Latest Posts

Secret Pizza – Nothing Needs to Happen

May 29, 2016

Rochester’s Secret Pizza doesn’t sound cheesy like their name might imply. Instead, they embody badassitude, something the sweet, old lady with sunglasses on the black and white cover of SP’s upcoming release, Nothing Needs to Happen, carries. Nothing Needs to Happen is the group’s first proper LP, wrangling in tracks from previously released EPs and sessions, and man does it hit home. The albums starts of with “Where do we go from here?” a roaring, feedback-filled swarm of music. “No, I’m not that steady,” sings Phil Shaw, admitting to a feeling many know well. The song continues by raveling you into a fuzzy blanket of guitars, keeping you awake with a kickass bassline. “Where do we go from here?” is answered by, “Anywhere!” The screams and fighting of the instruments turn the listener into a well-understood pile of mush. “Oh my my,” is hushed at first, at least before Secret Pizza[...]

The Nigh – Fluorescent Sun

May 16, 2016

The Nigh is secretly sneaking into your midnight streams, already too close for comfort, of course. Hailing from Buffalo, New York, The Nigh does our music scene certain justice with their dark release, Fluorescent Sun. The LP as a whole is grey, bleak, and watery. The cover art depicts a “white hole” rather than black, prompting the onlooker/listener to wonder if, sarcastically, that bright something was something always to be out of reach. “…” ushers the wondering wanderer from that thought to a blissfully black fifty-second track that ends in an exciting synth flourish. Quieted, “I’ll Go Missing” kicks in. It’s a spacious, slightly funky track. The vocals bounce between each headphone. “We could run away just long enough to say I’d go missing,” is the lyrical lick of the song. It’s delivered as if the singer’s ready to run. The chorus is a solid mix of distorted guitar, ringing[...]

Wylie Something – untitled, unfinished, yet mastered?

May 2, 2016

The latest offering from Wylie Something is a compilation called untitled, unfinished, yet mastered?, presumably a take on Kendrick Lamar’s untitled/unmastered. Wylie Something is the moniker for Buffalo-native turned Philadelphia-based college student, Jacob Smolinski. If you have been exposed to Smolinski’s other works (The Cascos, or most recently Local Onlys), then you know the musician is keen to writing features catchy and danceable indie rock. Released through local label Steak & Cake Records, it consists of songs he wrote over the past few years but didn’t know what to do with, assembled and mastered by producer Brandon Schila. Schila’s work extends beyond the production. He lends a hand on the compositions as well, taking on the role of bassist and drummer. Also present are backing vocals from Maggie Maloney. These contributions help round out the songs and bring Wylie’s tunes to life. Virtually every song is tight and compact, with[...]

The Slums – SORRY

April 25, 2016

SORRY marks The Slums’ first LP release since their inception, and as the band themselves suggested, please blare it from your speakers. This heavyhearted giant is here to apologize for something, or is maybe just stuck in a desperate, depressing downward spiral. Regardless, brutalizing your instruments, screaming your sorrows, and creating nasty, anger-driven material is one way to either get things out of your system or get who/what is causing you pain away from you. Like really far away from you. The Slums have blessed us with a relatable hard rock album, taking pages from Brand New’s and Kevin Devine & The Goddamn Band’s books. “Gospel Part I” is the first song on this black album. The LP opener bursts into livelihood after a quiet, overdriven guitar riff. My initial thought when hearing this track was, “… it sounds broken.” That idea was immediately backed by the lyrics, “I’m punctured[...]

The Demos – Paramount Clouds EP

April 4, 2016

Making music is not an effortless endeavor. But Rochester’s The Demos sure make it seem that way. Their polished blend of indie powerpop is unabashedly catchy and clean, and the music just seems to flow from them. It’s been a hot minute since we’ve heard a collection of tracks from this outfit (their last release was 2011’s LP Lovely), but the band is still slinging hooks. Their new EP Paramount Clouds builds on the same indie rock foundation as their 2011 effort, refining the formula and smoothing the edges of their craft. The EP starts as you may expect, a pronounced drumbeat drives a backdrop of synth strings on “I Don’t Mind.” Bass drops in soon after that, but not before vocalist Jason Milton lays a smooth croon down. By the time the chorus hits, you’re left fumbling for the year—the whole package conjures early 2000’s indie rock a la[...]

Bold Folly – Queen City Tuesday

March 28, 2016

Though Bold Folly is a relatively new venture, the trio hasn’t wasted any time when it comes to gigging regularly or cranking out their debut EP, Queen City Tuesday. The neatly packaged four song release offers a lot to hang onto upon first listen — fingerstyle-heavy guitar riffs, fuzzy bass lines, compelling chord changes. There’s a real texture to their sound that’s digestible and creates a unique brand of psych rock all their own. The second track and most stand-out is“Hangin’ Out,” a six minute tune that’s maybe a bit theatrical in its composition and buildup. The slinky, twang-driven instrumental intro conjures up a sound reminiscent of 60’s bigwigs like Jefferson Airplane and The Doors. Lead vocalist Timothy Zdrojewski’s voice is equally fitting and effective in its toned down state (which oddly reminds me of Krill’s lead singer, Jonah Furman, though it may just be the vocal effect that’s used) as[...]

Plain Brown Envelopes – Love In A Plain Brown Envelope

March 21, 2016

Alright Buffalo, let’s slow it down a bit. This week’s AOTW comes from a fresh collaboration between songwriter Bill Nehill (TMMC, Poison Arrows) and arranger Katie Quider (Space Is Haunted, The Patterns). The new project, titled Plain Brown Envelopes, channels low-tempo dark folk vibes, Nehill’s brooding songwriting conjuring Jeff Mangum in his darker moments and at a significantly lessened BPM. Quider’s backup vocals and arrangements provide a ghostly edge to the gothic-tinged folk project, whose eight-track debut Love In A Plain Brown Envelope offers a deceptively powerful collection of tracks perfect for the last gasp of a long winter. At the core of Plain Brown Envelopes sits the enduring songwriting of Bill Nehill. The craft is juxtaposed nicely with elements of both stoicism and desperation, tonalities spread throughout the album like a hand of fanned-out playing cards. The strange thing about this album is the fact that it was recorded[...]

Joywave – Swish

March 14, 2016

One straight half hour listen through later and I can totally see why after only a few days of availability, Swish has taken the world by storm. There’s no doubt that Joywave’s newest 10 song release will take you on a ride. Not necessarily a roller coaster ride, more like a gentle lift on the back of a golf cart while doing donuts in a parking lot at ten miles per hour (this is a compliment because it is a very fun time doing golf cart donuts!!!). Though the title of the release utilizes one of Kanye West’s discarded album name ideas, the band boldly claimed the appellation for themselves and made it every bit their own. It’s clear that they wanted to stick with the aesthetic of the How Do You Feel Now? era based on the cover artwork, and how could they not? After expressing his fond attachment[...]

Difficult Night – In a Blackhole at the Listening of Distant Harpers in the Dim Gloam of Evening

February 29, 2016

Difficult Night is somewhat of an anomaly.  An anomaly in the fact that the unique Buffalo quartet is fundamentally unclassifiable. The oft-coined “slacker rock” designation only goes so far, “indie rock” is an even broader cop out. Classifications (or lack thereof) aside, I can concretely say that the band does what they want, a project unburdened by the shackles of expectation. Their latest album, In a Blackhole at the Listening of Distant Harpers in the Dim Gloam of Evening (inhales), lays foundation on that sentiment, making the collection of songs deliciously raw and unapologetically soaked in truth. Blackhole seems to shine brightest in its elements of observation and introspection. “I used to believe in signs / before I knew how to read ‘em,” sings Shane Meyer on midtempo number “Turn My Back,” track two of the 9-track album. Many of the songs feel like face-to-face conversations with Meyer, an unfiltered[...]

Hawker M. James – Long Playing Lo-Fidelity

February 15, 2016

The bedroom recording is catnip, nay, manna for music bloggers, but Long Playing Lo-Fidelity by Rochester wunderkind multi-instrumentalist Hawker M. James hits so many sweet spots, it’s almost ridiculous. A brilliantly curated four track recording that successfully summons the gorgeous ear candy sounds of The Flaming Lips 1999-2006, I’m From Barcelona, Mercury Rev and Brian Wilson, it’s another tremendous record from our neighbors to the east, and our Album Of The Week. Right off the bat it has to be noted that the mix by Al Carlson at Gary’s Electric is beyond superb. Everything on the album has a scale and sense of space to it, helping HMJ’s home recordings operate in the sonic sandboxes of Phil Spector, Brian Wilson, Steve Drozd and Dave Friddman. The sense of density that permeates  Long Playing Lo-Fidelity makes it feel timeless yet immediate and showcases the talent and ambition that’s been part of Longwave and done production work for (blog favorites)[...]

Muler – Unlikely Soldiers

February 8, 2016

If there’s one thing I have learned thus far in life, it’s that there is no substitute for experience. In terms of being a musician, there’s a certain type of maturity that comes with two and a half decades of playing music together. It’s an unbreakable but tumultuous bond that controls the subtle nuances that take a band from being good to being nuanced. Rochester’s Muler has been a band since 1992 – that’s a lot of life experience. Unlikely Soldiers is Muler’s triumphant second full length since reforming five years ago. The songs are tightly wound, catchy, and earnest, comparable to The Get Up Kids in their Guilt Show-era. In fact, the vibes while listening to Unlikely Soldiers are enough to bring me back about 15 years in time. This is welcome nostalgia; a listen through Unlikely Soldiers feels like 2002 surging through my ears. This batch of 10 songs would sit nicely upon a shelf next[...]

Tomoreaux – At Peace, Overlook

February 1, 2016

Welcome back, readers! This week marks the return of buffaBLOG’s Album of the Week series—our weekly dose of recommended local music that we find to be worthy of commendation. We here at buffaBLOG have primarily covered Buffalo and Rochester over the past 6 years, and while both music scenes are brimming with talent worthy of mention, this year we will be expanding our coverage to include bands that call home to the farther reaches of the state. So with the new year, and our broadened range of coverage, the Album of the Week slot becomes the best of the best of the best of local music. With that said, it seems only fitting that the first Album of the Week of 2016 comes at you right from the snowy confines of good ol’ Buffalo. Enter At Peace, Overlook, the debut release from post-rock shoegazers Tomoreaux. The album—though only 8 tracks[...]

Parade Chic – One And Only Secret Dream

December 14, 2015

One of the most exciting developments for Buffalo’s music scene has been the emergence of progressive and vibrant art spaces like Sugar City and Dreamland as music venues. These spaces are not only excellent for shows, intimate and immediate; they bring the city’s art and music scenes together in a search for mutual liberation and survival, and foster a more open ethos for both artist and audience that makes bands like Parade Chic, whose debut One And Only Secret dropped on Bandcamp last week, more possible. Our Album of the Week, One And Only Secret Dream finds the previously lo-fi art rockers embracing a richer, almost chamber pop sound that’s preserves the Belle and Sebastian vibe while introducing an early of Montreal influence. Colin Griffin’s vulnerable and searching voice guides the whole effort, with standout cuts like the surging yet delicate “The Birds,” the simultaneously minimalist yet soaring melancholic title track, and[...]

Susanna Rose – Snowbound

December 7, 2015

Though this album was written during and inspired by last winter’s brutal reign (as detailed by Susanna Rose’s Bandcamp), there is something inherently warm and inviting about Snowbound. It takes a minimalistic look at some of life’s most tender moments — parting with a lover, suppressing a broken heart, convincing yourself of your own independence. Susanna possesses an incredible ability to be conversational through her writing. It almost feels as though a longtime friend is seated next to you, sharing her worries and shedding small wisdoms. On “Working Girl,” the opening track to the album, she sings “Oh, I want to go home / where the wind blows / and I’m not in an office every day / I can’t live this way…It’s time to go / because I’m going crazy here in my troubled mind / I need natural light / I need loving at night / I need a passionate life”. I’m sure every 9-to-5’er[...]

Gypsy Freight – I’ll hold this close

November 30, 2015

Ariel Piazza is not your run-of-the-mill college rock musician. Writing and performing under the pseudonym Gypsy Freight, Piazza paints emotional sonic portraits in a vein of ambient folk all her own. Her newest release, a full length titled ‘I’ll hold this close, ‘ bleeds with emotionalism, twelve tracks of ethereal folk atmospheric music worth swimming in. The thing about Gypsy Freight is that it’s not far off from what you’d expect if you were to imagine what the project sounds like based on name alone. That’s not to say the tracks aren’t striking (because they are), but the fact that many of the songs sound as if they were recorded in a halfway-haunted grand cathedral is remarkably suiting. Piazza’s voice is both sweet and powerful; this prowess is especially prominent in tracks like “I don’t know what I’m doing but I’m okay” and “building homes,” her Daughter-esque delivery riding the dark[...]