Fever Ray, aka Karin Dreijer Andersson of The Knife, offers a solo debut that eschews the pounding pulse of Silent Shout in favor of low rumble — sometimes for better, and sometimes for worse.
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The Rural Alberta Advantage finally release underground gem through Saddle Creek Records.
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Natasha Khan has found her comfort zone. And it’s a strange one. Her ambitious second album Two Suns sounds and feels as if Khan wrote each song while sitting around a campfire with magical creatures.
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It’s been three years since the release of YYYs’ sophomore album, Show Your Bones, and a full six since their mind-blowing premiere, Fever To Tell. Fortunately, Karen O, Nick Zinner and Brian Chase come prepared to answer their rabid following with It’s Blitz! — an album that mixes new and old without alienating even the most hardcore fans.
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Living Thing is about as far away from a lazy retread as any follow-up to a megahit record could be. Unfortunately, it’s so far out there that it doesn’t come close to engendering the kind of charm that made PB+J such a refreshing and enjoyable listen a couple of years back.
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The Hazards of Love is a 58-minute, literary waltz through alt-country, folk, prog and metal that should be accessible to just about everyone, despite a complete lack of standout singles.
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Cymbals Eat Guitars cut their teeth playing Weezer covers. But the sound of their impressive debut is more akin to that of Modest Mouse, Built To Spill and Pavement. The album is so solid and self-assured, it bears mention in the same breath with Vampire Weekend’s 2008 breakthrough.
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Middle Cyclone picks you up, spins you around, lets you think about it for a while and then dumps you in a field at dusk to find your own way home. It fully redeems the patience of Neko Case fans, who have anxiously awaited her first solo release in almost two years.
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Dark Was The Night is filled with performers that work so well together, songs that hew so closely to the compilations’s theme, musical and lyrical experiments so bold and interesting, that you can’t help but play the album over and over again.
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While bands like M83 and Cut Copy push digital-age infusion of the My Bloody Valentine sound, The Pains of Being Pure at Heart have done the opposite, releasing an album more reminiscent of 1980s-era Morrissey.
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