The Belgian trio Hooverphonic haphazardly tinkers around with ambient pop on its debut album, A New Stereophonic Sound Spectacular. Overall, it's a decent derivation of post-grunge and a healthy sampling of rising trip-hop and ambient electronica during the mid-'90s … The orchestration is tangled, but the artistic purpose of such musical beauty defines Hooverphonic's initial concept. A New Stereophonic Sound Spectacular depicts a glossy confidence, but not sheer enough for a fully enigmatic sound. But that's perfectly fine – Hooverphonic characterizes its own grace with experimental soundscapes of melodic disarray, but just barely.
Features 24 bit remastering and comes with a mini-description. Released in 1963, this is a pair of traditional dixieland jazz performances recorded at the historic Preservation Hall in New Orleans - very distinctly New Orleans sound. Nathan "Jim" or "Big Jim" Robinson was a very reliable New Orleans trombonist who was much more consistent than most of the musicians he performed with, never seeming to have an off day. A jazz pioneer, Robinson played guitar as a child and started playing trombone in 1917, while stationed in France during World War I; he was already 24.
On their 2012 debut Boys & Girls, Alabama Shakes never hid that they were creatures of the New South – a band with old-fashioned blues, soul, gospel, and country in their blood but raised on modern rock. On their 2015 follow-up, Sound & Color, they free themselves from the vestiges of the past, let loose, and push themselves further in either direction. This could've resulted in a disjointed record pulling itself in two opposing directions, but the mess of Sound & Color is invigorating, likely because the album uses its title as a creed. Where Boys & Girls sometimes seemed a shade austere – the band took pains to color within the lines, almost as if to convey their good taste – Sound & Color bursts with oversaturated hues so vivid they seem almost tangible.