Glen Campbell was enlisted to record demos for Elvis Presley because Campbell could sing in the same key and replicate Presley's distinctive style. The songs on Sings for the King were intended only for Elvis to hear.
Objekt combines the electronic backbone of his project with an experimental approach and an impressive amount of sound design to bring forth Cocoon Crush.
Brainfeeder X is an important collection for those who are new to the label's output and for those who want to revel in its glories. A worthy celebration of a genuinely groundbreaking label.
Steve McQueen's heist caper, Widows, is ultra-slick but gets sidetracked by its goofy plot twists. No matter; Viola Davis and Elizabeth Debicki's performances make for a satisfying experience.
Imagine Dragons return with Origins, a passionate set of songs with soothing instrumentals and sentimental lyrics, but too limited in its pop strengths.
Jason Heller's Strange Stars, on David Bowie and sci-fi, is an exciting and loving look at a time when infinite wonder had a role in the pop music marketplace.
This is how the stream-of-consciousness rantings of an angry 60-something-year-old man should sound. Even the title of the album looks like it's missing some punctuation.
Outlaw Music Festival shows that America's musicians remain one our nation's best cultural weapons against the ever cunning forces of avarice and tyranny.
Bear Family has issued the complete recordings of Lefty Frizzell's music on 12 CDs, and then throw in eight more CDs of his kid brother David reading his biography of the musician.
The most interesting aspect of Sowas Von Egal is the tracks that focus on the rigid, guttural, tribal yet highly danceable electro-industrial sound that was exemplified by the German DAF and Belgian Front 242.
An early scene of a raging forest fire becomes the overarching metaphor for Paul Dano's Wildlife, as a young man stands in the path of a different kind of destructive force.
