Rock

Little Neon Limelight (CD)

Houndmouth hail from New Albany, Indiana where just across the river lays Louisville, Kentucky and the bulk of the clubs where this Americana group cut their teeth. In 2012 the group played SXSW where they were immediately signed to Rough Trade. Since then they have played countless festivals and released the critically acclaimed full-length From the Hills Below the City. Now after that blast of success Houndmouth have returned to prove that a Little Neon Limelight certainly ain’t gonna change them. The opener “Sedona” begins with a desert wind whistling, intimating that as a group they may be a long way from home. As the music builds and Matt Myers demands the listener hear his words the group sounds clearly comfortable in their new home. Out of the gate “Otis” has Katie Toupin delivering a classic country style tune, lending itself to the campfire sing-along. This style of storytelling pops up later in “Black Gold” where you can hear the oft-compared “The Band” influence. “My Cousin Greg,” however, is the shining star of this record. Each member of the band delivers a verse in this rollicking bluesy tune leading to the triumphant chorus “If you want to live the good life you’d better stay away from the limelight.” Clearly, this sentiment is something the band has thought about and something they have executed expertly in Little Neon Limelight. Each of these tracks could play equally well on the festival circuit or in the neon beer light of a small Louisville dive bar.

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Alone With A Friend (CD)

It's hard to get excited about psychedelic rock when the style of fuzzed-out guitars and reverb heavy vocals has penetrated every crevice of indie rock radio. So it's a refreshingly cool glass of LSD-spiked Kool-Aid when Talk in Tongues ends up being the dance album of psych weirdness you've been craving. After the Los Angeles-based quartet released "Still Don't Seem to Care" from seemingly out-of-nowhere, it proved to be a left field hit of heavy-funk bass and crisp percussion contrasting against illuminating guitar solos while the vocals seem to float in from the cosmos. It was rattling and wild. After their song made the rounds on social media sites and blogs, Talk in Tongues has prepared their first album, Alone With a Friend, in a hurried session meant to just spawn a B-side. Frenetic and crazed without ever feeling sloppy or messily assembled, Alone With a Friend seems to channel that joy and exuberance of one too many pills that seem to kick in real late at night, right when the music gets beautiful. Transcendent stuff.

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Darling... It's Too Late (CD)

Besides having one of the best band names in garage rock, Guantanamo Baywatch have one of the best sounds in the genre. The band pulls from classic soul and early rock ‘n’ roll, infusing their raw vocals with a lot of sass and soul on monster-mashin’ tunes like “Jungle Bride” and fearing not to slow down the tempo for waltzing breakup ballads like “Too Late.” The band’s surf-inflected, honky-tonkin’ guitarwork is smartly done, going for melody over pure prowess on songs like the instrumentals “Raunch Stop” and “Cory Baum’s Theme.” Guantamo’s combination of stellar instrumentals and campy group sing-alongs proves a winning combination on this stellar new album from the Portland trio.

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1000 Palms (CD)

Power-pop band Surfer Blood are back with a third album that finds the Flordians maturing without losing their hooky edge. The trampolining melodies of songs like “Grand Inquisitor” are reminiscent of similarly classy pop acts like XTC, while the band’s sparkling guitar lines and throaty vocals bring to mind post-punkers like The Feelies. Surfer Blood pull off power ballads easily (no easy feat) on tracks like “I Can’t Explain,” where guitars streak around like shooting stars behind a pensive melody, and “Saber-Tooth & Bone,” a spacey, ’50s-style tune given a new-wave twist. Though Weezer isn’t the fairest point of comparison, fans of that band’s classic work should love Surfer Blood, especially on songs like first single “Dorian,” with intricate guitarwork and a snaking melody that wind their way into your head. Hook-laden rock ‘n’ roll with brains ain’t an easy thing to find, and Surfer Blood deliver it in spades with 1000 Palms.

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Dark Bird Is Home (CD)

The Tallest Man on Earth aka Swedish troubadour Kristian Matsson can make the most seemingly typical thing—a white guy with an acoustic guitar—sound extraordinary, thanks to his earnest voice and unbridled passion. On his fourth album, Matsson takes another cliché—the road- and world-weary album that follows the breakthroughs and touring—and makes it work like a charm, adding additional players and generous instrumentation to the fold. The full-band sound, with jangling guitars, tambourine, mandolins, woodwinds and ethereal choral harmonies, makes the darker lyrics go down smoothly ("I'm sure I'll sleep when all this goes under/but now, will I sleep alone?" he sings on “Darkness of the Dream”). It’s a balancing act: When Matsson sings of “all this fuckin’ doubt” in a cracking voice on the glorious “Sagres,” declaring “I could drink until I sleep through all the scarier times,” the sentiment is tempered by holiday orchestration that, vice versa, could sound treacly on its own. Matsson’s directness is appreciable; “What if we never see through cryin’?/Tomorrow’s wailin’ alone,” he sings on “Fields of Our Uncertainty,” and though he never answers that question, he seems at peace with the uncertainty. Dark Bird is Home may be lyrically gloomy, but its festive instrumentation and surfeit of passion offer comfort to anyone who takes his words to heart.

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Wilder Mind (CD)

Recreating yourself isn’t easy when you’re one of the biggest bands on the planet. But Wilder Mind sees Mumford & Sons successfully shift from “Civil War”-style folk rock to a more wide-reaching rock sound boosted by synthesizers and light orchestration. It’s a similar feat that Kings of Leon pulled when it added ’80s guitars to its Southern Rock or how Killers looked to Springsteen for inspiration. Songs like “Tomkins Square Park” and the title track offer spacious grooves for Marcus Mumford’s never-better vocals to emote over, while “The Wolf” goes full throttle with huge, crunching guitars. Touches of synthesizer wriggle their way into songs like “Snake Eyes,” which moves from a spare, heartfelt opening into a swift gallop. Mumford’s voice sounds wearier (and better) than it did on 2012’s Babel, which suits his lovelorn lyrics well, and he’s learned how to rein it in for maximum impact on tracks like the anthemic “Believe,” giving Bon Iver a run for his money. Not all Mumford & Sons fans will like the changes the band have made, but in doing so, Mumford & Sons have proved themselves to be a better, more interesting band than their detractors have given them credit for, risking it all for a more layered, produced sound when they really didn’t have to. For those who miss the old style, the album’s second half offers folksier tunes like the lovely “Cold Arms.” With Wilder Mind, Mumford & Sons have gotten wilder indeed, and they’re all the better for it.

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Who Is The Sender? (CD)

The melody that is at the heart of Bill Fay is one of resounding hope shrouded in melancholy. His records from the '70s blend elements of baroque pop, polished canyon folk and spirituality so delicately that the melodrama is all but completely washed out. In 1971’s Time of the Last Persecution particularly he excavated yearning, loss, and overall faith with a such blunt edged instrument that at first listen it is merely a throwaway folk rock record. A deeper listen, however, proves it to be masterful. It is that simplicity and nuance that has earned him a following of modern songwriters such as Jim O’Rourke, Jeff Tweedy, and Nick Cave. After his critically acclaimed return, Life Is People, in 2012, Fay releases his follow up Who Is The Sender?. Now in his mid seventies his oft used soft-spoken execution and world weariness comes off as almost prophetic, certainly larger than life. Who is the Sender? is above all a meditation on expression. Who is the sender in which he (Fay) is the vessel for the message? A thought which continues to reveal layers of itself throughout the record. Tracks like “War Machine” and “Order of The Day” represent the fire and drama that Fay still has burning inside of him, but instead of expressing that anger he has transformed it into an acceptance of the inevitable. Which is by no means apathetic, he is sublime in his forcefulness. With that anger and fury comes overwhelming sadness. The sadness remains so repentantly tortuous that you can hear religion in his voice. In fact you only need to hear the title of “Bring It on Lord” to know that he has come to some sort of crossroads with his spirituality. Once you hear the spiritual message that was sent through him, you will know that Bill Fay is every bit as hopeful and human as he ever has been.

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Untethered Moon (CD)

If you thought Built to Spill’s first album in six years would be some somber collection reflecting the band’s elder statesman status, think again. Untethered Moon roars right out of the gate, on “All Our Songs.” Doug Martsch lives up to his indie guitar hero mythos with fluttering space cowboy licks and cosmic solos, singing lines in a creeping whisper that could be self-deprecating or sarcastic, but it’s tough not to feel a thrill when he sings, “rock and roll will be here forever.” “New Zoo” builds on that momentum, as new guns Steve Gere (drums) and Jason Albertini (bass) prove their meddle with a steadily building groove over which Martsch drapes intricate guitar lacework, opening up into an R.E.M.-inspired melody. There’s a sense of futility to Martsch’s lyrics that can be funny at times or a drag at others—one song is called “Some Other Song”—but the irony is that Untethered Moon brims with energy and melodic ideas (for the record, “Some Other Song” is one of the album’s catchiest tunes). However exhausting the journey may be playing with the same band for more than 20 years, it’s clearly refined Martsch’s craft to the point that Untethered Moon feels effortless and powerful.

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Sound & Color (CD)

Alabama Shakes’ meteoric rise thankfully hasn’t tarnished what made them special to begin with. Sound & Color is an assured follow-up to Boys & Girls, further defining the band’s garage-blues sound without just relying on singer/guitarist Brittany Howard’s explosive voice to carry the show. The title track features some gorgeous harmonies and orchestral touches that start the album off in a classy way. But Sound & Color quickly proves gritty, as Howard’s banshee wail rips open first single “Don’t Wanna Fight.” “Dunes” is a deep, weird Beatlesesque track that finds Howard struggling to maintain her identity among rising fame (this one has “fan favorite” written all over it). Although it’s pretty obvious how powerful Howard’s voice can be, it reveals new shadings across the album, vacillating between a sweet coo and penetrating cry on the celestial funk of “Future People” and curling into a wild croon and big belt on “Gimme All Your Love.” About that voice—it’s impressive for sure, and Howard and co. have figured out when and where to unleash it, marking the biggest improvement the band has made. When the band does let loose on tracks like garage burner “The Greatest,” the results are all the more sublime. It’s rare when a band can capitalize on hype without succumbing to it as Alabama Shakes have; rarer still that they can avoid the sophomore slump with such aplomb. Alabama Shakes succeed with flying colors on their second outing.  

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How Do You Feel Now? (CD)

Aptly named Joywave are leading the charge of a genre-less, pretentious-less, alternative pop era. The sound lies somewhere between the unapologetic body shaking of Hot Chip and the cinematic appeal of Bleachers, the latter being current tour-mates. The appeal of Joywave however is the outright denial of the placeholder conformism of such comparisons. Case in point they have wryly claimed their music is a mash up of Pitbull and Coldplay. After receiving critical acclaim from underground mixtapes, culminating in a feature spot on Big Data’s hit single "Dangerous," Joywave found an audience. They dropped the How Do You Feel EP a year later to an outpour of media attention. Several months and a couple of viral music videos later, the boys from Rochester are back to ask How Do You Feel Now? The album continues in the same vein of the EP. In fact, all four tracks remain on the album including the danceable savage single “Tongues.” Curveballs include the Generation Y dirge “Traveling at the Speed of Light” and the robotic hip-hoperatic closer “Bad Dreams.” Exploration aside, the pop spirit of How Do You Feel Now? is what drives the record and the group itself. That spirit, akin to the joyful ecstatic hum of a young festivalgoer’s experience awaiting climax. That is what Joywave has to offer. And there is no doubt that, with the release of this record, they will soon provide said festivalgoer with one hell of a payoff.

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