// Category Archive for: Current Faves

Music Review: Limblifter, Pacific Milk

By Tyler Hodg

A band can be either one of two things: a fragile organism that needs complete concentration to succeed, or a project that possesses a special kind of chemistry that allows it to be picked up at a moment’s notice and still work wonderfully. In the case of Limblifter, who have returned to the studio after nearly 10 years to record and release their fourth album Pacific Milk, it is the latter. It seems as though time away served the band for the better because not only is Pacific Milk a solid album, it may be their best to date.

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Music Review: Wand, Golem

By Less Lee Moore

Last year, Wand released a killer album called Ganglion Reef (review), which included a righteous track called “Flying Golem.” This year, they’ve picked up where they left off with an album named after that mythological creature. I’m not sure why they’re so fascinated with beings brought to life from inanimate matter, but the word “Golem” does provide the kind of fantastic imagery that befits their music.

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Music Review: Jellyfish, Bellybutton and Spilt Milk (Deluxe Reissues)

By Less Lee Moore

Like Big Star before them, Jellyfish developed a cult-like fandom that’s far exceeded not only their rather limited output, but also their impact on music charts. Omnivore Recordings, who recently released the soundtrack to the Big Star documentary Nothing Can Hurt Me, has now given the same loving treatment to the Jellyfish legacy with two new reissues of their studio albums—1990’s Bellybutton and 1993’s Spilt Milk—that include a ton of sensational extras, like 51 bonus tracks, full color gatefold sleeves with rare photos, two essays by Ken Sharp, and song-by-song commentary on the original albums from Andy Sturmer, Roger Manning, and Jason Falkner.

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Blu-Ray Review: The Weapon

By Brad Henderson

As I’ve been going through the movies that Olive Films has reissued, I’ve been finding some that are truly unique, amazing, and kind of unknown. One of these is called The Weapon.

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Music Review: Ryley Walker, Primrose Green

By Melissa Bratcher

Ryley Walker’s album Primrose Green feels like it was made by a man unstuck in time. It could be a lost Tim Buckley or Nick Drake album with its jazz-inflected, acoustic guitar-driven pastoral quality. Walker is an amazing guitar player, taking the instrument from gentle, bucolic strumming to aggressively percussive. His fingerpicking is otherworldly.

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Music Review: KDH, Piedmont Rose

By Tyler Hodg

Whoever said rock ‘n’ roll is dead is sorely wrong; it’s just been beaten, battered, and bruised, and KDH (Kill Devil Hills) are here to let everyone know. With the release of their sophomore album Piedmont Rose, KDH once again brings their low-fi, high energy, in-your-face sound to the masses, living proof that rock ‘n’ roll is alive and well.

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Music Review: Broken Water, Wrought

By Tyler Hodg

Music is constantly evolving and yet at certain moments, it stands completely still. With their latest full-length album Wrought, Washington punk-rock band Broken Water continues to display their musical influences in their own music, creating a nostalgic-sounding record that will remind many listeners of their angst-filled teenage years. Wrought is totally grunge-tastic and is a blatant throwback to a sound that seems to have gotten lost in recent time.

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Music Review: Humming House, Revelries

By Tyler Hodg

The amount of talented musicians that Nashville, Tennessee produces is insurmountable; it’s always been that way and the city shows no signs of slowing down. Humming House, yet another act to come from the legendary area, is further proof that Nashville still has that touch. In a time when mainstream country music seems to be at its lowest creative level, Humming House shines bright with their latest release Revelries, a joyous album that serves as significant hope for the stifled genre.

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Music Review: Vetiver, Complete Strangers

By Melissa Bratcher

Vetiver’s Complete Strangers is like a time machine. The tracks range from lo-fi synth escapades to AM radio gold with a dose of late ‘80s/early ‘90s indie rock. It feels completely familiar and quite unusual at the same time, taking classic song structures and putting them in a blender to make something wholly new.

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Music Review: Leo “Bud” Welch, I Don’t Prefer No Blues

By Melissa Bratcher

Eighty-two-year-old bluesman Leo “Bud” Welch has recently recorded an album for Fat Possum/Big Legal Mess Records, home of R.L. Burnside and Mississippi Fred McDowell, as well as current favorites Jimbo Mathus and Jim Mize. While being a blues record through and through, I Don’t Prefer No Blues sounds so current and fresh that Jack White is probably gnashing his teeth in envy. I Don’t Prefer No Blues has an incredibly live feeling that features Welch’s well-weathered vocals and his flat-out amazing guitar playing. It’s a stunner of an album, and it’s only his second record (the previous was the all-gospel record Sabougla Voices).

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