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Drink of You

Pokey LaFarge

Pop/Rock - Paru le 10 septembre 2021 | New West Records

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Live at Plan 9 July 13, 2006

Drive-By Truckers

Rock - Paru le 13 juillet 2021 | New West Records

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Agricultural Tragic

Corb Lund

Country - Paru le 24 avril 2020 | New West Records

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Corb Lund coined the term "Agricultural Tragic" to describe his idiosyncratic brand of country, but the odd thing about the Canadian troubadour's tenth album is that it doesn't feel as if it belongs to rural provinces. From the moment the record snaps to attention with "90 Seconds of Your Time," it's clear that Agricultural has a modernist bent; it's as steeped in the guitar pop of the '60s as it is in the open plains of America. Lund still can't help romanticizing the West, leading his band into a dreamy waltz so he can salute the great author "Louis L'Amour," and he still spends a fair amount of time essaying a deep-rooted country-rock, but the album is defined by its humor and swagger. That spirit fuels the cool-rolling blues of "Old Men," the riotous duet with Jaida Dreyer on "I Think You Oughta Try Whiskey," the Bakersfield twang of "Ranchin', Ridin', Romance (Two Outta Three Ain't Bad)," the frenetic "Rat Patrol," and the spoken-word closer "Tattoos Blues," which veers toward absurdity. All of these cuts are loose, clever, and inspired, and they make for one of Lund's liveliest records. © Stephen Thomas Erlewine /TiVo
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Cabin Fever

Corb Lund

Country - Paru le 13 août 2012 | New West Records

Canadian cowboys are less about flash and brag than getting the job done -- check out the Calgary Stampede sometime -- and Canadian cowpunks are often the same way, especially Corb Lund. Lund's music fuses a strong classic Western sound with a darkly witty rock & roll sensibility, and Lund plays both sides of the fence with style and heart on his seventh studio album, Cabin Fever. "Getting' Down On the Mountain" kicks the album off in idiosyncratic fashion, spinning a rough-hewn tale of living off the land in the wake of some global apocalypse, and while the album never gets quite that grim again, his drinking songs speak of genuine heartache (especially the harrowing closer "Pour ‘Em Kinda Strong"), and even when the tunes are funny, they often have a wicked edge, in particular "Priceless Antique Pistol Shoots Startled Owner." And while some rockers sound like they're play acting when they make like cowboys, Lund always seems like the real thing, discussing the joys of cattle ownership on "Cows Around," pining for a city girl while looking after the ranch on "September," and offering the sage advice "(You Ain't a Cowboy) If You Ain't Been Bucked Off." Lund's rock & roll moves are more felt than heard --- most of this sounds like stripped-down variant of classic 1950s honky tonk -- but his tales of too-fast motorcycles and hot rockin' gals prove the heart of a rocker co-exists with the soul of a cowboy (in true rocker's fashion, he also passes along some worthwhile advice about life on the road in "Bible On the Dash"), and the dry, lonesome twang of the six-strings and the steel mesh beautifully with his rich, emotive, but unfussy vocals. Cabin Fever is tough without sounding callous, heartfelt without being melodramatic, and true and straightforward enough that plenty of rock and country acts could learn a lot from it, and if you like roots rock with the emphasis on roots, this should be right up your alley. © Mark Deming /TiVo
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Turns Blue

Naked Giants

Alternatif et Indé - Paru le 30 juillet 2020 | New West Records

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Lamentations

American Aquarium

Country - Paru le 1 mai 2020 | New West Records

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Aligning with producer Shooter Jennings does give American Aquarium a jolt of earthiness on Lamentations, a quality that suits the collection of songs BJ Barham wrote for this 2020 album. Barham wears his heart heavily on Lamentations, a fact he takes no pains to disguise. The album opens with the quasi-title track "Me + Mine (Lamentations)," a weary ballad that stretches out for nearly seven minutes. It's a foreboding start to an album, and while there are moments of lightness that peek in through the cracks -- "Starts with You" is a propulsive bit of jangle pop evoking the Wallflowers, "The Luckier You Get" slams like prime John Mellencamp -- this is a somber, serious affair, one that explores the dashed dreams of America at the dawn of the 2020s. At times, the deliberate tempos and drawled melodies wind up underscoring Barham's debt to Bruce Springsteen, but that's where Jennings steps in, letting the rest of American Aquarium pull Lamentations from a sober singer/songwriter set into a burly, rocking Americana record. Perhaps it's a subtle shift, but the gangly gait of the band does help give Barham's bittersweet songs a welcome muscle and a pulse. © Stephen Thomas Erlewine /TiVo
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Other Side of Town

Sam Doores

Pop/Rock - Paru le 17 janvier 2020 | New West Records

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A Jazz Celebration of the Allman Brothers Band

Big Band of Brothers

Jazz - Paru le 22 novembre 2019 | New West Records

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1X1 - Test

All Them Witches

Alternatif et Indé - Paru le 1 novembre 2019 | New West Records

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Choochtown

Hamell On Trial

Alternatif et Indé - Paru le 19 juillet 2019 | New West Records

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Live From Austin, TX

Albert Collins

Blues - Paru le 8 février 2019 | New West Records

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If Not Now When

Aaron Lee Tasjan

Rock - Paru le 22 juin 2018 | New West Records

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Sluff

Naked Giants

Alternatif et Indé - Paru le 30 mars 2018 | New West Records

Arriving via a wave of cosmic feedback, fuzzed-out bass, and warbly, distorted surf guitar, "Dead/Alien," the opening cut on the Seattle-based power trio's impressive New West Records debut, is a fiery amalgam of seismic Pacific Northwest garage-punk, gnarly bubblegum blues, and fiery psych-rock. That it's all delivered by a few affable miscreants just out of high school makes the whole thing that much more appealing, especially considering the fact that drummer Henry LaVallee and guitarist Grant Mullen have been friends since they were in the single digits. In addition to their jobs spitting out teeth and splitting eardrums as Naked Giants, LaVallee, Mullen, and bassist/vocalist Gianni Aiello also moonlight as the backing band for Car Seat Headrest, and you can occasionally hear some of the Will Toledo-fronted project's pop sensibilities bubbling up through the cracks, especially on knotty confections like "Everybody Thinks They Know (But No One Really Knows)" and "Easy Eating." Aiello's vocals toe the line between laconic/snarky and unhinged/ebullient, and that contrast makes for some compelling performances that suggest Jonathan Richman by way of Jack White, but really it's the sonic interplay between the three members that makes the fairly overstuffed SLUFF sing. Outside of a couple of stylistic outliers (the bluesy, aptly named slow jam "Sole Dance II" and the largely off-the-cuff acoustic closer "Shredded Again"), Naked Giants are possessed by the kind of nervy, semi-danceable punk fury that fueled the Buzzcocks' "What Do I Get," the Damned's "Neat, Neat, Neat," and some of the less bloodthirsty moments from Surfer Rosa-era Pixies, and while they veer closer to the plucky/goofy side of the underground spectrum, they certainly wield enough power to command an impressive pit. © James Christopher Monger /TiVo
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Christmas With You

The Texas Gentlemen

Alternatif et Indé - Paru le 23 novembre 2017 | New West Records

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Roya

Daniel Romano

Alternatif et Indé - Paru le 10 mars 2017 | New West Records

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Sleeping Through the War

All Them Witches

Alternatif et Indé - Paru le 24 février 2017 | New West Records

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Heavy Meta

Ron Gallo

Alternatif et Indé - Paru le 3 février 2017 | New West Records

Plutôt habituée à l’Americana et la country alternative, l’écurie New West Records accueille parfois des poulains 100 rock’n’roll. C’est le cas de ce Ron Gallo, jeune chevelu énervé qui, après s’être fait les crocs au sein des Toy Soldiers, obscure combo de Philadelphie, sa ville natale, se lance en solo. De Nashville où il a désormais jeté l’ancre, Gallo ravive la flamme d’un rock’n’roll garage sans fioriture, nerveux comme il faut et avec une pointe de honkytonk. Entouré du bassiste Joe Bisirri et du batteur Dylan Sevey, il réussit à faire tendre les oreilles malgré une musique qu’on croyait éculée. Car Heavy Meta est rempli de ses refrains jouissifs et sans chichi qui collent instantanément à la peau mais aussi de sa saine dose d’humour à l’image des titres des chansons (Why Do You Have Kids?, Young Lady You're Scaring Me, Put the Kids to Bed, Can't Stand You, All the Punks are Domesticated). Une écoute de cet album suffit pour crier : Go, Gallo ! Go ! © MZ/Qobuz
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Taos to Tennessee

TISH HINOJOSA

Folk - Paru le 1 janvier 1992 | New West Records

A beautiful simplicity graces the early work of Tish Hinojosa. When mixed with a familiarity of Mexican/Texas border life, her country-folk leanings offer a fresh slant on the genre. Her debut, Taos to Tennessee, presents the same lovely songwriting and vocals that would characterize her recordings for the next several years. With ease and grace she opens with Peter Rowan's mystical classic "Midnight Moonlight," and follows with "Prairie Moon," a gentle Western ode complete with cowboys, whiskey, and a silver moon. A couple of noteworthy items set her songwriting apart. She never forgets, as on the title track, to write a catchy melody, and the musical accompaniment perfectly underlines the spare Western landscape she paints with her lyrics. Hinojosa sings in Spanish on "Amanecer" ("Daybreak"), a practice she would continue on later albums, and she offers good interpretations of several writers' songs, as with James McMurty's "Crazy Wind and Flashing Yellows." Lyrically, Hinojosa sets forth a number of poignant lines that subtly integrate the desolate land with the lonely souls that inhabit it. On "The Highway Calls" she sings, "Just one more drink to bring back a mem'ry/Or maybe forget where you've been," and captures the ambiguity of the unsettled life. Taos to Tennessee succeeds on every level, establishing Hinojosa as a vital artist with a distinctive vision. © Ronnie D. Lankford, Jr. /TiVo
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Silver Lake

Vic Chesnutt

Rock - Paru le 25 mars 2003 | New West Records

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In many ways, Vic Chesnutt fits more comfortably in the great tradition of Southern literature than Southern rock & roll -- with his elegant, slightly off-kilter wordplay and comfortably elliptical storytelling style, Chesnutt has as much in common with, say, Flannery O'Connor as anyone in contemporary music. Which is to say that Vic Chesnutt doesn't sound much like anyone else, which is at once his blessing and his curse; it's hard to pitch him to most people because he's unique to the point of being an anomaly, but once you've acquired a taste for Chesnutt's emotionally generous eccentricity, it's hard to get enough of him. While Silver Lake sounds like a Vic Chesnutt album through and through, it's also a better than average introduction to the man's work; here, producer and engineer Mark Howard gives the performances an open, natural sound that puts the top-shelf band assembled for the occasion (including Doug Pettibone, Darryl Johnson, Patrick Warren, and Don Heffington) at its best advantage, and Chesnutt himself is in superb voice, inhabiting his characters with the sure and easy grace of a gifted actor. But the best thing about a Vic Chesnutt album is always the songs, and that's certainly the case here; in Chesnutt's world, life-changing romance can be found at band camp, the gulf between the sexes is at once funny and tragic, a eunuch can understand the love of both body and spirit better than the sultan he serves, and love can wound and soothe given the circumstances -- Chesnutt's stories always strike an honest and recognizable emotional chord, no matter how oddball the situations that surround them. You're not going to hear an evocation of love like "Sharing breakfast from one plate/Holding hands over loved ones' graves/Do you think I deserve it?/I say yes in my way yes" from anyone else, and the curious but heart-tugging beauty of lines like this are all the reason you need to give Vic Chesnutt and Silver Lake an honored space in your record collection. © Mark Deming /TiVo
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Chomp

Pylon

Alternatif et Indé - Paru le 1 janvier 1983 | New West Records

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Pylon's 1980 debut album, Gyrate, sounded like the work of the best sort of enlightened amateurs, musicians who were still fairly new to what they were doing and making the most of their simplicity, which worked brilliantly in their favor. 1983's Chomp was a somewhat different affair; Pylon were a more accomplished group with far more practical experience under their belts, and instead of the streamlined hands-off production of Bruce Baxter, the second album was produced by Chris Stamey and Gene Holder of the dB's, and engineered by Mitch Easter. As a consequence, Chomp sounds fuller and less minimal than Gyrate, with Vanessa Briscoe Hay overdubbing vocal harmonies on some tracks, keyboards popping up here and there, and Randy Bewley adding some new flash to his James Brown-style chicken scratch guitar. However, if Pylon were capable of doing more on Chomp, they also knew what not to do. The textures are more complicated, but the music still feels efficient, with no wasted gestures in the songs or performances. The grooves are as potent as ever, with bassist Michael Lachowski and drummer Curtis Crowe anchoring this music with lean, funky rhythms that sound edgy while still filling the dance floor. The added production polish and instrumental niceties add atmosphere without weighing down the songs, and reinforce how tuneful the material is despite their clean surfaces. "Crazy" is a beautifully ominous pop song that Pylon lacked the sophistication to pull off when they made Gyrate; if their early music was full of sharp angles, "Crazy" showed they could create something more accessible without compromising their vision in any way. Pylon would break up the same year Chomp was released, and it's fascinating to speculate where their broader musical range and studio smarts would have taken them if they'd stayed together (they would periodically play reunion shows, and they even cut a third album, Chain, in 1990.) However, if Chomp closed the book on Pylon's first era, it was a grand finale, an album that stands apart from their debut yet is just as brilliant in its own ways. © Mark Deming /TiVo

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