Thursday, February 6 2014
Skinny Puppy put out a paint-by-numbers 2004 disc, and that's a-okay here.
In a world full of artists jumping on the roots music bandwagon, this is about as honest and heartfelt as it gets.
Joe Lovano's mom didn't raise no sapling.
Wednesday, February 5 2014
Road tunes and leavetakings are a fitting metaphorical trope for this album, because Millsap is clearly going places.
Triumph and Power is exactly what we’ve come to expect from Grand Magus -- and if you approach this album hoping for anything other than pure heavy metal made for any decade, you’ve found yourself on the wrong longboat destined for Vahalla.
Despite a few flashes of skill, +/- (Plus/Minus) doesn't do enough on Jumping the Tracks to seem anything more than "meh".
After a brief detour into alt-country flavored punkabilly, Reverend Horton Heat sparks up some more of their old fire on their 11th studio album.
Devour has an air of craft and a deft sense of arrangement that will appeal to those tired of the Gaslit mediocre sleeve tattoo music currently purveyed by world-weary 20-something rock stars of today.
Tuesday, February 4 2014
The Satanist is a definitive statement for the individual and for renewed strength resulting from waging war against adversity, and it is by far the most focused, ruthless and powerful album of Behemoth's 23 year existence.
Les Claypool goes stripped-down and acoustic with an interesting array of covers and revised versions of Primus and his solo songs.
Bad Debt is as likely to serve folklorists as it was to have been delivered by one.
Avant-garde even by Andrew Bird's standards, the meandering, mostly instrumental I Want to See Pulsaski at Night is gorgeous but empty.
Banda el Recodo maintains its legend through hard work, commercial cunning and occasional coasting.
Monday, February 3 2014
After the Disco rides that morning after wave, holding up a mirror to cast a dark reflection on the fun that's come and gone.
Along the Way is always pretty, but rarely beautiful.
Sacred Bones delves into the darkened corners and crevices of obscure '80s post-punk, goth, and death rock with Killed by Deathrock, Vol. 1. The result is a reclamation project of the highest order.
White's fourth album finds her playing bolder music with a daring conceit, but the results are decidedly mixed.
The takeaway here is that while Bugg's debut album felt genuine, Shangri La feels forced and awkward.
Friday, January 31 2014
The Gaslight Anthem’s succinctly titled The B-Sides gives you nothing more, though maybe a little less, than what the title promises.
When you mix the electro-theater of new wave with the organic sweetness of an indie folk collective, results may vary.