[rating=9.00] Thank goodness for Eliot Bronson. One of the best releases so far this year, Bronson’s self-titled record is a rock and roll, folk, country mash-up that showcases his strong
In contrast to its black and white/sepia tone cover graphics, Trilogy is full of colors, primary, pastel and all shades in between. And that’s not surprising as the three piece
[rating=9.00] Sallie Ford is the ultimate garage rock dream girl, maintaining her effortless badassness and sexy demeanor with every note she sings. Her voice is soulful and quivering, but strong
[rating=7.00] With 2012’s Take the Kids Off Broadway, Foxygen made a bold statement with a debut album that was delightfully quirky while unabashedly derivative. The ambitious release was equal parts
[rating=7.00] Upon first listen to Sam Amidon, you may feel transported to a sepia-tinged past. There’s always been something really old world about his composition and singing style, and since
[rating=6.00] Pale Hands almost have something that could work for them musically as they drift between retro trance and indie pop on their debut full-length album Spirit Lines. The name
[rating=8.00] The 19 tracks come fast and furious (surprisingly ending up the shortest of all their past albums) touching on all of Rancid’s past influences. There is ska, blistering punk,
[rating=8.00] Recording in the studio for albums like Automatic for the People, R.E.M. pushed the boundaries of their readily identifiable style more (and arguably more successfully) than any of their
[rating=6.00] For starters, the fifth album from Portland’s Horse Feathers was recorded in a combination of studio and…barn. Surely, it is a departure from previous work; Horse Feathers lead Justin
[rating=7.00] Basically, Betty Who grooved on to the scene last year with her varsity jacket and Chuck Taylors and hasn’t stopped moving. Although radio has yet to latch on to
