Remember when bands cared about albums as an art form? Instead of
slapping together a dozen tracks because, hey, they'll just end up on
everyone's iPod shuffle anyway, musicians considered how their songs
might congeal as a whole or form some sort of dram
I've long held a soft spot for singer-songwriters and bands who build unsettling dirges around Nirvana's terse, bluesy chords and slow-burning angstScout Niblett, Young People, Family Tree-era Bellafea, pre-self-parody Cat Powerso I was thrilled late last night when WMSE introduced me to another entry for my too-short list by playing Dixie Dirt's "Long Distance," a 9-minute, clench-fisted torch song that evoked Chan Marshall at her most pained while building to a thundering, cathartic payoff. Great song.
This Knoxville band, as it turns out, is a little less great than the song suggestedjudging from the handful of tracks I've hunted down online, where the band has hardly any presence, the group can be a little longwinded, and at times as forgettably trashy as their name. At their best, though, they do tension right. One of their few YouTube videos is for a song called "Boulevards," which lacks some of the flair of the track WMSE spun last night, but still has a jittery intrigue and satisfying payoff:

Elvis Costello's frequent collaborator T-Bone Burnett produced Secret, Profane & Sugarcane,
an Americana-inflected album working with country and folk traditions
for images of sawdust floors set to mandolin and fiddle. Costello
intended one s
You wouldn’t expect to find T-bone and sirloin dinners at a place with stool seating and a location next to a shop hawking cell phones and cigarettes. But one of the city’s most evocatively named eateries, ZaZa Steak & Lemonade (4919 W. Capito
The enduring fantasy of older men is that a gorgeous
young woman will fall in love with them, find them sexually arousing
and long to imbibe their wisdom while sitting at their feet. That
fantasy is the spring driving Woody Allen's often-hilarious f
Away We Go, a droll comedy-cum-drama by director Sam Mendes (American Beauty),
perceptively explores the lives of more-or-less ordinary 30-somethings
lost in a world without much meaning. Verona (Maya Rudolph) and Bu


