On Houndmouth’s full-length debut, 2013’s From the Hills Below the City,
you can tell the quartet is smitten with the majestic charm of
Americana masters The Band. “Penitentiary,” the calling-card tune that
triggered Internet buzz and eventually drew the interest of famed indie
label Rough Trade, could be mistaken for a Music from Big Pink
Last year was a momentous one for
Indie/Alt Folk quartet von Grey, with a relentless road schedule, television appearances on The Late Show with David Letterman and Conan and triumphant debuts at South By Southwest and Bonnaroo.
Getting her start playing drums with Canadian Garage Pop trio The White Wires, Allie Hanlon began Peach Kelli Pop as a solo outlet for her own songwriting. Peach Kelli Pop (Hanlon does all of the recording and friends join her on the road) is modeled after some of the classics of vintage Pop music.
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.
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.
The show occurring at Southgate House Revival Wednesday night is more than just a Roots Rock/Americana marriage made in heaven. It’s downright Rock & Roll nirvana. The Bottle Rockets, a great American band
finally getting its due, opens the show and then serves as backup for
Marshall Crenshaw, singer/songwriter and melodic rocker par excellence.