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.
Asheville-based Leiderman’s seemingly effortless ability to craft the aforementioned hooks is on brilliant display throughout the 15 tunes on BJ.
Like the abrasiveness of sand is an integral part of the creation of a pearl, so, too, is the internal struggle between Chris Tullar’s progressive and pop sensibilities. And Carpal Tullar’s Horse of a Different Tullar showcases those qualities in the best possible way.
Natalya Zoe Weinstein and John Cloyd Miller were formerly two-thirds of popular Americana trio Red June; those who enjoyed that group’s seemingly effortless vocal harmonies and enchanting melodies should be every bit as pleased with Eyes Brand New, the second album from the duo.
The band holds an album release party at The Mothlight on Saturday, Jan. 7, 9 p.m.
The latest release from the local singer-songwriter is beautiful, cathartic and disconcerting. Its delicate songs are deceptive, dropping the listener from light-dappled shallows into sudden, unfathomable depths.
The band’s debut is described as “smooth and dark, sad but upbeat” on its CD Baby page. And that’s accurate, though the sadness feels more like poignancy; the pang in the change of seasons, love recalled from a distance of time.
Messick plays an album release party for Woodland Dance at White Horse Black Mountain on Friday, Sept. 9
Pianist, arranger and jazz musician Tom Coppola was a staple of the Asheville music scene in the 1990s and early 2000s, primarily with the duo Evans and Coppola, with vocalist Lucian Evans.
Each of the three songs on Mandara’s new EP is heavy-hitting and politically charged.
Local hip-hop artist C. Shreve the Professor is prolific. He’s constantly turning out new work as well as performing onstage and contributing to efforts like Cypher Univercity. His latest release, Twenty Sixteens is almost a double album, weighing in at 18 tracks.
Listen to Sarah Louise’s new album in advance of her Sunday, June 12 performance at The Mothlight as part of the Open Letter Music Series.
The band was born as a concept right after Hurricane Katrina, culling the talents of musician friends and the songs of former New Orleanian Dave Baker, who is now based in Asheville.
While there’s not a lot of subtlety to Barn Party by Carolina Wray — “Sittin’ over there with that lighter in your hand tryin’ to pop that top, don’t you know that it’s a twist off?” they sing on the title track — it’s explosive, fun and exactly what is it says it is. A party.
Husband-and-wife musicians Ryan Furstenberg (vocals and guitar) and Melissa Hyman (vocals and cello), blend their voices and instruments and ideas into a comprehensive work.
