The Black Room Jasinda

While the jazz fascists (read: purists) may be screaming "sellout" because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn't made up of musty and dusty "classics" may irk the narrow-minded and reactionary, but it doesn't change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison's "Stop This World" to contemporary songs that are reinvented in Krall's image by Tom Waits ("Temptation"), Joni Mitchell ("Black Crow"), Chris Smither ("Love Me Like a Man"), and her husband, Elvis Costello ("Almost Blue").

3rd wave of black metal darlings and trustees of American Pacific Northwestern Shamanism WITTR unleash yet another solid, measured slab of densely atmospheric ponderings of the archaic from their forest realm…

The Sentimental Drift sees the return of Black Swan. His music – described as ‘drones for bleeding hearts’ – has always contained within it a ton of emotion, personal in its expression and deep in its significance. And The Sentimental Drift has most definitely been worth the long wait. At first, smooth synths help to give off a white heat, radiating a warmth like that of overheated metal, hot to the touch, and almost radioactive in its ability to sizzle and burn the flesh. This opening sits in contrast to Black Swan’s cooler discography, and it’s a welcome change. Since the opening is entitled ‘Birth’, the warm apricot hues could represent the comfort of the womb, becoming the first chapter as the tones emerge into the world. The drone-work is similar, which is a good thing, and the music is just as refined as it ever was. Punctured fragments of sound later decay in front of the listener, adding a dull bronze and a nostalgic side to the music, a classic film noir in which all the stars have now moved on. The reels continue to revolve, though, pouring out a selection of sober melodies with long tails of delay and the trailing echoes of a memory growing fainter by the day.