Monday, October 28 2013
This is world music, envisioned and reimagined by musicians who instinctively stay a step (or two) removed from the safety and boredom of the mainstream.
Twelve Minutes, the debut EP from Loss of Self, might not be providing anything new, but if the band continues to refine its blending of black metal with other genres, it might well strike a point of real difference.
Friday, October 25 2013
You might as well not even bring out the menu. Just shots and beers, please.
The inclusion of high-profile acts sinks rather than supports the Bloody Beetroots' collaborative efforts
Doom doesn't have to be stupid. Here's proof.
The Detroit band's debut EP proves Flint Eastwood's name is destined to stretch beyond the borders of the mitten state.
Wednesday, October 23 2013
Kevin Hufnagel is a musician who generally deals in intense, steely and complex riffs. However, on his new album, Ashland, he steps right off the metal pedal, producing a set of baritone and eight-string ukulele instrumentals.
This is an album that wants to play in a basic pop-music vocabulary, and succeeds, but the rewards of that success are limited.
His compositions are less astringent and more melodic than the classical Korean tunes I've heard on these instruments.
Nothing fancy here, just a back-to-basics blues album from a longtime pro.
Tuesday, October 15 2013
The Jacket is a stellar sampler of 21st century Americana punk, promising big things for the Wild Finish’s future.
There are moments of growing pains on Dead Language, but they never overshadow the highlights here, of which there are many.
A more European-classical sound than the kora collaboration.
Mechanistic meaninglessness; but with a down side.
Monday, October 14 2013
The Men's new EP turns the notion of the acoustic record on its ear. What should sound stripped down actually sounds uniquely lush, rippling out in all directions.
Guitar-and-drums two-piece loses good songs in the mix.
Boston soul/garage king throws his funkiest, greasiest party ever.
Friday, October 11 2013
This EP shows that there's still much to learn about Parquet Courts' shifting sound, but it also shows the limitations of their cleverness.
A work so sustained is an impressive feat but the sounds are so numerous and scattered that, contrary to the spirit of the project, they become anonymous.
Stone consistently surprises with an eclectic batch of songs.