his forty-minute 'EP', a collection of tracks previously available individually as downloads, may not supplant what could otherwise be the de rigueur live release from the recent tours of Pat Metheny, Christian McBride and Antonio Sanchez. But it does extend the dynamic of the trio in ways not capturee by the studio album released earlier this year.
Instrumental numbers “Golden Ticket” and “Black Rock” display the accomplished fret work of guitarist Andy Falco and mandolinist Jesse Cobb showcasing why the Stringdusters are one the most talented bluegrass band in the country.
Pneuma is an album that works more in noise than structure. Ambient layers and ambling indie rock rhythms are grounded by a more common vocal approach that alternates between whining and screeching and screaming.
Railroad Earth’s fourth studio album, Amen Corner, blends their recipe of Americana with sprinkles of bluegrass and hints of country all over. After listening to the album, it is hard to believe that Railroad Earth has only been together since 2001, despite the fact that the band is comprised of seasoned touring musicians.
Mostly recorded live, Albertine is the soaring declaration of a young woman’s passion and life experiences that are magically told in songs like “C.S. Lewis Song” and the beautiful “Hymn,” which closes the album. It’s about time the world – outside of New Zealand and Australia – opens its ears to enjoy the promising real talents of Brooke Fraser
n their debut recording, Vermont’s Badsuit accomplish the most difficult tasks facing improvisational musicians: bringing a genuine sense of spontaneity, comparable to their live performances into the often not-so friendly confines of the recording studio.
Clinic’s latest batch of punchy British psychedelia, Do It!, is just about what you would expect from a jagged band who imbue a hazy sonic vision. The 11 tracks pulse with a classic fuzz-toned guitar, an acid-drenched set of rock songs that could’ve faired just as well on late-60s radio as it can today.
Following months of anticipation and buzz, Santogold’s self-titled debut proves to be more than hype. Abandoning her position behind the scenes, Philly native Santi White steps up to the mic with lyrics that explode and beats that don’t’ joke around. Pulling from musical tastes as prolific as her industry connections and leaving comparisons to MIA and Gwen Stefani in the dust, Santi manages to outshine them both with her poetic ingenuity.
Newton Faulkner’s “Hand Built By Robots” is familiar like a comfortable blanket…it doesn’t exactly push into new territory, but at the same time, listening to it is like putting on a favorite college CD: it’s good to hear it again after all these years.
Quirky like Regina Spektor and intoxicating like Tori Amos, Rachael Sage successfully uses her songwriting and piano skills to win you over on tunes like the opening “Vertigo” and the beautiful title track, where she sings, “Silence is sweeter than doubt.” There’s no doubting Rachael Sage on Chandelier, only the beauty of discovery and feeling content.
