FrankJPMusic

Pitchfork's 2024 Best New Artist for good reason, Hannah Frances entered the radars of folk, bluegrass, and indie fans alike with Keeper of the Shepherd. It’s rich with lush folk instrumentation and vocal harmonies, progressive song and harmonic structures, a variety of time signatures, and centers on her processing the passing of her father.

High points for me are the slow and intimate Husk, Bronwyn's winding rhythms, the harsh, stabbing, string flourishes on Floodplain, and ... read more

Geese finally tame their eclecticism, and somehow do so without sacrificing breadth, depth, or authenticity. Their trademark fusion of modern post-punk/art-rock and classic rock revival is still present, but thoughtfully coalesced with the same notes of timeless folk/rock influences found on Cameron’s Heavy Winter (I hear Waits, Dylan, Springsteen, and even U2 and Talking Heads here). Lyrically, Cameron captures the surreal and absurd experience of living in current times from the next ... read more

Cameron Winter takes a detour from his post-punk/art-rock band Geese to produce his first solo album, and one that feels like an ode to Tom Waits' Rain Dogs: harsh and raspy crooning, contrasted with delicate and folksy guitar, piano, synths, strings, sporadic auxiliary percussion, and adventurous, impressionistic lyricism. The difference is Cameron's range of vocal styles, deftly transitioning between Waitsian and Yorkeian leads, and complimenting them with a blanket of harmonies ... read more

Geese’s sophomore release marks frontman Cameron Winter’s venture into representing their songs’ characters with distinctive voices, donning a country drawl as often as his punk belting or Yorkeian falsetto. Musically, while remnants of their more chaotic blend of influences remain, they kick off the album by trading in their former Strokes vibes for Wolfmother ones, and lean into classic rock influence, achieving a Zeppelin-like sound. However, this is quickly abandoned in ... read more