Why do we write about music? Why do we try to surround ourselves with people who either share that love or are at the very least part of the reason we feel the way we do? And why, if we sincerely love when those lines cross, can't we do something about it?
Can we, finally, begin pondering how cultures outside of the West—outside of London and New York—conceive of terms like indie and punk?
Bruce Springsteen's Darkness therapy. The stakes are remarkably high and the film is reminiscent of the Beatles' Let It Be, as we glimpse a band under the pressure of expectations.
Taylor Swift's popularity has been bubbling for years now, and if the first-week US sales of her latest release, Speak Now, prove to be the climax, they could also prove to be historical. Think about it: who else has the potential to break the million-in-a-week mark ever again?
"Heart Cooks Brain" gives us one of the most subtly heart-wrenching and realistic depictions of the working of depression ever committed to tape.
Counterbalance offers up the right profile of the Clash's London Calling—it's Number 9 on the Big List!
Indie couldn’t exist as it is without punk and, while it may lack the anarchical, rebellious fervor of punk culture, indie is still the voice of the current generation.
Tears for Fears don't get much respect. Even in the wake of Donnie Darko, they're mostly considered an afterthought in pop history. Yet, in an era that favors stripped-down, no-fi production, the sheer majesty of Tears for Fears' sound is surprisingly refreshing.
If you remember mixed tapes you received without the slightest pang of remorse, enthrallment or unforced sentimentality, either the relationship or the tape sucked.
Corey Beasley kicks off a new Between the Grooves series here at Sound Affects that takes a detailed look at indie rock group Modest Mouse's 1997 album The Lonesome Crowded West. In this first installment: "Teeth Like God's Shoeshine", a song of singular force that introduces Modest Mouse as a talent impossible to ignore.