Chris Knight is a singer/songwriter who
goes against the grain when it comes to what passes for talent in
Nashville these days. A songsmith on par with the Darrell Scotts and
Jeff Blacks of the world, Knight has little use for mainstream Country
music dreck or stereotypical Americana fare.
There are dozens of
thriving “Celtic Punk” bands, but the Holy Drunken Trinity is clearly
the triad of Boston’s Dropkick Murphys, Los Angeles’ Flogging
Molly and Chicago's The Tossers. Of that
trio, The Tossers are both the longest tenured and the least well
known, and yet the sextet has amassed a slavishly loyal following and
maintained a constant studio/stage presence over the past 21 years.
The Dex Romweber Duo's Images 13 drops next month, and it’s an amalgam of everything that has erupted
from Romweber’s fevered creative genius from the start — twisted ’50s
Rockabilly and romantic Pop, high-octane ’60s Surf, raw, electric Blues
and even strains of Jazz and Exotica.
Vic and Gab’s first full-length, last year’s Love of Mine,
is even more assured, the sound of a band coming into its own. Album
opener “Love of Mine” sets the tone, a dreamily atmospheric Pop tune
that’s almost impossible to eradicate once it enters your ears.
The President gets no respect from most conservatives (and he can't spell it either), Frank Ocean pays back the check Chipolte gave him for a commercial he didn't want to do and if they ever make a low-budget nightmare version of This is Spinal Tap, Black Flag has to star.
A decade ago, years before American
keyboardist Adam Weiner and British drummer/guitarist Dan Finnemore
realized their vision of incendiary Piano Rock as Low Cut Connie, Weiner
made his Greater Cincinnati solo debut. Booked at the original
Southgate House, Weiner found an audience unimpressed
with his offerings.
Saturday, local Hip Hop artist MC Till celebrates the release of his Jazz/Hip Hop fusion album, The Neighborhood, featuring veteran local artists like Ric Hordinski, John Von Ohlen, Steve Schmidt and more.
Since forming in Carbondale, Ill., a dozen years
ago as a response to the woeful lack of Punk bands in the local scene,
The Copyrights have earned a potent reputation with five acclaimed
studio albums, a quartet of EPs and a handful of split 7-inch singles.
The mayor of Minneapolis declared Sept.
13, 2013 as “Har Mar Superstar Day,” in honor of a man whose soulful,
hyper-sexual R&B stylings have been overshadowed by his resemblance
to porn star Ron Jeremy and a stage show that includes the singer
clothed in nothing more than a pair of tighty-whities.
Ann Arbor, Mich., is the nexus for a lot
of weird, wonderful musical behavior, and The Ragbirds are another
brilliant reminder of that odd harmonic paradigm. Combining elements
from a variety of sources — Gypsy Jazz, Celtic Folk, Bluegrass and Rock
filtered through Middle Eastern, African and Latin rhythms — the band
creates a groove-laden global Roots gumbo.
It’s been a decade since Blue Note
Records signed Amos Lee and put out his self-titled EP. Since then, the
Folk/Soul singer/songwriter has yet to disappoint. With a voice that
could cut through any venue’s rattle-and-rush, and lyrics and stories
that seem just right coming from a former teacher, Lee hooks a finger
into the listener’s shirt collar and pulls them closer.
ScHoolboy Q’s incendiary, just-released Interscope debut, has been
incredibly well received by critics for its raw musical presentation and
distinctive lyrics and delivery. At press time, chart pundits were
predicting it would debut high on the next Billboard album chart, if not hit No. 1.
A map showing listening trends around the country inadvertently also shows that people don't read anymore; U2, Karen O, Pharell and "Adele Dazeem" rock the Oscars; and Bill O'Reilly decides that if the president really wants to help young black men, he needs to get "gangsta rappers" Kanye West and Jay-Z to "knock it off."