The tone of 3 is consistent to a fault, defined by its distinct lack of presence — melodies so abstruse they seem to disappear completely; backing tracks so muted and inscrutable
I have mixed feelings on watching the biopic of the late Notorious B.I.G., which I will not go into here.
Metroschifter are at their best when they speak with their instruments, not their mouths.
Released in conjunction with their first-ever European tour this past June (the first time audiences outside of Western Sahara saw them perform), Group Doueh’s second album, Treeg Sa
Family is a mess in every sense of the term — sometimes endearing, often directionless, the band’s reach almost always exceeds their grasp.
One sure sign that the CD era is waning: the resurgence of 40-minute, nine-song indie LPs, a throwback to vinyl-era album sequencing. One sure sign that celebrating may be premature: the
This is not a proper album but not quite a mixtape.
The former Charlie Daniels guitarist sings about achingly personal themes, like an older man looking back on his life and seeing it with equal shades of regret and joy.
A typical Fool’s Gold song establishes a melodic figure and then tortures it for up to five minutes, creating a sound as dense and enormous as the 12-piece ensemble itself.
Grand Forks, N.D.-turned-Los Angeles singer/songwriter Tom Brosseau’s third full-length for FatCat, Posthumous Success (named for a chapter in an Albert Camus biogra