“A Weird Exits” is more stale than fresh
Garage rock has never been about honing a polished sound in a studio made for easy listening. Likewise, psychedelic rock has never been about making sense lyrically, or following a regular song structure.
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Garage rock has never been about honing a polished sound in a studio made for easy listening. Likewise, psychedelic rock has never been about making sense lyrically, or following a regular song structure.
Followers of 20th century spy fiction ought to be delighted by the news of a miniseries adaptation of a John le Carré novel. Originally aired in February on BBC in England, “The Night Manager,” one such adaptation, premiered on AMC in America this week.
When two horn players and a drummer walked onstage Saturday night at the Southern Café and Music Hall, it was a surprise to hear them start playing house music, dubstep and even rap. It was more surprising to see one musician place a traffic cone in the bell of his saxophone. These sights and sounds are par for the course at a performance by Brooklyn-based “Cave Music” trio Moon Hooch.
The year is 1973. Richie Finestra (played by Bobby Cannavale) has climbed the music industry ladder from working New York City clubs to building a successful record label, American Century. With the company’s future on the rocks, Richie must navigate a hostile, cocaine-fueled music industry to make a comeback by discovering the next great band.
Over a span of eight years, Ty Segall has released nine albums: eight solo productions and one with the Ty Segall Band. With such a volume of work, casual listeners can’t keep up with both Segall’s rapid-fire releases and his continuously evolving sound.
The folk rock group The Avett Brothers first appeared on U.S. charts in 2007 with the release of their fifth studio album “Emotionalism.” At the time, they were industry veterans with little fame to their name. Having cultivated a sound that combines the energy of rock with the emotion of folk and Americana, The Avett Brothers quickly became recognized nationwide as one of the most entertaining acts in live music.
In Rob Reiner’s 1984 mockumentary “This is Spinal Tap,” a member of the eponymous, fictitious rock band explains that, unlike most speaker systems, which go from one to 10, theirs goes to 11. “Mad Max: Fury Road” starts at 11 — and ramps up the intensity until there’s not a drop of adrenaline left in the movie theater.
Soft-spoken indie folk singer José González returns with rhythmic thumping and strumming on “Vestiges & Claws,” his first solo album in seven years.