Dave Heaton has been writing about music on a regular basis since 1993, first for college newspapers and DIY fanzines and now mostly on the Internet. In 2000, the same year he started writing for PopMatters, he founded the online arts magazine ErasingClouds.com, for which he is still the editor and main writer. He also writes music reviews for the print magazine The Big Takeover and has a blog column on their website, BigTakeover.com. He has a Bachelors degree in Journalism (1996) and a Dave Heaton has been writing about music on a regular basis since 1993, first for unofficial college-town newspapers and DIY fanzines and now mostly on the Internet. In 2000, the same year he started writing for PopMatters, he founded the online arts magazine ErasingClouds.com, still around but often in flux. He writes small music reviews for the print magazine The Big Takeover. He is a music obsessive through and through. He lives in Kansas City, Missouri.
Wednesday, December 4 2013
In 2013, the best indie-pop felt like "secret music" meant for our ears only and, at the same time, like we're being pulled into a community.
Wednesday, December 5 2012
Writing about the best indie-pop seems inherently an individualized, personal experience -- but that is fitting for a type of music that on one level seems more person-oriented than mass-movement-oriented.
Monday, December 5 2011
Perhaps some of the bands on this list aren’t indie-pop in a literal way, but they most definitely are in heredity, influence, or spirit. They prove that our most interesting musicians can express themselves within the essential form of a pop song, while also changing how we think about songs and what they do to us.
Wednesday, October 5 2011
1991 was a significant, even historic year, for country music, giving a strong indication of the direction it would take from then on to now.
Thursday, December 23 2010
It’s not that young music fans are completely forsaking cool and disaffected guitar-rock bands for sensitive and fanciful pop bands, but there does seem some movement in that direction.
Sunday, October 13 2013
Merle Haggard's restlessness breaks him out of one prison and sends him towards another.
Sunday, June 30 2013
These explorations of the African-American presence in country music are welcome at a time when country music is treated, by insiders and outsiders, as a purely white genre, and exceptions to that are treated as aberrations, gimmicks or novelty songs.
Sunday, May 5 2013
There are at least four various artists tribute albums to Kris Kristofferson, all released in the last 11 years. Why him? Is it about the songwriter or the songs? The musicians or the listeners? The present or the past? The albums themselves might provide the answers.
Monday, February 18 2013
Revisiting Jonathan Richman’s brief “country moment” offers another window, through the eyes of an outsider into the genre.
Sunday, January 13 2013
All of the albums that critics/fans who fancy themselves “pure” country defenders have praised as the best of 2012 carry a heavy aura of the past about them. But how much can country music progress if it’s spending all of its time looking back?
Sunday, November 17 2013
Because of both the theatrical side and her careful wavering between directness and fanciful wanderings, this is perhaps Josephine Foster's most fun album.
Thursday, October 24 2013
What does Urban gain by working with Top 40 radio producers? Perhaps a lot, in theory, if the music pushed him far enough. But much less in practice.
Sunday, October 20 2013
Alan Jackson has said he’s wanted to make a bluegrass album for 15 years. Now, here it is, plain and simple.
Monday, October 14 2013
The album is imperfect, incomplete and superfluous, but it exists in a world where those traits are what we want in an album.
Thursday, September 19 2013
Franti approaches mass movement, bodily or politically, in a more varied way than might be expected.
Monday, December 9 2013
One major theme of this album seems to be "Meet my new band", yet to a decent extent that’s a ruse.
Monday, December 2 2013
It’s the way Diamonds and Pearls works; a couple lightweight space-fillers sit in between two stone-cold classics, one of which is an example of Prince's quasi-message songs.
Tuesday, November 19 2013
It’s a party, it’s a party song, its purpose is to maintain the impression that Prince’s new band can put on one hell of a show.
Monday, November 11 2013
Traffic horns, double negative,s and the word “psyche” populate one of Diamonds and Pearls' most frivolous songs.
Monday, November 4 2013
“Gett Off” ranks among the many examples in his discography of Prince twisting and turning his voice in unexpected ways.