On her third studio album, Chesapeake, singer-songwriter Rachael Yamagata takes things into her own hands. In what’s become a more regular means of producing albums for independent musicians, Rachael went directly to her fans for help funding her new work. Supporters stood up and Rachael settled down at the Eastern Shore in Maryland to record her first album sans record company guidelines.
At just 21 years old Laura Marling has already found significant success at home in Britain. She’s emerged from a revivalist music scene in London rooted in traditional folk that has already spawned massive commercial appeal with bands like Mumford & Sons. For Laura, her first two albums were each nominated for the UK Mercury Music Prize and earlier this year she won Best Female Solo artist at the Brit Awards. Her third release A Creature I Don’t Know aims to cover new ground musically, plus serves as a proper introduction to new audiences here in the U.S.
After the release of their debut in 2009, critics had lots of nice things to say about the San Francisco band Girls. Here’s a band that came with a strong DIY attitude, wore their influences proudly and penned songs that surely connected with audiences. On Father, Son, Holy Ghost the band’s second full album, it’s hard not to echo those praises yet again. Frontman Christopher Owens and band have recorded an album that lives in the present, but brings with it a comfortable feel of the past.
He’s been one of the most prolific songwriters over the past decade; a musical shape-shifter whose ambition and fearless desire to create regardless the genre has made him one of the most admired songwriters in recent memory. For Ryan Adams making music was the only option. So when a near career-ending wrist injury forced him to not just slow down, but halt his music the future was unclear to say the least. The announcement of Ashes & Fire, Ryan’s new release, brought a new kind of excitement but the usual question of what to expect. No it’s not a metal record, nor is it a Cardinals collaboration or trip back to Rock N Roll. Simply stated, it’s Ryan Adams.
Two things immediately come to mind upon the arrival of Feist’s new album Metals. First, where has she been? It’s been roughly four years since her breakthrough album The Reminder was released. And second, how will she respond after the massive success of that album and more specifically her numerical anthem “1,2,3,4”? The first question is easier to answer. After years of touring, some time to decompress and step out of the spotlight seems only fair and appropriate. And as you dive into the new album Metals, the answer to the second question becomes clear.
A few weeks ago, someone posted a video online of Wilco frontman Jeff Tweedy playfully covering ‘I Gotta Feeling’ by The Black Eye Peas. For the audience, it was a nothing more than a funny break in the set and for those watching online, a respite during your 9 to 5. Yet in an odd way, it helped put the new album from Tweedy and his band mates, The Whole Love, in perspective. In 5 or 6 minutes that it took to perform, Tweedy not only entertained but made a pretty strong case for art over commerce. As popular culture advances with less stress on musicianship and artistry, we’re reminded and relieved on The Whole Love that the art of the album still exists.
With the release of their two acclaimed albums Hollywood Town Hall and Tomorrow The Green Grass in the early 90s The Jayhawks cemented themselves as essential listening for fans of alt-country and rock. After the release of Tomorrow The Green Grass in 1995 Mark Olsen decided to part ways leaving Gary Louris to head the band and fans to long for a reunion. While solo projects, reissues and retrospectives have been released to help ease the yearning of fans, it's safe to say that the arrival of Mockingbird Time will satisfy that itch. This album marks the return of The Jayhawks and the first time in nearly 16 years that the original line-up is back together.
It’s understandable why fans get a bit antsy whenever a band decides to spend some time apart. Too often it suggests that we try to read between the lines, whether there’s something to unfold or not. Contrary to some reports, in the case of Clap Your Hands Say Yeah the idea that the band was taking ‘a break’ was as literal as it sounds. Almost four years since their release Some Loud Thunder, Clap Your Hands Say Yeah reunites for the release of their third studio album Hysterical.
If by chance you were a fan of the New York rock band Elefant you may already be familiar with Diego Garcia. But what you’ll hear on Garcia’s first solo album is a stylistic change in direction; a welcomed one. We hear Garcia turn the page on his alternative rock leanings and also turn down the volume for a gracefully executed set of songs on Laura.
Two years ago at the XPoNential Music Festival, the band Fool’s Gold took to the stage in front of a curious, unsuspecting audience. As their track record would indicate, the Los Angeles collective impressed with their signature blend of world-beat rhythms and indie pop that stirred up a party-like atmosphere. Between then and now Fool’s Gold has continued to write a similar script each night on the road, touring consistently and honing their unique sound. The band’s second album Leave No Trace is a progressive studio statement highlighting the expansive blueprint of their sound.
For many outside of Philadelphia The War On Drugs will likely only bring to mind a controversial campaign on illegal substances, but here in Philly it’s music to our ears – literally. Since forming in 2005, frontman and songwriter Adam Granduciel has been honing a sound that is as much homage to his eclectic influences as it is progressive. Slave Ambient is the second full album from The War On Drugs and despite some changes to the original line-up, including the departure of guitarist Kurt Vile, Granduciel leads their sound to a more expansive, colorful and dreamy pasture.
It won’t take very long to realize that you’re listening to something special the first time you hear Gary Clark Jr. For over a decade, he has been almost a mythical figure in a vibrant music scene of Austin, TX. Now the 27-year old guitarist is finally set to stretch his talents outside of his hometown. His introduction is a 4 song EP, Bright Lights that gives a glimpse at his tremendous potential and not surprisingly leaves you wanting more.
For Ernest Greene it’s all about atmosphere. His artistry as a singer and songwriter takes a backseat for his ambition as a composer and a mood setter. Greene is the latest artist to emerge out of an increasing popular ‘chill-wave’ scene. As of just two years ago he was producing home-made music out of a bedroom in his parents’ house in Atlanta, GA. But those EP’s found an audience and Greene now finds himself as a hot commodity. Using the stage name Washed Out, Greene was courted and signed by Sub Pop records to release his full-length debut Within And Without.
It seemed destined that beyond their marriage to each other Derek Trucks and Susan Tedeschi would ultimately tie their music together as well. After years of touring and collaborating the immensely talented husband and wife team have officially joined forces under the banner of the Tedeschi Trucks Band. Merging talents and band members have made for as you could imagine one powerful debut album in Revelator.
With a career that's endured over 40 years, Emmylou Harris continues to enchant us not only as a singer but also as a songwriter on her new album Hard Bargain. A career that’s seen countless collaboration’s, Emmylou has just written her 21st solo album in Hard Bargain with the emphasis on her as a storyteller. Long an artist that found comfort and success singing songs penned by others, the legendary country singer is at the forefront of all these songs connecting the listener to her life and her memories.
As you remove the insert to the new Booker T. Jones album The Road From Memphis, you also unfold a little history to the inspiration behind this new album. A true icon of American soul music, Booker T. recounts not only how the physical passages on Highway 51 from Memphis helped shape his career but how he witnessed the music itself travel to and fro. The rock and roll hall of famer enlists an all-star cast of musicians to help recreate this musical journey on The Road From Memphis.
For the good part of the last year lots of questions surrounded the band Cults. Little information other than the music itself graced the bands website. Yet their three songs buzzed about online leaving many to scratch their heads - who is this? We come to find out that Madeline Follin and Brian Oblivion were aspiring film students living in New York and they had a side of musical ambition. The two rode the internet wave of intrigue to a record deal with Columbia and one of the year's most appealing debut releases.
Perhaps no new band is enjoying 2011 as much as Foster The People. The indie-rockers from Los Angeles are now on the fast track after teasing listeners earlier this year with one of the most irresistible songs in recent memory. Their debut album, Torches, sets out to prove that it has plenty more to offer in addition to “Pumped Up Kicks” and may be the perfect addition to your summer soundtrack.
Bon Iver gained notoriety in 2008 with the release of his intimate solo debut For Emma, Forever Ago. The album was heralded as one of the year’s best independent releases. Peter Gabriel would go on to cover Bon Iver and Vernon even ventured into the world of hip-hop as a prominent guest on the latest release from Kanye West. All that would just add to the build-up of expectations for the second Bon Iver album. To say that the new album from Bon Iver singer-songwriter Justin Vernon is easily accessible … well … that wouldn’t be true. Yet despite a much bolder landscape, puzzling lyrics and a general propensity to demand more of its audience Bon Iver, Bon Iver is an inspiring effort.
When you think of music from New Orleans it’s not unusual to visualize big brass bands, Dixieland jazz, swampy blues or Cajun funk. But as we listen to In Light the debut full length album from the band Givers it might surprise you that this young 5-piece band actually calls home to Lafayette, Louisiana. To attempt to categorize their sound is a challenge all to itself. One thing is for certain though, In Light is a bright and flavorful adventure.
When we first met the band Dawes early in 2010 it was almost like being reintroduced to an old friend. Their classic folk-rock sensibilities and contemporary storytelling made for a comfortable, inspiring discovery. North Hills, the title of their debut was a deliberate nod to their Laurel Canyon home and their sound indicative of the neighborhoods musical landscape, both past and present. Nothing Is Wrong, the band’s sophomore album, further embraces their geographic roots and reminds us how easy it is to get wrapped up their lush harmonies and wistful stories.
It’s not characteristic (or suggested) to celebrate a win before you even play the game. But for My Morning Jacket, we’ll make an exception. On their new full-length album and first since 2008’s Evil Urges, MMJ open the curtains with a song called “Victory Dance.” While it may seem bold, the ominous opener turns out to be a good litmus test for this new collection as Jim James and his counterparts reconnect us to their shape-shifting brand of rock and roll.
Lots of musicians attempt to recapture sounds of classic soul, few actually own it. For Raphael Saadiq, Stone Rollin’, his fourth studio album is another indicator of how much a true descendent of classic soul and R&B he is. He tips his cap to the greats like Sly Stone and Stevie but all the while walks his own walk. The Grammy nominated Saadiq again delivers an awe-inspiring collection of throwback style jams on Stone Rollin’.
Seattle’s Fleet Foxes surprised even themselves with the success of their debut album. Fleet Foxes (the album) was an extraordinary introduction to the band’s harmonic bliss and rural sonic landscapes. For indie rock audiences, the band ushered in unprecedented warmth with their music and an approach that was honest and rather unassuming. Yet faced with the reality of their follow-up record, the band found itself in the precarious situation of dealing with grand expectations. The process of making what would become Helplessness Blues was well-documented as the band dealt with the demons of uncertainty and frustration.