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by Will Rivitz

28 Jul 2016

If you’ve  ever complained about people tagging music which ends up being too straightforward for your taste “psychedelic rock”, the Dan Ryan might be something you’d like.

If you’ve ever complained about people tagging music which ends up being too straightforward for your taste “psychedelic rock”, the Dan Ryan might be something you’d like. “Tomorrow Forever” is all whimsy and LSD-fueled glee, trance-like drums falling into line behind off-kilter synths and inseparable waves of guitar. There’s more than a little Beatles influence, inspiration taken from Harrison’s journeys in Asia and the sonic collages on the group’s later albums, but that influence is used in novel ways. It’s exceedingly trippy, not in the “man, this light show is so trippy, man” sense, but truly in the scatterbrained, wildly colorful acid sense. Things are all over the place, and that’s just fine.

by Will Rivitz

28 Jul 2016

Every Orchid  Offering is blocky and pleasantly unwieldy, a definite boon in a style of alt-pop which prides itself on its obtuseness.

Andrew Keoghan‘s Every Orchid Offering is a mélange of tangential genres. There’s a touch of baroque chamber pop a la Son Lux, a smattering of off-color indie pop of the Dirty Projectors’ style, and snippets of the hyperprocessed muzak of vaporwave. It’s blocky and pleasantly unwieldy, a definite boon in a style of alt-pop which prides itself on its obtuseness. Weird pop is always intriguing, since there’s so many ways its weirdness can manifest — and the teetering disco of Every Orchid Offering is certainly a satisfying implementation.

by Jorge Albor

28 Jul 2016

I’ve never  felt more out of touch.

I’m staring at my local gym leader’s cp 1323 Exeggutor and struggling to understand the popularity of Pokémon Go. It’s been a few weeks since the game came out and I just don’t get. My day job is literally to get this kind of stuff, to understand what makes a trending game interesting to the millions of people who play it, but it’s hard. As someone deeply embedded in the games industry, I’ve never felt more out of touch. Maybe I’m getting old.

Alright, well to be fair, I do understand the basic allure of Pokémon Go. Pokémon is a huge franchise with a lot of nostalgia attached to it. It’s no surprise people familiar with Pikachu and the gang are checking out the app. I also see why the quirky ARG overlay of Pokémon sitting on your coffee table or something is funny in a gimmicky sort of way—hey, look, it’s Koffing in a vape shop. Hell, I can even see why folks rally around the fictional teams of Valor, Mystic, and Instinct. We’re all familiar with group mentality and the sorting hat.

by Will Rivitz

27 Jul 2016

Michael Blume’s  percussive pop is a listener’s dream, everything perfectly polished and all elements in their proper places.

Michael Blume’s percussive pop is a listener’s dream, everything perfectly polished and all elements in their proper places. When I Get It Right is part Flume’s processed, pop-savvy electronic, part Sam Smith’s pained gospel falsetto, part James Blake’s soul-flavored downtempo. It’s equally comfortable at higher speeds as lower, bouncing between Casio-heavy blue-eyed soul and upbeat R&B. If When I Get It Right is any indication, Michael Blume’s career can only go up from here — this is a seriously impressive debut.

by PopMatters Staff

27 Jul 2016

"Concrete" is more  of a reckless, pedal-to-the-floor drive down a tunnel than a conventional composition.

Chris Ingalls: Moving forward with Edith Frances replacing vocalist Alice Glass, Crystal Castles keep up with what they’ve been known for: loud, in-your-face sheets of electronic sounds and pounding beats. “Concrete”, from their upcoming fourth album, is a heavy, brash, slab of danceable doom-and-gloom. While they appear to be a forward-looking band, there are definitely nods to the past and “Concrete” seems to conjure up an unholy alliance of Ministry and the Cure. [7/10]

//Mixed media
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I Don't Get 'Pokémon Go'

// Moving Pixels

"I’ve never felt more out of touch.

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