Brooklyn-based four-piece band Space Bacon released their debut album, CONE, on June 11. CONE features 16 original instrumental tracks and blends rock and jam-band influences with an electronic flare.
Space Bacon is made up of Sam Crespo on drums, Chris Gironda on keyboards, Kevin LeGall on bass and Jack Willard on guitar. The band previously came out with their Nodes EP in 2016. CONE‘s recording process was split between Sabella Recording Studio in Roslyn Heights, NY and also with the help of Alfred Rylands in Wilmington, VT.
CONE features fan favorites such as “Ice Planet”, “Cloud Coast”, and “Heatseeker”as well as deeper cuts from their catalogue, reworked songs from their early years, and never before heard interludes.
Space Bacon Press Team
On CONE, tracks like “Cone” and “Throwing Shade” open with undeniable rock-n-roll guitar riffs. The riff on “Throwing Shade” even emulates a pop punk sound similar to 2000s-era hits like “The Middle” by Jimmy Eats World.
The band’s electronica-inspired grooves stand out on tracks like “Satellite,” “Lodge” and “Triangulation” with airy synths and reverb-heavy background sounds. Though the electronic influences stand strong, there is simultaneously a fun and energetic jam-band energy woven throughout the album. Since CONE is entirely instrumental, Space Bacon’s strength as a band is able to shine and they certainly dive into a funky rhythm.
Space Bacon recently celebrated the release of CONE with two sold out performances at the Safe and Soundz Music Festivalin the Catskills. Be sure to look out for more shows and connect with Space Bacon on Instagram, Twitter, YouTube and their website. CONE is available to stream on all platforms.
Amy Helm will release her third album, What the Flood Leaves Behind, on June 18 through Renew Records/BMG. Helm, the daughter of The Band’s legendary vocalist and drummer Levon Helm and singer-songwriter Libby Titus, has successfully stepped out from behind of her parent’s considerable musical shadows and has successfully staked her own claim in the highly competitive music industry.
Helm’s success comes from honing her craft and paying her dues as a founding member of folk group Ollabelle and additionally as a longtime member of The Midnight Ramble Band. The culmination of Amy’s hard work and experience is apparent on this gem of a record which consists of ten tracks of new and reimagined material.
What the Flood Leaves Behind was recorded at the historic Levon Helm Studios located on Amy’s home turf of Woodstock, NY. She also enlisted a group of incredibly talented players to contribute to WTFLB including Kaufman and Phil Cook (keys, harmonica), Michael Libramento (bass, organ, percussion), Tony Mason (drums), Daniel Littleton (guitar), Stuart Bogie (saxophone), Jordan McLean (trumpet), and her son Lee Collins (congas). Helm describes the experience of creating the album at the studio that her father built as a cathartic homecoming.
Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “it was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.
Amy Helm
Produced by Josh Kaufman, whose credits include working with an eclectic roster of musicians that includes Bobb Weir, Taylor Swift and the Hold Steady, WTFLB reflects a creative working partnership that fits like a glove between Helm and Kaufman. The evidence of this successful collaboration is apparent in adept and deft way that Kaufman focused on Helm’s vocal ability, showcasing it as a major focal point on the record, he explains.
I wanted her to feel like she had that freedom to be herself on the recordings and she just filled up the whole room. Her singing was coming from this deeply rooted place of family and music and wanting to convey a beauty.
Josh Kaufman, producer of What The Flood Leaves Behind
This philosophy is executed brilliantly on “Verse 23,” the first track on WTFLB, which is a soulful ballad from which the album derives its title. The lyrics of the song evoke a rich religious sentiment that when beautifully delivered by Helm’s ethereal voice. The results are sublimely divine.
WTFLB is steeped in fusion of traditional roots, gospel and contemporary music. This is probably most evident on the nineth track of the LP “Terminal B.” The tune starts with Amy playing mandolin, which sets the sonic stage for the piece, which then leads into an organ accompaniment provided expertly by Libramento. The marriage of these instruments transports the listener to a front pew at a rural church service in Anywhere, USA. Lyrically it describes a remembrance of a fleeting Californian love affair that, retrospectively, one could look back on fondly.
“Cotton and the Cane,” WTFLB‘s third number also has a southern sleepy gospel feel to it. Injected with a heavy dose of Hammond Organ, this updated version of a fan favorite is a departure from previous renditions and is a fitting tribute to Helm’s father Levon. It is a definite highlight of the record.
Amy Helm will be touring this summer in support of What the Flood Leaves Behind, kicking off with a pre-release live stream webcast scheduled for June 17. This will then be followed up by a sold out record release event at the Levon Helm Studios on June 19.
Key Tracks: Carry It Alone, Cotton And The Cane, Terminal B
Songwriter Peter Bogolub under the moniker Loops & Loops has created the album, Fake Face, released on June 11.
Knowing that this project was recorded during quarantine and almost entirely in the closet of his NYC apartment, listening to it feels like even more of a personal experience. Aptly so, Pete took a dive into analyzing failed relationships throughout his life, relying on his affinity for shoegaze-style indie rock while merging elements of pop synths and melodic guitar/ukelele loops.
Citing Yo La Tengo, My Bloody Valentine, and The Magnetic Fields as his biggest musical influences, Fake Face can be seen as a return to his DIY/ indie roots. A self-taught musician and collaborator in bands for over 20 years, this album showcases a side of Pete that could only be brought out as a solo act.
So far, the singles for this album have been “County Fair”and “Pain In My Heart”.
“Dark Clouds” is the opening of the album, a slow soft beginning to a melancholic motif. A stand out lyric being, “People see what they want to see / They can tell there’s something wrong with me.”
“The Light,” the second song, has bright happy guitars with a familiar beat. Telling the story that sometimes the end of something is really the beginning. None of the songs on the album are really happy but they’re neither all doom and gloom either, this song really highlights that.
“Down in Mexico” is almost wistful but similar to how I do not speak Spanish beyond a high school level I could understand about 50% of the words in this song. That isn’t a dealbreaker considering what could be heard clearly is, “Someday it’ll be okay,” which is comforting.
“Things Are” is the focus track, an indie anthem reminding us how to get by in life. Sometimes things just don’t go our way, but not sweating what we can’t change. The line “Things are what they are no matter how you feel” a lament to the unchangeable nature of life and the relationships within them. An acceptance of the hard truths despite the hope that it won’t be true.
It’s a song about accepting things as they are instead wishing circumstances were different. Written during the pandemic when life was rather chaotic, the upbeat melody offers a glimpse of hope.
Peter Bogolub
“Pain in my Heart” with its squishy beat as if hitting a cartoon frog stretched into a banjo. Echoey vocals are a heavy feature on this album but they really shine on this track. The lines “There’s a pain in my heart / Why are we so far apart” painting the picture of when you make a promise with someone and find it is no longer being kept and you’re alone.
“Outta Control” has the vibe of the opening track to a lighthearted coming of age movie that will inevitably take a turn and have a sad ending or the two best friends will fall in love after much trial and error. “Making bad choices too many times”
“Gaslight” a slow track in tribute to society’s general growing awareness to the toxic trait of gaslighting. With the lyrics “that’s not really an apology,” there’s a realness. Very reminiscent of mooseblood, joyce manor. “Run To You” is very instrumental heavy where the vocals seem to be more of a background element to the song. Gives the same vibes as an underwater town being explored.
“Drawn To You,” with the acoustic guitar being the star of the track and johnny cash style, is about being drawn to someone without control. Whether for better or for worse the attraction is there.
“Not Yet” feels like the end credits to a comedy show. Which is ironic considering the line “You ain’t catch me yet.” “County Fair”, if “Not Yet” felt like the end “County Fair” is the after credits scene.
Overall the album delivered on what Pete set out to do, which is to tell the stories of relationships and their messy ends in a way that is pleasing to the ears. Stream Fake Face on your chosen platform.
Brooklyn-based electronic dream-pop duo Corbu has released their Lost & Found EP. The EP reimagines the title track with five new remixes, along with the original version.
Corbu, comprised of Amanda Corbu and Jonathan Graves, focuses on bringing an ethereal, even other-worldly sound to their psychedelic and ambient pop tracks. They have previously toured with Bloc Party, performed with Goldfrapp and played both Austin City Limits and Electric Forest festivals. Last year, Corfu released their debut album Crayon Soul, featuring mixing by Tame Impala and MGMT collaborator Dave Friedman.
[Corbu is] trying to lure their audience deeper into their own subconscious while giving them something to sing along to.
Corbu
On the original single version of “Lost & Found”, Corbu collaborated with Doves frontman Jimi Goodwin. Goodwin produced the track and added reggae and electronic flares, creating a laid-back yet energized soundscape.
The EP features “Lost & Found” redone five times over and explores new genres and sounds. On the “Seaside Version”, the track goes vintage and utilizes upbeat 80s synth to create a sound that could easily fit into an episode of Stranger Things. On the “JKriv Remix”, Brooklyn DJ JKriv remixed the track to fit a more booming club sound evocative of traditional house music and drum loops. The EP as a whole is perfect for the summertime.
Preference in music is the very definition of subjectivity, definitively so in fact. Whereas reviewing a live show is more of a this is what happened and what it felt like to be there kind of thing, album reviews, on the other hand, tend to read like conclusive statements of what the reader will hear, feel, or whether the album’s intent will resonate with the reader/listener in any deeper sense. Really though, who am I to lay claim on how an artist’s creation might reach you?
That ledge is the only thing I ever see
I am the sum of my experiences, each and every one of which led me to this time and place and all serve to inform my unique perspective. So to feign objectivity or pass off an album review as anything more than my proprietary interaction with an artist’s intent would be to serve the reader a forced helping of bullshit.
Born in the heat to keep it always out of my reach
Rick Mitarotonda, lead guitarist, vocalist, and chief songwriter for Goose, had this to say with respect to the intent behind his art, “Music at its best form, really encompasses everything that its creators are experiencing. But yeah, it comes back to the point that I think if there is a spiritual intention behind the music you create, whether or not it’s being spelled out… but trying your best to express what’s authentic to you, if that happens to be a spiritual thing, maybe someone will resonate with it and maybe it will open some kind of door for them in some way.”
Grab on a hold each treasure while you gobefore they turn to sand this man is all alone
*Perhaps* as intended by the artist, but *definitely* as needed by my circumstance, Goose’s latest album reached this audience of one in a heightened state of readiness. “A nine-track collection of music written over the past decade, Shenanigans Nite Clubpresents musings on a journey through life and a quest for fulfillment, all while saluting the important figures along the way.” As this past year has been one of pervasive loss followed by global healing, never has my quest been more heightened. Perhaps our suffering has differed on both an individual and global scale, but as sure as you’re reading these words, we’re still here, which isn’t to minimize the permanent loss of death experienced by so many, but rather to celebrate the collective transcendence and fulfillment of those who remain.
So ready for this
The opening track to Goose’s first album in five years actually debuted six years ago. A live staple of the modern era setlist dressed up for the studio, “So Ready” and its accompanying instrumental, “(s△ttelite),” are high-energy, disco funk dance tracks whose message is short, sweet, and, like all good art, timely as hell.
Take it slow, I’m burning baby you know
In addition to having an exponentially high fun quotient as a live offering, “Madhuvan’” references the story of Dhruva and his quest for enlightenment, originally written in the Bhagavata Purana. The song is an exploratory journey, examining life’s most beautiful offerings and most dangerous pitfalls.” Wait, what?!?!
If I had it all, if I had it all, what life would leave me satisfied?
Even as its live counterpart often clocks in at twice the length, “Madhuvan” jams twenty minutes of perfection into a ten-minute track, reminding us that on the path to enlightenment, the joy *is* the journey. “SOS” (Same Old Shenanigans)–another old, new song that debuted in 2018 and has only been played live three times–will likely see more play and exploration once summer tour resumes. In the narrative of the album and the pursuit of higher awareness, it warns of the perils and false idols draw our attention.
The power of bottles and cans, when do the answers arrive?
As “Dawn” metaphorically ushers in a new day, that ledge is no longer the only thing I see. Beginning with a reverse chorus, Dawn is the album’s pivotal track, bridging past, present, and future. Says Mitarotonda, “[I] envisioned someone stepping away from this crazy party scene (SOS) and having a moment of self-realization and growth occurring.” One of just two tracks to debut on the album, this stunning and reflective track has yet to be performed live.
It’s a new life creeping out
Literally speaking, “Flodown” could very well be the end of the very same day ushered in by the rising sun of its predecessor, but to me is more likely the backend of a symbolic pilgrimage. While these consecutive tracks couldn’t be more divergent sonically (think square dance vs. acid trip), they are more connected than at first they appear, especially with ambient drones bridging the tracks as lyrical day turns to night.
Been sweatin’ in the haze all day, and somethin’s gotta take this edge away
On the heels of what is likely the most fun song in the Goose catalog, “Spirit Of The Dark Horse” brings an abrupt end to the “rowdiest shindig I ever seen,” at once snapping our attention back to serpentine spirits lying in wait and hiding in plain sight–the devil you know and all that. A serious track, the levity of its intent is inextricably woven into Mitatotonda’s piercing guitar even as Anspach’s keys lighten the outro. Written in 2014, “Dark Horse” and its newly named but accompanying jam “(7hunder)” have recently returned to the live rotation with widespread fan approval after being released as the album’s first single in March of this year.
Dark he fights, won’t let the night steal our soul
If one singular track is to define this record, let it be “The Labyrinth.” A musical odyssey and compositional masterpiece, this wordless juggernaut leaves all interpretation to the listener. Personally, I imagine it to be a reflective trip back through time, not just through the previous eight tracks but through the lifelong journey that brought me to this time and place. You know the old saying, “If I knew then what I know now?” Well, with its happy chords and its bounding solos, its acoustic sentiment and its electric joy, “The Labyrinth” hearkens that passage of time with a heavy sense of accomplishment, of knowing. And what could be more appropriate for a song first written by Mitarotonda for his *high school* band–The Shenanigans, ha!– that we are just hearing now for the first time. “It’s the very old, new thing,” he admits. And while its title suggests a complicated irregular network of paths in which it is difficult to find one’s way, its effect is to imbue the listener with a feeling of having conquered the maze that is life. Transcendence. As the song reaches its conclusion and the track fades away, Peter Anspach’s heartfelt laughter is the last thing we hear. Perfect, just absolutely perfect.
An intricate composition, “The Labyrinth” is an ambitious track even for the studio. Having never been performed live and with summer tour just a few days away, my loins tingle with excitement as I contemplate how this compositional piece will debut in the improvisational setting of a live show. This could easily be the best piece of music in the catalog.
Deep into the forest he will go
I came for the party in the woods, but I stayed because I found a place where my insides match my outsides. The Flodown may have drawn me in, but The Spirit Of The Dark Horse cast its spell. The Universe makes no mistakes, and the emergence of this music and the people it brought into my life are amongst the beautiful offerings that elevated me as I confronted my demons. The human body is an incredible machine, the mind the world’s finest supercomputer. Given our instinctive ability to adapt, getting stuck in The Same Old Shenanigans is almost too easy. Echoing Rick Mitarotonda’s thoughts, “It’s hard to really need to dig, to need to seek when you’re comfortable. Life has a way of driving you to certain places. You’re not going to … start asking questions in a very poignant way until (you) need to.”
No more demon roars
A forced helping of uncomfortability left me So Ready for heady excavation. Now, over a year later, revelations on the personal front, coupled with a change in national leadership and baby steps toward Uniting our States have freed us from our collective Labyrinth. In addition to a seemingly overnight emergence from a year-long pandemic, the stage has been set for an artististic, cultural, and individual Renaissance of biblical proportion. Dawn. If you find yourself unwilling or unable to experience the beauty of the rising sun, consider this timeless quote, “A skeptic is a person who, when he sees the handwriting on the wall, insists it is a forgery.”
Pure pure pure
In a world where authenticity is in woefully short supply, Shenanigans Nite Club is refreshing and honest. But it wasn’t easy. “While we’ve been touring, the record has been happening in the background,” says Mitarotonda. “It’s been quite the process. At times, it was difficult. The record is a companion to those growing pains.” A testament to longevity, focus, hard work, growth, and friendship, it’s also proof positive that everything happens for a reason. Darkness both follows and precedes light. And vice versa. But don’t take the meaning that I found in it, give it a listen and let it speak to you. Can’t wait to see y’all out there as we trudge the road of Happy Destiny.
Central New York-based band Harmonic Dirt is back with their newest album, Rhode Island Street, released earlier this year.
Husband and wife team Mike Gridley and Susan Coleman first established Harmonic Dirt back in 2016. Both songwriters, Gridley created instrumental tracks while Coleman took to writing lyrics. Their debut album, Anthracite, was released in 2018. Live at the Ridge was released in 2020 and won the Syracuse Area Music Award (SAMMY) for best Americana Recording.
Since Anthracite, Gridley (lead vocals, guitar, mandolin) and Coleman (bass) have joined forces with a fuller band, composed of close friend Taylor Bucci on banjo and vocal harmonies and James DaRin on percussion. Rhode Island Street contains 9 original tracks and marks Harmonic Dirt’s first release as an official quartet.
Photo from Harmonic Dirt’s website
The album was recorded at Greywood Studio in Jamesville, NY and features some special musical guests (Bob Gaus, Joe Plessas, Tami Schutt, Scott Ebner and Ericka Longo). The bluesy, Americana sound that Harmonic Dirt has come to play so well stands strong on Rhode Island Street, but there is even more cohesion and jam-band-like qualities present in the instrumentation.
Each track, while unique, showcases the steely guitar, banjo chirps and powerful vocal harmonies that have become signature for the band. The title track, “Rhode Island Street”, tells the imagery-laden story of a house burning down on–you guessed it–Rhode Island Street. This visual is even pictured on the album artwork, giving listeners a clear face to the lyrics as they enjoy this track’s laid-back instrumentation.
It is undeniable that these tracks will be incredibly fun to hear as Harmonic Dirt continues to play live shows and tour the album. Though some tracks are softer and more emotional (“Rhode Island Street”, “Grief Is A Canyon”, “Ashes”), others bring a danceable energy (“Comfort Me”, “Catch Me”, “What Did You Take?”). There is something for everyone and for every mood on Rhode Island Street, especially for fans of 60s and 70s Americana with a bluesy punch.
You can learn more about Harmonic Dirt on their website and connect with the band on Facebook, Twitter and Instagram. Rhode Island Street is available for purchase and streaming now and you can listen below!
After a 15 year hiatus following her acclaimed album Where the Mangoes Are, Albany-area folk singer Kate McDonnell is back with her fifth studio album, Ballad of a Bad Girl.
For this latest project, McDonnell collaborated with drummer Jerry Marotta, bassist Tony Levin and co-writer Anne Lindley. Recorded at Dreamland Studios in Hurley, NY last summer, Ballad of a Bad Girl features 11 tracks. McDonnell’s poignant songwriting is showcased, as well as her raw, acoustic instrumentals. It is easy to be reminded of classic Joni Mitchell or Joan Baez tracks when listening.
The opening title track “Ballad of a Bad Girl” begins with plucky, yet rich guitar. Through the context of a sisterly relationship, McDonnell sings about femininity and being misunderstood : Folks call us those bad, bad girls/We’re just misunderstood. Complex family dynamics are a major theme of the record. On the track “Father and Son”, McDonnell addresses masculinity and rage: Father and son, father and son/Two angry hearts beating as one.
McDonnell also explores topics of travel, imagination and romance. She sings about faraway places in “Berlin” and “Malibu” and tells dreamlike stories of meeting and losing loved ones and the harsh realities of broken promises.
McDonnell in the studio.
Along with 9 original tracks, Ballad of a Bad Girl features 2 covers: “Dimming of the Day” by Richard Thompson and “Long As I Can See The Light” by John Fogerty. McDonnell’s vocal and instrumental interpretations of these 70s tracks are unique and pleasant. Her voice conveys strong emotion and her fingerstyle guitar playing feels artful and personal.
Ballad of a Bad Girl is set for official release on July 1. In the meantime, tracks are currently available for listening on YouTube. You can find more about Kate McDonnell on her website.
Key Tracks: Ballad of a Bad Girl, Malibu, Sweet Virginia
Oklahoma City based band Speak, Memory released their latest EP, Adirondack, on May 21. Adirondack features 3 original tracks evocative of the Upstate NY mountains, fittingly titled “Trails,” “Lakes” and “Cabin.”
Speak, Memory is a three-piece act comprised of Timothy Miller on guitar and vocals, Cody Fowler on bass and Jonathan Thomas on drums. Adirondack was recorded back in December 2019 at Breathing Rhythm Studio in Norman, OK. Throughout the recording process, the band collaborated with iconic OKC musician, producer and sound engineer Bartees Strange. Strange mixed the EP, creating a rich and percussive sound profile.
Speak, Memory
While Adirondack is almost entirely instrumental, aside from some brief vocals by Miller on “Lakes,” there is a deeply emotional feel to each track. The instrumentation, especially on “Trails,” feels wistful and breezy yet contains strong punches of drums and a catchy guitar riff. The band has previously talked about how the complex idea of unrequited love often inspires their work. This sensation of romance entangled with tinges of sadness or chaos feels strongly present on their new EP.
We try to invoke a feeling of hope into our music, which is something I personally feel the world needs more of right now. Adirondack specifically focuses on varying elements of nature, and how the volatility of it all often reflects our current economic and political climate.
Timothy Miller
Speak, Memory’s conceptual choices of both unrequited love and an exploration of nature and volatility are also made clear in their music video for “Trails.” The video, which premiered on April 2, shows scenes of crashing waves and neon-lit bedrooms as the two protagonists seem to figure out their emotions. The band themselves are even shown playing music in the woods.
The quirky calmness and the math rock influences of Adirondack make for an incredibly enjoyable and laid-back listening experience. The EP is currently available to stream and purchase. You can find more about Speak, Memory on their website and stay updated on Facebook, Instagram, Twitter and YouTube. Check out the official video for “Trails” below.
Emerging in late 2018 out of Downstate New York, Neckscars turned a variety of stylistic music ambitions into a seamless reimagination of punk. To listeners, their sound is reminiscent of classic punk rock and roll. In reality, the sound is independent of frayed nostalgia and standard song formulas.
Then, in March of 2020, Neckscars entered Nada Studios in Montgomery, NY. The band collaborated with producer John Naclerio and Sean-Paul Pillsworth for their first full-length recording. After ripping through 8 songs in just three days, the session came to a halt in response to the COVID-19 global pandemic.
Eventually, the band returned to the studio in the fall to tie up loose ends and bring another two songs to the table. The album begins with an earthy introduction from “In Front of Me,” followed by an even grittier set of middle tracks, and finishes with more subtle melodic rock undertones espoused by songs like “Let You Down” and “First Time, Long Time.” Finally, the album and new tracks were completed with a mastering by Jesse Cannon followed by the release date announcement.
Courtesy of Neckscars – Labels: Sell the Heart Records (US) | Engineer Records (UK)
Neckscars’ motive with their debut album Don’t Panic? To bring to life a blend of rock and melodic punk with gravelly vocal delivery. The band has teased a new single, “Jarring” to highlight the upcoming album release. Below, check out the official music video via Engineer Records.
Don’t Panic will officially be available on June 18. Until then, stream “Jarring” and more by Neckscars on Spotify and Bandcamp.
Key Tracks: Jarring, Let You Down, and First Time, Long Time
Joey Calfa of Cousin Earth drops his exhilarating new solo EP, Baby Kangaroo Baby Cow, Part II, bringing spring into summer with his vibrant sound.
Baby Kangaroo Baby Cow Part II Album Artwork
The EP opens with the track “Brain Lehrer” and is immediately funky with its building guitar grooves. This track can be easily imagined in a bar, feeding the room with its danceable beat. As a tribute to the legendary WNYC/NPR host, “Brian Lehrer” is an ebullient song that deserves a listen.
The second track “Double Whammy” opens with harmonic, virtuosic guitar lines. The shredding and the funky bassline intertwine for a sublime groove. Inspired by video game music, its technical prowess is shared with an ensemble put together by Calfa, including Frankie Coda and Ryan Liatsis (SchwizZ).
The third song on Baby Kangaroo Baby Cow Part II is “Small Hands,” which draws inspiration from Frank Zappa, as well as features an FDR snippet from 1941 that eerily parallels the politics of today. The guitar work is once again wildly funky, interspersed with 80s-inspired synths. Calfa’s vocals interacting with the vocal sample is creative and catchy.
Baby Kangaroo Baby Cow Part II is a solid EP, full of songs that become earworms after the first listen. Members included throughout the EP range from members of his main band Cousin Earth, as well as long time high school friends of Joey Calfa. The quirky, funky release is out now! You can listen here and find more information about Cousin Earth here.
