Jesca Hoop

Review: Jesca Hoop’s The House That Jack Built

Jesca Hoop: The House That Jack BuiltJesca Hoop: The House That Jack Built (Bella Union, 6/26/12)

“Born To”

Jesca Hoop: “Born To”

Northern California-born signer/songwriter Jesca Hoop (a current resident of Manchester, England) has made quite the impression on people in high places. Garnering endorsements from the likes of Elbow’s Guy Garvey, Peter Gabriel, and Tom Waits (for whom she used to nanny, and who has described her music as being “like going swimming in a lake at night”), Hoop has established herself as well-crafted songstress who relies on her strong voice and pop sensibilities to impel her songs forward. But the support from her tried-and-true forebears isn’t unfounded; on her new album, The House That Jack Built, Hoop disinters the raw talent and musical vision to back up all the hype surrounding her.

A Place to Bury Strangers

Review: A Place to Bury Strangers’ Worship

A Place to Bury Strangers: WorshipA Place to Bury Strangers: Worship (Dead Oceans, 6/26/12)

“You are the One”

A Place to Bury Strangers: “You are the One”

Now on its third full-length album, A Place to Bury Strangers — previously called “the loudest band in New York” — remains fastened to its style, offering a modern take on European noise rock, post-punk, and shoegaze of the 1980s.

With Worship, the band’s core attributes still define it, emphasized by buzz-saw guitars, blistering feedback, Oliver Ackermann’s airy vocals, and a special dichotomy between noise and melody. But these 11 tracks, following the slightly poppier (but equally loud) Onwards to the Wall EP of February, might best capture the inherent tension in that balance.

Old Man Gloom: NO

Review: Old Man Gloom’s NO

Old Man Gloom: NOOld Man Gloom: NO (Hydra Head, 6/26/12)

“Common Species”

Old Man Gloom: “Common Species”

Let it be known that 2012 has been a great year for reunions in the music industry.  We all know about the names of the past coming together again for live performances, but few end up writing new material or actually functioning as a band. Enter Old Man Gloom: an all-star noise-sludge lineup that has moved in mystery since the end of the 1990s. Now, following a few recent live shows of its own, the Boston-based four-piece has released NO, its first recorded effort in eight years.

Castratii

Review: Castratii’s Eora

Castratii: EoraCastratii: Eora (Time No Place, 6/26/12)

“Kingdom”

Castratii: “Kingdom”

Borne out of Australia’s Blue Mountains in 2007, dream-pop duo Castratii forged for itself an aesthetic shrouded in hazy, haunting wonder. For three years, visual artists Beauvais Cassidy and Jonathan Wilson crafted textured soundscapes of doom and gloom that, combined with ambient and shoegaze undertones, seemed to reflect the expansive wilderness that surrounded them. Yet in 2010, the addition of The Duke Spirit’s Leila Moss and her ethereal vocals only enhanced the group’s already complex and haunting sound.

Beachwood Sparks

Review: Beachwood Sparks’ The Tarnished Gold

Beachwood Sparks: The Tarnished GoldBeachwood Sparks: The Tarnished Gold (Sub Pop, 6/26/12)

“Forget the Song”

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Beachwood Sparks was at once a throwback and, from a 2012 perspective, ahead of the wave. In the early aughties, the band of former college-radio chums single-handedly revived a laidback, country-rocking West Coast sound famously pioneered in the late ’60s by Gram Parsons and The Flying Burrito Brothers. The band’s spacier second album, Once We Were Trees, flirted with psychedelia. And by 2003, it had said its peace—and it was left to the likes of Fleet Foxes to win over the indie masses with CSNY harmonies and flower-power earnestness in folk-rock 2.0, all territory the Sparks had well under control.

Fiona Apple

Review: Fiona Apple’s The Idler Wheel…

Fiona Apple: The Idler Wheel...Fiona Apple: The Idler Wheel… (Epic)

With a penchant for varying her production style at each stage of her career, Fiona Apple once again sets out for new sonic terrain on her fourth album, The Idler Wheel. A partial return to the acoustic-based instrumentation of her 1996 debut, Tidal, Apple’s new material nonetheless rarely revisits that album’s courtly brand of jazz pop. Instead, The Idler Wheel veers much closer to what Apple might sound like if she landed somewhere between modern experimental theater, the unabashed pomp of Broadway, and the bustle of a frontier saloon or Prohibition-era speakeasy.