Album Reviews Archives - Page 537 of 716

Sugar + the Hi-Lows: Sugar + the Hi-Lows

Brian Palmer January 20, 2012 No Comments

The debut release from two of Nashville’s better singer-songwriters, Amy Stroup and Trent Dabbs, is meant to be something of an odd bird. From the sometimes coy lyrics to the jangly rhythms and grooves, the album’s eight tracks are straight out of the 50s and 60s, and in a time when it would be easy to write commentaries on the woes of the world 2012-style, they choose instead to give things a more upbeat perspective. It’s something of a departure from their solo material, but it works pretty well when all is said and done.

Chairlift: Something

Jeffrey Taylor January 20, 2012 No Comments

Something, Brooklyn-based duo Chairlift’s second LP, and their first since signing with Columbia, is a masterful stroke of experiential alterna-pop that demonstrates the power that creative freedom and big label investment can provide for exceptionally talented musicians.

Moon Taxi: Cabaret

Nathan Rodriguez January 18, 2012 No Comments

With a name like Moon Taxi, the casual music fan might expect an electronica untz-fest that sounds better after midnight. Being so wrong rarely feels so right.

Boris Garcia: Today We Sail

Doug Collette January 16, 2012 No Comments

Whether Boris Garcia’s band name is an albatross is officially a moot point with Today We Sail. This recording is the work of a band well grounded in their roots and fully into the process of transcending them.

Bill Wyman’s Rhythm Kings: The Collector

Gerry Hardy January 15, 2012 No Comments

You may have wondered what became of the former Rolling Stones bassist since he left the group in the mid 90’s. This five cd set will give you a partial answer; it contains all four Rhythm Kings releases he recorded from 1998 to 2001, including a double album. Taken as a whole, these discs cut through a wide swath of musical genres.

Run Dan Run: Normal

Shawn Donohue January 11, 2012 No Comments

The trio of Dan McCurry, Nick Jenkins and Ash Hopkins comprise the Charleston, South Carolina group Run Dan Run and their newest album Normal is a slice of danceable white indie rock. Songs run long with hazy/lazy intros each containing a light airy vibe even when the lyrics border on vengeful.

Marketa Irglova: Anar

Jason Macneil January 9, 2012 No Comments

Now that the whirlwind in recent years that has been the film (Once), the band (The Swell Season) and an award (Oscar for “Falling Slowly”) has concluded, singer Marketa Irglova has branched out on her own. The personal relationship with Glen Hansard now off in the distance but the professional one still ongoing, Irglova has finally gotten around to recording her debut solo album. And it is as haunting, brilliant and spine-tingling as anything she did before in the other group.

Ken Will Morton : Contenders

Chris Calarco January 6, 2012 No Comments

Ken Will Morton is a singer songwriter from Georgia. To stand out in that crowded field one has to have the humility to sit back and let the song take center stage. Morton successfully walks the fine line between playing the music and letting the music play him on his latest disc, Contenders.

The Mighty Mighty Bosstones: The Magic of Youth

Bob Lange January 6, 2012 No Comments

Don’t Know How to Party and Question the Answers were probably the high point of ska’s third wave. They mixed the fun and soul (something oddly missing with most third wave bands) with a hardcore edge and a dose of serious honesty. In a decade of ponderous self-consciousness the Bosstones were refreshing. However, if you want a rehash of “The Impression That I Get,” pick up a copy of one of the older albums. The Bosstones have grown.

Joe Henry: Reverie

Ric Hickey January 4, 2012 No Comments

Joe Henry is the perfect storm of singer/songwriter/producer. Right out of the box, the singular sound of his production is always striking. Not unlike Lanois’ Wall Of Murk, Henry’s work invariably consists of stark layers of gentle noise, undulating blocks of sound, instruments alternately lurching into and jutting out of the arrangements, and elusive lyrical abstractions representing the darkest reaches of the emotional spectrum. These multiple layers of organic sound are sparse and simple, quietly going about their business holding up Henry’s soulful songs of Reverie.

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