In August, PopMatters premiered the eponymous debut album by the Springfield, Missouri-based Casey Jack. Now, one of the Casey Jack cuts, “Too Far Gone”, has a spooky video to enhance the song’s musings on a love gone south. Alternating between color and black and white forms a tense contrast as Casey Jack unfolds his tale.
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With the bluesy dexterity of Leadbelly and the driving rhythm of a punk guitarist, Rev. Petyon, known to most as “The Rev.”, is an unmistakable voice in contemporary American roots music. The Rev. draws on fingerpicking traditions from the ‘20s and ‘30s in his guitar technique, as well as the legacy of the great American slide guitar players. The Rev. is a virtuoso in the true sense of the word in that he not only knows how to fire off scorching leads; he can (often simultaneously) lay down a wicked rhythm and dive into solos that require the most nimble of fingers. Joined by Breezy Peyton (washboard and supporting vocals) and Ben Bussell (drums and supporting vocals), The Rev. is readying for the 2015 release of his fifth studio venture, So Delicious. Below you can stream “Let’s Jump a Train”, a chugging number that displays The Rev and his Big Damn Band’s rhythmic intensity.
Chicago native David Paige has had a pretty good 2014 already. He revived the youthful effervescence of Ferris Bueller’s Day Off for his music video “Are You Ready?” PopDose named his new EP, Inside Out, one of the best EPs of this year. He’s also been touring recently to promote his new acoustic EP, Unplugged. Below you can stream his newest track, “Not My Fault”, which finds Paige taking kindly to the ‘70s California rock aesthetic.
The duo Wild Arrows describes its history thusly: “Formed in late 2011 out of an idea from 2008, washed away by a hurricane in 2012 and finally to release a full length in 2014.” The emotional circumstances that led to the creation of Tell Everyone, the debut full length by the team of Mike Law and Shiori Takenoshita, are reflected in the music. Moving from passages of gleaming ‘80s synth sounds to distorted, low-end riffs, the album finds Law (vocals) making the best out of a trying situation.
Ceilings Floors and Open Doors has a tricky task to pull off. On the one hand, like so many confessional, lo-fi singer/songwriter albums these days, the record finds California singer/songwriter Gwyneth Moreland avoiding the bells and whistles that comes with much of today’s recording software. Ceilings is stripped-down to the most basic level recording-wise; at times, tinges of lo-fi buzz can be heard seeping into Moreland’s acoustic guitar-driven musings. On the other hand, so many lo-fi albums use that austere type of recording as a gimmick, obscuring whatever unique thing an artist might have to say in favor of sounding “authentic”. Fortunately, the latter folly is nowhere to be found on Ceilings, as Moreland uses a lo-fi sonic to enhance her voice and her songwriting, not to obfuscate them. The result is a singer/songwriter LP with the warmth and intimacy of a small house show.