When veteran Vermont musician Seth Yacovone formally reconvened a three-piece band in 2013, his revised concept for the trio—in contrast to its predecessor’s runaway workhorse ethic—was to collaborate on a relatively sparing schedule, not only to allow all the participants the freedom to engage in other projects but also to keep the music fresh both on stage and in the recording studio.
Since then, guitarist/vocalist/songwriter Yacovone has fulfilled his self-disciplined vision with bassist/vocalist Alex Budney and drummer/vocalist Steve Hadeka. By their self-disciplined approach, they have issued only three recordings: albums in the form of 2016’s Shovel Down and Welcome two years later plus the digital-only EP Thanks.
The latest fruit of their collective efforts is SYBlings Vol. 1, which is actually the first of two studio efforts set to be released in 2025. Recorded and mixed at The Box in Burlington, VT, under the auspices of Urian Hackney from Queen City stalwarts Rough Francis, the album also holds the distinction of being one of the last albums to be mastered by much-admired Green Mountain engineer Lane Gibson at his facilities in Charlotte, VT.
But SYB preserves its roots in more ways than just geographical ones. The threesome sustains the grand tradition of seminal power trios like Cream and the Jimi Hendrix Experience and the original Gov’t Mule trio (especially in its emphasis on wide-ranging improvisations in performance). Yet, these obvious touchpoints do not signal the Vermonters are imitative in any way. Rather, Yacovone, Budney, and Hadeka follow their muse based on their fundamental influences, well-honed instincts, and natural camaraderie. Nevertheless, the approximately forty-two minutes on SYBLings Vol. 1 doesn’t allow much time for extensive jams.
Cuts like the quietly reflective “Sad Refrain” and the angular, challenging rock twists and turns of “I Want To Believe” reaffirm these collaborators’ decision to keep the tracks relatively concise. Yet that self-restraint bespeaks the wisdom of SYB and Hackney. They know the difference between studio and stage and are conversant in the respective advantages/disadvantages of each medium. Accordingly, the stock rock and roll changes of “The Sentence Written Is Not What’s Said” benefit from Yacovone’s slide guitar and growl of a vocal style. Then, there’s the dream-like bridge that ultimately accentuates the well-crafted structure of the song.
Such detail also benefits “The Mind’s Eye Wonders Where to Wander to See:” The tune’s changes are almost as busy as the wordy title, but that makes for a listen as satisfying as it is challenging, especially when the solo section arrives. The realism of the sound quality Hackney captured and Gibson preserved stands SYB in excellent stead at such moments.
This is also the case with the syncopation at the heart of “You Need Someone to Treat You Like a Baby,” where a metal drone overlays the selection’s funk foundation. Yacovone, Budney, and Hadeka have mastered the various genres they explore, but such expertise is merely the means to devise and execute well-conceived arrangements.
In addition, the malleable material promotes the ensemble’s nimble musicianship. Here, in particular, the seasoned rhythm section propels the performance: occasionally in tandem, sometimes in counterpoint, Budney and Hadeka never get in each other’s way (or Yacovone’s). Meanwhile, the arch emotional attitude in the latter number finds a humorous corollary in “Sorry Son You’re Wrong Again.” As the credits state on the CD sleeve, the latter selection incorporates elements of Henry Mancini’s “Peter Gunn Theme.” True to its source, the resultant atmosphere is equal parts dark and insistent, nurtured as much by the bandleader’s voice as his guitar. Meanwhile, his comrades rumble ominously underneath it all.
Sustaining an infectious air during “Holy Moses,” SYB builds upon a set of even more unpredictable changes than its most complex surroundings. But, after garnishing yet another groove-centric number with the rarity of group vocals, the frontman’s light touch on the fretboard proceeds unimpeded by the dexterous drive of the bass and drums. That mark of creative humility is hardly an anomaly on SYBlings Vol. 1. As a result, this first of what may well be a perfect pair of LPs will be more than sufficiently durable until its companion piece comes out later in the year. As such, the acoustic foundation at the heart of “Primordial Gold” will only add some welcome suspense to the wait.
Perhaps not coincidentally, this closer is the most extended cut of the eight here, reminiscent of Seth Yacovone’s regular solo shows apart from his redoubtable counterparts in the SYB. Crucially though, its bemused, healthily-detached tone renders it wholly of a piece with this latest effort and, in fact, the burly musician’s overall body of work begun when he was fifteen years old.
