Oh, 191st most acclaimed album of all time, you let me violate you, you let me desecrate you, you let me penetrate you, you let me complicate you. A 1994 industrial bellwether is this week's Counterbalance.
Sailing the seven seas is a lot more fun when you're on a cruise ship with 60 metal bands and a legion of eager metal fans. No, really.
It's one of the strangest pop microcosms in history: singles released exclusively from Greatest Hits compilations. We rounded 'em up and ranked 'em to find out what is truly the greatest Greatest Hit of all.
Mike Zito's departure from Royal Southern Brotherhood may have been sudden, but given the exciting path ahead of him, it was certainly with good reason.
On Episode 8 of Pop Unmuted, we talk about the importance of charts both Billboard and the new collaboration between Rihanna, Kanye West, and Paul McCartney, "Four Five Seconds".
The most accessible avant-garde album ever, or the most avant-garde mainstream jazz album ever? From 1964, something sweet, something tender is this week’s Counterbalance -- straight up and down.
Following their creative low point in 2011's Codes & Keys and shedding a band member, Death Cab for Cutie's first new song in years is promising, but not a whole lot else.
“Martin, maybe one day you’ll find true love." ABC's sumptuous critique of romance is a masterful blend of disco, New Wave pop, and golden age Hollywood glamor.
Beginning today, PopMatters will be running the weekly interview series, Country Fried Rock, which features in-depth interviews with Americana artists. This time up is the Southern Gothic master Jim White and his foray into bluegrass.
Oo-ee-oo I look just like Buddy Holly. Oh-oh, and you're Mary Tyler Moore. I don't care what they say about the 352nd most acclaimed album anyway. I don't care bout that.