The first thing you notice about Jason Vieaux, right arm outstretched for a handshake, are his...
Published: 07/25/2013 | 0 Comments Posted
Been fiending for a fix of super weirdo rap? Look no further. New Jersey MC ABGOHARD is not afraid to ramp the quirky up to 11. If Ol’ Dirty Bastard, Kool Keith and Max B had a love child while sipping lean, it might sound like Zubat (abgohard.bandcamp.com). Wrap your head around that for a second. This 17-track, free-download album is a surprisingly diverse and developed ride from the rising talent who reps the Inner City Kids, with guest features by Alvie the Skywalker, Aaron Cohen and more.
Following their great Lee Hazlewood campaign, the reissue champions at Light in the Attic turn their attention to the Hazlewood-endorsed one-album wonder Honey Ltd.: four brassy-voiced Detroit knockouts who somehow managed to condense all that’s great about the era’s music — Motown-derived soul-funk intensity, fiery counterculture spirit, rapturous baroque-pop arrangements, far-out production, intricate girl-group harmonies — into the criminally forgotten 1968 opus (plus attendant singles) unearthed on The Complete LHI Recordings.
—K. Ross Hoffman
The U.K. bass/post-dubstep trend of warped/ghostly R&B vocal samples has yielded some killer singles but no real album-length explorations to speak of. Beyond (Hyperdub), the debut LP from Manchester-based producer Walton, fills that void and then some, weaving hauntingly down-pitched snippets of Adina Howard and Mary J. Blige in and among an omnivorous spread of deep, nocturnal house, acid techno flashbacks, nasty garage workouts and precision-tooled glitch-funk.
—K. Ross Hoffman
The lineup of The Winery Dogs would suggest an album full of virtuoso shredding, but all three members — ex-Dream Theater and Avenged Sevenfold drummer Mike Portnoy, Mr. Big and David Lee Roth bassist Billy Sheehan and singer/guitarist Richie Kotzen (an alum of the six-string-centric Shrapnel Records) — have proven adept at tempering their technical agility with pop hooks. The power trio’s self-titled Loud & Proud debut is satisfying on all counts, with a mix of ’70s blues rock, ’80s-style infectious choruses and occasional displays of synchronized technical wizardry.
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