Reviews Archives - Page 929 of 1000

Toad the Wet Sprocket: Higher Ground, South Burlington, VT 3/31/11

Doug Collette April 15, 2011 No Comments

In the 20 plus songs and slightly less than two hours Toad the Wet Sprocket played in the Ballroom at Higher Ground 3/31, virtually none of the tunes sounded appreciably different than the original recordings some of which date back 25 years. Yet, based on the scattered but nonetheless hearty acclamation so many of those tunes received, the band still hits a chord with their audience, perhaps for that very familiarity.

Antennas Up/Electric Six: The Riot Room, Kansas City, MO 3/31/11

Sarah Legg April 15, 2011 No Comments

Electric Six finally graced the Riot Room in Kansas City, Missouri with its presence after a five-month postponement of its original show date back in the fall. It was a night filled with covers, middle-aged folks dancing, and murmurs towards diverse establishments.

Eisley: The Valley

Peter Zimmerman April 15, 2011 No Comments

On Eisley’s third album, The Valley (2011), anger and desperation act as both the record’s centerpiece and Achilles heel. Those looking for a return to the ethereal angst-laden dream-pop of Combinations (2007) or Room Noises (2003) are certainly in for some disappointment. The songs on The Valley are deeply rooted in the visceral rawness of heartbreak and the ensuing waves of disillusionment, wrath and desolation.

Atmosphere: The Family Sign

Nick Gunther April 13, 2011 No Comments

While much of the content is forceful, there appears to be more confusion than cohesion present after listening to this album. In its entirety, the instrumentals and production behind the piano-laced beats that make up much of The Family Sign speak louder than the poetic flow of Slug and the quality of his lyricism.

North Mississippi Allstars: Tipitina

Leslie Michele Derrough April 12, 2011 No Comments

How do you start off talking about a concert that was so amazingly out of this world, that there are no words to actually describe it? Maybe it was the big ole Super Moon that hung precariously close to the Big Easy that stirred up the soul-bending sounds that emanated through the walls of this favorite local music hang out. Maybe it pulled out something dangerously close to blues heaven that the people inside were simply overcome. Or maybe these three men are just that damn good.

Lisa Loeb: Yoshis SF, San Francisco, CA 2/25/11

Peter Zimmerman April 11, 2011 No Comments

Lisa Loeb is an accomplished singer-songwriter with a discography that stands up next to her contemporaries. Hopefully the next time she comes into town to play, she won’t try to wear too many hats (or different glasses, for that matter), and she’ll be Lisa Loeb, the musician we came to love over the past fifteen years.

Acorn Project: Generation Debt

Shawn Donohue April 11, 2011 No Comments

The first thing that jumps out at you is the stunning cover art of Generation Debt; taken from a George Jartos painting as the Bellingham, WA group featured a hometown artist on their album. The second thing that is noticeable is the running time of the tunes, these songs stick around for a while as there are no quick ditty’s on Acorn Project’s newest offering.

The Kills: Blood Pressures

Jeremy Lukens April 11, 2011 No Comments

On their fourth release, the Kills place more emphasis on melody than on angsty rock riffing. Blood Pressures features fewer squealing guitars and buzzing feedback and more vocal harmonies. Hell, there’s even a piano ballad. Not to worry, though; the duo’s gritty sound, combining blues with a punk swagger, is intact.

Robbie Robertson: How To Become Clairvoyant

Doug Collette April 5, 2011 No Comments

Robbie Robertson credits Eric Clapton for much of the original impetus behind the recording of his new album, so it’s no coincidence that How to Become Clairvoyant is remarkably reminiscent of Slowhand’s studio productions as heard on 1998’s Pilgrim.

Sarah McLachlan: Paramount Theater, Oakland, CA 2/6/11

Peter Zimmerman April 5, 2011 No Comments

Even still, there’s always been an earnestness to Sarah McLachlan’s persona, as well as a captivating charm to her music that continues to make people pay attention. Her sold out show in February at Oakland’s Paramount Theatre is another testament to the fact that people are still very interested in Sarah McLachlan. All the frustrations with her seeming scarcity of ingenuity at this point in her career are valid and credible, but leave it to McLachlan to look those exasperated listeners square in the eye, crack a wry smile and belt out with that angelic voice, leaving behind all that disappointment.

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