Review: Jessie Jones, 'Jessie Jones'

Jul 15, 2015

Psychedelic music is in the midst of a minor revolution, or at least one of neo-psychedelia's most pronounced revivals since the Paisley Underground in the early '80s or New Weird America throughout the second half of the '00s. While those two scenes looked to psych's closest neighbors — underground rock and folk, respectively — for help, psych circa 2015 journeys further to borrow a cup of pop sugar, as led by Tame Impala and others who obscure the line between Boomer rock and electronic music.

On one hand, there's nothing surprising about Watkins Family Hour. When seven incredibly talented musicians get together to make music in a world-class studio with a top-notch producer, it's no shock that the thing sounds good. What is surprising is how well the album's diverse cast works together — there's an innate sense of understanding among the players, of the variety that only comes after years spent working together.

Review: Omar Souleyman, 'Bahdeni Nami'

Jul 15, 2015

There may be no more unlikely act in indie/electronic music than a sunglasses-and-keffiyeh-wearing wedding singer with a chain smoker's gruff voice. But Omar Souleyman is no ordinary musical act; if anything, he's one of the most resilient performers you'll see on the summer festival circuit, whether it's at FYF Fest, Big Ears Festival or Bonnaroo. Not that Souleyman's music is inherently strange itself.

Not many country singers under 30 could score a chart-topping hit with mainstream mainstay Blake Shelton ("Lonely Tonight"), frequent collaborations with elder statesman Vince Gill and a spot in Jack White's Third Man House Band — which is saying nothing of Ashley Monroe's recurring role in the all-star trio

Last week, a story about The Runaways' Jackie Fuchs, centered around her account of being raped by the late music entrepreneur Kim Fowley in a motel room full of people on New Year's Eve in 1975, challenged the very idea that rock and roll is something worth loving.

Twenty years after forming, Australian folk-rock trio The Waifs sound both comfortably loose and tighter than they've ever been. It's a best-of-both-worlds situation for the band, whose seventh studio album, Beautiful You, will be released later this year.

Boots On World Cafe

Jul 15, 2015

Jordy Asher, who goes by the name Boots, knows what it's like to work with high-profile artists: He's produced and written for musicians like FKA twigs and Run The Jewels. He didn't come into his own prominence, though, until his name was listed with many tracks on Beyoncé's self-titled 2013 album.

Chapel Hill's MAKE is all about the journey, man. The band thrives on heavy, atmospheric jams, inspired by the likes of Isis, Popul Vuh and Neil Young's Crazy Horse, all of which made MAKE's Scott Endres a perfect match as Horseback's guitarist on 2010's doom-and-gloom choogler Invisible Mountain.

Iceland might be small and isolated but the country's music scene is substantial, resonating far beyond the island nation. One Icelandic group that thrives on both new and old classical music is Nordic Affect. Formed in 2005, the quartet of women is equally at home playing 17th century dance music and newly commissioned works like Clockworking, the title track from its forthcoming album.

L.A. native Kamasi Washington has one of the most critically acclaimed albums of the year with his three-volume set The Epic, released on Flying Lotus' Brainfeeder label. At KCRW's studio, Washington recently brought in a stripped-down version of his band, many of whose members he grew up with here in town.