Today I’m celebrating the eight-year anniversary of this Musoscribe online music magazine. I started the blog in June 2009, but I had already been writing for many years. Eventually I went back and archived nearly all of my pre-2009 work, back-dating the pieces (if somewhat arbitrarily). So now you’ll find nearly 2,500 posts – reviews,
Now and then I receive an EP or even a single for potential review. In general those don’t make the cut, as I prefer to write about full-length albums that provide a fuller picture of an artist’s work. But when a short-form release rises to the level of something special, I’m happy to cover it.
File next to: Nick Curran, JD McPherson, Wanda Jackson On her previous albums, guitarist Samantha Fish churned out a solid modern blues. Not unlike a slightly more Americana-leaning Ana Popovic, Fish displayed her six-string abilities on stomping, barroom-style blues numbers. And while there’s not a thing in the world wrong with that, on Chills &
File next to: Black Keys, King Khan & the Shrines The album’s title might conjure images of – depending on one’s musical frame of reference – the Flying Burrito Brothers or Cracker/Camper van Beethoven. As it turns out, Evolfo has little in common with either. On Last of the Acid Cowboys, the Brooklyn-based band showcases
Thank You, Friends (Concord Bicycle Music) I remember a time when seemingly nobody knew about Big Star; happily for me, that was about the time I found “new old stock” vinyl copies of #1 Record and Radio City in a local record store. I was immediately hooked. As is its character, Big Star’s Third album
From one point of view, The Standells were opportunists. As that story goes, they got their start as a smiling, suited pop group, only changing their sound and collective demeanor once they took a new reading as to which way the pop culture winds were blowing. Moreover, that argument goes, they weren’t even from Boston,
While some of the harder, more jagged sub-styles of 1960s rock are now justly celebrated, back in the day many of those groups languished in obscurity; the popularity of Nuggets and similarly-themed compilations belies the reality that – on initial release – garage rock didn’t often sell in large quantities. For every “96 Tears,” there
File next to: Tame Impala, Plasticland, Starling Electric On his self-titled 2014 debut, Doug Tuttle staked out his musical territory: a shimmering, woozy, yet highly tuneful 21st century take on the gentler side of mid 1960s psychedelic rock. Deftly sidestepping overtly retro production flourishes yet knowingly nailing the era’s vibe, he sounded like a slightly
File Next to: KT Tunstall, The Roches, Radiohead With electric guitars (run through a Leslie speaker cabinet and other assorted effects) and close yet vocal-acrobatic harmonies, the experimental yet inviting sonic approach of this Chicago duo suggests an otherworldly combination of Nirvana and The Roches. Just when you think they’re going to be some kind
File next to: Elephant Stone, Allah-Las, Fuzztones For The Roaring 420s, everything old is new again. Across the twelve songs on *You Can’t Get Out Alive – their second full-length – this Dresden, Germany based quintet crafts original songs that bear more than a whiff (or a toke if you like) of late 1960s psychedelia.