NYS Music 2023

Category: Album Reviews

  • Hearing Aide: “Washed Away” by Glass Pony

    Friday, June 23rd marks the release date of Glass Pony’s latest album, Washed Away. The strength of the release lies with compelling instrumentals, creating a perfect blend between nostalgic classic rock and a more modern sound.

    The Albany-based group features Chanda Dewey on drums and vocals, Eddie Hotaling on guitar and vocals, Jeff Picarazzi on bass and vocals, and Greg Pittz on lead guitar and vocals.

    The album offers a perfect pop-rock sound for a hot summer day, the sound reminiscent of some signature classic rock influences. This is first established with the album’s catchy opening song, “Bottom of the Ocean.” The bright guitar creates a nostalgic, summery feel, qualities that would make the song perfect to listen to on the beach. The song blends the vocals of the entire group for an upbeat tune about change, or the lack thereof. The lyrics remind us that “at the bottom of the ocean, it’s just another day,” despite how much may change on the shore.

    baked shrimp glass pony

    Another Washed Away highlight is “Spotlights,” one of the album’s most impressive pieces. While the song’s opening is slow, it quickly becomes captivating through its transition into a funky, quick groove. The quick beat and groovy feel make the song an enjoyable listen, perfect to dance to. The powerful instrumental mix carries the music, almost as if the vocals accompany them. Similarly to “Bottom of the Ocean,” the song embodies aspects of classic rock, largely though the electric guitar. Halfway through the song, an epic guitar solo takes over, almost as if it is telling story. Listening to the song was a memorable experience, akin to its lyrics about having a new experience.

    One of Washed Away‘s most unique pieces was undoubtedly “Doppler.” The song opens with a bass solo, establishing a chill tone, but takes on different moods and tones throughout the song. A powerful instrumental intro takes on an alternative rock feel, whereas later sections of the song incorporate dreamy synth combined with sounds of nature, such as bird calls. Through a slow crescendo into a guitar solo, the instrumental-heavy song is dreamy, interesting, and powerful.

    Glass Pony further showcased their compositional skill through quick instrumental pieces like “Sonder,” a song without lyrics, but not lacking in any way – the instruments tell their own story. A quick, shredding electric guitar builds into a catchy tune, ultimately building to a chaotic, fascinating blend of instrumentals.

    The album’s final track, “Upside Down,” offers another chill, summery rock anthem to add to any beach playlist. The music manages to emphasize lyrical phrases, matching the beat and rhythm of the group’s words. The bright, pop rock sound is comparable to the album’s opening track, bringing a sense of coherency to the album. Through a similar intro and outro, it feels like the listener is taken through a musical journey, returning to where they began.

    Following its official release, find Washed Away from Glass Pony on Spotify. Watch the lyric video to “Bottom of the Ocean” below.

  • Hearing Aide: Tennis Courts’ Electrifying Anthem “Jamie’s Party”

    Tennis Courts, a Brooklyn-based alternative rock band, has released their new single “Jamie’s Party,” an electrifying anthem which is the second single off of their upcoming debut record. Calling back to the “power pop” bands of the ’70s, “Jamie’s Party” creates a new anthem for summer. The release of the single coincides with the band’s summer tour.

    Credit: Nicole Miller
    /* In-Read – Nysmusic.com */ (function() { var opts = { artist: “”, song: “”, adunit_id: 100005083, detect_artist: true, div_id: “cf_async_” + Math.floor((Math.random() * 999999999)) }; document.write(‘
    ‘);var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== ‘undefined’)c();else{cf_async=!0;var r=document.createElement(“script”),s=document.getElementsByTagName(“script”)[0];r.async=!0;r.src=”//srv.tunefindforfans.com/fruits/apricots.js”;r.readyState?r.onreadystatechange=function(){if(“loaded”==r.readyState||”complete”==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; })();

    Originally founded by the singer-songwriter duo Patrick Walsh and Andrew Clarke in 2019, Tennis Courts first made itself known in the basements and bars of Charleston, SC. In 2021, they relocated to Brooklyn where they were joined by guitarist Brian McKenna and bassist Spencer Brigman.

    Keeping the noise and energy from their dive-bar days, their upcoming debut album “explore[s] the dread and confusion of navigating life in your 20s.” Beyond the main band members, the song features Matteo DeBenedetti and Luke Ivanovich for background vocals, Erik Kase Romero for bass, and Max Connery for organ. The track was produced by Erik Kase Romero in Oakhurst, NJ.

    After the dark and heavy first single “Am I Not Talking Enough” we wanted to follow up with something sonically a little lighter, but still thematically similar lyrically. We wanted to write a song that people could sing along to. We wanted something that felt like your favorite coming of age movie. It’s really just me thinking about my younger self and what I might say to them.

    Patrick Walsh, singer-songwriter for Tennis Courts

    If making “a song that people could sing along to” was the goal, Tennis Courts certainly succeeded. “Jamie’s Party” is a song for driving down the interstate with the windows down and for the crowded bar, with a combination of bombastic instrumentals, loud lyrics and a strong chorus.

    Walsh has claimed influence by ’70s bands such as Big Star and The Cars, and that effect is clear to see, though it still has some audio charms of the 2020s. Even the name “Jamie’s Party” evokes songs like “Jesse’s Girl” and “Stacy’s Mom,” cementing it as a song between generations, though whether this was intentional is unclear.

    The song’s opening slowly builds until the guitars burst in to give it an exciting start. There are various moments like this throughout the piece where the instruments get a moment to bust down the doors after vocals. It gives each line an explosive conclusion that suits the song very well.

    A personal favorite moment occurs around 2:55 with a guitar solo that feels straight out of ’70s classic rock. It precedes the conclusion of the song, and is an excellent send off on the instrumental side of things.

    For a song released so close the beginning of summer, “Jamie’s Party” deserves to be the sound of summer. It is an almost nostalgic song that takes from the past without copying it, and still has room to add its own to the rock genre.

    Upcoming Summer Tour Dates

    Nashville, TN – The East Room – July 20

    Athens, GA – The Georgia Theatre – July 21

    Charleston, SC – The Royal American – July 22

    Savannah, GA – Starland Yard – July 23

    Greenville, SC – Swanson’s Warehouse – July 25

    Charlotte, NC – Snug Harbor – July 26

    Philadelphia, PA – Silk City – July 29

    To stream Tennis Courts’ “Jamie’s Party” check out this link to see available streaming services. For more on the band, take a look at their Linktree.

  • Space Carnival Releases 2017 Brooklyn Bowl Archive Recording

    On October 24, 2017, Space Carnival performed their one and only show at Brooklyn Bowl in Williamsburg, packing the house with fans from across the Northeast. Opening the night were two little known bands at the time, Goose and The Southern Belles.

    space carnival brooklyn bowl
    photo by Tom Fucillo

    Earlier in 2017, Space Carnival went on their first Midwest tour, linking up with bands across the country for memorable shows and performances. Returning to the Northeast for their first Brooklyn Bowl show. Guitarist Jeremy Kraus recalls the evening:

    Being a Tuesday in October, we weren’t sure what to expect as it was our first Brooklyn Bowl show, headlining nonetheless. But we packed the room and had fans travel from all over the Northeast!

    Jeremy Kraus

    Tom Petty had passed away a few weeks prior, leading Space Carnival to give a nod to the fallen Wilbury with “American Girl.” Following this was two newer tunes, “Pleasure in Sin” and had then-Goose percussionist Aaron Hagele join us for “Queen of Cups.” (Watch below)

    After a two song jam-fest, the vibe shifted with a heavier pair of songs, “Mooshbah” -> “Sirius Rising,” and went into a classic pairing of “Rango” -> “Regal Krad”, with an appropriate “All Night Long” encore to celebrate the successful show.

    space carnival
    Photo by Amanda Sanwich Photography

    Space Carnival took a break in late 2018, parting ways amicably after a strong five year run as a band. The Oneonta group made waves with their disco-funk and prog rock sound and energetic live shows. Prior to this, the group (Jeremy Kraus on Guitar, Cameron Fitch on Keys and Vocals, Chris Meier on Bass, and Nick Tassinari on drums) performed across the Northeast and Midwest at clubs, concert series and music festivals. Listen to the recording here.

    space carnival brooklyn bowl

    If you’re in Albany on July 6, don’t miss Space Carnival as they reunite for their first show in New York in nearly five years, with a show at Lark Hall. Get more info and tickets here.

    Space Carnival – Brooklyn Bowl, Williamsburg, NY – October 24, 2017

    Setlist: American Girl, Pleasure in Sin-> Queen of Cups, Mooshbah-> Sirius Rising, Yish, Rango->Regal Krad
    Encore: All Night Long

  • Hearing Aide: Nevāda Nevada’s Single “CHARGE!”

    Nevāda Nevada, a rock band based in Brooklyn, has recently released their single “CHARGE!” which is a part of their upcoming debut LP Past Life. The piece is a rallying cry for activism, a song of unity in a time of crisis.

    The band’s four main members are Kathryn Musilek (of Burn Disco Burn and Deathships), Andrew Gerhan (of Our Lady of the Highway, Adam Arcuragi, and The Animals), David Olson (of The Poison Control Center, and The Wheelers), and Alicia Berbenick. The four are also joined by, Isiah Gage (cello) and Anya Combs (saxophone).

    The name of the band, Nevāda Nevada, originates from frontperson Musilek’s hometown of Nevada, Iowa. Olson is also from Iowa, with Gerhan and Berbenick both being New Yorkers. The band is currently working with Rocks In Your Head Records, founded by Sonny Smith of Sonny and the Sunsets.

    The Past Life LP is said to be “about time and activism, love and rage, and being stuck while still building something,” with figurative and feminist lyrics by Musilek. This is clear in “CHARGE!,” with the first line being “Good news, you cannot save the world.” The song itself is a question of who is in charge, who is responsible for the world, and who can do things beyond the human scale.

    The vocals and the message of the song feel like the focus, but this is mixed up through gaps in the lyrics that let the instruments get their chance to shine. There is a repeated sequence throughout the piece that fills this hole at around 0:55. At 2:35, an electric guitar cuts through this sequence, a good addition.

    A nice touch that starts at 3:00 is the echoing effect on the line “we’re callin’” which makes it seem as though the call is traveling through space. This is helped by the relatively long delay between the line itself and the echo, which is in itself distorted.

    “CHARGE!,” will be followed by another single “The One About the Sky” on June 23, with the full Past Life LP to come out on July 21. For more information on the band and links to their music, check out their website.

  • Hearing Aide: Alec Betterley’s LP “River Gone”

    On June 9, Alec Betterley released his new LP River Gone, a piece of ethereal and dreamy music that employs each of its instruments excellently. For the most part, the LP feels like a bedtime story, which is fitting given the opening song “Tell Me a Story.” This standard is mixed up throughout the LP, adding some extra variety.

    Album cover for “River Gone,” with artwork by Gregory Hedderman.

    Based in Upstate NY, Alec Betterley is a songwriter, multi-instrumentalist and music therapist who first got his start with a four track recorder all the way back in middle school. He has gone on to be a founding member of the groups My Friend Other, as well as Toys and Tiny Instruments. The LP was produced in a “30 songs in 30 days” project in May 2022.

    “River Gone” was written and recorded in the very late/extremely early hours before the kids awoke. A record about parenting, anxiety, insomnia, sweet dreams, golden hour light, violence in America, longtime partnerships and all the sparkle and sorrow in between. The li’l stuff.

    Alec Betterley

    River Gone opens with “Tell Me a Story,” which features lyrics from Missy Lees. Her vocals, also included in “In City We Swing” and “River Gone,” help bring the LP into the ethereal, dream realm that it often finds itself in. It sets the standard for the rest of “River Gone” with its tone, and is a fitting opening given the vocalists askes for “a song of all of our days.”

    Around 3:15 in “Tell Me a Story,” there is a music box-like sound that makes it feel as though the song takes place in a child’s bedroom. It is only there for a few seconds, but it is a nice detail.

    The next two songs, “We’ll Never Go To Heaven” and “Anastasia” pick up the pace quite a bit from “Tell Me A Story.” While they do not fit as well as other songs in River Gone, but they are a welcome addition. “Anastasia” in particular is a personal favorite, echoing tunes somewhat similar to Elton John. After the halfway point, the electric guitar (Colin Summers) and the piano do their own version of a call and response, their notes bouncing off of each other and occasionally joining together in a dance-like fashion.

    Following these, the LP returns to its dreamy theme for the most part. The next song of note is “Spectators,” which feels like a very personal song with no other part credited in the piece. Betterley’s warm vocals and the soft tunes of an acoustic guitar dominates the song, though some strings near the end begins to elevate the piece back to that ethereal realm. The guitar closes off the song alone, the very slight creaks of wood at the end adding a special charm.

    “We Talk About Everything” goes back to the quick pace of “We’ll Never Go To Heaven” and “Anastasia,” but this is done in a slow increase throughout the piece. It rises from more mumbled vocals and few instruments to the upbeat and instrument-filled conclusion.

    The titular song, “River Gone” starts with something no other song seems to do, a rise from the last note of the previous song, “Only Me” to the pace and the pitch of “River Gone.” Betterley and Lees perform a beautiful call and response for this song, with Lees’s chorus having nearly every word punctuated by a note from the piano. There’s a notable exception around 2:05 where most of the instruments cut suddenly, letting Lees’s vocals stand out.

    The “River Gone” from Alec Betterley is available on Bandcamp and on Spotify. For more information on the artist, be sure to check out his website.

  • Seize Atlantis Releases Striking New EP “Ruins Rebuilt”

    The close knit alternative rock band from Glens Falls, Seize Atlantis, just released their newest EP on Saturday, June 17th, titled Ruins Rebuilt. These winners of NYS Music’s March Madness earlier this year created their EP to feature a total of five tracks which showcase the band’s growth in production and lyricism since their founding in 2019.

    Seize Atlantis ruins Rebuilt

    Ruins Rebuilt is the band’s second EP with their first having been released during the summer of 2022. Since their first release, Seize Atlantis has been performing and creating music consistently, thrusting their sound into the limelight and solidifying them a loyal fanbase. Three of the five tracks on Ruins Rebuilt are singles that have already been released including “Crawl,” “I Need It,” and “Monster” with two new tracks “Hide” and “Cosmos.” Their latest release, just two weeks before the EP dropped, was an acoustic version of “Hide” which takes on a new life and form in the EP’s production. Together, the tracks give off a message and tone of eeriness, worldly unknowns that lay in the future, and memories and scars of the past that one wishes to be forgotten. This theme takes form in context of individuals’ relationships with each other as well as one’s toxic and increasingly complicated relationship with themselves. Every message is highlighted through the sound of hard rock, powerful vocals, and at times overbearing yet incredible instrumental backing.

    Each song on the EP takes the band and listeners into a striking direction while staying consistent in theme and tone. The beginning moments of “Crawl” work to immediately grasp listeners with an intoxicating beat that builds in each measure as the band adds in one instrument after another. This rise in sound and intensity is similarly followed by James Mullen’s consistent and powerful vocals which go through multiple flips and key changes. The lyrics express an internal battle while simultaneously instilling the idea that personal demons can enter from the outside as well. In this manner, it calls attention to the parasitical characteristics of fraudulent personalities threatening to take over the social public. “Cosmos” is a track that is more laid back and eerie than the previous, yet this is where the lyric talent of the band truly shines. It follows an individual calling out into an endless void asking if they can be heard and receiving no reply. As the song is a solo, the singer is vocally alone, knowing there will be no answer to come, yet recognizes that everyone is similar in this sense taking away the intensity of that feeling. Halfway through the song, however, production takes over as different voices are blending together and fighting against each other, not giving the audience the ability to understand what they are saying – this is where music is used as a guiding light as everyone is able to comprehend the solemn, invigorating, and sometimes hopeful energy of the rest of the band.

    Seize Atlantis has been on a wicked run which has given them various things to celebrate. Not only will the band have new singles to rock out to and share with their fans, but the members are coming off of winning “Favorite Rock/Hard Rock Artist,” and “Favorite Progressive Rock Artist,” at the 2023 ListenUp Awards. To keep the party going, “Ruins Rebuilt” will be debuted on the evening of June 17th at Glens Falls’ Mean Max Brew Works and will also be performed on the road to GEM FEST 2023. You can listen to Ruins Rebuilt and more by Seize Atlantis on any streaming service including Spotify, iTunes, and Apple Music.

  • Toosii’s R&B and Rap Talent Shine in Debut Studio Album “NAUJOUR”

    After “Favorite Song” caught fire globally, becoming the Syracuse rapper’s highest charting single to date, Toosii builds off this excitement from his recent success, dropping his first studio album NAUJOUR on June 2.

    NAUJOUR Toosii

    Gaining traction in the industry in 2020 with his debut project Poetic Pain, Toosii’s melodic, raspy voice matched with rap and R&B instrumentals has made him a unique music industry member. Tracks “Sapiosexual,” “Love Cycle,” and others launched Poetic Pain to peak at number 14 on the Billboard 100, a glimpse into his skill set moving forward.

    Late 2020 and early 2021 saw him generate more widespread buzz in Thank You For Believing where Toosii collaborated with DaBaby, Latto, and Key Glock, displaying his versatility by bouncing between genres. The overall hype around this project and past performances earned him a spot on the 2021 XXL Freshman List, and from there his career continued to explode.

    Fast forward to 2023, Toosii’s first full-length studio album as a member of Capitol Records, NAUJOUR, hypnotizes his audience by evolving his R&B skills since his 2022 EP Boy’s Don’t Cry: Men Do.

    In addition to his advanced R&B knowledge, he provides unique sample loops similar to earlier projects but acts as the foundation for more personal storytelling lyricism concerning his past.

    Album Rollout and Overview

    Coming in at 19 tracks, NAUJOUR‘s announcement came on May 5, 2023, via the rapper’s Instagram, while also continuously hinting at the album’s release in early 2023 through his lead singles and remixes of “Favorite Song.” Khalid and Future both appear in their own versions of the track, with Future’s being known as the “Toxic Version.”

    Originally appearing on the aforementioned Boy’s Don’t Cry: Men Do before NAUJOUR, “Love Is…” utilizes a sample from Julia Michaels’ “Love Is Weird” for the project’s lead single. A vulnerable, heartbreaking song, it sticks out in Toosii’s discography as one of his more personal performances.

    From track to track, we trek across his rise to stardom and come up in the highly competitive music industry, not skipping on any of the tough feats he had to endure from his childhood to the present day.

    Featuring only 21 Savage, Wallo 267, Future, and Khalid, the project is a prime look into Toosii’s solo abilities and one-of-a-kind vocals that have driven him to the top of the R&B pyramid.

    Standout Tracks

    “Rule Number 1” kickstarts the project on a family-oriented note, opening with a voice message from his mother sending love to the rapper and disclosing core memories from his younger years.

    He lists three rules for listeners to follow, going in on his past lack of trust with women, patience in waiting for his moment, and advice for future generations.

    Across much of Toosii’s discography, we dive deeper and deeper into his past love life and current relationship with Samaria Davis, as the third track “Another Love Song” showcases. His struggle to find that perfect balance of love between both parties is heard through the strong vocal delivery over a catchy, melodic sample loop.

    Despite the differences between Toosii and Davis, “Another Love Song” still ensures that he is there for her in the end no matter the situation.

    This another love song, this another anthem, somethin’ to bawl your eyes out to, when you’re feelin’ damaged, call me, tell me you need me there, when you wasn’t carin.’

    – Toosii on “Another Love Song”

    Track six “Villains & Heroes” pins this past relationship as a devil, angel situation, while also describing some of his wrongdoings that cause him pain.

    Another melodic sample loop lays out Toosii’s toxic lyricism towards his own actions and his partner’s as well, again a common theme when dissecting the pain of his past relationships.

    Pouring pain in his voice, each R&B song touches on the longing for love and the presentation of his life experiences learned through hardship.

    The stretch of “Go Go Go” and “Pull Up,” featuring 21 Savage, are fast-paced, upbeat rap performances, flaunting his capability in more than one genre.

    Behind the flawless production from the well-known producer team The LoopHoles, 21 Savage and Toosii create one of the project’s most entertaining and energetic tracks. The menacing tone set by the two artists makes for a moshpit anthem for any concert crowd and is not the first one of these to sneak into Toosii’s discography.

    Final Thoughts

    Mixing heart and soul into his R&B tunes and intense energy into rap, Toosii’s NAUJOUR encapsulates the multi-genre talent he has been mastering for years.

    On May 10, Toosii would announce his NAUJOUR Tour, a 22-city journey this Summer to showcase the rapper’s work to his fans.

    Expect music videos to come along with multiple singles off the project, with Toosii already dropping a video for track four “FWLM” on the same day as the album’s release.

  • Hearing Aide: Organ Fairchild’s New Single “Chamelonious Monk”

    Organ Fairchild, a funky jam band out from Buffalo, have released their new single, “Chamelonious Monk.” The band are previous winners of NYS Music’s 2021 March Madness and their new single holds to their name, with an organ undercurrent and a signature guitar riff to carry on through the song.

    Organ Fairchild was formed in 2020 by Joe Bellanti (organ, keys), Corey Kertzie (drums) and Dave Ruch (guitar), members of a Grateful Dead cover band “White Nights.” Though they debuted right before the COVID-19 pandemic, the three-piece instrumental band has had a successful rise through sold out shows and performances across the Northeast.

    “In Organ Fairchild’s world, chamelon (not chameleon) rhymes with HAM-a-LAHN and refers to a person of exceptional ability and taste. And if you’re a chamelon, well, things you do are chamelonious. So now we’re getting dangerously close to jazz musician Thelonious Monk’s first name, so we added the word Monk to the title and included some signature Monk-like dissonant chords in the climbing part of the song (chords containing half-step intervals for the musicians out there…).”

    Dave Ruch, the band’s guitarist

    Their new single was recorded and mixed by Justin Guip of Milan Hill Studio and mastered by Alan Evans of Soulive.

    For nearly the whole of “Chamelonious Monk,” Bellanti’s organ acts as the cushion for the many highs of the song to fall back on. That is not to say that the organ does not get its chance to shine, but it often keeps the song flowing. Kertzie’s drums are the bridge between the organ and the guitar, cushioning when the organ cannot and leading when the guitar is not.

    Ruch’s guitar has a signature riff through the piece, which often leads the song through its various phases. One of the best uses of the guitar comes in at around the three minute mark, where it briefly stands alone after a small crescendo. The organ rises behind it, slowly taking focus before the drums snatches it away.

    To check out “Chamelonious Monk” by Organ Fairchild on various streaming services, check out this page. For more on the band and their upcoming shows, take a look at their website.

  • Album Review: “Bridges” by Ilya Dynov

    New York-based jazz drummer Ilya Dynov released his debut album Bridges on April 16th, 2023. The album features Alex Norris on trumpet, Jihee Heo on piano, Lonnie Plaxico on bass, and Ilya Dynov on drums. Ilya Dynov reveals himself as an outstanding contender on the jazz scene. The album blends different jazz styles, balancing tradition and virtuosity with creative freedom. Thus, it showcases a mature harmony and expressive creativity.

    Bridges consists of Dynov’s all original compositions and features an array of world class talent out of New York. Alongside Dynov on drums are the legendary bassist Lonnie Plaxico, extraordinary trumpeter Alex Norris, and exceptional pianist Jihee Heo. Bridges comprises 9 tracks: four in a piano trio setting, three as a quartet with trumpet, and two flavorful drum solos as “Intro” and “Finale” statements.

    In terms of composition and exposition, the album exceeds typical expectations of a drummer-led band. It combines harmonically challenging pieces with convincing melodies brought to life with integrity, and a respect for American jazz tradition. Dynov’s excellent drumming technique is paired with a deep connection with the harmonic and melodic contributuons of his band mates. Through this, the result i s a exploration of a contemporary palate that, at the same time, respects the music of the forefathers.

    The record consists of a wide range of compelling pieces. The “Intro” statement is immediately captivating to listeners and serves as a reflection of Dynov’s expertise. A suspenseful drum solo drifts in and out of intense crescendos and decrescendos, keeping the listener on the edge of their seat in anticipation. The short, somehow mysterious intro track, holds promise of a unique record to follow. The raw sound of the drum and interesting composition encourages the audience to listen to the next track.

    The first ‘official’ song of the album, “Constellation,” opens with a compelling, raw base, which then leads to an exciting, smooth jazz melody. A riveting trumpet leads the bass, drums, and piano ensemble. “Constellation” largely embodies what jazz is truly about – listening to the song was akin to listening to an exciting conversation that one can’t help but be entirely invested in. Each instrument has its own voice and unique role within the song, and yet they all work together to create one coherent melody. The song ebbs and flows, taking the listener through fast and slow sections. Through rhythm, tone, and style changes, “Constellation” was extremely engaging, and embodied the instrumental conversation that is jazz.

    “Drum and Berries,” the second track on the record, presented a smoother, slower melody than the previous tracks. Rather than an intense argument between instruments, “Drum and Berries” exemplified a flowing, cohesive conversation. The track opens with a gentle piano, accompanied by bass and drum. Throughout the slow jazz tune, the piano expertly navigated through the constraints posed by an ensemble, playing off the base while also embodying a classic jazz sound. Halfway through the song, the bass takes over, playing the tune set up by the piano in the first half. An exciting, raw drum solo follows, serving as a reminder of the intro track.

    Something worth noting about the album is that each song is entirely unique, with its own personality. Following the first three tracks, “For Those We Love” plays off a more classic jazz sound than the other songs. A trumpet solo immediately engages listeners within the first few beats of the song, soon leading into a classical jazz melody. The tone of the trumpet, accompanied by a well-blended pairing of piano and drums, creates a somber, almost romantic energy. Unlike previous tracks, the trumpet takes the spotlight overpowering notes and rhythms. Rather, the simple notes and melody are compelling in their sim[licity and rawness.

    “For Those We Love” seems to tell a story through the trumpet – the mood shifted throughout the song, sometimes embodying a somber narrative, other times presenting itself as bright and optimistic. Like previous tracks, instruments within the ensemble each took over the musical conversation in a contemporary jazz fashion.

    A theme that was present throughout the album was the compelling and dramatic drum solo. The fifth track, “Blue” continued the suspenseful drum solos from the intro and “Drum and Berries.” A wonderfully unsettling, compelling, and raw drum solo emerged following a highly suspenseful, gradual crescendo. Through dramatic crescendos and decrescendos, the drums presented a contemporary mix of all sorts of sounds working together. The song itself seemed to ebb and flow, emerge and remerge, and changed throughout the track. The drums grew increasingly more spunky, ultimately resulting in an edgy tune with an upbeat melody, led by piano. “Blue” transitioned into a fast, compelling, and bright piano melody, the second half of the song completely different than the introduction.

    Another highlight within the album is “68th Street,” a song largely reminiscent of classical jazz. The song emulates a beautiful ballad through its well-rounded, blooming melody. The piano seemed to convey a story about love. The bass and piano both act as soloists throughout the song, and effectively convey a calm, gorgeous melody that one can’t help but fall in love with.

    Overall, “Bridges” is a highly versatile album that embodies all that is wonderful about jazz. Each song is compelling in its own right, and the album in its entirety serves as a valuable addition to the world of jazz.

  • Hearing Aide: Setting Sun ‘The Feelings Cure’

    Hudson Valley-based indie rock group Setting Sun released their first album in ten years, The Feelings Cure, looking back on who they were, what they are now, and the journey they have gone through as a band.

    Setting Sun

    Led by frontman and primary songwriter Gary Levitt, the sixth studio album by Setting Sun, The Feelings Cure, was recorded carefully, as Levitt says “I wasn’t sure if I’d be able to get in the creative zone with set times of having to turn creativity on and off like a switch. I used to write and record in creative blasts when I felt it come on like a wave or virus. Having kids forced me to write, record, and mix within the gaps of being a father. The maturity shows on this record.” Over ten tracks, the group comments on changing yourself as time goes on, all while utilizing upbeat instrumentals, and melancholic lyrics.

    Feelings Cure is slow and free-flowing as it starts with the opening track “Cool,” fading into the more upbeat track yet still slow “Sometimes,” featuring prominent guitar solos and the good ol’ indie rock feel. Things get increasingly experimental on “Can’t Send It Back” with 80s-inspired synths, with Levitt repeating the chorus multiple times, singing “Now it’s gone by the way/Don’t expect me to stay/Somebody tried to keep their eye on mine.” One of the most enjoyable tracks “Good Die Young” blends Levitt’s personal endeavors as a comedian into the witty lyrics, citing it is the “closest [he’s] ever gotten” to blending the two areas. The song is short and simple yet makes the listener feel happy and carefree.

    The album becomes slower beyond this point, featuring a country vibe on “Up and Away,” showcasing Levitt’s talents with experimenting with different genres. “Same Face” has a female singer prominently singing background vocals, adding a lighter tone to the song, as well as a return of those 80s synths. Overall, the record brings you into Levitt’s personal journey as a father and band member and the difficulty he faced balancing both. It is a classic slow indie rock record with a twist, featuring intricate genre blends, melancholic lyricism, and driving rhythms.

    Key Tracks: Can’t Send It Back, Good Die Young, Feelings Cure.

    Setting Sun’s new record Feelings Cure is available on every streaming platform. They are performing at the Harmonies on the Hudson Concert Series in Germantown on June 15 and at Opus 40 in Saugerties on July 16. Tickets are available here.