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Treefort Music Fest is intended both to draw rising national talent to Boise and showcase what the city’s own music scene has to offer. And, as it occurs just as brisk breezes replace patches of ice in the downtown area, the spring-timing couldn’t be better.
Whether Revolution is a beginning of something new, an ending of the band’s old style, or a transition between the two, it certainly remains Torres’s most finely executed statement yet, and ends with the exciting open question of what will follow.
It was a rare opportunity to see Ian Hunter flanked by pianist Morgan Fisher and guitarist Ariel Bender, the players who stood together during the heyday of Mott the Hoople leading to 1974 albums The Hoople and Live.
_Words For Yesterday_is both thematically more mature and ultimately more profound than its predecessor, and it comes out April 12th.
Adams proves himself capable of numerous styles here, and Nest of Vipers just might be one of his best albums yet.
The Divorce Party is a bit of a hodge-podge of an album, but it also includes some of Bitter’s Kiss’ finest work yet.
These legends are making vital new music every bit the equal of anything in their catalog.
Still, Swervedriver got a good crowd reaction and managed to play the best set I’ve ever seen them play
In March 2019 (and less than a month after the death of Peter Tork), The Monkees presented “The Mike & Mickey Show” in the Minneapolis area, showcasing longtime reunion holdhout Michael Nesmith and the most constant member and main voice of The Monkees, Mickey Dolenz.
LP3 excitedly shatters the notion of expectation in American Football, blurring their legacy into a foreign concept.
Murray A. Lightburn from The Dears performed an intimate acoustic show at the Hotel Café in Los Angeles to promote his latest solo album Hear Me Out.
Jason Williamson and Andrew Fearn strip music to the barest of bones – a skeletal rhythm track and a forceful vocal attack.
Matmos’s newest effort broadens their toolkit considerably, featuring all things plastic from silicone gel breast implants to PVC pipes.
A New Heart doesn’t quite live up to the work of Thomas’ influences, but he certainly does a fantastic job following in their footsteps, creating a thoroughly enjoyable experience.
Mere days after the Boise outpost of Michael Dorf’s dwindling Knitting Factory franchises reopened after a fire tore down most of the structure last fall, what heavy-metal band took the stage to help rechristen the venue? In Flames, of course.
Postplay subverts the past, invents the future, and refuses to rest in the present, thus becoming something which stands to become a minor classic in its own right.
Tokyo psychedelic ensemble Kikagaku Moyo played to a capacity crowd at the Regent last Wednesday with support from The Mattson 2.
It Will Come Out of Nowhere is the inspired rejuvenation of a band whose vision and voice will always outlast any interpersonal changes.
Subterranean Reality isn’t groundbreaking, revolutionary punk, but nevertheless it’s punk at the highest caliber and of a quality that will even rival the band’s heroes.
Featuring heavily dissonant riffs laden with death-metal vocals, Necrot gave a blitzkrieg of a performance that alternately dizzied and tizzied the club crowd.
Post-punk legends Gang of Four brought their influential blend of funk, disco and noise-rock to the Roxy last week. Founding guitarist Andy Gill led the band through a propulsive set that mixed newer material with classics from the band’s early years.
From The Roots To The Sky is a challenging listen to say the least, but the high level of skill from the performers and the hidden depths it conceals also make it one of the most rewarding.
The brassman pulls off a neat trick on this record: being faithful to jazz tradition whilst not falling to the traditionalist trap.
The musical legacy of 1970s glam rock was celebrated last Thursday at the Fais Do-Do in Los Angeles, as guest singers performed classics from the era accompanied by a solid house band.
Dance Into The Desert is a remarkable debut album which encloses a large amount of craft and attention to detail within a deceivingly modest pop format.
If it’s folky, vaguely R&Bish, prefers jangle to distortion and vibraphones to reverbed snare, mixes heart-on-sleeve sincerity and arch cleverness, and, above all, remains intensely melodic, it can find a home on Marina.
Two guys, two guitars, and one small stage in the middle of the room.
Dedicated to improvisation, the keyboardist’s omnivorous tastes and punk rock attitude keep at least one foot outside the tradition at all times.
Few manage to create something that at once feels removed or distant from the composer and yet still retains a high degree of raw emotional honesty.
Made Out Of Stars occasionally feels like a collection of odds and ends but it’s impossible to complain because the quality of songwriting and execution is just so pitch perfect.
the calm | the storm is a conceptually perfect work from a band at their peak, and proves that no wait is ever too long if the results are this rewarding.
Two years after Boo Boo, Chaz has channeled that chill opera’s focus on jadedness and turned it outward into riposte.
Sum Of All Parts, with its four songs, should leave fans more than satiated until Mark Peters, with or without The Dark Band, enters the studio again.
Fans will love Matthew Cutter’s tale of their “fading captain,” Robert Pollard. New listeners may be intimidated by the sheer volume of Pollard’s material to absorb, with more than 100 albums on offer when solo and side projects are counted alongside Guided By Voices’ output. For those overwhelmed neophytes, Closer You Are is a godsend.
Even with only four songs there is more to the Havoc Siren than on most LPs three times longer. “Solstice” is the climax and brings elements of shoegaze, plodding along, crescendoing before coming down to an abrupt ending which is leading this listener to go and check out the band’s back catalog.
The UK Singles Volume One puts a twist on what could have otherwise simply been another greatest hits collection.
Spark is brimming with as much heart and soul as technical skill, and it must easily rank as one of 2018’s most flawless folk albums.
Elise is a very strong, confident effort from a musician who is still discovering his image, but it shows a remarkable amount of promise.
Fresh reissues allow listeners to appreciate these overlooked Badfinger albums from 1974 for them for the gems they are.
Remember when U2 and the Alarm wrote unabashedly uplifting anthems, with simple, catchy guitar hooks, lighter-waving arrangements and lyrics that unironically championed love and joy over hate and gloom? Divine Weeks remembers.
In contrast with his music’s meticulous prog-rock precision, real-world paranoia, isolation, and gothic gloom, Steven Wilson fills the venerable Royal Albert Hall with thrills, abandon, camaraderie and euphoric spirit.
“It’s already been seven years since R.E.M. called it a day,” says BBC producer Mark Cooper. “It’s lonely without them.” This pile of well-preserved pop may not stop everybody from hurting as R.E.M.‘s retirement enters its eighth year, but it can coax smiles to temper the loss.