AltWeeklies Wire
Seattle's Conrad Ford Finds Beauty in Highway 99new
The band is a hushed and ghostly Americana outfit cut from the same vintage fabric as Barton Carroll and Jesse Sykes.
Seattle Weekly |
Hannah Levin |
11-25-2008 |
Profiles & Interviews
Dead Confederate Carries the Flag for a New Variation on Southern Rocknew
Wrecking Ball, the band's debut album for the imprint, is a heavy, feedback-drenched affair that finds Morris caterwauling over expressionistic tracks like "Flesh Colored Canvas." The results have earned Dead Confederate raves from publications like Rolling Stone and Spin, if not a life-changing amount of folding green.
Westword |
Michael Roberts |
11-25-2008 |
Profiles & Interviews
How the Drive-By Truckers Met The Hold Steadynew
While it's no surprise that bottle rockets and plenty of mischief-making have come into the mix, the meeting of DBT frontman Patterson Hood and Hold Steady guitarist Tad Kubler involves interests as brainy as they are bacchanalian.
Seattle Weekly |
Hannah Levin |
11-25-2008 |
Music
Times New Viking Leads a Lo-Fi Indie Resurgencenew
The drummer and vocalist for Times New Viking realized early on in his studies that regimented lectures in art history and brush-stroke fundamentals weren't going to satisfy his creative impulses. So Adam Elliott did what disillusioned students do best -- he dropped out.
The Georgia Straight |
Jenny Charlesworth |
11-24-2008 |
Profiles & Interviews
What's Rock God Chris Cornell Doing with Timbaland?new
Sure, Cornell's stylish crooning of the James Bond theme "You Know My Name" for 2006's Casino Royale showed he's matured considerably since his grunge-bellowing days, but what the fuck? A hook-up with über-urbanizer Timbaland represents a radical rethink.
NOW Magazine |
Tim Perlich |
11-24-2008 |
Profiles & Interviews
MC Zulu's Space Dancehallnew
Zulu works on Planet Lazer Bass, but he lives right here in Chicago.
Chicago Reader |
Miles Raymer |
11-24-2008 |
Profiles & Interviews
Scott Weiland's Candlelit Bluesnew
We talk with the former Stone Temple Pilots and Velvet Revolver singer on the eve of his first solo album in a decade.
L.A. Weekly |
Erin Broadley |
11-21-2008 |
Profiles & Interviews
Edie Sedgwick Explores Unconscious Connectionsnew
This side project by Justin Moyer, a veteran of El Guapo and Antelope, is lo-fi in its execution but sophisticated in its sassy conception
Tucson Weekly |
Gene Armstrong |
11-20-2008 |
Reviews
Verbana's 'Souls for Sale' is a Rollicking Re-issuenew
By reissuing Verbena's first full-length for Merge, Fat Possum puts back into print a Southern blues-punk gem.
Tucson Weekly |
Jarret Keene |
11-20-2008 |
Reviews
Joel Grind, the Omega Mannew
Toxic Holocaust's thrash-punk provides the soundtrack for a post-apocalyptic world.
Tucson Weekly |
Jarret Keene |
11-20-2008 |
Profiles & Interviews
The Dresden Dolls' Amanda Palmer Goes Out On Her Ownnew
Palmer released her album this September and has been on the road promoting it ever since, intentionally leaving little time for The Dresden Dolls. "We're taking a break," Palmer says. "We both need some space."
New York Press |
Christine Werthman |
11-20-2008 |
Profiles & Interviews
Vivian Girls Keep it Simple and Spectacularnew
Though the equation that vocal harmonies plus reverb plus jangly punk equals greatness doesn't seem that tricky, nobody seems to capture it the way Vivian Girls have.
The Portland Mercury |
Rob Simonsen |
11-20-2008 |
Reviews
Tags: Vivian Girls
Two Decades In, Lud Remains Lean, Mean and Laid-Backnew
V -- which encompasses vintage indie rock, classic rock, funk, punk, even Krautrock -- feels cozy, a little funky and very lived-in, too.
INDY Week |
Brian Howe |
11-20-2008 |
Profiles & Interviews
With 'The Promise,' Deborah Cox Proves She's Not Donenew
On her first original R&B album in six years, Cox returns with pleasant, if unmemorable, ballads and midtempo grooves of sweet melodies and relationship drama. While predictable, the slower adult contemporary jams work.
Creative Loafing (Atlanta) |
L. Michael Gipson |
11-20-2008 |
Reviews
PaceWon and Mr. Green Soar on 'Color'new
Pace has gone at Shady before, and "The Joker" is a fairly uninspired diss track, but Pace is much more effective on the album when he sticks with discussing his own evolution.
Creative Loafing (Atlanta) |
Ben Westhoff |
11-20-2008 |
Reviews
