English indie rockers Alt-J made their way to Madison Square Garden on Monday, April 11 as part of The Dream tour. The show is Alt-J’s first New York show in four years since the band’s performance at the 2018 Mountain Jam Festival at Hunter Mountain. These shows come in support of their fourth studio album The Dream, released back in February on Infectious Records.
Support across the tour is coming from Alaskan indie veterans Portugal. The Man and this second leg of the run also features Cherry Glazerr. Portugal. The Man have been at it since 2005 and are gearing up to release their ninth studio LP. The as-of-yet untitled album features the lead single, “What, Me Worry?” and is out this June. As they always do, Portugal. The Man opened the show by inviting members from indigenous people groups that represent the land they are playing on. After this intorduction, the band kicked off their set with a thrash metal medley of Metallica, Pantera, and Slayer before playing one of their own songs. PTM typically plays their live sets as giant medleys, showcasing a really cool moment when the played “Another Brick In The Wall (pt. 2)” into their classic hit “Purple Yellow Red and Blue.”
Portugal. The Man at MSG, 4/11/22. Photo by Buscar Photo
It has been a quiet 5-years since Alt-J put out their last album, 2017s Relaxer. The band came out of hiding late last year with the announcement of The Dream along with lead single “U&ME.” The song starts off with a wandering guitar and vocal melody, dreaming of summer nostalgia and hot dogs off the grill. The song picks up the pace halfway through and crescendos into a psychedelic summer ballad. On Monday night, Alt-J also played the highly experimental The Dream songs “Chicago” and “Philadelphia.” Alt-J’s stage set-up for this tour is quite remarkable. The three band members are on elevated platforms, surrounded by a semi-transparent screen that they project visuals onto, completely immersing the band into the visual presentation.
With only four LPs, the band played many songs from each of their releases but weaved them together in such a compelling way that they could have been playing a complete album in full. Alt-J have been incredibly consistent over the years, and created quite a unique sound in the oversaturated indie rock scene. As a trio from the start, Alt-J never try to make their music too dense with many layers. Instead, the three members allow the instruments they are playing to shine through as clear as possible while moving in and out of subtle movements within their songs. They are uniquely able to create the illusion of a five-piece band without adding too much at any given point.
The US leg of the tour is nearing the end, with three more shows in Boston, Montreal, and Toronto. The band then heads over to the UK for a run of shows in May and then a larger European run in Novemeber. Head over the the band’s website for more info and check out our full photo gallery of Alt-J at Madison Square Garden below.
On his website J. Schnitt, a singer songwriter from Utica, references a quote from an unnamed review that refers to him as “the Bob Dylan of Central New York”. An ambitious claim, a flattering compliment and, as of now, only half true.
Dylan’s greatness was his uncompromising ability to craft songs that made his Nobel Prize winning songwriting its focal point no matter what else surrounded it. In a 2016 profile Rolling Stone said, “what set Bob Dylan apart from everybody was how he wielded language.” Depending on who you ask he either never could or never cared about making the voice that wielded that language sound “good”. But with Dylan it didn’t matter how he sang rather what he sang about.
On his newest release, Winter Gospel, J. Schnitt, delivers complex, lyrics in the best tradition of folk singer-songwriters but he does it with someone else’s voice. The album’s weakest moments are when he masks his true voice and, in turn, his true self. To be like Dylan you have to give your full self over to the music, flaws included. Only then can your virtues shine.
J. Schnitt’s virtues are his nimble guitar playing which offer up a variety of melodies that, while still keeping the album firmly ensconced in the easy listening subgenre, avoid repetitiveness and thus boredom. From the dramatic strumming of “High Crimes” to the subdued melancholy of the legato chords in “The Art of Giving Up” J. Schnitt composes songs that match his undeniable songwriting talent. And when his actual singing doesn’t, he shouldn’t run from it. He should embrace it.
In the album’s standout track, “Skipping Stone”, J. Schnitt sings “I was your skipping stone/thrown across the water/and as I sank below you picked up and grabbed another”. An analogy striking for its originality and descriptiveness. The emotional desolation of being callously replaced by a former lover told through the simplicity of a childhood pastime. It’s a feat of songwriting that should be lauded for its unique depiction of lost love. But it’s a feat that’s dampened by the contrived falsetto J. Schnitt uses when he repeatedly strains the word “thrown” to affect the sentimentality expected from the dulcet tones of singer-songwriters performing acoustic love songs. In fact, the song’s best vocals are the appealing way he coaxes “water” and “another” into rhyming. The soothing naturalness of his voice as he does so leaves you wondering what a full album of J. Schnitt’s moving lyrics sung in his real voice would sound like.
It matters that the voice he uses is entirely his own because the songwriting deserves it. In an interview with 315 Music J. Schnitt said, “it was time for me to get back to writing something from a more personal space. To look inward.” It’s a promise J. Schnitt delivers on throughout Winter Gospel.
On the introspective and crooning “What You Can’t Let Go” he isn’t just insecure but concerned he might always be. “I’m still looking for a way to shake this feeling I’ll always be wrong,” he pleads with himself. And on the album’s closer, the story song, “Rabbit in the Road” he recounts the story of his parents’ enduring relationship. Still, he continues to use the facsimile of another singer’s pitch perfect, choir boy harmonies instead of his own voice. In a well written, evocative song about the frustrating nature of insecurity or an ode to parental love and affection it’s better to communicate through the rasps, yelps, bleats, and caws of your own imperfect voice than by simply trying to sound “good”. That’s the difference between being a great singer and a great vocalist, like Dylan was.
If folk music is the language of Americana and authenticity its currency, then you can’t say anything authentic if you’re faking an accent. The people came for J. Schnitt so give them J. Schnitt.
J. Schnitt’s ballad about folk and rock legend Bob Dylan and his decision to go electric in 1965.
On Monday April 11th 2022, The Trinity of Terror Tour made a stop in Buffalo at RiverWorks. This is a triple headlining tour featuring Ice Nine Kills, Black Veil Brides and Motionless in White. The Buffalo show was a sell out with 5,000 people singing along to every song. Buffalo RiverWorks is the city’s newest premier waterfront, boating, sports, music, dining and entertainment destination located along the banks of the Buffalo River.
Buffalo RiverWorks crowd- Photo credit- Mike Miller
There are three guarantees in life; death, taxes and waiting in long lines at a sell out concert. Many concert attendees did not head the advice of the venue to arrive early. Traffic was as expected and one of those meandering snake single file lines to enter the venue in the parking lot. Some fans waited over an hour to enter the concert in the rain. But once fans passed through security, they were greeting with a huge two floor, standing room only, 50,000 sq. ft space, filling up with music lovers alike. The stage had a large drum riser with 2 LED video screens. One in front of the drum riser and a larger one behind it that would play music videos in between sets. Along the edge of the stage were remote light bars that are blinding if you look at them directly.
Motionless in White
Motionless in White is an American heavy metal band from Scranton, Pennsylvania. Formed in 2005, the band has stated that their band name is derived from the Eighteen Visions song “Motionless and White”. Their set was nine songs in length featuring songs like, “Disguise” and “Another Life”. During “Cyberhex”, the song was stopped at the last chorus because of a fan injury. Security and medical professionals were able to attend to the fan and the show continued on. Their second last song was a Killers cover, “Somebody Told Me” where almost every fan was singing along to the lyrics, because who does not like The Killers? It was announced that the bassist Justin was not there because he was at home expecting a new born child in Rochester.
Motionless in White- Photo credit- Mike Miller
Band members: Chris “Motionless” Cerulli (lead vocals), Ryan Sitkowski (lead guitar), Ricky “Horror” Olson (rhythm guitar), Vinny Mauro (drums), and Justin Morrow (bass).
Setlist: Disquise, Reincarnate, Necessary Evil, Voices, Thoughts & Prayers, Cyberhex, Another Life, Sombody Told Me, and Eternally Yours.
Black Veil Brides
Black Veil Brides is an American rock band based in Hollywood, California formed in 2006. Their style has constantly been changing ever since the group was formed in 2006. They were originally described as metalcore when they were formed but now resemble glam metal/shock rock like Kiss or Motley Crue. Singer Andy Biersack was recently diagnosed with Covid-19 and had to drop from their current tour for a few shows. He was recently cleared and they have rejoined the tour.
Black Veil Brides- Photo credit- Mike Miller
Band members: Andy Biersack– lead vocals, keyboards; Jinxx– rhythm guitar, violin, backing vocals; Jake Pitts– lead guitar; Christian “CC” Coma – drums; Lonny Eagleton – bass, backing vocals
Setlist: Faithless, Coffin, Crimson Skies, Shadows Die, Wake Up, Scarlet Cross, Knives and Pens, The Legacy, Fallen Angels, and In the End.
Ice Nine Kills
Ice Nine Kills (sometimes stylized in all capital letters or abbreviated to INK, and formerly known as Ice Nine) is an American heavy metal band from Boston, Massachusetts who are signed to Fearless Records. Best known for its horror-inspired lyrics, Ice Nine Kills formed in its earliest incarnation in 2000 by high school friends Spencer Charnas and Jeremy Schwartz. Charnas is currently the only remaining founding member.
Ice Nine Kills- Photo Credit- Mike Miller
Throughout their set, they used props like axes, drills and chainsaws for imagery to remind fans of horror movies as each band member was a separate character. Some of their inspiration was from movies like American Psycho, Hostel, Psycho and The Evil Dead. Their 13 song set featured songs like: “Welcome to Horrorwood”, “Hip to be Scared” and “Wurst Vacation”. During their third song, a fan appeared to be injured and security signaled to pause the show again. Security was overhead saying that the fan just dropped their phone and were struggling to get back up. Shortly after this the show resumed.
Band members: Spencer Charnas – lead vocals; Ricky Armellino – backing vocals, rhythm guitar; Joseph Occhiuti – backing vocals, bass, keyboards; Dan Sugarman – backing vocals, lead guitar; Patrick Galante – drums.
Setlist: Opening Night, Welcome to Horrorwood, Wurst Vacation, Hip to be Scared, Stabbing in the Dark, Rainy Day, IT is the End, Communication of the Cursed, Take Your Pick, Ex-Martis, The Shower Scene, Funeral Derangements, and The American Nightmare.
This tour will be stopping in Huntington NY at The Paramount on Friday April 15th for another sold out show. Ice Nine Kills will be back in Buffalo opening for Metallica on August 11th at Highmark Stadium (Home of the Buffalo Bills!)
Motionless in White
photo credit- mike millerphoto credit- mike millerphoto credit- mike miller
Black Veil Bride
photo credit- Mike Millerphoto credit- Mike Millerphoto credit- Mike Miller
Brooklyn-based PEAK has released their second official live release in the band’s Hot Clips series. They’ll be in Manhattan this on Saturday, April 16, supporting Lespecial at Gramercy Theatre.
PEAK culled together Hot Clips 2 from some of their favorite jams from Summer and Fall 2021, including unreleased songs, songs from previous albums and a cover of Mac Demarco’s “Freaking out the Neighborhood.” The bookends to the album – “Path Paved with Roses” and groovy earworm “Starlight Child” – create a digestible sample of PEAK’s live experience, with a sound that harkens back to 90’s roots of the Northeast jam scene.
The PEAK quartet features songwriter and guitarist Jeremy Hilliard (Turbine), Kito Bovenshulte (Particle) on drums, Josh T. Carter (Haley Jane and The Primates) on bass, and Johnny Young on keys (Mick Taylor Band). The self-described pychedelic indie funk band can be found jamming extensively during live shows, and allow the songs on the album to speak for themselves.
The group released their sophomore studio album, Choppy Water, in October of last year, chocking the album full with groove-based psychedelic rock and plenty of funk, electro-pop, prog, and Americana. The deep, polished grooves from Carter and Bovenshulte complement Hilliard’s and Young’s solos, wailing with searing intensity. Check out their recent show at Brooklyn Bowl on November 30, 2021.
For more live PEAK, stream Hot Clips 2 below and check out their Youtube Channel and Bandcamp pages.
PEAK is currently in the midst of a their Spring Tour and will perform in Middletown, CT, and Stanhope, NJ this Thursday and Friday, then they’ll open up for Lespecial at Gramercy Theatre in Manhattan.
PEAK Tour Dates
4.14 La Boca, Middletown, CT 4.15 Stanhope House, NJ * 4.16 Gramercy Theatre, New York, NY # 4.23 Aeronaut Brewery, Boston, MA% 4.28 Park City Music Hall, Bridgeport, CT** 4.30 Main Pub, Manchester, CT 6.30 Camp Jam, Brunswick ME
On Friday, April 9th, all the old school rockers of Albany came back together at The Hollow in Albany for a once-in-a-lifetime reunion of two of the local’s favorite bands from back in the day – The Sharks and Johnny Rabb with his Jailhouse Rockers. This was the third installment of shows celebrating the 30th anniversary of local promoter and rock legend Greg Bell of Guthrie Bell Productions. This epic show at the Hollow proved that even after several decades in the business, Greg Bell still knows what the people want, and consistently gives it to them.
Johnny Rabb & The Jailhouse Rockers
First up was Johnny Rabb & The Jailhouse Rockers. Unlike most of the other bands we have seen recently, these guys didn’t take a little pandemic break — for some of them, it had been decades since they rocked out together. Their set was packed full of well-known and loved oldies ranging from the 50s to the 70s, and it was impossible to tell they hadn’t been on tour.
The Sharks
The Sharks reunited for the first time in 19 years as part of the celebration, bringing with them a following that sold out The Hollow and a captive audience. With an early R&B sound ranging across the 50s to early 80s, the band member (short one) had a party in Albany, thrilling with “Everybody Wants to Know” and two well tuned covers – “Baba O’Riley” by The Who and “Downtown” by Petula Clark.
Setlist: Too Late to go back, I’ll Follow you, Change Your Tune, Take What You Get, Please Say Yes, Pay Day Blues, Bien Vendido, She Never Feels the Same, Too Good for Words, Baby Don’t Know It, How Can I Give You, With Your Love, Moving to America, Baba O’Riley, Little Yeeti, Rehabilitation Blues, Everybody Wants to Know, Good Old Days, Arm in Arm, Down Town, I Won’t Be Happy
When does a band stop being up and coming? When they get signed, when they headline a tour, when they become famous. That’s certainly part of “making it” in the music industry. I would suggest though, that a band stops being up and coming when they understand themselves as artists. That to go from promise to realization happens when you know who you are creatively. CHRMR might still be up and coming in industry terms, but they’re fully established artistically.
CHRMR’s second full length album, Low in the Glow, is hardcore rock that understands where it comes from and where it would like to go. Up and coming artists often only understand one of the two. They’re either so eager to shatter conventions they misunderstand the fundamentals of their genre or they’re ideas are so indebted to their inspirations they fail to deliver originality. CHRMR uses both the dark, occult conventions of doom rock and their own original songwriting to create an LP that elevates the band from aspiring musicians to creative thinkers.
On the classic rock guitar led, Rites, CHRMR offers the tropes of devilry and mysticism associated with doom rock. “The priestess calls the demon/ and the shaman does the dance,” they sing about some dark ritual. It’s not real, though. It’s a fantasy, just some wish fulfilment for fans of the genre. Like rappers with money, or singer songwriters with breakups we rarely interrogate ourselves about why they’re present in our music or even care that they are, but we expect them, which means they have value. To run away from these ideas doesn’t “bust” the genre, it mischaracterizes it.
By incorporating staples of the genre into their album CHRMR allows itself to push up against them as their own voice shines through their songwriting. On the album’s closing track “Grain Ark”, a young boy comes to terms with the solitude of growing up, he’s referred to as a “golden foal”. A deeply poetic line that evokes something fragile but precious, a precocious foal who may become a towering stallion. Its tenderness would be out of place were it not so confidently woven into the rapid guitar riffs and cacophonous energy of the drums on Grain Ark.
Throughout Low in the Glow CHRMR’s artistic intention keep the album cohesive, propelling the listener from one track to the next. It establishes the band as artistically mature because they don’t ask themselves if a certain lyric, or down tempo rhythm might work, they know it will. And when people use the cliché “find your sound” that’s what they mean.
The Swyer Theatre at The Egg played host to a sold out afternoon performance on Sunday, April 10 by Triveni, featuring three of the greatest musicians in Indian classical music – Zakir Hussain, Kala Ramnath, and Dr. Jayanthi Kumaresh. The three musicians have been honored in India and abroad with numerous awards, and have collaborated for Triveni’s initial tour in North America.
The mixed crowd drew from the large South Asian population in the Capital Region, all captivated by the sonic experience the trio had to offer this afternoon.
All three performers walked out shortly after 3pm, taking their seats behind their respective instruments. Hussain wished the crowd a happy Palm Sunday, and said that they were all very glad to finally be performing, which was greeted by loud applause from the audience. Ramnath and Kumaresh – wearing traditional saris – flanked Hussain on each side, with Ramnath playing violin to Hussain’s right and Kumaresh the Saraswati Veena.
Hussain noted they would treat the performance as a train on a journey, stopping at different stations. Noting the North Indian raga tradition background of Ramnath, and the South Indian veena of Kumaresh, Hussain served as the bridge for the two to meet, culminating in hypnotic interplay between all three and, at times, duets between them.
The combination of sounds from each of the stringed instruments joined with the tabla made for a consistent musical conversation, one with no breaks in between, just a constant flow from song to song. With the group’s name of Triveni derived from the mythical site of the union of three sacred rivers in India, the name was on point as a perfect one for this concert of musicians.
In one segment, after 20 minutes of continuous interplay between Ramnath and Kumaresh, Zakir joined in after quietly observed the pair. As the collaboration progressed, Hussain used the rapid drumming of his fingers on the tabla to drive the tempo of the “train” quickly uphill. After taking a lengthy solo, Hussain was joined by once again by Ramnath and Kumaresh, bringing the performance to a ferocious close.
After a slightly more than 90-minute set, the trio went out in front of their instruments to bow in appreciation to the audience. At this time, Hussain stepped back, allowing the women to soak in the appreciation from the Swyer Theatre audience.
Triveni Tour Dates
4/12/2022 Pittsburgh Cultural Arts Pittsburgh, PA 4/14/2022 Sixth&i Washington, DC 4/17/2022 Global Arts Live Somerville, MA 4/19/2022 Davidson Theatre Columbus, OH 4/20/2022 Cleveland Museum of Art Cleveland, OH 4/23/2022 Indian Classical Music Circle Austin, TX 4/24/2022 Wortham Center Houston TX
Touring in support of their debut studio album It Won’t Always Be Like This, released on July 9, 2021 (Polydor), the Irish sensation known as Inhaler performed the second of back-to-back shows in New York City on Monday, April 4.
True to their word as they neared the end of a 20-date North American tour that kicked off one month ago in Atlanta, the quartet of young lads were making up a date that was originally scheduled for March 10, but postponed due to a positive test for COVID-19 among the touring party.
Eli Hewson (Photo: Michael Dinger)
Inhaler’s rapidly growing legion of fans, many of which are comprised of a young female demographic, lined the sidewalks of two city blocks in the Union Square neighborhood of Manhattan, all waiting for tonight’s venue to open its doors to them. Irving Plaza, more than a century and half old, was inhabited as a Polish-American community center in the late-1940s, prior to a conversion into a ballroom-style music hall in 1978. Having hosted legendary performers during its storied history, such as The Clash, Paul McCartney, The Ramones and Bob Dylan, the venue underwent an eight-month long, multi-million dollar renovation in 2019.
Irving Plaza marquee (Photo: Michael Dinger)
Upon entering the iconic venue, general admission fans blew right through the contemporary, revamped lobby and flew up the stairs to the second level stage, hoping to find themselves as close to the night’s performers as possible. Talking with dedicated fan Arianna Russell moments before Inhaler appeared on stage later in the night, I learned that she arrived to queue outside Irving Plaza more than 12 hours earlier! For her to be in the front row, leaning on the stage rail barricade, it was more than worth the effort.
Fans queue (Photo: Michael Dinger)
Having also opened for Inhaler the night before at Warsaw in Brooklyn, the up-and-coming indie-pop rockers known as Rebounder took to the stage at approximately 8:25 pm. These New Your City natives are led by the alluring Dylan Chenfield (singer-songwriter-guitarist), a self-proclaimed huge fan of Bruce Springsteen, who is already known for the nostalgic lyrics about the city that inspires him. The trio is rounded out with Dylan’s younger brother Noah (bass) and Cobey Arner (drums). The fourth offering from their seven song set included their newest single “Premium Fantasy,” a dreamy tune complete with a catchy hook combination of melody and lyrics.
Rebounder (Photo: Michael Dinger)
Noah Chenfield (Photo: Michael Dinger)
As their name suggests, Dylan is also a basketball fan, particularly that of Patrick Ewing and the New York Knicks. A deeper meaning to their moniker, however, can be attributed to their DIY mentality and strive for success, bouncing higher with each new challenge.
Cobey Arner (Photo: Michael Dinger)
Nearing the end of their time onstage, Rebounder executed a shining example of 1970s electronic energy with their synth-dominant track “Swim Zone.” After graciously thanking the audience for their support and Inhaler for inviting them to perform, Rebounder exited house right.
Dylan Chenfield (Photo: Michael Dinger)
For those unfamiliar, Inhaler formed in 2012 at St. Andrews College in Dublin and are Elijah (Eli) Hewson (lead vocals, guitar), Robert Keating (bass), Josh Jenkinson (guitar) and Ryan McMahon (drums). Also joining them for live performances is Louis Lambert (keyboards/synthesizer).
Inhaler (Photo: Michael Dinger)
As a 50-year old Gen Xer, I admittedly discovered Inhaler through my passion of Eli’s father, Paul Hewson (a.k.a. Bono of U2), the legendary frontman himself. Notwithstanding, their infectious songs have completely won me over, dating back to their first single, “I Want You,” which the group self-released in 2017. With their debut album having topped the UK chart in its first week of release, this fast-rising band is “must see” entertainment.
Fans in the front row (Photo: Michael Dinger)
Immediately following two back-to-back shows in Los Angeles, and showing no signs of jet lag, Inhaler appeared on the Irving Plaza stage accompanied by flashing strobe lights that beamed throughout the intimate setting. While surveying the 1,200 souls in attendance, including VIP guests in the mezzanine that included Bono, Christy Turlington, Ed Burns and Helena Christiansen, I heard a fan say to her friend, “If I stop breathing, [just] slap me on the back.” Opening their 12-song set with the title track “It Won’t Always Be Like This,” Eli was dressed in a white t-shirt and head-to-toe in denim. The first words out of his mouth, which he addressed to the fervent audience who jam-packed the entire floor area like sardines in a tin, were, “A Monday night never felt so good, thank you for coming to see us.”
Crowd waiting for Inhaler to take the stage (Photo: Michael Dinger)
Ryan McMahon (Photo: Michael Dinger)
Equipped with a Fender Stratocaster that was complete with an Elvis Presley guitar strap, for the next hour, Eli and his bandmates would tear through fan favorites such as “We Have To Move On,” “Ice Cream Sundae,” “When It Breaks” and “Cheer Up Baby.”
Robert Keating (Photo: Michael Dinger)
Well on their way to becoming refined songsmiths, Inhaler songs are defined with a dizzying array of sonic textures, complete with a melodic chorus that grabs your immediate attention upon first listen. Their dynamic, intricate instrumentation is anchored by Jenkinson’s soaring guitar riffs, Keating’s rhythmic, thumping bass lines and McMahon’s dynamic drumming style reminiscent of Stewart Copeland, The Police drummer he has noted as one of his inspirations. The closing number, “My Honest Face,” is a coming-of-age song that Eli wrote about losing himself, and then finding himself again, figuring out the type of performer that he wanted to be onstage, in front of a live audience.
Josh Jenkinson (Photo: Michael Dinger)
Inhaler’s It Won’t Always Be Like This North American tour wrapped in Toronto, Canada on April 6th. The band’s next plans for world domination in 2022 include 60 plus shows spanning the globe that will take them to Germany, Italy, France, Spain, Scandinavia, The Balkans, United Kingdom, and of course, The Emerald Isle. Several stops along the way will also include major festival dates, such as PinkPop (June 19), Glastonbury (June 22), Rock Werchter (July 1) and Lollapalooza (July 28). Additional details can be found on their website here: https://www.inhaler.band/
Eli Hewson (Photo: Michael Dinger)
Rebounder Setlist: Change Shapes > Slow Angel > The Library > Premium Fantasy > Lovers > Swim Zone > Night Sports
Inhaler Setlist: It Won’t Always Be Like This > We Have to Move On > Slide Out the Window > Ice Cream Sundae > When It Breaks > A Night on the Floor > Who’s Your Money On? (Plastic House) > My King Will Be Kind > Totally > In My Sleep > Cheer Up Baby > My Honest Face
Warden and Co. have released their sophomore album Somewher,e following their 2019 debut Songs for Everyone. The 11 track album covers a range of emotions while helping to develop the band’s Americana identity.
Formed in Saratoga Springs in 2011, Warden and Co. have worked their way into the New York State music scene, with genuine folk influences and steady instrumentals. After starting out as children’s and family artists, frontman Seth Warden, violinist Doug Moody, and drummer Brian Melick changed trajectory to focus on a more mature genre.
This album covers a broad spectrum of human emotions and experiences: love, uncertainty, frustration, desire, fear, and compassion.
Seth Warden
‘Somewhere’ features a sweet duet with Warden’s teenage daughter, Lovella. The father-daughter harmonies go well with the slower paced instrumentals and give listeners a warm, sentimental feeling inside. It’s a comforting reminder that our parents will always be with us, no matter where we travel.
‘PSA’ is a faster paced track that keeps your attention all the way through. The fun cautionary tale warns of a beautiful, but mysterious woman that will have her fun with you and disappear. Moody’s excellent orchestral skills come through toward the end of the song as Melick’s drums provide a much needed foundation.
‘You’ve Got a Way With Love’ closes the album with a more brash sound and it’s easy to hear how the band has grown over the course of the album. Each member’s talents shine in the almost four minute track.
Somewhere is now available on all streaming platforms.
Key tracks : Somewhere, PSA, You’ve Got a Way With Love
Long Island native Jason Flashner has returned with a double album release. Released on the same day, Rocks and Roots work together to provide listeners with a complete musical experience. Rocks was made with a full band and Roots was made as its acoustic partner.
Both albums feature an 11-song tracklist, with optimistic lyrics dreaming of a better future and human resilience. This double release follows his 2014 album, Indie Tale, which displayed Flashner’s budding musical prowess. Rocks and Roots allowed him to gain a deeper knowledge of his recording equipment, while also giving him the opportunity to record all the parts for his album independently.
During quarantine, Flashner chose to immerse himself in the recording process, in an effort to learn more about the equipment and instruments in his studio. After conducting research to see how he could improve his environment, he came to realize that he had more than enough material for an album and chose to express his new found knowledge through these recent projects.
“Alive Awake!” draws listeners in with its upbeat, friendly instrumental. The lyrics contain such an earnest appreciation for life that you can’t help, but to think of all the positives in your own life. This catchy album opener is sure to put you in a good mood.
“Timing”’s relatable message reminds listeners that it’s okay if things don’t go right the first time. There will always be another chance, another opportunity, another day. The strong instrumental and faster pace injects listeners with the added strength they need to get through the day, before closing with a snappy finish.
“Better Day” showcases Flashner’s optimism for the future. This modern anthem for peace serves as the closer for both albums and encourages listeners to leave behind their greedy tendencies. Slower paced instrumentals really allow the message to sink in.
