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.
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.
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.
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.
The band Neighbor isn’t reinventing the wheel, but it’s not getting steamrolled by it either.
Solid Sound is like a family picnic for stylistically open-minded musicians and fans alike within the brick-mill infrastructure of MASS MoCA.
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.
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.
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.
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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