Looking for some new reviews on some of the latest music releases? Look no further! We have just the thing to take away thine curiosity and replace it with good, clean knowledge. How can you beath that? You can’t!
Say, that new Raconteurs disc Consolers of the Lonely came out of the proverbial left field this week, didn’t it? Sure did, and Bullz-Eye has Mojo Flucke’s review of it. “Jack’s on top of his game here, as always. God forbid the day he mails in a half-baked record and all his pissed-off rock-critic chickens come back to roost,” says Mojo.
Critic David Medsker has recently done the 180 on the band Panic At The Disco. Their new album Pretty. Odd. has left him praising the group, mentioning that “…this, as far as we know, is the real Panic at the Disco, and God help them if they ever decide to go back to being wordy emo dorks. Pretty. Odd – they appear to have moved the awkward punctuation out of their band name and into their album titles – is as massive as pop records get these days.” Not bad at all. Check out the full write-up here.
For all the Sevendust fans out there, the band’s latest Chapter VII: Hope and Sorrow is out and about and Bill Clark lets you in on his thoughts about the disc, saying that “The album contains nary a dull moment, as is the case with every Sevendust record to date, but the collective effect doesn’t match that of Alpha or Animosity – the two albums that the band puts in the blender to achieve their sound here. ”
Spinning the dial over to Rolling Stone, critic Caryn Ganz reviews the latest from Moby, a little number entitled Last Night. “A concept album about an all-night bender, Last Night solidifies Moby’s link in the chain that binds DJ pioneers like Todd Terry to slinky futurists like Justice.” Yes, but is it any good?
Next, at Billboard, Jeff Vrabel offers up his take on the latest from Flo Rida entitled Mail on Sunday. “Flo Rida’s flow is an engaging/ringy-dingy/he-sounds-like-Nelly thing. ” Hey is that good or bad?
Moving along to NPR, Tom Manoff explores the latest recording by keyboardist and conductor Richard Egarr. “While I’ve admired Egarr’s recordings for some time, he’s even better in person. His recent performance with the Portland Baroque Orchestra was one of the most exciting musical evenings I’ve had in years,” notes Manoff.
We’ll land this mother at Almost Cool this week. They’re taking aim at the new Fuck Buttons album Street Horrsing. “On the surface, this Bristol, UK duo isn’t doing anything entirely new, but they are taking crazy noise and melting it with a bit of primal energy and a wisp of gorgeous textures and melody to create something that sounds just new enough that their name is worth remembering for more than novelty status.” I’m there.
