However precious and popped-collar these New Yorkers appear, Vampire Weekend ultimately win out on top in the taste department.
This debut from Louisville’s The Parade Schedule (or more specifically, mastermind Matt Kinder) is a collection of hushed acoustic songs that, at their best, recall Ryan Adams’ dr
Anyone can write a sad song, but not everyone can do it well. You have to combine technique and belief.
Modern blues recordings are a little too electric and a little too neat.
The surface analysis is that Daniel Duncan fills his sandbox with something illicit.
What appears to be Olympia Three’s final effort — the band is splitting up next month — shows the group evolving toward modern nu-grass and ending on a mixed result.
As far as careerist schemes go, naming your band Nothing People and titling your first album Anonymous has to be pretty high up on the list of bad ideas.
Country swagger comes unexpectedly from a band made up of ex-members of umpteen local punk bands from the ‘70s on (including The Blinders and The Endtables), but then again, curveballs
Live albums generally serve two main purposes: as documentation of a one-time-only, you-had-to-be-there concert that defines an artist’s career (think James Brown’s 1963 classic <
The Black Heart Procession remain as lugubrious as ever on Six, much of which is devoted to glacial piano dirges with singer Pall Jenkins intoning like Bowie-via-Nick Cave