Album Reviews

When it comes to Brit-pop, Supergrass remains unique in their execution.

The Peacemakers have yet to gain much deserving national attention. Hopefully Believer will do the trick, as it offers something for just about everyone. Beliver

Don

When Trey Anastasio closed the door on Phish last year, he managed to swiftly eliminate the

If Fiona Apple wasn

The Good Life showcases Corey Smith

Nothing seems to get the Mr. Slamka that worked up or that depressed, he simply floats along a Prozac river, like Self Help Serenade as a whole, like the space between waking and dreaming.

Baby runs short and swift, bringing back a simpler sound from a simpler era, yet the rollicking good times on “Everybody’s Going Wild” can’t be ignored. The Cobras want to swing their favorite songs around and around like long flapper pearls, while they keep the bar open past last call.

When

Johnny Cash famously took out an ad in Billboard magazine featuring a picture of himself flipping off the camera, sarcastically thanking Nashville and country radio for their support. It

Broken Social Scene is like a Jackson Pollock painting. At first, you can only ask yourself, “what the fuck is this?” before you step back and it begins to make a little sense. There are layers and layers to examine and you don

Caressing his Moog synthesizer with his black-coated fingernails, Jody Delli Santi, also known by his moniker Supercreep, resembles a gangsta Ric Ocasek or a clothing-restrained Liam Howlett. The

On Pixel Revolt, Vanderslice graciously straddles the bridge between songwriter and story-teller (there is a bridge, trust me), taking a J.D. Salinger meets Conor Oberst approach and layering his lyrics with dusky cellos, lightly strummed guitars, and floating beats.

John Ellis, well-known as the saxophonist for the Charlie Hunter band, finally issued his first solo album this past spring.

With The Moon was Blue, Bobby Bare, son and friends create a very comfortable record: one that stands with great confidence in Bobby

The Moistboys latest release is simply titled IV. While the title calls to mind another album that has the IV label, the Zeppelin comparisons should end right there.

Admittedly, OK GO

Somebody’s Miracle isn

The Ray Charles train just keeps on rollin

Halloween Alaska’s latest Too Tall To Hide, delivers a unique sound. It is tough to elicit a “warm” feeling from electronic music, but Halloween, Alaska has mastered that difficult task. There are flashes of the eighties, and peeks of bands like The Postal Service here and there, but ultimately this CD reaches out and seeps into the cracks with far more mood and substance.