CIMS HANDPICKED: DEVOTCHKA 'LIVE WITH THE COLORADO SYMPHONY'

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Anytime a show or live album listing features some kind of “with symphonic accompaniment” note, people might be forgiven for still reflexively rolling their eyes. If nothing else, though, DeVotchKa have always aimed for the theatrical and orchestral flourish in their music almost by default, so a performance with their hometown symphony seems perfectly apt rather than a matter of overreach. Nick Urata’s swooping voice settles among the mix of rhythmic rumble and descending chords with ease from the get-go on the opening “The Alley,” and from there everything hits one high after another. Hearing the transformation of a quick, sprightly number like “The Clockwise Witness” into an equally rollicking but by default lusher performance is one of many joys, while “All the Sand in the Sea” takes the swift piano-led melodrama to even fuller heights and “Contrabanda” practically explodes into its dramatic conclusion. The all-instrumental “Firetrucks on the Boardwalk” perhaps benefits the most in terms of sheer transformation, with the addition of a children’s choir at the end adding a cappella vocals turning everything into one heck of a end credits sequence (even if it’s only halfway through the release). Available exclusively through indie record stores like this one!

CIMS HANDPICKED: JOE BONAMASSA

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Driving Towards The Daylight is a balanced, back-to-basics album that highlights Joe Bonamassa’s signature style of roots blues with rock-and-roll guts, while honoring the traditions of the original blues musicians. Here they’ve taken some really traditional old blues songs – i.e. Howlin Wolf’s “Who’s Been Talkin?” and Robert Johnson’s “Stones In My Passway” and re-imagined them in a rock context. The result is a very exciting return to the blues in a very visceral way – It’s vibrant, it’s gutsy, and it’s really, really rugged. To challenge Joe and move him out of his comfort zone, a unique group of musicians was gathered including Aerosmith guitarist Brad Whitford (guitar), Blondie Chaplan (guitar) and Anton Fig (drums and percussion). The album features five Bonamassa-penned originals, including the bruising opener “Dislocated Boy,” the road warrior title track (and first single) “Driving Towards The Daylight,” as well as some choice covers like Tom Waits’ “New Coat Of Paint” and “Lonely Town Lonely Street” by Bill Withers. Let’s be honest: It takes a lot for a white blues guy to make his mark, but Bonamassa’s guts and talent shall prove him to be an axe-man for the ages.

CIMS HANDPICKED: CUSSES' BUZZED ABOUT, BLISTERING SELF-TITLED DEBUT

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Cusses aren’t easy to define. However, whether their guitar driven, fuzzed out brand of music reminds you of The Runaways meets The Ramones or Siouxsie and the Banshees meets Jet, or even Pat Benatar with some heavy handed riot grrrl sass, it is impossible to come away with any other conclusion than this: Cusses are bringing back real, effortless, speaker-blasting rock & roll. A band that would be right at home taking center stage at CBGB. Lead singer Angel Bond was introduced to drummer Brian Lackey through mutual friends, and they have not separated since. The two headed to Savannah, Georgia, in 2009, and met up with Brian’s long time friend, guitarist and past bandmate Bryan Harder (they opened for post-hardcore legends Fugazi in their last band together). The three formed Cusses that summer and played their first show in February 2010. And now their debut album Cusses is finally here.

CIMS HANDPICKED: SUPERGROUP BLACK COUNTRY COMMUNION'S 'AFTERGLOW'

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Black Country Communion is a head-on collision between American and British rock influences — a true supergroup that delivers a titanic rock experience. The seed for Black Country Communion was planted when legendary frontman and bass guitarist Glenn Hughes (Deep Purple, Black Sabbath, Trapeze) and master blues-rock guitarist Joe Bonamassa combined forces on stage in Los Angeles in 2009. The brainchild of producer Kevin Shirley (Black Crowes, Aerosmith, Led Zeppelin), the band added to its rock lineage with powerhouse drummer Jason Bonham (Led Zeppelin) and keyboardist Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper). BCC’s latest album, Afterglow, has a slightly different genesis than the two albums that preceded it. “There were six months to write this album, and I’m really excited by the way it came out,” comments Hughes, the man responsible for the bulk of its contents. “I wanted to make a record that stood up to the first two, but not to repeat either of those records. I wanted this album to have more acoustic moments than the previous two. I wanted to hear more of Derek and I wanted the more angelic voice of Glenn as well as the more aggressive one … Above all, I wanted more drama.”

CIMS HANDPICKED: COHEED AND CAMBRIA'S 'THE AFTERMAN: ASCENSION'

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Coheed and Cambria‘s upcoming sixth and seventh studio albums will be a double-concept album entitled The Afterman and will be released in two separate full-length volumes. Musically, The Afterman: Ascension sees the band perfecting their powerhouse progressive rock, soul and even pop landscapes. The dual release also marks the return of original drummer Josh Eppard, who the band parted ways with in 2006, bringing with him his benchmark percussive grooves. Coheed and Cambria self-financed and co-produced The Afterman, alongside Michael Birnbaum and Chris Bittner, who produced the band’s first 3 albums, in Woodstock, N.Y. The album was mixed by Rich Costey (Muse, The Shins, Foster the People) and Ryan Williams (30 Seconds To Mars). The second volume, The Afterman: Descension is slated for release in February 2013.