Album Review: Lucid Fly – Building Castles in Air

Lucid Fly

photo courtesy of Head First Entertainment

Album Review of Lucid Fly: Building Castles in Air

Building Castles in Air is the fourth release from heavy progressive rockers Lucid Fly since 2005, but it’s the band’s first full-length release. Nikki Layne (vocals), Doug Mecca (guitarist), and Aaron Ficca (drums) combine their talents to create a powerful, weighty, brooding tour de force.

The album moves along at a slow tempo, as if weighed down by its heavy guitars and drums, carrying its power slowly and deliberately. Yet even with all of its weight, Lucid Fly finds the ability to soar, lifted at least in part by Nikki Layne’s rising, falling, soaring vocals, but also by the progressive nature of its instrumentation, able to reach exceptional heights without losing any strength and power.

Vocally, Nikki reminds me a lot of Rescue Aurora‘s Brittany Flynn. Though Lucid Fly is progressive heavy metal while now-defunct (and much less widely-known) Rescue Aurora was heavy alt-rock, the two bands’ penchant for powerfully deliberate tempos further amplifies their vocalists’ similarities.

Lucid Fly - Building Castles in Air

image courtesy of Head First Entertainment

Lucid Fly opens Building Castles in Air with “Billowy and Broken,” easing the listener into the band’s power with bits and pieces of unleashed fury displayed periodically, offset by an erstwhile mellowly soaring music bed and strong vocals, mixing softness with strength and power. By the end of the song, the shift has been made to power; a perfect entrée into the heavy progressive rock world that is Building Castles in Air.

Stylistically, this could easily be listened to as a mood-setting album, a work that creates a feeling, with individual songs being less important than the complete collection. It suggests the sort of band whose concert would be amazing simply because of an overriding sound, one that draws listeners in for that reason alone. Then, of course, after multiple listens, the songs begin to separate themselves, carve their individual identities, and favorites begin to emerge.

“Billowy and Broken” is one standout, and it’s followed by another, “Circles Into Squares,” with edgy vocals punctuating the powerfully atmospheric guitar line.

“No I in Voice” shares its power in a seemingly asymmetrical manner, as if the whole song is off-balance and about to topple over, atmospheric in parts, yielding to driving power via forceful drumming and a whirling, heavy guitar line. I never really quite groove along with the song, as it always seems a bit askew – very creatively interestingly so.

Lucid Fly

photo courtesy of Head First Entertainment

“Ribbons” would stand out by itself, but it serves the purpose of steadying the ship, as well, by immediately following “No I in Voice.” “Ribbons” hints at the same whirling guitar in spots, but it’s more of a straight-ahead, steadily-balanced, centered mid-tempo rock tune. One with pleasingly powerful vocals, occasionally soaring with the music, building in power and releasing during softer musical bridges.

Finally, the last song I’ll mention individually is “Next to Strange.” It has an incessantly driving rhythm with interestingly tempo-overriding vocals seeming to soar but actually just punctuating the song’s gentle intensity. This is, at least to me, quintessential progressive hard rock at its finest.

As a whole, Lucid Fly’s Building Castles in Air is an all-encompassing listen. It envelopes the listener with a slow but heavier-than-a-brick-wall progressive sound, as powerfully weighty as it is musically meanderingly progressive. Again, it almost seems odd to review the individual songs as the entire album is an entity, a terrific beginning-to-end listen. It also captures such power that I’m guessing Lucid Fly must most certainly deliver a blow-your-face-off live performance worth seeing… and feeling.

Live Review: Pesky J. Nixon at Front Street Concerts

Pesky J. Nixon

photo by Geoff Wilbur

Pesky J. Nixon

Front Street Concerts, Hopkinton, MA

June 17, 2017

Pesky J. Nixon

photo by Geoff Wilbur

Before this evening, I had heard of Pesky J. Nixon, but I had never seen the band perform live.  A regionally touring folk band, Pesky J. Nixon plays locally occasionally, but they were just one of many top bands I hadn’t yet fit into my schedule. That changed last night.

Featuring two options for lead vocals, an accordion, and a mandolinist/fiddler, Pesky J. Nixon can cover a variety of musical real estate, centered on folk. The group shines when it features its immensely strong vocal harmonies. And its sense of humor, especially live. An evening with Pesky J. Nixon is a lighthearted affair featuring a cadre of top-shelf musicians.

Pesky J. Nixon

photo by Geoff Wilbur

The band opened with its cover of “Look at Miss Ohio,” showcasing its great harmonies. The first set also featured a smooth folk groove on Woody Guthrie’s “Oklahoma Hills,” great fiddling and harsh vocals on Buffalo Springfield’s “Stop Children What’s That Sound,” and an energetic, groovy, and fun cover of “Easy Chair.”

The amazing Ansel Barnum joined the band for the final song of the opening set, the smooth, lilting original “Breathe in Autumn.” Ansel would play on the final three songs of the second set, as well.

Pesky J. Nixon

photo by Geoff Wilbur

Second set highlights included a cover of Ryan Adams’ “Two,” steeped in the band’s exceptional musicianship and strong energy. And the following song, a cover of Jimmy Ryan’s “John Brown,” in which the accordion and drums drove the rhythm, harmonies and co-lead vocals added texture, and there was a mandolin solo. Indeed, this performance of “John Brown” ticked all the boxes of a great Pesky J. Nixon song, cover or original.

The cover of Jeffrey Foucault’s “Americans in Corduroys” was a more sentimental number, an easy song to just close your eyes and soak into.

Pesky J. Nixon

photo by Geoff Wilbur

The return of Ansel Barnum closed the evening with three more crowd-pleasers. First, a Pesky J. Nixon original, “Anna Lee” dabbled in harmonies, accordion, and harmonica. No, I wouldn’t call it bluegrass, either; we’ll just say it’s bluegrass-inspired and leave it at that.

Next up was an energetic, fun, rollicking rendition of “Talk About Heaven,” a Tim Gearan tune on which Pesky J. Nixon brought its most intense energy of the evening.

Pesky J. Nixon

photo by Geoff Wilbur

And the “encore” was a real treat. A melancholy, nostalgic, wistful folk rendition of… “Girls Just Want to Have Fun.” Complete with singalong. Did I mention that sense of humor? Indeed, though mostly present in the between-song banter, clearly it also creeps into song selection. Truly, they did a heck of a job with it. And it drew to a close an exceptional evening of folk and folk-adjacent music from a talented band.

Pesky J. Nixon

photo by Geoff Wilbur

Looking Ahead

Pesky J. Nixon lists four upcoming shows on the band’s events calendar, though I’d suggest checking back as more gigs are added. First, on June 25th, the band will perform with Miles to Dayton as part of the Sunday Street Acoustic Series at the Long Island Museum in Stony Brook, NY.  Next up, they’ll take part in the Falcon Ridge Folk Festival August 3rd-7th in Hillsdale, NY. On September 15th, they’ll be local again, joining the Durham County Poets at the Amazing Things Arts Center in Framingham, MA. And on September 23rd, you can catch them at Common Ground Community Concerts in Hastings-On-Hudson, NY.

Front Street Concerts has four more concerts currently scheduled this summer: Peter Mulvey on Thursday, July 13th; Andrea Gillis & Marc Pinansky on Saturday, July 29th; Danielle Miraglia on Saturday, August 12th; and Tim Gearan on Saturday, August 19th.

Live Review: Ibby at The Farmer’s Daughter

Ibby

photo by Geoff Wilbur

Ibby

The Farmer’s Daughter, North Easton, MA

June 16, 2017

Tonight’s show was an album release party for Ibby’s new disc, Cross Your Heart. In the past several years, I’ve only been to one other hometown album release event at a venue filled with friends and family like this – TOS’ in Maynard last summer. Sure, I’ve been to album release concerts in the city, but this is a unique sort of event with its own energy, one where relatives, neighbors, coworkers past and present, and (especially for a recently-graduated 18-year-old like Ibby) school friends seem to comprise nearly the entire audience.

Ibby

photo by Geoff Wilbur

From the start, Ibby adorably, enthusiastically cheerful, fully enjoyed the spotlight and every moment – contagiously so, in fact; it’s clear this fearless singer-songwriter is completely at home performing.

Frequently, Ibby’s songs reminded me of other talented artists. Not in the entirety – which is to say, she has an original sound of her own – but elements of her songs recalled others for comparison. Unfortunately, I was rarely able to get beyond “what is the name of that song this reminds me of?” last night, so I’ll have to hope I can make more of those connections for you later this summer when I review the CD. Suffice it to say, Ibby’s songs will quickly feel familiar while remaining uniquely hers.

Ibby’s vocals are warm and rich with plenty of well-placed vocal cracks adding emotion and emphasis. Her strumming was steady and strong with varying patterns giving the songs unique textures. And, as I noted, her cheerful-yet-thoughtful, enthusiastic stage presence was cute and endearing. It’s a combination likely to win over any audience of music fans.

Ibby

photo by Geoff Wilbur

Ibby’s music is pop singer-songwriter fare, occasionally veering into folk-pop, sometimes sporting a hint of country, written about and inspired by events in her life. It’s a glimpse at the ups and downs of a teenager’s world, if that teenager is as introspective and self/world-aware as a good, young songwriter must be. Musically, I’d expect to hear her music in coffeehouses, nightclubs, and festivals (and on the radio). And, as with any song-driven music, it should transition well between acoustic and full-band performances, as opportunities arise, obviously sounding more folky when it’s just a girl with her acoustic guitar.

She kicked the evening off with “Breathin’,” a song driven by its strumming pattern and featuring an emotionally scratchy vocal. The next song, slightly folky pop-rocker “How Did I End Up Missing You,” coupled insistent vocals with forceful strumming, mixing a cracking voice with a combination of other tuneful vocal elements to create a memorable, distinctive-yet-familiar sound.

Ibby

photo by Geoff Wilbur

Other songs stood out during the evening, as well. “88 Keys” deployed a heavier strum, building and getting louder during the song. “Pier 17” was performed in a pop-folk style with the energy of a “travelling song,” its tempo causing it to always seem to be going somewhere. And “Lightning Don’t Strike Twice” was rather soaring and exceptionally engaging.

“My Dear” deploys a steady tempo with vocals rising and falling to pull the listener in, utilizing the insistent, emotional wail Ibby places so well (and not infrequently) in her songwriting.

During her second set, Ibby dipped into her “back catalog” a bit, with a bit more country in the sound of songs like “Dance,” which I believe she said she wrote in 8th grade, a song she performed with infectious cheerfulness, clearly having a grand time and exuding joy while singing it. She followed it with another “old favorite,” “Worst I Ever Had,” and both of these songs had this room full of her old friends singing along throughout. Like I said, hometown album release parties are a different species of animal.

Ibby

photo by Geoff Wilbur

Ibby also featured a couple new songs in the second set. One, whose title I didn’t catch, was a poignant song artistically using its words and sounds to paint a picture. The other, “Better Now,” sported an interesting rhythm and some ambitious vocal moves, including a little warble to draw attention to the bridge. This one, “Better Now,” may have legs for Ibby, as it’s catchy enough to become a singalong song by the end of the first listen.

Speaking of singalong, Ibby closed her second set with “Burnouts,” a fun “local favorite.” To that warble, Ibby adds a bit of a howl in this song, and on this particular night, with a venue singing along, she was completely emotionally and musically invested in this song; her energy only increased as the night wore on, buoyed by her own performance.

Ibby’s encore song, “Can’t Forget It,” was a sensitive, tender, touching, folky singer-songwriter piece. And then the evening ended, as the venue was closing, though the crowd would have stayed for another set.

It’s obvious Ibby isn’t a “developing talent.” She’s a developed talent whose future growth will be like that of any artist, as life events and continued maturity will provide different life experiences to write about and connected with, different viewpoints and thoughts to share. But she’s clearly “ready” now, creating engaging, emotional songs as a songwriter and performing them with infectious enthusiasm and skill.

Looking Ahead

Ibby performs again this afternoon at the Beverly Arts Festival – or she probably already has performed by now, as the All You Got Tour performers’ time slot was listed on this notice as 10:30-3:30. Follow Ibby’s Facebook page to see when and where she’ll perform next.

EP Review: Aüva – Side Effects

Aüva

photo courtesy of Aüva

Aüva formed in January 2015 while studying at Berklee and is comprised of Miette Hope, Jack Markwordt, Jake LeVine, Michael Piccoli, Andy Metzger and Austin Birdy.

EP Review of Aüva: Side Effects

Psychedelic, enveloping pop-rock music. Aüva unleashes three new numbers within its lush, full sound on this 3-song EP, Side Effects, a follow-up to the band’s eponymous 2016 full album release.

Aüva - Side Effects

cover art by Nathan Gorey; image courtesy of Aüva

EP-opener “Pretend” is based in ’80s New Wave, an engaging pop-rock journey that reminds me a bit of Modern English and its MTV-conquering New Wave brethren, but Aüva utilizes richer production to form a more plush wall of sound. “All I Need” slows things down and sounds a bit more ’70s-influenced, though it’s otherwise a very modern number, a current take on a lava lamp ballad. EP-ender “Glitter & Weed” is a more energetic psychedelic pop-rocker atop a music bed I’d call a “din” and supplemented with some ’80s-style synth.

I stumbled across Aüva’s music while traveling down a local music rabbithole a few weeks ago and was quickly impressed by the band’s unique sound. I’m not sure if I should be listening to it in the shag-carpeted back of a van or in a black-lit lounge sitting in a bean bag chair, maybe with a slowly turning, subtly lit disco ball overhead. Regardless, the band’s full sound and vocal interplay between its male and female vocalists create eminently listenable, stylish pop-rock.

I’ll be watching the “shows” page of Aüva’s website to see if I can catch them live somewhere soon. I’m guessing their music will translate exceptionally well to a live performance.

Album Review: Mike Sponza – Ergo Sum

Album Review of Mike Sponza: Ergo Sum

Blues music based on ancient poetry and recorded at Abbey Road Studios. Seriously, for those reasons alone, this would be worth a few listens. But the performers are also top talents, the songs are engaging and well-arranged. And if you didn’t know anything about the works referenced, you might never know the inspiration for this music. You’d simply consider it very interesting, entertaining, original blues. An ambitious, original project from Italian bluesman Mike Sponza, Ergo Sum is a musically-artistic success.

Mike Sponza - Ergo Sum

image courtesy of Frank Roszak Promotions

The disc kicks off with “Modus in Rebus,” a song that’s basically one great big blues hook. Crunchy guitar and a gravelly, insistent blues growl power this catchy number. It’s followed by “Carpe Diem,” which launches with an energetic travellin’ guitar line and a restrained, hoarse vocal; it’s a song you’d play during a road trip or that you’d expect to see during an energetic movie montage scene. Matel Kuzel contributes some well-placed saxophone wail. “Carpe diem. Baby.”

“Penelope” changes the album’s tempo a bit. It’s a slower-paced, emotional, blues jam-flavored number punctuated by vocal fits. It’s followed by “The Thin Line,” Mike Sponza’s collaboration with Dana Gillespie – it’s the only song not co-written with Ian Siegal – that suits Dana’s much smoother vocal delivery, also featuring a psychedelic blues organ sound not found earlier in the collection, augmented by well-placed horns.

Mike Sponza

photo courtesy of Frank Roszak Promotions

The disc continues, exploring different blues styles as it works its way through more ancient poets. “See How the Man” is horn and groove-driven. “Poor Boy” is more of a romping swing. “Kiss Me” is a musically thumping and grinding, steadily-paced blues romp. And “Prisoner of Jealousy” closes the disc with a soulful ballad full of raw, heartwrenched emotion.

In sum, Ergo Sum is an ambitious effort, exceptionally well-executed by a cadre of talented purveyors of the blues. And if critiqued simply as a blues album, it’s an exceptional disc that touches all manner of subgenres and styles of the blues in an enjoyable fashion. In other words, it’s a success all fronts.

Looking Ahead

Per Mike’s website, he has some gigs around Europe this summer. Check back to his website to see if more shows are added, but at the moment his schedule is: June 23rd (Cittadella dei Giovani) in Aosta, Italy; June 24th (Blues Festival) in Correze, France; June 29th (Lent festival) in Maribor, Slovenia; July 7th in Parma, Italy; July 20th (SWR Festival) in Mainz, Germany; July 21st (Haus Am Walde) in Schwachhausen, Germany; August 4th (Blues Nacht) in Meppen, Germany; August 7th (Kastav Blues Festival) in Kastav, Croatia; August 25th (Rock Cafe) in Pula, Croatia; September 8th (Topos) in Leverkusen, Germany; and September 9th (Bischofsmühle) in Hildesheim, Germany.

I also hear there’s another Mike Sponza album in the works, so I look forward to that, as well.

 

Live Review: Chris Moreno at the Hard Rock Cafe

Chris Moreno

Chris Moreno; photo by Geoff Wilbur

The Holographics, Heavy America, and Chris Moreno

Hard Rock Cafe, Boston, MA

June 9, 2017

There were five bands on the Friday night bill at the Hard Rock Cafe – The Holographics, Heavy America, Chris Moreno, Miele, and The Cosmonautz. I had to leave around 11:00, so I only caught the first three. Of course, I was there specifically to see Chris Moreno, whose album I reviewed a few months ago. This was the first time I had made it to one of his live gigs.

The Holographics

The Holographics; photo by Geoff Wilbur

The Holographics

The evening was kicked off by The Holographics, a young band from Providence. The band began its set with a style best described as alt-rock with a spacey synth line. Musically, the band’s alt-rock vocals were often buried in a wall of sound. The vocals were consistently no more prominent than any instrument, clearly by design, providing The Holographics’ signature sound. The band’s current single, “An Hour Ahead,” was a little more jangly with lighter instrumentation – a fun song and a good choice for a single.

Other influences emerged as the set progressed. One song in particular showed the group’s ability to drive a song with a blues groove.

The back half of set was decidedly more guitar-heavy than the first – wall of sound yielding to wall of axe – though you could still hear the synth in mix, of course. One song, “In My Head” (maybe; I didn’t get the official song titles) sported a bit of funky rhythm and both classic and alt rock guitar riffs for the band’s most lively, energetic turn of the night.

The Holographics closed with a song with easier-to-spot spacey synth work again, almost as if tying the end of the set to the beginning, though there was still plenty of both classic and alt rock guitar – they seem to enjoy mixing those guitar sounds within a song. The last song was also a bit on the progressive end of the band’s musical scale, almost “Aqualung”-ish in style. A talented young band, The Holographics provided an enjoyable first set.

Heavy America

Heavy America seriously cranked up the volume with its set. Also “wall of axe,” but Heavy America’s were louder, more aggressive axes. This was the album release show for the band’s new disc Now, which has been out for about a month, so the band opted to play its entire new album as its performance on this night; it’s cool when bands do that for album release shows.

Heavy America

Heavy America; photo by Geoff Wilbur

Heavy America’s music is rooted in straight-ahead, blues-based classic rock, but this power trio mixes in some tempo-changing finesse and seemingly a little funk to spice up the heavy guitar foundation. This is an aspect of its musical stew Heavy America shares with fellow Bostonians Aerosmith and Extreme. But Heavy America is clearly heavier, more musically caustic, adding a harsher element to its rock mix, whether from punk, alt-rock, or the rawer corners of metal; likely a mix of all of the above.

Throughout the set (and, obviously, the album), the band varied its songs within its core musical style, which was fully embodied by its first single from Now, “Pray For Me” – straight-ahead hard rock with nary a glimmer of light but still with some finesse. With variations on that theme, that does seem to be their style. Some of the songs drifted a bit into a more old-school classic rock direction that I couldn’t really verbalize until was struck by it in the second-to-last song of the set, “Heavy Eyes.” Pink Floyd. I swear I hear a bit of Dark Side of the Moon-era Pink Floyd, most prominently in heavy eyes. Or at least something resembling it.

In the end, Heavy America delivered an energy-filled set of consistently loud and frequently edgy rock and roll well-suited to entertaining a club full of hard rock fans across multiple sub-genres.

Chris Moreno

Chris Moreno; photo by Geoff Wilbur

Chris Moreno

I specifically targeted a “full band” show on Chris’ calendar rather than an acoustic one because I wanted to hear his songs in all their electric glory, though he performs the sort of song-driven rock music that would translate readily to an acoustic setting, so I really couldn’t go wrong. On this night, Chris was joined onstage by bandmates Eric Garibaldi (guitar), Rod McCarthy (drums), Dave Brideau (bass), and, for three songs, saxophonist Hannah Moverman. Stylistically, Chris’ music is very similar to Matchbox 20, with elements of other bands in that catchy pop-rock neighborhood, rooted in song-driven rock and roll with a classic rock core, catchy hooks, and tunefully straining, emotional vocals.

Most of the songs Chris performed tonight were from his Into the Sun album. He kicked things off with one of my favorites from that disc, “All I Need.” It mixes a driving rhythm, catchy hook, and that little bit of emotional grit in the vocal that can make a song irresistible.

Chris followed that up with a heavier rockin’ edge on “Don’t Let Me Down,” before the band was joined onstage by Hannah for three songs, beginning with “Turn the Page,” again sporting Chris’ trademark hit radio-ready sound driven by hooks and emotional vocals. This song, in particular, reminds me of an old New Jersey band I loved back in the ’90s, Outcry, whose melodic college rock was one minor stroke of luck away from national recognition.

Chris Moreno

Chris Moreno; photo by Geoff Wilbur

Next up was “Reach for Me,” a song that softened the energy a bit thanks to Chris’ switch to acoustic guitar for this number. This is the song from Into the Sun that is most imbued with a Counting Crows vibe. And the sax, here in particular, added an extra coolness to this song. It’s a wonder more rock bands don’t perform with a saxophonist on stage; it adds a depth to some song segments and punctuates others.

After that, Chris slowed things down a little with the more melancholy-sounding “Try,” which was followed by a very cool cover of Tracy Chapman’s “Fast Car,” faster-paced that the original and with a smoother vocal. It’s smoother by comparison, anyway, as Chris’ voice usually embraces that hint of strained gravel, but “Fast Car” even had moments that showcased his vocal ability to hit some big, clean notes, something he doesn’t do particularly often.

Next up was a new song, “That Song,” a trademark Chris Moreno tune that creatively departed from the norm a bit in spots, with some interesting rhythms and guitar riffs adding a welcome, unique, different texture.

Chris Moreno

Chris Moreno; photo by Geoff Wilbur

Next-to-last was another personal favorite, “Finally Free,” as I particularly enjoy the way the song seems to coil and release. Late in the song, Eric Garibaldi delivered a stellar guitar solo to move the song along toward its end. This one’s also extra-cool because of the way Chris’ vocal moves around the melody a bit more than usual.

The band closed the night with “Closer To You,” a catchy crowd favorite, featuring a little extra texture in Chris’ vocal and more frantic strumming at the end. Great way to end the set.

Indeed, I wasn’t surprised by the caliber of Chris Moreno’s (and his band’s) performance. I had heard and loved the album, so I knew what to expect, and I wasn’t disappointed. I look forward to catching another of his gigs when I get a chance, and I’d urge you to, as well. This dude writes catchy songs every bit as good – and just as catchy – as the best of mainstream pop-rock radio, and he surrounds himself with talented musicians.

Looking Ahead

The events page on The Holographics’ Facebook page shows a June 26th gig at Dusk in Providence, RI.

The gigs page on Heavy America’s website lists a show tonight, June 10, at the Carousel Lounge in Salisbury, MA.

And the shows page on Chris Moreno’s website is currently empty, but check back for shows to be added.

EP Review: Caisy Falzone – Your Time

Caisy Falzone

photo courtesy of Caisy Falzone

I reviewed one of Caisy’s gigs at Pianos in New York back in February. Now, I’d like to introduce you to her EP.

EP Review of Caisy Falzone: Your Time

Caisy Falzone‘s voice is a little raspy, a bit emotional, and relatively alt-rock, and she utilizes it to good effect in a singer-songwriter setting. Coming across sometimes as hoarse, other times as gravelly, and often kind of hoarsely haunting, Caisy’s delivery actually reminds me most, from among those I’ve reviewed in Blog, of Sophia Ward (of local Boston-area band TOS), just in more of a singer-songwriter format (rather than in TOS’s more raucous rock-band setting).

Caisy Falzone - Your Time

image courtesy of Caisy Falzone

The EP itself, Your Time, is a nice little collection. It’s stripped-down singer-songwriter fare, rough-hewn a bit, primarily just vocals and chord-strumming with the occasional background vocal track. It showcases Caisy’s pleasantly raspy voice and her lyric and melody writing skills. It doesn’t purport to be a big production album; rather, it’s a nice little EP. Pleasant, easy to listen to, and a good representation of Caisy’s fun live gigs. I do wonder what these songs would sound like with a full band and lush production. Quite different, I suspect, but they’d still be the same well-written songs powered by Caisy’s sweetly gravelly voice. As much as I’d love to hear that rendition of these four songs, Your Time really does remind me of Caisy’s live show. And with that goal in mind for this recording, I’d change nothing.

Caisy Falzone

photo courtesy of Caisy Falzone

Though none of the songs are fast-tempo, three of the four are mid-tempo. “Hold Me Down” is a bare-bones number, with Caisy’s voice showing vulnerability, in sync with the lyrics, her strumming gaining in intensity over the course of the song as the mood of the song ever-so-slowly builds in intensity, as well.

“Your Time” has a really cool tempo, with Caisy’s vocals carrying more emotion than their simplicity might otherwise suggest. On the whole, it’s a slow-things-down, thoughtful, melancholy number that’ll bring any room down emotionally… by design.

If I had to pick a favorite on this EP, it would be”Drift.” There are some cool lyrical elements; I’m oddly fond of her use of multiple “you (I) know”s as lyrical bridges; this track also has the best subtly catchy guitar-strum hook, used sparingly but just often enough.

Caisy Falzone

photo courtesy of Caisy Falzone

“Feel So Good,” the disc-ender, is Caisy’s ballad. It’s a nice tempo change. She sings with a more haunted tone, “bringing the room down” again with her melancholy delivery, not quite sad as much as simply exhausted.

As I mentioned at the beginning, Caisy’s Your Time EP is a good representation of her live performances. If you’ve seen her perform live, these songs will carry your memory back to the night of her show. If you haven’t, well, this is what she sounds like. I’d suggest snagging this four-song collection from Bandcamp, and I’d definitely recommend getting out to a Caisy Falzone gig. Bring friends. Drink. Enjoy. Make it a fun night.

Looking Ahead

The events page on Caisy’s Facebook page lists one upcoming gig, Jun 16th at Lovecraft in New York. If you check her Facebook page periodically, you can see other upcoming shows as she adds them.