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Middle Brother – “Middle Brother”Partisan Records-out tomorrow4 / 5 We make it little secret here that John Joseph McCauley III is, indeed, absolutely fawned upon. With Middle Brother, the Deer Tick frontman joins with Taylor Goldsmith of Dawes and Matt Vasquez of Delta Spirit to produce some inspired country (not “inspired” inspired, no). Starting with the takeout single, “Me Me Me,” which rockabillies all the way to Tennessee, you have to notice that there is some serious jam in these guys; so much so that one must wonder how McCauley can maintain so many projects over these past couple years. Nonetheless, “Middle Brother” isn’t aRead More →

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Smith Westerns – “Dye it Blonde”Fat Possom Records-out now3.5 / 5 Chicago, IL’s Smith Westerns give a bit of glam to their cluster-f*** pop. We mean that gently: these instruments don’t sing or soar, but meld together like that Nutella stuff you used to be addicted to. Minus the sick feeling afterwards; that told, “Dye it Blonde” works on the simple principle that it’s simply enjoyable to listen to. It’s something of a mystery to us how it works, but listen to “All Die Young,” and you get the Westerns at their apex on this album. The depth of their layering may, at times, leaveRead More →

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Bright Eyes – “The People’s Key”Saddle Creek-out now4.5 / 5 According to NPR, “The People’s Key” is Conor Oberst’s best album; no minor statement, considering Bright Eyes has seen 2007’s “Cassadaga” and 2005’s “I’m Wide Awake It’s Morning,” let alone Oberst’s various side projects (“Monsters of Folk,” “The Mystic Valley Band”). Take him or leave him, Oberst is doubtless one of the most skilled lyricists of his generation, and on “The People’s Key,” he does not disappoint. He is still capable of drawing up strong, concise images, such as in “A Machine Spiritual (In the People’s Key)”: “And little Hitler sat in his giant’s chair/Read More →

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Julianna Barwick – The Magic PlaceAsthmatic Kitty-out. Feb. 222.5 / 5 The ambient nature of The Magic Place makes Julianna Barwick’s latest a bit tough to place. The tones here are celestial in nature, with strings and vocals that map out a sacred – indeed, magical – scenery. On the other hand, the cyclical, repetitive nature of these ambient tones gives it little form. We’re going to go out on a limb here (the one in the album cover, right over there) and suggest that Ms. Barwick add some spoken lyrics to her work, as that would help give The Magic Place form, story arcRead More →