It’s the excitement of being in a band, loving every practice, every wrong note, every show, every argument and loving it so much you never want to do anything else.
Arrington is one of those artists (like his obvious compositional hero Captain Beefheart ) whose work must be taken in as an arc, a traveling trajectory moving through different spaces and examining the muse from myriad angles, some down and rock n roll, some more hypnagogic and trance-worthy.
Once again, Athens, GA’s HHBTM hits a home run, this time with an English band sure to be dominating the Indie charts in months to come.
With the Church on hiatus (maybe), Steve Kilbey‘s ongoing work with All India Radio composer/ leader Martin Kennedy has become his most high profile artistic endeavor.
Texas-based sibling band Eisley return with their fourth album, one that shows a band that has matured greatly since their stunning third album, The Valley.
JC Brooks & The Uptown Sound’s third album finds them eschewing most of the 60s-inspired retro soul of their previous album, in favor of a contemporary style that is much sexier and romantic. This is a very good thing.
With their debut LP, the trio delivers a definitive statement of disenchantment that adds to the annals of great bands from Athens, GA.
It’s rare to find such unpretentious, well-written pop songs crafted with such instinctive ingenuity.
Drivin’ n’ Cryin’ are on a roll with this, their third thematically-linked EP released in the last year. This time, they take on psych-rock, and do so with aplomb.
It’s as much Talk Talk as Leonard Cohen, with a side of Scott Walker.
New artists within the Americana community tend to hold no interest for me whatsoever. I’m pleased to report, however, that the Howlin’ Brothers are different.
Certain victories aside, Grant remains a pretty uncertain guy, the type who just can’t stop being unfair to himself, comparing himself to movie stars, etc.
Hydra, the debut record from Sweden’s Deville, starts like a good hard rock record should – with a turbocharged rush of riffs and muscle.
The follow-up to the post-breakup catharsis that is Kin, In the Weeds finds the former Snatches of Pink leader settling into life as an Americana musician.
There’s a pretty consistent layer of analog filth, but the music as always comes across as immaculately clean, purified by art.
So they successfully got back together and produced some damn good rockin’ tunes that show they’ve still got it in ‘em.
The ever eclectic Instagon take a left turn at jazz, or more accurately, jazz-fusion, on this 20th anniversary release that documents recordings made throughout 2012 with a multitude of musicians.
Where Children of the Vortex, their previous effort for Love Earth Music, was the noise equivalent of an ’80s hardcore punk record, Adrenalflag Cirrosismantis Livormortis seems to have more in common with black metal.
While this is certainly Instagon’s darkest release to date, it is also one of their most powerful – a raw, spontaneous outburst of twisted psyche.
Over-modulated static twists and morphs, creating a wave of horrifying squelch intent on crushing everything in its path.
The second duo to take on the mighty Everly Brothers catalog, the Chapin Sisters offer up new takes on old familiar hits.
Recorded live on the 100th anniversary of the sinking of the USS Titanic, this extremely limited cassette release shows the improvisationally inclined Instagon in a sparse, but powerful, lineup that successfully tackles one of history’s greatest failures.
Luke Winslow-King’s third album is reissued by Bloodshot Records and serves as a great introduction to a talented young man.
Though the A-side is terrific, the B-side “Who Have I Become” might the best song that Best Coast has ever recorded.
Mark Kozelek’s new record is yet another collection of acoustic cover songs, but this one is unlike any of the others. It’s filled with mostly punk songs!
Now on the fourth EP generated from his Children of the Bomb franchise, Matteo delivers yet another superb collection of remixes, reboots and brand new tracks guaranteed to drive all cyber knights out of their coffins and into the glowing neon sprawl.
I could be way off, but it sure reminds me of classic Black Sabbath, going way back to Paranoid days.
High Expectations is about as lo-fi as you can get, sounding like it was recorded on a cassette 4-track in a living room.
This two-disc set collects thirty-three Queen videos, featuring the British rockers’ best-loved songs. Having guitarist Brian May and drummer Roger Taylor on hand via commentary is worth the price of admission.
With an appealing blend of classic and alternative styles, Eclectric earns comparisons to crafty pop provocateurs like Tears for Fears, Eurythmics, and Level 42.
They spill blood on the land when the audience commands; our love survives because they’ve done their job well.
Seventeen studio albums into its career, this is clearly a band that is not bored or running a treadmill. Some of the usual comparisons tangentially apply, including Genesis, Radiohead, and Pink Floyd. With “Sounds,” Marillion both challenges and entertains.
Although Queen are constantly on the periphery, this film explores Freddie Mercury individually. His ambitions as a solo artist extended beyond “Mr. Bad Guy” or even rock and roll. This tribute connects most deeply at a personal level, rather than relying solely upon Mercury’s stadium-sized fame.
While the guitar/drums duo thing is tired, passé and generally a bore, Pairs, comprised of drummer/vocalist Xiao Zhong, aka Rhys, and guitarist F have somehow hit the nail on the head.
Originally released last August, this Nashville foursome’s 2012 self-titled EP has recently been remastered and sounds as wonderful as it did when I first heard it.
The girl’s got pipes. I mean, she can really sing.
Masterful experimental artist David Grubbs turns in a lovely little new album, a little poppy, a little instrumental, and a whole lotta enjoyable.
Oriented squarely at devotees of the noise/improv scene, The Jazzfakers Here Is Now culls from a mercifully diverse sonic bag of tricks so the ear never quite gets worn out by one set of elements stretched to the point of over-endurance.
Veteran electronica composer Ellen Allien offers up her soundtrack from a commissioned ballet, reworked into a single 45-minute track, resulting in an interesting listening experience.
Summoning the spirit GLITCH is serious business, as it takes patience, precision and perfection to perform such a feat.
One of the biggest surprises of 2013 is the sudden return of Big Country, with The Alarm’s Mike Peters taking the place of the late Stuart Adamson. Peters superbly fits and he reinvigorates the band, resulting in one of the best records in the Big Country discography.
On her third LP, Alison Chesley emphasizes the low end of her instrument’s range, creating her own vision of ambient metal.
This sophomore effort combines 2010 debut Memento Mori’s melodic depth and multi-faceted songwriting with a harder-edged bite.
By stripping things down and laying bare her soul, Boyce knocks one way out of the park on this follow-up to her 2010 self-titled debut.
Seattle-based troubadour Norsworthy shifts direction on his sixth album, veering into traditional, old-timey blues.
Berkeley, CA-based Lowe’s pretty songs and soothing voice go down easy, like a cup of herbal tea on a Spring morning.
The music of Faz Waltz is firmly rooted in early ’70s glitter.
New Orleans-based duo Generationals return with their third album and finds the band soldiering on with their always enjoyable, catchy upbeat pop songwriting style.
