Bob Weir and the Wolf Bros. are a new framework for interpreting the Grateful Dead that’s more interested in the true essence of the music.
The Paranoyds channel campy 1950s sci-fi with punk-inspired garage rock on their second full-length LP and first for Third Man Records, Talk Talk Talk.
With Entering Heaven Alive Jack White offers the yang to the yin of Fear of the Dawn while broadening his musical palette.
The Raconteurs’ Broken Boy Soldiers sets itself apart from anything like it, even 15 years later. The band’s debut somehow starts two great stories.
Third Man Records offers a generous overview of Michigan's burgeoning space-rock scene from the 1990s. It covers a wide swath of genres while offering a bunch of largely-unheard rarities.
Powerpop overlord and part-time Raconteur, Brendan Benson, grafts hip-hop beats to guitar pop on his seventh solo album, Dear Life.
Luke Schneider's Altar of Harmony often sounds eerily close to the Robert Fripp guitar of No Pussyfooting, only he trades in the old six-string for pedal steel.
With the release of the expanded edition of Tremble Under Boom Lights, the 45-page chapbook of the poetry of Stewart Lupton, and the re-release of Wolf Songs for Lambs, Jonathan Fire*Eater are ripe for reappraisal.
Produced by David Cobb, Other Girls is the album that will garner Americana/alt-country artist Lillie Mae the attention she richly deserves.