To simply dismiss Deerhoof as weird would be a bit unfair. Sure, they’re not pumping All-American rock ‘n’ roll like The Hold Steady or Kings of Leon, but on the weirdometer, they’re still topping out before the Van Vleit Zone.
On the Harlem Shakes’ self-released debut EP Burning Birthdays, the Brooklyn band shows an adept ability to write and play catchy, indie-rock, pop songs. Certainly, with their DIY ethos, this particularly lo-fi recording will probably remind the most ardent indie-rock fan of a harder rocking Shins.
Cyann & Ben find very little difference in post-rock’s deconstructions and dream pop’s swirling overtures. The Paris-based quartet spins them into one sound, one experience which drifts through the doors and out the windows of Sweet Beliefs, its third offering.
Given that LCD Soundsystem’s 2005 self-titled debut nailed most critic’s best of lists, it’s easy to presume the pressure was on LCD's James Murphy’s for his follow-up, Sound of Silver.
Nothing short of brilliant, Are We Not Horses sends its complex concept to listeners with twelve tracks of sonic bliss. Its troubadour-pop, neo-chamber folk-rock sound is the perfect platform for the ambiguous story of giant, robotic horses.
Menomena bang out songs like they are exorcizing demons. The Portland-based trio ignites fires beneath hook-ready compositions, adding melodic tension to their auditory experimentation. Friend and Foe, the band’s sophomore release, manages to maintain an explosive urgency within accessible throwdowns.
Aqueduct's follow-up, Or Give Me Death, feels like Terry has grown up a little bit. Instead of opening with keyboards and a drum machine, he begins with acoustic guitar and solemn piano for "Lying in the Bed I've Made," where he talks about singing sorry songs to amuse himself, feeling remorse toward himself and women he has wronged throughout the years.
[rating=4.00] With The Peel Sessions, PJ Harvey releases what is perhaps one her most personal and intimately recorded album yet, and it serves as a fitting personal tribute to BBC
It’ll come as no surprise that the best moments on Page McConnell’s solo debut are the ones that sound the most Phish-y.
Led Zeppelin bassist/keyboardist/multi-instrumentalist, John Paul Jones, has produced and provided instrumental accompaniment to the latest release by the all-female string band, Uncle Earl.
