MF'n OUTLAW country. Whitey and the boys play with a muscular attack and energy that fills the album with an edge that Nashville’s misplaced or forgotten entirely.
They sit at the crossroads of Americana and indie, where Alabama meets Arcade Fire, shakes their hand and takes them out for a drink.
That’s All I Need IS all you need to get the mood set to Good Times wherever ladies and smooth gents might want to mingle. It's a record of psychedelic soul and growling 4am slow jams with a solid rock and roll backbone.
Throughout the album is Exene’s characteristic blend of folk, deep country and poppy, wide open spaces. The album brings together the potential and innocence of young love, the gravity of departure, and the symbolic changing of seasons.
Loveless’s true-to-life testimonials hit and hit hard. Be it whiskey, men, god or alienation, Lydia takes them all on. Heady doses of punk rock energy and candor with the country classicism she was raised on; it’s a gutsy and unvarnished mash up.
Even when he’s at his most quiet, it doesn’t get any more real—or more loud—than Scott H Biram.
SHB maintains the blues-metal-countrypunk-rock but strengthens it with crack guitar playing and shrewdly-crafted songwriting.
Their explosive live performance at Jack White's Third Man studio was nigh-instantaneously pressed up on wax and ready for sale...
Psychedelic desert pop music. Straddles delirium and ecstasy, when the vultures circling overhead look like doves. It's the sound of a bead of condensation rolling down a beer glass at a grimy cantina.
The Blacks alchemical balance of orchestral punk, rootsy psychedelia and gut bucket snarl conjures many reference points, but remains uniquely theirs.