AltWeeklies Wire
U2's 'No Line on the Horizon'new
No Line on the Horizon follows big, time-tested U2 themes--The Edge's crystalline guitars against Bono's lyrics of love and hope.
Tucson Weekly |
Annie Holub |
03-12-2009 |
Reviews
Serrated Lyrical Edge: Elvis Perkins in Dearlandnew
With Dearland, Elvis Perkins leaves behind any resemblance to the quirky indie-folk acts he was sometimes compared to, broadening his vocal range and attack.
Tucson Weekly |
Jarret Keene |
03-12-2009 |
Reviews
Putting Time on Holdnew
Hold Time might be M. Ward's most iconic, brightly imagined work yet.
Tucson Weekly |
Sean Bottai |
03-05-2009 |
Reviews
Well-Versed, If a Bit Obsessed, With the Tropes of Classic Bluesnew
On his solo debut, Black Keys guitarist/singer Dan Auerbach shows himself well-versed, if a bit obsessed, with the tropes of classic blues.
Tucson Weekly |
Michael Petitti |
03-05-2009 |
Reviews
Comic-Nerd Chicnew
On first spin, the novelty of Kirby Krackle seems better-suited for the convention circuit than a discriminating CD collection. However, repeated listens reveal accomplished songcraft that will reward anyone wishing Weezer's Rivers Cuomo would return to writing about D&D.
Tucson Weekly |
Jarret Keene |
02-26-2009 |
Reviews
Tags: indie rock, Kirby Krackle
Alela Diane's 'To Be Still'new
If there's one un-ironic collection of ballads by a Nevada City elf maiden to purchase in these waning days of winter, it's To Be Still.
Tucson Weekly |
Sean Bottai |
02-26-2009 |
Reviews
Different Shades of Irish Greennew
Beoga blend traditional Irish with tango, blues, polka, gospel, pop and even New Orleans second-line music.
Tucson Weekly |
Gene Armstrong |
02-26-2009 |
Reviews
Ryan Leslienew
Proving more than a gimmicky salesman, Ryan Leslie has created a guilty R&B pleasure.
Creative Loafing (Atlanta) |
L. Michael Gipson |
02-25-2009 |
Reviews
Tags: r&b music, Ryan Leslie
These Are Powers' 'All About Future'new
Drummer Bill Salas is the new guy in These Are Powers, but the fascist cadences of his hallucinogenic beats give direction to the ghost-punk traipse at the center of All Aboard Future.
Creative Loafing (Atlanta) |
Chad Radford |
02-25-2009 |
Reviews
Grandmaster Flash's 'The Bridge'new
Hip-hop has changed dramatically since "The Message," but many believe not for the better. Flash would do well to follow his own vision instead of attempting to keep up with the inferior producers and DJs whose careers he made possible.
Creative Loafing (Atlanta) |
Ben Westhoff |
02-25-2009 |
Reviews
Black Lips' '200 Million Thousand'new
Garage-rock Nazis can revel in the muffled hue that envelops the album from beginning to end. What sets 2MT apart are the smooth melodies that guide each song.
Creative Loafing (Atlanta) |
Chad Radford |
02-25-2009 |
Reviews
Thank You Rides Far-Out Waves of Ambiguitynew
Terrible Two's best quality is precisely that we don't know what to make of it. That's the point of the album and what makes the band a close fit with post-rock's steez.
San Francisco Bay Guardian |
Brandon Bussolini |
02-25-2009 |
Reviews
On His Latest Album, Morrissey Lets Us Know 'I'm OK By Myself'new
Years of Refusal is Morrissey's ninth solo album and the most compelling argument for fans to finally move on from his former life.
Bruce Springsteen's 'Working on a Dream'new
Springsteen accurately captures the catchy simplicity of '60s pop on his latest record.
Tucson Weekly |
Michael Petitti |
02-20-2009 |
Reviews
Tommy Keene's 'In the Late Bright'new
With In the Late Bright, Tommy Keene once again unveils 11 expertly crafted, guitar-powered pop songs.
Tucson Weekly |
Jarret Keene |
02-20-2009 |
Reviews
