Word: bandã
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...most part, Nakamoto credits most of the band??s growth to Linton, the band??s main songwriting force, and her expanding musical tastes and extensive knowledge of the San Francisco indie-pop scene...
...some have not responded so kindly to these latest changes. Nakamoto feels some disappointment in critics and fans who were put off by the band??s change in style...
...band??s mellow guitar tone yields a somber mood, evoking a less interesting Interpol. But whereas Interpol glide effortlessly between peppy and solemn, these songs are rarely fun. Even the power-pop infused “Everywhere You Turn” and “All Sewn Up” feel tedious. The album’s low point, appropriately titled “Meet Me at the Bottom,” tries too hard to evoke feelings of uselessness. Perhaps the song does its job too well...
Soulive shows why the band??s venues have ranged from The Blue Note in Tokyo and The Mercury Lounge in New York to opening stints for the Dave Matthews Band and the Rolling Stones. From the fission-fueled track “El Ron” (the album’s best) alone, it’s clear that these three have the chops to be “real” jazz musicians. Yet that’s not what they want—they seem to love the primacy of motion in funk. Not only...
This isn’t surprising, given the fact that Treble Charger’s singer/guitarist Greig Nori produced SUM 41’s latest work. The band??s mix of conventional pouty-lipped lyrics, overblown guitars and radio-friendly riffs might make for a hit single, but simply can’t sustain an 11-track album. The Detox formula wears thin far too quickly. Remnants of the original Treble Charger can be heard in the layered and harmonized vocals (they boast two singers), but the predictable three-minute progression of songs such...