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Not About Nightingales has captured American folk music in a way that countless other musicians have failed to do, and with any luck, many of these songs will become standards in their own right.
Just in time for Samhain, Gundella’s classic obscure educational record about witchcraft sees its very first reissue for the millennium’s uninitiated.
San Francisco space cadets Turn Me On Dead Man return with their fifth offering of psychedelic interstellar metal.
Three years after their stellar eponymous debut, The Luxembourg Signal deliver a strong sophomore followup.
The Detroit post-punk quartet’s latest LP is largely indistinguishable from its predecessors for the best reasons.
The Clientele’s first record in seven years proves that they are still inarguably capable of elegance, but occasionally lapse into obscurity, or even worse, a retreading of old ground, playing into a law of diminishing returns.
“…savor their unique blend of trippy but dreamy sonic textures. They remind me in spots of Cocteau Twins and even Kate Bush, but in the end, they sound merely like themselves.”
If you’re sitting in a bar and the memories of a past love fill your head, Courtney Farren’s debut album Nothing Like It is a quiet voice that lets you know that you’re not alone. With straightforward lyrics, subtle arrangements, and gorgeous vocals she is the saint of the broken-hearted.
If Wizard rock, and the proliferation of Harry Potter bands in recent years is anything to go by, one can only hope the successive Shrek-themed musical acts are at least as half as talented as Shrek is Love.
German trio Mother Engine return with their third full-length of sprawling prog-inspired instrumentals.
Italy’s heaviest band delivers a sophomore monolith that makes them serious contenders in the global doom coliseum.
Save for a few moments of mastery, Electric Trim is a frustratingly uneven LP from modern guitar curator Lee Ranaldo.
Historically, music has been an extraordinarily potent form of rebellion.
Only time will tell whether The Stangs are a band born in the wrong time or if they’ll lead the charg of a new revivalist movement, but American Sessions will nevertheless stand on its own merits.
Paul Snowden, the brain behind London’s Time Attendant, returns with a new LP that successfully bridges the gap between glitch beats and Berlin school electronics.
“This is a sublime collection of post rock pieces, arranged meticulously and exquisitely rendered. Fans of post rock, ambient, and modern classical will greatly enjoy this release. “
Living Colour has released Shade and, sorry for the cliché, it rocks. There is nothing unexpected here and that is not a complaint as the thirteen tracks have the riffs, grooves, hooks, and beats found in their early days. The production is pristine mixing hard rock blues, funk, jazz, and hip-hop. Bottom line, if you need some rock and roll, don’t mind some tough talk lyrics, Shade is not to be missed.
Their second and latest album, Waltz to the World, is a strangely jazzy affair that combines various elements of both prog and left-of-center pop in a catchy yet artistic way slightly similar in vein to XTC.
If you’re willing – in a profoundly strange but fun way, Mountain Moves is the kind of album America needs now to begin the healing process, if that’s at all feasible.
With his sixth solo outing, VanGaalen mines his haunting production values to yield the same goofy brand of surreal yarns we know him for.
Roman power trio Fvzz Popvli celebrate fuzz their own way on a debut full-length that will likely leave many scratching their heads.
To anyone, it is immediately clear that Weezer is a large influence on Lochness Monster, but the band’s slightly more progressive and serious than the pseudo-heavy metal pop punk lyricism of Rivers Cuomo.
Alvvays have raised the stakes, brushing up on the handbook of pop and making the competent, forward-thinking, deceptively saccharine album they’ve been studying for.
Following several LP and song names that could double as entries in the Dungeons & Dragons Monster Manual, they now fittingly bring us Orc.
Franklin and Hartridge bring a mix of brawn and finesse to the fore as they tear through Raise and Mezcal Head in fine fashion.
Nearly two decades on, Brooklyn’s twelve-piece afrobeat ensemble Antibalas shows no signs of slowing down on its powerful sixth full-length.
Literature has been an inspiration for many musicians and bands. Susan Hwang and Charlie Nieland of Lusterlit have taken that to a honest and dreamlike place, on their new e.p., List of Equipment.
Before becoming a revered Oscar-nominated A-list actor, Will Smith was one half of a hip-hop duo who not only placed Philadelphia on the map, but also achieved wide mainstream success with the genre’s first double LP.
Tonight We’re Alive isn’t music one can analyze endlessly, which is exactly why this record sits firmly in the long tradition of corporeal rock and roll.
Australian activist rockers Midnight Oil stormed the stage at Cleveland, Ohio’s House of Blues for a night of political agitation and feral rock and roll. Cover photo by John Welk.
The record occasionally slips into territory that hints at a purely cursory glance at 1984, but Power remains a fascinating first glimpse at a trilogy that can only be fully appreciated at its eventual close.
There is a longtime specter haunting the Pacific NW; it is known in every garage and soul club.
Queens of the Stone Age return with their seventh studio album, Villains, and not surprisingly it swings, rocks, and grooves. If this is what happens when a well-paid producer combines with a band that helped define a sub-genre than who cares, let the beat go on.
Painted Ruins is such a reversal of Shields’ instant accessibility that although genius, its palette may appear alienating to some. To quote the lyrics of member Daniel Rossen, “It’s chaos but it works.”
Veseria is entirely comfortable combining elements of punk, rock, and folk, and they have never sounded more confident and relaxed in the studio, while showing an attention for detail that, thankfully, doesn’t entirely erase the band’s scrappier edges.
“It’s all about the emotion swirling through these compositions, and whether you call it post rock or dream gaze or even drop the term polymath in passing, there are multiple layers here on these long tone poems. For exquisite works of art they are, with stunningly gorgeous instrumental passages chock full of strings and horn sections.”
Just short of 11 years have passed since the last proper full-length from Keigo Oyamada’s Cornelius outfit, and after such a long gap, it’s difficult to determine whether or not his latest effort invokes more than it originates.
Photos and words of Day 1 of Lollapalooza 2017.
Perhaps, it’s an album that would work best without the somewhat confusing concept, but the songs are strong enough to nevertheless stand up on their own.
Before Bruce Dickinson became known as the wailing banshee of Iron Maiden, he fronted Samson, a vehicle for Paul Samson, a guitarist who peacefully resides as an unheard giant of the new wave of British heavy metal.
By the end of the first listen to Out in the Storm, the latest album from Waxahatchee, the tunes already felt familiar. The album is filled with enjoyable melodies, guitar-driven rock, and lyrics that are quite personal. The album closes on “Fade” but not for long as this record screams repeat.
Paul McCartney brought his One on One tour to Chicago on Tuesday. Here’s an unconventional review of the former Beatle’s unconventional connection to some of his ardent fans – through the eyes of 11-year-old Melody Elbel. Photos by Curt Baran.