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Wildewoman, the Mom + Pop-issued debut long-player from stylish Brooklyn-based indie pop outfit Lucius, is a strange beast. On the one hand, it's an evocative, sepia-toned torch ballad of a record that invokes names like Neko Case and Phil Spector, and on the other, it flirts with propulsive, Santigold-kissed R&B and dense, '80s-fueled, Killers-esque melodrama. As polarizing as the sudden shifts in style can be, it's hard not to get caught up in the luster of it all, as co-frontwomen and Berklee College of Music voice majors Jess Wolfe and Holly Laessig are both formidable sirens who can croon, coo, comfort, and howl with the best of them, and when paired with the lush chamber/electro-pop production and meticulously detailed playing from drummer Danny Molad and guitarists Peter Lalish and Andrew Burri, the results can be dizzying. Wildewoman is at its best when all of the group's proclivities are tossed into the pot, re-seasoned, and simmered until done, and songs like the propulsive 'Turn It Around,' the lush title cut, and the roaring 'Tempest' navigate the spaces between those predilections with great aplomb, creating a surprisingly listenable hybrid of country, new wave, AOR pop, and NPR-baiting indie rock in their wake. When the group shimmies back down to O Brother, Where Art Thou? Territory, like on the bluesy 'Go Home,' the Lumineers-inspired 'Two of Us on the Run,' and, to a lesser extent, the atmospheric and vaudevillian 'Monsters,' Wildewoman can feel a little rote, but to its credit, never dull, due in large part to Wolfe and Laessig's commanding performances. James Christopher Monger.
Wildewoman, the Mom + Pop-issued debut long-player from stylish Brooklyn-based indie pop outfit Lucius, is a strange beast. On the one hand, it's an evocative, sepia-toned torch ballad of a record that invokes names like Neko Case and Phil Spector, and on the other, it flirts with propulsive, Santigold-kissed R&B and dense, '80s-fueled, Killers-esque melodrama.
Lucius Wildewoman Torrent Mp3 Free
As polarizing as the sudden shifts in style can be, it's hard not to get caught up in the luster of it all, as co-frontwomen and Berklee College of Music voice majors Jess Wolfe and Holly Laessig are both formidable sirens who can croon, coo, comfort, and howl with the best of them, and when paired with the lush chamber/electro-pop production and meticulously detailed playing from drummer Danny Molad and guitarists Peter Lalish and Andrew Burri, the results can be dizzying. Wildewoman is at its best when all of the group's proclivities are tossed into the pot, re-seasoned, and simmered until done, and songs like the propulsive 'Turn It Around,' the lush title cut, and the roaring 'Tempest' navigate the spaces between those predilections with great aplomb, creating a surprisingly listenable hybrid of country, new wave, AOR pop, and NPR-baiting indie rock in their wake. When the group shimmies back down to O Brother, Where Art Thou? Territory, like on the bluesy 'Go Home,' the Lumineers-inspired 'Two of Us on the Run,' and, to a lesser extent, the atmospheric and vaudevillian 'Monsters,' Wildewoman can feel a little rote, but to its credit, never dull, due in large part to Wolfe and Laessig's commanding performances.
James Christopher Monger. Play It Again SamIt was 1982.
The story of Play It Again Sam begins here, when Kenny Gates, a student, opened the front door of the Casablanca Moon Record Shop, a Belgium-based store owned by Michel Lambot. Both men, equally passionate about music, wanted to form a label that improved the production, distribution, and promotion of new non-commercial music. They had a shared desire to restore the image of Belgian musicians abroad, looking to develop in an international manner. Their project started to materialize in 1983 with the creation of an LLC, founded with an initial capital of around 20 000 French francs, which they duly named Play It Again Sam.
The name inspired by a piece of di.