Visual Album Review: Broadcast – Broadcast and the Focus Group Investigate Witch Cults of the Radio Age
Broadcast’s joint project with the Focus Group (a.k.a. Julian House) is a simultaneously old-fashioned and otherworldly trip through mostly short, experimental pieces that make for a successful alchemy.
Before the Heartbreakers, there was Mudcrutch, the band which Tom Petty would reassemble over 30 years later to release their official self-titled debut which reexamines their Floridian roots with concentrated southern rock, some bluegrass leanings and country love.
Stripped down to a duo for the first time, Trish Keenan and James Cargill whittle down their sonic pallette too with their third studio record that favors minimal elements over ornate instrumentation.
There’s less lift and fewer hooks this second time around, but the draw is still present and the group’s bond remains strong after the passing of the late great Roy Orbison, proving to be yet another whimsical collaboration of solidly written songs from four legends in popular music.
Nearly three and a half years after their impressive debut, Broadcast return with Haha Sound, an affectionate album full of electronic pieces that creak, clank and rattle away.
The Traveling Wilburys were a supergroup (or coincidental music militia one could say) consisting of Tom Petty, Roy Orbison, Jeff Lynne, Bob Dylan and George Harrison; and Vol. 1 is their serendipitous debut album recorded in only 10 days, full of solid and exuberant tunes with mass appeal.
Released approximately five years after their formation, the debut album from British group Broadcast fuses 1960’s psychedelic sensibilities with nebulous electronic and a message that’s soft and longing.
Hypnotic Eye is built with heart and steel; the sound of a consummate roots rock band revisting their own roots, which became the highest charting release in Tom Petty and the Heartbreakers’ storied career.
Nearly two decades removed from their supposed final studio album, A Tribe Called Quest covertly create their sixth which doesn’t falter or disappoint; a grab bag of uniquely crafted songs of black identity, social awareness, injustice, and an undying spirit of unity.
The twelth album from Tom Petty and the Heartbreakers is a stylistic detour which some people didn’t expect, being built on a sleek Chicago blues backbone and filled out with spacious jam sessions and showcasing Mike Cambells’s excellent guitar chops.
The group would call it quits one month before the release of The Love Movement, but the album captures a genial ATCQ in a exceptionally positive mindset and lighthearted mood at the turn of the century.
The Last DJ from Tom Petty and the Heartbreakers has it’s stark and orchestrated moments, as well as a big bone to pick with the music industry’s lust for cash over creativity.