"This Year's Girl" is much-welcomed cool-down after This Year's Model's comparatively raucous opener, "No Action"
Don't put your life in the hands of a rock 'n' roll band -- even if it did record the 87th Most Acclaimed Album of All Time. Oasis' Britpop colossus is next on Counterbalance.
Really, do we need another article posted on the Internet that ponders the paradigm-shifting possibilities posed by that very same Internet? Right now, I’m just not sure that we do.
For three decades, punk's not-so-secret weapon -- pioneering women -- have shaped the sonic template and bristling attitude of underground music's teeming core.
What happens when you combine two of the smartest pop songwriters that Sweden has to offer? You get the incredible, feel-good bounce of We Are Serenades, and the band sits down with PopMatters to talk pencils, porridge, and re-imagining a Flaming Lips album in 3D . . .
Leaving behind psychedelic prog for nervy New Wave, the latest Between the Grooves series is a track-by-track deconstruction of Elvis Costello's malicious 1978 masterpiece. First up is the frenetic "No Action", Costello's best album opener and a great way of introducing his backing band the Attractions to the world.
You can crush it but it's always here. You can crush it but it's always near. It's Radiohead's sophomore effort, and it's the 86th Most Acclaimed Album of All Time. Counterbalance gives a listen.
The Smashing Pumpkins have always exhibited grandiose ambitions, from their album concepts to their song titles. To commemorate the release of their new record Oceania -- the latest installment in their Teargarden by Kaleidyscope song cycle -- Sound Affects counts down the alt-rockers' ten best six-minute-plus tracks.
It's insanely catchy, it's got a wacky, infinitely rewatchable music video, and it comes from literally the last person you would ever expect to release a huge, catchy dance track.
As this Between the Grooves series concludes, we finish with “Stop Swimming”, one of Steven Wilson’s favorite Porcupine Tree songs. Stupid Dream's jazz-tinged closer is drenched in the mood of disillusionment and the apathy of being apathetic.