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Wednesday, Jul 30, 2014
Fear is strangely an experience best shared with others -- even in seemingly less than social mediums, like single player video games.

I’m not especially fond of horror as a genre. Maybe it is because horror is not often the best written genre in cinema. Maybe it’s because I really don’t enjoy viewing things that are gory.


That being said, I do find that generally horror is a highly moralistic genre (maybe the most moralistic genre), since it tends to portray good and evil in the starkest terms possible (there are typically no fine lines between ugliness and evil, for instance, in horror). I tend to find this vaguely interesting, as I am drawn to works that are concerned with morality and ethics in the philosophical sense. However, that also being said, I more often find that revenge films and even exploitation cinema are more interesting than the typical horror film in exploring these ideas (give me Quentin Tarantino over Clive Barker any day of the week).


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Wednesday, Jul 30, 2014
by PopMatters Staff

PopMatters is looking for talented music writers.


We’re looking for talented writers with deep genre knowledge of music and its present and past alongside a cultural generalist perspective with strong interests in many areas of culture.


 

MUSIC REVIEWS/FEATURES


Regular CD reviews run 500-700 words and display a knowledge of music history and real genre expertise, rather than simply “I like this” or “I hate that”. They should employ a smart look at the music within its larger cultural contexts. Capsule reviews run between 100-150 words and writers are expected to write both long reviews as well as capsules, and keep up with tight deadlines.


Feature pieces are in excess of 1,200 words and look at a particular artist, genre, trend or happening within the music world. They also look at the intersection between music and other cultural forms such as film, TV, multimedia, fashion, and politics. These pieces can include artist interviews and profiles of an exceeding smart and critical nature.


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Tuesday, Jul 29, 2014
The '80's funk of Dirty Loops' newest tune, "Accidentally in Love", is a bit on the goofy side, but more importantly it's undeniably infectious.

With “Accidentally in Love”, the Swedish pop trio Dirty Loops has done something pretty impressive with what might otherwise have been a pretty rote and near laughable take on ‘80’s pop. (With the right modifications, this could have made this a Kenny Loggins number.) The group, consisting of Jonah Nilsson (vocals/piano), Henrik Linder (bass), and Aaron Mellergårdh (drums), clearly knows just how to toy with a classic formula, in this case the ‘80’s synth-pop formula. Nilsson’s vocals, quite reminiscent of Justin Timberlake, are immediately appealing, but especially striking the instrumentation on “Accidentally in Love”. The slap n’ pop bass is a nice touch, but even more dynamic are the song’s multiple time signature changes. Just when you think it’s settled into its saccharine groove, the trio finds a way to upend the listener’s expectations.


This eminently danceable number is a standout cut from the trio’s forthcoming album, Loopified, and you can stream it below.


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Tuesday, Jul 29, 2014
Never-played, requested for years, Amos shocked a Denver audience by debuting “Pirates” following a hilariously-costumed plea from fans.

Ears With Feet, the name given to hardcore Tori Amos fans by Amos herself, can rejoice at the fact that on her latest tour to support Unrepentant Geraldines, the singer-songwriter is pulling out all the stops when it comes to covers and requests. In addition to defying expectations by premiering obscure tracks like “Zero Point” and dusting off extremely rare b-sides like “Alamo”, Amos is also digging deep into her catalog: back to her debut record Y Kant Tori Read to fulfill requests for these early songs, many of which have never been played live at all before 2014, and which fans have been asking her to do for many years to no avail.


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Tuesday, Jul 29, 2014
by Stephen Rylance
Thirty years later, Soul Mining remains The The's most vital work.

Of all the intense young men making art from angst in the UK post-punk/New Wave scene of the mid-80’s, The The‘s Matt Johnson was perhaps the fiercest. Exhibiting a near-pyromaniacal obsession with images of hell and burning, this was a man who seemed to make music from inside the flames of his own private purgatory.


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