buffaBLOG - The Buffalo music blog: instrumental

Showing posts with label instrumental. Show all posts

hip hop, instrumental, jon stubbs, vanessa — 2 comments

Buffalo Beatmaker Jon Stubbs Releases Nostalgic Album

Clocking in at just under 16 minutes, this might be the first album that took less time to listen to than to write about. Titled Nostalgic, it truly does bring you back to a simpler time in hip hop. Beats, breaks, and samples abound on this nine-track head-nodder, the latest effort from Buffalo beatmaker Jon Stubbs. The instrumental tracks blend into each other smoothly, and because the album is so brief, it doesn't get stale to simply have background beats.

Peep out the self-proclaimed "legendary" 22-year-old's soundcloud here, and because spring is so so close to being sprung, here's "Seasons Change," a standout track from the album, which dropped March 12th.

beat tape, daulhaus, instrumental, network, sknapp — 0 comments

Dahlhaus Releases Debut Beat Compilation

Back in July of last year, the self-titled debut of Buffalo experimental rap duo Network was named our album of the week. The noirish combination of MC Quinton Brock's delivery and Derek Sullivan's atmospheric production made for one of the most interesting local releases of 2013. Earlier this week, Sullivan released a 15 track compilation of beats titled Rough Tor, featuring reflective vocal sampling and gritty percussion. Much of the collection is quite similar to his production for Network, like the soulful "Slider" and the Cocteau Twins sampling "Supra." Other tracks take a much more sparse and cinematic approach like "The Vulture," "Crooked Teeth," and "Pommac," further proving that the producer is capable a concise, minimal sound that is equally affecting with or without lyrics. The entire compilation can be downloaded for free from Dahlhaus' soundcloud page. Listen below.

Album review, Bryce Dessner, classical, classical music, instrumental, jonny greenwood, ryan, ryan wolf, st. carolyn by the sea, there will be blood — 0 comments

Album Review: Jonny Greenwood / Bryce Dessner - St. Carolyn by the Sea / Suite from "There Will Be Blood"

Although indie and alternative music might aspire toward a certain avant-garde edginess, much of it is, from a music theory standpoint, fairly simplistic. Perhaps its the three-to-four chord punk and folk influences at play. Perhaps its the scene's initial emphasis on DIY ethics and a certain scorn toward polished, overly academic approaches to songwriting. Or perhaps rock n' roll in general will never quite compete on a technical level with Beethoven's symphonies. Regardless, and minus a few post-rock/baroque pop exceptions, music from indie and alternative bands often seems quite distanced from the classical tradition.

Radiohead guitarist Jonny Greenwood and Bryce Dessner of The National, however, testify to other possibilities for artists typically associated with alt-rock. On a split compilation released through Deutsche Grammophon and Universal Classics, the two present original compositions of elegant, at times harrowing, classical music.

Dessner's three lengthy tracks on the album do make some use of electric guitar. This occasionally reminds listeners of his contributions to The National, particularly around the halfway point of "Raphael." In general though, Dessner has eschewed the electronic influences that accompany many instrumental works performed by contemporary artists associated with rock bands. His gorgeous, ornate, orchestral creations sound timeless and sincere.

Greenwood proves the grimmer of the pair, offering nine shorter pieces from his score to Paul Thomas Anderson's 2007 masterpiece There Will Be Blood. His music is sharper and more malicious than Dessner's, bringing a menacing undercurrent to the fluttering arrangements. "Henry Plainview," with its beehive of strings is particularly unnerving, if not muted on record compared the film's use of the theme.

Throughout the compilation, both Greenwood and Dessner emerge as accomplished composers. They demonstrate that though experimentation in the arts can be illuminating, at times older notions of beauty resonate even as aesthetic trends, fashions, and priorities change.

Grade: A-

buffalo hip hop, instrumental, sknapp, spike scott — 1 comments

Local Producer Spike Scott Releases Debut Beat Tape

As the Buffalo hip hop community continues to grow, the work of artists like Network, Koolie High, Jack Toft, along with mainstay collective Essential Vitamins Crew, allows us to get an idea of where our local scene stands in relation to the genre as a whole, which has become increasingly hard to define in recent years as new influences have made for some boldly progressive, yet divisive work. Each interpretation of rap music comes with its own eccentricities and whether the focus is on lyricism or production, the tone of the artist is something that always manages become apparent upon first listen.

Relatively unknown producer Spike Scott creates instrumentals that have a certain reflective, daydreaming quality which brings to mind the work of Los Angeles beatmaker's Flying Lotus and Madlib. Scott incorporates samples ranging from world music to jazz and ambient works to make for a moody, ethereal sound that establishes itself as one of the more unique and developed styles to come out locally in some time. His first instrumental collection, Tape.43 (available as a free download), is an engaging listen that brings up the question of which local MC will be the first to get ahold of these as the potential for a stunning collaboration is clear from tracks like "Give Love A Chance" and "Untitled." Other tracks like the soulful, ambitious "I Spoke To The Lunar Eclipse" and the DJ Shadow inspired "Shoegaze" are signs of an artist with an impressive range whose work so far hints at great things to come for our city's scene and hopefully a full length album. Check out the tape below.

Album of the Week, instrumental, Nick, young suns — 1 comments

Album of the Week: Young Suns - Young Suns

Young Suns is heavy. They are also beautiful. This dichotomy is what makes them an excellent band. The Buffalo four-piece, comprised of guitarists Ryan Higgins and Dan Moscov, bassist Ron Hensberry, and drummer Adam Lilley, play expansive instrumental songs that bring to mind other ambience-rockers in Explosions in the Sky or Russian Circles. Seeing as how they are an instrumental band, the comparisons to other instrumental bands are inevitable, but Young Suns are a unique breed. Their songs would and could work well with a vocalist, they just choose not to have one. Listeners are rewarded with an interesting experience - the opportunity to listen to a passionate collection of songs without the distraction of lyrics.

Their 7-song, self-titled EP is a collection of powerful crescendos and dark ambience, starting off with the discordant "AB AETERNO." Immediately, Young Suns introduces their deep, distorted baritone guitars and huge drums. "AB AETERNO" is a menacing introduction to an album full of similar, brutal but not-too-violent tunes. One of my favorite parts of this album is the abrupt change from "AB AETERNO" to the fast-paced opening riff of "TITANS." I wasn't expecting the one-two punch between the songs, but it helped me realize that Young Suns knows how to keep your mood elevated.

One of my personal favorite tracks on Young Suns is "FROM THE ASHES RISE THE PHOENIX." If I had to pick a song that perfectly describes what Young Suns is all about, this would be the one. Trying to assign a feeling to a wordless song is a challenge I don't often face, but Young Suns are able to stir something up in me. I can't quite put my finger on it so I'll try to put it into some sort of awful metaphor - it's kind of like the background music in scary movies where it wouldn't be the same without it. Young Suns is the background music to my angst - they are able to intensify the way I feel about a particular problem or situation. They don't necessarily tell me how to feel with words, but I do find that their music has the potential to alter moods.

I also have to hand it to Young Suns for not taking the absence of a vocalist as license to let loose and fill their music with a thousand face-melting (no pun intended, Young Suns) riffs. I agree that there is a time and a place for that, but instead, Young Suns treats us to a variety of pleasant guitar riffs and dark moods with an emphasis on ambience. In "CRESYL VIOLET STAIN" for instance - the song is full of riffs, but none that challenge the inherent sense of melody that carries through the entire song. Even when the riffs get pretty heavy, like the infinite delay on the lead guitar at the end of "ROBOT PARADE," everything just sounds impressive and expressive. The lack of self-indulgence on Young Suns is refreshing.

In my personal opinion, I find that instrumental bands have the tendency to "noodle" too much. Before you know it, songs are hitting that drawn-out eight minute mark where you are looking forward to the end of the song instead of living in the moment like the artist was hoping you would. Young Suns songs rarely breach the four-minute mark, so it isn't a chore to sit down and listen to them. What makes things interesting is that there is never an opportunity to sit down and dwell on anything for too long - many times their songs come and go so quickly that they warrant many more listens to truly grasp.

The one time Young Suns does happen to hit the seven minute mark is the incredible "AD INFINITUM." This song has it all. It's one emotionally brilliant breakdown after another. Every time I thought the song was winding down, it crescendoed into another huge wall of sound or some more urgent ambience. That's the power of Young Suns, they can't tell me what to expect with lyrics, so I just listen and let the music speak for itself.

chris brokaw, classical, Concert Review, drew, ennio morricone, instrumental, mikael akerfeldt, mono, opeth, review, soundlab, supernaut, westerns — 0 comments

Concert Review: MONO

If the famed Italian composer Ennio Morricone is synonymous with the music of "Spaghetti Western" movies than the best way I can describe the music of MONO (their live performances anyway) is like a "Sushi Western"...

...that, or sex music for drug people.

There is an air of mystery to them, for sure. They take the stage with nary a word to anyone and launch into light and fanciful guitar work that cascades into a vast, roaring sea of noise. Dialed in, calculated noise. Nothing that happens on the stage happens without MONO intending for it to. Ten years of perfecting their sound has led to a band so disciplined that, at some points during the show, it almost seems as if the music is making itself... it's that organic.

MONO's current tour is in support of their latest album, For My Parents. Their newest material comprised the bulk of the setlist as their latest effort was just released on September 4th.

The choice of songs performed at the show was the one minor drawback for me. Everything was performed impeccably but songs tended to become indiscernible from one another at times due to the overarching theme of For My Parents. It would have been nice to hear some more material from their back catalog (which, I know, is often a complaint of fans... I also go back to one of the greatest statements I've ever heard a musician make from stage when Mikael Akerfeldt of Opeth said something along the lines of "You may not like some of the music we are about to play but as musicians we feel that it is important to like the music you make. If you're going to release new music then you need to stand behind it... and we like our music. We're not going to go on tour and play the same tired songs every tour like some other bands do, no, we are always moving forward". That has stuck with me and I will always respect an artists' motivation to share their newest music with their audience). I also realize that MONO's songs are almost all over ten minutes long and there are only so many songs they can play in a given night.

The energy certainly made up for any similarities between songs, however. One doesn't often associate "high energy" with a band that features both guitarists sitting on stools for the major duration of a show... MONO proves that theory to be incorrect. Guitarists Takaakira Goto and Hideki Suematsu emitted focused energy whether they were fingerpicking light chord shapes or thrashing away at their guitars with tremolo picking insanity. All while Tamaki Kunishi kept the driving rhythm going via bass or piano as she swayed back and forth to the force of the song. This was all brought together by the thunderous drumming of Yasunori Takada who made judicious use of both a timpani and gong in addition to his standard drum kit... the gong was awesome and, for once, fully utilized rather than serving as a showpiece for an egomaniacal rock drummer who only uses it to finish a drum solo.

No vocals. No crowd banter. No egos. Pure instrumental symphonic music.

After attending the show, I am certainly looking forward to checking out more of their back catalog to see what their other material sounds like.