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Atlanta quartet Debutaunts recently emerged from the sweaty, claustrophobic venues of the underground rock scene triumphantly, with a record deal in their hands. Combining the distinct musical talent of all four members, Debutaunts brought forth a unique album, Why Can’t We Have Fun, that has since exploded the minds of music gurus everywhere. KEEP READING →→
I’ve noticed a lot in recent times that there’s been an interest within many genres to bring back the lost sounds of a certain era and apply them in a new way. The sound, or at least interpretation, of psychedelic rock has only really found one or two embodiments to show its power in current music. MGMT is one of these bands, who took their already wonderful pop/synth/rock sound, and applied a layer of psych to it on their sophomore album Congratulations. The second band, which has far less exposure, is Tame Impala. KEEP READING →→
Foals, the Oxford indie/math rock boys, burst onto the UK music scene in 2008 with their incredible debut Antidotes. Their unique blend of electro, rock and math rock sensibilities crafted a really fresh sound and quickly placed them as my favorite band ever since. I’ve been eagerly awaiting Total Life Forever, so read ahead to see if it was worth the wait, and if it can stand up against Antidotes. KEEP READING →→
It’s always possible to have too much of a good thing. A lot of bands can produce good albums as duos or trios, decent albums with four or five members, and discordant, odd sounding albums with a serious attention span problem with any more than six members. Enter River City Extension, an eight member band from New Jersey. I got my ears and mind ready for eclectic cacophony, a crazy mix of too many instruments that did not know quite how to work together. As it turns out, the same way you shouldn’t judge a book by its cover, you shouldn’t judge a band by the number of members. Not only is River City Extension an incredibly tight group of musicians who do in fact know how to give each instrument a fitting place, they do it better than a lot of bands with half the instruments. Feast your ears on this great debut album from a band I hope to see much more from.
Sally Seltmann shouldn’t really need an introduction, but here it is. You know that song in the iPod commercial that we all looked up and downloaded immediately? The one by Feist called “1,2,3,4”? Sally Seltmann co-wrote it. But the awesomeness of that song really pales in comparison to Sally Seltmann’s first debut album under her own name, Heart That’s Pounding. Now, that’s my introduction and that’s all I am going to say before I jump right into the forty-eight minute sonic journey of joy that is Heart That’s Pounding.
Before I even heard a note off of Change In The Neon Light, comparisons like The Cure mixed with Interpol made me scoff. Yeah right! To begin with, 90% of the time, when I hear comparisons about a band, they are wrong. Most comparisons fall short of expectations, regardless of who is being named, but The Cure, Interpol? It just isn’t possible. Who is going to live up to that reputation? I almost didn’t want to listen to this album because I was dreading disappointment, but then I listened, and I got my answer: Veil Veil Vanish. They live up to that reputation and even hold their own. Had I heard this on the radio with no introduction, I would have thought that The Cure put out a new, less slit-your-wrists-y album. (Now, since most of The Cure’s discography was well before my time, the only Cure comparison I can go off of is Disintegration, which I grew up listening to.) KEEP READING →→
When I first got my hands on Auternus’ new album, Changing Seasons, I looked over the artwork and I knew instantly that Auternus would be another band looking to impress upon everyone that they are another embodiment of extreme; I expected… well, lyrics, for one thing. I expected heavy, driven, intricate guitar work, crushing drums, and to be screamed, or growled at. I was actually looking forward to it, despite myself; I was ready to rock out with… ahem. Pardon me. I was disappointed. KEEP READING →→
The opening title track, “Ain’t No Grave”, is very dark and ominous sounding. The production of this traditional spiritual song is reminiscent of an earlier Johnny tune, “God’s Gonna Cut You Down”. It’s quite an appropriate beginning for this album, as Johnny sounds somewhat apprehensive regarding what’s to come. KEEP READING →→
It’s available tomorrow…do you believe in them? KEEP READING →→ |
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