NYS Music 20​19

Tag: hearing aide

  • Hearing Aide: Ernie Haase & Signature Sound ‘A Jazzy Little Christmas’

    It’s no easy feat to make a Christmas album stand out these days. There’s a lot to choose from and they all tend of blend into each other. Even original songs can have a tough time climbing the charts, except for Mariah Carey’s “All I Want For Christmas Is You.” No one will ever understand how that song got so popular. Regardless, Ernie Haase & Signature Sound have put together A Jazzy Little Christmas, a unique collection of Christmas classics with a twist as well as original scores that are sure to turn a few heads.

    What’s more, they follow the holiday spirit by vowing to donate a portion of the proceeds to New York Cares’ Winter Wishes program – a branch of the New York Cares group that is dedicated to providing gifts to low income families.

    A Jazzy Little Christmas

    Ernie Haase & Signature Sound is an Emmy-nominated southern gospel quartet stemming from all over the country. They’ve released a copious amount of albums over the years, but this album is their first Christmas album in a decade and it brings that classic, magical, warm Christmas feel that has transcended time. 

    The album is filled with a variety of classics such as “It’s Beginning to Look A Lot Like Christmas,” “Winter Wonderland” and “Mister Santa.” They’re chock full of rich, bold brass instrumentation, swirling strings and, the cornerstone of the group, the unbelievable chops of Ernie Haase, Devin McGlamery, Dustin Doyle and Paul Harkey. Together, they created some otherworldly harmonies and sounds that are warm and inviting, perfect for this time of year. They also created some original tracks that Haase hopes will become holiday classics. In his online bio, Haase tells a heartwarming tale of how his original, “Christmas in Manhattan” came to be. 

    “New York City is a very special place for me and my wife, Lisa. We’re going on 30 years of marriage, and one of the things we started doing when we first got married was going to New York and doing a Broadway blitz, especially at Christmas time. We would get there and just look at the lights and take in the city, so I wanted to write an original love song about those experiences.” 

    It’s a sweet tale that makes the song more sincere and unique. This authenticity, coupled with their charitable nature, makes this an underrated album. So fire up the yule log on your TV, spike the eggnog and fall into the holiday spirit with this in-depth and unique album. Stream it on Spotify, iTunes, or download it on their site.

    Key Tracks:  Winter Wonderland, Mister Santa, Christmas in Manhattan

  • Hearing Aide: Ian McCuen ‘Songs of Fleeting Permanence, Vol. III’

    Curl up, get warm and fall into a world of self discovery, an introspection that Ian McCuen has created. McCuen of Buffalo will release the third installment of his album, Songs of Fleeting Permanence, on November 22, once again capturing a daunting but beautiful atmosphere that anyone can relate to – the feeling of confusion and self exploration that we have all felt at some point in our lives. 

    McCuen has created these last three albums virtually by himself, in his bedroom using using only a laptop, two microphones, and every instrument he could find in his house. His ability to create such an impressive and professional sound under these conditions is jaw-dropping. Yes, technology can give anyone with a computer an opportunity  to reach stardom, but it takes a certain level of creativity, wisdom and soul to do what McCuen has done. He created feelings and sensations that people can relate to lyrically, but most impressively, instrumentally. The timbre of every instrument is ideal for the melancholy mood devised; it brings the whole thing home. 

    A genre like this, with such small orchestration of instruments, can become redundant. But each of the 11 tracks are truly unique, despite using minimalist chord exploration. Defining each track is a well balanced use of major and minor sounds, a colorful use of picking and strumming styles as well as unique percussion choices. The oscillation between these stylistic choices result in an album you can listen to all the way through. There is one thing that could use some balancing; the instrumentation can over power McCuen’s voice at times. When the lyrics are this deep, it’s important to embellish them with a bit more annunciation. 

    When McCuen composed a song as enthralling as “Buried At Sea,” filled with immersive instrumentation and builds, it overpowers his voice. But when you hear McCuen’s deep lyrics, “..bury me at sea, there’s nothing left for me,” it sucks listeners into the storyline, searching for more. In less complex tracks like

    “Don’t,” you hear his wispy, spine-tingling voice speak:  “Don’t want your pity, don’t want sympathy, don’t want your advice on how I’m supposed to be. Don’t need constant scrutiny, don’t you know this is all just chemistry.”

    “Don’t,” – Songs of Fleeting Permanence, Vol. III

    We hear more very honest lyricism in “Giving Up.” “I give up so easily. I can’t seem to follow through with what’s required of me. When I quit on everything else. It’s only a matter of time before I quit on myself.” It takes courage to listen to. These lyrics are revealing and personal, another reason why this album merits respect and attention. 

    This style of music is hard to swallow sometimes. Listeners will need to be in a similar mindset of McCuen’s trials, relating to being twenty-something. If not, the album will draw you to that space. But, we could all use a little self reflection, and listening to someone else’s troubles can bring us some peace, knowing that this was McCuen’s creative outlet that allowed him to work towards a place of homeostasis.

    Key Tracks: Buried At Sea, Don’t, Love Lost, No. VI

    Give Songs of Fleeting Performance a try on November 22 with Soundcloud, Spotify and Bandcamp. In the mean time, listen to the single off the album “Love Lost, No. VI” on his Bandcamp page.

  • Hearing Aide: Holly Bowling ‘Live at the Old Church’

    The mark of an incredible jam band performance is the groups’ ability to be relentlessly creative. When four or five members work in unison to create, explore and build, we are gifted with a sonic adventure filled with memorable moments that can last a lifetime. It’s something only a gifted few can accomplish together. But for one person to achieve this – a full bodied musical excursion with moving parts and emotion – is the mark of a true virtuoso. Holly Bowling does just this as she blesses us with one of the most exotic ideas of what a cover could be, cultivating years of music and experience into one instrument, one voice, in one night, on Live at the Old Church.

    Live at the old church

    She has finally released her first ever live album, which is odd considering her track record of live performances and the genre she has based herself in, but it was absolutely worth the wait. Read our past articles about Holly and her performances to get a better idea of her impressive background and experience.

    Over the course of two and a half hours, we hear her interpretation of well known Grateful Dead and Phish songs, using nothing but her imagination and a stupendously recorded grand piano which was all complimented by the crisp acoustics of The Old Church Concert Hall in Portland, OR. Her ability to explore different emotions and attitudes is astounding.

    Bowling flows effortlessly through “Mountains in the Mist,” emulating Phish’s airy jam with appropriate flair, courtesy to her classical background. But counter to her upbringing, she absolutely nails energetic and experimental tracks like “Slipknot! / Franklin’s Tower” and “Let It Grow.” Her relentless builds and solos are infectious and memorable. 

    The album is hard to sum up. Everyone will take away something different from it, as is the case from any live show. What is arguably most impressive is her ability to catch the listeners ear from minute to minute and track to track. One instrument covering one style of music is bound to become monotonous, but Bowling does the impossible and tours audiences through her interpretation of these pivotal tracks. 

    Bowling will continue to share her prowess with fans in a number of upcoming shows including, The Linda WAMC’s Performing Arts Studio in Albany, on September 11, Le Poisson Rouge in Manhattan on September 14, and the Ghost Light: Borderland Music Festival in East Aurora on September 22. The album is available on Spotify and Apple Music.

    Key Tracks: Mountains in the Mist, Slipknot! / Franklin’s Tower, Let it Grow.

  • 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: Stella Hill ‘EP’

    Sit back, unwind and enjoy the sounds that modern American music was built upon. Stella Hill has created a soft, personal collection peppered with the quintessential sounds of what made Americana music so influential. Listeners will find everything from alt-country rock with a 90s vibe to tasty New-Orleans jazz in their upcoming EP release, available Monday, June 10.

    Overall, we have a very diverse EP. It’s somber but also calming and complex. Group founders, and husband and wife, Josh Massicot (keys) and Liz Ristow (violin) write songs inspired by Bob Dylan, Randy Newman, Norah Jones, Jackson Browne and many more. Listeners will find angelic harmonization from the lead vocalists and perfectly balanced, blended instrumentation throughout the entirety of the album. Stella Hill has created a familiar sound and has managed to add a unique flair thanks to an eight-piece orchestra. String sections fill in the gaps and breathes an etherial flavor to a time tested Americana sound. Tracks like “Gold” and “Tupelo” are solid when performed by a three piece band, but really come to life with help from a set of strings.

    These tracks aren’t something listeners should pick apart. Something so soft, well produced and blended should be taken at face value. Stella Hill has created a simply pleasant, bitesize atmosphere that just about anyone can enjoy in the right setting. They album drops next week and will be available for download on their Bandcamp page, but you can listen to the single, “Fifteen” right now.

    Key Tracks: Gold, Tupelo, Faded at the Seams

  • Hearing Aide: Bruiser and Bicycle ‘Woods Come Find Me’

    This is Bruiser and Bicycle’s second stab at an album and they have found something worth sticking to. Nick Whittemore and Keegan Graziane decided to make a change of tone and left their first albums, post-punk basement-core group with dark undertones and synesthetic lyrics, as they described it on their Promo Juke Box page. Now, they are pursuing an indie, psychedelic and eccentric writing style that keeps the album spicy and plain fun to listen to.

    They burst out of the gates with a quintessential indie and energetic tone in “The Train,” which is broken up by odd vocals choices. As for as an intro goes, it’s definitely exciting but feels like a big tease. A huge build up, and then drop off. No big jumps or launches. But listen on and you’ll see it’s not their style.

    “Casper” moves into their straightforward, folky roots and we begin to realize how their vocal style and tone separates this group from others. It’s not too deep in terms of production – we hear straightforward instrumentation, but also an omnidirectional and engaging sound. The duo showcases their lead guitar skills with a call and response from two very different voices. Static and distortion precedes a clean and spacious sound but both work over just the a-persistent, folksy guitar riff. It’s brilliant!

    “Woods”  is about as mainstream as the group gets. Without the electronic and quirky touches, we can see how well tuned into the music industry these two are. They know what works and they can recreate popular sounds but make it their own. That’s not a skills everyone has. However, we find ourselves on the other side of the spectrum with “Yonder”  – it’s an acid trip compared to “Woods.” We get very trippy and lazy vocals, omnidirectional and experimental instrumentation and some guitar licks that are plain discomforting. Lets just say the chorus isn’t something you’ll be whistling along to at work.

  • 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: 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: 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

  • Hearing Aide: Harmonic Dirt ‘Anthracite’

    When I first started to pick apart Anthracite by Harmonic Dirt , I did so just instrumentally. The first track really pulled me in with sweet and simple instrumentation, angelic vocal harmonization and a catchy chorus. I dove deeper into the album and started to pick apart each song lyrically and found that it’s somber – Like really, really sad, in a good way!

    Harmonic Dirt was created by Mike Gridley and Susan Coleman, who began writing songs together about two years ago. Coleman wrote the lyrics, Gridley put them to music and sent their creations off to friend and percussionist, Taylor Bucci. They saw the potential they had as a group, went off to record and just a few months later, created a full length album. ‘This endeavor is a testament to the power of confidence, the magic of compatible musical visions, and blind faith,’ said the bands bio.

    They pull inspiration from Son Volt, Wilco, Neil Young and other heavy hitters of the sixties folk-rock genre. Not many aspiring musicians make music like this anymore. In an era of four on the floor song about partying, mumble rap about money and women, or even jam bands playing 15 minute songs, where 95 percent of a track is the guitarist shredding away, it’s good to fall back on genres like this; where we slow down, simplify, and focus on the more somber parts of life. Harmonic Dirt delivers that.

    “Please,” could absolutely be an unreleased Neil Young song – the formula is there. A sweet, major chord progression and harmonica are the ideal welcome-matt to invite listeners into what Harmonic Dirt has to offer.  The chorus is the absolute best part. The groups vocal harmonization is addictive and well done, but it’s a shame this is really the only time we hear it on the album.

    “Anthracite” is another key track. They again capture the sound of the best folk rock artists, with sultry guitar riffs, catchy harmonica hooks and some very somber lyrics. We hear a story about about deceased coal miners? Perhaps, someone working in a mine that has passed? Is it depressing? Absolutely. But it’s good to get in touch with those emotions and to hear about other people’s hardships and loss.

    “Maybe” is another one listeners should spend some time dissecting. We get some flavors of 60’s pop – The Beatles definitely shine through on here instrumentally and lyrically, as we hear about complex relationships. It’s a common theme these days, but stories aren’t usually written in this way. It’s a nice change of pace.

    This may differ compared to what’s being released lately, but it’s worth trying. Sample this album out at the end of a long day, as a way to wind down. It may be a little melancholy if you look into the lyrics, but it’s softened by the peaceful, and simplicity of, instrumentation, which can make dealing with sadness and somber thoughts just a little easier.