Sound Affects

December 2010

20 Questions: Le Concorde

Le Concorde’s fourth studio album House (October 2010, Le Grand Magistery) has set 2010’s mark for contemplative pop, bursting with catchy hooks and California sunshine.

A Long Drive: Modest Mouse - “Jesus Christ Was an Only Child”

"Jesus Christ Was an Only Child" has Isaac Brock indulging in his taste for roots music and Americana, providing an interesting digression in the flow of The Lonesome Crowded West.

Counterbalance No. 11: Bob Dylan’s ‘Highway 61 Revisited’

Counterbalance needs a dump truck, baby, to unload its head as it revisits Highway 61 Revisited, Bob Dylan's 1965 game-changer.

Peter “Sleazy” Christopherson: 1955-2010

Music just lost a visionary who pushed sonic boundaries into dark, unexpected territory.

Top Ten Tracks for Your Holiday Playlist

Weary of Bing Crosby singing “White Christmas” for the 567th time? Here's an alternate selection of songs to consider spinning during the holiday season.

November 2010

Funktronica Jams: An Interview with Freekbass of Headtronics

Freekbass explains the "funktronica" sound and discusses his work with Headtronics, who recently appeared at Moogfest.

A Long Drive: Modest Mouse - “Lounge (Closing Time)”

"Lounge (Closing Time)" finds Isaac Brock exploring the darker sides of romance and sex, coming up with a heady ambivalence that mirrors our own human experience.

Gaga Studies

It’s not surprising that the intense curiosity about Lady Gaga’s music and aesthetic is being brought into undergraduate classrooms.

The Masters of Indietronica, The Octopus Project, Chat with PopMatters

After a memorable set with Devo at Moogfest, band members relax for a chat with PopMatters.

A Long Drive: Modest Mouse - “Convenient Parking”

"Convenient Parking" embodies Isaac Brock's uniquely American fixation on the empty promises of the open road.

October 2010

September 2010

August 2010

July 2010

//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

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