Perhaps the Asheville bluegrass duo hasn’t explicitly set out to make a politically themed album with their third album, I Am Your Neighbor. But, while it’s certainly true that this new collection of original and traditional music can be richly enjoyed simply on a musical level, there’s more going on here than fine musicianship and vocal work.
Steven Fiore created his latest album, ‘Sudden Swoon,’ in his home studio (he calls it The Study). His process of crafting the album involved recording demos for 20 songs, sharing them with his Facebook followers and inviting them to vote for their favorites.
It contains the fleetingness of summer, the wistfulness of romance, the magic of fireflies. But it also contains the hard-scrapple beauty of living: The scrapes and bumps accrued while working toward a goal, a summit, a golden moment.
Even those not predisposed toward Besbleve’s spiritual point of view won’t be able to deny the appeal and excellence of his masterfully constructed mixtape.
There’s a quiet confidence in everything about this record. The musicians sound as if they’ve developed a preternatural level of unspoken communication, and they apply that to their music.
The Asheville-based shoegaze/electronic band’s fourth collection displays ample charms.
The group self-identifies as “chaos funk,” and while that somewhat whimsical description suggests just the sort of aural train wreck that scares off some potential listeners, what the group does draws from the melodic side of improvisation.
‘Sorry’ is a consistently engaging collection of songs that work on their own.
Newcomers to the group’s sound to assume that Day & Dream makes exclusively languid, laid-back music. “First in Flight” pummels forward relentlessly; it’s just that it does so in an airy, shoegazey kind of way.
While ‘Baggage’ has relatively little connection to classic hard bop jazz of the previous century, its cover design shows that Sk has a sense of history and an interest in finding his own place within it.
Refreshingly Soulful Blues is best described as a quiet record; its overall tone suggests that listeners in the same room as the band could carry on a conversation while the band played. Of course, doing that would be rude, and would make those in attendance miss out on some enjoyable tunes.
The debut album from Asheville-based folk quartet the Appalucians, reveals a charming and close-knit vibe within seconds of its opening track.
By definition, Song Dogs doesn’t fit neatly into any one genre classification. There’s a kind of good natured-yet-world-weary vibe to these songs, one that calls to mind the literate-yet-accessible work of John Hiatt.
Some might be tempted to label the group a jam band, but the tunes — lengthy as they often are — do adhere to a tight construction aesthetic that belies that label.
In the end it’s best to forget about summing up Daydream Creatures’ music into a few words. The music and the harmonies will tell us everything we need to know.
At first listen, Jawbone might seem less political, but dive more deeply and you’ll discover that George Terry McDonald remains a reliable composer of songs that are, so to speak, “about stuff.”
Stylish, sophisticated and subtle, Jazzville’s Blue Skies shows that in the right hands, musical standards can feel new.
After taking listeners on the whirlwind musical trip that is Kindness, A Rebel, the group closes its set of 10 songs with “Mama, Take Your Time,” a return to the sound of River Whyless’ earlier work.
It’s an impressive feat to craft an entire album’s worth of music while limiting the arrangements to little more than two chords for each piece. With the moody and mysterious Skeleton House, Crooked Ghost succeeds, and does so without edging toward monotony in the process.
Ideal for late-night listening, the three songs that make up the “Plecia” EP are a small window into Sister Ivy’s music. Even though the project runs under 20 minutes, that’s enough time to win over a first-time listener.
Dorji and Damon use the contrasts between loud and quiet, harsh and soft, abrasive and soothing. But because their work is untethered from concepts such as meter, the fast/slow dynamic employed by progressive rock artists is not part of the duo’s exploration.