The Vines, a band consisting of outsized Australian rockers, are releasing an album this summer. So is Vines, sans ‘the,’ a project by Cassie Wieland, a Brooklyn-based composer, multi-instrumentalist and electronic musician.
I’ll Be Here is by the latter artist, who writes songs interwoven with new classical sensibilities and chops. One can’t help but wonder what the algorithms will make of it.
There are a lot of doleful song titles on I’ll Be Here, such as “I’m getting sick,” “Evicted,” “Happy is hard,” and “Tired.” The music is less overt, consisting of atmospheric instrumentals and songs, with the vocals are shrouded in vocoder. This technique was used last year, to good effect, by Alan Sparhawk on White Roses,…
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Ace Records continues its quest to offer variations on a theme by exploring country interpretations of the music of Bruce Springsteen.
In the liner notes for his seminal album Music for Airports, Brian Eno wrote that ambient music “must be as ignorable as it is interesting.” Before him, French composer Erik Satie, whose musique d’ameublement (‘furniture music’) prefigured ambient, reportedly used to get angry if his compositions drew too much attention. Ambient music, then, has long occupied a strange space. It should reward deep listening without demanding it; operate with presence, but not insistence.
In keeping with the albums he’s released recently under his given name (following nine full-length albums under various project names), 
Free-spirited Norwegian bassist 
Jazz listeners caught a glimpse of pianist 
Highly influenced by alternative rock, avant-garde jazz, and electronic music, American drummer 
On Big Money, Super Bowl-sized singer Jon Batiste opts for a surprisingly intimate sound. The just over 32-minute, nine-song set is not nearly as loud as the New Orleans’ jazzman’s eye-popping wardrobe. The stripped-down, mostly acoustic arrangements create a chill vibe. Simplicity somehow only intensifies the songs’ swing and sway.
Colombia’s 
After their excellent reissue that centered on non-LP and unreleased songs recorded between 1988 and 1990 at Noise New York studio, the Silver Current label has unearthed another excellent treasure from 
It’s good to have 
At the turn of the 70s, songwriters like Tony Macaulay (‘Love Grows Where My Rosemary Goes’), Cook and Greenaway (‘Something’s Gotten Hold of My Heart’), Lynsey De Paul and Barry Blue (‘Storm in a Teacup’) and John Carter (‘Beach Baby’) were bossing the singles charts and Radio 1 while more serious acts like Led Zeppelin and Pink Floyd concentrated on album sales.
The three chamber works on 
To listen to Swimming, the new album by 
The material heard on 