[rating=7.00] Thirty years ago, while Aimee Mann was on the cusp of the biggest hit of her mighty career as a member of Til Tuesday with “Voices Carry”, Ted Leo
[rating=8.00] Your lyrics might have some mean cuisine references, but they are no match for the queens of “crazy food”, Miho Hatori and Yuka Honda of Cibo Matto. In a
[rating=7.00] Jonathan Meiburg hails Fellow Travelers to be his favorite Shearwater album, as it serves as a quintessential chronicle of the Austin band’s 13-year existence told through the songs of
[rating=8.00] When it came to quality power pop in 2013, pardon the pun but there was nobody better than Ezra Furman. For both Year of No Returning and Day of
One can talk about Lou Reed’s life in albums until he or she is blue in the face. But as most of the Long Island native’s fans are mourning his
[rating=8.00] Not since the late-career heyday of RL Burnside has the contemporary blues market been as exciting as it’s been over the past couple of years. And right alongside Gary
[rating=8.00] Though he might have spent his early years hanging out with the likes of Patti Smith and Television at CBGB’s, it was at the recently shuttered rock ‘n’ blues
Maxwell’s of Hoboken, NJ, is one of the last iconic punk/alternative clubs in the New York Tri-State area. And. It is a loss on par with that of CBGB in
[rating=7.0] Normally when your lead singer dies, that spells curtains for a band. But Alice in Chains was always more about Jerry Cantrell than Layne Staley arguably speaking. And the
There's a certain kind of heft to Wakin on a Pretty Daze that wasn't present on a Kurt Vile LP before. And not just with regards to the length of several of the songs that appear on this eleven-track collection bookended by the nine-and-a-half minute "Wakin on a Pretty Day" and the mesmerizing ten-plus minute comedown "Goldtone". What is more prevalent perhaps is the sense of ease by which the songs seem to just roll out of your headphones as Vile and his current primary Violators–multi-instrumentalists Jesse Trbovich and Rob Laakso–submerge the street cool of late-80s Lou Reed into that hazy psych-rock thing he's been doing since since his bedroom dubbing days, albeit less volatile from the sounds of such key tracks as "Was All Talk" and "Shame Chamber".
