• Thirsty Ghost

    Thirsty Ghost

    Gazarek, Sara

    Format: Music CD - 2019

    Holds: 9 on 3 copies

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  • The Protecting Veil

    The Protecting Veil

    Tavener, John

    (syndetics)

    Format: Music CD - 2019

    Holds: 4 on 2 copies

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  • Green River

    Green River

    Creedence Clearwater Revival (Musical group)

    If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally. Perhaps that's why Green River has fear, anger, dread, and weariness creeping on the edges of gleeful music. This was a band that played rock & roll so joyously that they masked the, well, "sinister" undercurrents in Fogerty's songs. "Bad Moon Rising" has the famous line "Hope you've got your things together/Hope you're quite prepared to die," but that was only the most obvious indication of Fogerty's gloom. Consider all the other dark touches: the "Sinister purpose knocking at your door"; the chaos of "Commotion"; the threat of death in "Tombstone Shadow"; you only return to the idyllic "Green River" once you get lost and realize the "world is smolderin'." Even the ballads have a strong melancholy undercurrent, highlighted by "Lodi," where Fogerty imagines himself stuck playing in dead-end towns for the rest of his life. Not the typical thoughts of a newly famous rock & roller, but certainly an indication of Fogerty's inner tumult. For all its darkness, Green River is ultimately welcoming music, since the band rocks hard and bright and the melancholy feels comforting, not alienating. ~ Stephen Thomas Erlewine (syndetics)

    Format: Music CD - 2008

    Holds: 18 on 4 copies

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  • Got It Covered

    Got It Covered

    Herndon, Ty

    Ty Herndon is a master of the ties that bind. The Grammy-nominated and Dove Award-winning recording artist has the ability to connect with an audience far beyond his onstage performance. More than 20 years into his career, Herndon has a passion and commitment to his music that continue to play out in his lyrics. Herndon is gearing up for the release of a new ten-track album, a compilation album featuring reimagined hits and covers of some of Herndon's favorite songs. (syndetics)

    Format: Music CD - 2019

    Holds: 2 on 2 copies

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  • The Long Goodbye

    The Long Goodbye

    Père Ubu (Musical group)

    Ever since "30 Seconds Over Tokyo," Pere Ubu have been portending the end, either with their apocalyptic sounds or the numerous times they've threatened to call it quits. This time, they may actually mean it. The band's mastermind David Thomas described The Long Goodbye as their "definitive destination," and if it is their final statement, they're not making any concessions. Unlike 20 Years in a Montana Missile Silo, where they framed the complexity of their music in relatively short, simple outbursts, this time they lead with the avant side of their avant-garage, letting it sprawl and tangle in fascinating and unsettling ways. For the band's final chapter, Thomas was inspired by an unlikely pair of influences: commercial pop music and Raymond Chandler's classic 1953 noir novel The Long Goodbye (which, not coincidentally, was the author's final book and the culmination of the Philip Marlowe series). Thomas' noir inspirations cast the sharpest shadows on the excellent "Flicking Cigarettes at the Sun," a hard-boiled farewell to Los Angeles (whose name he pronounces with an early 20th century hard g) that's filled with sunlit menace and dread, and on "Fortunate Son," where he explains that the favorite voice inside his head "speaks from under the lamplight of a roadside diner in the urban sprawl of Los Angeles/Sometime in the '40s, something like a Jim Thompson novel" over taut synths and unspooling guitars. Pere Ubu's interpretation of pop music is far less literal. In fact, this is some of their most disorienting music, thanks to the focus on Robert Wheeler's and Gagarin's synths, which chitter, chime, and squeal as Thomas questions reality on "What I Heard on the Pop Radio." The Long Goodbye offers plenty of reminders that he's a vocalist like few others, and one who knows how to use his instrument perfectly. He spits out his words with the impatience of a man who knows the end is near, whispering "progress is a funny thing" savagely on "The World (As We Can Know It)." He also remains an unparalleled writer as he chronicles the places and people that change and disappear on the album's journey. This is especially true on "The Road Ahead," a nine-minute excursion that reaches mythic proportions as it crosses the country and travels from spellbinding to poignant. This heartfelt undercurrent is just as vital to The Long Goodbye as its abrasive experiments, and the band leave their audience with the relatively comforting seaside vignette "Lovely Day." From beginning to end, The Long Goodbye is pure Pere Ubu: surprising, unexpectedly tender, and above all, thought-provoking. Even by their standards, this is a wild and challenging album -- coming full circle rarely sounds this exhilarating. ~ Heather Phares (syndetics)

    Format: Music CD - 2019

    Holds: 21 on 5 copies

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  • Bright New Day

    Bright New Day

    Moffett, Charnett

    Inspired by the electric periods of three chief influences, Jaco Pastorius, Ornette Coleman, and Miles Davis, legendary jazz bassist, this album represents a new chapter in his expanding legacy of jazz innovation, with its fusion of free-jazz, rock, and classical themes. Internationally acclaimed for his pyrotechnic upright acoustic bass work on his own recordings and with a virtual 'who's who' of jazz. (syndetics)

    Format: Music CD - 2019

    Holds: 10 on 2 copies

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  • Colours, Reflect, Time, Loss

    Colours, Reflect, Time, Loss

    Maps

    Under the name Maps, British musician James Chapman has sculpted a trio of dramatic albums whose electro-shoegaze hybrid seems to skirmish back and forth between its organic and synthetic factions. A veteran of the Mute Records roster since his Mercury Prize-nominated 2007 debut, We Can Create, Chapman has spent over a decade transmuting influences like Spiritualized, My Bloody Valentine, and Ulrich Schnauss into his own pleasing concoction of atmospheric indie rock which, more often than not, trends toward pop melodicism. Following a 2016 detour that saw him pair up with similarly ethereal counterpart Polly Scattergood as the duo ondeadwaves, he returns to Maps with a renewed sense of grandeur on the lush and orchestral Colours. Reflect. Time. Loss. Ambitious as he was on earlier releases, Chapman was often thought of as a bedroom pop producer, extracting a widescreen sound from small screen foundations. On this deeply collaborative set, he steps firmly onto a bigger stage, working with classical ensemble the Echo Collective and an array of guests to create his most sweeping, cinematic work to date. In keeping with the more streamlined approach of 2013's Vicissitude, Colours relies less on intricate, fussy arrangements and instead organizes its symphonic and choral partnerships into striking bursts of celestial muscle, giving much of the album an anthemic tone. It's easy to get caught up in the thrilling intensity of highlights like "Surveil" and "Just Reflecting," two massive-sounding tracks that were wisely chosen as the album's advance singles. Chapman's pop acumen remains present throughout as he reliably pairs engaging melodies with emotionally powerful themes like on the excellent "The Plans We Made." With all of the organic classical instrumentation employed here, the electronic side of Maps is significantly downplayed, lending Colours the added weight of strength in acoustic numbers, an effect that has consistently delivered emotional resonance to listeners for hundreds of years. ~ Timothy Monger (syndetics)

    Format: Music CD - 2019

    Holds: 14 on 3 copies

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  • Sulphur English

    Sulphur English

    Inter Arma (Musical group)

    Richmond's Inter Arma, continue to trace a distinctly ambitious trajectory through modern metal. The bands new full-length album, finds them mining deeper in the proggy organic doom fields that made both Paradise Gallows and Sky Burial so thrilling while expanding further the on the psych-folk strain that made those albums' peaks seem so lofty. (syndetics)

    Format: Music CD - 2019

    Holds: 8 on 3 copies

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  • Artemis

    Artemis

    Stirling, Lindsey

    Wielding her violin like a huntress' bow, Lindsey Stirling focuses her classical crossover vision with a deeply imaginative concept for her fifth album, Artemis. Named after the Greek goddess of the hunt and the moon, the effort finds Stirling hitting her artistic stride with a grand soundtrack to a movie that doesn't yet exist, like a neon cyberpunk take on Howard Shore's Lord of the Rings score. Making her early work feel small-scale by comparison -- early-2010s tracks like "Song of the Caged Bird," "Beyond the Veil," and "Heist" come closest to what she's offering here -- Artemis also benefits from fewer special guests, which was a distraction on her previous full-length, Brave Enough. Here, Stirling's animated string wizardry shines and her ethereal vocals do a fine job without too much outside involvement. Not to say special guests Amy Lee ("Love Goes On and On") and Elle King ("The Upside" reprise) aren't welcome here; their contributions are just strategic buffers on an album full of highlights, standout cameos in this world Stirling completely owns. Summoning the mystical spirits of old while channeling future dystopian concepts in a heady narrative centered on persevering through the darkness to reclaim our inner spark, Artemis relies on the tension between light and dark, upsides and downsides, and the past and future to tell a heroic story with full cinematic scope. The grand opening of "Underground," which sounds like Stirling's take on an early-2000s J-pop song, is immediately followed by the sweeping title track, a dramatic swell of shiver-inducing energy that is lifted to the heavens upon her vocals. The rest of Artemis proceeds in a similar fashion, from the rousing "Til the Light Goes Out" and propulsive "Darkside" to the magical "Between Twilight" and angelic "Foreverglow." By the time the fictional credits roll with King's uplifting take on "The Upside," listeners might be begging for a fully realized visual accompaniment to this evocative wonder. With less folksy fiddling or outdated EDM to bog it down, Artemis signals an evolution for the artist, revealing itself to be Stirling's strongest work to date and a pure thrill for fans of her particular hybrid style. ~ Neil Z. Yeung (syndetics)

    Format: Music CD - 2019

    Holds: 20 on 3 copies

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  • K-12

    K-12

    Martinez, Melanie

    The sophomore full-length album from Melanie Martinez, 2019's K-12, finds the arty pop singer offering yet more darkly emotive anthems centered on adolescence and growing up. Again at the center of the album is Martinez's alter ego "Cry Baby," the titular character introduced on her 2015 debut. As with that album, K-12 features songtitles inspired by school-age themes including "Show & Tell," "Nurse's Office," and "Wheels on the Bus," albeit with many of the tracks working as metaphors for more turbulent adult issues. For example, the lyrical and dreamy "Strawberry Shortcake" is both about going through puberty and struggling with the male gaze. Similarly, on "Show and Tell," Martinez references the time-honored kindergarten activity in order to dig deeper into the toxic love/hate relationship between artist and fan. She sings, "Harsh words if you don't get a pic with me/Buy and sell like I'm a product to society." Aiding Martinez with her highly conceptual pop sound is longtime associate producer/songwriter Michael Keenan, who also worked on Cry Baby. Also returning is Cry Baby alum One Love (aka Tim Sommers) for the moody "Drama Club." Musically speaking, K-12 has the same hip-hop and R&B underpinnings that Martinez favored on Cry Baby, with tracks like the aforementioned "Drama Club," "The Principle," and "Detention" showcasing her detached, periodically down-pitched babydoll vocals and a penchant for what sounds like midtempo xylophone and African finger-piano grooves. That said, it's also a more sophisticated production, with better hooks showcasing Martinez's growth as a songwriter. It's a sound that ably straddles the line between Lana Del Rey's disaffected noir style and Mike Posner's more confessional pop. Notably, the album also arrives in tandem with a colorfully eye-popping short film, written and directed by Martinez, that draws inspiration from her songs. While the album certainly works independently of the film, K-12 plays at a cinematically measured pace, perfect for both afterschool and afterhours listening. ~ Matt Collar (syndetics) (9/22/2019 3:59:15 PM)

    Format: Music CD - 2019

    Holds: 13 on 4 copies

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