Jazz drummer Terri Lyne Carrington pays tribute to the 1962 LP Money Jungle, originally created by Duke Ellington, Charles Mingus and Max Roach.
The Dick Dale-on-bad coffee vibe still rumbles, but there’s a lot more going on than just angry takes on “Miserlou.”
Originally released in 2011, Yearling, the third album from Portland’s Parson Red Heads, gets a new life after being lost in the shuffle of new releases the first time ‘round.
Unsurprisingly, given the title image of a lonely soul contemplating life at 2:00 in the morning, the record revolves around ballads and low-volume tunes, all infused with warm soul.
Sure enough, a certain maturity has set it. The bratty bursts of energy and snotty asides are kept in reserve these days, used when necessary, rather than scattered like dandelion seeds across a field.
How Rhys Marsh has escaped the scrutiny of the majority of music nerds worldwide is a mystery.
The band’s sixth album finds it exploring the usual facets of psychedelia of which it’s a master.
The Sheffield singer/songwriter continues his winning streak with a startling change in direction as he mostly dispenses with gentility to crank up the volume.
A low key progressive rock superduo.
Thanks to the ever-growing Chaos in Tejas festival, Lone Star Staters were treated to a show we never thought we’d ever see: a Clean concert.
Reminiscent, but not imitative, of Joe Jackson, Elvis Costello and their peers.
Recorded with producer/multi-instrumentalist Mattias Areskog, Hellberg keeps things simple, crooning over arrangements that are often little more than guitar and strings.
Working with producers Dave Fridmann and Steve Albini, the Jarman brothers crank the guitars and hooks, while still folding in enough texture to give the tracks depth.
This is a band not content to simply plow the garage punk furrow – the writing is simply too skilled, melodic and ambitious for sitting comfortably in that much-beloved but limited niche.
The Man Who Sold Himself is challenging music, no question, but that challenge is worth meeting.
Singer/songwriter Loudon Wainwright III is as accomplished an author as you could wish for on any subject, but he’s always at his best when he turns a sardonic eye towards his own life.
One of the odder phenomena in the underground rock scene in the past decade has been the rise of Southern rock bands that aren’t from the South.
It’s been five years since Love is Dead, the last record by Michael Rank‘s long-running rock & roll band Snatches of Pink. A lot can happen in five years, and apparently one of those things was the dissolution of Rank’s marriage. The result is Rank pouring out his pain, confusion and, ultimately, acceptance on Kin, the first record by his new outfit Stag.
The UK quartet’s cheerful mix of Blue Cheer acid thuggery, Black Sabbath occult whimsy and Motörhead power riffing sounds tailor-made for headbangers of every stripe.
As indicated by the title, _ Angels of Darkness, Demons of Light II_ is a sequel to Earth‘s identically-named 2011 opus.
Adamson gives as much prominence to hooks and melodies as to groove and ambience, putting his cool croon front and center in the arrangements.
Ultimately, the question for American fans is: can his voice still cut it?
Somewhere in the middle of Thin Lizzy and Iron Maiden, if you will.
Who knew Black Widow‘s 1970 occult rock LP Sacrifice would become such a sacred text?
Like a lot of artists who put a ton of hard work into making it look easy, Viola is a master of subterfuge.
Seven long years have passed since we last had a LP from the Bevis Frond. The Leaving of London makes clear what empty, empty years those were.
Basing itself around Human Switchboard’s lone 1981 album, the collection adds various studio, demo and live sessions for a fairly comprehensive portrait.
Though he doesn’t get the attention of his Oblivians bandmate Greg Cartwright, Jack Yarber, AKA Jack Oblivian, has a growing catalog of strong recordings as well, of which Rat City is the latest.
The Blue Obscurities may contain work that the band considers ephemera, but it makes as strong a case for Trance To the Sun’s existence as any best-of ever could.
Germany’s Dawn Band is one of those groups who love so many iterations of music that the members couldn’t decide on a single direction, and thus head off in several at once.
One could easily, and justifiably, make the argument that it’s impossible to condense Patti Smith‘s visionary 35+ year career onto one disk.
Like the work of David Sylvian, No-Man or Mark Hollis, A Scarcity of Miracles requires patience and multiple exposures to truly appreciate.
For what’s essentially a compilation, there’s an amazing consistency here, as if all the songs were recorded in one burst of creative urgency.
Last of the Good Ol’ Days, the third record from the Latebirds, is further proof that a term like “Americana” refers more to genre than country of origin.
On Darkmatter cuts like “De:Vision” and “No Time For Silence,” the trio plays as straightforwardly as possible, placing their feet firmly in the jazz fusion sandbox and letting the melodies and propulsion carry the tunes forward as much as the improvisation.
Green Monkey mastermind Tom Dyer promised to revive the Icons after releasing the band’s 80s recordings as Masters of Disaster, and sure enough, the Seattle troop is back with its sophomore effort Appointment With Destiny!
The sextet doesn’t break any new ground, but that’s doubtless not its intention.
While most folks were praising the pop genius of leader Sam Prekop I always thought him inconsistent, with dangerous leanings toward the worst 70s soft rock pap.
Released to celebrate the blues pioneer’s 100th birthday, The Centennial Collection serves as one-stop shopping for newcomers to singer/guitarist Robert Johnson‘s brief but extremely important oeuvre.
The sound of Should has always tended toward the delicate, but on Like a Fire Without a Sound, the popgaze duo has crafted a record so gossamer and sedate as to be almost fragile.
Lucas has flirted with pop on most of the Gods and Monsters disks, of course, but this is the first album on which he’s carried a vision of succinct, catchy songs all the way through.
Now that Rasputina has been in existence for nearly two decades, it’s obviously time to clean out the closet.