The album is filled with intricacies and complex instrument expressions that are there for the sake of the story. It’s art with a purpose, like Pete’s Townshend’s Tommy.
Pepper’s fourth studio album No Shame (Lava/Atlantic Records), produced by Nick Hexum of 311, Tony Kanal of No Doubt, and Paul Leary of The Butthole Surfers, set the Hawaiian trio into weaving island moods with So Cal surf rock ringlets complemented by reggae beats, alternative rock fuses, and ska accents.
emonade might be an acquired taste for most because G. Love takes music that has been marginalized and meshes them together, but once you get used to the unique combinations you appreciate his method for integrating them.
n her Matador Records debut, Over the Mountain, Across the Valley, and Back to the Stars, Jennifer O’Connor delivers a pleasant album full of hum-along melodies.
A Static Lullaby have returned with their self-titled album that makes hardcore and screamo holdings friendlier to a wider audience. Produced by Steve Evetts (The Cure, Senses Fail, Dillinger Escape Plan), the album follows last year’s Faso Latido and their debut disc from 2003 entitled And Don’t Forget To Breathe.
It's been five years since Pete Yorn released his charming debut Musicforthemorningafter, which vaulted him to the top of the singer/songwriter charts. Since that time, Yorn has been accused of sounding too bland on his second effort, Day I Forgot, leaving fans wondering if they would ever hear another classic album from him.
From the sound of the opening track "The Light" on The Album Leaf's new, album Into the Blue Again, it would be forgivable to expect a sort of reigned in Sigur Ros. But when track two rolls around, listeners are instead greeted with a dark electropop offering vaguely reminiscent of Pedro the Lion.
Brooklyn rockers Oxford Collapse are back with their third release – and first with their new record label Sub Pop – Remember the Night Parties.
It would be easy to file The Crane Wife under progressive-revivalists, since the eclectic instrumentals, swirling keyboards, and storybook lyrics make it feel like an early Genesis album, however The Crane Wife is a courageous, defiant, and whimsical record that commands your attention, and your intimidation.
Matthew Ryan’s latest, From a Late Night High-Rise, could certainly be called his life-support project, only because there is a certain strain, a certain struggle that clings to the thinnest ice on every note, where the sadness becomes beautiful.
