Monday, September 17 2007
Mixing the odor of Jimmy Page and the missing link between Brian Eno’s Another Green World and mid-period Pink Floyd,Polytheistic Fragments is a veritable treat for fans of guitar music from yesterday, today and tomorrow.
The third album from New York's 11-piece symphonic-pop ensemble serves up an eclectic banquet of darkly atmospheric chamber-pop and cool lounge-swing to an often dazzling effect.
The Dilettantes are a band whose rock and roll ideal is often expressed in the language of Byrds-ian guitar jangle, driving drumbeats and psychedelic pop landscapes.
Callahan veers between Brit-folk and coffeehouse singer-songwriter on this pop-saturating album.
Sister Hazel treat fans to B-sides collection, bore others.
Sunday, September 16 2007
Jeremy Fisher’s folk-pop works best when it's pop-folk.
Testa Rosa has all the spit and polish of bands like The Pretenders and Blondie with its tight melodies and terribly infectious pop rock.
Shane Nicholson's second record projects a pleasant sound and easygoing vibe, showing him to be a folk rock-oriented songsmith with the ability to create laid-back hooks and emit a genuinely nice persona.
Two guitarists plus a rhythm ensemble explore some beautiful gentle numbers, and now and then dwell in the avant-garde areas.
Influenced by Sigur Ros and Coldplay, this Swedish outfit creates emotional large-scale songs.
Thursday, September 13 2007
Health's first full length is loud and untamed, but artful in its deconstruction.
This new electropop duo from Los Angeles has potential.
Using nearly every metal cliché to their advantatge, the D.C.-based quartet adds some suprising, new elements to a standard formula and comes away with powerful results.
Throughout Inventions for the New Season, Maserati builds a decently admirable wall of sound, but ultimately, they hang very little on it.
This Canadian band has some good chops, but it’s the sort of release that doesn’t really distinguish itself from others.
Wednesday, September 12 2007
ALthough she echoes Chan Marshall, Alina Simone sounds determined to get her own thing going on Placelessness.
By the end of these 40 minutes you can almost smell the cigarette smoke, cheap scotch, cologne and sweat emanating from Mayer's powder-blue polyester suit.
Child Bite isn't bad, but without more of a distinctive hook their audience will likely remain primarily local.
With a feel for the earthy jangle of bands like REM and Son Volt, and a touch of country influence and melodic sensibilities that allow many of their hooks to take flight, this Knoxville, Tennessee quartet's first full length is a mostly winning combination of heartland and modern rock tones.
A great jazz guitarist in mostly a non-great sub-genre.