Rock
The album isn’t a dull listen because it hammers home the high anxiety that many are feeling, particularly in California, land of the forever drought and endless forest fires.
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Puscifer pulled off a great show of rock ’n’ roll farce, and that is saying something considering that the daily news feels ever more like scripted buffoonery.
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Northlands lacks the infrastructure, diversity, and history of some of New England’s finest music fests, but its two-day debut provided a rustic oasis for jambands.
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The high quality of the material presented thus far justifies Tedeschi Trucks Band’s decision to release these songs in small batches over the course of three months.
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The band Neighbor isn’t reinventing the wheel, but it’s not getting steamrolled by it either.
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Solid Sound is like a family picnic for stylistically open-minded musicians and fans alike within the brick-mill infrastructure of MASS MoCA.
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Legendary percussionist Bill Bruford’s recorded output reveals him to be a restless innovator who went from one band to another so he could learn more about his instrument and about himself as a musician.
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Crescent gives us the first five songs of the I Am The Moon suite and runs about 35 minutes. Let me rephrase that: it runs about 35 perfect minutes of music.
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Dance Fever is one of the few pandemic-themed artworks that doesn’t feel contrived — it is specific about the value of music to the individual and by extension to the community.
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Trampling on the expectations of his fans, of course, is a big part of what makes Joe Jackson the singular talent he is — and most of his admirers wouldn’t have it any other way.
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Arts Commentary: Rich in Creativity — But Nothing Else