Tag: album reviews

Hannah Miller

Hannah Miller/self-released

Hannah Miller is one of the most atmospheric singer-songwriters around. Her penchant for mixing dusty, molasses-thick vocals with stark imagery is evident on her new record, as well as the understated fashion in which the songs play out, making for a nice dichotomy. The slow-burning roots rocker “Help Me Out” mirrors the lyrics’ confused sensibility by sounding groovy and sensual one moment, ominous and lethal the next, as Miller tries to sort her place in a relationship, and the Americana-tinged “Fighting” ramps up the uncertainty with lines like “Tell me look, don’t touch/Have, don’t hold.” Miller ironically sings like a soothing siren despite her claim to the contrary in the moody electric guitar ballad “Soothed,” and the religious bent of “Watchman” is counterbalanced by brooding folk rock tones and a grave sense of unease. This record leaves you feeling like you’ve just wrestled with angels, exorcised demons and lived to tell a tale of beauty and horror.

Andrew Osenga

Flesh EP/self-released

When it comes to creative concepts, Andrew Osenga has a leg up on most musicians. The same man who gave us a rock opus about Leonard the Lonely Astronaut is now in the midst of a four-EP series called the Heart & Soul, Flesh & Bone Project, with Flesh being the third entry. It sounds like a trip back to ’90s alternative pop, and it’s a blast. “Fight Like a Man” has a jangly, hook-laden feel reminiscent of Gin Blossoms, while chunks of “Black Cloud” sound like the dreamier side of Dinosaur Jr. But it’s on the power pop track “I was a Cynic” that the album’s heart beats the loudest, between ebullient rhythms, raucous shouts of “Come on, come on, come on!” and a theme of rejoicing, this track stands as the EP’s strongest statement in favor of positive living—be it faith, love or whatever—that energizes your soul.

Mumford & Sons

Wilder Mind/Universal Music

Die hards are going to scoff at the lack of banjo, folk Americana-grass on Wilder Mind, but if you can look past it and take the album for what it is—an experiment in playing rock ‘n’ roll music rather than rehashing a shtick over and over again—there is a lot to like here. One listen to the raucous “Wolf” should tell you all you need to know about this record; loud chords fill the air, drums crash and Marcus Mumford’s vocals go from trembling whisper to throaty roar as passionately as ever. In a sense, this is the same Mumford and Sons people have come to love— they still wrestle with faith (“Believe”), hit their highest creative notes in their most subdued performances (like the moody, ambient guitar ballad “Snake Eyes”), and write catchy, driving rhythms and choruses as easily as ever. This time around the presentation just looks a little different. The band’s energy may be redirected through a few more amps than we’re used to, but at its core this is still a Mumford & Sons record through and through.

Hanna Rae

Rookie in the Ring EP/self-released

There is an easiness to Hanna Rae’s music that makes it easy to like. Her molasses-thick vocals are a treat, particularly on the dreamy, stripped-down opener “Man in the Moon,” and fans of Brooke Annibale will likely smile at “Jar of Wine,” which plays like an Americana version of “Under Streetlights.” Rae’s ability to turn a phrase naturally and conversationally is put on display in the bluegrass-tinged “Alabama,” where a bevy of creative similes—including Rubik’s Cubes and non-rotating planets—are used in reference to emotional lockdown. Most of the material here falls into the relationship category and the results are likable. Whether it’s cute “they’re stealing glances at each other from across the coffee shop” (“Silver Screens”), or serious “your left hook of love came out of nowhere and knocked me out” on the title track, Rae explores the ins and outs of relationships with confidence, curiosity and a wisdom that is irresistible.

Delta Rae

After it All/Sire Records

There aren’t many quiet moments on the latest from Delta Rae. In fact, outside of the first 45 seconds of the ethereal opener “Anthem” and a vocal interlude at the quarter mark during “The Dream,” the album is downright operatic. “Outlaws” and “Run” verge on cliché due to their over-the-top rock energy that comes from belting out tales about being wild and free, and flipping the bird at convention. “Scared” is explosive soul that marries hand-clapping, foot- stomping, plinky piano and a choir of voices, while the updated “Chasing Twisters” is an epic, heavy-on-production country tune that sounds like a conversation between Manheim Steamroller and Lindsey Sterling. After it All cruises like a fully accelerated sports car, and while longtime fans might be thrown by this curveball, it’s a nasty one they’ll want to take a swing at.

Jesse Baylin

Dark Places/Blonde Rat

If your tastes lean a little retro, then the new release from Jesse Baylin should be right up your alley. Dark Places is a throwback to the era of the warm AM rock heard during the ’70s, with just enough flair to keep it modern. Think Stevie Nicks by way of Nicki Bluhm & The Gramblers. The fuzzy guitars and lumbering beat on “Creepers (Young Love)” are a delight, and Baylin’s echoing vocals on the electric guitar ballad “To Hell and Back” make for a brooding experience as she surveys the ashes of the destruction that fill her past. Baylin builds this album with subtly charged performances that range from sensual (“Kiss Your Face”) to soul-crushed (“The Ringer”), from bombastic (“London Time”) to subdued (“Lungs”), giving listeners a host of moods to consider that are darkly inviting, but never dull.

Ivan & Alyosha

It’s All Just Pretend/Dualtone Records

“If freedom is where we are standing/Something is desperately wrong.” This line from the opener “Something Is Wrong” sets the tone for the dynamic sophomore release from the Seattle quintet in more ways than one. Much of the album explores the tension between what makes us free and whether or not we’re using freedom wisely, and often times the songs are juxtaposed against upbeat music. “All This Wandering Around” pairs thumping piano and catchy guitars with musings on not belonging, while the title track has a groovy, hand-clap rock beat that offsets a narrative about trust and mistrust. But that’s not to say that this is a downer of an album. “Come Rain, Come Shine” proves to be an uplifting ode to battle-tested love, and the danceable “Modern Man” is filled to the brim with rock swagger. The guys lean heavier on rock this time around, making it a nice departure from their acoustic folk pop debut, while keeping the insights as sharp as ever.

Josh Garrels

Home/self-released

Avant-garde Portland singer-songwriter Josh Garrels has won legions of fans by fusing folk and hip-hop while candidly rhapsodizing about his struggles with faith in ways that most Christian artists are too afraid to tackle. His latest release, Home, acts as a mild curve ball by comparison. Lyrically, Garrels is as self-
dissecting as ever on tracks like “A Long Way” and “Born Again,” and his delivery ranges from some brief rap to his familiar, molasses-thick falsetto, but the music is what gets you this time around. “Born Again” features a harp, for starters, there’s a jazzy trumpet outro on “Always Be,” and “Home at Last” incorporates a ukulele intro and strings, then finishes with a sequence that sounds like a New Orleans brass band. Add in his customary bone-rattling folk-hop (“Leviathan”) and some stirring Americana (“Morning Light”), for a beautifully diverse record that cuts deep in its exploration of the self and the world.

Danny Schmidt

Owls/Live Once Records

Earlier this month, former Charlottesville resident and singer-songwriter Danny Schmidt treated fans to a sneak peek of his new solo record, Owls, at the Southern. The new tracks demonstrate that Schmidt has grown more evocative with his lyrics (particularly on the stirring ballad “Cry On The Flowers”), and the ragged, melodic timbre of his vocals impress throughout, whether on Americana rock numbers (“Soon The Earth Shall Swallow”) or laid-back folk tracks (“All The More To Wonder”). Schmidt draws you into this record with his dramatic-yet-subtle storytelling prowess on the closer “Wings of No Restraint” and the standout track—“Looks Like God”—flows with poetic imagery. Whether observing the plight of the small town farmer or getting introspective about the past, Schmidt does it with a keen focus that results in an articulate, beautiful record.

Noel Gallagher’s High Flying Birds

Chasing Yesterday/Sour Mash

Noel Gallagher’s stellar second solo effort, Chasing Yesterday, furthers the notion that Noel was the creative thrust behind Oasis (compared with the failure of Liam ’s band Beady Eye). Riff-heavy hook fests like “Lock all The Doors” demonstrate that Gallagher’s flair for rock ‘n’ roll dramatics hasn’t dwindled since the band’s 2009 split. Yet, similar to his 2011 solo debut, the majority of the album is more about subtlety and variety than Oasis 2.0. “Riverman” and “The Right Stuff” feature saxophone solos, and there’s a healthy dose of cowbell on “The Mexican.” Gallagher’s vocals are arguably the strongest and most melodic they’ve been since the early days in the band of brothers, and whether he’s waving away nostalgia for his musical past (“You Know We Can’t Go Back”) or belting it out on the first single (“In the Heat of the Moment”), the guitarist singer-songwriter wanders from jazzy to raucous to bluesy with a familiar pop sensibility.

Joe Pug

Windfall/Lightning Rod Records

Known for his laid-back acoustic folk, Joe Pug delivers the goods once again with a largely accessible, Americana folk record that is easy on the ears while tugging at your heart. “Stay and Dance” is a classic romantic acoustic number that’s perfect for setting the mood, while the light, upbeat folk opener “Bright Beginnings” is augmented by bouncy keys to get the album off on a happy note. Ironically, the brightest moments on the record tend to be when Pug is most introspective, as on the brooding, electric guitar-led “Great Hosannas,” or on the engaging finale “If Still It Can’t Be Found,” where he waxes philosophical about seeking answers. Pug’s dusty, lower register vocals lend a steady presence, occasionally stretching into a Dylan-esque ramble to give the songs extra weight, and making Windfall a solid release.

Ships Have Sailed

Moodswings/self-released

The jangly full-length debut from Ships Have Sailed delivers on the promise of last year’s Someday EP. Will Carpenter provides an electric presence as the singer and songwriter for the group, proving that he’s just as comfortable belting a Killers-esque hook (the dance-happy “Boomerang”) as when he’s delivering stirring lyrics like, “If only I could find a way/To make you take back your goodbye” (“If Only”). The album has energetic rockers such as the anthemic “Summertime” and echoing, reverb-heavy tumblers like “Out of Time,” as well as moody, borderline apocalyptic-sounding epics like “The Tide.” Equal parts ebullient and introspective, the aptly titled Moodswings takes you on a wild, and ultimately fulfilling ride.

Emily Hearn

Hourglass/Old Prince Records

Be warned: Emily Hearn will be your new favorite singer-songwriter. On her sophomore effort Hearn grows artistically by leaps and bounds with a rich, understated vocal prowess, a sonic palette beyond the country and folk stylings of earlier albums, and lyrics that are simultaneously clever, profound and catchy. This relationship-focused record makes it’s mark with atmospheric country pop (“The Oak Tree”), ’80s-era modern rock (“Save Me”), Gospel (“Thank God You’re Holding Me”) and ambient folk (“Long Summer), and all the while Hearn anchors the songs with moody, emotional trajectories. The radio-ready “Annie” calls out “Don’t you dare make this all about him/ Because he’s never made it all about you” and is bound to be a hit. Introspective and wondrous, Hourglass is certain to go down as one of the year’s smartest, most satisfying releases.

JD McPherson

Let the Good Times Roll/Rounder Records

JD McPherson is a throwback to the golden era of rock ‘n’ roll. His echoing vocals ring with melodies and rhythms pulled straight from Motown, surf and Jerry Lee Lewis records, and the album swings enough to compare with a Brian Setzer project. The title track is a dance fest from the word go, and the groovy “It’s All Over But The Shouting” is a Chuck Berry-style hip shaker. McPherson goes for blow-the-house-down soul on tracks like “Bossy” and “You Must Have Met Little Caroline?” while still maintaining a modern flair on this time warp of a release. Let the Good Times Roll, indeed.

Brandi Carlile

The Firewatcher’s Daughter/ATO Records

One of the hallmarks of Carlile’s work has always been the raw energy that filters through her songs. It’s as evident on subdued tracks like “Bear Creek,” as it is on the kinetic rocker and fan favorite “The Story.” On The Firewatcher’s Daughter, Carlile is in full force, moving seamlessly between throaty growl and honey vocals paired with heart-on-the-sleeve-level lyrics. Gritty rockers like “Blood Muscle Skin and Bone” are made more electric when she shouts about her need to be with someone strong when she is weak, and “The Things I Regret” and “Beginning to Feel the Years” offer an unflinching hindsight. The album spends a lot of time in the folk and Americana genres, but “Mainstream Kid” stands out as a hoot and holler, dance yourself silly rock song that’s too much fun to pass up.

Nathan Angelo

Carolina EP/self-released

On Angelo’s latest record, the singer-songwriter’s penchant for soulful melodies and lyrics is as prominent as ever. These six tracks contain classic, ’70s-era pop (“Carolina Save Me”), groovy piano pop (“Find My Way”), soul (“Never Alone”) and even hints of R&B (“Fools in Love” will put you in the mood before you know what’s hit you). Much of this album centers on romantic relationships, so there are elements of love and loss throughout, with everything from the butterflies to a broken heart being examined on this album. Angelo is a solid performer whose vocals ooze with soul and verve, and it is hard not to be drawn to the emotional resonance of any story he is tells.

The Dodos

Individ/Polyvinyl Records

Over the course of its first decade (has it really been that long already?), The Dodos have impressed with a knack for the melodic and atmospheric. The new album Individ does not disappoint in either regard. From the distorted intro on “Precipitation” to the hip-shaking, riff-heavy rocker “Competition,” bandmates Meric Long and Logan Kroeber have crafted another otherworldly experience. Whether their voices echo over cascading guitars like heavenly narrators on “Goodbyes and Endings,” or they lay down hooktastic beats on the rock track “Retriever,” there is no shortage of things to like about this record. By the time you get to the seven-minute dual track “Pattern/Shadow”—characterized by languid, droney rock before picking up the pace significantly for the second half—you will be wanting more.

Milo Greene

Control/Elektra Records

If change is the name of the game, then consider Milo Greene’s sophomore effort quite the gamechanger. Gone are the folk-inspired tracks from the band’s debut, and in their place is a more cinematic pop sound that incorporates elements of dance and rock music. From the moody aesthetics to the way Robbie Arnett, Graham Fink, Andrew Heringer and Marlana Sheetz all trade lead and backing vocals to sublime effect, Control is a magnificent release. “Heartless” and “Gramercy” are great examples of the album’s tendency to match upbeat ambient pop sensibilities with dark lyrical tones as the band explores the ins and outs of love. Control is chilled out, marked by beautifully lush sounds and dazzling melodies that will leave you spellbound.