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
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
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
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.
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.
Somebody’s Miracle isn
