Lars Gotrich
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A year after her debut, Hill quietly expands her universe with "Orb Weaver," featuring delicately ornate pedal steel and cello that gently eddies around a whitewater of finger-picked guitar.
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The tri-city free-jazz band expands and distorts the shape of melody, noise and heart-thumping rhythm.
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On this new one, the Oakland-based band's battering noise-rock graduates into a beautiful, but still brute-forced, groove.
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On "Dogma," Haley Fohr collects and redistributes the sounds of a few cult genres – spaghetti western, avant-garde funk – and projects a modern mysticism for an uncertain age.
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Kississippi articulates the overwhelming rush and nonsensical whims of a new crush.
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"Letting Go" is a slow burn, glowing auburn against pedal steel, synths and Pedigo's loping guitar as if the song's got nowhere to go, yet is compelled by unseen forces to move on.
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Here the clipped guitars and tight drumming of the original Strokes' song are exploded into the kind of Replacements-y thrust of Touché Amoré's finest moments.
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Headbanging riffs, symphonic keys and blast beats heave from the "yawning abyss," but counter with honest-to-Gaia hooks.
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Recorded outdoors on a four-track, Canary Room's Maddy Heide thinks out loud about the way seasons change in a person, and how you love them anyway.
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Tobacco City's debut album out today — Tobacco City, USA — mixes cosmic country with psychedelic choogle, but "Never On My Mind" ... well, that's where the honky tonk meets the soul revue.