Full Body is a Rochester-based rock band that has been making music that fits their name. The band’s deep brand of gangly rock is unique and rounded, tying in elements of shoegaze and post-rock to make something in the realm of noise rock. Their most recent release, Always There, cements their sound in a well produced record. The band is composed of Dylan Vaisey, Jack Chaffer, and Jacob Kotler. Full Body has been navigating the local scene with a sound that stands out, relentless in their writing of melancholy and bittersweet music.
The album has just eight songs, but is constantly engaging. Each song has a sweet melodious center, but the band fills out the rest with oblique instrumentals. “Hard Drive” is a great example of this, with its lurid opening slowly building out chorus-washed guitars into a vigorous guitar solo. The vocals carry the tune well, though they never really take the spotlight away from the mood the song is conveying. This is the case throughout the album as each song is more a product of its parts.
The tunes are short and to the point; there’s no meandering and no ideas that feel unfinished. The third track, “Alias,” is a great look at the band’s ability to mesh together different ideas and grooves to create coherent and viable songs. Though each part compliments the others, it should be pointed out that the drumming on this album is stellar and warrants a close look on its own. The deft navigation of song structure in the rhythm section, including bass, adds a lot of thickness to each tune. “Sonic Boom” is another hard hitting song that shows this.
Overall, Always There is certainly worth a listen through. It is short, interesting, and very well written by a band that is making their own sound and owning it. Full Body has found a niche, but they are not afraid to break out of that to take creative risks that ultimately pay off. Be on the lookout for Full Body to come to your town, and make sure to support by streaming their music on services such as Spotify and Bandcamp.
NYC’s brass-funk quintet Lucky Chops are releasing their brand new, self-titled album Lucky Chops to the public tomorrow. Fans who donated to support the album’s production were treated to the full album a day early.
Lucky Chops isn’t their first recording, however, the 11-track album marks their first full-length studio effort that brings a collection of original songs to their growing fan base, marked by careful attention to detail in the compositions and production. Their first release, NYC, came out around the same time that their New York City subway performances gained viral attention on social media and is comprised mostly of covers, and subsequent single and EP releases that established a foundation of original material leading to this latest project.
Lucky Chops performing at Brooklyn Bowl (April 2019)
There is no single defining sound that the band has laid down on this latest release. By the fourth song, Lucky Chops has defined a well-crafted blend of original sounds for this multi-genre, multi-decade influenced banger of an album.
The medium paced disco groove of “Halfway to the Hudson” leads things off with interludes laced with brassy, Daft Punk-inspired licks. From this catchy attention grabber, the album quickly flaunts a diversity in sound, traveling through a lighthearted “Dancing Babies” to the heavy, steady beat of “Traveler” where their own original dance style shines through.
The album’s prominent track and first single, “Full Heart Fancy,” is the best demonstration of Lucky Chops’ writing and performing skills, with each of the five members featured throughout the song.
The album, as a brass band recording, is naturally instrumental and sans vocals. However, a unique part of their compositions is that several of the melodies beg the attentive ear to search for its own lyrics to sing in tune or harmony with those melodies. “Flyway,” as an example, is a relaxed tune where the tenor sax line resonates with the familiar feel of Paul McCartney’s singing on “Yesterday.” Naturally, or even instinctively, unspoken words form at the tip of the tongue while listening to the album.
In a broader sense, Lucky Chops brings that aspect out in many of the tracks by how well the subtlety (and sometimes the obvious) blend into their arrangements prominent elements of some of the pop music styles of 1950’s surf rock (“Dance Nights”), and 1990’s/2010’s alt/pop (“Familiar Places,” “Mo’ Mo,” “Memories”).
Lucky Chops represents a step forward for the band in the effort and craft in composing/producing/recording, and for the perseverance they have shown fans through an unavoidable delay in the release. The band’s new music continues in the band’s tradition of having a wide appeal, enjoyed at home or at one of their high energy club/concert hall shows.
Before heading out on an extensive European tour in a few weeks, Lucky Chops will be doing a special live stream performance on their social media channels today from the Times Square subway station (by the A-C-E lines/Port Authority) at 12:30 EST. The band will also host an additional special album sneak peek live stream/Q&A on their YouTube channel beforehand at noon. The album can be purchased and streamed here.
https://www.youtube.com/watch?v=_D5RFEiPbOk
Key Tracks: Full Heart Fancy, Memories, Familiar Places
Track Listing
Halfway To The Hudson
The Dancing Babies
Traveler
Dance Night
Full Heart Fancy
Flyway
Pizza Day
Familiar Places
Memories
It’s Not Goodbye
Mo’ Momo
Lucky Chops will return to touring around the US this spring with several East Coast stops (listed below), including two nights at Brooklyn Bowl. Full tour dates, along with ticket information, can be found here.
March 27/28 – NYC – Brooklyn Bowl April 1 – Pawling, NY – Daryl’s House Club April 2 – Hamden, CT – Space Ballroom April 3 – Somerville, MA – ONCE Ballroom April 4 – Syracuse, NY – Syracuse University April 10 – Philadelphia, PA – The Foundry at The Fillmore April 11 – Washington, DC – Union Stage
Sometimes, often unexpectedly, life decides to take a plate of glass and smash you right in the face. When that happens, you can either retreat and regroup or take that sharp, broken glass and smash back. That is what Adapter did with their first EP, Period. This is a band with a chip on their shoulder, and the chops to go out and make a statement about it.
First impressions as a modern mix between Zeppelin and The Allman Brothers Band are never a bad thing, but as you dig deeper you realize Adapter subtly carved a sound of their own. Their sound can loosely be described as a new aged hard rocking spin on classic blues; however, they possess the in-your-face rock and roll spirit that once dominated life for many. Even through headphones there is a sense of electricity and danger, both musically and lyrically, with explosive rocking chords that nearly beg to be vibrating wall to wall in an arena.
Lyrically, Period is a familiar peek into a songwriter who has been damaged and cannot decide what to do next. The hard-rocking opening track “The Pains” delves deep into the mental struggle of whether to go back to a lover who has hurt you. This all too human battle continues as the EP continues with “Mean Bitch Blues,” where the band transports you to that dark unknown where you don’t know what to do next now that it has all ended except express anger and sadness. While only five songs, Period gives a good snapshot of the band’s capabilities melding between hard rock, trippy blues, and a more subtle, lighter side at times. Already sounding like a refined, authoritative group, Adapter will be a fun band to watch grow as they continue making music.
Rochester based multi-instrumentalist Alex Northrup and his band The Backup released their six-song album in March titled Long Story Short. The band is made up of Alex Northrup (keyboard, vocals), Andrew Carter (bass guitar, backup vocals), and Jake Walsh (drums, backup vocals). The trio has a sound that ranges from really small to huge, making use of each member’s prowess on their instrument and their abilities to hold a strong harmony. One thing that pops out in any of Northrup’s recordings is Alex’s ability to take a song out of the pocket with his strong keyboard performances. Evinced by the six tracks on this release, Alex Northrup and The Backup are beginning to carve out a sound all their own.
The opening track “Put on the Break-Up” ultimately sets the overall pace for the album. The sweet vocal melody is hashed out by wonderfully performed harmonies. Nothing here is too pristine; that is to say, the vibe is similar to the old Weezer Pinkerton days. The listener will be able to tell that the process of recording that the band took was organic, leaving the bulk of the work to the musicians to make the songs sound good.
“Sinning on a Saturday” offers a better look at how dynamic the band can be in their orchestration. The bass takes on a life of its own and the texture of the keyboard flexes a bit more as well, as Alex navigates his chord progression to make meaningful and interesting solos. The mood shift that takes place between the verse and chorus is subtle, but noticeable enough to invoke the feelings reflected in the lyrics.
https://www.youtube.com/watch?v=fXOWdRFEhr8
One thing that should be taken note of is how Alex writes his lyrics. He talks casually, and even comically at times, about serious issues while never sacrificing the weight of the song’s topic. “Girl of My Dreams” is one such song. The ballad is a nice throwback to older ballads from the 50’s and the band does the style justice. While most of the songs are written by Northrup himself, he does collaborate with other members of the Rochester music scene. Specifically in “There We Go Again”, where some new creative elements and bass lines are added in by Dave Drago.
The album’s cap is an ethereal instrumental that comes out of almost nowhere to great effect. Each song flows into the next really well, and the entire album felt like it should end much like it does in “Blinded by Delight.” The band’s harmonies are sitting tight in the background behind a beautiful soundscape of textures. Overall, the album’s flow offers a whole new dimension worth analysis of its own. Definitely take a chance on this release, and be sure to find Alex Northrup and The Backup on Spotify, Bandcamp and social media!
Key Tracks: Sinning on Sunday, Put on the Break-Up, Girl of My Dreams
Brooklyn-based quintet Of Clocks and Clouds is a psychedelic rock powerhouse whose sound has been turning heads all over NYS and beyond. Their inclusion on numerous lists of bands to keep an eye on isn’t uncanny, it’s deserved. Through hard work and perseverance, the band has created a sonic experience that sets them apart from the litany of jam bands that have been popping up all over the northeast. Composed of Joe Salgo, Nick Salgo, Tom Salg, Yuri Soussov and Zander Ryzinski, the band offers fans of live music a look at their progressive psychedelic rock with this release of their set Live at Brooklyn Bowlfrom February 3, 2019.
Fusing elements of electronic music with their deft ability to improvise, based on style adherent chord progressions, is what gives OCAC such a characteristic sound. The first track of the live release, “Cold Hearted Woman” drives this point home, with each member adding in subtle elements to a core blues tune. The keyboard breaks open chords and sets a basis for a hard-hitting blues guitar solo. The drums do an excellent job of knowing when to break out of the pocket – the fills will range anywhere from lightning-fast to minimalist, with the overall mood of the song being reflected in the fills.
The live recording captures the band’s aesthetic really well. It’s evident that they are able to feed off of the audience and drag out jams without losing their interest. This translates really well on record too, with the 11+ minute “Worst Look” being a testament to that. OCAC starts their songs off similarly, with a slow build transitioning into an intro jam. Yet each time they do that, the outcome is sonically different. The band members find their own place within the song to either stand out or step back. The bass barrels forward without hesitation, accenting the grooves underneath the lush orchestration that the keys and guitars create.
While instrumental skill surely defines the band, something must be said about their vocals. The 90’s alternative rock style vocals fit well with the sound. It takes the listener out of the busy composition and bring focus to the anthemic nature of the lyrics. There’s also a lot of versatility in the singing – their cover of Rage Against the Machine’s “Bullet in the Head” is well worth checking out.
It’s impossible to listen through this live album and not notice how well the flow of the set moves. There are dynamic shifts, exciting developments, and headbanging instrumental breaks. With so much to love, it’s no wonder Of Clocks and Clouds is gaining so much steam nationally. Check out this NYS gem’s release, and be sure to catch them live if they come to your town!
Key Tracks: Worst Look, Cold-Hearted Woman, Hole in My Head (Pts. 1 & 2)
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.
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.
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
Hail the almighty bass – a beautiful cornerstone of countless bands through history. Its versatility is a product of its transformation over time, to become a tool that is both seismic and transient. With such a dichotomy, the possibilities are endless, and that attracts some of the most sagacious of musical minds. Chris “Freekbass” Sherman is one such person; his bombastic aesthetic and revolutionary playing style is evened out by his time learning from one of the most accurate and revolutionary funk bassists of all time (Boosty Collins).
In this focused yet unrestrained way, Freekbass explores the extremes of his instrument while never venturing too far into the obscene, instead riding the line of being an accessible yet progressive artist. Freekbass himself is one of the true cornerstones of a band, with a physical image formed around his vision and shaped by the eccentric. In this new album, All The Way This. All The Way That., Freekbass puts on a clinic for bass enthusiasts, as he invites along a cast of immensely talented musicians to create a work that takes the listener on a travel through funk music’s past, present, and future.
The band on this album is stellar in every performance aspect. The Freekbass Experience is composed of all-star players Rico Lewis on drums (George Clinton & Parliament-Funkadelic), Sky White on keys (Foxy Shazam), and Sammi Garett on vocals (Turkuaz). Every track is unique in its usage of the band, with Freekbass’ bass lines acting as a centerpiece for most tracks, developed further by his supporting cast. In general, each song could be described as being steeped in a sort of chaotic beauty, creating a very instrumentally deep album that breathes an air of robustness. This is one of the things that defines Freekbass’ aesthetic in a way; from his image to his stage presence, it’s wild, yet neither ignorant nor forced. It’s large, but never overwhelming.
“Blizzard Lizard” offers a great look at this dynamic. A soft opening gets the listener comfortable before the bass slaps them awake, ushering in a groove so funky it warrants a spray of Glade air freshener. While this track has a darker mood, the energy remains potent as heavily effected guitar and synth lines swirl above a dark, black-hole of bass.
Much of the time though, the album has a brighter nature with springy instrumentals and sing-able hooks. An unrelenting pulse between the bass and the drums sets the tone in “You Make Me Wanna Dance.” Here, the vocals sit nicely in an agile arrangement with a lot of interplay between the organ and bass. Added strings nod to older funk and disco. Vocal “ooh’s” on top of that work to create a cinematic atmosphere – a unique experience in a mostly pocket-funk styled song. One thing that stands out here, as well as in numerous places elsewhere on the album, are the transitions between the song’s parts. There is a well-phrased melodic line in “You Make Me Wanna Dance,” much like something out of a Stevie Wonder song. In the more 80’s funk-pop styled song, “Your Love Is Always On Time,” you find a lot of bass fills between side-chained sub-bass and drum breaks alaPrince. And speaking to that point, it’s evident that these modern funk figures, such as Stevie and Prince, lent as much influence to this album as did pioneers like James Brown and P-Funk.
The intricacies in more pop-oriented songs are a testament to the skill of the band on this record. Take “Steppin’ Outta Line” – this song could have easily gotten away with a simple drum beat; bass drum on the one, snare drum on the two, and so on. Instead, you’ll notice that the bass drum lines up almost perfectly with the bass line, which does move around a fair amount without becoming too evasive. One of the lyrics on this song offer a great explanation as to why this type of intricacy is preferred to the more modern simplicity in this funk-pop: “Some may conform with the norm of the time / Others fly the coop / Steppin’ out of line.”
Composition on this album stands out in a big way against the back drop of good-ol’-fun funk jams. Accessible and technical! Modern, yet paying homage to what made this type of music so intriguing to begin with.
The closing song, “Thrust”, sends the album out on a high note, acting as a good cap to a breakthrough album. The chorus holds strong as an earworm. The drums are accurately performed, filling out their function as the co-equal to the bass while breaking out in fills at just the right time; vocals are layered so thick that they are felt seismically. It’s just as much as the bass, though their presence makes it so a voice never get lost in the mix. This chorus is likely the strongest on the album, and along with the chipper instrumental, it is a great end to an absolute trip. As the song fades out, the need to listen through again will surely arise.
Chris Sherman’s on-stage persona is a sight to witness. That taken along with this new album, one should expect to be seeing the name Freekbass more and more over the next year. Make sure to listen on Spotify, and visit Freekbass’ website for upcoming show information as well as live content. Follow on Instagram, Twitter, Facebook and more! And if you’re in NYS, you can see him in Marlboro for Mazzstock 2019, playing onstage with Zach Deputy.
Key Tracks: Thrust, Fre3kroNomoKon, Gotta Get Back To You
Josh and Adam Netsky have been mainstays on the Rochester music scene for the past decade at least. Older brother Josh was writing songs beyond his years, while Adam brought the songs to life both on stage, playing drums, and on screen, crafting accompanying videos. Their creative teamwork reached a new high in 2012 with a song-cycle and experimental documentary about the ghost town of Centralia, PA.
Part of being a great bandleader is crafting the songs. The other part is putting together the right parts to bring your visions to life. The Netsky’s pulled off a bit of a coup, scoring arguably the two best and most versatile guitarists in Rochester: Sam Snyder (Overhand Sam, Anamon) and Kurt Johnson (Moho Collective, Wallboards). Together they became Maybird, providing a more consistent outlet for their output. The band flourished on the Rochester scene and in 2016 they signed to Danger Mouse’s 30th Century Records, on which they’ve released two EPs, Turning Into Water and Unravelling.
On Things I Remember From Earth, their debut LP for 30th Century, releasing Friday, the band’s sound takes a huge leap forward. With major label backing and national tours with acts like Portugal. The Man under their belt, the Netsky’s creative visions are finally reaching their full potential.
The title, “Things I Remember From Earth,” was taken from Kurt Vonnegut’s “The Sirens of Titan,” as were the themes of many of the songs. “Human purpose, holding on to memories, and losing control of your mind/memory are all themes in the book that found a place on the album.” Josh Netsky explains.
No longer encumbered by the what-ifs of a shoestring budget, colorful sounds explode from the record like tubes of paint being smashed with a hammer. The opening track “In Technicolor (for the first time),” sets it all up perfectly: “If you mix the colors in your eyes / darkened tears will fall / into vivid seas and multiply.”
From the driving march of “To You,” to the slinky grooving “Gonna Lose Your Mind,” to the 80’s style bright pop of “Montreal,” track after track, colors are added and the vision becomes more complete and more impressive.
The band might consist three guitarists and a drummer, but they pushed the studio to the limit, layering sounds upon sounds for a complete sonic scrub that leaves no stone unturned: A perfectly placed horn track, catchy backing vocals, an eerie whistle, a burst of piano, a humming organ, alien bubbles and wails from outer space, not to mention, all of that glorious guitar. A bevy of beautiful and unique choices color the edges of the psychedelic pop songs throughout. Don’t fret about the how’s and who’s, close your eyes and let the grooves wash over you.
“When you feel it / for the first time / in spectacular color.”
How will it sound from the stage? Find out at their record release show this Friday, May 3 at Radio Social where they’ll be playing the album front to back. It’s a free show and Maybird will share the stage with Mikaela Davis, Cammy Enaharo and August West.
Key tracks: Gonna Lose Your Mind, Don’t Keep Me Around, When I Find My Out of the Circle
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
