By Jennifer Levesque
For the Valley Advocate
Gold Dust, “In the Shade of the Living Light”
Gold Dust originated as a solo project for Stephen Pierce, a local punk musician who wanted to step outside of that genre and into traditional folk and psychedelia. After releasing a couple albums, Pierce decided to add more musicians to the project and make it a band — specifically: Ally Einbinder on guitar, Adam Reid on drums and Sean Greene on bass.
Their Bandcamp bio goes a step further: “Gold Dust are more than a band. They’re a family. In a time of greater isolation and existential anxiety, they form a vital community.” And it can be heard in their music, too. It’s comforting and welcoming, with a sense of ease.
The album “In the Shade of the Living Light” reflects four people at a crossroads in their lives. “They may never find the answers,” the band’s statement reads, “but they have found solace and unconditional support in one another.”
“Whatever’s Left” opens the album on its whimsical path, with chirping birds and all. It transports the listener to a field of flowers with the sun shining.
“‘An Early Translation of a Later Work’ features my good friend J Mascis of Dinosaur Jr. ripping probably the sickest electric sitar solo you’ve ever heard (I know, probably an easy hurdle to clear with the relative dearth of electric sitar solos),” Pierce said. It is something to be heard, and the song in general is quite masterful.
I really enjoyed “Sympathy for Scavengers.” It’s soft and soothing, yet there is sadness in it – the lyrics definitely got me: “So from my ribs, a tree would rise / And on my flesh, a crow would dine / I’d feel my roots, I’d feel my wings, / I’d feel at peace and start again / And I would photosynthesize, become the mist, the morn, the sky.”
There are a lot of flowing transitions throughout the album, and I particularly like the way the end of the old-timey sounding instrumental “Traveler Stay” blends right into the next song, “Last Call,” which has more of a traditional folk sound.
The multiple layers of instruments mixed with soft vocals put me in a relaxed state. At moments, I felt like I was listening to music from the ’70s, most notably The Doors. The album feels like a story, with each song melting into its own chapter. The lyrics could stand alone as a book of poetry.
“Making the record was a hell of a rollercoaster,” Pierce said.
Gold Dust will play at the Marigold Theater in Easthampton on Friday, Oct. 17. For more information and to check out “In the Shade of the Living Light,” visit the band’s Bandcamp.
Princess Ghoul, “Friday Night Death Slot”
Princess Ghoul is the latest project from a collection of longtime musical friends who have worked on multiple projects together. The band consists of Anthony DeNucce on vocals (he is also the band’s lyricist), Adam Finne on guitar and bass, and Michael Taft on drums.
Their debut album, “Friday Night Death Slot,” was recorded over a three-day weekend with another longtime musical friend and collaborator, Chris Daniele, at Galactic Summit Studio in Readsboro, Vermont.
The album was written in just a matter of weeks. The result is an arthouse style of alternative rock with hints of psychedelia, and experimental. It’s a work of art and hard to believe it was written in weeks, not over the course of months or years.
“Hothouse Flower” emerges with intricate layers of instruments mixed with haunting, cool vocals. This strategy of intricacy ensues throughout the album and you can really pick up on the talent behind each member and how technical they are at their respective crafts.
I love the midmark on “Six Round Cylinder” and how it just switches course for about 30 seconds, then goes back to where it was. A very smooth transition.
“We utilize quick songwriting techniques to capture the feeling and energy of the moment,” DeNucce explained. “Some tracks like ‘Six Round Cylinder’ were actually written in studio on the weekend of recording.”
“TV Ghost” has so many little gems throughout. It’s a song to listen to … loud. At 1:50, the flick of the strings gave me chills, such a small and subtle addition but it gives the song added character. It’s also the only track that is accompanied with a music video, which screams Andy Warhol vibes, and I’m totally here for it.
It’s hard to pick a favorite track, but if I had to, I’d go with “Voodoo Candy.” I have always found DeNucce’s lyrical work and song titles to be that of a wordsmith genius, and this track is no exception: “Voodoo / Candy / Goddess ascend me / Space tastes like cherry cola / Elevator / Take me up / I should’ve been more patient / To reach the top.”
“Making art is necessary to us and vital to our survival. I personally need to have a project to maintain my mental state, hence the sheer amount of bands and material,” DeNucce said. “We all support each other in this way.”
“Friday Night Death Slot” is available to stream on most streaming services. For more information, like where you can hear Princess Ghoul perform next, follow them on socials at @princessgoulband.
Bunnies, “Horror Spectrum”
Bunnies are one of those bands where you see them live once, you get addicted, and need to see them over and over. And listening to their albums is a psychedelic trip, each time. Celebrating 20 years as a band this year, their latest release, “Horror Spectrum,” is definitely a wild one.
The band consists of Matthew Newman on drums and percussion, Rebecca Macomber on bass and trumpet, Jack Science on synthesizers and guitar, Jeremy Dubs on guitar, and they all lend their vocals.
“Homunculus” starts the album off sounding like a psychedelic rock fever dream, or in this evil case, a nightmare — but in the best way. The multi-layered vocals overlapping the instruments is a style that is followed throughout.
They slow it down a tad for “Igor The Gory,” a sad tale of a hunchback with eye sores. Well, at least that’s what I get from the lyrics.
“Lucky Larry’s Lullabye to Lilith and Lucifer” just made my heart happy, like a little demon fairytale: “Close your dreadful eyes and drift away into the blackness / Sleepy demon, you’re so sleepy.” I love the percussion in this track and the second part of the song is how I’d like for it to sound if I’m ever abducted by aliens. Is there such a thing as sci-fi rock?
The closing track “Realm at the End of the Horror Spectrum” is the longest on the album, at an impressive 22:45. And it could have been longer. The wailing guitars and the eerie sounding trumpet in this one did it for me — chef’s kiss! This track along with most of the rest of the album brings to mind hints of early works of Pink Floyd and The Flaming Lips.
I highly recommend picking this up on vinyl. The artwork alone is creative and fun to look at, resembling that fever dream style. On the inside, the lyrics are sprawled out along both sides to make it almost like a short story to read along with while listening.
Check out linktr.ee/bunniesareaband to stream or purchase a vinyl of the album. You can check them out live at What Doth Rumble Festival in White River Junction, Vermont on Sept. 13, and then on Nov. 8 at the Marigold Theater in Easthampton with Warm, Neon Fauna (parts of Princess Ghoul!) and Modern Ego.
