Follow the Lights is not a Ryan Adams record; it is a record by a band called The Cardinals, of which Ryan Adams is a member. At least, this is what Adams would like you to think. And while this EP is compelling evidence, it still lacks the tour-de-force combination of exploration and innovation that are the defining elements of The Cardinals’ identity as a live band. On this release, The Cardinals evoke a laid-back, down-home ambiance through intricate guitar picking, evocative pedal steel, haunting harmonies, sparse percussion, and Adams’ signature delicate yet rough-around-the-edges voice tugging at the heartstrings. They deftly tackle a pair of new songs, new arrangements of live renditions of older tracks, and a standout cover of Alice in Chains’ “Down In A Hole.” While this record is little but a page-marker in Adams’ career, the stripped-down reinterpretations of his back catalog showcase the versatility of both his songwriting and the group dynamics of The Cardinals. Follow the Lights proves that Adams can write beautiful, hopelessly romantic songs in his sleep, and that is the problem—this sounds like a Ryan Adams record played with a great backing band. Now that the pieces are in place, Adams just needs to unleash The Cardinals. In the spirit of Adams’ heroes the Grateful Dead, can we say Live/Cardinals?
-Parker Fishel
Chicago-based band Office’s new release is an unexpected triumph. A Night at the Ritz, Office’s fifth full-length album, showcases an entirely new sound. Starting with the first track, any listener will find him or herself bopping along to the creatively wound tunes and incredibly polished instrumental breaks. The album’s range of genres is stunning. While spanning many different sounds, Office manages to keep an overall mood—the album is not disjointed, as each track complements the others. It is impossible to listen to Office’s A Night at the Ritz without fighting the strong desire to start dancing. But that is not to say the album is a pop production—A Night at the Ritz reflects the band’s indie aesthetic. After four failed attempts and seven years, Office has finally recorded a gem for the world of indie pop.
-Zach Dyer
Is Magic all that magical? Well ... it depends. In the weeks preceding the release of The Boss’s fifteenth studio album, many hailed the new piece as a return to the rock of yore. Calling upon his E Street comrades, as he did for 2002’s The Rising, Bruce supposedly set out to create a meaty rock ‘n’ roll record. While the components that fueled his greatest albums were no doubt at his disposal, the execution rarely seems to match the potential. For the hordes of voracious Bruce fans out there, the album will no doubt satisfy their desire. However, for those who might be a bit more critical, the end result will not feel as “rock ‘n’ roll” as expected. As has become increasingly prevalent in modern recordings, the production is simply too glossy. The rootsy feel of the classic Springsteen/E Street Band interplay is lost in favor of that mod-rock feel. The best exception is “Livin’ in the Future,” which jams like the days of old. In the end, despite the misleading advertisement, Magic is still fun—it is Bruce, after all.
-Reid Sandelands
Though they’re a young band, Pale Young Gentlemen are not without a proper sense of drama—from the first track of their self-titled debut, the crescendos are big and the hooks are clean. It’s hard to place the time and space in which the grand, rollicking piano-and-cello-driven disc best fits—maybe if Ben Folds were hired to headline at a Russian dive bar in the ’50s. Or if Beirut played on the Titanic. A song here and there—“Clap Your Hands,” for instance—feels like polka, but a naughty polka your parents aren’t comfortable with. And closer “Single Days” is a song that somehow manages to be both wistful and uptempo—how do they do that? It’s impossible to figure Pale Young Gentlemen out, but hot damn, you’ll have fun trying.
-Alexandria Symonds
The Well is Waking Ashland’s second full-length album and an instant success. The California-based band’s playful melodies and piano-rock will have you singing along after only a couple listens. The Well is definitely more of a pop album than their previous work, but tracks like “Sinking is Swimming” still preserve the sound the band’s fans are used to. This album brilliantly displays the band’s understanding of music and their instruments, as the vocals and music seem to blend together effortlessly. The upbeat lyrics and melodies will pleasantly surprise any indie rock fan, and will enlighten newcomers to the abilities of these musicians.
-Zach Dyer