The Tribune

Inhabiting a unique spot at the crossroads of modern indie rock and backcountry American folk music, Ha Ha Tonka has delivered yet again with their fourth, highly anticipated album, Lessons. More introspective and instrumentally complex than their previous work, this multilayered set of tracks has far-reaching appeal, but rewards those[Read More…]

It’s easy to imagine Chevalier Avant Garde’s new LP, Resurrection Machine, providing the backdrop to a modern day sci-fi film, in the vein of Blade Runner.

Ontario natives Devon Sproule and Mike O’Neil—formerly of the pop combo The Inbreds—have come together to create a record sitting somewhere on the line between upbeat pop and low-key folk. Colours is a collection of warm indie pop tracks that nicely combines Sproule’s folksy tone with O’Neil’s tendency for catchy pop.

“This the s**t that I live for, with the people I’d die for.”

Sultans of String have always had an interest in expansion. Though the band started off in 2007 as a duo, they eventually grew to a quintet. On their latest album, Symphony!, they take that growth to a new level with the addition of a full symphony orchestra.

Since Sheryl Crow debuted in the mid ‘90s, she has tried on a number of different personas: earnestly personal, politically charged, and now—with her latest offering, Feels Like Home—folksy country.

The more their career has progressed, the more Philadelphia-based experimental rock band Man Man has reined in their sound. Whereas their first LPs, The Man in a Blue Turban with a Face and Six Demon Bag, were full of frenetic yelps and bursts of energy, their latest release, On Oni Pond, finds the band following the polished direction of 2011’s Life Fantastic.

What would gypsy jazz and electronic music sound like together? Singer-songwriter Mary Alouette provides the answer on her latest EP, The Lark.

For Juicy J, being ‘trippy’ is both a state of mind and a lifestyle, and in Stay Trippy, he raps about living it for 20 years. Throughout, the former Three 6 Mafia member condones codeine, crime, and cannabis, detailing his experiences with each. Dipping between tempos, he will rap pointedly over a beat and then continue in double-time. In his intro, ‘Stop It,’ he speaks of “getting high like I’m eighteen but I been rich since the late eighties,” and continues to reference themes of intoxication and career longevity throughout the album.