Lydia Loveless created a buzz three years ago with the release of Indestructible Machine, an album rooted in cow-punk grit.
A weird vibe permeates the entirety of Witch, an all-encompassing, sinister veneer that indicts the listener as somehow complicit in whatever it is they’ve done wrong.
While metal is often theatrical in nature, there are some, such as Behemoth architect Nergal, for whom it isn’t an act.
Two is the second in an anthology series helmed by the prolific William Ragland.
Lourenço Vasconcellos’ congas, almost ritualistic, set a scene; Graeme Gardiner’s sinuous saxophone percolates through … waves of sound wash over the percussion … i
James Mercer and Brian Burton’s second full-length trip as Broken Bells is a decidedly brighter listen than before, though as catchy and repeatable.
Not everything that comes in a shiny package does so to hide a lack of depth, but this is not the album the hard-hitting emcee’s earlier work led us to expect.
Where more than a few local groups turned to one person to handle vocals, singer-guitarist Jeremy Podgursky and bassist Brian Kaelin, both formerly of Dybbuk, divided those duties and conquered.
Eluvium mastermind Matthew Cooper dials his signature sound way down on this film score, which is saying something, since Cooper wasn’t exactly known for heavy dynamics to begin w
The scene: a mother and daughter in a studio. The toddler is there to say a few words for a hook, a reference to an Internet meme from a couple years back.