Wednesday, July 30 2014
Gustavo Santaolalla may have some Grammys, Oscars, and Global Globes at home, but Camino is for himself.
The German synth-pop band pull an unfortunate bait-and-switch.
Akeda seems much less focused on garnering radio hits and more on delving into themes, both lyrically and musically, that Matisyahu has resisted in the past.
If RZA, GZA, and Smoke DZA weren’t enough for you, we’re now throwing SZA into the mix.
Tuesday, July 29 2014
The innovative hip-hop duo from Seattle is back with another genre bending album.
Fresh off a short, aborted stint with the Pixies, Kim Shattuck reforms the Muffs and puts out a very solid album.
McLagan has a pleasantly conversational voice. He’s a tasteful keyboard player. While he may not rock out, there’s a nice sashaying quality to the music.
Jennifer Lopez has lost her steam since Rebirth. On her eighth album, she's never sounded so boring or flimsy.
Long known for performing commissioned works, PRISM Quartet release a double album of original material. It is staggeringly wonderful.
There's nothing groundbreaking from Minnesota punk rockers Banner Pilot on their fourth album, but it's a solid release from a solid bunch of dudes.
Monday, July 28 2014
Tom Petty and the Heartbreakers provide a blistering reminder of rock 'n' roll's subversive nature with Hypnotic Eye.
Late-'90s emo heroes Braid return with their first record in almost two decades.
Ed Sheeran certainly doesn't exceed expectations, but he delivers something that resembles a solid mish mash of genres and often cliche lyrics about romance and breakups.
50 Cent's latest album is more of the same old 50.
On his sixth recording, this young UK pianist based in New York brings his trio into a fully improvised encounter with British avant-garde saxophone legend Evan Parker.
Fans of Nils Frahm must be introduced to Otto A Totland, whose delicate piano melodies will forever feel like home.
Friday, July 25 2014
Chalice provided the grooviest kicks seen along old Route 66 in some time.
Legend presents Bob Marley at his most unthreatening, and most anodyne. And that was intentional.
Frequent collaborators (trumpet and piano) make their first duet album, interpreting the “shape-note singing” tradition. Simple, different, delightful.
Kitten may be a young band, but it has an old style. That it partially misses the mark is just an example of music being way too regressive for its own good.