NYS Music 202​1

Tag: Album Review

  • Danger Ken! “Up is Down” – a Dangerously Diverse

    Danger Ken! released their 10 track debut album, Up is Down, on May 7th. Aside from a few guest appearances on certain tracks, drums, keys, guitar, bass and vocals are a product of the album’s creator. A multi-talented instrumentalist and composer local to New York, it appears Dan Gerken’s musical alias, a play on his own name, is just as clever and catchy as his new music.

    Danger Ken

    The opening song, Lagoon (Intro), creates an air of mystery as we unravel what’s to come. Free of lyrics, the song invites the listener to relish in the evolving peaceful synthesizers in the background. By contrast, the intro is followed by Jubilate which pushes back our preconceived notions about the album as a whole. Expanding instrumentation, Jubilate, accompanied by guest Andrew Chamberlaine (Mister F, Timbre Coup) brings a punchy retro-sounding electric guitar and pumping drums to get you moving.

    Once lyrics emerge in the third track of the album, Astral Traveler, accompanied by guest instrumentalist Dave Berger (Groovestick), its evident no track is alike on this album that keeps you on your toes, switching from tracelike to groovy all in a matter of seconds. Through the diverse discography, there are staples to the album the listener can count on: catchy electric guitar lines, experimental ethereal synthesizer backgrounds, and unique layered vocals.

    The psychedelic cover embodies the range of emotions the lister is drawn to feel while listening to this ever-changing musical soundscape. My ears were constantly attuned to the minute changes in instrumentation. While seemingly minimalistic standing on their own, individual loops placed over top one another allowed for a repetitive yet diverse music range across songs.

    My personal favorite track, Time to Go, had notes parallel to 80s synthesizer and electric guitar parts with contrasting rock-like vocals bringing a 90s element. The cross-generational track’s beautiful smooth evolution of instrumentation, experimenting with both tempo and timbre, was both catchy and peaceful. The perfect song for a cross-country solo road trip or backyard concert, I was completely entranced, particularly by the thread of electric guitar that wove in and out of the piece.

    A self proclaimed “byproduct of being home a lot the last year and having the studio here for the first time in my life,” Gerken’s vocals are passionate and personal, inviting experimental rock into an intimate atmosphere. I highly recommend giving it a listen, and feel confident in saying between the diverse genre shifts within the album, there is bound to be a favorite for everyone.

    Streaming on Bandcamp and Spotify, the album is just waiting to be checked out!

  • Harmonic Dirt Brings Strong Americana Sound on “Rhode Island Street”

    Central New York-based band Harmonic Dirt is back with their newest album, Rhode Island Street, released earlier this year.

    Harmonic Dirt

    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!

  • Record Heat Drops Scorching New EP “1”

    Record Heat, formerly known as Spirit Animal, is back with a new 3-song EP titled 1 out on March 12. “Nathan” and “Just Hits” are previously released tracks, with brand-new closer “Networks.” Produced by Nolan Lambroza, 1 has an industrial, ground-shattering, alternative-rock sound.

    Record Heat
    Record Heat’s NST Album Art

    The opening track “Nathan” booms into headphones with a huge grimey bass sound and commanding, catchy vocals. The beats are redolent of “Believer” by Imagine Dragons and “Black Skinhead” by Kanye West, delivering a powerful energy that is cinematic and danceable. One could imagine a live show with pyrotechnics and a zealous crowd. “Couldn’t really say that I’m the patient type,” lyrically encompasses the strength of this song.

    “Just Hits” opens with a mysterious synth line and a techno beat that kicks in with a groove. Steve’s vocals are confident, almost rapped, giving the song a quick, invigorating aura. There is a spoken-word prechorus that induces reflection about nature: “We came from the sky / We came from the trees.” The song morphs into a bravado-filled chorus, with idiosyncratic production. The manipulated vocals, sirens blaring, and synth motif coat the song in a bold color palette. Record Heat knows that they are hot stuff.

    The newest track on the EP is the closer “Networks.” It opens with a jangly percussive bar and instantly adds groovy guitars. The energy is infectious immediately. The song criticizes networking and its inherent artifice; Record Heat are not in search of fortune and fame – even stating “The music industry sucks” as an ad-lib – they are artists, here for music, not commerciality. “Networks” is an anger-tinged indie dance track. It’s a powerful track in less that 2 minutes and 30 seconds. Record Heat’s new EP “1” is a whirlwind of confident, experimental, industrial rock. Their sound is refreshing, and you can listen to it on March 12th on all streaming services. You can find more about Record Heat on Instagram, Twitter, and Facebook.

  • Hearing Aide: No Showers On Vacation ‘Aquaband’

    No Showers On Vacation sounds about right. Now, wouldn’t that make you stink? Well, yeah of course. It is fitting then that this Burlington group’s funk is so strong it can kill a hippo. And jokes aside, this Phish-inspired group really does know how to bring their A-game while keeping things fun and exploratory.

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    This second pandemic release, AQUABAND, is true to the group’s sound and intentions. The album is terrifically produced and the compositions are very well organized considering this is a group that releases material at a good rate. Sam Lyons (drums), Emmett Lurssen (guitar), Alden Nichols (keyboards), and Pat Maley (sax) form a very good jam group. It is worth noting that this is only their second release, after debut EP Bath Time: Miami. Spoiler alert: this album is well worth your time.

    The first track, “Chestnut” features a rambling but consistent piano riff that leaves room for a ton of various solos. The eccentric beat forms itself into a Santana type jam, while a dirty guitar solo paves the way back to the piano riff. There is nothing missing here, aside from more sax (and even then, you better hold onto your hats cause this album just started). Throughout the beginning, the listener sees the piano taking center stage.

    The keys introduce a lot of the themes of the song and bring in the rest of the band. The bass divides the chord structure, navigating its way around the low end with a steady groove. The guitar sits back when it should and finds its way into the spotlight only when called upon. In a band of this style, it is often the case that one instrument will win a power struggle for being the most heard- that is not the case at all with No Showers On Vacation. Here we have a group that meshes really well and leaves space for every aspect of their music to shine.

    One that will get listeners up and active is “Sinkko.” Really, the only thing listeners might want more here is…literally more! The song hooks you in and then sets you free. It is easy to listen to this one a few times to soak in the vibes and the bouncy rhythm. “Amtrakk” features a beautifully organized instrumental that harkens back to a lot of 70’s jams. This is something you likely do not hear a lot of, coming from a band writing music today. The song has a progression that feels like you are actually traveling on a train (minus sitting next to someone who did not shower on their vacation). The charging, locomotive piano and beat drop off to a grand, empowering progression that can be likened to driving out of a tunnel onto a mountainside road.

    The beauty of what the band puts together here compared to the dirty funk in something like “Chonk” gives this album a whole of re-listening value. Highly recommend, and keep an eye out for when No Showers On Vacation are able to get back out to their live element! Find them on Instagram to keep up to date.

    Key Tracks: Chonk, Amtrakk, Gold

  • Hearing Aide: Velocihamster ‘Balls To The Wall’

    Milwaukee, WI based lap steel guitarist, Sean Williamson, is back under his alter ego Velocihamster, with the release of his sophomore album Balls to the Wall. Williamson, who also plays guitar in R&B Milwaukee based bands Shonn Hinton & Shotgun and The Bryan Cherry Band, decided to make the best out of the pandemic induced time-out, from touring and live performances, by focusing his time wisely in the studio with his signature Morrell SW Custom 6 Lap Steel guitar. 

    Velocihamster Balls To The Wall

    With contributions from talented musicians like bassist Matt Turner and drummers Eric Kummer, Chris Oelke, Sean Smith, Terry Jeanes Jr., and Matt Rhyner the Balls to the Wall album was born. As Williamson notes himself:

    With a raging pandemic putting all musicians in purgatory, my idle lap steel has proven to be the ‘devil’s playground,’ inspiring me to give this project the full attention it needed. The world needs more steel guitar superheroes and I hope this record can expose a new audience to its limitless potential.

    Balls to The Wall is not representative of your Great Uncle Vern’s taste of Steel Guitar stylings in his Country and Western collection. Williamson, a devotee to both Heavy Metal and Prog Rock, has followed in the footsteps of fellow pickers like Robert Randolph and Ben Harper and took an instrument that is classically known for its deep country roots and made it rock. There are no fluffy ballads or love songs on this instrumental juggernaut, just straight up in your face high energy music that has been self-categorized by him as “slidecore.”       

    The glorious result is a nine track LP that is comprised mostly of original material penned and produced by Williamson, and additionally features two classic covers including a heavy metal interpretation of surf rock legend the Dick Dale’s “Misirlou” (made famous by Quentin Tarentino’s 90’s classic Pulp Fiction) and Phish’s jam band classic “First Tube,” which was featured on their ninth release Farmhouse back in May of 2000. Both renditions due justice to the originals and have been masterfully reimagined and given the “slidecore” treatment by Velocihamster.

    Williamson’s lap steel is most definitely the star of the show on these tracks, but both tunes are additionally supported by some great musicians including Chris Oelke’s bombastic percussion on “Misirlou” and Paul Kneevers’ organ accompaniment on “First Tube” which elevates the jam track to the next level. It should be noted that even though there was a large roster of different players accompanying Williamson on Balls to the Wall, the record is still an exceptionally cohesive work that never suffers from a deficincy in musical talent or spotty production work. 

    Photo by Greg Vorobiov

    This level of craftmanship is also evident on the album’s fourth track “Fall,” an original by Williamson, which highlights his playing and production skills. The layered and distinct guitar parts elicit a feeling of a musical melee between opposing forces, that clash and eventually crests to a natural climax by the end of the song. Another notable original by Velocihamster is “Bury,” the sixth track on the Balls to the Wall LP. Williamson jumps right into action with a psychotic sitar sounding intro which grace the beginning bars of the tune which will eventually transition into a middle eastern influenced sonic journey, featuring a heavy dose of fantastic percussion showcasing the double kick bass drum.

    Although the recent pandemic has had an awful effect on the music industry in general, one silver lining in the whole COVID-19 nightmare is that the break from the grind of touring and performing has provided an opportunity for talented musicians like Sean Williamson to be able to concentrate on their craft and create some incredible music. Like Jeff Goldblum’s character Ian Malcome so aptly states in Steven Spielberg’s classic 1993 film Jurrasic Park, “Life finds a way.”  Williamson, with his passion project Velocihamster, has been able to do just that by taking life’s lemons and creating heavy metal musical lemonade.

    Velocihamster’s Balls to the Wall is now available on digital formats via Born Free, Then Caged Music & full length vinyl LP shortly thereafter.

     Key Tracks: Fall, Bury, First Tube, Misirlou