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Though he’s been slinging strings for a couple of decades, Austrian guitarist Wolfgang Muthspiel is hardly a household name, even in the jazz world. But it’s a mark of the respect for which his peers have for him that he can attract the kind of talent that makes up his band on his latest release.
It’s been five long years since we last heard from worldbeat iconoclasts Dead Can Dance. Fortunately, the hiatus ends with the release of Dionysus, a brand-new DCD album that’s both familiar and not quite like anything the group has done before.
Aided by 16 guest musicians, this Chicago troubadour’s third solo album adds plenty of new stylistic wrinkles to the homespun, Wilco-esque alt-country of his 2014 II and 2011 Archive + Spiral.
Solo bass recordings often seem off-putting at first, more of a showcase for technique than anything else. But that’s only in the hands of a bassist who’s not interested in the music first. Phillips definitely is – here he comes across more as a composer whose primary instrument happens to be the double bass.
The second album in 2018 from Jakob Bro, Bay of Rainbows is a return to the Danish guitarist’s working trio with bassist Thomas Morgan and drummer Joey Baron.
This is pop of a kind rarely heard anymore: informed by the sixties but matured in the eighties and nineties, guitar-based but not overwhelmed, high on craft but never aloof, heart on sleeve but rarely overwrought.
One could argue that in future, Twisted Oak could use a little more production to prevent it from becoming too singer-songwriter-y, but it’s nevertheless a very strong start.
“This is not the album people will point to when they talk about the band’s greatest songs, and that would be a shame since some of their best songs reside here.”
A triumph of experimentation with jazz sounds, Andrew Cyrille’s previous album The Declaration of Musical Independence_reasserted the AACM-associated drummer’s place in the top tier of the jazz pantheon. _Lebroba, its even-better follow-up, consolidates that position.
In a sea of self-released lo-fi albums, Colors of Noise manages to stand out from the pack with style, substance, and quality songwriting.
Nothing’s Wrong is a statement of consummate execution and even bolder vision from a true original.
An excellent combo that fell through the cracks of a confused early nineties music industry, Permanent Green Light deserves this second look more than just about anyone else from the time period.
Saying an artist is one of a kind is such a cliché that it’s hard to take seriously. But how else to describe guitarist and composer Steve Tibbetts?
“These songs are powerful and exquisitely rendered with love for the craft and the artists behind these works, and what a treat for Record Store Day collectors.”
_Singing You This Song” is an album this will definitely provide a sense of comfort and solace for many.
This newly restored Rolling Stones concert film recorded in 1994 includes 10 songs and 5 bonus cuts not included on the original 1995 Voodoo Lounge Live release.
_Journey to the Centre of Yourself” manages to convincingly depict a subject which is difficult to write about without sounding trite, and it feels like the launchpad for future, even greater artistic developments.
It’s difficult to say whether or not their busy recording schedule is a help or a hindrance to their evolution as a band, but one thing is clear: Into the Light shows Crooked Flower with no sign of slowing down and without want of fun or material.
Save Me will immediately appeal to almost any fan of grunge, and many will be surprised to find there is evidently still new ground to cover in the genre.
All the Water is a fantastic work of craftsmanship, and fans finally are given a perfectly executed example of Montgomery’s unique vision.
Michael Rank seduces With Freaky New Single and Video from new album I Fell in Love with You Tonight
If there’s a fault at all here, it’s that the EP feels like it should have been fleshed out to a full-length, but fans, for better or for worse, will have to settle for the satisfyingly alluring five songs the band did produce.
Tangerine’s new EP suggests a brighter aptitude for instrumentation and arrangement than their synth pop predecessors.
There’s a lot of excitement circling Keep Meaning It (clearly the band felt it too while they were making it), and with any luck this album will prove to be their breakthrough.
Cubicle Zombie is a tremendously tight, fully-formed collection of songs that prove the years of work spent finishing it were worth it, and hopefully it won’t be long before McNabb’s next collection of songs.
Denver-based alt-folk/Americana duo Alright Alright release a heartfelt and engaging debut album via Hooves and Sugar Record Co.
It isn’t exactly revolutionary in the genre, but it’s infectious in its positivity, and it’s immediately clear that the EP is the work of someone deeply in love with the process of making music.
What’s remarkable about Strange Curses is that Paragano’s vision has been delivered to her audience fully formed.
New Jersey’s Sam Fishman of the band Madison Rising is back with another imposing solo release, End of Time.
The Ar-Kaics gritty, gnarly, but secretly glamorous 60s punk
LA-based post-rock/orchestral/folk experimentalist Chris Karman unveils a distinctive, reflective, and hybrid album.
As one would expect, Liar for a Muse is quieter than the work with DeLaurentis’s band, but it’s also much more refined and mature as if the artist has a newfound sense of direction.
Warm Drag is the authenticity yielded by a natural continuation of Paul Quattrone and Vashti Windish’s collaborative DJ sets, and the theme of this night is acid western.
We Are The Lights That Will Not Go Out is nothing groundbreaking, but it’s the perfect album when you’re in need of an injection positivity.
“The venerable Dunedin quintet is back after three years with a delectable but moody new release.”
Comprised of some of New York’s best session musicians and dedicated to his manager and girlfriend Anya Phillips (who passed away from cancer in 1981), this differs from his previous work, but not enough that fans who are unfamiliar with it shouldn’t hear it.
Jones’s latest full-length indebts itself to his bygone friend and mentor John Fahey in a personalized sonic essay on his early teachings.
Overall, it’s the artist’s personality—a confident expression of both good humor and serious artistic intent—which makes Avenue B such an enjoyable, wild ride that never stops to rest for long.
Of All These Things is a work in which the love and care of the musicians’ craft is evident everywhere, and fortunately the pair is already hard at work on a follow up.
On their twenty-first record, Oh Sees remain confounding in their pace and dependability.
With Isolated Thunderstorms a listener should come for Weiss’s own takes on his New York musical idols, but stay for his sensitive and introspective lyricism.
Aside from one breezy single, this perfunctory debut is about as catch-all as a ClipArt search result for ‘indie band.’
Joy resembles not the electric freak jam of its former, adopting instead a case of perpetual nervousness and a short fuse. Segall and Presley have bottled the essence of Dr. Jekyll transforming into Mr. Hyde.