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Oct 05, 2010 Music The Sword

The third album by this Texas metal quartet is a sci-fi concept album. If you can get past the thematic silliness, the album is a hell of a trip. If not, you’ll be better off waiting for The Sword’s next album.

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Oct 04, 2010 Music Web Exclusive

When one thinks of obscure ‘60s psych rock, one seldom thinks of Illinois. But Spur was the Midwestern gem that could stand toe-to-toe with the greats of the era, mixing psychedelia, pop, countrified jangle, and straight up rock and roll.

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Oct 01, 2010 Music Mark Ronson

The past few years have seen Mark Ronson skyrocket into the higher echelon of producer/DJ/soul/dance music pioneers.

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Sep 30, 2010 Music Web Exclusive

With at least a half-dozen “best of” compilations dedicated to collecting Dick Dale’s red hot guitar licks, do we need another? Probably not, but I certainly welcome any chance to reacquaint myself with one of the most incredible and influential guitarists of all time.

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Brad

Best Friends?

Monkeywrench

Sep 29, 2010 Music Web Exclusive

With its fourth album, Brad continues to be an under-appreciated band. Perhaps Best Friends? will change that.

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Sep 28, 2010 Music Web Exclusive

On a day that hundreds of people walked past junkies in a New York park and barely registered their presence, David Cross may have been the only one to see the humor in the heroin-enhanced citizens’ determined ability to remain upright at all times.

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Oval

O

Thrill Jockey

Sep 24, 2010 Music Oval

The music of Oval seems constructed to be wildly polarizing to its listeners. Fans will likely consider Oval’s new two-disc O to be their magnum opus, while others might label a full run-through to be a maddening endurance test.

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Sep 19, 2010 Music The Walkmen

It’s hard to forget the frenetic, desperate energy of The Walkmen’s breakout album, 2004’s Bows + Arrows, when listening to just about everything else they’ve recorded.

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Sep 17, 2010 Music of Montreal

“You fetishistize the archetype,” of Montreal ringleader Kevin Barnes chides on track “Like a Tourist.” Perhaps he’s scolding himself. On False Priest, Barnes once again calls on the cabaret king archetype he’s carefully constructed over the past nine albums, inhabiting the role of glitter-dipped, master of ceremonies with the ease of an old shirt.

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