Written by Laura Hamlett Wednesday, 21 February 2007 02:44
we play danceable, shed rehearsed guitar music. we like to dance, drink, draw, pretend to be on a mobile phone whilst we are not, write songs, dance.
Written by Kevin Renick Wednesday, 21 February 2007 02:37
Are "pounding drums" and "squiggly synth sounds" what come from long hours contemplating the hidden mysteries of space and particulate matter?
Written by Aaron Brummet Wednesday, 21 February 2007 02:34
Shara Worden's voice could be put on top of Gilbert Gottfried and a pack of dying howler monkeys and still sound five steps past amazing.
Written by David Lichius Tuesday, 20 February 2007 14:25
Owing a great deal to the statuesque genre known as shoegazing, Conqueror may lack a bit in hooks and shifts, but makes it up thanks to low key vocals and song-crafting.
Written by Laura Hamlett Sunday, 18 February 2007 07:05
Eastern Conference Champions is a trio that sounds thoroughly British yet hails from Pennsylvania.
Written by Laura Hamlett Sunday, 18 February 2007 06:51
Miller's just a kid, really, and he's working with former Atlantic Records president Ron Shapiro, among others. And I like him anyway.
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 David Lichius Tuesday, 13 February 2007 04:56
With its origin harkening back to Kensrue's days playing for spare change on the street corners of Southern California, Please Come Home is a stripped down, rollicking folk record that is fairly impressive and largely successful.
Written by James McAnally Tuesday, 13 February 2007 04:53
The band's patented shoegaze gauze is shot through with fuzzed-out garage guitars on opener "Know," only to dissolve into a two-minute-long coda of brushed drums.
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 Leslie Wilson Tuesday, 13 February 2007 03:58
"This is a pretty politically minded city," says Rube, "and because we live in it, we're pretty politically minded. We do feel that there is a certain aspect of responsibility when you have the mic."
Written by Jason Green Monday, 12 February 2007 03:03
"It was...pretty much the band throwing out all the rules that we'd been using to develop an identity over the course of a career, which is something you need to do every now and then."
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 Kevin Renick Tuesday, 06 February 2007 14:43
Quite simply, this is the best electronica work I've ever heard by an unsigned musician.
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 Laura Hamlett Thursday, 01 February 2007 13:38
Glasgow in January, there's really not much to do but drink, fight, fuck, and record a record.
Written by Kurt Boyer Thursday, 01 February 2007 03:20
I was very pleased to see the crowd growing at a late hour, even though some musicians started loading out and leaving, in my opinion an egocentric slap at the other people and a damn shame. Happens all the time, hard to stop.
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 Brian Kenney Wednesday, 31 January 2007 09:06
With Axl Rose, we want to remember the Axl in the black-and-white "Sweet Child O' Mine" video, not the bloated, corn-rowed Axl in his last high-profile appearance, winded and sweaty after a semi-rousing set of "Rocket Queen" at the 2003 MTV VMAs. We want to remember Adler, Izzy, and the summer of '88 when the Gunners broke loose of the Sunset Strip scene.
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.
Page 40 of 50
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