Dylan LeBlanc
Pauper’s Field
(Rough Trade)
Growing up around the famed Muscle Shoals studio in Alabama can create unrealistic expectations for a musician. However, such an upbringing can also bless one with an abundance of soul. In the case of Dylan LeBlanc, his soul bleeds country. On his debut release, the 20-year-old Louisiana native sings with a wisdom that belies his age. Lyrically, tracks are sculpted with tales from history, and conjure images of outlaws on the run or foul Southern lynchings.
Yet for all their down-home appeal, the songs are clearly studio creations—which makes sense. The album’s lush string work, old-time organ and pedal steel would be hard to recreate on a simple bar stage. And LeBlanc shows his youth most when he tones down the orchestration. Still, give him time. Tracks like “5th Avenue Bar” are promising starts, but as years add up, he may well create something truly classic. —Michael Cimaomo
The Glenious Inner Planet
Glen Ackerman
(Blue Bamboo Records)
Although promoted as something like the bastard musical child of Sun Ra and Charlie Hunter, bassist Glen Ackerman’s The Glenious Inner Planet is more earthbound funk than space junk. Whether the band is re-visiting a classic with an electric twist (“Blue Rondo a la Raad”) or merging the upper register sounds of guitar and sax and heading for parts unknown (“Inner Planet”), this is always witty, engaging music.
“There Is A Drop Of Roppongi On My Shorts” is a perfect example of what Ackerman has on his mind for the album. Drummer Joel Fulgus sets the beat before his thumping bass comes in, boosted by funky keyboards by Ted Wenglinski. Paul Chester’s guitar feeds into the first of two fiery solos by saxophonist Woody Witt. And what does the title mean? I guess it doesn’t matter when you’re bopping along with the band. —Jeffrey Siegel
Wavves
King of the Beach
(Fat Possum Records)
After last year’s well-publicized tantrums, plenty of folks have been rooting against Wavves mastermind Nathan Williams. But the backlash will have to wait because King of the Beach represents a startling advance on his previous work. Williams has traded his heavily distorted brand of skuzz rock for a cleaner sound with nuanced rhythms, brighter backing vocals and phased keyboards. Best of all, the music still packs a punch. The propulsive title track is one of the year’s most undeniable singles. The anthemic “Take on the World” offers echoes of The Pixies and the stomping “Post Acid” delivers catchy pop punk. For variety, there are some queasy helium-voiced pop tunes like “Convertible Balloon.” Williams would be wise to avoid to the Animal Collective rip-offs and keep refining his ability to make rock’s dumb pleasures sound remarkably fresh. —Jeff Jackson
