Word: guitar
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...bout with breast cancer to a broken engagement with cycling star Lance Armstrong. The political material comes first, and it comes strong. The album’s first and shortest track, “God Bless This Mess” might well be its best. With an acoustic guitar and a set of scratchy, vinyl-sounding vocals, Crow brings us a sobering vision of a country moving from the unifying emotion and tears of 9/11 to a much less galvanizing involvement in a “war based on lies.” The consequences are starkly depicted: a domestic...
...into what could be British Sea Power’s most instantly likable song since 2003’s “Remember Me.” Second track “Lights Out For Darker Skies” is a post-punk epic featuring crashing cymbals and descending guitar lines, ending with an optimistic call and response proclaiming, “Hey now, now / Oh, the future’s bright.” At six and a half minutes in length, the song is unlikely to be released as a single in its current form, but it?...
...scruff-laden chin. Collet’s visage is meant to look pensive, but instead he simply looks ridiculous. Despite the cover, the album starts off pleasantly enough with “Roll On Oblivion.” The song features Collett’s nasal voice accompanied by guitar, drums, and maracas. It has a vibe that recalls Jack Johnson and leaves the listener excited to hear more. It seems like a good start to a good thing, but the next song, “Sorry Lori,” sounds strikingly similar. In fact, the whole first half...
...Lucky” isn’t particularly special coming from a band which has produced fantastic material in the past. One of the three or so songs which manages to stand out is the opening number, “See These Bones.” A ringing guitar part and frontman Matthew Caws’ bright, clear voice start the album off on a melancholy tone that’s backed up by heavy bass and a perfect broken-down drum pattern. The double-time chorus isn’t as magnetic as these groovy verses, but the song...
...since has fallen in its shadow. Naturally, and perhaps intentionally, 2004’s “i” disappointed, with its tacked-on concept and lack of consistently interesting material. Now, the Fields return with “Distortion,” an album with a guitar-heavy, feedback-sheathed sound that’s inspired by the work of The Jesus and Mary Chain. The similarities with the Chain are limited to the atmosphere, however, and the omnipresent distortion adds merely another interesting twist to songs that dwell in familiar structural and lyrical territory. While...