By alternating between expressive and easygoing folk-balladry and narrative, mid tempo rock n’ roll, Stories highlights Dawes’ enduring melodic focus. While many young bands fall prey to cheap songwriting thrills of loud n’ long histrionics, from the beginning Dawes has been cut from a different mold.
Bringing an infectious energy with them that at times felt like it could literally bring down the roof of the 90-year-old Wellmont, Garbage performed a set wholly dedicated to their most vehement supporters.
Curren$y hardly fails to impress his fans, and his newest mix tape, New Jet City, is no exclusion. The tape is a compilation of well-produced tracks stressing the fact that he has made it as an artist, and depicting the struggles that accompany the fame. The mix-tape starts off with the title track, a powerful introductory sample, trumpets and an upbeat instrumental background help lift the mood instantly. Although the mix-tape had more features than usual, Curren$y still managed to come out on top and was able to showcase his relaxed flow and catchy lyricism.
Much ado has been made already about "I Like It Small", the lead single off Vanishing Point, the ninth solo album from Seattle grunge icons Mudhoney. Is it about dick size? Is it about the intimacy of the venues the band likes to play in? Apparently, both instances are correct, as Mark Arm and company kick off their 25th year serving as the ultimate alternative to commercial rock
A similar movement is currently happening again down in Nashville, where a new and hearty collective have come together not only as musicians, but as ambassadors of the DIY, all-in-it-together ethos traditionally seen in the punk movement, but now surfacing forth in Americana. One of its’ brightest ambassadors, Caitlin Rose, rolled into New York City Monday night for a packed show at the Mercury Lounge.
The pairing of Anais Mitchell and Jefferson Hamer is nothing short of magical on this seven-song collection of tracks. Mitchell’s clear, spritely voice is the perfect complement to Hamer’s thick, rich vocals, and when combined with the simple folk stylings of these traditional ballads from England and Scotland, these ballads are made stirring and beautiful. Child Ballads transports you to another time and place, and in so doing becomes one of the year’s most unique releases.
Like a pirate winking behind his eye patch, it’s hard to tell when Robyn Hitchcock is pulling your leg. Over the course of a career spanning nearly four decades, this visionary Brit wit has carved out a musical path that is purely unique. His work exists in a realm all its own, largely defying comparison to any other songwriter’s work.
The Black Angels' recorded efforts have demonstrated a commitment to an assertive, dense, and kaleidoscopic worldview. While Indigo Meadow stays firmly rooted in these stylistic conventions it also offers some nuanced texture. By downsizing to a four piece the band has granted greater influence to producer and live mixer John Cagelton, resulting in a vibrant, compelling album with fresh production clout.
Wahlfedlt and crew have crafted a layered goth/pop, industrial-light release that could have kids breaking out the black leather and massacre as soon as they spin Crusher.
Surrounding himself by a large, absolutely fantastic, band, Clapton fell into his comfort zone, playing on tip-toes as the chords took over and settling back into a rhythm mode when Doyle Bramhall II or Paul Carrack took the reins. Clapton is a quiet leader, able to shine one moment, able to hide in the shadows, sans ego, sans flamboyance, another. In jeans and long-sleeved button-up shirt, he could very well just be heading out to the local Home Depot to pick up some gardening supplies. If you didn’t know this was Eric Clapton, he’d just be another you or me.
