Written by Laura Hamlett Sunday, 18 February 2007 06:03
With Four Winds EP, Bright Eyes' first new release since the double infusion, the multifaceted Conor Oberst has chosen sides in a resolute way.
Written by Laura Hamlett Sunday, 18 February 2007 05:17
Owen's latest CD is everything you've come to expect from Kinsella, and more. It's even more understated, if that's possible, with richly woven strings and chords backing Kinsella's frail yet competent vocals and revealing tales.
Written by Laura Hamlett Sunday, 18 February 2007 04:20
"Save Yourself," aside from being catchy as all hell, features some of the sweetest vocals this side of Jeff Buckley.
Written by Elizabeth Feldman Tuesday, 13 February 2007 04:49
From beginning to end, the record feels as though it is taking you on a ride where you stop at just about every musical genre available, leaving you dizzy as it lets you off, fumbling to find your footing.
Written by James McAnally Tuesday, 13 February 2007 04:43
Plays is a world of its own, where digital noise, cut-up collage, and accordion circles collide.
Written by Dave Jasmon Tuesday, 13 February 2007 04:37
His free spirit, throwback sensibilities, and unspoken respect for those who made him are all promises of a nostalgic growth that is all too welcome in a generation of egoist talking heads.
Written by Kevin Renick Tuesday, 13 February 2007 04:30
"In a trance, in a trance/ I could dance this night away," sings Meisfjord, and with texture-embedded beats like this, so could most listeners.
Written by Bob McMahon Tuesday, 06 February 2007 15:55
Combining a knack for catchy melodies with a passionate performance and lyrics never too far removed from traditional rock subject, the Visitors should appeal to any garage rock enthusiast with their just-under-30-minutes, self-titled album.
Written by Dave Jasmon Tuesday, 06 February 2007 14:57
Touting their divergence from cut-and-paste radio rock, the Upright Animals form echoing, deeply cosmic ballads, anchored by suspended vocals and peppered with the subtly expansive merging of concise, space-rock guitar.
Written by Kaylen Hoffman Tuesday, 06 February 2007 14:53
As I listened, I was instantly transported to a grassy park, sitting on a blanket with my three closest friends, eating fresh fruit and laughing lightly as the sun shined down on our bare shoulders.
Written by Andrew Scavotto Tuesday, 06 February 2007 14:41
All of the 2006 hype has made Some Loud Thunder one of the most anticipated CDs of 2007, with critics and fans eager to see what singer/songwriter Alec Ounsworth will do with some exposure to fame and new resources. The result is a markedly more complicated, almost maniacal experiment in track layering and production.
Written by Bradley Terebelo Thursday, 01 February 2007 03:18
Distorted vocals and guitar? Check. Repetitive bass notes? Check. Mood-moving lyrics? Check.
Written by Jason Green Thursday, 01 February 2007 03:13
The biggest complaint to be lodged against this EP is that, at 24 minutes, it's far too short.
Written by Kevin Renick Thursday, 01 February 2007 03:09
David Gould, who previously played banjo for and led the Bootleg Remedy, must clearly be some sort of nonconformist genius, so gracefully does he buck trends and come up with his own version of life-affirming modern music.
Written by Maria Kriszt Thursday, 01 February 2007 03:05
Hobex comes out with a nice, mellow funk beat and lyrics that tell you to loosen up and enjoy the sounds, which helps set the mood for the rest of the CD.
Written by Dave Jasmon Thursday, 01 February 2007 03:01
Essentially a band of collaborators in support of the songwriting of Todd Vandenberg, Heller Mason portrays a dampened soul dipping its oar in a lake of grey humilities.
Written by Kevin Renick Thursday, 01 February 2007 02:58
This is an astonishingly good record that provides an easy answer to the question, "When does pop music rise to the level of art?"
Written by Jeremy Goldmeier Thursday, 01 February 2007 02:54
With the absence of all of the musical distractions that songwriters frequently employ to support their lyrics, there's really little to talk about with Woke Myself Up other than the themes expressed.
Written by Sam Levy Wednesday, 31 January 2007 09:25
We're delivered to this place we don't know, in a time we don't know, and somehow feel like we know exactly where we are. We see the grimey smiles, and the smokehouse soot doubling as sunshine. Welcome to Halifax.
Written by Jeremy Goldmeier Wednesday, 31 January 2007 09:22
Whatever comparisons one wants to apply—and jeez, there's so many trendy artists out there to name-drop—Quixoticism succeeds because it lacks any of the pretensions that so often scour records of this type.
Written by Kevin Renick Wednesday, 31 January 2007 09:11
Any budding garage band with a sense of humor can come up with a unique moniker, but only the ones with real talent and determination will likely see their name become secondary to their sound.
Written by Jason Green Wednesday, 31 January 2007 09:00
When Lee and Balsamo experiment, however, they almost always succeed. On "Cloud Nine" and "Lose Control," the band uses sequenced drumbeats courtesy of DJ Lethal (of House of Pain and Limp Bizkit fame) and echo-laden vocals to form airy arrangements that at times border on trip-hop, like some crazy bastard child of Korn and Portishead.
Written by Kevin Renick Wednesday, 31 January 2007 08:55
Williamson has a poignant, delicate approach to playing piano that often provides more of the emotional pull than her vocals do.
Written by Jason Green Wednesday, 31 January 2007 08:51
A few ballads even sneak in to shake up the tempo, which helps the flow of the album even if they aren't particularly memorable individually.
Written by Kevin Renick Wednesday, 31 January 2007 08:48
Waters' third album on her own label builds in intensity and curious details until the initial seeming lack of originality gives way to a much more lasting impression. This woman is a keen observer of life, a deeply empathetic soul, and a truly devoted musician.
Written by Dave Jasmon Wednesday, 31 January 2007 08:44
Having assembled a diversely talented group of musicians in the Clash's Paul Simonon (bass), the Verve's Simon Tong (lead guitar), Afrobeat specialist Tony Allen (drums), and the production of Danger Mouse, Albarn never seems to fully engage any of them.
Written by Tyson Blanquart Wednesday, 24 January 2007 14:05
Sonic Youth captures this improvisation and musical weirdness on nearly every album, so much so that they are the standard by which noise music is measured.
Written by Dave Jasmon Wednesday, 24 January 2007 13:59
While the (past and possibly present) prom-night power of "Forever Young" is what will most likely dominate the attentions of Casino Twilight Dogs, it is by no means the high point of the album.
Written by Chris Schott Wednesday, 24 January 2007 13:53
Listening to the songs on Don't Make Me Wait, one might think back to an Ed Sullivan–era Beatles. The band seems to carry that same befuddled charm the Fab Four was known for back in early 1960s.
Written by Jeremy Goldmeier Wednesday, 24 January 2007 13:48
The album cover tells you a lot. Look closely, and you see all sorts of cute little details. Hey, wow, are those cars flying?
Written by Katherine Yeske-Taylor Wednesday, 24 January 2007 13:41
Woozy, trashy, sexy, secretive...this band makes late-night heartbreak and alcohol-fueled mistakes sound alluring.
Written by Chris Schott Wednesday, 24 January 2007 13:30
The people at Hometapes are keeping their ears to the ground, making sure we're constantly hearing something new and exciting.
Written by Dave Jasmon Wednesday, 24 January 2007 13:24
This record is undoubtedly Of Montreal's most cogent effort to date, and not coincidentally, contains some of Barnes' most personal songs.
Written by Dave Jasmon Wednesday, 24 January 2007 13:18
What the tender-voiced folksmith does best throughout Grand Forks is create an eerily pleasant, old-timey tone, blending the straight-forward dialogue of Hank Williams, Sr. with a modernized, feminized lilt in the vein of Jeff Buckley.
Written by Dave Jasmon Wednesday, 24 January 2007 02:49
We ultimately benefit in that this Shins record, more than any before, ceaselessly moves from one mood to the next, blending darkened optimism with the glaring shadows of Mercer's lyrics, allowing the group's omnipresent sing-along ability to withstand the attention of casual enthusiasts alongside repeat listeners.
Saturday, 06 January 2007 14:40
The opening title track is an invitation to the next 11 songs and tells you all you need to know: catchy, high-energy, strong vocals, steady beat, solid harmonies.
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