Posted by admin on July 10th, 2008
Headlights’ second album Some Racing, Some Stopping is a whole bunch of fun. The group builds on the promise of their first album and consolidates their strengths into a peppy, pretty and satisfying romp through ten songs that will have fans of light and breezy indie pop smiling like crazy. The album is split between up-tempo tracks perfect for indie night at your local teen club, happy go lucky songs with glockenspiels, and sweeter than sugar ballads that might nudge your heartstrings but never tug too hard. All delivered with a huge cheery cherry on top in the form of Erin Fein’s feather light and lovely vocals (though Tristian Wright’s aren’t bad but they are more workmanlike where hers are heavenly). Almost every song Read the rest of this entry »
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Posted by admin on July 9th, 2008
Ever since Moon Safari was hailed as an instant classic, Air have swung back and forth between the experimental and accessible sides that Nicolas Godin and Jean-BenoĆ®t Dunckel united so perfectly on their debut. 10,000 Hz Legend might have been too grandiose and aggressively experimental for some Air fans, but Talkie Walkie sometimes felt as if the duo was presenting the most widely palatable version of their music possible. On Pocket Symphony, Dunckel and Godin find a balance between pretty and inventive that they haven’t struck since, well, Moon Safari, even though it isn’t nearly as immediate — even by Air’s standards, this is an extremely introspective and Read the rest of this entry »
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Posted by admin on July 8th, 2008
The boys of Maroon 5 have certainly come a long way since their days in the indie outfit Kara’s Flowers. After the band’s demise in 1999, frontman Adam Levine surrounded himself with New York City’s urban hip-hop culture and found a new musical calling. Maroon 5 was born and their debut album, Songs About Jane, illustrates an impressive rebirth. It’s groovy in spots, offering bluesy funk on “Shiver” and a catchy, soulful disposition on “Harder to Breathe.” “Must Get Out” slows things down with its dreamy lyrical story, and Levine is a vocal dead ringer for Men at Work’s Colin Hay. Don’t wince — it works brilliantly. Songs About Jane is love-drunk on what makes Maroon 5 Read the rest of this entry »
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Posted by admin on July 7th, 2008
Yes, I loved the Centerfield and Blue Moon Swamp albums, but this new release is head-and-shoulders above those two wonderful albums. Revival ranks right up there with his best Credeence material, “Green River,” Bayou Country” and “Cosmo’s Factory.” Frankly, I’m amazed at how rejuvenated Fogerty sounds; his voice still sounds like a man 30 years younger, and he plays guitar both tastefully and with restraint — Rock music just doesn’t get much better than this! And John can shred too, just listen to Summer of Love! Read the rest of this entry »
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Posted by admin on July 6th, 2008
By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren’t that impressive by themselves, but when given the sonic backdrop of Floyd’s slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which Read the rest of this entry »
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Posted by admin on July 2nd, 2008
Increasingly ignored amidst the exploding trip-hop scene, Massive Attack finally returned in 1998 with Mezzanine, a record immediately announcing not only that the group was back, but that they’d recorded a set of songs just as singular and revelatory as on their debut, almost a decade back. It all begins with a stunning one-two-three-four punch: “Angel,” “Risingson,” “Teardrop,” and “Inertia Creeps.” Augmenting their samples and keyboards with a studio band, Massive Attack open with “Angel,” a stark production featuring pointed beats and a distorted bassline that frames the vocal (by group regular Horace Andy) and a two-minute flame-out with raging guitars. Read the rest of this entry »
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Posted by admin on July 2nd, 2008
Questions of identity seem to loom large in Lifehouse’s mind. On their third album, they titled it after themselves, and now on its 2007 follow-up, they state Who We Are — a declaration that could easily be a question depending on the punctuation and emphasis. Does this fourth album add up to a statement or question? It’s the former, but that doesn’t necessarily provide a fulfilling answer for those doubters who can’t tell Lifehouse apart from all the other polished post-grungers out there like, well, there aren’t as many of them in 2007 as there were in 2000 when they released their debut, but the curious thing about Who We Are is that the trio still parties like we’ve just left Y2K. Read the rest of this entry »
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