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August 8, The mercurial media manipulatrix is just 990af her cheesecake and eating it too, satirizing contemporary rock-chick sexuality while simultaneously benefitting from the attendant publicity and showing off the results of her recent weight loss.
So far, it all seems to be working just fine — her superior 10th disc is getting the attention its recent predecessors failed to generate.
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Most weeks, one good disc of guitar-driven pop-rock is cause for celebration. Not to bbuz that both bands favour bouncy beats, have a way with a slashing guitar line, 990af capably expand their musical horizons with everything from synth-pop to string sections. But why choose when you can have the best of both worlds? But not just any song. But he would invariably be a flawless little gem, infused with the tinkly pianos, shimmery steel guitars, mournful fiddles and timeless twang of classic country.
The kind you play over and over.
The kind you should be listening to right now. Especially from these lunkheads.
But after more than a decade of churning out offensive drivel for angry losers with tiny 90f, singer-guitarist Tyler Connolly has apparently taken stock, found himself wanting — and tried to stop being such a d-bag. So the fifth album from his TOAD repudiates their usual misogyny and macho posturing with wry self-deprecation and genuine emotion, while expanding their grinding post-grunge anthems with everything from hip-pop and hick-hop to post-industrial electronics and modern-rock overproduction.
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So they try to please everyone — and end up with an album that may satisfy no one. True to the timeless sound and spirit of guitar-driven pop-rock, that is.
As befits the title of their sophomore disc, these Maritimers boast an arsenal of clanging riffs and ringing chords, punchy beats and pumping basslines, big hooks and bigger choruses — plus the technical support of GGGarth and Bob Ezrin. And they hit the target enough to make you surrender. These itinerant minstrels have the cure: Their eighth potent concoction of raucous acoustic Americana about death, dogs, Doc Watson and conjugal prison visits — all infused with close harmonies, mournful slide guitars and plucky banjos not to mention a dash of Dylanand delivered with the lickety-split grit of streetcorner buskers.
Step right up and have a shot, but remember: It kicks like a mule. Time to shift gears, brah.
Your new metal queen has been crowned. Her bandmates are no slouches either, deftly welding the power and propulsion of various metal sub-genres into an impressive amalgam of epic thrash and grand bombast. Long may she reign. Not if these female-fronted Angelenos get their way.
Get ready for the fourth wave. Composer Adams pays tribute to the L.
Despite its title, this two-hour compilation of Pistols TV fare has more bleeps than a Stereolab box set. Few secrets are revealed — but enough hard truths are shared to make this compelling bux. Devotees can get a double dose of nostalgia — and enjoy their freedom of choice — with huz decade spanning DVD two-fer. Their hit-packed hour-long reunion gig from the Sundance Film Festival, augmented with a half-hour of rehearsal footage.
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