Tag Archives: Geoff Wilbur

Album Review: Lauren Lizabeth – To Be Young

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Lauren Lizabeth

photo courtesy of Lauren Lizabeth

Lauren Lizabeth – To Be Young

EP Review of Lauren Lizabeth: To Be Young (Nine North Records)

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

For such a young artist, Lauren Lizabeth has already been turning heads for a while. As far back as 2011, Lauren was nominated by the New England Music Awards for Country Act of the Year. She has some professional stage experience, as well, working with the well-known (well, I’ve known about it for decades), highly-regarded Southern New England Theatre By The Sea while still in high school.

This EP, To Be Young, focuses on Lauren’s emotionally powerful voice; it’s a collection of seven crisply-performed pop and pop-country numbers. Her sharp, clear voice and young-skewing topics, lyrics, and enthusiasm could land her on a Disney TV movie soundtrack; and while her radio genre could easily be pop, some of the tunes herein showcase why she’s finding her early success on country radio with her pop-country stylings.

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

The disc opens with the title track, “To Be Young,” an energetic number on which Lauren’s always-at-eleven vocal enthusiasm is supported by a peppy guitar hook. With its positive energy and youthful appeal, this song could connect with a pretty sizable audience.

It’s followed by “Every Single Night,” whose mid-tempo pop-rock style is supported by a more versatile, emotive vocal and melodic hook and a well-placed guitar run late in the track to help move the song forward. Indeed, this catchy number is one of the two songs from To Be Young that has found a place on my personal smartphone playlist.

There’s something a little special about “Light a Match,” as well, with a very country-esque, brooding bridge showing Lauren’s versatility, tying together this lyrically worthwhile, mid-tempo emotional pop-rocker. It also features a fun country-rock guitar line… because even a strong voice requires well-written songs.

Lauren Lizabeth

photo courtesy of Lauren Lizabeth

“Beginning of the End” is notable as the most ballady song in this collection. Not exactly a ballad, but not far from one, this is another of those tracks that shows a nice mid-range; it’s nice to hear her use more vocal richness at times to offset her powerful high notes.

The last song on the album, “I Hear That,” is perhaps my favorite. It’s a cheerful country-rock ditty that’ll bring a smile to your face. It’s a bit sassy, showcasing perhaps more of Lauren’s personality than any of the others on To Be Young. As with the title track, this song could ring true with a monster breakout audience.

Overall, this is a nicely-constructed selection of catchy songs showcasing a talented vocalist. If pop or pop-country, especially with a bit of young energy, is your cup of tea, check out this disc. Indeed, I have a couple favorites from among this assortment, and I look forward to hearing where Lauren’s musical journey takes her from here.

Album Review: Angie and the Deserters – You

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Angie and the Deserters

photo courtesy of Miles High Productions

Angie and the Deserters – You

EP Review of Angie and the Deserters: You

Angie and the Deserters - You

image courtesy of Miles High Productions

Led by the inimitable, engaging voice of Angie Bruyere, Angie and the Deserters have released their second EP this year, You. It’s the follow-up to Blood Like Wine, which I reviewed in September. Angie & the Deserters play a version of Americana that blends country and Western music, adding in a rocking edge from time to time. The Deserters are guitarists Kyle Stevens (Bang Tango) and Danny Hulsizer (Gutter Boy) along with pedal steel player Chris Lawrence. But it’s Angie’s voice that makes this band particularly special. It’s a gravelly type of breathy, and on some of the more rocking songs – notably “Forgetting to Forget” and “17 Days” – she almost seems to be channeling the energy of Chrissie Hynde. Indeed, once you hear the comparison, it’s impossible to unhear.

Angie Bruyere

photo courtesy of Miles High Productions

In fact, Angie’s voice sounds a lot like Chrissie Hynde with a hint of E.G. Daily (whose singing voice you may remember from her role as Phoebe’s former singing partner Leslie on Friends… or her turn on The Voice). And it’s that combination, when Angie’s voice occasionally unleashes a sexy, gravelly rock ‘n roll squeal for emphasis, that you’ll remember long after the disc is over.

The two catchiest tracks on this EP are the aforementioned “Forgetting to Forget” and “17 Days.” “Forgetting to Forget,” which builds to power with a soft edge and features emotional rock guitar bridges, is probably my favorite song on here, though “17 Days” is a close second. “17 Days” kicks off a bit more raucously, with insistent drumming, and carries that mid-tempo energy through to the end.

Angie and the Deserters

photo courtesy of Miles High Productions

Sandwiched between those numbers is the title track, “You.” It’s an engaging waltz; yes, it’s a pure enough waltz that any fourth grader paying attention in music class would be able to identify it. It swoops and sways, punctuated with marching band-style drum accents and, of course, Angie’s voice rising, falling, providing emotion, and adeptly moving around the melody.

Angie Bruyere

photo courtesy of Miles High Productions

That’s not to say the rest of the disc isn’t fine, as well. The strumming and fiddling that open “Stay” set the mood for the EP; combined with a little twang and skillful plucking, it’s likely to be some listeners’ favorite gravelly crooner. Meanwhile, the more ominous “When the Nighttime Comes” and gentler “Goodbyes,” a revamped, more crossover-friendly version of the song that appeared on The Deserters’ West of the Night album, complete the EP, a terrific follow-up to Blood Like Wine.

In the short-term, I absolutely can’t wait for a chance to see Angie and the Deserters live if that opportunity presents itself. Longer-term, I can’t wait to hear what comes next, where these EPs lead Angie and her cohorts on the next step of their musical journey.

Live Review: Fifth Season Quartet at Lilypad

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Fifth Season

photo by Geoff Wilbur

Fifth Season Quartet

Lilypad, Cambridge, MA

December 4, 2016

Another great evening of jazz from a group featuring some of the most acclaimed local jazz musicians, the Fifth Season Quartet. The line-up last night was the same as last time I reviewed this group but with one addition. The quartet of Elena Koleva (vocals), Plamen Karadonev (piano, accordion), Greg Loughman (bass), and Austin MacMahon (drums), who I had seen perform last winter, were joined now by standout jazz harpist Charles Overton.

Fifth Season

photo by Geoff Wilbur

The group opened the evening with “Falling Grace,” showcasing Elena’s rich vocals and Plamen’s piano chops. Indeed, throughout the course of the evening, there was plenty of vocal riffing and ivory tickling, but since this is a bit of an all-star cast, there were also several showcases of each member of the band’s individual talents, ranging from true solos to extended jamming led by different bandmates. One such extended bass riff occurred during “Orange Colored Sky,” which may be built around some serious vocal gymnastics but was also delivered with segments of instrumental creativity, as well.

A couple of Plamen’s original numbers were featured during the nine-song set; in each case, Elena left the stage for these instrumental pieces. Mid-set, the band performed “Urban Things,” a progressive jazz number with a bit of a harsh edge, largely focused on the accordion parts. And toward the end of the set, though not exactly an original, the band rocked through Plamen’s arrangement of a Macedonian and Romanian folk number. This arrangement, in particular, brought a great deal of energy to the room. Indeed, much of the set showcased Elena’s amazing vocals, often in balladic form, but this original was the tentpole of a threesome of set-ending energetic, faster-tempoed numbers.

Yes, the energy continued as the group ended its evening with a rousing rendition of “It Don’t Mean a Thing.” A fine ending to a terrific set of oh-so-cool jazz.

You’ll be certain to catch us at future Fifth Season Quartet gigs; they’re what you’re looking for when you crave a jazz-filled evening.

Live Review: Ace Plays Opera at First Church Boston

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Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Ace Vaptsarov and the Guitar Arias Orchestra

(Conductor: Anthony Sabatino)

First Church Boston, The Sanctuary

December 2, 2016

Anthony Sabatino

Anthony Sabatino, conductor; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

Berklee student, guitarist Ace Vaptsarov, who I first encountered when he joined Balkansky onstage for a few songs a year ago, was the featured artist of the evening. He was the artistic director and soloist, supported by an orchestra featuring musicians from Berklee College of Music, Boston Conservatory and Longy School of Music, conducted by Anthony Sabatino, and led by concertmaster Seoyeon Im. Assistant conductor Sahil Jindal also conducted three of the performance’s eleven numbers.

Ace Vaptsarov

Ace Vaptsarov; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

The performance was a unique take on opera, with the evening containing arias from such operas as Carmen, Magic Flute, Faust, Tosca, Il Trovatore, and La Traviata, placing a different spin on several of the most famous operas with the infusion of an electric guitar part accompanying a symphony comprised of some of Boston’s most talented musicians.

Sahil Jindal

Sahil Jindal, assistant conductor; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

Both seventh-semester Berklee student Vaptsarov and the graduating Sabatino are quite accomplished, having achieved positions of distinction and received accomplishments and accolades while still students at Berklee. Indeed, this concert event, and the talented orchestra with which they’re working, are more than just another feather in their caps; rather, this is a terrific musical presentation that’s a welcome fusion of rock and jazz guitar with orchestra, an interesting take on old favorites for adventurous music fans.

Seoyeon Im

Seoyeon Im; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

I was excited for this event, curious to hear how the guitar and orchestra melded together… and the performers kept the audience in suspense through the first piece, an arrangement of Schubert’s “Ave Maria” on which Ace’s guitar was complemented only by piano as the orchestra sat silent.

Soon enough, it became apparent, as the full orchestra participated throughout the rest of the program. It took a few numbers before the jitters settled and the comfort level peaked. In fact, I’m uncertain if it was the performers or the audience or both that finally settled into a groove, but by the end of the short, hour-long program, I think everyone was disappointed the performance had to end.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Interestingly, on some numbers Ace used effects that caused the guitar to sound like its own one-man bowed string section, while a more typical electric guitar sound was used elsewhere, as appropriate. In “Ave Maria,” for instance, there was a guitar echo effect that created a hollow, plucking sound, almost like a combination of harpsichord and violin.

After the sparsely orchestrated first number, of course, for the second piece, the “Anvil Chorus” from Verdi’s Il Trovatore, the full orchestra joined in, and in this case Ace’s power guitar melded well with the strings, giving the whole performance an electric edge.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Throughout, the warm power of the strings were fully the electric guitar’s equal, as it quickly became clear the orchestra featured some of the best strings in Boston. The woodwinds and horns each had their moments, as well; particularly, I noted the winds’ significant role in “Lucevan le Stelle” from Puccini’s Tosca. And, of course, the percussion can’t be overlooked, particularly in opera pieces, where they’re often called upon to add the forces of power to the most dramatic moments.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

In addition to the opening number, which was an engaging way to begin the event, there were four others that particularly stood out for me. “Toreador” from Carmen, for example, in which the full orchestra sound complemented the guitar, which played the “toreador” part. The exchange between guitar and orchestra created a fun dynamic that caused this piece to stand out.

Another aria from Carmen, “Habanera,” also charmed. In this case, while the guitar sounded like a bowed string section, the portions during which the music moved notably between the string section and the guitar were particularly entertaining.

“La Donna e Mobile” from Verdi’s Rigoletto was also noteworthy. It was a number crisply-performed by both Ace and the orchestra — short but exceedingly fun.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

And “Der Holle Rache,” the Queen of the Night aria from Mozart’s Magic Flute, was an exceptional penultimate song. Per Ace’s remarks the aria that initially sparked his idea for this evening, this was a dynamic number, as the soft to loud variances for both orchestra and guitar complemented each other quite well.

“Brindisi” from Verdi’s La Traviata ended the evening, again showcasing a fun back-and-forth between guitar and strings, closing the program on a high note, leaving the audience wanting more.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

In the end, this was a fun performance, a unique evening well worth seeing and hearing, a night that will be long-remembered by the performers and the audience. Thanks to Ace Vaptsarov, the conductors Anthony Sabatino and Sahil Jindal, concertmaster Seoyeon Im, and the talented Guitar Arias Orchestra for a sensational, one-of-a-kind performance. It will be worth keeping an eye on all of the key contributors to this event to see what they’re up to next, as I expect some more unique, enjoyable, culturally forward-looking evenings are in their futures.

Album Review: Jon Mullane – Shine

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Jon Mullane

photo courtesy of ACR Management

Jon Mullane – Shine

Album Review of Jon Mullane: Shine

There’s a total ’80s rock vibe to Jon Mullane‘s Shine. That melodic, tuneful pop-rock that made the careers of singers like Rick Springfield, Starship’s Mickey Thomas, Billy Squier, and others of that era. Jon’s voice is medium-high; the songs are melodic and tuneful, mixing keyboards and guitars; the melodies soar, often almost cheesily. But here’s what’s often forgotten about the best of that genre, the reason it’s timeless. While catchy melodies are a prerequisite, the best vocalists, like Jon, have an emotional edge to their vocals, a connection between singer and song, that cause the tunes to really hit home.

Jon Mullane - Shine

image courtesy of ACR Management

Jon kicks Shine off with the catchy “My New American Girl.” Though I’m hesitant to abuse the Rick Springfield comparison, because Jon’s voice has only a passing resemblance to Rick’s, this song is energetically rather similar to Springfield’s “The American Girl” from his Success Hasn’t Spoiled Me Yet album.

“Shine On Tonight” follows, its very eighties hand-claps punctuating the fun, energetic mid-tempo rocker.

And “Way Up” establishes the hopeful, sedatedly energetic tone of the album – mid-tempo and happy – as its bridges soar and its rock guitar and electronic-edged keyboardwork establish an upbeat energy that well suits Jon’s crisp-with-a-roughness, emotional voice.

Jon Mullane

photo courtesy of ACR Management

Jon has found some recent critical success with another of my favorite songs on Shine. The video for single “Born Beautiful” was honored by the International Music and Entertainment Awards as 2016 Music Video of the Year. The song itself is a heartstring-tugging, emotional mid-tempo number that pops with soaring vocal and musical releases.

“Take Me Away” brings back the hand claps and energetic enthusiasm. Again with the soaring vocals; by now it’s apparent they’re a Jon Mullane staple, a well-honed calling card that distinguish the songs on this album as being uniquely and engagingly his.

Jon Mullane

photo courtesy of ACR Management

Distorted guitar takes center stage on a couple late-album numbers worth mentioning. The energy and enthusiasm of “So Into U” and “Body Rock” are great eighties-flavored rock numbers that keep the energy going… and the body moving (or “rocking”), setting the listener up for the well-placed soft landing.

Indeed, the album closes with a second rendition of the powerful emotional ballad “Any Other Way.” If there’s a song on Shine that’ll make you cry, this is the one… both times. Even if you don’t listen to the lyrics, you’ll feel it from the gravel in Jon’s vocals and the way his voice cracks in the “emotional spots.” Great performance of a heartugger; classic way to end the disc.

Album Review: Jay Taylor – Hold On

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Jay Taylor

photo by Geoff Wilbur

Jay Taylor – Hold On

EP Review of Jay Taylor: Hold On

That voice. There’s something special about Jay Taylor‘s voice. Something completely country about it, too. Not modern country, though. Not necessarily old-school country, either. I’d call it timeless country. He can do the old-school songs, which are clearly close to his heart, and make them seem modern and appealing to audiences across the country sub-genres. Of course, I raved about Jay’s voice when I wrote this live review a couple months ago. And I’m sure I’ll do it again next time I write about him.

The songs on this five-track EP are earworms. Give them a listen and they’ll come back to you at the oddest times. Hold On is a collection of well-written songs delivered by one of the finest country voices you’ll ever hear.

Jay Taylor - Hold OnThis disc kicks off with the song that hooked me when I first heard it months ago, the title track “Hold On.” Right off the bat, the twanging guitar will grab you, and Jay’s earnestly powerful vocal joins right in, evolving “Hold On” into the hookiest, catchiest, most fun songs about drinking moonshine you’ve ever heard.

“How I Wanted To” is a heartfelt love-lost song with a twang and drum roll that would be at home in the 1970s but delivered with just enough modern pop and country edge that it stakes its claim as a contemporary number, even featuring a timeless harmonica bridge.

“The Green Dress Song” is another pure country ditty. I always think of slower tempos when I think of George Strait, but I can absolutely hear George’s rich, emotional country voice – with just enough country twang – in Jay’s vocals on this charming uptempo song with enough slide guitar to sound as if it came straight from the Opry stage.

The “ohs” in “The Light” suggest balladic Elvis, but Jay delivers it with a rich, full vocal that’s entirely his own. This lyrically interesting crooner about a nomadic soul would be as at-home in an arena with an audience full of lighters (or smartphone screens) held aloft as it would be in a 1950s high school gymnasium during a homecoming dance.

The nomadic soul theme continues with “Hello Railroad,” but this one has more of a Johnny Cash flavor to it. To no one’s surprise, of course, Jay’s voice is up to the challenge.

In summary, Hold On is catchy, engaging country music that will stand the test of time performed by a modern country boy with one of the finest, most versatile voices you’ll ever hear.

Looking Ahead

Jay’s a fun, laid-back showman with a great voice, so I’ll certainly get out to see him perform again whenever I can if I see he’s performing in my area. If you’re in Charlotte, NC, you’ll get a chance when he’s at Tin Roof of December 2nd. And on December 3rd, he’ll be at the Tin Roof in Columbia, SC. Jay’s schedule includes several other Tin Roof stops, in Lexington, KY on Friday, December 16th, and in Louisville, KY on Saturday, December 17th and Friday December 30th. Several 2017 shows are on Jay’s calendar, again hitting the Tin Roofs in Charlotte, Columbia, Louisville, and Lexington. Click on the tour page of his website for more details on those shows and to see when he adds additional dates. Until you get a chance to hear him perform live, though, check out the Hold On EP.

Live Review: The Accidentals and Carbon Leaf at The Sinclair

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Carbon Leaf and The Accidentals

Carbon Leaf and The Accidentals; photo by Geoff Wilbur

The Accidentals and Carbon Leaf

The Sinclair, Cambridge, MA

November 19, 2016

The Backstory

You’ve read Joe Szilvagyi’s review of The Accidentals’ Parking Lot EP here in this Blog. Joe discovered The Accidentals this past summer. Joe and I have vastly different musical tastes; we rarely listen to the same bands. (He’s a terrific judge of talent and a great music reviewer, and I enjoy having him write for me because he’s knowledgeable about styles of music that aren’t my bailiwick, but our personal music collections have very little overlap.) In this case, though, after reading Joe’s review and listening to the band’s recent release, I’ve joined Joe as a fan of The Accidentals’ music. So when I noticed The Accidentals were going to be in the Boston area, I circled the date on my calendar… and then hoped a non-music-related event wouldn’t get in the way.

The Accidentals

The Accidentals; photo by Geoff Wilbur

The Opening Act: The Accidentals

Full of energy and sporting an identifiable sound all their own, genre-busting trio The Accidentals energized a crowd that was mostly discovering them for the first time. If I had to describe The Accidentals’ music, I’d call it a pop-friendly, folk-influenced, classically-progressive, personality-infused blend of catchy songs and impressive musicianship. Combined with an engaging stage presence, this is a group with all the tools for a long, successful career. And there’s even a quirky edge to some of its songs that might lend itself well to independent film soundtracks as an introductory outlet.

The Accidentals

The Accidentals; photo by Geoff Wilbur

On this particular night, right out of the gate, drummer Michael Dause got things rolling, joined soon by string multi-instrumentalists Katie Larson and Savannah Buist. Savannah and Katie swapped lead instrumental duties throughout the set, while vocally, Savannah’s vocals are a bit quirkier, while Katie’s a bit more straightforward folky-indie-rock. And Michael’s voice maybe a little crisply high when he’s asked to lead.

The Accidentals

The Accidentals; photo by Geoff Wilbur

The positive energy from the opening number carried through to the band’s smooth second song, “The Silence,” from the band’s Bittersweet album. (Actually, to be fair, the energy ran throughout the set.)

Next up was a new song, “Stitches and Seams,” an engaging folky alt-rocker featuring Savannah’s quirky vocals atop Katie’s smooth, rich string bed. This was followed by “The Sound a Watch Makes When Enveloped in Cotton,” performed in standard power trio (electric guitar, electric bass, drums) format. Katie shredded on the electric guitar, Savannah rocked the bass throughout (and during the included solo), and Michael augmented his drumming with a brief beat-boxing segment. Altogether, it came across a bit like Johnny Cash… if he was a three-piece, odd alt-rock band.

The Accidentals

The Accidentals; photo by Geoff Wilbur

Skipping ahead, Michael was notably the featured vocalist on an exceptionally enjoyable cover of Rush’s “Tom Sawyer.”

The band then closed with a two songs I recognized from the Parking Lot EP. First was “The End,” a catchy, fun, jug-band-worthy knee-slapper that’s tailor-made to showcase the electric fiddle.

The Accidentals closed their set with “Parking Lot,” the band’s super-catchy EP title track that showcased the group’s live performance at its fully animated best, replete with truly frenetic fiddling; it absolutely, most enthusiastically, brought the house down. In fact, after the show, though the audience was there to see its beloved Carbon Leaf, I overheard several conversations about the terrific “opening band.” I’m pretty sure The Accidentals made a big step toward building a small legion of new fans in Boston with their set.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

The Headliners: Carbon Leaf

Carbon Leaf has been around a while. Since before the members of The Accidentals were born, in fact. And they’ve built a huge fanbase who turn out to see their performances. A large, packed concert hall full of fans enthusiastically singing along… it felt like the sort of crowd that might follow a band like Phish around at times. The audience spanned generations, combining those who’ve known the band for a couple decades with more recent converts. As Carbon Leaf explained late in the set, this year’s touring was a bit light, and the band approached this show a little differently, playing longtime favorites toward the middle of the set and playing deeper album cuts than might be expected at a typical rock concert.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

Carbon Leaf has been said to have Celtic, folk, and even some country influences in its alt-rock style. Indeed, I heard them all throughout the evening.

The band opened with “Miss Hollywood,” its smooth rock backdrop supporting insistent alt-rock vocals.

Later songs churned through Carbon Leaf’s mix of stylistic influences. Many of the catchier songs sport a bit of a slightly-Celtic-influenced Barenaked Ladies alt-rock sound. Just a bit, though, as Carbon Leaf’s music sounds like no one else’s. Or, perhaps, a bit like everyone else’s, as its sound navigates so many styles adeptly.

The first song to get the packed house singing along was “What About Everything,” a poppy alt-rocker with a folk edge. Thus began a string of crowd favorites. In fact, the crowd sang whole segments of “I Don’t Know Where to Begin,” a song quite well-suited for a campfire singalong.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

It was followed by the most hoedown, square dance-worthy ditty of the evening, “7 Brides for 7 Sinners.” And then Carbon Leaf’s biggest-ever hit, “Life Less Ordinary,” was delivered with great rocking energy that, naturally, had the entire audience singing along. Both great tunes, and a back-to-back pairing that showcased the broad diversity within the band’s repertoire.

The Accidentals then joined Carbon Leaf on stage for a single song, a rousing rendition of “Let Your Troubles Roll By” that turned into an extended jam among the talented musicians onstage.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

The next couple songs showcased significant penny whistle work from vocalist Barry Privett, and another sported some psychedelic blues guitar, while great Irish drinking song-styled “The Donnybrook Affair” really brought out the rowdiest side of the crowd.

The two-song encore that ended this raucous evening began with acoustically psychedelic “November (Makebelieve)” and ended with “I Know the Reason” and its big rockin’ hook, a satisfying end to a fun evening.

Looking Ahead

The Sinclair gig was The Accidentals’ last night on the road with Carbon Leaf, but each band has some upcoming gigs.

The Accidentals have a (snow) flurry of Michigan shows scheduled during the remainder of 2016. You can catch them in Grosse Point on November 26th, Elk Rapids and Williamsburg on November 27th, Grand Haven on December 2nd, Rockford on December 3rd, and Traverse City on December 16th. For details on these shows, as well as several 2017 shows (including a January west coast swing with Martin Sexton), check the tour page on The Accidentals’ website.

Carbon Leaf will be in Londonderry, NH on December 1st and 2nd, Philadelphia, PA on December 3rd, Annapolis, MD on December 9th and 10th, Alexandria, VA on December 15th and 16th, and Richmond, VA on December 17th. Further information on those dates, plus a southeast tour in February 2017, can be found on the tour page of Carbon Leaf’s website.

Album Review: Sonic Syndicate – Confessions

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Sonic Syndicate

photo courtesy of Head First Entertainment

Album Review of Sonic Syndicate: Confessions

My first thought when I heard “Confessions,” the title track, was that George Michael was singing synth-pop with a heavy backbeat and rock guitars. An intriguing opening track, it announces a brand new sound for Sonic Syndicate, and even as Confessions settles into its heavy melodic synth-infused rock core, it is very much unlike anything else in my collection and quite different from Sonic Syndicate’s prior releases. I’m sure it’s causing quite a bit of consternation among the band’s legion of existing fans.

Sonic Syndicate - Confessions

image courtesy of Head First Entertainment

Indeed, yes, when Nathan J. Biggs took over vocal duties on We Rule the Night, there was a noticeably more melodic shift, but Confessions is a seismic departure. I’m intrigued, but I also wasn’t a devoted fan before the change, so I enter the equation without preconceived notions. The synth-driven beats, pop vocal sensibility, and persistent beat (almost like you’d expect in a dance club) are truly a hybrid sound. On this disc, Nathan and founding guitarist Robin Sjunnerson are joined by Michel Bärzén on bass, as well as other musicians in the studio. And they’ve produced a one-of-a-kind sound worth taking a chance on.

Third track “Start a War” is a standout track, as it builds to power, stops and starts a bit, and plunges forward with an infectious heavy melodic rhythm.

Throughout the album, there are small details – like the guitar run in “Falling,” for example – that serve as hooks while showing the care that went into the song construction and production here. And the bursts of power in “Burn to Live,” strung together with softer vocal bridges and walls of synth and guitar provide the song with an engaging energy.

Beyond that, I suppose “Still Believe” would be a ballad in the scheme of Sonic Syndicate’s sound, with its slower pace, and there’s a seriously pop angle to the vocals, but the heavy drums are still there. Second-to-last song “Closure,” though, is Confessions‘ true ballad, with what sound like soaring strings toward its conclusion.

The album itself concludes with “Halfway Down the Road,” a mid-tempo rocker featuring an old-school classic rock guitar solo; this final song itself is largely unlike the other tracks on the disc.

In all, Confessions is a daring departure for Sonic Syndicate. For the band’s longtime fans, if their musical tastes don’t span the musical spectrum, they may not be excited by the change (to put it lightly). Indeed, I expect the backlash to be brutal from some corners of the metal community, but for those whose fandom is not wedded to a specific genre or sub-genre, it’s an intriguing disc. I tip my hat to Sonic Syndicate for such bold experimentation, and I do have a couple favorite tracks on this album.

Live Shows

Sonic Syndicate’s upcoming live shows, as listed on their website, are tonight, November 19th at Majestic Music Club in Bratislava, Slovakia; tomorrow, November 20th at Simm City in Vienna, Austria; February 8th at Klubi in Tampere, Finland; February 9th at Lutakko in Jyvaskyla, Finland; and February 10th at Virgin Oil Co in Helsinki, Finland. Check the Sonic Syndicate website’s “Shows” page for further details and additional live dates as they’re added.

Album Review: The Lucky Losers – In Any Town

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The Lucky Losers

photo courtesy of Frank Roszak Promotions

The Lucky Losers – In Any Town

Album Review of The Lucky Losers: In Any Town

Cathy Lemons and Phil Berkowitz are the lead vocal pair of San Francisco’s The Lucky Losers, a place where the blues meet ’60s psychedelic organ rock while fronted by a cloud-pleasing vocal duo with chemistry and sometimes almost loungy banter. The band is rounded out by Marvin Greene on guitar, Chris Burns on keyboards, Tim Wagar on bass, and Robi Bean on drums.

The Lucky Losers - In Any Town

image courtesy of Frank Roszak Promotions

The Lucky Losers kick off In Any Town with “So High,” whose soaring blues vocals and organ are supplemented by Berkowitz’s harmonica-work and psychedelic lead guitar from one of the many guest musicians on the album, Kid Andersen.

Lemons opens the next song, “It Ain’t Enough,” with a sultry vocal that’ll bring to mind a hot summer day in New Orleans in a shady PI’s office, with the constant hum of the fan obscuring a troubled dame’s pleas for help solving a crime when the cops won’t help, even though she can only pay the investigator with her grandmother’s diamond necklace, and the gumshoe isn’t entirely sure she wasn’t behind the crime all along. Or something like that. And the song maintains that feeling through keyboards, harmonica, and guitar riffs that complement the vocals.

The duo introduces its interpersonal playfulness on “Jackson,” though the true showcase for their banter is “I Can’t Change Ya,” a tune which, itself, has frenetic energy.

The Lucky Losers

photo courtesy of Frank Roszak Promotions

Perhaps my favorite song on the album is “Blind Man in the Dark,” a peppy number that mixes Motown and blues along with almost Randy Newman-esque vocals.

“In Any Town” has the sparse, tumbleweed Western ghost town blues flavor, slow and soulful with Berkowitz’s harmonica riffs punctuating Lemons’ rich, lamenting vocals, complemented by meandering guitar.

And closing track “Small Town Talk” is a vocal duet that just seems like an album-ender, coolly and confidently winding down the record as if it’s playing the performers off of the stage at the end of a show.

Really, beginning to end, this is a solid disc; a collection like this will satisfy loyal fans while expanding these talented singers’ audience.

Looking Ahead

You can catch The Lucky Losers live tomorrow night, Friday, November 18th at The Carlos Club in San Carlos, CA. In December, they’ll also be at the Smoking Pig (with Kid Andersen) in Fremont, CA on Friday, December 2nd and at The Saloon in San Francisco, CA on Thursday, December 15th. To see more information on those dates, new dates as they’re added, and 2017 dates already scheduled in Berkeley, CA, Houston, TX, New Orleans, LA, Englewood, FL, and Vero Beach, FL, check the live show calendar on The Lucky Losers’ website.

Live Review: Station at Arlene’s Grocery

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Station

photo by Geoff Wilbur

Station

Arlene’s Grocery, New York, NY

November 11, 2016

There’s always a place for a solid, fun, melodic hard rock band. Something you’d see on the Sunset Strip in the 1980s. And, of course, across your radio dial during the same time frame. That’s where Station comes in. They’re a fun-loving, talented five-piece that carries that 1980s-style small-venue concert party atmosphere into its rightful place in the current music landscape.

This concert reminded me of my pre-rock journalist days, catching great touring hard rock bands at Paolo’s in Grand Rapids, The Apple Core Lounge in Shelbyville, or the Silver Dollar Saloon in Lansing (before it “went country”). It reminded me of the great “hair band” (I always hated that term — it’s about the music, the performance, and the atmosphere, not the hair) scene in Boston when I was writing for Tough Tracks in the late eighties/early nineties, hitting clubs like The Channel, Axis, Bunratty’s, and Narcissus.

And I’m enjoying seeing this style return to the scene a bit more, since this is the kind of music that can provide that big arena show experience in a small club. At least, that’s true when it’s done right. And Station rocked Arlene’s Grocery with gusto last night. In addition, many of the fans in the packed venue were singing along, enthusiastic to see the band’s final New York City show of 2016. When the crowd knows the words, you know you’re seeing a band with a loyal following.

I arrived as the show was beginning, walking in during “Dressed to Kill,” an ’80s rocker with great rhythm in the vocal, an ever-so-slightly funky edge to an otherwise straight-ahead, forceful rockin’ tune.

Station

photo by Geoff Wilbur

At times during the set, the bands songs reminded me of The Who (specifically “Baba O’Riley”), ’80s Kiss, Nazareth, Faster Pussycat… most often, though, Station’s music was an interesting blend of hard rocking Legs Diamond and more purely melodic Sleeze Beez. Station’s performance was built around ample use of appropriate, well-placed, often blistering guitar solos, an occasionally stage-stealing bass player, and vocals that frequently jumped an octave or two during the more intense segments of the songs.

Other standout songs during the evening included “With Me Tonight,” with a monster lead guitar hook; crowd-pleaser “Everything,” on which the vocals most closely recalled Paul Stanley in spots; and “Never Say Never,” which reminds me of Nazareth during the beginning guitarwork and is driven by a heavy rhythm and vocal screams.

It’s also worth mentioning a couple of the band’s new songs, which show there are some solid new songs in the pipeline. Of course, I’m just guessing at the song titles, but the first “new one” of the evening, “If You Want It Hard Enough You’ll Find It…” features a pulsing rhythm and high, emotional vocals. Ample vocal screams and multi-part harmonies accompanied a well-placed tempo change late in the song.

The other new song of note, “Always Be a Part of Me” sports a medium-fast tempo. It’s a romantic song with emotional vocal highlights, a steady rhythm, and a bit of a guitar hook.

Station

photo by Geoff Wilbur

Late-set standout “Are You Sleeping Alone” struck me as a potential hit, with melodic harmonies and hooks, all within the requisite guitar-heavy framework.

The encore, “I Don’t Want to Know Your Name,” was another song with a potentially broad appeal. Musically, it sported the entire guitar hero arsenal, which a catchy rhythm and exceptionally melodic vocals, rising and falling with power and emotion. A crowd-pleaser, this was a great way to end a gig.

In the end, Station delivers some pretty standard melodic metal fare. The band has its own performance and songwriting style, which is how fans distinguish among this type of band to find their favorites. But the show itself is guaranteed to be a crowd-pleaser. And on this night, Station did a fine job of rocking Arlene’s Grocery with an hour and a half of guitar shredding, hard rock screams, and party atmosphere, maintaining an intensity of 10 on a 10 scale non-stop for 90 minutes. Absolutely a band worth catching for those seeking a rock concert experience. I also look forward to hearing what Station’s next album brings.

Looking Ahead

Station has a couple Connecticut shows coming up later this month: November 19th at Cook’s Cafe in Naugatuck, CT and November 29th (with Theory of a Deadman) at The Ridgefield Playhouse in Ridgefield, CT. Check the band’s “shows” page for additional information and future dates as they’re added.

Meanwhile, I’ll be wrapping up my New York trip tonight by attending my fifth show in six nights. I’ll be at the Knitting Factory in Brooklyn to see The Dayz.