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Big Wheel and Others<br />

Cass McCombs<br />

Domino Records<br />

Producer: Cass McCombs<br />

Burn some sage and drink a beer. McCombs<br />

shrugs off unspoken musical fiats as he pairs<br />

blue-collar motifs with Jim Morrison aural<br />

mysticism beginning with the opening track’s<br />

hypnotic riff. Pedal steel bends the mind and<br />

McCombs’ voice haunts with the resonance of<br />

Kurt Vile and slinks with the languid nonchalance<br />

and mild amusement of Lou Reed through gypsy tales, tribal lullabies<br />

and the pleading “Brighter,” a last testament sung in black velvet notes by late<br />

actress/musician Karen Black. Rooted to the earth in some lyrical respects,<br />

Big Wheel leaves the ground in others through shadows of religion and flickerings<br />

of magic as McCombs gropes with the metaphysical. – Jessica Pace<br />

Under the Covers, Vol. 3<br />

Matthew Sweet and Susanna Hoffs<br />

Shout Factory!<br />

Producers: Matthew Sweet & Susanna Hoffs<br />

With previous forays into ‘60s and ‘70s pop,<br />

this is the third installment in the duo’s rock<br />

& roll retrospective series. Here we find them<br />

wearing their interpretative hats as the two<br />

delve into hand-picked tracks from the ‘80s,<br />

like Petty’s “Free Fallin,” the Pretenders’ “Kid”<br />

and the Go Go’s “Our Lips Are Sealed.” The<br />

performances feel genuine because, let’s face it, these two lived it! Sweet<br />

rose to prominence in the late ‘80s/early ‘90s as a solo artist and Hoffs<br />

fronted the Bangles, one of the biggest bands of the decade they are honoring.<br />

As a nostalgia vehicle it is brilliant. But it would be nice to hear Sweet<br />

and Hoffs back on the charts with original material! – Eric A. Harabadian<br />

We Need Medicine<br />

The Fratellis<br />

BMG<br />

Producers: Jon Fratelli, Stuart McCredie<br />

With the awesome song “Chelsea Dagger,”<br />

released way back in the oughts, the<br />

Fratellis set the bar high for a follow-up.<br />

Several years later, the band have blessed<br />

us with a new release. Full of the same<br />

driving, modern-day pub rock, it is a keeper.<br />

Earnest songs include the title track and<br />

“Until She Saves my Soul.” The songs are good, the band sounds tight,<br />

with energized performances in each track, indicating that five years’ rest<br />

served them well. Raise a pint to “She’s Not Gone Yet, But She’s Leaving.”<br />

It’s a raucous release; however, the production is a bit too polished for<br />

this band that, like yellowtail, is best served raw. – Brett Bush<br />

New Weather<br />

New Weather<br />

Butterscotch Records<br />

Producer: Sean Curley<br />

Warning: New Weather’s debut self-entitled<br />

album will blow your mind into an experimental<br />

world of psychedelic oblivion. If the<br />

unsettling landscape of David Lynch’s<br />

Easerhead were transformed into one of<br />

beauty and wonder, songs like “Slip” and<br />

“Everything” would serve as the transformative<br />

soundscape. Listeners will find themselves lost in trance-like tempos<br />

that ultimately leave one feeling mystically serene and rejuvenated. But<br />

not everyone will fully understand the vibrant, multifaceted power behind<br />

synth-heavy songs like “Heat Death.” Give it a chance—you might be<br />

intrigued by what you find. – Danica Bellini<br />

8<br />

8<br />

8<br />

8<br />

Floating Out To See<br />

Gringo Star<br />

My Anxious Mouth, Inc.<br />

Producer: Gringo Star<br />

Gringo Star’s greatest asset is an apparent<br />

mild psychosis, a sort of demented brilliance<br />

inspired by madness. Twisting hard rock blues<br />

with ‘60s pop and indie sensibility, the trio’s<br />

psychotropic ditties feel like the joyous burbling<br />

of a mental patient who’s been freed by<br />

his own mind. Invigorating and disturbing, this<br />

collection won’t appeal to all listeners. Their fractured prism of hallucinatory<br />

wonderment works for and against them, conjuring a flavor that invites attention<br />

but proves difficult to latch onto. This, combined with the album’s brief<br />

35:29 running time, hurts the package’s overall appeal but will still prove a<br />

trippingly good time for explorers of the subconscious. – Andy Kaufmann<br />

Shout<br />

Govt. Mule<br />

Blue Note Records<br />

Producers: Warren Haynes & Gordie Johnson<br />

This is the rock quartet’s first album of original<br />

material in roughly four years and it was<br />

certainly worth the wait. Guitarist Warren<br />

Haynes and band have always delivered a<br />

sound that is gritty, adventurous and technically<br />

precise. And this album is right on par,<br />

but with a twist. It is a two-CD set, with Disc<br />

1 featuring a set of Haynes vocally leading the group. But in unprecedented<br />

fashion, Disc 2 presents the same track list spotlighting Govt. Mule backing<br />

select songs led by Elvis Costello, Ben Harper, Dave Matthews and more.<br />

It’s an interesting concept that, for the most part, works. What an honor and<br />

tribute that such a guest list would jump on board. – Eric A. Harabadian<br />

Matangi<br />

M.I.A.<br />

Interscope Records<br />

Producers: Various<br />

This is a symphony of samples slapped<br />

together and laid under what could be perceived<br />

as lyrics, although the jury is still out.<br />

It is hard to take M.I.A. seriously as a vocalist<br />

since some kind of production element always<br />

seems to be doctoring her up. When it<br />

does appear she is really attempting to sing<br />

it comes off as high pitched, whiny, strained and ultimately hideous. The<br />

album is a full of ridiculous sounds effects and music beds that feel as if<br />

they were lifted from some obscure 8-bit video game. In a day where music<br />

can be seen as both an art and a commodity, this is neither and probably<br />

should have been left in the storage bin, at the studio. – Carl Anthony<br />

Fortress<br />

Alter Bridge<br />

Roadrunner, EMI<br />

Producer: Michael Baskette<br />

Back from solo albums and side projects,<br />

Alter Bridge releases album number four,<br />

Fortress, a heavy and textured melding of<br />

hard rock and metal executed with enough<br />

finesse to pull distinct timbre out of an<br />

onslaught of guitar and bass. Mark Tremonti<br />

on guitar pushes melody through a stone<br />

wall of sound. As instrumentalists, the band—comprised of Myles Kennedy<br />

of the Mayfield Four and three members of Creed—are in top form,<br />

though by midway through, the album becomes too much of a good thing<br />

as tedium settles in. – Jessica Pace<br />

6<br />

8<br />

3<br />

7<br />

To be considered for review in the Album Reviews section, you must have a record deal with a major label<br />

or an independent label with an established distributor. If you do not, please see our New Music Critiques section.<br />

48 November 2013 musicconnection.com

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