
Articles
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2 days ago |
nodepression.org | John Amen
With his second album, Memphis Medicine, Gary Hector revels in showmanship and indomitable authenticity. Working with vintage sounds while drawing from such lyrical influences as Bob Dylan, Willie Nile, and Rodriguez, the Trinidadian singer-songwriter offers an energetic and uplifting set. The title cut is a bright mix of guitars, drums, and slinky accents. Hector’s voice is buoyant as he fights the siren call of an illicit experience.
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4 days ago |
beatsperminute.com | John Amen
[Young God/Mute; 2025]The term “Zen” is part of the cultural vernacular. Used as an adjective, a noun, even a verb, the mainstream usage typically refers to someone being laidback, going with the flow, or practicing acceptance. But at the heart of Zen, and Buddhism more broadly, are principles regarding the intricacies of suffering, impermanence, and, more elusively, non-self.
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5 days ago |
nodepression.org | John Amen
Building on previous work, Watchhouse—formerly Mandolin Orange—offer their eighth album, Rituals. While Andrew Marlin assumes the majority of lead-vocal duties, Emily Frantz’s supporting parts are integral, giving the tracks depth and range. Additionally, the couple make use of assorted instruments, including bouzouki, harmonium, pump organ, and fiddle. The result is a sequence that underscores the duo’s songwriting skills and their enduring chemistry.
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1 week ago |
thelineofbestfit.com | John Amen
That said, compared to previous outings, her voice is more nuanced. Lyrically, she’s more image-heavy, crafting metaphors that accentuate the savage aspects of human life. Producer Lomond Campbell, who steered 2022’s for you who are the wronged, plays a key role, facilitating soundscapes that oscillate between the earthy and celestial, the austere and noisy.
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1 week ago |
popmatters.com | John Amen
Evangelic Girl Is a Gun Ninja Tune Nat Ćmiel, also known as Yeule, has consistently flirted with and aspired to pop glory. Even with 2022’s Glitch Princess, which featured them circling the atmosphere like a suicidal alien sizing up our blue orb, they displayed an uncommon pop sensibility. Sure, the set oozed disembodiment and downtempo paranoia, but clearly Cmiel wasn’t as “out there” as they seemed. Perhaps, somehow, a steady dose of radio-friendly hooks had been piped into their spaceship.
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