Friday, May 11 2007
Cleveland, Ohio's Skeletonwitch is hugely indebted to the classic European thrash metal of the late 1980s.
Lillydale have returned with an album that is precious, sparse, gorgeous and damn near any other adjective that is positive.
Here’s to a debut album that only wants to live up to its influences, which it does in spades.
Rooted in folk yet with subtle pop overtones.
Wednesday, May 9 2007
Gorgeous, minimal orchestral compositions from this sophisticated Danish group of musicians
The hosts of BBC Radio's "The Blue Room" offer up a two-disc set of their favorite music. It's like getting a few great mixed CDs from your friend with the incredible record collection up the block.
A distant aural cousin to the scenes in the garden at the start of Blue Velvet.
The album has remarkable pep and energy, even if the ballad-heavy last third drags a little.
These two can craft some well-rounded and refined pop songs but is so mired in this realm that it almost lulls one to sleep.
Extremely attractive piano trio not unduly engrossed in its own inventions.
Tuesday, May 8 2007
From the same line of poppy post-punk as Cold Watr Kids and Voxtrot.
Mise En Abyme, an arty electro-rock band from Portland, exist in the small band realm -- this is their third album, but they're making no great play for accessibility.
Static of the Gods is a fairly run-of-the-mill power pop band with a vocalist that occasionally evokes Gwen Stefani, but is more comfortable mimicking post-Matrix Liz Phair.
Smart and pretty, but without the variety to really say much.
The Travis Mitchell Band intertwines classic rock and Texas country on a debut full of potential. And there "Ain't nothin' Nashville about that".
Sunday, May 6 2007
Riff, time change, riff, time change, three-second drum solo, time change, riffriffriffriffriff, end.
A cozy, charming, and cerebral set from a gifted storyteller.
A seamless collection of not-quite-electronica, rather abstract, ambient, and interesting songs.
...And hello to the slaughterhouse!
The inlay notes that Mel Davis endorses Hammond B-3 organs; he likes playing a lot of notes on the keyboard. The opener/title track is