Upstate’s new live EP, Live at ArtsRiot is the quarantine album we all need right now. This group, formerly known as Upstate Rubdown, has soared through the Hudson Valley region since their debut release in 2015, and in an effort to cure our isolation blues, they have released this live EP to bring us back to the comforting clamor of live shows.
This new release is familiar territory, featuring four songs from their 2019 studio album Healing. The new EP promises the same tight vocal harmonies, intricate lyrics, tight rhythmic strumming, and swirling energy from the first release of these songs. What you may not expect from Live at ArtsRiot is its production value – besides the excellent mixing and mastering, this live performance has eight performers, each with an interesting color to weave in and out of this picture. One of the best examples can be heard in “Who Knows”. The album version tends to rely on the folk-timbred acoustic guitar and standup bass, but the live version is daring in its switch to electric. In one song, a group that was once under the folk umbrella becomes a southern blues band. In the final song of the Live EP “Healing”, the band ditches the honky tonk-style piano solo and tosses in a keyboard for the solo section, marrying folk with almost a jam band timbre to support the blazing sax solo and keep the energy trailing right until the end of the performance.
More than its musical intricacies, this live EP is a reminder of the comradery needed to put on a great show. In addition to having top notch songs, this band has a responsive following, which you can hear cheering throughout the entire EP. The vocalists have audible excitement in their voices, and with so many musicians on stage, you’re able to hear the push and pull of instruments to provide a strong and creative backdrop for the tight vocal harmonies that push centerfold. This is a sound you can only get from a live show, and with performances few and far between these days, we can’t help but thank Upstate for reminding us of the live show vibes we miss so much.
p.s., Upstate is headed to Rochester on October 16, and will hopefully visit ArtsRiot again this year, but check their website and Facebook to be sure.
Pat Metheny, Bill Frisell, Vernon Reid, Marc Ribot and Mary Halvorsen. One look at the list of progressive jazz guitar all-stars who have named Michael Gregory Jackson as an influence demonstrates the continued resonance and relevance of his four-decades of exceptionally creative music-making.
Jackson was barely out of his teens when he came to prominence in the adventurous New York City Loft Jazz scene of the 1970s, first with The Oliver Lake Quartet then his own edge-pushing solo albums like “Clarity” and “Gifts.” Over the years, he has crafted a continually evolving, uniquely genre-skipping discography, with a cliché-free musical architecture that is all his own. Jackson has explored everything from the furthest out in free jazz to the Stevie Wonder-inspired R&B popcraft of 80’s releases like the Nile Rodgers-produced “Situation X.” Then there’s the bare-bones singer-songwriter with guitar chops acousticity of his small label CDs of the 90s and early 00s like “The Way We Used to Do” and “Red,” two recent albums he played on and produced for acclaimed trumpeter Wadada Leo Smith and a recent slate of recordings with his Clarity Quartet, cut with his European band during his frequent forays in Denmark.
Jackson’s latest release is something splendid from his archives, a 1994 live recording by a nine-piece unit of an emotional original work, “Change: A Suite for Nelson Mandela.” It’s fuses knotty ensemble melodies and fiery soloing, with a sung poetry that celebrates the end of Apartheid and Mandela’s triumphant journey from political prisoner to President of South Africa.
The peace unfolds quietly, with mournful string chording of keyboardist John Livermore serving as the backdrop for a four-minute solo by trumpeter Stephen Haynes. Here, Haynes travels from quiet loneliness to screaming wails to musically illustrate Mandela’s long struggle. His dramatic and narrative playing, with its many slurs and stabs, brings to mind the late great Lester Bowie of Art Ensemble of Chicago fame.
The main body of the song is a driving, up-tempo swing, with Jackson vocalizing a call for unity, a celebrating of the changes in South Africa and the need for similar movement here in the U.S, aided by a trio of female singers, Tamsen Fynn, Eva Fierstein and Sara Lazare. It’s a heady mix of jazz, soul and sizzling rock reminiscent of some of the pieces from one of my favorite Jackson albums, 1979’s “Heart and Center.”
There’s more hard drive following in a long tenor sax solo by Chuck Langford, in a call and response with Jackson singing the tune’s main refrain “change will grace us all.” Things change up again in the fourth movement, where Jackson showcases his wonderfully avant/blues approach in a long expressionistic solo, over an almost offbeat reggae/funk pulse from drummer Joe Fitzpatrick and bassist Chris Murch. As the solo climaxes, the horns join with stabs and long chords that propel Jackson to more fiery chromatic soloing and chording, before a roar of ensemble screams as Jackson sings out “change.” The piece closes with a reprise of the intro synth chording and the applause of an appreciative audience that experienced this musical journey. It’s something that is sorely needed by all music lovers in these Quarantine times, a reminder of what we miss most – the live music experience.
This new release, and many of his remastered albums and other limited-edition singles and album outtakes (check out the bad-assed wah wah playing on “Miles OG”!) are available at his Bandcamp site and on Spotify.
One of WNY’s tightest and most eclectic rock groups is back with a new album release on July 3. Rochester based indie rock band, Animal Sounds, has a great discography already, with early material like “Ghosts” paving the way for their first full album, Ennui. It is important to take into context how the band’s music has matured over the past few years. Layers is a whole new beast, with intricately crafted structure and infinitely danceable tunes. Animal Sounds hasn’t compromised on what’s made them an indie staple in the area while continuing to grow.
The album’s opener, “Layers,” is a great exemplification of how the band can mend and bend the genre’s they write around. The core of the song is a dance-able, Young-the-Giant-type-groove complete with wobbly keys and deft guitar work. While the hook and the vocal performance are worthy of the spotlight, the guitar parts and drum feature early on showcase how technically sound their musicianship is. The song breaks out into a New Orleans style brass section before diversifying into a chill and bouncy bridge. The drop downs in the song really make the chorus hooks shine through. One track in, and the album already makes a strong impression.
“Rollin,” the second track, hits heavy with a bluesy, Steely-Dan-style guitar lick underneath reverb-soaked vocal ooh’s. Little hints of shoegazy, early Modest-Mouse-type guitar parts play beneath the verse lyrics. The bass thrusts the song onward into an energetic chorus. Again, the musicianship is stellar as the band navigates very tonally different verses and choruses without missing a beat.
The third track of the album is really a unique sound for the group, with a mix of their essential indie, along with a more twinkly guitar background- similar to some of the tones you’d expect to find on a math-rock album. Some of the guitar parts come off as math-inspired, but they never stray from being rhythmically accessible. The bass tone on this song hits heavy and offers more thickness while the drums provide a straightforward pulse.
“Blue on Burgundy” yields a nice, solid dream-pop feel that remains energetic but gives the album a great dynamic arc. The guitar compositions and their harmonies are so well written and performed here, hitting that perfect point where the guitars meld together and sound like one single instrument. The band’s foray into more jam-type music here (as well as at various other points in the album) pays off in a big way. The solo sections never hang on too long, and what’s being played never comes off as inarticulate or ‘noodly.’
Lastly, “The Feeling” brings the album out on a heavy note. The baritone guitar licks match the bass to create a really thick sound. A theme throughout this album has to be the thickness of the low end. It lends to bouncier drums and allows the guitar and vocals to sit well. The mixing holds up really well and offers plenty of easter eggs worthy of searching for indulging numerous listens. A true dance album with wonderfully designed tones and mixes, Layers is a perfect album for summer playlists and heavy listening. Animal Sounds will be doing a live-stream show on July 3rd, to benefit a local Rochester venue, Photo City. Check out the event here, and catch Animal Sounds live on release day!
Animal Sounds is comprised of Erick Gordon (vocals), Shawn Brogan (guitar), Alex Brophy (guitar), Zach Jonas (bass), and Angel Figueroa (drums).
In the midst of a global pandemic, as well as coping with trials and tribulations of being a twenty something, Rochester native, Garrett Eckl of Your Name Here has released a full length album that was written and produced by himself. Graduation of the Apocalypse is Eckl’s second full length concept album, which covers topics such as relationship troubles, self worth and mental health – topics that relate to Eckl on a more personal level that compared to his prior album.
His vulnerability and advancement of his musical prowess has birthed the story of an immersive journey where two teens find themselves in the middle of an apocalyptic world that has been ravaged by an alien invasion/ virus. His use of music technologies, personal experiences and opinions on current world issues act as fuel to propel his story through highs and lows, like a true theatrical experience – something that Eckl said he really strived for on the album.
Eckl, who left his job at NASA to pursue music, recently moved to San Diego where he received bachelors in music recording technology. He has set his sights on a masters in computer music and intends to pursue academia. In an interview with NYS Music, he said recent life events pushed him to create a new album, namely his move to San Diego. His cross country move and relationship troubles have spilled onto the album, in the best way possible. He said the experience taught him that he needs to learn to let go of certain things in his life.
“The album is very cyclical in nature. The first song “Graduation Day” ends with me singing about not wanting to grow up and lose my youthfulness (“some kids live into their forties, some kids live until they’re married, some kids die on graduation day but I’m never gonna go that way”). That same verse is repeated at the end of the album in “Now I Know.” This signifies that despite everything the protagonist has been through, he still hasn’t become the jaded and boring person he feared he would become.”
The result of these revelations and life experiences is this: Sonically, this is what you get when you mix Ben Folds 5, Weezer and the play Dear Evan Hansen together. Listeners will feel an array of emotions, as one does in a play. There are tracks that are instrumentally uplifting and chipper, coupled with lyricism describing the complexity of love in relationships, like in “Graduation Day.” “Everyone Thinks You’re A Little Strange” is also a prime example of Eckl’s style – a huge sound consisting of string quartets, chanting choirs, dynamics and builds, highs and lows and stories that everyone can relate to.
But we’re also strung through songs that set the scene of how grim things are in this reality – i.e. “The Apocalypse.” This was a stand alone song that proves how Eckl is growing and learning. The song never speaks of the protagonists, says Eckl. “I wanted this album to be open to interpretation, but I wanted it to be very clear that this (song) was about the apocalypse.” In this track, Eckl is able to hold onto his style that sets him apart from others in the genre, but is able to create an intense tonal shift, all while using recognizable instrumentation and voicing that is seen throughout his other works. It’s an incredible feat and once again legitimizes this album as something that could easily be mistaken as an OST from a Broadway show.
Each song is unique and easily distinguishable. Everything sounds just as Your Name Here should sound, but each one feels like it’s own standalone story. String them together, and listeners will go on a personal, reflective journey as well as getting a taste of Eckl’s experience. It’s been exciting to run through each of the songs, and it’s been exciting to wait for each track, as Eckl has been releasing 1 song per week for the past few months. The last song of the album, set to be released July 5, is called “ Letter In A Locket”. We’ve made a playlist on Spotify of every released track, but listeners can find it on Apple Music and below via Youtube. Those who want to dive even deeper into the immersive world Eckl has created, can also look into the Alternate Reality Game (ARG) that he has made to coincide with the album. Find more information on his ARG, here.
Key Tracks: Graduation Day, Everyone Thinks You’re A Little Strange, The Apocalypse
Many will remember Phantom Planet for their song “California,” but for many fans there more than just a theme song. The band actually started their career at just 15 years old and will later be an indie rock staple with songs like “Lonely Day,” “Big Brat,” and “Do the Panic.” Now after 12 years the bank has come back with their highly anticipates album Devastator – now available worldwide.
Devastator is the first album Phantom Planet has released in 12 years.
The album is a great tribute to summer with songs like “BALISONG” and “Only One,” and the lyrics are on point! However, after listening to the album, it left me with several questions for the band.
Fortunately, I had the amazing chance to chat with lead singer, Alex Greenwald to not only discuss about the creative process with the album- but to also discuss the challenges that were involved:
Tamara Estrella: Thanks Alex for chatting with us here at NYS Music, I remember when there were teasers that a song was being produced. However, once you did the release and the mini tour, what led to the creation of the album? Was this all a part of a big plan that fans didn’t know about?
Alex Greenwald: The night we played our first show in January 2019, our last album’s producer Tony Berg (who is a LEGEND) said he was floored watching us and invited the band to record in his new studio. The ‘new studio’ happened to be Sound City which is one of LA’s most historic places to record, where many, many great records have been made. Nirvana’s “Nevermind” for example. Also, the hugely successful version of Fleetwood Mac with Lindsey Buckingham and Stevie Nicks actually formed in the room we recorded in. THEN ,when we were mixing the album, Bob Dylan was recording at the same time across the hall. Making this album was incredible.
TE: Listening to songs like “Time Moves On” and then seeing the album art….I hate to ask…but was this album inspired about personal events? Or was there another meaning behind it?
AG: Before I answer this question, I’d like to make it clear – as the person who wrote it – that these songs are about whatever you think they’re about. You, the listener are who gives these songs meaning. Ok. Now to answer your question. Yes. A lot of the songs on Devastator were inspired by a breakup with someone I’d been in a relationship for seven years. Every time I told someone about the breakup – that she got to keep our dogs – they would say something like: “My G_d that’s devastating!” Always that word. So, the album just kind of titled itself.
TE: I love watching your YouTube videos and it’s great to see that you guys were even able to release a music video during all of this. How has this whole pandemic experience been for you guys as a band?
AG: The pandemic has affected everyone in such different ways, but the one thing we all have in common is that we are trying to live our lives to the best of our abilities while under house arrest. I’ve been learning all I can about anything I can, and being as creative as I can be during this time. The band has been sharing music amongst its members, collaborating via “satellite”. We’ve been making home vids of certain songs and putting them up online. I made a music video for our new song “Only One” with a green screen. I found a bunch of royalty free video from the internet, and edited it to the song. I filmed myself with my iPhone. It came out way better than I thought it would, seeing as I had absolutely no experience making music videos or editing or green screening. One of my favorite qualities of human beings is our ability to adapt. I see a lot of adapting, and although the circumstance are FAR from ideal, I have seen so many flashes of beauty through this dark unprecedented time. Stay strong everyone. We still have each other, even if we can’t be close right now. Love will carry us through.
So as Billboard shares, be ready to ‘dance, smile, cry and go through all the emotions,’ for an 11-track musical narrative that was seriously 12 years in the making- and honestly worth the wait.
Check out Phantom Planet’s latest video “Only One”:
With the times changing week by week, it’s been pretty hard for bands to get together and practice safely like they used to. However, Baked Shrimp had a different idea all together. This progressive-funk trio from Long Island just released their second full album, Bubble Suit, and their approach towards recording this new LP is ingenious.
Jared Cowen, Scott Reill and Jager Soss recorded their parts virtually and used cloud-based systems to send the tracks back and forth to create the final product. These 12 tracks have never been performed live or even played at practice and the band is quick to point out that this is not a studio album… it’s a quarantine album!
Regardless of how you classify it, this album is an impressive musical and technical feat from start to finish. The opening track, “The Vision That I Can See,” is a jaw-dropping epic that really showcases the prowess of this band and make you scratch your head as you ponder how they were able to put this album together. “Conduit” fits this same description too and will undoubtedly become a staple at their live shows. The band also shows off their light-hearted side with humorous tracks like “I Wanna Do Nothing” and “Drinking on the Beach”, but they really flex their skills on more upbeat songs like “Koko” and “Rock Bottom.”
Bubble Suit is a response to Baked Shrimp’s 30-date Summer Tour being cancelled. The band plans to resume touring as soon as safely possible and will stay true to release new music frequently in the future. For now, this album is a milestone achievement for Baked Shrimp and the music scene as a whole. They’ve taken our current uncomfortable situation and truly made the most of the situation. Bubble Suit was released on June 18 on Bandcamp.
Key Tracks: Conduit, The Vision That I Can See, Koko
Kendrick Lamar once said, “Critics want to mention that they miss when hip-hop was rappin’/ Motherf*****, if you did, then Killer Mike would be platinum.” As great of a line as that was, let’s make one thing clear; all forms of hip-hop are respectable. Lyricists, mumble rappers, crooners, they all have their place within the genre. Moreover, while we often look for messages in our art, understand that you won’t find it in what I like to call “easy listening rap.” Artists who view hip-hop as a competitive sport tend to challenge themselves. They think of more elaborate rhyme schemes, pick more challenging beats to rap on and (some) interpolate different subject matters in their music. Easy listening rappers find a formula and stick to it, no matter how redundant their sound. However, their inability (or unwillingness) to change does not invalidate them. We need fun-party music, but we need the former as well. Hip hop duo Killer Mike and El-P probably won’t go platinum with this latest effort – much to Kendrick Lamar’s chagrin – yet, their latest project — RTJ4– is undeniable.
Give up the information.
Originally scheduled to be released June 5, the album was pushed up, releasing two days early, with an accompanying note: “F*** it, why wait. The world is infested with bullsh** so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love. With sincere love and gratitude, Jaime + Mike.”
The fourth installment of the Run the Jewels series covers similar themes as its predecessors: racism, capitalism, socioeconomic issues. Basically, you know what you’re going to get. Even so, their ability to pinpoint America’s discriminatory ways – and Killer Mike doing an excellent job of reversing the black community’s ethos from victimhood to one of power – have resulted in 39 minutes of thought-provoking content, which is not a given in today’s hip hop climate. On “walking in the snow” Killer Mike exposes the corrupt ways in which black people are targeted, while attacking the black community themselves for their acceptance of their role as casualties.
“The way I see it you’re probably freest from the ages one to four / Around the age of five you’re shipped away for your body to be stored / They promise education, but really they give you tests and scores / And they predictin’ prison population by who scoring the lowest / And usually the lowest scores the poorest and they look like me / And every day on evening news they feed you fear for free / And you so numb you watch the cops choke out a man like me / And ’til my voice goes from a shriek to whisper, “I can’t breathe” / And you sit there in the house on couch and watch it on TV / The most you give’s a Twitter rant and call it a tragedy / But truly the travesty, you’ve been robbed of your empathy / Replaced it with apathy, I wish I could magically / Fast forward the future so then you can face it / And see how f***** up it’ll be / I promise I’m honest, they coming for you / The day after they comin’ for me.”
“I’m robbing you.” “What for?” “Whatever you got.”
Throughout the project, Killer Mike shares several cathartic moments with the audience while veteran emcee El-P plays the role of ally, addressing the nation’s corruption. On the album’s intro “yankee and the brave (ep.4)” he raps,
“it’s scammer bliss when you puttin’ villains in charge of shit / All of us targeted, all we doin’ is arguin’ / Pardon them as they work until every pocket’s been picked and soul been harvested / I’m ready to mob on these f***** Charlatans.”
On the same track, Killer Mike takes the term “Black Power” to a whole new level by doubling down on his refusal to be martyred. “I got one round left, a hunnid cops outside / I could shoot at them or put one between my eyes / Chose the latter, it don’t matter, it ain’t suicide / And if the news say it was, that’s a goddamn lie / I can’t let the pigs kill me, I got too much pride / And I meant it when I said it, never take me alive.”
It is noteworthy to mention that he also did this, but his words are powerful nonetheless.
He maintains his stance of power throughout the project, only relenting on the albums outro “a few words from the firing squad (radiation),” where he grapples with his role as a famous entertainer, his potential to make a difference within the Black community, its sometimes deadly consequences and the divisiveness it can cause within Black families.
“It’d be a lie if I told you that I ever disdained the fortune and fame / But the presence of the pleasure never abstained me from any of the pain / When my mother transitioned to another plane I was sitting on a plane / Tellin’ her to hold on and she tried hard but she just couldn’t hang / Been two years, truth is I’ll probably never be the same / Dead serious, it’s a chore not to let myself go insane / It’s crippling, make you want lean on a cup of Promethazine / But my queen say she need a king / Not another junkie, flunky rapper fiend / Friends tell her he could be another Malcolm, he could be another Martin / She told her partner I need a husband more than the world need another martyr.”
Even with excellent lyricism, there are supplementary elements that make this album noteworthy. While the duo’s cohesiveness is seen through their mutual world views, the beat selection, however, is raw and unfiltered. Heavily rock influenced, RTJ4’s production is not always sonically pleasing – possible to deter the masses who are only trying to hear “good vibes.” Instead, they are purposeful. Loud guitar riffs, drums and alarms are heard throughout as they amplify the messages. Almost as if they picked beats that would not allow the audience to drift away (sometimes a catchy beat or chorus can hinder the record’s message).
Run the Jewels 4 is meaningful. Not only because of the subject matter, but the delivery itself. In our current climate, it’s rare to find conscious rap that doesn’t portray Black people as victims. El-P and Killer Mike take the opposite approach, challenging the oppressed to defend themselves, let’s hope they take heed.
Ryan Sutherland names his new album simply, Sutherland. It’s a perfect title, as that is just what you get: a man, a guitar and a simple drum kit. Sutherland uses tempo changes to unbalance the listener, while throwing in bluesy and forlorn lyrics that tie the songs right back together. This can be seen on the first track “Gideon’s Bible.” It’s a great opening track and sets the mood for what this self titles record is. Bluesy garage rock and a simple take that brings you and the artist together.
The second track, “Sludge,” has that same heavy blues like a young Elvis Presley took over lead vocals for the White Stripes, singing “Can’t Put My Finger On The Pain/It’s there to remind me of the rain/No lullaby, no fleeting glimpse/No blood on your fingertips…”
“(Dead) Don’t Die” also contains many tempo changes and seems like a stream of consciousness song. Almost like how Bob Dylan recorded Another Side of Bob Dylan. It works as a slick, quick witted track with the changes and catchy repetitive lines as well.
A lovely instrumental, “It Ain’t Too Far,” has an introduction that fades into beautiful slide work, reminiscent of the Allman Brothers; one could even imagine Greg and Duane sitting out back writing the beginning parts of a hit. It provides a nice interlude, placed perfectly on the record.
“Keep Burning Down,” comes in hot with great harmonica work, growing slowly distant as the song takes on a driving blues. It’s almost like listening to early Black Keys records and the train rumbling through a gritty city. Another Dylan-esque interlude as the tempos rise, fade and then rise again and Sutherland weaves emotional lyrics in.
“Black Cats On The Moon” has a little bit more of a folksy feel as it slowly rocks, almost a lullaby to bring the record to a close. In all this seems like a very intimate, yet also experimental album. If you close your eyes and listen it could take you from a smoky bar in West Texas, to an Upstate New York BBQ on the lake, to a back room underground poker game. Sutherland sets a mood, he sticks to it and tears down the standard timing of a blues song, while inserting a presence that you can feel in the room with you as you listen. This reviewer can’t wait to see what he puts out next.
Key Tracks: Keep Burning Down, It Ain’t Too Far, Sludge
After playing together for years, long-time jazz musicians Daniel Carter (tenor sax, trumpet, flute), Matthew Shipp (piano), William Parker (bass), and Gerald Cleaver (drums) have collaborated to release their first album as a group, Welcome Adventure! Vol. 1.
Carter and Parker have been working together since the 70s early into their music careers. Shipp began playing with the duo in the 80s, and Cleaver joined the mix more recently. This is the first recording which features the trio along with Cleaver. The four work together extremely well and manage to create an album which is easy-listening while still incredibly interesting. The three songs are a feast for the listener who is taken through a journey with each minute.
The album kicks off with “Majestic Travel Agency,” which effectively sets up the tone of the whole album quickly with piano that seems incongruent from the other instruments; this incongruence, surprisingly, brings the whole piece together. Things may seem slightly out of place, but in a clearly purposeful and harmonious way that makes the music all the more interesting. “Scintillate” is the shortest and brightest of the three, but still has an edge to it. The album’s ‘harmonious incongruence’ is shown most clearly in the final song, “Ear-regularities,” which is significantly darker than the two before it.
Welcome Adventure! Vol. 1 is available on Bandcamp. The album’s second volume will be released at a later date.
Guitars A Go Go, the improvisational duo of two acclaimed Hudson Valley-based guitarists, Rick Warren and Sal Cataldi (Spaghetti Eastern Music), have released their debut album, Travel Advisory. The duo have been performing at leading concert venues and art galleries since early 2019 and, on occasion, in a quartet abetted by bassist/composer Mark Steven Brooks and percussionist Pete Tenerowicz.
NYC and Saugerties-based guitarist Sal Cataldi may be best known these days for his style-jumping solo project, Spaghetti Eastern Music. Time Out New York describes Cataldi’s music as “largely instrumental, Eastern-influenced jams are infused with some delicate guitar work and hauntingly moody atmosphere.”
Originally from Kingston, Hudson-based guitarist Rick Warren has been deeply involved in the improvisational and experimental music scene. He was encouraged by renowned vibraphonist Karl Berger at his Creative Music Studio in Woodstock. It was Berger’s visit to a Rick’s high school music theory class that led him to become a regular participant in twice-yearly workshops held at CMS, an international hot bed of improvisational music performance and education founded in 1971 by Berger, Ingrid Sertso and Ornette Coleman. Rick is best known for using his guitar and a variety of electronic sound sources, each one a new and different on-the-spot creation.
Their debut album is a quartet of live-in-studio duets recorded just as the COVID-19 quarantine took hold. Travel Advisory features contemplative, peaceful songs as well as songs with textured noise and dissonance. These songs communicate the wide array of emotions we are feeling in response to the global pandemic. Five more songs were later produced in remote collaboration, with Cataldi adding guitars, synths, and effects at his studio in West Saugerties to solo pieces performed by Warren at his studio in Hudson.
Travel Advisory opens up with “A Jig for Europa,” comprised of blues performed by Warren on heavily processed acoustic 12-string, electronic blurbs, and backwards guitars by Cataldi. Throughout the album are songs such as “The Volcano Lovers,” 13 minutes of serene music with back-and-forth relay of melodic improvisations by each guitarist and “DeKooning Was a Crooner”the final and longest live-in-studio improvisation. The song consists of jazz chordal voicings from Cataldi lead into the inside-out improvisations from Warren.
Key tracks: A Jig for Europa, The Volcano Lovers, DeKooning Was a Crooner
