On his rockin’ new Americana album, High Times, Charlie Robison covers some of his favorite tunes. “Look Out Cleveland”, penned by the Band’s Robbie Robertson, is a surefire highlight, as is Doug Sahm’s “Nuevo Laredo” and Bob Dylan’s “When I Paint My Masterpiece”. He honors his sister as well with takes on a number of Ludwick’s tunes. Great stuff all around that makes you feel like you’re downing Lone Star longnecks at the local Texas roadhouse.
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Last year, we caught Brooklyn’s Black Taxi at CMJ Music Marathon and this year, the band will again be a part of CMJ with spots on at least three showcases, the No Shame event on October 18th at 2 pm at Cameo Gallery in Brooklyn, then in Manhattan for two gigs on the 19th, at Madison House event in the morning at Rockwood and to the Mercury Lounge again that night. From the way the band’s sound has developed in the past year (listen to the Chiaroscuro EP stream below), I’d be eager to catch them again. Astheir shows are already explosive, this stronger and more confident core of songs will allow for a larger presence on stage.
Back in 1970, Phillips was signed to Canyon Records by Macon producer Swamp Dogg and this album was meant to follow on the heels of Doris Duke’s hit “I’m a Loser”. Then a funny thing happened on the road to hitsville… the label went belly up and, with it, Phillips recording. Now, Too Many People in One Bed is finally being released by Alive Naturalsound Records on October 1st. Here we premiere the entire record for your listening pleasure.
Finnish band Oranssi Pazuzu isn’t the first black metal group to reconnoiter the celestial realms, but it is one of the most fascinating contemporary astronavigators. The band’s fusion of ill-tempered metal with Krautrock, psychedelia and propulsive Hawkwindian space rock has already made for two enthralling and idiosyncratic albums, 2009’s Muukalainen Puhuu and 2011’s Kosmonument. Now, PopMatters is proud to host “Vino Verso (Askew Sprout)”, the opening track from the band’s upcoming album, Valonielu.
Eight long years ago, fans of French metal maestro Vivien Lalu immersed themselves in the composer’s successful solo debut, Oniric Metal. The progressive prowess and collaborations therein drew hearty applause from prog-metal aficionados in Europe and the US. On 10 September, Sensory Records releases Lalu’s latest venture, Atomic Ark.
Composed entirely by Lalu, Atomic Ark sees the keyboard wizard joined by members of Dream Theater, Mekong Delta, Symphony X, and many other luminaries from the progressive rock and metal field for a 50-minute-plus jaunt of cinematic metal. The album is driven by Lalu’s sense of fine-tuned technicality and majestic flair. The acoustic gentility of “Mirror Prison” collides with the head-banging hostility of “War on Animals”; classic rock riffing plows into downtuned ominousness on “Greed”; and “Revelations” provides a 20-minute symphony of multi-instrumental soloing, choral vocals, and ethereality.
Fans of expansive and triumphant arrangements, you know what to expect—meticulous progressive craftsmanship, all finished with a virtuoso panache.
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