Thursday, March 28
“Married couple Taylor Hollingsworth and Kate Taylor combine indie-band backgrounds with the folk, Americana, and blues traditions of their native Alabama in the eponymous debut of their joint effort, Dead Fingers. The album features lush instrumentation (blues guitar! harmonica!) behind pretty harmonic duets and alternating solos. Husband and wife each play guitar and sing, forging a more collaborative air than that of, say, She & Him. The melodies and lyrics aren’t surprising, but the beauty and emotion they carry certainly are.”
— Oxford American
“While these self-styled leaders of the “Rebelution” embody the party-hard spirit of the city, the Soul Rebels are not some N’Awlins heritage act, but the sound of post-Katrina consolidation”
— Fiona Shepherd (The Scotsman)
Great songwriters are a dime a dozen in Nashville, but Kevin Gordon is an anomaly: a recovering poet who is better at selling outsider art than country hits, though Keith Richards and Levon Helm have sung his songs… Dude’s a juke-joint professor emeritus.
— Will Hermes (Rolling Stone)
“At times reminiscent of Harry Nilsson, the Monkees, and other proud purveyors of unabashed pop music that had old-time-y leanings without new-time-y pretensions, the Magic Math is not above having a sense of humor…but it’s not so focused on having a good time that everything else falls apart…Down home, homespun fun.”
— Jedd Beaudoin (PopMatters)
Friday, March 29
The group hasn’t even celebrated its first birthday, but has generated a cult-like local following, a big name support system and the praise of NPR’s Ann Powers. Fronted by soul-singing powerhouse Paul Janeway, the six-man band boasts an impressive horn section by Allen Branstetter and Ben Griner, as well as a coolly nostalgic sound that harkens back to the doo-wop era my generation can only recognize second-hand.
— Erin McFarland (Paste)
The Meat Puppets’ thirty-year journey can be divided into a trio of disparate trajectories: the mind-melting Deadhead-cum-hardcore desert-rock genius of their SST Records years (1982-89); the glossy, muscular grunge-lite of the successful major-label stint they enjoyed in the 90′s (thanks in part to Nirvana); and the current improbable comeback the brothers Kirkwood (guitarist/singer Curt and bassist Cris) embarked on after ex-junkie jailbird Cris cleaned up his act and was welcomed back into the fold.
— Brad Cohan (Village Voice)
King of Prussia falls in line nicely behind the ’60s psych-worshiping Apples in Stereo and Of Montreal. Whether this means frontman Brandon Hanick will be cross-dressing in 10 years and crooning about paying girls to hit other girls is anyone’s guess. But he and Kevin Barnes already have one thing in common: They each made one of the better records released this year.
— Noah Bonaparte Pais (Magnet Magazine)
Saturday, March 30
Local musicians The Peytones (Peyton Grant, Aaron Branson, Allen Barlow, Mark Lanter, plus special guests) present Beck Hansen’s latest unrecorded album, “Song Reader.” This is a rare chance to hear Beck’s latest album which was only released as sheet music.
— from the Iron City event page
“The room came alive when Downright took the stage and brought out the big guns…. booming bass and relentless drums supported the singers, who both brought frenetic energy to the music…”
— Tom Scotti (Flagpole)
The band dressed in black with dour dispositions and the moody, pop sound hails from…..Birmingham, Alabama?! Upon closer inspection it appears pop guy Greg Summerlin is the brainchild behind [La Resistance]. Summerlin released a few solid pop records in the past decade then seemingly vanished. Here he reappeared with 3 other folks remade as a gothic pop outfit…and thankfully, though a bit darker, the solid songwriting is still there (with hooks a plenty).
— Blurt Online
“It’s all fun and games, you see, until the mosh pit breaks the window. Mosh they did, and window-break they did, an incident that cleared the potentially-guilty from the basement at the halfway point of Emily and The Complexes’ set. That’s their drunken, shove-happy loss; as, Emily and The Complexes as a full band is well-worth watching. Even in the sub-par basement sound conditions, they sounded great: hands-down the best of the night… Next time Emily And The Complexes are in town, be there. And don’t be the window-breaking asshole who ruins it for everyone. Seriously.”
— Cassie Whit (ACRN’s Scene and Heard)