Tag: Album Review

  • Best of Hip Hop 2023: MVW and Valee No Longer Looking for Valeedation

    With hip hop firmly entrenched within pop music, artists tend to chase a sound in search of mainstream validation. However, every so often, a sound usually existing within its own niche crowd, that captures ears for its inventiveness. In making Valeedation, the duo of Valee and Staten Island native MVW have created their magnum opus (for now) and firmly established their sound within hip hop’s redundant landscape.

    Valee (left) and MVW (right) have teamed for of the unique projects of 2023.

    Background to Valeedation

    Prior to this 2023 release, MVW’s hip hop journey began with two Valee assisted albums released in consecutive years. Despite its fresh perspective, MVW’s prior albums included their share of Hills and Valleys, while maintaining a sense of novelty. While Valee has long-established a niche audience in hip hop for his slick-talking, luxurious idioms, he lacked a go-to producer to consistently bring the best out of him. Correspondingly, as the classically trained MVW cast a wide net for artists to feature, he would not find a better match for his minimalist style than Valee. In essence, Valeedation is a continuance of the unique language that they’ve developed through their shared artistic vision. 

     

    Valeedation Review

    After all, cultivating and establishing a style of production is no easy task. Namely, MVW’s prior efforts maintained an ebb-and-flow between minimalist instrumentation and raging vocals. While this kept the listener on edge, to did very little for the albums sequencing. Conversely, on Valeedation, it all comes together as MVW along with Valee bring about his most cohesive effort yet.

    Valeedation is MVW’s most cohesive effort yet.

    Introduced to the world with the release of singles “Pistachio” and “Tailor Swift,” MVW juxtaposes Valee’s nonchalant delivery with meticulous instrumentation blending into a sound coined as “museum rap.” In light, setting the tone for the album’s easy-going feel.

    Throughout Valeedation, Valee’s usual off-beat, luxurious discourse finds refinement, resulting in extremely digestible-yet-unique songs. For instance, Valee’s concentrated flows and rhymes carries is a tone setter for much of the album. Meanwhile, MVW is meticulous with his isntrument placement, with violins and pianos taking turns in rhythmic dominance. Moreover, records like “Yo Yo,” “Ain’t Exotic,” “Metro PCS” “Shrimp Fried Rice,” — and standout track “Liquid”– leave the Valeedation with a lasting feel-good identity. Thus, even when MVW and Valee deviate rhythmically on songs like “Tailor Swift,” it is only a quick detour before returning to its sonic seance. Together with a host of agreeable features — including standout showings from Tony Shhnow (“Yo Yo”) and Zeelopers (“Metro PCS”) — Valeedation stands as diverse musical oasis.

  • Hearing Aide: SUPER HOT, Harmonica Lewinski

    Rochester surf-rock outfit Harmonica Lewinski released their newest album, SUPER HOT, on November 24. Recorded in analog style on a Tascam reel-to-reel machine, the album showcases 12 tracks with a fun groove and creative tone.

    SUPER HOT by Harmonica Lewinski

    Harmonica Lewinski formed in 2012 in Rochester. The group cites a distinct blend of surf-rock, disco, and punk that inspires their new EP. Since their first release, Good Vibes/Bad Vibes released in 2012, the five-piece band has dropped eight full-length releases, with SUPER HOT marking their first since their 2021 EP Lost Weekend

    Largely focused on instrumentals, SUPER HOT marks an investigation of funky, groovy disco-rock beats. The album was recorded on a Tascam reel-to-reel machine, an analog tape recorder that dates back to the 1980s. 

    A key track on the record, “Burgundy Bandit” is a groovy, methodical track to open the album. Led by the commanding bass line and meandering guitar melodies, the track introduces Harmonica Lewinski’s style and strongly holds listeners’ attention for its four and a half minute instrumental run.

    Harmonica Lewinski

    “Shadow Sequence,” the fifth track on SUPER HOT, diverts slightly from the groovy, meandering tone that the majority of the record follows. Beginning with an alternative, syncopated rhythm, the vocals are reminiscent of an excitable Orville Peck. The track is relatively short with only two minutes and change, but is certainly a strong point in the EP.

    Finally, “Cakewalk” is introduced by a solo bass line supported by a steady, rhythmic drum kick and vocals. Again, this track is only about two minutes, but after a few listens the guitar melody will get caught in your head.

    SUPER HOT is a proficient review of funky, bass-driven surf rock. Though many of the tracks get lost in each other due to similarity in overall sound, this doesn’t detract from the clear skill and fun listening experience from the whole album. SUPER HOT is available on all streaming services and Harmonica Lewinski on BandCamp.

  • Hearing Aide: Moments Before…, LikeTheAstronaut

    Four-piece group LikeTheAstronaut released their debut EP, titled Moments Before…. The EP explores electro-pop, folk, and alternative styles throughout the five unique tracks.

    Moments Before... by LikeTheAstronaut

    The title track of the EP, “Moments Before…” includes key talents in the vocal effects, showcasing the band’s effective collaboration. In addition, it features heartfelt and melancholy lyrics, which add powerful emotion to the opening track.

    “Slumber Still” evokes similarities from electronic synth pop, but with a slower beat and swaying melody. Not only does it have a catchy, droning backtrack, it shows promising room for more development in the synth production.

    LikeTheAstronaut’s Moments Before… began with John Glenn, as a passion project following the passing of his father and the birth of his child. The collection explores the emotions coming with those events, through folk, electro-pop, and alternative musical influences.

    LikeTheAstronaut

    LikeTheAstronaut formed in Albany, with the collaboration of Dave Parker (Stellar Young, Weerd Science, Coheed & Cambria), John Glenn (Stellar Young), Josh Eppard (Coheed & Cambria) and Kyle Hatch (Stellar Young). The musicians work together as a seamless group, forming a promising band with an upward trajectory.

  • Hearing Aide: The Presentation of Self in Everyday Life, Stephen Clair

    Stephen Clair released his newest album, The Presentation of Self in Everyday Life, on November 17. A one-man recording production, the record showcases 11 songs with complete performances, meaning no edits or post-production re-dos. 

    Stephen Clair's The Presentation of Self in Everyday Life

    Stephen Clair began releasing music in 1997, but his musical career began long before. Citing Johnny Cash as a childhood influence, Clair recorded his newest record as a solo production, with the performances being only him and his guitar or piano. His tenth studio record, The Presentation of Self in Everyday Life is not one to miss.

    The record’s fifth track, “Days Passed,” shows off Clair’s proficiency in guitar picking and instrumentation. The vocals are a distinct, contrasting note, with a higher melody and Dylan-like tone and rhythm. It stands out as a more confident spot on the album.

    The eighth track on the album, “I Imagined I Was An Elevator,” stands out creatively, with an intriguing title and subject. The melody falters at points, but the vocal style brings flair to a simple singer-songwriter track, with just Clair and his guitar.

    The tenth track, and another one not to miss, “Bubble Bath,” begins with a hopeful chord progression and soothing guitar melodies. Not only is the music soothing, but the lyrics describe an oasis away from the world, with a cozy bubble bath for the listener.

    Stephen Clair
Photo Credit: Hillary Clements
    Photo Credit: Hillary Clements

    The Presentation of Self in Everyday Life is Stephen Clair’s tenth full length album, available everywhere on November 17.

    Stephen Clair upcoming shows in New York State

    November 17 – Beacon – Howland Cultural Center

    November 18 – Roscoe – Catskill Brewery

    December 20 – NYC – Rockwood Music Hall

    Tickets and more information are available here.

  • Hearing Aide: Ian McCuen “What It Means To Be Young, Sad, and Alone”

    Ian McCuen’s sixth album and the longest by far, What It Means To Be Young, Sad, and Alone is a melancholy, transcendent record. It opens with the repeated line, “Funny how it feels like an art, the way things always fall apart. But eventually, so it goes, we all die alone.” With this air of self-aware critique, McCuen crafts a soothing, yet gut-wrenching depiction of truly what it means to be young, sad, and alone.

    What It Means To Be Young, Sad, and Alone

    Based in Buffalo, Ian McCuen’s first album came in 2017, with three volumes of Songs of Fleeting Permanence over the next few years. They operate relatively solo, writing, composing, and arranging all their own tracks across a wide range of instruments. What It Means To Be Young, Sad, and Alone includes over nine unique instruments, including a harmonica, saxophone, mandolin, banjo, and the ever-present electric guitar.

    Ian McCuen

    The full record, boasting an impressive 20 tracks and amassing 80 minutes, follows a distinct style both musically and lyrically. McCuen creates an ethereal soundscape, with delicate vocals that are whispering and soothing. 

    The first track on the record, “A Reprise For The Lonely,” acts as an introductory point, both sonically and lyrically, for the rest of the record. However, it creates a strong introduction. The organ-like keyboard commands attention, and the backing vocals and whisper-like spoken word are sad, yet hypnotising. 

    Another song to pay attention to, “Checkerboard Purgatory,” comes as the 11th track on the record. Halfway through the massive tracklist, it easily gets lost among the masses, but it distinguishes itself with a catchy guitar track. 

    The 19th track on the record, “Vicissitude (So It Goes),” is an impressive 8 and a half minutes. Its vocals are subtle, whispering, and generally mellow, but the melody takes a minor shift halfway through. 

    Overall, What It Means To Be Young, Sad, and Alone is truly overwhelmingly sad. However, as a self-described “purveyor of sorrow,” this is exactly what McCuen aims to produce. For those that can indulge in the intense emotional experience of their monumental album, it’s a soothing display of poetry and ambient musicianship.

  • Taking No Prisoners: Dirty Honey’s “Can’t Find The Breaks”

    Rock and roll band Dirty Honey released their second studio record, Can’t Find The Breaks, on Friday, November 3. The band now features bassist Justin Smolian, guitarist John Notto, drummer Jayden Bean, and Niskayuna, NY native Marc LaBelle on lead vocals. Can’t Find The Breaks features 11 songs and has a total run time of 46 minutes.

    Photo Courtesy: therockpit.net

    Dirty Honey was finally able to release new music for the first time in two years after constantly touring as an opener for bands like Guns N’ Roses or headlining their own shows. Can’t Find The Breaks is a breath of fresh air for a modern band with a classic rock vibe that makes fans reminiscent of the Golden Age of Led Zeppelin, The Black Crowes, and Aerosmith.

    The band is leading the charge in the resurrection of rock and roll music. Outside of The Struts and Mammoth WVH, there hasn’t been a new band for the younger generation of rock fans to feast on. Dirty Honey is carrying the metaphoric rock and roll flag as the band continues to get bigger and bigger.

    Can’t Find the Brakes, to me, is pretty descriptive of what our life is right now. We are just on this out-of-control rock n roll train that is off the tracks and we don’t know where it’s going, but we’re down for the ride.

    Marc LaBelle

    The second track of the record, “Won’t Take Me Alive,” was one of the first singles off of the record. It’s easy to see why the band chose to release this song as the first single. Bean keeps the beat of the track moving forward while Notto provides the catchy riffs that keep fans air guitaring from start to finish.

    On “Get A Little High,” LaBelle is able to show off his impressive vocal range. LaBelle has always had the vocal range of an Axl Rose mixed in with Chris Robinson and the wonderful chorus behind him adds to the total wall of sound from the rest of the band. Notto provides one of his most melodic solos to date showing that he has learned a thing or two from touring the world with guitar gods like Pete Townshend of The Who and Slash.

    The final track that stands out the most on Dirty Honey’s sophomore record is “Coming Home (Ballad of the Shire).” The beautiful acoustic song sends shivers down listeners’ spines and gives them goosebumps as the band sings in perfect harmony on the chorus of this record. This peaceful ballad is a complete 180 from the in-your-face rock and roll that they’re used to, yet it fits the band perfectly.

    In support of their brand new record, Dirty Honey is trekking across the United States with special guest Austin Meade. 

    Listen to Can’t Find The Breaks here.

  • Hearing Aide: Timothy Alice & The Dead Star Band ‘Used Cars’

    Buffalo-based rock group Timothy Alice & The Dead Star Band released their sophomore record, Used Cars, on November 3. The 8-track album is a follow up to their 2019 debut release, Spacestation AM500.

    Used Cars by Timothy Alice & The Dead Star Band

    Timothy Alice & The Dead Star Band formed in 2018 in Buffalo, with a collaboration of longtime friends. The band consists of Timothy Patrick Henderson, Matt DiStasio (drums), and Bub Crumlish on bass.

    The first track on Used Cars, a title track, is a strong start to the record. With resonant guitars, crooning vocals, and a tempo that urges the listener to sway back and forth, “Used Cars” is a easy yet captivating first track on the group’s sophomore album

    Timothy Alice & The Dead Star Band

    The fifth track on the record, “North of the Border,” stands out energetically against the rest of the record. This song picks up the pace significantly, and shapes a tangible story throughout the track. The only drawback is the shorter run time of only 2:18, as it is certainly a notable favorite on the album.

    “Winning Number,” the sixth track on Used Cars, slows back down just slightly, but not to any disadvantage. “Winning Number” evokes more personality from the vocal intonations, with Henderson’s speak-singing throughout the verses. The track has a captivating outro sequence of guitars and other indecipherable instruments, reminiscent of U2’s “Bad.”

    Used Cars is the sophomore album from Timothy Alice & The Dead Star Band, available on all streaming platforms on November 3. Timothy Alice & The Dead Star Band is Timothy Patrick Henderson, Matt DiStasio, and Bub Crumlish.

  • Hearing Aide: Gates/Dunn/Fox “Deliriant Modifier”

    Deliriant Modifier, a new collaborative album by Sally Gates (Titan to Tachyons), Trevor Dunn (Mr. Bungle) and Greg Fox releases on October 20. The record is inspired by a neuroscience thesis by Anil Seth, and explores ideas of limitation, perception, and improvisation in the musical realm.

    Deliriant Modifier

    Sally Gates references neuroscientist Anil Seth’s thesis, saying: “Perception = controlled hallucinations. Hallucinations = uncontrolled perception”. The group took this as inspiration, using controlled perception as a grounding idea in the creation of their record. Deliriant Modifier is entirely improvised, with the exception certain parameters, cues, and duration times set in place for each track.

    Improvising is the result of a natural outpouring of everything you absorb. Whatever you’ve been listening to, practicing, or even reading, watching.

    Sally Gates

    The first track, “Macro/Micro,” is an eclectic exploration of percussion, strings, and guitar, forming a captivating opening to the record. The improvisation begins sporadically, and as the track continues, the musicians find clarity and cohesion.

    The sixth track on the record, “Limits Of A Circle,” begins with a striking, wavering percussive introduction. A strong, gritty guitar interrupts it with thrilling riffs and solos, but the track truly shows the group’s skill in creative percussion.

    “Excise Spurious Time,” the closing song, introduces a clear, nervous piano, responding to itself with higher and lower harmonies. The piano exudes nimbleness, as the musicians form what could be soundtracked against a harrowing film.

    Using limitations as a framework for improvisation is one way to set goals, think about form, and harness the freedom. Anarchy is ok some of the time, but it’s also nice, for the listener and the performer as well, to keep things from going off the rails all the time.

    Trevor Dunn

    The three New York-based musicians began the composition of Deliriant Modifier by asking the question, “Do limitations aid or hinder the functionality in composition?” Answered by the unique composure and creative responses to the improvisational prompts, it aids their originality and bold appeal.

    Sally Gates, Trevor Dunn, and Greg Fox

    Deliriant Modifier released on October 20 on Riverworm Records. The artists are Sally Gates, Trevor Dunn and Greg Fox.

  • The Endless Mountain Derelicts Show Grit on Good Got Damn

    Hailing from New York’s Finger Lakes Region, The Endless Mountain Derelicts released their third full-length EP in August, titled Good Got Damn. The group is an all-original blend of alternative, country, classic rock, folk, and punk, or a self-described mountain rock. EMD cites a blue collar, original yet familiar sound as inspiration for Good Got Damn. The EP features six tracks, all distinct yet with a strong style indicative of their passion and intensity.

    The Endless Mountain Derelicts' Good Got Damn

    The opening track, “State Lines,” starts out strong with energized, gritty vocals. The minor key and consistent backing vocals create a depth to the track that shows the group’s skill and unity. 

    The EP’s second track, “Ain’t It A Shame,” follows with an acoustic base and melancholy lyrics, leading into another energized, belting chorus. The vocals stay reserved during verses, but the energy and passion is released in the strong chorus.

    “Light That Fuse” stands out creatively as a key track on the record. In this track, the group shows off their versatility in structure. The song has a strong, memorable hook in the chorus’s “light that fuse and run.”

    The Endless Mountain Derelicts

    Overall, The Endless Mountain Derelict’s Good Got Damn is a strong display of their unique style and passion. Their use of drums and creative syncopation is a key component that stands out across the board, as the arrangements strongly feature percussion. Additionally, the vocals show off an intense grit, which is a strong way to add character to a track, but finds its way to being a hallmark of EMD’s style.

    The group carries an ethos of blue collar, lively inclusivity, which shines through in both their lyrics and sound. The group’s third full length release, Good Got Damn is a passionate combination of soulful lyrics and skilled musicianship.

  • Hearing Aide: Organ Fairchild “Leisure Suit”

    Organ Fairchild’s new album, Leisure Suit, was released on all platforms on September 8. The sophomore album from the Buffalo-based jam band, the group recorded, mixed, and co-produced the album in New York’s Hudson Valley.

    Leisure Suit Album Cover

    An eclectic instrumental mix from the band’s three members, Joe Bellanti, Corey Kertzie, and Dave Ruch, Leisure Suit carries an ever-positive energy and displays the group’s technical skill and creativity. A stand out feature of the album is the guitar tracks as well as, of course, the ever-present organ throughout the record.

    The title track and opening song on the record, “Leisure Suit,” has an earworm opening guitar track that captures the listener as it repeats throughout the song. This track especially highlights guitarist Dave Ruch’s laid-back yet technically impressive skills. 

    In addition, the group mastered a cover of the famed Grateful Dead’s “He’s Gone.” The beloved track with numerous live recordings, as per Grateful Dead usual, is a seamless fit with Organ Fairchild’s tone and musical presence. Instead of a vocal track, the band opts for a guitar playing the usual vocal melody. In addition, the group infuses an upbeat rhythm to the classic track.

    A third track on Leisure Suit that stands out is the final “Rusty Barge.” The band shared that this track came as engineer Justin Guip played effects pedals on his hands and knees, coaxing the song from the musicians. An eerie yet invigorating opening echo, the song opens into a sci-fi-like mysterious tune with a constant organ tone.

    Organ Fairchild
Photo by Greg Meadows
    Photo by Greg Meadows

    Organ Fairchild is Joe Bellanti (organ/keyboard), Corey Kertzie (drums/percussion), and Dave Ruch (guitar). Leisure Suit was recorded and mixed by Juistin Guip at Milan Hill Studio, co-produced by the band and Guip, and mastered by Alan Evans at Iron Wax Studios.