Noah Lennox of Animal Collective (as his side-project name, Panda Bear) has released an album with a hodgepodge of electronic samples and his endearing Brian Wilson-esque harmonies forming a great contender (thus far) for album of the year.
Bill Callahan gave listeners a glimpse of his new album earlier this year when he released the single “Diamond Dancer” with its penetrating violin and R&B bass line. But this teaser barely scratched the surface of Woke on a Whaleheart, Callahan’s first since stepping from behind the moniker Smog.
The music is the centerpiece for the dozen songs on Sky Blue Sky, which plays like a riveting revelation for Wilco, now rid of the curious studio sounds that have carried some of their best albums (and delightfully so).
What is it about Oasis? They have a sound both comforting for its familiarity and obnoxious for its grating, Noel-and-Liam-fueled Brit-poppishness. And while they have passed the apex of their fame – arguably, by over a decade – their sound remains somehow comforting.
Just as we all age and mature and become less “hardcore," so has Clutch. From Beale Street to Oblivion finds the band continuing their recent trend of moving away from their heavy/ hardcore roots to a blues-based sound that borders on the edge of classic outlaw southern-rock.
The record is a very bizarre change in direction that falls apart at the seam, with the Brit-pop of “Ashes” the only early redeeming moment.
Keller Williams’ Dream is a collection of collaborations between Keller and a host of his favorite musical guests that came about from Williams dream of recording an album with his musical heroes. And while there is nothing particularly wrong with this album, it just does not quite take off the way one would expect with the roster of All-Star talent assembled (Bob Weir, Michael Frantic, Steve Kimock, Charlie Hunter, Bela Fleck, John Scofield to name just a few.)
Cassadaga flourishes in the contributions of longtime band member and producer Mike Mogis (guitar, mandolin, pedal steel) and newcomer Nate Wolcott (keyboards, strings) giving this recording a true heartland/Omaha feel. Mark Cassadaga down as a profound step in Bright Eyes’ artsy-folksy long-hair period.
From the SST looking cover to the first fuzzed bass and ripping guitar lines in the opener “Almost Ready,” it seems like 1988 all over again.
Bassnectar’s Underground Communication will be speaking loud and clear to anyone who is listening carefully for a musically diverse album that begs the spine to move in incomprehensible ways.
