In Invitation Air, The Ginger Envelope‘s follow-up to Edible Orchids, the band displays an impressive progression in songwriting and instrumental capabilities. Cohesive is its nature; this album goes very well alongside their earlier work. But from the opening track, “Turn Into Tempests”, it’s readily apparent that a change has occurred, one that finds The Ginger Envelope giant leaps ahead in their ability to wow the listener.

It’s astonishing how earnest and endearing a lone man with a guitar can be. On occasion, such an artist comes along that can move people based on this minimalism. Tom Brosseau has the capabilities to do so, and his latest LP, Posthumous Success proves it. Opening tune “Favourite Colour Blue” includes a rambling guitar and folk-worthy howls.

First Songs is the solo work of songwriter Boris Skalsky, who fronts Dead Heart Bloom. Here one will find a stripped-down folk side of Skalsky as opposed to something a bit heavier. Piano and acoustic guitar replaces rock guitars and drums.

Destruction has never been so catchy, as proven by Mt. St. Helens Vietnam Band in their video for “Cheer For Fate”. The song, as noted in my review of their self titled Dead Oceans LP, the song originated from the group’s debut, Weepy EP.

Peter Moore has established himself as a true artist of the weird with his vocal and keyboard talents for The Blue Man Group. And now he has released One Ride, a sort of soundtrack affiliate to his one man show seen through the Boston music scene. He’s found the opportunity to master this beautiful concept album on tour, at home, and in the den of conformity homicide of his own brain.

Allt Är Musik is somewhat of a rarity in that Andreas Sjögren, the primary force behind Allt Är Musik, sings in his native tongue. The typical Swedish artist tends to sing in English. On Skapelseberättelsen, Allt Är Musik creates lo-fi pop tunes that blend acoustic guitars with drone-ridden synths, the combination of which is quite peaceful.

Brooklyn New York has housed many musicians from every background for well over a hundred years. Traces of this fine burrough can be found throughout the history of instrumental and vocal companionship. But, nothing of the likes of Cinema, Cinema has really ever been heard. The complete and utter lack of traditional vanity on their third release, Exile Baby, is proof of this transcending duo’s ability to represent their home base on an entirely different front.

As we move through time, our bodies mature. In most cases, so do the capabilities our minds possess; we are able to piece together more and more complex puzzles, complete more difficult challenges and tasks that we or others require, and reach, hoping to accomplish, all those goals that once seemed so unfathomably far away. Within our minds, we are capable of progressing. Ideally, such a concept should also relate to music: the instrument holder advances in their ability to perform as well as construct. While …

It’s instrumental. It’s experimental. And, unfortunately, it is no more.
I am, of course, talking about Nameless Numbers. I caught their first show at the Retro Fit Gallery (another has been) in Moscow, ID a mere three months after formation. The hypnotic keyboardist, the Garfunkel-haired guitar improvisation artist, the wacky but talented drummer, and the bass/banjo multi-instrumentalist have sadly parted ways. But with death comes birth. Grant (drums) has joined The Last Melting Man while the remaining trio are banding together for a new, currently unnamed project.

You rarely hear the words avant-garde associated with pop music. Yet the eclectic and sometimes ear-wrenching sub-genre can be found in all corners of music, but perhaps most notably in jazz through classic artists like Ornette Coleman. In some ways avant-garde is simply a pretentious way of saying experimental. But the definition of the term is merely a push of the boundaries away from the norm. That, then, brings up the question what is the norm?