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Latest Blog Posts

by PopMatters Staff

16 May 2016

Chris Ingalls: My immediate reaction upon hearing this song in its entirety is one of complete lack of surprise. That is to say, it sounds exactly like what you would expect Radiohead to sound like in 2016. Thom Yorke’s mournful, processed vocals, light effects with a gorgeous minor-key piano, strings, an eventual insistent bass line. This is a band that always keeps things filled with tension. Even something as beautiful as a ballad needs to be spooky. Radiohead have spent the last 20-plus years making music on their own terms and the result is almost always soaring, moody, and brilliant. [9/10]

by Sarah Zupko

16 May 2016

Grammy-winning Bonnie Bishop had left music behind when she got a call from Americana producer Dave Cobb (Chris Stapleton, Sturgill Simpson, Jason Isbell). After 13 years in the music business, Bishop had an awakening one night at 3rd and Lindsley in Nashville as she realized all of her long hard work had been for nought, slowly going broke with no manager or agent. So she headed home to Texas to reassess and ended up applying and getting accepted into the prestigious the University of the South creative writing graduate program. It was while focusing on her writing that Cobb made that fateful calling, praising her for the honesty in her music. Cobb was intrigued and wanted to make an album with Bishop.

by PopMatters Staff

16 May 2016

Pryor Stroud: Backboned by a pitched-down vocal sample and a sprawling, nearly gelatinous bass groove, “Dammn Baby” is an unimpeachable work of pop artistry from one of pop’s preeminent artists. Its light-as-air melody seems like a revelation stolen from the ether; an act of inspiration-thievery that Janet’s brother was also verifiably guilty of. Like the best dance-pop tracks, it’s a song suited for both public and private consumption—an ecstasy of rhythm and sonic affirmation made for the dance floor but eminently capable of accompanying a night alone with a pair of headphones. [9/10]

by Sarah Zupko

16 May 2016

Ruby Friedman came up with an intriguing concept for her new album Gem: “What would it sound like if a band from 200 years in the future wanted to do music from the 20th century? What would that sound like? So that’s what it sounds like: It’s an orchestra from the future, doing the past.” The 20th century sound she represents is roots rock, bluesy soul, which suits her deep, textured, rich voice to a tee. Friedman really is one hell of a frontwoman, with a completely unique and transfixing voice laden with passion. Meanwhile, her band storms through a song like “I’m Not Your Friend” with monster riffs and exciting guitar lines that totally make Gem a necessary addition to your music collection.

by G. Christopher Williams

16 May 2016

This week we delve into the smartly written, character-driven story of Oxenfree, an early 2016 adventure game release. From high school drama to ghostly hauntings, we peel back the layers of this simple, but elegantly designed indie release.

This week we are also pleased to announce that thanks to the hard work of Eric Swain the full catalog of Moving Pixels podcasts is once again available at (in addition, of course, to our normal availability over at SoundCloud).

//Mixed media
//Blogs

From Hungary to Hollywood: "The Undesirable"

// Short Ends and Leader

"At just over an hour, a lot happens in this broadly gestured, melodramatic story set in Transylvania.

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