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Afghan Whigs
Do To The Beast
(Sub Pop)

Do To The Beast is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage blend of hard rock, classic soul, and frontman Greg Dulli's searing angst and obsessions. (Double-vinyl version plays at 45 rpm for maximum fidelity.)  
Barnett, Courtney
Double EP: A Sea Of Split Peas
(Mom & Pop)

“Courtney Barnett makes jangly, rumpled indie-rock in the vein of Pavement or early Dylan: Wordy, wry, and anchored by the kind of poetic clarity you can only get from looking at the world askew.” – Rolling Stone  
Broken Bells
After The Disco

Sophomore album from the musical partnership comprised of Brian Burton (Danger Mouse) and James Mercer (The Shins). Features the first single. "Holding On To Life. Vinyl pressed on HQ-180gm with download.  
Cash, Johnny
Out Among The Stars

By 1980, the business of country music had changed to incorporate sounds that were incongruous with Cash's. His signature blend of folk and that "boom-chicka-boom" beat was out of vogue amongst the slick string-laden "countrypolitan" sounds that had become popular. In one effort to enhance his commercial appeal, Columbia Records paired Cash with producer Billy Sherrill who was having major success with this new country sound. Cash employed an expanded band, featuring a young Marty Stuart on guitar and fiddle as well as long-time duet partners June Carter Cash and Waylon Jennings.

Much of what was recorded was locked away in the vault lost and not to be heard again. Discovered in 2012, Out Among The Stars is truly a lost, previously unreleased Johnny Cash album. These aren't alternate takes or different versions of songs that you've heard. These are brand new songs to the Cash canon.  
Cloud Nothings
Here And Nowhere Else

Utilizing every opportunity to write while on the road for 18 months following the release of 2012's Attack On Memory, Cloud Nothings' Dylan Baldi presented an album's worth of material to his bandmates days before they'd enter the studio with esteemed producer John Congleton. The result is Cloud Nothings refined: impossibly melodic, white-knuckle noise-rock that shimmers with sumptuous detail. "It's more subtle," says Baldi. "It's not just an in-your-face rock record. There's more going on. You can listen to a song 20 times and still hear different little things in there..."  
The Takeoff And Landing Of Everything

CD now, LP 3/25. “Elbow do cloud-scraping bombast as well as any of their peers – with the bonus that frontman Guy Garvey is the sort of every-bloke you can imagine sipping bitter with. Along with the uplift, however, the Mancunians have a tendency to brood which has arguably served as a drag on their progress … Make no mistake, this is a bleak record, a paean to middle years ennui, the slow realization that, actually, there are no more second chances. You’ve made your bed and here you will stay.” – Hot Press  
Foster The People

Supermodel largely echoes the Torches template of blissfully blending genres into a churning whirlpool of euphoric pop: most tracks are overflowing with trademark sky-scraping synths, star-cradling melodies, and distorted guitars. Ultimately this is an unashamedly vibrant collection of variegated pop songs best enjoyed during a dancefloor freak-out.” -- Clash Music  
Hold Steady
Teeth Dreams
(Razor and Tie)

The Hold Steady return with their sixth album and first in four years. The title refers to a common nighttime dream. Dreams about teeth are usually triggered by anxiety. Anxiety is a theme that shows up in a number of songs on the album.  

“On its self-titled debut, the charming Brooklyn pop-rock band Hospitality burst out of the gate like a batch of 4.0 GPA indie-rock students, not unlike their forerunning New York City bros in Vampire Weekend. With songs that crushed out on coworkers and wrapped heartache in cheap dresses, frontwoman Amber Papini managed a balancing act of post-collegiate insouciance and soul, channeling The Velvet Undergound's prettier moments with knowing, Belle & Sebastian-style naiveté. More than one observer described Hospitality by invoking a cardigan. By comparison, the band's second album is more of a leather jacket.” – NPR  
You And The Night

Soundtrack to debut feature film by French director Yann Gonazlez, brother to M83's Anthony Gonzalez. Features vocals by M83 collaborator Morgan Kibby and Norwegian singer Susanne Sundfør (who contributed vocals to the Oblivion soundtrack). Previous collaborator Joe Trapanese returned to assist with orchestral arrangements. Mellow and romantic, this soundtrack pays tribute to French soundtracks from the ‘70s and is much more intimate than Hurry Up, We're Dreaming.  
Manchester Orchestra
(Loma Vista)

“It's really no surprise Manchester Orchestra would just be itching to creating a no-frills rock record. There are a ton of things to enjoy about this simplified approach. The album isn't there so much to intellectualize, as it is there to experience. Hooks are exploding out of every orifice. Refrains are kept simple and easily digestible, often consisting of single repeated sentences and drawn out vowels. Riffs only have one purpose-to be massive.” Sputnik Music  
Mayfield, Jessica Lea
Make My Head Sing

“Kent, Ohio native Jessica Lea Mayfield matches a grunge-era deadpan with gnarly leftfield roots music in service of haunting, smoldering rock ’n’ roll. She caught some extra attention thanks to her association with geographic and stylistic neighbor Dan Auerbach of Akron’s Black Keys, who produced her 2011 LP Tell Me. But Mr. Ultraviolence wasn’t involved in Make My Head Sing. Rather, she bunkered down in a Nashville studio with bassist/husband Jesse Newport in search of something stripped-down yet weighty.” – Stereogum  
Real Estate

Real Estate's third long-player, Atlas, starts 2014 off on the right note. Recorded at Wilco's studio, in Chicago, IL, Atlas expands upon the pastoral lushness of 2011's breakout album Days. Atlas continues hitting with the same catchy confidence that made Days such an enduring listen.  
S. Carey
Range Of Light

S. Carey's (drummer for Bon Iver) chosen musical expression is a hugely beatific, restorative panorama of extraordinary beauty - perfect given how landscape inspires much of Carey's imagery. His 2014 album Range Of Light - the follow-up to his debut All We Grow - takes its title from the name that 19th century naturalist John Muir gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and shade, drawn from Carey's love of jazz, modern classical, and Americana.  
Sun Kil Moon
(Caldo Verde)

Features guest musicians Steve Shelley, Jen Wood, Will Oldham, and Owen Ashworth. Double-CD version includes five track bonus disc and a lyric poster. “There are 11 songs on Sun Kil Moon’s astonishing sixth LP Benji, and in nearly all of them, somebody dies. Mark Kozelek wants us to know that they all lived, loved, fought, fucked up, and often did the best they could. While Benji is consumed with death, sadness, and tragedy, there's gratitude within this melancholy, and it’s Kozelek’s most life-affirming record.” BNM [9.2] – Pitchfork  
Thee Oh Sees

Drop was recorded in a banana-ripening warehouse (no joke) with hair-farming studio warlock Chris Woodhouse playing drums; it’s also graced with the presence of talented gurus Mikal Cronin, Greer McGettrick and Casafis adding horns and vocals. The result pushes the familiar polarities of the group farther outward than ever before. Opener “Penetrating Eye” might be the heaviest Oh Sees song yet, “Transparent World” and “Put Some Reverb On My Brother” foam with seasick fuzz, and yet the ballads, like the harpsichorded “King’s Nose” and the lush and stately closer “The Lens,” extend their oeuvre into mellotronic, far-out pop with delicacy and grace.  
Timber Timbre
Hot Dreams
(Arts and Crafts)

“Timber Timbre's members tiptoe across some strange boundaries: Atop atmospheric sound beds that often conjure spaghetti Westerns, Taylor Kirk's dusky croon can seem seductive, inviting and, when he prefers, deeply creepy. It's a voice that can embody Halloween itself — Timber Timbre is self-aware enough to have titled its last album Creep On Creepin' On — and yet Kirk possesses the versatility to sing sweet ballads with Feist on the side. There's a breezy timelessness to Timber Timbre's music that can make it seem bright, sweet and approachable. But, as with so much in life, rewards and alluring perils await those willing to search in the shadows.” – NPR  

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Wednesday, April 23, 2014 All Contents Copyright © 2014 Stinkweeds Music