This four-disc set, the brainchild of archivist Art Rosenbaum, is a staggering collection of American roots music performed by amateur musicians in nonprofessional recording environments.
Some say drum machines have no soul. On most days, I am one of those people.
Unsigned singer/songwriter Eleni Mandell has crafted a surprisingly large body of work, an achievement notable enough in itself without discussing the merits of her latest, Artificial Fire.
Digby has largely and unfairly gone unnoticed outside the region. The band’s evocative sound recalls ’90s alt-rock with a concise, brooding precision I often long for.
Relic fast-forward that quintessential, old-time high lonesome sound into the present.
It’s not that it sounds bad; Alela Diane has that Bon-Iver-only-a-girl/Joanna-Newsom-if-she-could-really-sing quality that is certainly appealing.
Normally, upon hearing the beautiful, terror-stricken falsetto wails and moans of my favorite bird, the common loon, I revel and meditate.
Among the artists that followed the British Invasion was Van Morrison. “Gloria” became a garage rock classic, but who knew his solo career would still go strong?
Willie Breeding, whose recordings tip a cap to Hank and Willie, brings that old-timey, soaring white-boy country and blues back to the people.
The new project from Todd Albert Rittmann, D. Rider takes his work with U.S. Maple and filters it through avant noise and improvisation.