When they were in Thee Shams, Andy Gabbard and Zach Gabbard played music that was firmly rooted in the sounds of the mid-'60s, but with their third album, their band Buffalo Killers has moved bravely into the early '70s, and they sound right at home there. Buffalo Killers 3 suggests a meeting of the minds between Crazy Horse and the James Gang during a few mellow days in Laurel Canyon, and if you didn't read the credits or look at the copyright date, many listeners would never guess this music was recorded in the 21st century. While there isn't much here that suggests a shameless rip-off of any artist in particular, 3 conjures up a sense of time and place with ease, and the loose, sun-burnt vibe of this music, fused with Andy's fluid but forceful guitar work, Zach's simple but effective basslines, and Joey Sebaali's colorful percussion work drifts between country-rock and hard rock in a way that suggests the strengths of both without hitching itself to either. Lyrically, the Killers don't have a whole lot to say, but the melodies are fine stuff and the band plays with a seasoned air of musical intuition, knowing where to fill the spaces and how to make the most of their power trio format. Joining the Killers on their journey through the past are Kelley Deal, Brian Olive, and James Leg, but even if this is a very Ohio-centric cast of characters, this music has a rich West Coast feel, and in this case, that's a good thing. Buffalo Killers 3 finds this band easing into an comfortable but deep groove, and not many bands have mined a late hippie-era approach with more satisfying results. ~ Mark Deming, Rovi

Susanna Wallumrød's albums with and without the Magical Orchestra (aka Jaga Jazzist's Morten Qvenild) have all taken a similar approach, whether she focuses on her own songs (List of Lights and Buoys, Sonata Mix Dwarf Cosmos) or the songs of others (Melody Mountain, Flower of Evil): her subtly remarkable voice -- which carries within it echoes of singers from Nina Simone to Karen Carpenter -- came first and foremost, surrounded by abstract arrangements soft enough not to detract from her vocals, but interesting enough to enhance them. Often, she sounded like she was singing with the weight of the world on her shoulders, but on the simply named 3, she and Qvenild sound like they're bound for the stars. Lighter and more overtly electronic than Susanna & the Magical Orchestra's previous work, these songs have a sci-fi glamour and wistfulness to them, as well as a grandeur that suggests vast dark skies filled with twinkling lights. 3 begins with one of its boldest departures, Recall, which sets Wallumrød's voice adrift on bubbling analog synths, weaving a hypnotic spell broken by huge drums that sound all the more massive compared to the polite percussion on her previous work. Palpatine's Dream is even more striking, a song about Star Wars' Sith lord made sleek and strangely sexy with electronics that stream by like meteorites and backing vocals by Wildbirds & Peacedrums' Mariam Wallentin and Susanna's brother Fredrik Wallumrød. Not all of 3 is this drastically different than what came before it. Gently insightful songs like The Game and Come On could have appeared on Wallumrød's earlier albums, and she includes a couple of covers that reinforce what a gifted interpreter she is: Roy Harper's Another Day becomes a dead-of-night piano meditation, and Rush's Subdivisions is turned into a sparkling, ironically detached manifesto against conformity. Throughout, Wallumrød, Qvenild, and company never lose the purity of their vision, particularly on Lost, an aching ballad so simple and vulnerable it feels like a cover when it actually isn't, and Someday, which blends the album's alien frostiness with all-too-human intimacy, hope, and despair. Ambitious and diverse, 3 opens new possibilities for Susanna & the Magical Orchestra, but it shares the sense of wonder and beauty in all of their music. ~ Heather Phares, Rovi

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