Posts by Jeremy Lukens

Don’t be fooled by honeyhoney’s moniker. The debut album from this duo, composed of Suzanne Santo and Ben Jaffe, is anything but saccharine and repetitive. It begins with Santo’s beautiful voice singing slow a cappella, usually an indication of a soulful ballad, before the band jumps in and turns the song (“Black Birds”) into a mid-tempo jazzy tune. It is the first of many pleasant surprises.  

At the end of the night, though no one would consider Jason Mraz the Bob Dylan of our generation, it was clear that Mraz’s concerts are a lot like his albums: cheesy but fun. 

On their Hyena Records debut, Backyard Tire Fire stray a bit from their roots, with more piano-based songs than rockers.

Alt-country veterans and former Jayhawks leaders Mark Olson and Gary Louris know a thing or two about playing roots music, so it’s no surprise that their reunion is strong.

With their second full-length album, Horse Feathers delivers a piece of subtle Americana that is as beautiful as it is unnerving and as soothing as it is depressing. Justin Ringle’s vocals are hushed, as if he is performing alone in his bedroom, trying not to disturb anyone.

Whether playing banjos and steel guitars or loud electric guitars, Band of Horses proved that the only type of song they can’t play is a bad one.

Though the rawness of their performances sometimes came off as garage-rock, such a thing can be expected from such a young band. In contrast, their slow, quiet songs, though emotional and undoubtedly therapeutic, were rather dull and tended to drag. It is a sign of a band of enormous potential as rockers but with a penchant for clichéd, overly sentimental balladry.

The debut EP CB Radio by Chris Burns is an energetic acoustic album with enough hooks to carry any full-length release. The metaphor-rich lyrics and soft, boy-next-door vocals punctuate the songs, but it’s Burns’ compositions that stand out.

The title track that opens Delta Moon’s Clear Blue Flame is a song about moonshine. Yes, it’s that kind of album. The subject matter, however, is of little importance. This is an album where the gritty blues rock riffs, country twang and trademark duel slide guitars are at the forefront.

I'm Like a Virgin Losing a Child is the debut by the Manchester Orchestra hailing from Atlanta, Georgia. Although they are a considerable distance from Manchester, England, this is an encouraging pop rock album, catchy enough to get radio airplay while still managing to be unique and engaging.

On the second album by the pride of Sydney, Australia, Dappled Cities delivers hooky pop-rock that is eclectic and experimental, but still manages to be a little bland.

As complex as the songs get at times, intertwining string arrangements with electronic beats, guitar and various percussion, at its core, the music is all about Havnevik sitting at the piano, pouring her heart out.

Trying to find an innovative artist in the current country music scene is akin to searching for an honest politician. That makes it all the more exciting when a talent like Luke Doucet rises above the crowd. With Broken (and other rogue states), Doucet delivers 13 tracks of liquored-up heartache – hardly new subject matter for country music – each resonating with a pained beauty that instantly engages the listener.

n her Matador Records debut, Over the Mountain, Across the Valley, and Back to the Stars, Jennifer O’Connor delivers a pleasant album full of hum-along melodies.

Every once in a while, a new band arrives and breathes fresh air into a monotonous genre. Such is the case with Oneside, a talented pop-rock quartet from Boston. While incorporating banjo into pop-rock is hardly revolutionary – Béla Fleck, for instance, has been doing that for a while – Oneside combines bluegrass, rock and roll, and a catchy pop mentality into a sound that is distinctively their own.