Taking what talents they've garnered from previous bands such as Hominy and Whiskeytown, lead singer Jesse Sykes and guitarist Phil Wandscher are onto something far bigger than the two could have foreseen. The opening title track lends itself as much to Margo Timmins as it does to a latter-day Lucinda Williams à la "Lonely Girls" in its almost morose tempo and arrangements, making the nearly seven-minute song glide along effortlessly and, to the listener, far shorter. The following numbers offer the same barren sounds, evoking images of members recording the songs in a log cabin. The well-trodden but solidly produced tracks never waver, especially "Doralee" and the slightly upbeat, honky tonk of "Lonely Hill." Resembling a trace of Neil Young's "Harvest Moon," the tune discusses heartbreak over a cross between Appalachian music and traditional country twang. "Don't Let Me Go" is another fine gem that doesn't stray too far from Sykes' strong points.

These London Symphony Orchestra recordings were made at the Barbican in London in 2003 and 2004. The set includes not only the four Brahms symphonies but also the Tragic Overture, Op. 81, the Double Concerto in A minor, Op. 102, and the Serenade No. 2 in A major, Op. 16. It adds up to more than four hours of music, but one can make a strong case for this as the Brahms set to own for those who want just one, especially for those who aren't concerned with audio quality. There is much to sink one's teeth into here – over a lifetime.

lnspired by the lyrical style of Tchaikovsky, the melodic and, at times, epic Symphony No. 3 is Glazunov’s first major work of his maturity and one of his most popular. Started 26 years before his death, but never completed, the single movement Symphony No. 9 is noteworthy for a lush, romantic melody which undergoes a transformation reminiscent of Elgar.

Jonah Sharp's second proper album keeps much of the atmospheric beauty of Sea Biscuit intact, but the material usually works only as an introduction to devastating beat work on tracks like "Kairo" and "Funkyar," both of which recall the chunkier side of jungle and electro quite convincingly. All in all, Emit Ecaps is a fascinating fusion of hard and soft.

Left Lane Cruiser is the duo of singer/guitarist Freddie J. Evans IV and drummer Brenn Beck, from Fort Wayne, IN, and their music not surprisingly recalls that of the White Stripes, another twosome with the same instrumentation. Like the White Stripes, Evans and Beck are self-consciously primitive in their approach, and they are equally mannered in their effect. The main difference is that Left Lane Cruiser is more of a blues act. Beck stomps on his drums, and Evans plays familiar loud, heavy riffs on his electric guitar while howling into what sounds like a microphone not intended to handle vocals, such that his singing comes off distorted, even when he isn't yelling. For only two musicians, they make quite a racket, but their relentlessness can be enervating unless one really has a taste for it.

Avenged Sevenfold has crafted a tremendous variation of metalcore, inflecting the traditional metal sound with outrageous bursts of hardcore fury and mesmerizing wails more likely found in the European vein of death metal. These elements together create an amazing but lethal crush on the listener, leaving one breathless after such feats. Sounding the Seventh Trumpet is an exceptional album that finds the group perfecting its own distinct style, and although the bandmembers remain fairly unknown on the metal scene, one could only imagine that this will change rather quickly. Frontman M. Shadows is a force to be reckoned with, as his screams are capable of making blood flow from one's ears, while his singing voice has the ability to feel those vicious wounds…

Black Oak Ensemble, the Chicago-based string trio with an international following, treats listeners to a double-album of stylish and often witty French treasures written between the World Wars. The ensemble offers seven rarely heard delicacies from the 1920s and 30s, including world premiere recordings of trios by Henri Tomasi, Robert Casadesus, and Gustave Samazeuilh along with works by Jean Cras, Emile Goué, Jean Françaix, and Gabriel Pierné. Most were written for and dedicated to the virtuosic Trio Pasquier, which ranked among the era's chamber music superstars.

2018 release. Take a ride along the banks of the Mississippi River, pull up a stool in any St. Louis blues joint and talk will soon turn to the musician who's giving the city it's soundtrack. Jeremiah Johnson's towering reputation has been hard-earned. In 2018, Straitjacket wears his soul on it's sleeve. Produced by Mike Zito, and tracked live by the crack-squad studio band of Frank Bauer (sax/vocals), Benet Schaeffer (drums) and Tom Maloney (bass), the tracklisting takes in plenty of playful moments, like the title track's hectic funk-blues complaint to a controlling girlfriend, or the grooving Dirty Mind, about a lover calling up for "a little company" at 2am.

Every great artist has a moment when they realize who they are, Jeremiah Johnson has truly come into his own with his new release HI-FI DRIVE BY. Get ready for a high-fidelity sonic explosion that combines Johnson's master guitar work, songwriting skills and uniquely powerful vocals into ten tracks of pure brilliance. From the first track, featuring Victor Wainwright, to the third track featuring Brandon Santini, and all the way to the last note of the epic final track; HI-FI DRIVE BY delivers more hooks than fishermen's tackle box. Every song is carefully crafted with multiple layers of tasty musicianship; with new audio delights to discover every time you give this first-class release a spin.