Monday, November 13 2006
Autovaughn's Space is like modern rock radio, except indie-er.
On their second album, the Ratchets serve up meat and potatoes punk rock with a pinch of reggae. Unsurprisingly, they sound the Clash circa 1978.
Sunday, November 12 2006
Stay away. Seriously.
These thug tales provide an escape from the safety of the suburbs. Danger lurks everywhere on the songs here.
There's a lightness of touch and a breezy, jazzy atmosphere to these 12 Sven Libaek Australian film-score compositions from the '60s and '70s.
Germany's Ira is a group that wants to rock out, but ends up plodding along.
Friday, November 10 2006
While “Whitecaps of White Noise” is in fact the title of a standout two-part suite for static and disintegrating synthesizer from Tim Hecker’s latest
Thursday, November 9 2006
The Red Sparowes’ Every Red Heart Shines Towards the Red Sun contains elements that are driving building to elements that are fast, and the resultant
Five guys and six songs equals 23½ minutes of rambling, lo-fidelity pop. The EP is fun in a goofy way.
Copious quirk and a sense of humor. What's not to like?
Aussie artist Bryan Estepa sounds like he's grown up on a healthy dose of The Jayhawks and Uncle Tupelo.
Many people claim that the members of Dark Globe created the first breakbeat album when they released Mondo Scurro, but on their latest record, Nostalgia
Wednesday, November 8 2006
Which genre does this belong to? Naif-noise?
The dark About You is at its best when it mixes fragile country-rock in with the bigger pop-rock sound.
The Glasgow pop/art/rock band offers a two-track teaser.
Do not write these guys off just because they are a world music jam-band from Las Vegas; they are actually really good, quite ambitious, and
This young trio is dedicated to carrying on the traditions of the African-American fiddle and banjo music that hails, as they do, from the piedmont of North Carolina.
Tuesday, November 7 2006
In their ongoing In the Fishtank series, the good people at Konkurrent have once again brought together two unlikely bands for a collaborative recording. In
It's the sound of decay, and of deliberate destruction; it's the musical equivalent of those artworks for which the artist draws a picture and then scribbles over it, or piles up an assemblage of rubbish and branches.
If you own the Defectors’ 2004 release, Turn Me On!, you’d be forgiven for thinking you were experienceing deja vu while reading about Give In