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Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
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Admirals - Amidst the Blue

Sometimes it helps to not be very good.

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07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

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07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
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Home · Articles · Music · Music · Stoney LaRue — Velvet
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Stoney LaRue — Velvet


Matt Carney October 5th, 2011

You know you’re listening to a Red Dirt — not a country, or worse, pop-country — album, when a song called “Dresses” hits you in the gut with the lyric “You recklessly abandon me / That’s just the way you are.”

The song opens Edmond resident Stoney LaRue’s second studio full-length, “Velvet,” six years after “The Red Dirt Album.” At times, LaRue and his band (which features CMA favorite Randy Scruggs on guitar) kid themselves with the limited singer’s range, but they really nail the dark, smooth feeling suggested by the title, with soft-rock guitar fills and a mysterious flute lilting in and out.

“Dresses” isn’t really one of those songs, but it works as foreboding introduction to the drama that plays out in “Wiregrass” and “Sharecropper.” The anxiety cast by the intro and lyrics on “Sirens” and “Has Been” seem much truer to LaRue’s expertise.

With songwriting partner Mando Saenz, he shamelessly mixes metaphors to maintain a rhyme in the last verse of “Look at Me Fly,” however, which combines with a limp, rock-dude chorus to form the album’s only grievous misstep. It sounds badly out of place.

Eventually, the title track does shine a sense of closure on the album, but only a sense. “You just don’t know how long I can stay,” LaRue sings. When an LP lacks a strong scene and a full vocal range, intuitive lyrics can only do so much.

LaRue plays Friday at Wormy Dog Saloon, 311 E. Sheridan. For more information, call 601-6276 or visit wormydog.com—Matt Carney

 
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10.14.2013 at 04:42 Reply

Matt Carney, you are out of your depth on this one. Look at Me Fly is THE best track on that CD. Shameless metaphors? In music?  Please.  These guys arent writing the gret american novel here.  They are putting ideas, feelings, emotions to music.  I'm glad some of the songs on this record hit you in the "gut", but you completely lost all credibility when you call Look at Me Fly a misstep.  Perhaps you are better suited reviewing restaurants because your ability to understand good music when you hear it is clearly limited.

 

 
 
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