Tag » music reviews
Motherhood seems to have been quite an influential force on Kimya Dawson’s new album Thunder Thighs (out now on her label Great Crap Factory). Many of the songs--as well as the Sesame-Street-on-acid album cover--evoke whimsical sensibilities that wouldn’t be out of place in a hip kindergarten classroom. Dawson’s desire to create music she can share with her now five-year-old daughter reached an apex on 2008’s Alphabutt, a collection of quirky children’s songs rife with enough fart jokes to keep both kids and their parents well entertained. Read More
While all of the easy Daft Punk comparisons were flying around when Justice released 2007's Cross, there was something else going on: oh, the dreaded word “prog!” But at this point, with even Kanye bumping King Crimson, it’s safe for Justice to come out of the closet. On Audio, Video, Disco (out now on Ed Banger/Because), instead of isolated moments that sound like a '70s Italian zombie soundtrack, you’ve got an entire album full of them, with all the greasy thrills implied. Read More
Some embrace the crisp autumn like a sudden shower during a steamy summer day, but to others, the arrival of fall means the tragic end of sun-soaked days at the beach. It’s no wonder that moody trip-hop is in season. Husband and wife duo Aleksa Palladino and Devon Church of Exitmusic know all too well what seasonal changes do to people--they’re based in New York, a city currently dealing with an indecisive Mother Nature. Read More
Known for its impeccable good taste and all around hipness, Brooklyn label Mexican Summer has spawned another hit record with their release of Pink Playground’s Destination Ecstasy (out now). Pink Playground is Texan duo Tara Tyson and James Wing, who, like the rest of their state, like things big: in this case, distortion and feedback.  Despite all best efforts to avoid the obvious comparison to My Bloody Valentine, the ghostly feedback of “Stationary” is so reminiscent of “You Made Me Realise”-era MBV that it’s nearly impossible not to mention. Read More
 Something Old, Something New, Borrowed & Rebuilt, and Often Blue Before Feist, Charlotte Gainsbourg, Chan Marshall, or any chicks who sing with Air, there was Anna Domino. A gifted singer-songwriter whose first EP East & West was released in 1984, Domino has collaborated with dudes like Luc Van Acker (Revolting Cocks), Matt Johnson (The The) and Stephin Merritt (The Magnetic  Fields, The 6ths). A reviewer once described Anna’s voice as Nico meets Peggy Lee. Yeah, she’s that cool. Read More
After a nearly two year hiatus, Tori Amos returns to the music world with Night of Hunters, a classical concept album. The September 20th release is Tori’s 12th album and first release on  Deutsche Grammophon. Taking inspirations from classical composers ranging from Bach and Schubert to Grandos and Satie, Amos updates the music tradition by putting her own modern spin on songs of love, loss, and finally acceptance and forgiveness. Amos herself has never shied away from being experimental in regards to the concepts of her albums or the musical arrangements. Read More
Memphis garage-rock heavyweight Jack Oblivian ain't no one-trick pony, and on his latest release, Rat City (out now on Big Legal Mess), he's making damn sure you know. Jack Oblivian's musical resume reads like an exhaustive list of southern garage-rock history. In the ’90s he founded trashy soul-punk band the Oblivians and garage-country-by-way-of-whiskey crooners the Compulsive Gamblers with Greg Cartwright (of Reigning Sound fame). Read More
Electronic musician/composer John Maus, known for his manic, frantic live performances, brings the party to your home stereo on We Must Become the Pitiless Censors of Ourselves (Ribbon Music), his third studio album. If that sounds like a complicated title for a dance record, chalk it up to Maus’ impressive education. He’s a professor of political philosophy and theory and is working toward a PhD in political science. Read More