Album Reviews Archives - Page 616 of 708

Soulive: No Place Like Soul

Eric Liebetrau August 14, 2007 No Comments

The latest album from the now-quartet—soul/reggae vocalist Toussaint joins the trio of Eric Krasno (guitar), Alan Evans (drums) and Neal Evans (keys)—No Place Like Soul, the first recorded with a vocalist since, is a fitting launching pad for the new Stax. Over the course of 13 new tracks, Soulive delivers the goods with typical style and attitude, expanding on their vigorous instrumentals with deeper harmonies and tighter song structures.

Sara Borges and the Broken Singles: Diamonds In The Dark

Bob Lange August 14, 2007 No Comments

Sarah Borges and the Broken Singles do more than just channel the past. True, Diamonds in the Dark is full of imagery of days gone by, but the package is fresh.

Bad Religion: New Maps of Hell

Shane Handler August 13, 2007 No Comments

New Maps of Hell is direct, short, catchy and attacking – what more can you ask for in a good punk album?

Trey Anastasio: The Horseshoe Curve

Shane Handler August 7, 2007 No Comments

After a couple of less than stellar solo albums (hear: Shine, Bar 17), some rather underwhelming tours and one Photoshop destined mug shot, Trey Anastasio has been cementing his legacy with more head shaking than nodding. With The Horseshoe Curve, the former Phish frontman tries on a familiar concept – the instrumental big band, courtesy of his Trey Anastasio Band that toured between 2002 and 2004. Revisiting the works of that highly regarded dectet, it comes to no surprise that now is the perfect time for Anastasio to play it safe.

Robbers on High Street: Grand Animals

Sarah Moore August 2, 2007 No Comments

1960’s rock and roll gets a pop overhaul on Robbers on High Street’s Grand Animals. Taking cues from the Rolling Stones and the Kinks, the band explores ethereal components of their songs. Vocals by Ben Troken recall a young Elvis Costello.

Shapes and Sizes: Split Lips, Winning Hips, A Shiner

Lauree Guyer August 1, 2007 No Comments

Shapes and Sizes sophomore effort, Split Lips, Winning Hips, A Shiner," exerts less of an impact than their self-titled debut by taking itself too seriously. Despite that, the band continues to engage in an intellectual slugfest, creating their form of art rock by hammering away at convention. Here you will find an array of horns, notes from a music box, and static all working together to produce progressive sound.

Picastro: Whore Luck

Bob Lange July 30, 2007 No Comments

The Toronto-based band Picastro combines elements of classical, folk and rock into a unique mix of low-key songs for those less than excitable moments. Straying away from typical rock instrumentation, Picastro employs cello and violin in addition to guitar, piano and drums to provide their odd comfort to the melancholy.

Dappled Cities: Granddance

Jeremy Lukens July 30, 2007 No Comments

On the second album by the pride of Sydney, Australia, Dappled Cities delivers hooky pop-rock that is eclectic and experimental, but still manages to be a little bland.

Low: Drums and Guns

Shawn Donohue July 24, 2007 No Comments

The minimalist veterans are back restraining their outward energy but grinding the internal millstone on their newest effort, Drums and Guns. Low went a bit poppy/mainstream (for them at least) with their last effort The Great Destroyer, but now it is back to bleak with Drums and Guns.

Interpol: Our Love to Admire

Shane Handler July 23, 2007 No Comments

Although it’s unfair to compare Our Love to Interpol’s powerful debut, Turn on the Bright Lights, it’s easy to be disappointed. even it still holds that 4:00 am Interpol vibe.

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