Nashville-based Miller's stock has never been higher: Emmylou Harris' musical director for the past five years; superb 2001 collaboration with wife Julie narrowly edged out by Dylan's Love & Theft at the Grammys. Four albums in, this is his finest solo foray yet, remarkable for Miller's skilfully-woven fretwork and plaintive moonlit moan. A couple of throwaway rockers aside, its ambitious scope reins in cajun, dirty blues and old-time country.
Following labelmate Jesse Malin's success, twentysomething Jeff Klein's take on warped American mores pitches up in a darker backwater. Opener "Everything I Alright" is a suicidal arsonist's tale built around a grisly-lullaby keyboard loop and guest (and Klein landlady!) Patty Griffin's back-ups. "If I Get To California" rocks like early Uncle Tupelo, and "Another Breakdown" is a huskier Ryan Adams.
Probably the most wistful music you'll hear this year is on this debut album by Casino Versus Japan, which takes us back to the good old days when electronica wasn't afraid to be beautiful. Tracks like "The Possible Light" and "Summer Clip" have the same kind of warped grandiloquence as the Aphex Twin and Global Communications a decade ago: delicate melodic flakes magnified through a cosmic amplifier. On tracks like "Moonlupe", Vangelis is even brought to mind—and there's nothing illegal about that.
