Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders.
Artwork by Robert Beatty
Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.
Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”
Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.
Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.
His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.
Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.
New York City’s own Joy Buzzer released their debut album, Pleased to Meet You for Wicked Cool Records on October 25th. Recorded in the heart of New York City, the LP boasts 10 tracks that clock in at just over 30 minutes. Pleased to Meet You is defined by the power-pop songwriting of Jed Becker, sending the listener on a blast to the past through a fresh lens.
Formed in 2021, Joy Buzzer is a collaborative project merging the minds of The Lord Calverts and The Doppel Gang. The band consists of Jed Becker and KG Noble on guitars, Nick DeMatteo on bass, Mark Brotter on drums, and Kevin Lydon on lead vocals. This release welcomes the return of Lydon, and features guitarist Askold Buk, who helped produce the record alongside Becker. Half of the record was mixed by Grammy and Emmy award winning mixer, engineer and producer Carl Glanville. The remaining tracks were produced by Eber Pineiro.
Photo by Nancy Adler
Pleased to Meet You is front to back catchy hooks and tasteful lead guitar lines. The band references artists like Fountains of Wayne, XTC, and Todd Rundgren as their source of songwriting inspiration. Tackling themes of introspection and relationships, Joy Buzzer’s arrangements and harmonies showcase their unique voice and individualized perspective, all while staying true to the genre. The musical chemistry between each member is on full display for this release.
Well-crafted synthesizer and guitar solos, alongside memorable choruses fuse rock and pop influence to create the undeniable sound that is Joy Buzzer. When commenting on the album, the band says it’s a “bold, declarative statement of [their] intention to deliver super high-energy songs, with witty lyrics and huge hooks.”
Pleased to Meet You is currently available on all streaming services here. Find out more about Joy Buzzer and support them directly at joybuzzerband.com
Ari Joshua is on a mission to release 24 songs in 2024. Over the course of the last ten months, the South African-born, now American-based songwriter has been consistently releasing these singles, some of which contain multiple tracks and several stand-alone remixes. Each release features a unique line-up of all star musicians, including members of Trey Anastasio Band, Medeski Martin & Wood, and Joe Russo’s Almost Dead.
Photo by Joshua Hitchens – Bolt of Sunshine Photography
I had the wonderful opportunity to chat with Ari who shined a light into his musical process, spoke on his luminary collaborators and opened up about navigating the music industry and the world he has dedicated his life to.
“I’m super honored to be at the point in my career where I can share all the art I’ve been making. When I think about my art and the message that I want to give with it – something from the soul – it reminds me of creating an organic garden, planting seeds, and harvesting foods. If you scale it out one can imagine being an artist today is like sending a rocket ship or a satellite into orbit. I feel like once you’re in orbit as an artist, or once your seeds are harvesting fruits, you can feel like you are achieving your job – each note, each song, has the potential to propel things further. In a way all the legends are in orbit. In order to get up there, to resonate with listeners, you need a tremendous amount of fuel, and it’s a full time pursuit to manifest that.”
That need to resonate through the music inspired Ari to found The Music Factory, a Seattle-based music school giving lessons to hundreds of kids each week. He is a huge proponent of music education and has continued to grow the school since its inception. Ari has found himself at a point where he is able to take a step back and shift focus on his career being an artist and performer. “After years of juggling duties and taking continuous small steps forward I’ve found myself at a balancing point investing more time into creating meaningful and soul-fulfilling art.”
Left to Right: Medeski, Martin & Joshua – Photo by Chris Bittner
Ari’s first three releases of the year, “Dragon’s Layer”, “Country Stroll” and “Elephant Walk,” feature John Medeski and Billy Martin. These Woodstock, NY recorded country and jazz influenced instrumentals are defined by their laid back grooves and catchy melodies. Ari has spent his life studying diverse artists across all genres and setting the foundation for himself so that he can be both over prepared yet able to let go of everything in the moment. When asked about his process of going into the studio with the high caliber collaborators he shares his body of work with, he makes it clear that he wants to allow the space for them to shine and be who they are. It’s their unique voice that he wants captured in the studio. “There’s a certain kind of magic that comes from not knowing what’s going to happen and knowing that the musicians you’re working with are at a certain point. You’re free to trust the process and provide the space for them to do what feels right, and speaks for them.” These songs feel like an extension of the MMW universe – Medeski, Martin & Joshua. “Country Stroll” and “Elephant Walk” showcase tasteful soloing by all three musical juggernauts.
Ari holds the artists he has worked with to the highest regard. No collaboration is the same. No circumstance is the same. Improvisation usually takes the wheel. When working with artists on complete ends of the spectrum, you have to be able to adapt. Some of his collaborators prefer being sent audio and charts prior, while others only care about the moment once they’re all together. “Each person and each group of people that I get to work with is a totally different situation.” He compares this to making a child. “We’re going to go in there [the studio] and we’re gonna mix up our DNA, ideally with good intentions and love, and ideally a good level of pleasure [laughs]. And we’re going to come out with something that’s its own thing – a new creation.”
Ari’s songwriting knows no bounds. There is truly something for everyone. This is evident with the release of “Elon’s Musk”, his psychedelic, Tipper-inspired electronic single released under the moniker Guitari with ill.gates and Cory Cavazos. Ari’s follow up, “Rare Groove” once again shifts genre and lineup entirely. This funk, R and B-inspired instrumental features Skerik, Grant Schroff and Delvon Lamarr. A recurring theme in Ari’s song writing is his ear-worm melodies, his focus on improvisation and the prominence of organ players. “I am obsessed with really great organ players. There’s just this match made in heaven for me. I really studied that stuff so heavily and I just have this natural gravitation towards it.” “The Clinic” and “Audio Bicycle Day” were also released with the same ensemble. These singles can be categorized by their funky, yet more sinister progressions and feature fantastic improvised solos by all. “Audio Bicycle Day (Suncatchers Version)” is a unique take on the same song but recorded with Joe Doria and Brad Gibson. The Suncatchers Version has a more whimsical, airy quality. He continues this onward trend of eclecticism with his release of “One Dub”, a reggae-inspired instrumental groove that features John Kimock, Andy Hess, and Eden Ladin. There are four remixes of “One Dub” currently available on streaming services.
Ari has also worked and recorded alongside Russ Lawton and Ray Paczkowski of Trey Anastasio Band. When talking about his unique songwriting approach when working with different artists, he spoke about how Russ would send drum recordings to Trey over the phone, and then Trey would write parts based on Russ’ recordings. This is the approach that Ari wanted to take in the studio, and he had Russ send him a bunch of demo ideas prior to their session in that spirit. These sessions, which originally took place during the pandemic, resulted in over 25 songs, many of which have yet to be released. “Starlight Mountain” is the first release of the year that features Ari on lead vocals. These emotionally delivered vocals, along with his well-crafted distorted guitar solo are extremely powerful and moving. “The TriCeraphClops” was released with the same all star lineup – dubbed the RAAR Trio. This funky and crunchy instrumental showcases the band’s virtuosity and their chemistry as a unit.
Left to Right: Paczkowski, Joshua & Lawton – Photo by Ben Collette
What you see of Ari’s art is just the tip of the iceberg – “almost 90% of it is underwater.” He relates each piece of music to a blank canvas that he’s constantly revisiting, which could take years, if not decades to complete. “Tagine,” recorded with Marco Benevento and Joe Russo over 15 years ago, is just now seeing the light of day. This psychedelic soundscape takes the listener on a sonic journey through the unknown. It exudes imagery of exploring a distant alien planet.
With no slowing down in sight, Ari has recently announced a brand new supergroup, The All’s Eye, consisting of Ben Atkind (Elephant Proof) and Kris Yunker (Bearly Dead) formerly of Goose. The trio fuse boogaloo funk, soulful organ grooves, Afrobeat, bluegrass, and alternative rock. Fresh off a recording session at Carriage House Studios, the trio is set to release a series of singles over the coming months. They just announced their first official run, four dates on the East Coast and will be sharing their latest single “West Hill Road” on November 20th. When taking the deep dive into Ari’s catalog, you may find yourself pleasantly lost in a rabbit hole of musical and auditory goodness – a yellow brick road of art and sound.
Left to Right: Atkind, Joshua & Yunker – Photo by Mclee Mathias
Snailosaur, consisting of NYC natives Paul and Dean Criscitiello, along with Jason Sabshon, released two brand new singles – “Nature” and “Kaleidoscopic Mind” – on September 13.
These two singles follow the release of Talk Therapy, the trio’s debut album which came out at the beginning of this year.
Snailosaur define themselves as “90s-tinged indie guitar poetry, incorporating elements of alternative rock, noise, art rock, shoegaze, and spoken word to create their distinct sound.” The band focuses on blending catchy melodies, distorted guitar solos, and vivid, relatable lyrics with psychedelic undertones. Snailosaur’s unique approach to their vocal arrangement’s create the fuzzy feeling of being wrapped up under a warm blanket.
“Nature & Kaleidoscopic Mind” was recorded by Nate Jasensky in Brooklyn. “Nature” encapsulates the feelings of longing to get away, and in Snailosaur’s case, needing a break from the chaos of city life to take refuge in Upstate New York. Spoken word, deep vocals pair with alternative rock and pop influence to round out the first of two singles.
This transitions into ““Kaleidoscopic Mind,” a more introspective piece, which hones in on feelings of doubt and acceptance. This single’s indie and alternative rock influence, most notably in the main guitar part, builds upon a unique soundscape of effects before dissipating as the song fades out.
“Nature & Kaleidoscopic Mind” by Snailosaur is available on all streaming services here. Find out more about Snailosaur here.
Maybe Sunday officially released their sophomore EP entitled Tabula Rasa on August 23. This follows their debut EP, …Above The Trees released in 2020. This is the band’s first release since the departure of their original vocalist and songwriter.
Hailing from Rome, NY, Maybe Sunday currently consists of Bryan Honeywell on guitar and lead vocals, Nick Mellace on bass, Julie Grogan on keys and Jim Grogan on drums.
Photo Courtesy of Maybe Sunday
When speaking on the release, Grogan states “We like putting out EP’s because we feel we can get the attention of the listener and keep it for fifteen minutes or so.” This holds true as Tabula Rasa’s four tracks clock in at fourteen minutes. The EP was both recorded and mixed by Jeff Aderman at Big Blue North Recording Studio in Utica.
Tabula Rasa tackles themes of life, uncertainty, change and relationships to a backdrop of alternative rock fused with aspects of punk and psychedelia. They cite bands like The Who,The Cure, Genesis, The Replacements and Tragically Hip as some of their main influences. This alternative influence combined with their imaginative lyricism mesh to create the distinct sound that is Maybe Sunday.
Photo Courtesy of Maybe Sunday
They have a home-town EP Release Party on November 9th at Copper City Brewing Company in Rome, NY. The show starts at 7pm. You can find out more at maybesundayband.com
Tabula Rasa is currently available on all streaming services here.
Bloomington, Indiana’s own Dizgo put out their third official studio LP, Melt on February 2nd. This follows the studio release of 2019’s Deeper, and their 2021 release of The Quarantine Compilation, an official live album.
Since its release, the on-the-rise electro-jam-funk band has been extensively touring in support of the new album, playing 40+ shows so far this year alone across the entire US. Dizgo has also made a name for themselves on the festival circuit, with appearances at major festivals like Peach, Summer Camp and Resonance. They’ve also supported acts such as Goose and Parliament-Funkadelic.
The quartet is made up of Andrew Pickel on guitar and vocals; Kevin Hinnefeld on bass, keys and vocals; Justin Clark on drums; and Jake Evatt on keys and vocals.
Photo Courtesy of dizgoband.com
One of the band’s strong suits and allures is their live improvisation; their ability to spontaneously communicate with each other in the moment is up there with the greats of the genre. With a melting pot of musical styles at their disposal, you never know what direction they’ll take their songs. Dizgo is effortlessly able to weave between musical styles at the drop of a hat. According to their biography, “Dizgo redefines the live experience by blending jamtronica with funk, deep-groove soul, and psychedelic rock, taking the audience on a musical journey that includes intricate compositions and extended improvisation. The result is something both danceable and introspective: soulful vocals, interweaving analog synths and shredding guitar all of which join forces under the banner of Dizgo.”
Melt does a great job at capturing elements of everyone’s favorite jamband and turning that unique blending of genres into a style and sound completely of their own. These influence’s shine throughout the record. When speaking on the album, the band shares, “When everything goes right, we all ‘melt’ into one collective unit, experiencing time & space together. The special moment where music connects and creates community – melting together a bond between the music, musician, and listener.”
Melt begins with the extremely funky “It’s Alright” right out of the gate. A catchy melody, synthesizer funk, grooving bass and the positive message that “it’s gonna be alright” lead into a tremendous guitar solo that brings the song to its peak.
Melt continues with this trend of up-beat danceable synthesizer funk. “Rainbow Lightning” keeps the energy high, and contains an extremely tight composed middle section. Dizgo composed harmonies in regard to the vocals and instrumentation are well executed and with intention. Even their prog influenced tracks, such as “Liquefaction” keep things spontaneous and danceable, despite its heavy nature at times.
Throughout the multiple genre-bending piece, the band is able to immediately bring us into a world of heavy metal and then at the snap of a finger transition into a buttery funk groove. Eventually this leads into a tranquil bliss that grows into a blistering guitar solo to end the tune. Their songwriting also has pop influences, notably on their tracks “Honey” and “Help Is On the Way”. Both of these songs were released as official singles. The album ends with one final bang, “Whiteout” a slow-building spacey introduction leads us into an ear-worm hook that you don’t want to end.
Dizgo’s studio LP Melt is currently available on all streaming services here.
New York multi-instrumentalist and producer Ben Cuomo has released two of four what he refers to as “single packs”, entitled “It’s still about you, Lucy” and “Smoke Sits.” Each single is accompanied by an additional intro and outro track, inspired by his background in ambient jazz.
Photo by @maevelovesyouu
“It’s still about you, Lucy,” officially released on February 7, 2024, was co-written by Cuomo and Brigid Hart. Cuomo says that “teaming up with genius folk singer-songwriter Brigid Hart helped me access the indie folk world after obsessing over artists like Blake Mills, Big Thief, Phoebe Bridgers, Nick Hakim and Luke Temple”.
Photo by @maevelovesyouu
Ben Cuomo recorded bass, piano, synthesizer, and percussion on the release. He is also the projects engineer, mixing engineer, and mastering engineer. Brigid Hart is accredited with vocals, guitar and shruti box (an instrument of the Indian Subcontinent which is known for its drone accompaniment). Shanne Garcia is also an accredited vocalist.
“Lucy’s Intro” immediately sets the soundscape and vibe for the single pack. A droning background paired with classical jazz paints the scene before perfectly transitioning into the single, “It’s still about you, Lucy”.
Hauntingly beautiful vocal harmonies paired with acoustic guitar just scratch the surface of this extremely well produced track. The vocals complement each other so well, and their strong musical chemistry creates this ethereal quality that transports you during the four and a half minute single.
“Lucy’s Outro” transitions into a solo jazz and classical influenced piano piece, painting the picture of watching the Sunday morning rain hit your windowsill. Cuomo’s recording technique and his ability to create these mental images in his music is powerful, and very well done.
Photo by @maevelovesyouu
The second “single pack” in Cuomo’s series, Smoke Sits features artists and co-writers JAYA and Ben Milstein. It was officially released on April 19th. Containing a mysterious introduction which notably features JAYA on bass clarinet and flute entitled “Smokes Sits Intro”, this once again perfectly transitions into the folk and indie inspired “Smoke Sits”, tackling the difficulties of leaving home and starting anew, featuring the samples of past works of Cuomo, as well as a poem written by his friend Coral.
Cuomo is a tremendous producer and engineer, and his work in the studio on these “single packs” is nothing short of outstanding and professional. Find out more about Ben Cuomo at linktr.ee/bencuomo1
“It’s still about you, Lucy” is currently available on all streaming services [here].
“Smoke Sits” is currently available on all streaming services [here].
Buffalo based band Organ Fairchild officially released their third studio record, Songs We Didn’t Write on June 7th. The 44 minute, 9 track collection of instrumental covers follows the 2023 release of Leisure Suit.
The trio is made up of Joe Bellanti on organ and keyboards, Corey Kertzie on drums and percussion, and Dave Ruch on guitar. According to Ruch, it was his son’s idea for the band to record and release an entire album of covers. He says “being a completely instrumental band, we’ve always loved the challenge of rearranging some of our favorite music in the organ trio format, and since our live shows always include some choice covers, this felt like a super fun project and a bit of a no-brainer!”
Left to Right: Kertzie, Ruch, Bellanti (Photo by Joe Cascio)
Songs We Didn’t Write was recorded and mixed by grammy award winning Justin Guip at Milan Hill Studios, and mastered by Alan Evans of Soulive. The record notably features grammy award winning and rock & roll hall-of-famer Jorma Kaukonen (Jefferson Airplane, Hot Tuna) on guitar for Otis Redding’s “Hard to Handle” and The Brass Machine’s horn section on Stevie Wonder’s “I Wish”. The album features a wide variety of artists and influences, from Harry Styles to Bob Marley and Grateful Dead.
“Hard to Handle” features electric (pun intended) guitar work by both Jorma and Ruch. The guitar-led track explodes into solos, before coming to a peak with both Jorma and Ruch trading solos with each other. The rhythm section of Bellanti and Kertzie hold it down together so well here and across the entire record.
“I Wish”, which features The Brass Machine, is a high-energy, freshly arranged take on the classic Stevie Wonder tune. The trombone, trumpet and saxophone additions elevate the song to new heights, and their solos end the song with a bang.
Photo by Matt Shotwell
The band goes back to their roots with songs like “Lazy River Road” and “Lost Sailor.” They were all members of “Wild Knights”, a Grateful Dead tribute based in Buffalo where they first met in 1983. The influence the Dead has in their playing and style is apparent, noticeably in Ruch’s guitar playing and his phrasing. The band does an excellent job at making these songs their own while paying their respect to the originals. Their arrangements are fresh, and they give these covers the space that allows for the song to breathe and come to life in their unique organ trio instrumentation.
Songs We Didn’t Write is currently available on all streaming services [here].
Tracklist:
Them Belly Full (Bob Marley)
Lost Sailor (Grateful Dead)
Hallelujah (Leonard Cohen)
Canyon Moon (Harry Styles)
Hard to Handle (Otis Redding)
Eleanor Rigby (The Beatles)
Lazy River Road (Grateful Dead)
I Wish (Stevie Wonder)
Redemption Song (Bob Marley)
Organ Fairchild 2024 New York Tour Dates:
July 13th – ADK Brew & Chew – Peru, NY
July 18th-21st – Finger Lakes GrassRoots Festival – Trumansburg, NY
July 31st – Center for the Arts of Homer – Homer, NY
August 3rd – Cobblestoned Vibes – Buffalo, NY
September 5th – Party on the Patio – Saranac Lake, NY
November 6th – Foothills Performing Arts Center – Oneonta, NY
Larry Campbell & Teresa Williams officially released their brand new album entitled All This Time on April 5. This is the duo’s fourth album, and follows their 2023 release Live at Levon’s!.
Photo Courtesy of Shore Fire Media
The 10 track LP was produced by Larry Campbell and Ray Clifford and was recorded and mixed by three-time grammy award winning sound engineer Justin Guip at Milan Hill Studios. The album features Larry Campbell (vocals, guitar, mandolin, pedal steel guitar, bass), Teresa Williams (vocals, guitar), Justin Guip (drums, percussion), Brandon Morrison (vocals, bass) and Brian Mitchell (accordion, organ). The album most notably features Bill Payne of Little Feat on piano and organ, and Levon Helm from The Band on drums for “That’s All It Took.”
Photo by Gregg Roth
Larry and Teresa’s musical and romantic partnership are one and the same. They first met in a Manhattan rehearsal studio in 1986, where according to Williams’, “it was love at first note.” It was this love, now 38 years later that would inspire most, if not all of the songs on All This Time. Campbell states that this release “feels more intuitive to me than the earlier records, less experimental, evidence that we’ve grown more aware of who we are and what we have to offer.” These “love letters” shared between Campbell and Williams are the foundation for this “intensely romantic album.”
The first single, and opening track on All This Time was originally released in January. “Desert Island Dreams” is a rocking country song with an ear-worm guitar hook and catchy chorus. Williams’ vocal power is on full display and her harmonies with Campbell further exemplify their chemistry with one another. The song eventually transitions into a high energy, country guitar solo that tastefully showcases Campbell’s fluidity and talent.
“The Way You Make Me Feel” is a bouncing love song with Campbell’s country guitar lines and vocals at the forefront. The blues-influenced single touches on the excitement related to newfound feelings of love. Campbell sings “So if you see me roll up to your door doin’ cartwheels, I can’t help it that’s the way you make me feel.” A recurring theme throughout the album, Campbell and Williams’ sing of the willingness to do anything for each other.
Photo by Gregg Roth
The third and final single “Ride with Me” is a catchy country inspired pop song and lyrically focuses on surrendering to the moment. Williams sings that even though she’s unsure of what the future holds, she knows she wants her “baby” there for the ride.
All This Time is a celebration of their love. Williams’ smooth and incredibly professional vocal delivery mixed with Campbell’s song writing and multi-instrumental expertise are the secret ingredients to this incredibly well-rounded release.
Larry Campbell & Teresa Williams are currently on tour across the entire United States with stops in Virginia, Tennessee, Georgia, Arkansas and more. All of their New York tour dates are listed below.
Photo Courtesy of https://www.facebook.com/LarryandTeresaMusic Photo Courtesy of https://www.facebook.com/LarryandTeresaMusic
Larry Campbell & Teresa Williams 2024 New York Tour Dates:
04/11 – The Falcon – Marlboro, NY
05/18 – The Capitol Theatre (w/ Tommy Emmanuel) – Port Chester, NY
06/07 – Caffe Lena – Saratoga Springs, NY
06/08 – Caffe Lena – Saratoga Springs, NY
06/11 – City Winery – New York, NY
06/16 – Stephen Talkhouse – Amagansett, NY
07/20 – Arrowood Farms (Larry & Teresa’s July Jam) – Accord, NY
Albany based jam band Hilltop recently released their brand new EP, Getting There Together on February 16. This follows the 2022 release of Live Rips, and is their latest studio output since “Prophecy” – a stand alone single from July of 2022.
The quartet is made up of brothers Reid and Stephen Perry on drums and percussion, along with Aris Nieuwkerk and David Klang on guitar and bass respectively.
Getting There Together is mixed bag of rock, funk, jam and country influences.The band defines Getting There Together as“a collection of 4 songs from our catalog that outline the importance of living in the moment and cooperating.”
Photo Courtesy of hilltoptheband.com
The EP begins with “Beautiful”, a rock and jam inspired song introduced by its catchy unison guitar and bass riff. The song tackles lyrical themes of living in the present, stating “our future concerns and past regrets will all fade away.” It eventually transitions into spacey like ambience, which allows Aris the space to build a unique solo before returning back to the main unison riff to end the song. During their live performances, Hilltop is known for extending these sections, allowing the spontaneity of improvisation to lead the direction of the song.
“Sunshine” starts with an intro reminiscent of Pink Floyd, a quiet soundscape that slowly builds and crescendos into a funk-rock inspired groove. The bass and drums are locked in and really drive the feel of the song. The chemistry between the two are apparent on this recording. Hilltop’s use of vocal harmonies on the chorus add an additional layer of depth and power to their message. Sunshine contains a short, overdriven guitar solo that leads to a final chorus with the refrain “we’ll make our own sunshine today”, continuing with this trend of optimism and positivity in their lyrics.
The third song off the EP, “Something New,” contains beautiful guitar harmonies layered by Aris. These first three tracks are accredited to songwriting duo Aris and Reid.
“Moonshine”, the final song on the EP, is heavily inspired by traditional country and bluegrass. Walking bass, a chugging train beat, and country guitar picking all meld to create the only David Klang (bass) original released on Getting There Together. David is also Hilltop’s Mastering Engineer for the entirety of the EP.
Getting There Together by Hilltop is currently available on all streaming services here.
Photo courtesy of www.hilltoptheband.com
Hilltop 2024 Tour Dates:
03/29 – Electric Haze (Supporting Dead Man’s Waltz) – Worcester, MA
