Written by Kevin Renick Monday, 25 June 2007 08:01
It takes a certain creative willfulness to not only sustain the unusual sound palette here, but to make the resulting compositions melodically fresh and emotionally satisfying.
Written by Jason Green Monday, 25 June 2007 07:55
In lieu of instrumentals, each of East's 15 tracks features a guest vocalist, 10 singers in total.
Written by David Lichius Monday, 25 June 2007 07:47
You will hard-pressed to find a meat-and-potatoes post-punk disc that is as solidly enjoyable as this.
Written by Raymee Holshauser Monday, 25 June 2007 07:33
From simple, pure composition to stripped-down, easy lyrics, Balls is a country-roots album for purists.
Written by Raymee Holshauser Monday, 25 June 2007 07:29
Wheedon offers up five songs that paint a picture of a life fully lived—heartache, joy and all.
Written by James Nokes Monday, 25 June 2007 02:47
World Without End is an unforgivingly remorseless stitchwork of murder ballads that unlike the somber, sometimes repentant Murder Ballads of Nick Cave, are just, well, creepy.
Written by Paul John Little Monday, 25 June 2007 02:42
"Morning Dew" retains much of its easy swagger courtesy of a slick, uptempo swamp-rock arrangement and a throat-rending vocal that finds Ryder channeling Melissa Etheridge with uncanny accuracy in the song's final stretch.
Written by Mikey Goralnik Friday, 22 June 2007 03:47
The high marks I've given this record are really a testament to the music. While Argos seems to have regressed a tad in his writing and delivery, guitarist Ian Catskilkin has moved well beyond the power chords, and catchy yet undemanding fretwork of Bang Bang for guitar stylings that are a bit more complicated.
Written by Rebecca Reardon Monday, 18 June 2007 13:50
Tennant and McTurnan share guitar and vocal duties, creating the swirling, '90s-style distorted guitar of self-professed influence My Bloody Valentine.
Written by Sam Levy Monday, 18 June 2007 13:41
Nobody in Columbus remembers them, but for two minutes and forty seconds they become amazingly familiar. It's unpolished, but it's from the soil, and the soul. And it's wonderful.
Written by David Lichius Monday, 11 June 2007 14:36
For a rock fan, there are certain bands' names you don't want to hear mentioned alongside "pop" in the same paragraph, let alone the same sentence.
Written by Rebecca Reardon Monday, 11 June 2007 14:28
Unlike Sumday by Grandaddy, Ten Readings of a Warning never found me reaching for the "skip" button. The songs are that good.
Written by Kevin Renick Monday, 11 June 2007 14:20
Kalli is genuinely self-aware, and, like most of us, living by the age-old ethos of "Hope springs eternal," even though disappointment and lowered expectations tend to be the norm.
Written by Jason Green Monday, 11 June 2007 14:15
Upon further listens, little details begin to bubble up to the surface: catchy melodies start to stick in your head, clever turns of phrase jump out of the lyrics, and subtle musical touches start to emerge from the mix.
Written by David Lichius Monday, 11 June 2007 13:55
With this long of a layoff, it is important to stress that Excellent Italian Greyhound is a Shellac record. There are no big surprises to be found inside.
Written by Kevin Renick Monday, 04 June 2007 15:10
This is one of the few records I've ever heard that would sound great in any situation. Driving in your car. Playing it in the background at a small dinner party. Curled up at night with your headphones on.
Written by Chris Schott Monday, 04 June 2007 15:05
The songs vary in style, giving artistic dignity to the track producer while allowing Sage to share the spotlight, giving credit where credit is due—a selfless rapper, imagine that.
Written by Maria Kriszt Monday, 04 June 2007 14:59
He's definitely in touch with the streets on this one; this could be the new gangsta anthem.
Written by Rebecca Reardon Monday, 04 June 2007 14:56
Like the kindergartner who refuses to quietly return the instruments to the box at the end of class time, the album ends with someone giving one last impulsive jingling of the wind chimes.
Written by Rebecca Reardon Saturday, 02 June 2007 06:18
Most of the songs are so short ("Who Stabbed Sean Spencer" is only a minute and 21 noisy, head-bobbing seconds long), you'll likely forgive the monotonous vocal range.
Written by Bob McMahon Saturday, 02 June 2007 06:11
There's some stuff stayed basically the same; there's some stuff that got major overhauls; one song got entirely re-recorded ["Space Baby"]. We went back and just made it sound a lot better. It's a more representative product.
Written by Dave Jasmon Saturday, 02 June 2007 05:58
Small observations, self-deprecating moments (Can I get a minute of not being nervous and not thinking of my dick"), and bits of conversation fill out the rest of the lyrics, lending credence to the National's more repetitive choruses, and adding a mystery that abolishes any semblance of tedium.
Written by Rebecca Reardon Wednesday, 30 May 2007 08:55
From the first note of the catchy guitar riff of "Eternity Is a Long Time," it will remind you why you like indie music so gosh-darned much. Jangly guitars! Plaintive lyrics!
Written by Chris Schott Wednesday, 30 May 2007 08:46
While bands like Battles and Dungen are still being innovative and, more importantly, interesting, Parts & Labor have run out of ideas, becoming repetitive throughout the execution of Mapmaker.
Written by Kevin Renick Wednesday, 30 May 2007 08:40
Summoning a sort of ghostly, late-night vibe, Mehlan arranges these tracks like a witch at her cauldron, stirring and stirring the bubbling brew in hopes of conjuring magickal forces.
Written by Jim Ousley Wednesday, 30 May 2007 07:56
What I learned from Gene and Paul was that they experienced all of the ups and downs in the business so they knew how to protect the band and move forward and survive in a difficult industry. They were able to deal with the record company and people who did the tours in a very tough way, because they rightfully felt that no one knew their vision like they did.
Written by Glen Elkins Wednesday, 30 May 2007 07:49
Nate came up to us at a show one time in Austin and wondered if we needed a bass player and we said we didn't, so we sent him off. He came back to our show later that month and asked again and we said, "OK, you can come play bass with us." He actually recorded with us the next day.
Written by Byron Kerman Tuesday, 29 May 2007 02:35
Cohen's supposed appreciation for the mysteries of women comes off time and again more like that of a callous braggart with a Sharpie in a men's room stall. If he wasn't one of the most gifted lyricists rock has ever known, he would be left to write with his dick. "Sexy Intellectual," indeed.
Written by Katie Herring Tuesday, 29 May 2007 02:20
"There was a band called Alkaline Trio that was starting to do real well in Chicago, and they set kind of the tone of the new wave of whatever was going to come out of Chicago; that was a very important band for me. So I feel very proud and privileged I got to grow up in that particular part of the United States. I think it helped having all that music and culture around us."
Written by Katie Herring Tuesday, 29 May 2007 02:14
According to their bio, a major mission passed down to the band by the cobra is to "teach hipsters to not take themselves so seriously and to tell emo kids to stop being pussies." When asked how that was going, both Blackinton and Suarez laughed.
Written by Paul John Little Monday, 21 May 2007 10:06
Smith half-speaks his songs in a ramble-tamble style that recalls both Lou Reed and Eels' principal Mark Oliver Everett in equal measure, an inherently hip and cynical method of delivery which lends credibility to his street-level vocabulary and seedy subjects.
Written by Amanda Pelle Monday, 21 May 2007 09:59
Coupled with emotional lyrics and sensual vocals, the end result is masterful, melodic poetry.
Written by Gabe Bullard Monday, 14 May 2007 08:52
That now-classic sound is all over Beyond. The big, fuzzy riffs flow almost seamlessly from one song to the next and the not-quite whiney vocals sound just as good as ever.
Written by Kevin Renick Monday, 14 May 2007 08:48
It's perhaps a measure of the highly evolved musical aesthetic that pervades Scandinavia that a young Swedish dude like Gustav Ejstes could better his American counterparts at recreating guitar-based psychedelic rock of the hippie era.
Written by Glen Elkins Monday, 14 May 2007 08:39
The size of it really doesn't matter. What matters is if people come looking for fun or not. You can play big gigs that are horrible and you can play small gigs that are horrible, and vice versa.
Written by Dave Jasmon Monday, 14 May 2007 08:06
The crafting of the group's style seems more at the front of their minds than the crafting of memorable songs.
Page 29 of 39
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