‘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.
The title track brings together sly humor and an understanding of the hard truths of modern life for a memorable number that recalls Kirsty MacColl’s forays into country and western.
Upcoming local dates for Ghostdog include a Saturday, May 26, set at The Odditorium and a Monday, June 18, show at Burger Bar.
While Wilson’s earlier material filtered his love of FM radio-style rock of the 1970s though a singer-songwriter sensibility, his sixth album, Rare Birds, finds the multi-instrumentalist fully immersed in those classic rock textures.
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.
The arrangements are pleasantly varied, but once again, the instrumentation exists in clear service to Kaminer’s voice and words.
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 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.”