Brooklyn singer, songwriter, and guitar slinger Steve Gunn makes his Matador debut with Eyes on the Lines, a windblown set of road explorations that, despite its meandering nature, is one of his most accessible records yet. The Pennsylvania native has maintained a prolific output over the previous decade, much of it in the form of one-off projects and collaborations, but his solo releases all seem to spring from the same well of wanderlust. Expanding on the spacious sound of his excellent 2014 LP, Way Out Weather, Eyes on the Lines is more of a free-flowing rock affair, finding Gunn and his band locking into bucolic grooves that take their time to unfurl.
Instead of paying homage to John Williams' celebrated score for Richard Donner's 1978 Superman film, as composer John Ottman did with Bryan Singer's 2006 reboot Superman Returns, Hans Zimmer has crafted an entirely new set of themes for Man of Steel, director Zack Snyder's 2013 re-reboot of the franchise. Closer in tone to the composer's work on Christopher Nolan's Batman trilogy, the 15-track Man of Steel is grittier and darker than any of its predecessors, due in large part to Zimmer's proclivity for non-stop, thunderous percussion, though it retains enough goose bump-inducing moments to be called a proper Superman score, especially on the elegiac "Look to the Stars" and its soaring counterpart (pun intended) "What Are You Going to Do When You Are Not Saving the World?," both of which dutifully reflect the iconic superhero's propensity for both goodness and might. A Limited-Edition Deluxe version added bonus tracks.
This 16-track album is a parody of power metal, in particular groups such as Manowar, Blind Guardian and Rhapsody of Fire. Quotes to other groups, metal and rock, are constant and numerous, and are present in both text and song melodies. The album is a great hit for audiences and critics by consecrating the band internationally.
"Pavement Tree" (Sea Recordings, 14) meant, in a way, a break with Bigott's earlier preferences, betting on a somewhat darker and thicker sound. A maneuver with which Borja Laudo and company recovered their best tone after the inferior "Blue Jeans" (Recordings in the Sea, 13) published the previous year. The present delivery, however, tends towards the opposite tendency, as it shines as a continuist disc that delves with accuracy and depth in the forms of its aforementioned predecessor. In such a circumstance definitely influences the fact that the production of the album falls again on Jeremy Jay, who goes back to surpass the strict functions of the position to fully engage and dye the whole work with his recognizable seal.