It’s difficult to keep up with the steady stream of output from The Black Watch. Just last year the group led by John Andrew Fredrick released a pair of albums – the 31 Years of Obscurity compilation and the all new Magic Johnson. Those were followed in short order by Brilliant Failures, reviewed in April.
If you’re going to launch a musical project that evokes memories of a Velvet Underground song (“Venus in Furs” from 1967’s The Velvet Underground & Nico) you had better deliver the goods, or at least be prepared to get called out for not doing so. The plain fact is, while Venus Furs is quite appealing,
In 1988, R.E.M. released an album titled Eponymous. The compilation – a survey of the band’s years on IRS Records, released after the band had decamped for Warner Brothers – bore a title that served as a gentle poke-in-the-ribs of sorts to music journalists. It has long been common practice for writers covering music releases
Originally based in Lubbock, Texas but now settled in Asheville, VIA is a shoegaze/electronic, sort-of-but-not-quite-instrumental band. At its core, VIA is instrumentalist Steven Gaona and vocalist/songwriter Karen Austin. At least in a live context, the duo includes drummer Dylan Jenkins, but no mention is made in any of the group’s press materials or social media
The opening strains of “Julian,” the first track on reddenhollow’s Haunt Me EP suggest a musical perspective not far removed from that of Fleet Foxes: breathy, gentle vocals and earnestly strummed acoustic guitar set against a soft-focus arrangement that’s the aural equivalent of a rainy day viewed through a steamy window. But Taylor Moses –
Though it kicks off with the brief “And So It Begins,” sporting a watery guitar figure that recalls Todd Rundgren’s “Tiny Demons,” Day & Dream’s With Every Breath You Die quickly shifts gears into a wholly different style. On representative tracks like “Night Lights,” the Asheville dream-pop/shoegaze band crafts a sound that suggests the influence
Time for some more hundred-word reviews; new music from many different genres. Linsey Alexander – Two Cats (Delmark) A lot of modern-day blues has a sterility that makes it the sonic equivalent of a museum display: too perfect, too slick, soulless. Linsey Alexander is having none of that on Two Cats. The 75-year old blues
Today I wrap up three days’ worth of reviews of new music. Dig if you will. The Pollyseeds – Sounds of Crenshaw, Vol. 1 As far as I know, none of the music on Sounds of Crenshaw Vol. 1 is used on the soundtrack of the Amazon Original series Bosch, but – like that crime
File next to: Pink Floyd, Cocteau Twins, My Bloody Valentine How much difference does 22 years make? That will be most listeners’ first question upon learning that shoegaze heroes Slowdive have released their fourth (and self-titled) album, their first since 1995’s Pygmalion. (Two of the band’s founding members did remain busy in the intervening years
Seattle-based Dirty Sidewalks recently released a 7” single worthy of a listen. The a-side, “It’s Getting Better,” has already gotten some commercial traction in one of the few forms that actually generates income for the artist: TV and/or film placement. Twenty-odd seconds of “Getting Better” played during Episode 11 of Season 6 on Showtime’s Shameless.