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Wednesday, Apr 1, 2015
With a late '60s/early '70s bluesy rock 'n' roll style that brings Creedence Clearwater Revival to mind, "Brown Dog Blues" is a cool throwback tune.

The San Diego-based Triumph of the Wild, a roots rock duo consisting of Christy Barrett and Ryan Schilling, created their sophomore LP, We Come With the Dust, after a five month trip that stopped off in locations such as Louisiana, Mississippi, Texas, and Tennessee. The influence of these states shows itself clearly on the album; drawing from both Americana and classic rock influences (the press release for the LP cites Woody Guthrie and Janis Joplin), Barrett and Schilling create a brand of rock ‘n’ roll that’s warmly familiar, but not so beholden to the fast that it feels like a mere act of copy and paste.


Below you can stream one fine example from We Come With the Dust, the ragged, bluesy number “Brown Dog Blues”.


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Wednesday, Apr 1, 2015
Episode 10 of Pop Unmuted looks at legendary pop producer/songwriter Max Martin, his 30 year career, and his latest hit with Ellie Goulding's "Love Me Like You Do."

Pop Unmuted is a podcast dedicated to in-depth discussion of pop music from varying critical and academic perspectives. On Episode 10, Scott Interrante and Kurt Trowbridge are joined by Melbourne, Australia-based pop podcaster Daniel Gregg and Music Theory PhD candidate Megan Lavengood to talk about legendary pop producer and songwriter Max Martin. We then delve deeper into his most recent hit, Ellie Goulding’s “Love Me Like You Do”, and close with a special Max Martin themed Unmuted Pop Songs segment.


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Wednesday, Apr 1, 2015
If games are based on systems of rules, they seem the least likely of mediums for the anarchic sensibilities of punk. In PUNKSNOTDEAD, you punch until you die. That's the game.

A synopsis of the content of PUNKSNOTDEAD, an indie game made in 12 hours in 2013, is explained by mooosh, the game’s developer: “12HOURS/1979/GET PUNCHED/PUNKS NOT DEAD/EAT SHIT.“ To which, I can only respond that if punk’s not dead, then, well, fair enough. I hear you.


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Tuesday, Mar 31, 2015
With Ephemeral, the Minneapolis group Umami has concocted a mad scientist's stew of synth-pop, dance rock, and a smattering of other sounds.

Ephemeral is a fitting title for the new album by the Minneapolis outfit Umami. Although identifiable pop song structures are featured throughout the LP, the smorgasbord of sounds that Umami brings to the table constantly keep the listener on edge. One idea will suddenly give way to something else entirely without a moment’s notice, foregrounding a psychedelic, more free-form take on synth and electro-pop. Yet for all of the ephemeral moments throughout this Ephemeral LP, there’s a clear core to the songwriting. Contrast is one of the main constants that keeps the experimentation fresh throughout: see the juxtaposition of sharp buzzsaw synths and airy, reverb-laden vocals on “Living in a Nightmare”.


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Tuesday, Mar 31, 2015
This late '50s seafaring comedy is pleasant if uninspired.

All at Sea, called Barnacle Bill in England, is an Ealing comedy starring Alec Guinness, but there’s a reason you never hear it mentioned in the same breath with Kind Hearts and Coronets, The Lavender Hill Mob, The Man in the White Suit, or The Lady Killers—except in the hopeful trailer, which claims it’s the best of them all. It’s a nice, modest, and pleasant little effort that clearly comes from the same sensibilities without being as inspired.


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