Jeremy Lukens, Author at Glide Magazine

New Idea Society: Somehow Disappearing

Jeremy Lukens October 19, 2010 No Comments

New Idea Society have crafted a sonic landscape that relies on nuance and sleight of hand rather than a routine pop rock formula. Though the music has a minimalist approach, its layered quality rewards repeated listening, with each play revealing something new. Sounds that don’t traditionally go together are combined, such as the frenzied drum rolls and jangling guitars of “Autumn You” or the marching drums and brooding melody of “Come Outside.”

Sheryl Crow: 100 Miles From Memphis

Jeremy Lukens September 27, 2010 No Comments

The release of 100 Miles from Memphis was preceded by more buzz than is typical of a Sheryl Crow album, mostly because of the news that it would be a soul album. Though many people were excited, most were skeptical. Whenever talented artists step outside their comfort level to take on a new type of music, the results can be profound (Cat Power’s The Greatest) or disastrous (Chris Cornell’s Scream). Luckily, Crow’s latest effort is an example of the former.

Jenny and Jonny: I’m Having Fun Now

Jeremy Lukens September 9, 2010 No Comments

When reviewing I'm Having Fun Now, it's important to state what it is not. It is not another Jenny Lewis solo album with Johnathan Rice on backing vocals and guitar. It does not continue where Lewis left off on Acid Tongue, her finest work and an album that was one of the greatest of 2008.

Band of Horses: Infinite Arms

Jeremy Lukens June 2, 2010 No Comments

As Band of Horses strays farther from the sound of their debut, undoubtedly some fans of their earlier material are going to feel let down. Grandiose rock anthems like “The Funeral” are nowhere to be found here. Instead, their third effort sets a mood of subdued melancholy. Infinite Arms is an album whose sound is a better fit on the front porch of a country home than in an arena.

She & Him: Volume 2

Jeremy Lukens May 27, 2010 No Comments

She & Him’s detractors were few and with the release of Volume Two, they are probably still unconvinced. Of the album’s 13 songs, 11 were penned by Deschanel but it still has that vintage feel, as though you expect to hear a needle occasionally scratching the old record only to remember that this is a CD from 2010.

The Fling: Worth the Weight

Jeremy Lukens April 1, 2010 No Comments

In their full-length debut, Worth the Weight, the Fling flesh out their blues rock sound and explore greater depths than on their EP, ranging from the Led Zeppelin-style riffs of “Only So Far” to the breezy waltz of “Worth the Wait.” There is a momentum that drives each song, keeping even the lighter tracks from boring. “Reclusion” starts mellow but gains intensity as the song progresses, from the first humming bassline to a sustained vocal harmony that outlasts overdriven guitars.

Jenny Lewis: The Plaza Theatre, Orlando, FL 6/29/09

Jeremy Lukens July 6, 2009 No Comments

In an era where technologically savvy producers can make even the likes of Katy Perry sound decent on CD, it’s always refreshing when an artist’s performance outshines their album. Such was the case with Jenny Lewis.

Anya Marina: Slow & Steady Seduction: Phase II

Jeremy Lukens March 10, 2009 No Comments

Can music be cute? And if so, can it be a good thing? If Anya Marina is any indication, the answer to both questions is yes.

Speck Mountain: Some Sweet Relief

Jeremy Lukens February 23, 2009 No Comments

Subtle sonic beauty is the core of Speck Mountain’s second LP. At times haunting, at times warm and breezy, there is a dream-like ambiance that permeates the collection. Marie-Claire Balabanian’s soulful vocals are strong without ever over-singing (pop divas should take note). Instead, her vocals, like the swelling organ, well-placed tambourine, and fuzzed guitars, are one of many sounds mixed together to comprise a complete auditory picture. While nothing ever stands out, repeated listens reveal an intricacy to the song-craft. The throbbing baseline of “Angela” would be nothing without the harmonized vocals; the guitar arpeggio at the root of “Shame on the Soul” is complimented perfectly by a minimalist percussion, including reverb-drenched tambourine. Because of the emphasis of ambiance over hooks some of the songs have a hard time distinguishing themselves, but if there ever was a good drone, this is the one.

Honey Honey: First Rodeo

Jeremy Lukens February 19, 2009 No Comments

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.

Jeremy Lukens

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