The Brook & The Bluff – Werewolf (Dualtone) (13th Floor Album Review)
The Brook & The Bluff are soulful soft rockers no more. They loosen up and let rip on Werewolf, a rowdy and welcome departure from their earlier work.
The Brook & The Bluff are soulful soft rockers no more. They loosen up and let rip on Werewolf, a rowdy and welcome departure from their earlier work.
Gregory Alan Isakov’s stripped-down show at The Opera House revealed an assured craftsman at the top of his game and, perhaps more surprising, the rapture of his millennial fandom.
John Craigie taps into the hypnotic tones of bossa nova on his latest record, I Swam Here, but the warmth of its glow remains unmistakably Californian.
Micah P. Hinson returns with strings, horns and hope, to deliver The Tomorrow Man, his most cohesive and inspired album in many years.
The Blasters pour the heart of Saturday night into every song on American Music, their vivacious 1980 debut, pressing against the corners of rockabilly, a genre that can easily be mistaken for a time capsule.
The songs on Skullcrusher’s sophomore album, And Your Song is Like a Circle, lurk on the periphery. The more focus you try to give them, the faster they slip away.
Jen Wasner takes a soulful, searching look in the mirror in Flock of Dimes’ therapeutic The Life You Save, a slow burn that rewards those who stick around.
Bright Eyes’ playful companion to 2024’s Five Dice, All Threes is further evidence of Conor Oberst finding rejuvenation through collaboration. Kids Table, seven songs and a minor soundscape that are mostly leftovers from the last album, is a spirited EP punctuated by some stirring team-ups.