| more than personal
Slip on The Sun Awakens, the new recording by the indie folk-rock thrill seekers known as Six Organs of Admittance, and you may be as puzzled as anyone in describing what you hear. Despite its name, the album-opening Torn by Wolves seems inviting enough, with strains of sunny melodies and folkish rhythms. But by Bless Your Blood, the storm clouds gather and electric guitar, no pun intended, bleeds into the soundscape. By the time the 24-minute River of Transfiguration closes the record, you feel you're at a sance with a minimalist drone and distant choral passages as your primary guides. All of which might suggest that Ben Chasny -- or "Mr. Six Organs," as his record label calls him -- is one moody fellow. But in conversation, Chasny is as animated and quick-witted as his music is meditative -- that is, until you ask him to put a label on his music.
Critic's pick
It is impossible to overestimate the importance of Rick Rubin's creative reassembly of Johnny Cash's career and the manner with which he produced, in the last eight years of the country icon's life, some of the most absorbing music Cash ever recorded. American V differs from previous chapters, though. It was cut mostly after wife June Carter's death and in the midst of Cash's deteriorating health. Couple that with the fact American V boasts a surprisingly conservative song selection (instead of Trent Reznor and Will Oldham, we have Rod Muen and Gordon Lightfoot), one might suspect the Cash- Rubin alliance hit a wall during the singer's final days. American V dispels such concerns at the outset by transforming Help Me, a country tune by the criminally uncool Larry Gatlin, into a stunning confessional.
IF YOU GO: more than personal
Slip on The Sun Awakens, the new recording by the indie folk-rock thrill seekers known as Six Organs of Admittance, and you may be as puzzled as anyone in describing what you hear. Despite its name, the album-opening Torn by Wolves seems inviting enough, with strains of sunny melodies and folkish rhythms. But by Bless Your Blood, the storm clouds gather and electric guitar, no pun intended, bleeds into the soundscape. By the time the 24-minute River of Transfiguration closes the record, you feel you're at a sance with a minimalist drone and distant choral passages as your primary guides. All of which might suggest that Ben Chasny -- or "Mr. Six Organs," as his record label calls him -- is one moody fellow. But in conversation, Chasny is as animated and quick-witted as his music is meditative -- that is, until you ask him to put a label on his music.
CD review: Julie Roberts
HARD COUNTRY: On her second album, South Carolina's Julie Roberts sinks her bluesy twang into a batch of stone-country songs about cheating, drinking, loving, Mama and even some girl-next-door jealousy. Mandolin, fiddle, steel guitar and dobro give the CD a homespun yet hard-edged vibe. You could as easily hear these songs at the local honky-tonk as you could enjoy them while sitting on your front porch. SAD COUNTRY: But be prepared to shed a tear in your beer or iced tea. Ms. Roberts' model good looks and deceptively photogenic image belie her artistic strengths. She's no chirpy pop singer disguised as country à la current genre princesses Faith Hill, Sara Evans and Carrie Underwood. This sculpted blonde has depth and power, particularly during "Paint and Pillows," a piercing tale of adultery; "Men & Mascara," a sad story about heartbreaking mistakes; and "A Bridge That's Burning," a cautionary confession of temptation.
Zakk Wylde: We Have 'Like, 20 Songs' For Ozzy's New CD
Dan Epstein of Guitar World magazine recently conducted an interview with Black Label Society/Ozzy Osbourne guitarist Zakk Wylde. A couple of excerpts from the chat follow, according to Blabbermouth.net: Though he's typically produced his own records in the past, Zakk shares production credits on "Shot to Hell" with Michael Beinhorn, who's previously worked with Korn, the Red Hot Chili Peppers, Soundgarden and Ozzy Osbourne. "The record company said, 'We know you've produced all the records, but we want a big-name producer on this,'" Zakk said. "I told them, 'You're fuckin' high if you think I'm going to work with someone who's gonna tell me what to do.' But I'd worked with Mikey on 'Ozzmosis', and we had a blast making that record, so I told them, 'Find out what Mikey's doin'! get him down here!' .
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