File the fifth studio release from Wakefield, England’s The Cribs under “guilty semi-pleasure.” Lighthearted twee is tempered with a distorted-
Not too long ago I inherited a vinyl copy of Dreamtime featuring snake imagery on one side of the record, a photo of the band on the other. Taped to the thick, high-gloss plastic sleeve is a ticket stub from a late ’80s Cult concert in L.A., but the truly impressive element included with the stub is a single piece of leather fringe, collected from Ian Astbury’s jacket at that concert. These days people don’t fawn over their rock stars like they used to, much less collect talismans of their essence. The Cult’s new, apocalyptic record—imbued with the same gothy mysticism, obsessions with aboriginal cultures, vocal vibrato, post-
An R & B vocal sentiment combined with a synth-driven, vintage ambient techno aesthetic are the basic elements of saccharine NYC pop act Lemonade. At its worst, this album is reminiscent of a melodramatic Tangerine Dream film score. At its best, it sounds like something that you might hear while shopping for jersey deep-V-neck T-shirts and copies of Butt Magazine at American Apparel.
For their seventh studio album, Lift a Sail, Yellowcard had a simple but ambitious goal: to outdo everything they’d ever done before. The guitars and drums had to hit harder; the songwriting had to cut deeper; the choruses had to reach heights only hinted at on their previous outings. Frontman Ryan Key believes he and his bandmates—guitarist Ryan Mendez, violinist Sean Mackin, bassist Josh Portman and guest drummer Nate Young (Anberlin)—succeeded on all those fronts. “We really feel like we got where we wanted to be, and made a proper rock ‘n’ roll record,” Key says proudly.
Alex Culbreth at Adobe Bar at the Historic Taos Inn
Tractor Tune Up: Old Time Jam with the Virginia Creepers at Tractor Brewing TaproomMore Recommented Events ››