From the irresistible call of the opening drums to the indeterminate farewell of the last, fading chant, 'Super Ape' incarnates a sonic world, a microcosm of rhythm, mix, melody, and toasting that, whatever your personal tastes, stands replete and to itself.
Stevie Ray Vaughan died just as 'In Step' was signaling a major musical departure for an artist who showed every intention of being around long enough to change the landscape of rock and blues several times over.
Throughout 'The Suburbs', Arcade Fire seems completely ill-equipped to understand both where it came from and, more pressingly, where it is now. That kind of tunnel vision is what leads the band to articulate such an uncritical urban bias.
Listen to the Call now and there is no denying some songs sound dated, thanks to an overabundance of keyboards. But singer Michael Been's songwriting remains a rarity
Storming the New Jersey scene with its unique brand of indie folk-pop, River City Extension sits down to answer PopMatters' 20 Questions, revealing a deep-seated love of Paul Simon's Graceland, the frustration over a stolen laptop filled with songs, and why life truly isn't complete until you have heated toilet seats ...
Bridging the gap between 'McCartney' and 'Ram', Jessy Krupa takes a look at the first single collaboration between Paul McCartney and his wife Linda.
Max Romeo's 'War Ina Babylon' was just the beginning of a tremendously fertile period for producer Lee Perry. In less than two years he would produce an impressive batch of albums, several of which remain absolute classics. 'War Ina Babylon' can measure up to all of them in one way or another, and that is the main reason it is remembered as an essential piece of the roots reggae canon.
When it comes to matters of taste and ranking (a particularly combustible combination), there is no pleasing everyone. In fact, there is no pleasing anyone, since the list makers themselves are invariably disappointed or frustrated. And yet...
Call it "mach schau", soul, or the “swing” without which Duke Ellington warns us “it don’t mean a thing”, the physically felt component of live performance is perhaps easiest defined, if not in its absence, then in its failed attempt.
The Books' samples, which include everything from bits and pieces of everyday noise to extended recordings of Hebrew stenography, are somehow more essential and more secondary at the same time -- used for their own sake to create something utterly unrelated.