Between the steady, slightly scratchy vocals of Pete Quirk, the generally upbeat songs and the lyrics which traverse an emotional landscape that’s as broad as the Asian landscape, the latest release from The Cave Singers is an all around compelling effort.
The seemingly unlikely pairing of Adam Green and Binki Shapiro is a curious one. Adam Green of “Moldy Peaches” fame teams up with Binki Shapiro with her sultry and sometimes even smokey vocals. In their debut self titled album Adam Green & Binki Shapiro, they try their hand at the seemingly crowded genre of ‘60’s throwback pop’ and for the most part, succeed in creating a fun little album full of strange love songs. It’s a welcome distraction, but doesn’t leave a long lasting impression.
Allentown, Pennsylvania, was once known as one of the foregrounds of American industrial manufacturing, especially in the silk and textile markets, not to mention Mack Trucks. But while they closed many of the factories down, as Billy Joel once fastidiously proclaimed in his ode to the blue collar metropolis on 1982’s The Nylon Curtain, the spirit of the town’s metal-on-metal spirit lives large in the DNA of their local sons Pissed Jeans, who may have since relocated to more contemporary digs in Philadelphia but hasn’t lost an ounce of the post-hardcore edge they’ve branded into their creative psyche since 2005.
Jay Farrar and his reconfigured Son Volt lineup draw upon the elemental genre of country music for Honky Tonk. Without a shred of contrivance, they achieve and maintain an ever-so-precarious balance of euphoric music offset by deceptively despairing lyrics.
When Sharon Van Etten joins Pickwick for a cover of Seattle indie-rock icon Richard Swift’s “Lady Luck,” their debut LP Can’t Talk Medicine reaches its zenith. The collaboration coalesces into a stone cold neo-soul classic. With a nod to Hall and Oates’ falsetto harmonies, “Lady Luck” is pitch-perfect; a patient rendering that exemplifies Pickwick’s triadic harmony of rock n’ roll, indie-blues, and classic soul.
For their fourth album, Stockholm-based Shout Out Louds tried that common “take a step back in order to take a step forward” approach so often attempted by artists stuck in a rut. Although 2010’s Work found Adam Olenius and Co. playing to some on some of their biggest and brightest stages, the vibe just didn’t seem to gel, and the band’s brightly colored musical palette turned a bit more muted and ill fitting.
Good Light succeeds in flashes of minimalistic beauty, but falls short of delivering a knockout punch. The simplest explanation is the lyrics leave little to the imagination (See “I love you, I do”). By avoiding imagery and metaphor almost entirely, Holcomb does a fine job describing where he’s at, but falls short of transcending a particular context. This saccharine, heart-on-the-sleeve style of songwriting is kind of like a stick of gum: nice, kinda refreshing, but of fleeting resonance.
On their sophomore release Hummingbird, Local Natives engage listeners in an unexpectedly mature and serious album that divides its time well between showcasing vocals, instrumentation and emphasizing emotional melodies.
The 35th Anniversary of Eric Clapton’s Slowhand is worth noting as largely the album that consolidated his connection with the mainstream first broached by 461 Ocean Boulevard. The 1977 release, however, did not further his status as a creative artist, but instead solidified a careerist approach to his solo work that has continued to this day.
Foals have become one of the biggest bands to arise from the fruitful Oxford, England scene as of late, and their third album Holy Fire finds them carving out a sizeable international space for themselves. The album is a natural progression from the dense math-rock of their debut, Antidotes, through the spacious creations of breakthrough record Total Life Forever, and into something bigger and somehow more infectious.
