Walks a line that touches on Lyle Lovett’s lyrical frankness, John Moreland’s punk cerebralism and Judee Sill’s mysticism and orchestral sensibility. Plus the literate and sonic audacity of an early Steve Earle---an outlaw unafraid to embrace harmony.
Human Question isn’t meant for the meek or casual listener. It will make you dance, mosh, sing along, and dig deep into your soul. Some people lament that rock-n-roll is dead. They just haven’t heard the Yawpers yet.
Cinematic and widescreen in its sonic scope and with a live band immediacy, Deserted is the Mekons at their finest. It's folk music by folks who are pissed and disillusioned, lost and longing to be found, but only on their terms.
Youthful and defiant punk, rugged Red Dirt country, and vibrant Tejano. Emblematic rock ‘n’ roll with bold horns, violin, and a slather of twang reflecting where the band is from, where they’ve been and, eventually, where they’ll be headed.
14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, 'Bought to Rot' stands as the most musically diverse collection of songs Grace has written to date.
Mixes country, blues, R&B, rock ‘n’ roll, and folk influences intuitively and masterfully. Both stately and approachable, manifestly proficient but deeply personal.
It’s a wild, electric phantasmagoria of blues, rock, garage, and soul; it blasts off into diverse orbits only to come back together into a singular Savage cosmology.
Informed as much by the wide-open landscapes of her homeland as the intimate writing circles of Nashville, 'Don't Talk About It' may range far and wide but always maintains a firm sense of place. Echoes of first wave UK power pop and jangly punk intersect with the every(wo)man indie and pop-inflected muscle of Best Coast.
Collection of Lydia Loveless’s summery 5-song EP Boy Crazy, on vinyl LP for the first time, plus six non-album singles and B-sides.
Four Lost Souls is pure Americana, not just because of where it was recorded or who played on what track, but because it is beyond the news of the day. It is a travelogue of sorts; it goes to a place where the differences between country, soul, blues, and rock-and-roll are blown aside by the warm languid breezes.
Boy in a Well is complex; it’s a manically conceived, historically situated, emotionally underscored, plot-driven fictive universe. It’s demented, unpredictable, taboo, ambitious, and yet distinctively cohesive.
The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.