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by PopMatters Staff

12 Feb 2016

Innocence lost set  to a gorgeous hymn in Mount Moriah's "Baby Blue".

Eric Risch: Toying with perception, the Jordan Blake-directed video for Mount Moriah‘s “Baby Blue” sets photographer Robert Frank’s The Americans in motion. Seemingly candid moments proving anything but, we are left to question everything we see. Innocence lost set to a gorgeous hymn. [7/10]

by PopMatters Staff

12 Feb 2016

"Escapements" is kind  of like lucid dreaming if Sigur Rós were more electronic and scored the new Tron and Where The Wild Things Are movies.

Morgan Y. Evans: Electronic informed yet not super trendy projects like this, Glint or the Legends are very chill and stress relieving. It’s like when the pain pill hits in after a migraine, though some of the imagery in the video might induce low level seizures. Kind of like lucid dreaming if Sigur Rós were more electronic and scored the new Tron and Where The Wild Things Are movies. Could also be a vodka commercial. [6/10]

by Nick Dinicola

12 Feb 2016

Looking up a  solution isn't a sin. The only sin is not understanding that solution when you do.

A common refrain in reviews of The Witness is the plea to solve each puzzle on your own, to not ask for help or look up solutions, that the game is designed to teach you things in ordered steps and that it is important not to skip a step. While, yes, this is true, that doesn’t mean those steps are easy. What will inevitably happen is that you’ll solve a series of simple puzzles, and then you’ll try to solve the next puzzle in the exact same way that you solved the previous puzzles, only this time your solution won’t work. You’ve done something wrong. You’ve misunderstood the concept. Time to go back and reanalyze your work.

by PopMatters Staff

11 Feb 2016

"Dust" is a  cool sonic upgrade to the Parquet Courts' formula.

Magdalen Jenne: This track starts out with some really good initial ideas and then fails to expand on them. It doesn’t really need to, though: the sludgy instrumental break dissolves the song’s structure—the riff, the faint whiffs of piano at its upper registers—and replaces it instead with a pointedly ugly crescendo hurtling towards the end of the track. The dynamic shift is there, and even if you spend the whole first listen waiting for a chorus, the frustration in the fact that it never comes is a satisfaction in its own right. [7/10]

by PopMatters Staff

11 Feb 2016

NYC smartasses Holy  Ghost! drop a badass slice of synthpop like it ain’t no thing.

Ari Rosenschein: These NYC smartasses drop a badass slice of synthpop like it ain’t no thing. Terrestrial radio should wise up and realize “Crime Cutz” is the “Staying Alive” of our time. I am quantifiably cooler from my exposure to this funky, funky gem of a jam. [8/10]

//Mixed media
//Blogs

It's Okay to Ask for Help in 'The Witness'

// Moving Pixels

"Looking up a solution isn't a sin. The only sin is not understanding that solution when you do.

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