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“Suddenly you are swept up in a buzzing maelstrom, a multitude of layers swirling about your ears and lulling you into sonic submission.”
The Avalanche explores the doubt one can harbor as a father and husband set to a pure and endlessly beauteous void.
Recorded live at the Kitano Hotel in his adopted home of New York, the record turns Thomas loose on a program of originals that lets him stretch his wings while staying true to jazz tradition.
Singer/guitarist Caflisch (AKA Matt Young) was previously in Eau Claire, WI’s Venison, Minneapolis’s ÜberScenester and J.U.L.P., and L.A.’s Hard Luck Country Club; his sincere, affable folk-pop is enlivened by his vivid words.
Those unfamiliar with NYC-based Root’s seven albums with his bossa nova/Brazilian pop bands A.M. Sixty (or AM-60) and The Mosquitos might be taken aback by his whimsical, guileless lyrics on his first solo LP.
Drummer/composer Whit Dickey has quite a resumé as an essential rhythm partner for pianist Matthew Shipp, saxophonist David S. Ware and guitarist Joe Morris. But he’s also led several groups of his own, the latest of which is his eponymous trio.
A transfixing Irish singer crafts modern folk tales of vulnerability and strength.
The Harmed Brothers deliver a knockout with Across the Waves.
Rogers & Butler is Birmingham, UK-born, NYC-based Edward Rogers, who has released seven top-notch solo albums, and Stephen Butler, frontman for New Jersey power-pop bands Smash Palace and Quincy.
Based in Oklahoma City and Seattle, former college buddies Wil Norton and Danny Davis crafted this second LP (following 2015’s Golden Year) remotely, in between their attorney and software engineer day jobs.
On his third LP, Boston-based singer/drummer Baldrachi moves away from the power-pop that dominated 2012’s Back to the Start – first released in 2011 as Tomorrow Never Knows – and 2006’s Solid Ground.
Those familiar with this Queens/Brooklyn post-punk trio’s 2018 debut No Banter will instantly notice the tenfold upgrade in their attack’s tightness, speed, and muscle on this sophomore effort.
In part inspired by the dissolution of a romantic relationship, Heartbreaker Please finds the British native/American resident presenting a set of songs equally inspired by real life and artistic co-option of same.
Montreal’s Bloodshot Bill returns with second album for Goner Records.
Along with RBM, Johanna’s House of Glamour, and Neurotic Cage, Underwater Kites is another of Boston-based experimentalist Bruce MacLeod’s guises, with one prior LP and six EPs going back to 1999.
Duncan Reid and the Big Heads return with a new album Don’t Blame Yourself, it is a good time album that blends power pop and punk
Along with gruff, Glenn Danzig/Dave Vanian-evoking bellower Evil Heim, and anchored by formidable 65’s guitarist/bassist Joe Pugsley and Ryan Struck (who play bass and drums here), it’s no surprise this New Jersey horror-punk quintet sound like a Misfits and Damned lovechild.
Fans of this three-year-old Chapel Hill, NC quartet’s 2018 debut mini-album Giant will immediately notice the silkier, more incandescent stylistic shift on this follow-up four-song EP’s first two tracks.
The third album from Los Angeles based Beauty In Chaos is their finest outing, The Storm Before The Calm is the inevitable slice of brilliance fans have been waiting for.
The second LP by Pittsburgh’s Full Counts – formed by 1990-94 Gumball bassist/singer Eric Vermillion and Cynics drummer Mike Quinlan, who were both also in FOOD – is even better than their otherwise superb 2017 debut, First Out.
As he did on his 2019 debut LP Couch, Seattle’s one-man EDM virtuoso Paul Furio rotates between Depeche Mode/OMD/New Order synth-pop/new wave and tougher, Front 242/Nitzer Ebb techno/industrial on this follow-up five-songer.
Kevin Burke looks at two key releases from Big Stir Records, both of which donate funds to the Sweet Relief’s Musician Assistance Fund
Singer and songwriter Mark Lanegan has, in his long career, moved through psychedelic grunge, gothic folk rock, stark balladry and electronica-infused alternative rock. Given his eclecticism, noting that Straight Songs of Sorrow is different than anything else he’s ever done is really saying something.
Mississippi’s Tyler Keith is back with a solo album on the Memphis label Black & Wyatt.
No Good to Anyone doesn’t make anything easy for anyone venturing into its realm, but it’s also an album suffused with hope.
Pianist Lara Driscoll reveals a magic touch on Woven Dreams, her first album as a leader.
With one hoof in the heavier end of the stoner rock pool a la Electric Wizard, and the other in the realm of postpunk headbangers like Killing Joke, the Newcastle upon Tyne outfit channels aggression into a tight-fisted series of disciplined explosions that are more punch than splatter.
Having backed Slim Dunlap, and opened for Tommy Stinson, it’s no wonder High on Stress evoke the rootsier side of hometown legends The Replacements; frontman Nick Leet’s emphatic, twangy drawl even conjures Paul Westerberg.
This three-songer blasts even harder than their 2017 “Wolves and Men” 7”, enhanced by the addition of second guitarist Ed Roessler to an already intimidating lineup of Joe Pugsley, Ryan Struck, and John Steele.
While the line between classical music and jazz seems to look more and more faded as the decades go by, Impressions of Debussy is still an unusual project.
On May 15th comes the debut long-player Woke Up In Hollywood by the UK’s It’s Karma It’s Cool. A stylish, and enjoyable piece of work.
Les Easterby’s latest writings from a once-shut-out heart are perfect sympathies for the physically shut-in masses.
German based Vlimmer release their latest Ep Pulmo. A recording of dark musings in a nightmare landscape
Brandi Ediss releases the unique Bees And Bees And Bees, a sultry, soulful, and jazz-inspired work of brilliance
The Piano Equation lives up to its name, not only as a great example of a modern solo piano record, but as a distillation of ideas from one of the instrument’s foremost contemporary architects.
A well-traveled Texas troubadour offers reassurance in tough times.
Combining highlife guitar lines with a swinging rhythm section playing in a difficult time signature, Lionel Loueke’s “Têkê” functions almost as the bible by which the group will adhere.
Oranssi Pazuzu is a Finnish quintet of blackened metallurgists who’ve little interest in blast beats, lo-fi shred, Satanism, corpse paint, or any of the other trappings of their chosen genre.
SPYGENIUS release the new single “Spite” on April 24, all proceeds will be donated to the Matthew Seligman Tribute Fund
Australian quartet RVG proved themselves expert practitioners of explosive, melodic rock & roll on their remarkable debut A Quality of Mercy in 2017. Three years later, Feral picks up exactly where its predecessor left off.
On Complications, the band’s third album, E explores the nooks and crannies of high volume guitar rock, rarely reducing themselves to mere butt-kicking.
Leeds trio back with Love, Blood & Monsters on Trash Wax
The New Fools sophomore release Mershmellow, offers nostalgia through a number of enjoyable stylistic changes.
If the music wasn’t so clearly sun-baked, we might think this was a long-lost artifact from the Germanic seventies.
A supergroup of sorts, Human Impact consists of Spencer, bassist Chris Pravdica (Swans), drummer Phil Puleo (also Swans, as well as Cop Shoot Cop) and electronicist Jim Coleman (Cop Shoot Cop).
Christina Schneider takes a journey to the center of the mind.
On April 28th, Cherie Currie releases her solo album Blvds of Splendor on streaming platforms, including an updated rendition of “Queens Of Noise”