The track is a straight ahead rocker in a minor key, with deep distortion and a firm low end. There is a funky clavinet-like keyboard that is peppered throughout that balances against the guitars, reminiscent of psych-rock sounds from the late ’60s-early ’70s. Lewis’ mid range lead vocals are smooth and land right on top of the whole mix. There’s a good blend of classic and modern rock, with a slight griminess to it, too; essentially its Tom Petty meets Wilco with a splash of Primus.

Check out the music video for the new single, “Cinnamon Only” below. Be on the look out for the new record Get Wild Somewhere, sometime in May.

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“Let It Go” opens Baby Brother with reckless abandon; Lewis’ hazy yet potent vocals underpinned with fervent driving indie rock, before the band opts for cleaner tones and bright melodies on the following “I’ve Got Mine.”

EP standout “Hanging On” is instantly memorable thanks to culpable melodies that leap off the record as Lewis spins urgent bar after urgent bar (‘What should you say / When my light is fading / And all my bad decisions come collecting / To keep me hanging on / Would you keep me hanging on?’).

The mid-tempo “Ride With Us” features perhaps the best work of drummer Jacob Walsh, and passionate closer “I Want Your Heart” brings Baby Brother full circle by returning the same driving undertones to the record that kicked things off.

If you prefer your indie rock in the vein of say, Modest Mouse, then Baby Brother is an album to get on your radar. Baby Brother is available for purchase at Jon Lewis’ bandcamp.

Written by Brian Campbell

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Exquisite Corpse drives home the idea that unadulterated indie rock is not dead. So many mainstream acts today aim to reinvent the genre–often times favoring decadence over organic musicianship–in an effort to distance themselves from the ordinary; the result can barely be considered indie rock. This exodus of sorts has left a void–a void that Lewis seems to fit perfectly.

With a pop rock sensibility to rival that of Matthew Sweet and hooks around every corner, there is no shortage of catchy material on Exquisite Corpse. The lead single “Pooch” and the corresponding music video vibes hard on nice weather and good company with sunny progressions and vocal melodies, closing out with a pandemonious guitar / organ solo. Also, listen to “Find My Keys” while driving (apropos) and just *try* not groove out Grateful Dead-style. If any song on Exquisite Corpse was written for cruising, that’d be the one.

The rest of the album is as well-rounded as the single. “All Nighter” dials up the psychedelia a bit but retains an infectious charm, “Weak Days” strolls brightly through subject matter on the solemn side, and album opener “Along the Way” is as an opener should be: a balanced representation of the album as a whole.

With an all-star cast of other Rochester musicians on the record (including Dave Drago of 1809 studios, who co-wrote and produced the album), it’d be tough to write something even remotely sub-par. Exquisite Corpse delivers an full-length’s worth of solid summer tunes, listen along below and visit the bandcamp page for digital downloads

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“Everyone Wants to Know,” Song 1, opens the release with tremolo guitar and soft group vocals. “Left his job, left for dead – no one heard what he said,” tells Lewis of the song’s protagonist. One should wonder if Lewis is cooing about his own endeavors. This tune is relatively simple. It’s definitely not a bad thing.  Soulfully sour piano and guitar solos push us forward halfway through the song. The noise seems like the ocean’s calm tide. Another guitar solo, this time more heart wrenching, thrusts us into the final chorus. Song 2, “In My Head,” in decidedly more nineties (think Grandaddy) with a deliciously crunchy fuzz on the rhythm guitar. The song continues the “pained heart trekking onward” style instituted by the first composition. The chorus is a slew rhythmic bursts shared by the entire band. One of the singers gleefully “las” just after the chorus. Perhaps slightly under the radar is the bright falsetto supporting the chorus’ lead vocals. The tune tires itself out with a mess of guitar shreds and vocals.

“I’m Sorry” is a more groovy, beach-y tune. The mellow organ and wailing guitar spread the most emotion, leading you into a steady, hip-led sway. Lewis states, “Well, I want you to know I won’t cry over you.” Further study indicates Lewis’ confidence in a certain relationship, yet he laments that he is broken down by the very same vixen. A break in the song held together by a mellow but shining key pad generates suspense. The keys and bass sound like the spiritual jazz of Alice Coltrance (see what I did there?). The drums and guitar make it Jon Lewis’ own. An almost angelic part plays prior to the final chorus. “All the Time” sustains the happy vibes. The lyrics spell heartache for the protagonist who longs for his lover’s company. The personal touches of this song make it specific to situations that may occur between two lovebirds. The song is very straightforward, easy to get lost in.

“Don’t Wanna Wait,” Track 5, is the first acoustic tune on Out to Lunch. Lewis claims he doesn’t want to wait to see his partner anymore. The acoustic guitar has an expansive midrange and is accompanied by a thumping bass and sorrowful slide guitar. The vocals are creamy and particularly pretty. The song is over before you know it. Lastly is “Western Winds,” a roughly six-minute track about letting the wind guide your sails while you hope for the best relationship-wise. The composition is easygoing, sporting brilliant acoustic guitar, a backbone bass, distant oohs, and quiet electric guitar. The drums’ cymbals shush you into submission – let Lewis and his helping hands do the leading. Lewis mentions, “… for you will always be the one, and I will always hang on every word you say.” A light organ solo follows. As Lewis sings of his departure, he is buttressed by a dynamic full band fadeout with horns blurping until the end.

All in all, Out to Lunch is one of the best regional releases this year, and a strong piece of work from Lewis and his crew. You will enjoy this alternative folk record if you like groups like Bad Books and Elliott Smith. Stream and support Jon Lewis’ Out to Lunch here.

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Between the unique blend of psychedelic rock and Americana, the hypnotic kaleidoscope visuals and singing severed heads, it’s hard not to let the video magnetize you for its duration. See for yourself below and keep your ears open for Jon Lewis’ EP release in the coming week.

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Make sure to follow all of the blog’s year in review coverage throughout the month of December.

I was flattered and intimidated when asked to compile a “Best of 2015” list. I’m an outsider to most music and this year in particular, I only attended a handful of shows and stayed blissfully ignorant to many new releases. I am always gravitating to the saturated emotions of melancholy music and that is why my sorted research was based in finding what I consider to be a collection of good sad songs all born in 2015.

OKAY KAYA – “Damn Gravity”
This breakup track is tragic and reminiscent of one of my favorite sad songs of all time: “Scary” by Kelley Deal 6000.

Miynt – “Baby One More Time”
I am a sucker for covers and there are two on my list. This one takes a fantastic pop song by Britney Spears and turns it into a song with purpose and meaning, and it’s all depressing. I love it.

Father John Misty – “Bored in the USA”
Not entirely a fan of FJM, but I do find his ability to bring us down palpable. Reminding me of a mix between Iron & Wine and Red House Painters, the self-awareness and sadness of this song hits home.

Sufjan Stevens – “No Shade in the Shadow of the Cross”
Echoing Elliot Smith and The Weepies this track and whole album is whimsical more than sad, but mesmerizing and trance inducing regardless, reminding me of a track I would put on a mix to write to when I was a teenager tragically in love.

Leon Bridges – “River”
This album sounds like it was produced by Phil Spector and reminds me of the Everly Brothers. This is one of the more stripped down tracks of the album and is slightly Gospel, and I love that damn tambourine so much.

Beach House – “Days of Candy”
From an album titled Depression Cherry, it’s no surprise I found a magically morose song embedded deep within. This song is suspended reality and reminds me of the alien-esque detachment of Annie Lennox or Nico.

Jason Isbell – “Children of Children”
Production on this track feels like classic Americana harkening to Neil Young or Crosby, Stills and Nash, or maybe that one band they were all in together.

Elle King – “See You Again”
Sometimes to really hear the artist beneath the production is to strip it all down and see what you get. Surprisingly for me, this brought a very thoughtful and honest track that drips in inevitable sadness from Elle.

Iron & Wine and Ben Bridwell – “Bulletproof Soul”
Combining the talents of Iron & Wine and Band of Horses is this cover of Sade’s “Bulletproof Soul.” A sucker for the both lead singer’s vocals and the lap-steel means I was rendered helpless to the powers of this droning, sad rendition.

Tom Waits – “Take One Last Look”
Written specially for David Letterman’s farewell, I thank god and the universe for giving us Tom Waits. His song “Martha” will forever be my favorite sad song of ALL TIME. And this tune, with specific purpose to a moment very public resonated so well and gave me goosebumps.

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Panic Rock is set to drop in mid July. You can stream the album’s first three tracks here and watch the video to “Let It Slide” below.

Jon Lewis – Let it Slide from Jon Lewis on Vimeo.

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The album’s first single, “Right Now,” was released this morning. Backed by a care free melody and a 70’s singer/songwriter vibe (CSNY and Loudon Wainwright come to mind), the single is part of a collection of songs that act as a touching nod to Lewis’ close family.

“Many of the songs have sentimental value and reflect on loved ones and experiences with my family, says Lewis of the album’s personal meaning.

Listen to “Right Now” below (download here) and keep an eye out for Panic Rock to drop in full next month.

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The studio’s latest installment, the #9 from the young series, comes from a Rochester band called Big Fred. The band does have a Wild Beasts type feel to it though so you are a fan, then maybe Big Fred is up your alley.

Check out the clip, produced and filmed/edited as always by studio engineer, Dave Drago, and Roch-singer/songwriter, Jon Lewis, below.

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Fans of Jens Lekman and stripped down Belle and Sebastian may find Lewis right up their alley. Check out his Genesee Live installment below, which was recorded in the attic of Maybird/OHS member Sam Snyder, and to catch up on past clips, visit the site’s tumblr here.

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