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.”
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.
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.
Despite all of Natural Mind’s inescapable sonic connection to music of the past, the album sounds fresh and modern. With mere weeks left in 2017, it’s a strong contender for the year’s best album from an Asheville-based act.
The album’s title references a wedding tradition, and that’s fitting: Barnes moved to Asheville at the beginning of the 2000s to marry his new love; the couple now lives in nearby Rutherfordton.
Percussion is a rarity on Pearl Diver, but something like it crops up on “Hayabusa Terra,” along with stringed instruments. The album’s ever-present subtlety means that those instruments are used less as means to convey a melody and more to insert deft splashes of tone color here and there.
The phrase “late night album” applies to Floating Action’s Is it Exquisite? It’s a collection of songs best experienced via attentive listening.
Jonathan Atkinson has a background that includes immersion in the Asheville punk and indie scenes, but the musical fingerprints of those experiences aren’t readily obvious when listening to his latest release
The open-ended collective has featured at least 50 different artists from Asheville and around the globe.
Though both men tend to operate primarily in the Americana and singer-songwriter genres, Where it Takes Us has an easygoing country-rock flavor that bridges the gap between styles.
Hard-learned lessons seem to inform Platt’s lyrics, but there’s a sunny optimism that infuses even the most melancholy sentiments expressed in her compositions.
Though the sounds Warren Haynes makes with his band Gov’t Mule aren’t retreads of songs from the past, there’s a deeply knowing sensibility within the grooves of tunes like “Stone Cold Rage” — the opening cut on ‘Revolution Come … Revolution Go’ — that reminds listeners that Haynes learned long ago all the right lessons about how to rock.