pt. I (Live 2017) album. Next the band broke out “Mosquito Valley Pt. 1,” right into a high energy “Numbers and Facts.”  Aqueous then reached into their cover song archive and busted out The Band’s “Ophelia,” last time played 92 shows ago on 12/9/17. The set ended with some of the most loved songs in their catalog,  “Don’t Do It,” “Weight of the Word” and “Uncle Phil’s Parachute.”

    After the show I had the opportunity to chat with David Loss (Guitar/Keys/Vocals), discussing the Aqueous fan-base, band-mates, growth and gratitude. Excited to be back in Colorado, Loss expressed sincere appreciation for the support the band receives from their Colorado based fans. Aqueous is cultivating a steadfast group of supporters across the nation, noted for their familial vibe.  Upon my mention of the loyal fan-base otherwise known as AQuaintances, Dave lit up and stated, “I love them, they really are the best.” aqueous david loss

    Dave Loss is gaining notoriety as one of the most skilled, actively touring guitarists in the industry.  Technical and composed, Dave’s guitar tone is unmistakable, evoking sentiments that keep the crowds returning show after show. Recently sponsored by PRS Guitars, Loss and his guitar-wielding counterpart, Mike Gantzer, have an undeniable bond on stage and often come together as one. Balanced, intense and emotive, the partnership of Loss and Gantzer brings about a show experience that has catapulted Aqueous to the front lines in their genre.  When discussing what it’s like playing with Gantzer, Dave explained that the two are growing and maturing their sound with every show and that he really loves the non-competitiveness of their musical relationship.

    While Aqueous has often acknowledged the influence of jam-veterans moe., both musically, personally and in a business sense, Dave Loss talked with me a bit about some of his other favorite music to listen to.  Radiohead takes one of the top spots in his mind and the extreme differences in artistic styling from album to album is what he enjoys most about the band.

    At the conclusion of our chat, Dave again reiterated how lucky he feels to be a part of this band, having the incredible crew, the loyal fan-base and the brotherly bond with his band mates.  The future is bright for Aqueous and they are certainly poised for incredible success.

    The Colorado run rolls on tonight with a Valentine’s Day show at Agave in the town of Avon.   The shows will be uploaded for streaming on Nugs.net with a subscription.  Tour dates for the rest of the Aqueous & BIG Something tour can be found here.

    aqueous david loss

    Official Setlist– Animas City Theater- Durango, CO 2/13/19

    Second Sight, Mosquito Valley One>Numbers and Facts, Ophelia* >Don’t Do It, Weight of the World, Uncle Phil’s Parachute

    * The Band cover (last time played): 12/9/17 (92 shows)

  • Hearing Aide: The New Motif ‘The Reciprocal Boogie’

    The Reciprocal Boogie, the debut album from Massachusetts four-piece The New Motif, is an impressive survey of the band’s eclectic sound. The roots are rock, but different tracks run jazzier or more psychedelic, funkier or more spacey. Produced by Soulive’s drummer, Alan Evans, the album showcases the band’s rich textures and compositional prowess.

    The album’s first track, “Manifest,” is microcosmic of the whole album: it features shifts in style and tempo, is at times led by a funky bass line from Dan Kelly, at other times with a catchy guitar riff from Dennis Christiano, sometimes the organ, sometimes the synthesizer, always high-octane drumming. There are vocals, but the song is undeniably led by the instruments. Checking in at nearly six and a half minutes, it’s a bold opening statement to a freshman album devoid of any filler tracks.

    While “Manifest” feels frenetic, The New Motif follows it up with a mellower “City Cituation.” Cory Schechtman swaps out the keyboards for a saxophone, a pleasant surprise as the track commences. Paired with the following song, “Crooooshtown,” the songs are a smooth, jazzy reprieve from the relative tumult of “Manifest.”

    In total, there are nine tracks, each between four and eight minutes long. About half are instrumentals and half feature vocals; Schechtman plays the saxophone for half the songs and spends the other half on keyboards. Unsurprisingly of an album produced by Alan Evans, drummer Terrence Kelleher is extremely active throughout.

    The heart of the titular track represents the album well. Guitarist Dennis Christiano trades licks with Schechtman on the saxophone while Ball and Kelly, even if not as prominent with the rhythms, are relentless, lending to the full sound.

    The sixth track, “Flown,” is the first where the vocals feel like the central component. The song has a reggae tone, unique to the album, and allows Christiano to show off with a high-soaring solo. The ensuing “Yasss!!” is dark and exploratory yet upbeat and features all band members finding their ways into dynamic grooves. At just over eight minutes long, the track is an instrumental odyssey. The following and penultimate song, “Whatever’s Clever,” features the catchiest vocals.

    Closing track “Late Cretaceous” once again puts The New Motif’s rich sound on full display; one needs to crank the volume dial to get the full flavor of all the layers. After multiple listens to The Reciprocal Boogie, something different has caught my ear each time: a guitar riff here or a bass line there. Each time after listening, I’ve found myself going back and listening straight through again

    The New Motif is currently touring to promote The Reciprocal Boogie and have multiple shows scheduled in New York. The full tour schedule can be found here.

    Key Tracks: Manifest, Yasss!!, Late Cretaceous

  • Hearing Aide: Reed Foehl ‘Lucky Enough’

    Americana journeyman Reed Foehl was on his way to make a new home in Nashville, looking to expand on the success he found in co-writing “Fly” off of Lee Ann Womack’s Grammy-nominated album The Way I’m Livin’. But then news came from Massachusetts where his mother was diagnosed with lymphoma. Without hesitation, he dropped everything and flew to Massachusetts to be by her side. While he cared for his dying mother he continued to write his music. Foehl’s latest solo album, his fifth, consists of the music written during this trying time in his life. Lucky Enough, released February 1, is dedicated to the memory of his mother, “the Queen of Everything,” who instilled a love for music in him at an early age.

    The songs, borne from loss, are steeped in deep reflection, but also instill a sense of hope and love while exploring themes of lifelong friendship. Foehl employed the help of friends in bringing his new tunes to life, with Austin’s The Band of Heathens fleshing out a full band sound. They also recorded in the Heathens’ new studio with guitarists Gordy Quist and Ed Jurdi co-producing as well.

    The short but dense set opens with a nugget of folk perfection. “Stealing Starlight” is one of those tracks with nary a false note or turn. Every moment was meant to be, from each cymbal crash and sparse piano plink, to the mysterious wailing noise emerging midway through. You’ll likely want to hit rewind a play through a couple of times before moving on.

    When an album opens that well, the rest is just gravy. But here it’s still damn good gravy! It’s chock full of catchy new-folk hooks, country bar singalongs, and twangy ballads all featuring an earnest down-home voice with plenty of range. Familiar enough to sound like it’s coming from your front porch but good enough that you’d want to see it played in a beautiful old theater.

    Key tracks: Stealing Starlight, Wish I Knew, He’s On an Island

  • Levon Lives On: An Evening With Amy Helm and Cindy Cashdollar

    Amy Helm and Cindy Cashdollar, two heroines of Woodstock, NY, wowed a hometown crowd on Friday, February 8 at Levon Helm Studios.

    The opening act, Freddy & Francine, however, traveled from significantly farther away. An Americana couple from Nashville, they were joined by a big bassist and launched the embarkation of the evening. With only a tambourine, unplugged bass, acoustic guitar and their voices, the trio made significant ripples around the room.

    When Freddy, whose real name is Lee Ferris, spoke between songs, he sounded like a regular guy; when he sang, he sounded like a folk sensation. As they put on a moving cover of Etta James’ “I’d Rather Go Blind,” Freddy and Francine (Bianca Caruso) maintained unblinking, unyielding eye contact that was nearly blinding. 

    Amy Helm Cindy Cashdollar
    Freddy and Francine

    The energy between the couple-plus-one was palpable, their harmonies remarkably in sync. This was the first night of their ironically-titled Summer Tour and the soulful Southerners elicited excited applause.

    Amy, as she’s simply and lovingly known in Woodstock, took the stage following a break and, drum in tow, went right into a cover of her father’s “Feelin’ Good.” Levon’s voice is irreplaceable and unmistakable, but Amy has clearly inherited his amiable presence and musical aptitude – who else can sing the blues so happily? After playing a clip of Levon singing “Little Birds,” dobro maestro Cindy Cashdollar mused, “If my voice could come through half as clear as his, I’d be happy.”

    Amy Helm Cindy Cashdollar
    Amy Helm

    History seeps from the rafters of the Barn at Levon Helm Studios and, with Woodstock’s first daughter squarely in the limelight, the crowd was fully spellbound. It was fascinating to hear the folk gospel of the Mississippi sung to the staunch devotees of Levon Helm, many of whom undoubtedly witnessed him 50 years ago at Woodstock ‘69. Most of the evening’s congregation sat straight-backed, unmoving, eyes glued to the revered Ms. Helm. While I felt my limbs unable to resist involuntarily moving to the tunes, I witnessed much of the crowd sitting immobile, so engulfed by the musicians. 

    The stage was undeniably Amy’s, though Cindy Cashdollar’s genius on the strings was equally unmistakable. Whether it was the lap steel or the dobro she played, her strokes were magical. The twang she inherited from her time in Texas jived with her Northern heritage. She was, at once,  technically flawless and emotionally invested.

    Amy Helm Cindy Cashdollar
    Cindy Cashdollar (left) and Amy Helm (right)

    Between the songs, they sprinkled in the stories: life with Levon and growing up with a legend. Amy and Cindy recalled late night rambles and his infectious affability, how Levon made music look easy and made those around him sound better.  While his presence always lives on in Woodstock, his spirit was prominent this night emanating from his daughter and cascading from his disciple.

  • Hearing Aide: Kris Yunker ‘Biocoastal Waves’

    Kris Yunker has been around the scene for many years, coming to the Northeast with his good friend and fellow On the Spot Trio bandmate, Danny Mayer. His long road has brought him to Iron Wax Studios, the brain child of soul-man extraordinaire, Alan Evans. Here Kris, Al, and guest singer, Kelly Burr laid down an incredibly funky and upbeat new album, Bicoastal Waves.

    Bicoastal Waves blends surf funk, space rock, and organ jazz to create a unique sound driven by Yunker’s left-handed bass lines. The whaling Hammond organ is the beauty, while Evans’ beats are the soul. This album has a little bit of it all with fat and funky whalers to heavy rock bangers.

  • Galactic Brings the NOLA Funk to Brooklyn

    Galactic brought their deliciously funky Already Ready Already Tour of NOLA Funk to Brooklyn Steel in Brooklyn, NY on Saturday, February 9 to promote their new album with the same title. The New Orleans-based group is one of the original jam bands from the mid-nineties. Their style is often described as a fusion of rock, funk, jazz, hip hop, r&b and electronica, and has evolved over time.

    They often tour with a talented vocalist, and Erica Falls is no exception. The native New Orleans singer has a style that is rooted in vintage soul, channeling an earlier era. Erica reminders her fans that, “Vintage soul is not about bringing the listener back to a time of authentic music, it’s about reminding them that it never went anywhere.”

    In addition to Erica Falls, Galactic brought their funky NOLA friends The Motet to open the show. The Motet released an album last month titled Death or Devotion as well. Singer Lyle Divinsky raised the band’s energy even higher with his exceptional stage presence at Brooklyn Steel, and got the crowd ready for Galactic.

    At set break, the High and Mighty Brass Band entertained fans with marching band renditions of TLC favorites like “Waterfalls” and “Creep.” The High and Mighty Brass Band is still currently on tour opening for Galactic.

    After the serendipitous first set and set break music, Galactic and Erica Falls took the stage with a bayou-flavored vigor that only Louisiana natives can possess. They played several tunes off of their new album, including “Ready Already,” “Clap Your Hands,” “Going Straight Crazy,” “Touch Get Cut,” and “Everlasting Light.” Ms. Falls lit up the stage with her dynamic and authentic vocals. Galactic showed their incredible improvisational skill with everything from saucy sax solos to funky guitar solos.

    The High and Mighty Brass Band joined Galactic on stage again during the encore for “Buckit Like a Horse,” raising the level of funk just one more time.

    Setlist

    Ready Already*
    Higher and Higher*
    Heart Of Steel*
    Clap Your Hands*
    Fabuloso
    Going Straight Crazy*
    Hey Na Na*
    You Don’t Know*
    Doomed>Tiger Roll>Touch Get Cut*
    Coolin Off Medley
    Everlasting Light*
    Right On*
    Big Whiskers
    Tuff Love
    Dolla Diva*

    Buckit Like A Horse**
    Never Called You Crazy*

    *  with Erica Falls

    ** with High and Mighty Brass Band

  • Hearing Aide: Upstate ‘Healing’

    Rich harmonies, moving melodies and distinctive arrangements are abound in Healing, the new record released by Hudson Valley-based folk and soul sextet, Upstate. Produced by Wood Brothers’ percussionist, Jano Rix, with engineering helmed by GRAMMY-winner Justin Guip, Healing represents a self-proclaimed metamorphosis for the band. It’s the first full record with vocalist Allison Olender and the first release since the shortening of the band’s original name, Upstate Rubdown. In advance of the album’s release, Upstate shared a video for “Marietta,” along with a performance at City Winery in NYC.

     

     

     

     

     

     

     

     

    Much of what makes Upstate unique is amplified in this record. The group features a cajon, but no drum kit, and a mandolin, but no guitar (mostly). This allows Ryan Chappell’s mandolin, Harry D’agostino’s bass and Dean Mahoney’s cajon to take turns weaving melodic and percussive elements into the arrangements. Meanwhile, Olender, Melanie Glenn, and Mary Kenney trade lead vocals and infuse the spaces with harmonies.

     

    Mirroring the radical evolution of the band, Healing introduces some new instrumentation. “Sarah” has D’agostino on electric bass, while Glenn and Olender lend their guitar playing in “Crawl In” and “I’ll Be Fine,” respectively. These changes represent a larger effort by producer Rix to experiment with the recording process. Encouraging the band to delve deeper into their non-traditional structure allowed Upstate to nail down its characteristic tone and sound.

     

    Emotions arrive in waves, as the record journeys from the swaying softness of “I’ll Be Fine” to the high energy drive of the eponymous track, “Healing.” While rooted in soulful folk, some tracks stand out as boundary-pushing explorations of genre. In “Mother,” what starts as a vocal ode to a mother’s influence, then moves into a jazzy, moody, groove filled song with ambient sound, culminating with a sax solo by guest musician, Christian Joao.

     

     

  • Hearing Aide: The Wind + The Wave ‘Human Beings Let You Down’

    The Austin, Texas based duo, The Wind and The Wave are no strangers to hard work. Since their formation back in 2012, Dwight Baker and Patty Lynn have recorded three full length albums, multiple EPs, endured an exhausting roller-coaster of extensive touring, created their own podcast and have developed a rabidly devoted fan base.

    the wind + the wave

    It is evident that their hard work is paying off. Their latest effort, Human Beings Let You Down, which was independently released by The Wind And The Wave, made it in the top 10 most downloaded albums on iTunes during its debut week, late October 2018. The band has been prominently featured on the longtime ABC medical drama Grey’s Anatomy, which provided coveted national exposure for the pair. 

    Baker and Lynn provided the show’s producers with refreshing interpretations of a multitude of cover tunes that were featured on the successful drama. These original adaptations of classics include “Chasing Cars” by Snow Patrol and the Simple Minds 80’s classic, “Don’t You Forget About Me.” Lynn and Baker vocally put a definitive Wind and Wave spin on these covers, in turn creating a sound distinctly different than the original compositions.

    Lynn’s writing is always extremely personal and in the title track she lyrically accesses where her life’s journey has taken her, while following her passion of music. She recounts that this journey, while ultimately rewarding, can sometimes be extremely overwhelming. “Follow Your Heart Around,” is a catchy tune that musically illustrates the cohesion and trust that the duo has developed over many years together, making their third full album top notch.

    One of the most interesting songs on the record is the third track, “Lay Me Down.” Lynn skilfully describes what a grind touring on the road with a band can become. With lyrics like: Standing weak beneath the shower head or faced down on a bleached out bed, thinking about what I miss the most, Patty illustrates the flip side to the excitement and glamour of performing music on stage. The lyrics are a huge contrast to song’s upbeat tempo and joyful rhythms that the duo created musically for the piece. Those stark differences between these two characteristics create a complex and layered listening experience.

    Overall the tunes on Human Beings Let You Down are more cultivated and refined than its predecessor, 2016’s Happiness Is Not A Place, which had a distinctly raw and unpolished theme to its production. The final result is a work that is reminiscent to their debut release, 2014’s From The Wreckage. This similarity may also be due to the fact that Baker was at the helm producing both of those records; and is illustrative of his sensibilities behind the mixing board. The final result is a strong and moving group of very personal songs penned by Lynn that will keep the listener grooving to the musical beat of this very special duo.

    Key tracks: Neon Prayers, Human Beings, Follow Your Heart Around

  • Hearing Aide: BURLY ‘Self Titled Demon’

    Slow down, stay a while and unwind with something like you have never heard before. Troy, NY natives, BURLY, have created a lush, warm and plain relaxing collection sure to help you let go of the days struggles – sinking into your chair for a spell. You won’t find anything else like it, and it just might be your odd cup of tea you never knew you needed.

    The album is laced with jazz, folk and indie influences with poetic lyrics layered over the top of each track. They’re literally poems. The “Infinite Broken” lyrics are lifted directly from one of the non-performing member’s own poems. Lyrically, it’s intriguing. But what really sets this group apart is the instrument arrangement: jazz inspired percussion, airy guitar, breathy saxophone, thoughtful bass and mellowing vibraphone. This ensemble is reminiscent of pivotal jazz groups and it’s warming to see a modern revival of this set up. That being said, the group is still in their grassroots stages, so there is a lot of experimentation happening here. We find rockish songs, ones with a western feel and some that are plain melancholy.

    We start out with “Branches of Blood” and to be honest, the whole song is perplexing. Highly interpretive lyrics, unique instrumentation and odd time signatures and tempos make the song intriguing, and a bit discomforting. But it’s still very good. It’s obvious that everything is done with intention and diligence. The fact that the group can evoke so many emotions within the songs is incredible. It’s a great way to kick off the album, but as stated before, things keep changing.

    Another one of their best is “Happy Birthday 2001,” a song about a “half-remembered birthday party of a high school friend.” Lyrically, it’s pretty comical because we’ve all been to those awkward parties, finding the piano in the basement and “stabbing at the piano keys,” playing video games and “smoking weed out of a corn cob pipe” and “talking to cousins, trying not to seem like a kid”. Beyond that, we find a style that’s high energy and rockish, a much different feel compared to the rest of the album. Yet, it still holds a jazzy feel thanks to the vibraphone and sax. “Happy Birthday 2001” gives an otherwise cringeworthy story, a light hearted and airy feel. It’s just fun to listen to.

    “Kent Lame” brings the vibe down. Way down. We’re told a story about, what we can only suspect, is drugs use and the effect it has on people. “I met crystal hazard… two days with two friends of mine confused on acid.” One can only assume. It’s accompanied by a very fitting tone – a soft bed of slow and deliberate instrumentation. This is the vein of the group and they’ve mastered it.

    This is one of the most interesting albums I’ve heard in a long time. And although BURLY has done an incredible job creating such a unique atmosphere, I would hope to see more work like “Happy Birthday 2001” in the near future. And whatever you do, don’t get rid of that vibraphone.

    Key Tracks: Branches of Blood, Happy Birthday 2001, Kent Lame