Kristin McClement arrives as a fully-formed artist with a debut album to prove it. The Wild Grips is elegant, spacious and beautifully presented. From the first notes, McClement spins the web of an expert storyteller and songwriter. And that is before we even begin to discuss how mesmerising her voice is.
For Brotherhood, Eric and Leigh chose fifteen songs from country, bluegrass, and early rock ‘n’ roll brother acts. The track listing reflects nearly a century of American music history, from “The Eastbound Train,” a parlor tune with roots that can be traced back to the 1890s, to “It’ll Be Her,” a Top 20 single released by Tompall and the Glaser Brothers in 1982. This is the music the Gibsons grew up with on the family dairy farm in Ellenburg Depot, a tiny town in upstate New York that was closer to the Canadian border than it was to a record store.
At 88, Davis is about to release a collection of songs that shines a spotlight on his earthy growl of a voice, though he now leaves the guitar playing to the younger cohorts backing him on this one (specifically Squirrel Nut Zippers founder Jimbo Mathus, who also produced “Last Man Standing”).
Of Montreal mastermind Kevin Barnes described Aureate Gloom, the band’s 13th full-length album, as “sort of all over the place musically,” which is really something for an artist whose style has been scattered and spastic from the start. When other indie-pop bands were trotting out rudimentary songs, Barnes was writing elaborate suites about parades full of imaginary characters and sentient bees. Since then, he’s exploded in directions that somehow make sense of affinities for Prince, David Bowie, Sly Stone and countless weirdo psychedelic bands from the ’60s and beyond.