Cemetery Sun's debut album "Ascension"
by Tiffany Rock
If you’re a fan of artists with musical content like Linkin Park or lyrical content like Twenty-One Pilots, I’m shocked that Cemetery Sun isn’t in your radar (yet.)
Cemetery Sun is an alt-rock trio from Sacramento, California, consisting of vocalist Josh Doty and guitarists Matt Scarpelli and Elliot Polokoff. They also have toured with drummers Steven Curiel and Austen Butler, who is a former member of the band.
They released their first single, “Wish It Was Love,” in December 2015, following their self titled EP released later the next year. Their second EP, “Haunted,” was released in 2019.
I discovered Cemetery Sun when they opened for Grayscale in November 2021, shortly after they released their debut album, “Ascension.”
Their music contains a lot of themes surrounding mental health. Doty describes their newest single, “Sabotage,” as “A song that reflects on how easy it is to get in our own way and sometimes in the way of others to get what we want.” The single was released March 10th and is comparable to the sounds of their early EPs.
In an Instagram post, the band describes their most popular song “Fake Love” as “being entrenched in a culture that thrives off of toxicity and drama rather than acts of kindness and selflessness.”
The theme of mental health is evidently shown in their debut album “Ascension.” I had the privilege of talking with Doty about the theme of the album and the message behind a few of the songs. The singer explains that the album title is a metaphor for being able to grow past whatever you’re dealing with in life, but also describes the literal ascension of them as people and as a band.
Ascension’s opening track, “Misery’s Company,’ is amazing to hear them perform live. The song describes those who try to drag others down, so they can be just as miserable. “If someone’s miserable then you have to ask yourself what you’re doing in their life because that could in turn end up creating the same toxic environment for yourself,” Doty adds.
My favorite track on this record, along with my favorite on their entire catalog, is “Issues.” It’s one of the slower songs on the album, but I believe it’s the most underrated track, especially because it’s one of the tracks that Doty didn’t mention in our conversation.
Doty describes the ending track – “Devil On Your Tongue” as his “baby” –-- the song on the record he had a lot of influence on. The angriest track on the record, it addresses Doty’s point of view on a person that was spewing constant hate toward him for no reason, and how he’s deciding to completely ignore the person.
Overall, I believe this is a 10/10 record, and one that deserves way more recognition.
Cemetery Sun’s music has helped me get through some rough patches in my life throughout the past 16 months, and has also helped me to become a better person.
by Tiffany Rock
If you’re a fan of artists with musical content like Linkin Park or lyrical content like Twenty-One Pilots, I’m shocked that Cemetery Sun isn’t in your radar (yet.)
Cemetery Sun is an alt-rock trio from Sacramento, California, consisting of vocalist Josh Doty and guitarists Matt Scarpelli and Elliot Polokoff. They also have toured with drummers Steven Curiel and Austen Butler, who is a former member of the band.
They released their first single, “Wish It Was Love,” in December 2015, following their self titled EP released later the next year. Their second EP, “Haunted,” was released in 2019.
I discovered Cemetery Sun when they opened for Grayscale in November 2021, shortly after they released their debut album, “Ascension.”
Their music contains a lot of themes surrounding mental health. Doty describes their newest single, “Sabotage,” as “A song that reflects on how easy it is to get in our own way and sometimes in the way of others to get what we want.” The single was released March 10th and is comparable to the sounds of their early EPs.
In an Instagram post, the band describes their most popular song “Fake Love” as “being entrenched in a culture that thrives off of toxicity and drama rather than acts of kindness and selflessness.”
The theme of mental health is evidently shown in their debut album “Ascension.” I had the privilege of talking with Doty about the theme of the album and the message behind a few of the songs. The singer explains that the album title is a metaphor for being able to grow past whatever you’re dealing with in life, but also describes the literal ascension of them as people and as a band.
Ascension’s opening track, “Misery’s Company,’ is amazing to hear them perform live. The song describes those who try to drag others down, so they can be just as miserable. “If someone’s miserable then you have to ask yourself what you’re doing in their life because that could in turn end up creating the same toxic environment for yourself,” Doty adds.
My favorite track on this record, along with my favorite on their entire catalog, is “Issues.” It’s one of the slower songs on the album, but I believe it’s the most underrated track, especially because it’s one of the tracks that Doty didn’t mention in our conversation.
Doty describes the ending track – “Devil On Your Tongue” as his “baby” –-- the song on the record he had a lot of influence on. The angriest track on the record, it addresses Doty’s point of view on a person that was spewing constant hate toward him for no reason, and how he’s deciding to completely ignore the person.
Overall, I believe this is a 10/10 record, and one that deserves way more recognition.
Cemetery Sun’s music has helped me get through some rough patches in my life throughout the past 16 months, and has also helped me to become a better person.
Bonepony: 30+ years of Americana Done Their Way
By Neon Hippie, host of Adirondack Sonic Gumbo
Bonepony is a Nashville-based rock band with a sound uniquely their own. A healthy dose of electrified blues, soulful vocals, and outlaw country are the main ingredients to what can only be described as high-energy Americana!
Bonepony was formed in Baltimore during the late 1980s by singer/songwriter Scott Johnson and guitarist Bryan Ward.
By all accounts, Bonepony began as a hard rock band similar in style to Aerosmith. The band has recorded many albums and toured continually for over 25 years. Bonepony’s signature sound has evolved into a gospelized roots-rock perfectly encapsulated on their debut, and classic album: Stomp Revival that is currently getting a long-awaited reissue.
Stomp Revival contains the standout tracks: "Water’s Deep", and "Soap", both of which layer Johnson’s clear, high tone and range atop powerful acoustic instrumentation.
Bonepony’s core lineup is; Scott Johnson-guitar, percussion, bass pedals, keyboards, and vocals, Nicholas “Nick” Nguyen- guitar, banjo, mandolin, Dobro, violin, bass pedals, keyboards, vocals, and Kenny Wright- drums, percussion, guitar, mandolin, mandola, dulcimer, stomp-board, vocals.
Since Bonepony’s debut release on Capitol Records in 1995 the band has performed close to 4000 shows opening for acts ranging from Bob Seeger and ZZ Top to CSN&Y and Santana. They have also headlined countless festivals and small venues.
In recent years Bonepony has performed on a dozen rock music cruises with Lynyrd Skynyrd, Brandi Carlile, and other musical artists.
Bonepony’s music and videos can be found on platforms including Pandora and Spotify.
Still, one video on YouTube of "Water’s Deep" being performed live in a television studio captures Bonepony in pure sonic excellence jam-band-form during the original publicity campaign for Stomp Revival. The video displays a young band that should have been bigger than Mumford and Sons, but instead got lost in the shuffle at Capitol Records who never gave the band the promotion they deserved.
Bonepony has been my favorite band for almost 30 years. Give them a listen and I hope you enjoy learning about a band that is still out on the road chasing the American dream!
By Neon Hippie, host of Adirondack Sonic Gumbo
Bonepony is a Nashville-based rock band with a sound uniquely their own. A healthy dose of electrified blues, soulful vocals, and outlaw country are the main ingredients to what can only be described as high-energy Americana!
Bonepony was formed in Baltimore during the late 1980s by singer/songwriter Scott Johnson and guitarist Bryan Ward.
By all accounts, Bonepony began as a hard rock band similar in style to Aerosmith. The band has recorded many albums and toured continually for over 25 years. Bonepony’s signature sound has evolved into a gospelized roots-rock perfectly encapsulated on their debut, and classic album: Stomp Revival that is currently getting a long-awaited reissue.
Stomp Revival contains the standout tracks: "Water’s Deep", and "Soap", both of which layer Johnson’s clear, high tone and range atop powerful acoustic instrumentation.
Bonepony’s core lineup is; Scott Johnson-guitar, percussion, bass pedals, keyboards, and vocals, Nicholas “Nick” Nguyen- guitar, banjo, mandolin, Dobro, violin, bass pedals, keyboards, vocals, and Kenny Wright- drums, percussion, guitar, mandolin, mandola, dulcimer, stomp-board, vocals.
Since Bonepony’s debut release on Capitol Records in 1995 the band has performed close to 4000 shows opening for acts ranging from Bob Seeger and ZZ Top to CSN&Y and Santana. They have also headlined countless festivals and small venues.
In recent years Bonepony has performed on a dozen rock music cruises with Lynyrd Skynyrd, Brandi Carlile, and other musical artists.
Bonepony’s music and videos can be found on platforms including Pandora and Spotify.
Still, one video on YouTube of "Water’s Deep" being performed live in a television studio captures Bonepony in pure sonic excellence jam-band-form during the original publicity campaign for Stomp Revival. The video displays a young band that should have been bigger than Mumford and Sons, but instead got lost in the shuffle at Capitol Records who never gave the band the promotion they deserved.
Bonepony has been my favorite band for almost 30 years. Give them a listen and I hope you enjoy learning about a band that is still out on the road chasing the American dream!
Miracle Musical
by Benjamin McIntyre
ミラクルミュージカル, or more commonly known as “Miracle Musical” is a musical side project from the mind of Joe Hawley, former member of the band “Tally Hall.”
Following the inactivity of “Tally Hall”, Hawley released the first Miracle Musical EP in 2012 and continued until 2015, releasing five albums during its run. These albums include “Candle On The Water”, “Hawaii: Part II” and “Hawaii: Part II: Part ii.”
This review will focus on “Hawaii: Part II” and the way the album pioneers storytelling through a musical format, and the ways in which the album sets itself apart from Hawley’s work in “Tally Hall.”
“Hawaii: Part II” is an eclectic album that, depending on the listener, can be about the break-up of two individuals, or about a man who murders his female lover, is put to trial, and is executed via electric chair for the crime.
Either view of the story ends the same way, with the man and his lover reunited as the two make their way to the great beyond. The album is a beautiful collage of interesting sounds and melodies that truly sell either interpretation of the discography, but “The Mind Electric” and “Dream Sweet in Sea Major” illustrate this best.
“The Mind Electric” is the seventh song on “Hawaii: Part II”, and is by far the most unorthodox in the entire discography. The first half of the song is played at a slowed down pitch and in reverse, while the other half is played at normal volume.
This presentation of the song is strange, but deliberate to the song’s story. This portion of the discography’s story tells of the man being put to trial, where he pleads for forgiveness. The song makes various allusions that the man might have some form of schizophrenia or underlying dissociative mental conditions. The judge and jury do not care for this, instead opting to “condemn him to the infirmary.”
The song continues to grow more disjointed and eclectic as the man dives further into insanity, ending with him once again begging for his life in an electric chair. The song reaches a climax of shrill audio and manic rhythms as the man is shocked to death.
Finally, the song ends on a calmer note, suggesting that the man has died and his soul has begun the process of moving on-to the afterlife.
“Dream Sweet in Sea Major” is the 11th and final song in the “Hawaii: Part II” discography. The song is noticeably calmer and more understandable than “The Mind Electric”, as this song takes place at the tail-end of the story, where the man’s soul has nearly completely moved on. All parts of the discography come together in almost perfectly unison in this song, book-ending the beginning of the album.
“Dream Sweet in Sea Major” is the longest song in the album, clocking in at roughly seven minutes. The final portion of the song tells of “one light, higher than the sun, invisible to some, until it’s time.”
To me, this suggests that the man fully ascended to whatever afterlife exists, as this final part of the song illustrates very clear ideas of the concept of Heaven found in denominations of the Christian faith.
“Hawaii: Part II” is an eclectic album that provides a near-perfect evolution of the melodies and rhymes found in Hawley’s previous ventures. This album is perfect for anyone who is into alternative rock/jazz. “Hawaii: Part II” feels right at home with the songs of “Tally Hall”, making it a must-listen to any fans of the former band.
by Benjamin McIntyre
ミラクルミュージカル, or more commonly known as “Miracle Musical” is a musical side project from the mind of Joe Hawley, former member of the band “Tally Hall.”
Following the inactivity of “Tally Hall”, Hawley released the first Miracle Musical EP in 2012 and continued until 2015, releasing five albums during its run. These albums include “Candle On The Water”, “Hawaii: Part II” and “Hawaii: Part II: Part ii.”
This review will focus on “Hawaii: Part II” and the way the album pioneers storytelling through a musical format, and the ways in which the album sets itself apart from Hawley’s work in “Tally Hall.”
“Hawaii: Part II” is an eclectic album that, depending on the listener, can be about the break-up of two individuals, or about a man who murders his female lover, is put to trial, and is executed via electric chair for the crime.
Either view of the story ends the same way, with the man and his lover reunited as the two make their way to the great beyond. The album is a beautiful collage of interesting sounds and melodies that truly sell either interpretation of the discography, but “The Mind Electric” and “Dream Sweet in Sea Major” illustrate this best.
“The Mind Electric” is the seventh song on “Hawaii: Part II”, and is by far the most unorthodox in the entire discography. The first half of the song is played at a slowed down pitch and in reverse, while the other half is played at normal volume.
This presentation of the song is strange, but deliberate to the song’s story. This portion of the discography’s story tells of the man being put to trial, where he pleads for forgiveness. The song makes various allusions that the man might have some form of schizophrenia or underlying dissociative mental conditions. The judge and jury do not care for this, instead opting to “condemn him to the infirmary.”
The song continues to grow more disjointed and eclectic as the man dives further into insanity, ending with him once again begging for his life in an electric chair. The song reaches a climax of shrill audio and manic rhythms as the man is shocked to death.
Finally, the song ends on a calmer note, suggesting that the man has died and his soul has begun the process of moving on-to the afterlife.
“Dream Sweet in Sea Major” is the 11th and final song in the “Hawaii: Part II” discography. The song is noticeably calmer and more understandable than “The Mind Electric”, as this song takes place at the tail-end of the story, where the man’s soul has nearly completely moved on. All parts of the discography come together in almost perfectly unison in this song, book-ending the beginning of the album.
“Dream Sweet in Sea Major” is the longest song in the album, clocking in at roughly seven minutes. The final portion of the song tells of “one light, higher than the sun, invisible to some, until it’s time.”
To me, this suggests that the man fully ascended to whatever afterlife exists, as this final part of the song illustrates very clear ideas of the concept of Heaven found in denominations of the Christian faith.
“Hawaii: Part II” is an eclectic album that provides a near-perfect evolution of the melodies and rhymes found in Hawley’s previous ventures. This album is perfect for anyone who is into alternative rock/jazz. “Hawaii: Part II” feels right at home with the songs of “Tally Hall”, making it a must-listen to any fans of the former band.