Reckoning

Cowboy Junkies - All That Reckoning (2018) {Proper Records PRPCD149}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 282 Mb | MP3 @320 -> 110 Mb
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© 2018 Proper Records / Latent Recordings | PRPCD149
Rock / Alternative Country / Adult Alternative / Coutry Rock

It's remarkable in itself that in 2018, the Cowboy Junkies still have the same lineup that recorded their debut album, Whites Off Earth Now!!, in 1986. But it's even more surprising that more than three decades into their career, the band's essential formula remains very much the same, and what's more, that it still works. Released in 2018, All That Reckoning is less spare and severe than the group's most celebrated early material, with the occasional report of a jagged synthesizer or electric guitar, but even though the arrangements are more fleshed-out and the production more ambitious, the Cowboy Junkies continue to lay out languid, contemplative melodies favoring the low end of the register, with the rich but spectral vocals of Margo Timmins drizzled over the top like honey.

R.E.M. abandoned the enigmatic post-punk experiments of Murmur for their second album, Reckoning, returning to their garage pop origins instead. Opening with the ringing "Harborcoat," Reckoning runs through a set of ten jangle pop songs that are different not only in sound but in style from the debut. Where Murmur was enigmatic in its sound, Reckoning is clear, which doesn't necessarily mean that the songs themselves are straightforward. Michael Stipe continues to sing powerful melodies without enunciating, but the band has a propulsive kick that makes the music vital and alive. And, if anything, the songwriting is more direct and memorable than before – the interweaving melodies of "Pretty Persuasion" and the country rocker "(Don't Go Back To) Rockville" are as affecting as the melancholic dirges of "Camera" and "Time After Time," while the ringing minor-key arpeggios of "So. Central Rain," the pulsating riffs of "7 Chinese Bros.," and the hard-rocking rhythms of "Little America" make the songs into classics. On the surface, Reckoning may not be as distinctive as Murmur, but the record's influence on underground American rock in the '80s was just as strong.

For his fifth recording as a leader, San Francisco Bay-Area saxophonist Dann Zinn presents his stellar quartet in a performance of nine new original compositions along with a moving version of the classic ballad, 'Blame It On My Youth. ' With Taylor Eigsti on piano, bassist Zach Ostroff and Mark Ferber on drums, Zinn's playing is energetic, virtuosic, and passionate. Recorded in the final weeks of the legendary Fantasy Studios in Berkeley, CA, the band captured the sounds and clarity of the studio along with the passionate energy the group brings to a live gig, creating a listening experience that 'exemplifies Zinn's gift for marrying eminently memorable themes to entrancing rhythms. '

R.E.M. abandoned the enigmatic post-punk experiments of Murmur for their second album, Reckoning, returning to their garage pop origins instead. Opening with the ringing "Harborcoat," Reckoning runs through a set of ten jangle pop songs that are different not only in sound but in style from the debut…

Amidst societal strife and global pandemic, Maynard James Keenan returns with the most personal and human of his three main bands, reviving Puscifer with the group's fourth official full-length, Existential Reckoning. As the title suggests, this time things are more serious than usual and the core trio of Keenan, Carina Round, and Mat Mitchell crafted a politically charged takedown of the state of the world circa 2020. Although Reckoning stands as one of the most subdued – and least sophomoric – Puscifer albums, it swaps out their usual hallmarks in favor of substance and emotion, resulting in their tightest and most thematically focused output to date.

Destruction were the most traditionalist of the big three German thrash bands: where Sodom and Kreator headed in a punkier direction, frequently aiming for pure aggression at the expense of melody, Destruction always retained a classic metal feel. They wanted audiences to mosh, but they also wanted to write songs with memorable choruses and heroic guitar solos…