The arrangements are exemplars of economy. Adi plays all of the instruments, but there often aren’t many. The standard guitar-bass-drums setup provides most everything needed to convey the musician’s ideas.
Through its outreach to young listeners, Ozomatli has expanded, not changed, its focus. And the social themes that characterize much of the band’s music remain at the collective heart of the group.
A collective of local musicians coming together to help support a good cause, an uncompromising hard rock trio, an intriguing post-rock outfit from Asheville, and an iconoclastic rapper.
The arrangements are pleasantly varied, but once again, the instrumentation exists in clear service to Kaminer’s voice and words.
“We don’t sing in English,” Prince of Queens points out. “And we have some very not-mainstream ideas. But it’s fascinating to go to places where you don’t expect that music to resonate and have impact.”
After quietly re-emerging in mid-2017 with a solo album, she put together two new groups: indie-pop band the Mercurists, and an improvisational alter ego, Pink Mercury.
It’s a triple-bill of synthesists: a soulful, rocking power trio; a local pop-rock group poised to break out in a big way; and a fascinating Canadian dream-pop outfit.
At under 24 minutes, Ribcage delivers less quantity than the average album (that’s why it’s billed as an EP), but in terms of quality, it’s not lacking in the least.
The Tesla Quartet — also featuring violinist Michelle Lie and Edwin Kaplan on viola — is firmly rooted in the classical idiom, but its members sometimes find their playing style informed by popular music as well.
Greasy rock ‘n’ roll; doom-laden metal; chiming folky rock; and a rootsy sensation from a big city a few hours south head to Asheville over the next 30 days.
The song selection displays Simone’s mastery at bending various styles to her own particular musical approach. And Simone’s rural Carolina roots show through even in the urban jazz idiom as she plays and sings the gospel favorite “He’s Got the Whole World in His Hands.”
Two concurrent projects are underway: One is an album of Brian MacWilliams’ songs, provisionally titled Being Here; the other is Brian’s Songs, a documentary that tells his story.
“If you have intensity, if you’re producing original music that is really true to yourself, we’ll back that all day long,” says Asheville Rock Collective organizer John Kennedy.
Glitchy experimental synthesizer music; raucous piano-led rock ‘n’ roll; modern rock mixed with reggae; and folk with contemporary textures: that wide array of sounds — two of which come courtesy of local acts — is just some of what’s on offer in the next 30 days here in Asheville.
A recent North Carolina Hall of Fame induction recognizes the Steep Canyon Rangers’ part in the rich and ongoing musical tradition. “It’s a ridiculously crazy honor to be in there,” banjo player Graham Sharp says, “but it’s also just a reminder of how great this state is for the music we love.”
Recorded in Nashville, The Rough & Tumble’s first full-length album, We Made Ourselves a Home When We Didn’t Know features nearly all new material. Indie label Rock Candy Recordings has scheduled the album for a Feb. 9 release.
Twice monthly, my blog 30 Days Out spotlights upcoming music shows and events of note, shining a light into some less well-lit corners, where some fascinating artists schedule performances. I do my best to give ample advance notice so that you can adjust your budget and calendar in a way that lets you get to […]
Galena hasn’t been terribly prolific in terms of recording and releasing its music, seemingly favoring quality over quantity. A new three-song EP, Tropic of Prancer, is to date the only official recorded document of Galena’s sound.
As the album winds toward its end, a lyrical theme seems to emerge: nearly half of disc’s songs concern themselves — at least nominally — with sleep and dreaming.
Singing and playing in homage to another’s work isn’t the same as performing one’s own original music, but for the members of these local groups, playing in a tribute band scratches a musical itch all its own.
This edition wraps up the fourth year of “30 Days Out,” taking a look at a beloved local act; a highly regarded regional musician; an alt-country troubadour who got his start in Western North Carolina; and one of pop culture’s most outspoken, iconoclastic and articulate spokespeople.