Sunday, July 29 2007
The result is a hard-hitting blend of the best electro tracks currently on the scene, so good that you may agree with Hawtin and recognize that this is no lazy DJ's mix CD.
Brandon Schott’s first release in a couple of years could almost put one to sleep, but not in the boring sense.
The Nightingales traffic in the sort of angular, discordant indie rock produced by The Fall, though without the intensity or anti-charisma of Mark E. Smith.
This former member of Gumption recorded these ten singles over roughly six years.
This is a solid collection of modern jazz with a British accent.
Thursday, July 26 2007
As if half of Morning Musume had decided to pick up trombones and start covering Toots and the Maytals.
Here, fusion spritzes flamenco without changing it in any fundamental way.
Joe Rathbone’s latest album has him plopping himself into some radio-friendly rock and roll.
Think Weezer with less cerebral self-loathing or American Hi-Fi without the pandering to radio programmers.
This two-CD set is broken down into one disc that features Martijn Ten Velden’s mixes, and the other made up of Paul Harris’ work.
Wednesday, July 25 2007
DIY home-recorder Krist Krueger enlists an orchestra of friends for second album, a lush, elaborately realized, but not quite satisfying excursion into country pop.
The dainty chanteuse plays a stripped-down blues/folk that has the acoustic appeal of Cat Power and, at times, approaches the adorably squeamish tendencies of Joanna Newsome.
New Jersey rock trio follows up a stellar, underrated sophomore set with an album that throws most of their budding promise away.
Laura Larson's rage-filled shrieks fill Gasoline with dirty garage band angst.
The Australian band Kelt have a dreamy pop sensibility about them.
Tuesday, July 24 2007
From indie folk-pop underpinnings to Polyphonic Spree-like grandiosity, the debut full-length from this L.A. girl-boy band is definitely on the right track.
A tight piece of indie pop -- and some remixes -- from this new LA group.
Like how Ozma imitates Weezer, the Death of a Party wants to be the Blood Brothers. They should stop trying.
A commanding, guitar-driven presence, embodying the spirit and aesthetic of punk.
Jenks Miller created this album as a means of cathartically dealing with his OCD; and it often makes one feel uncomfortable or unnerved, but in a good way.