Music Reviews

This Way to the EGRESS is the greatest (and most eclectic) band you’ve never heard of. Hailing from the Tri-State Area, this delightfully dark cocktail of vaudeville kitsch, folkish klezmer, and ragtime swing is comprised of five full-time members and “an ever-rotating cast of horn players,” whose unique sound caught the ear of this unassuming beginner DJ.

Fans of Cajun, Irish fiddle and Quebec Folk will be able to find musical solace in Jabbour’s most recent studio effort. The Montréal quartet—which is currently composed of Guillaume Jabbour, Bill Collier, Bill Gossage and Carl Rufh—released Saint-Bernard on May 12, which serves as the follow-up to their 2016 debut Round The Clock.

You're welcome: I have delved into the Tartarean pits of my inbox and brought back such wonders to behold. So wondrous are these wonders that even for the recounting of their wonder I can't help but say you're welcome.

Empath is emerging.

That's right, a new era of Devin Townsend succulence has dawned upon our sordid realm, and now that it is up in me, like a caring mother bird shall I regurgitate some digested scraps of it into your eager brain-maw. To think this time last year I was digging through Steve Vai's garbage, and now look at me.

The idea behind Mark Morton’s first solo album, Anesthetic, was to creat an album of songs that wouldn't fit in a Lamb of God release. In interviews, Morton has said that this album was written at a relaxed pace over a long period of time. It presents a body of work in a veritable variety of styles, though for the most part it does not stray too far from his work in the aforementioned Lamb of God.

This article is an analysis and perspective from Phil's listening sessions over time, since the album was released in 2007; it has been hard to decipher themes and lyrics in order to understand the album and its concept as a whole. 

Between the Buried and Me has been a raging force for metal as the face of progressive metal since their very early days, but has proven to grow as a band over time. In 2007, the band released an album that revolutionized the genre all around.

Colors, the monumental metal epic, was released on September 18^th, 2007. It was highly praised by critics and metalheads alike.

The Moonlight Club’s most recent effort, the self-titled full-length album, is their most consistent and cohesive work to date. Recorded over a nine-day period at Breakglass Studios with David Smith (Patrick Watson, Elephant Stone, Leif Vollebekk), the album showcases the band’s authentic blend of folk-rock and 80’s new wave. With tight, impressive drum work and guitar tones that Johnny Marr would be proud of, the Moonlight Club have created a strong, diverse album that takes the listener on a journey from energetic rock to sweeping balladry. 

A year after her breathtaking album My Woman, North-Carolina based singer-songwriter Angel Olsen releases her rarities album Phases. This treat gives listeners insight into how Olsen’s diverse genre palette came to be, reflecting all the different directions her musical abilities can take—from quiet lo-fi folk to sprawling psych-rock.

Phases is a multifarious album, B-sides that didn’t fit the flow of pop-oriented My Woman or the alt-rock Burn Your Fire for No Witness: raw and heartfelt demos of love and loss, and covers by artists that have influenced her musical and writing process.