This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Combining the sulky girly indieness of [a]Juliana Hatfield[/a] with the sweet girly balladeering of [a]Lisa Loeb[/a], [B]Sharon[/B] is part choirgirl, part bellowing rock chick and part spurned coun
Thankfully, unsigned Northeasterners Mercedes are none of these things. Four serious-looking men (haircuts not an issue) and a cheerier ponytailed woman, Sharon, on vocals and guitar, this is slow-burning, studied folk-rock. It's the Female Unbelievable Truth - gentle, angelic and at times as plain beautiful as it can be boring.
There's the obligatory Radiohead Moment that all bands must include these days in grandly delicate set-closer 'Ready' and a famous name behind the scenes - My Bloody Valentine's Kevin Shields has remixed a song called 'Sinc'. More impressive than all this, though, is Sharon's enormous, atmospheric voice.
Combining the sulky girly indieness of Juliana Hatfield with the sweet girly balladeering of Lisa Loeb, Sharon is part choirgirl, part bellowing rock chick and part spurned country and western damsel. Incredibly, songs like 'Nailed' see her doing all three, at once, to the soft, steady loveliness of their creepy folk.
No fast thrills or staggering surprises, but a quiet, unexpected victory nonetheless.
Delving into the murk and noise of their past, the Boston veterans’ second post-reunion album is a superlative indie rock collection
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing