With self-penned originals about human connections, family and sustaining relationships, At the End of Paths Taken is lyrically a classic Cowboy Junkies album.
Over two years in the making, Waiting Room serves as the end-piece to career of Addison Groove Project, who after years of uncertainness due to the death of bassist John Hall and the decision of guitarist/ singer Brendan McGinn to attend medical school, finally decided to part ways.
With any luck, Because of the Times will eventually become the litmus test for other bands that, hopefully, will be given the same opportunity to naturally grow without the pretense of music as a disposable commodity. The album is a brash and unrelenting effort that remains humanely articulate to the very end.
Although Neon Bible is a slight come-down from Funeral, a one-of a kind dark majestic vibe surrounds, making this effort another winner.
Yoko Ono's Yes I'm a Witch is the result of an inspired idea whose time has come–again. Witch contains seventeen newly interpreted tracks by artists/groups that include Cat Power, The Flaming Lips, Peaches, and The Apples in Stereo.
Watch out, America. Exit Clov, a Washington DC- based group of indie rockers, is exploding onto the music scene armed with a powerful sound and a personal agenda.
This gem of a release is obviously a must-have for Umphrey’s fans, but that doesn’t mean it’s inaccessible for the casual listener. If anything, the varying approaches to songwriting help both the avid collector and the first-timer equally appreciate all the work that goes into the band’s intricate songwriting process.
Who would have thought when Modest Mouse were recording off-kilter indie rock albums like The Fruit That Ate Itself and Building Nothing out of Something, they’d eventually top the Billboard album charts.
If the Meters and Stevie Ray Vaughn made love the result would be The Bridge.
With a title and a band name like Loney, Dear, you wouldn’t be remiss to expect some severe wrist-slit baroque morbidity along the lines of Portishead.
