Latest Blog Posts

by PopMatters Staff

10 Feb 2016

Sam Taylor: Premier purveyors of the weird Moderat return, collaborating for a third time with aural ally Apparat on “Reminder”, with a swirling techno soundscape that evokes Trentemøller’s music as much as it does In Rainbows-era Radiohead. The track’s press release claims that Apparat’s vocals present, “an unfiltered insight into his personal take on the journey we call life – he is opening up, discussing his shadow, his fears and doubts.” If “Reminder” is a good example of what’s to come, then new album III can’t come soon enough. [8/10]

by PopMatters Staff

10 Feb 2016

Ari Rosenschein: As if signing the brilliant Grimes wasn’t enough of a gift to music for one decade, 4AD continues to churn out releases by brilliant female Canadians. This time, the goods come from a Chicago-born Torontonian, who goes by U.S. Girls. The woozy chords at the heart of “Navy & Cream” sound like Wham’s “Everything She Wants” at half speed. The singer’s vocal squeak borders Cyndi Lauper territory—a locale well worth exploring.  By the time the Princely guitar fireworks kick in you will believe. [8/10]

by PopMatters Staff

10 Feb 2016

Sam Taylor: Let’s be clear, Beyoncé‘s greatest asset has always been her voice. On “Formation”, she might not be belting out another insta-classic like “Crazy in Love”, but she continues down an increasingly dark and enthralling path, stripping back her sound and redefining what makes ‘Beyoncé’ so distinctively… well, Beyoncé. Utilising the unique potential of the surprise release—and the Super Bowl—to whip the Internet into a frenzy, she’s using her stature in the industry (and the black community) to expose an army of fans to something truly new. On both “Formation” and in its accompanying video, Beyoncé retains the confident swagger of her eponymous 2014 album, harnessing this progression to produce a track that not only serves as a potent statement that #blacklivesmatter in 2016, but that good music does too… and it still has the potential to really get people talking. [8/10]

by Sarah Zupko

10 Feb 2016

Atlanta producer Chris Hunt previously applied his compositional skills to the work of Cloudeater, but following the break-up of that outfit, Hunt has struck out on his own in developing the Tomb project. Juxtaposing wide cinematic flourishes with elements of jaggy noise that almost create a heavy metal effect, his new music is throughly visceral in some of the same ways as Rabit’s recent music on Communion.

by Danilo Bortoli

10 Feb 2016

Last Saturday saw the release of a new Beyoncé song and its accompanying video, “Formation”. It was met with both startling confusion but also, above all, excitement and the kind of overall praise and consensus you rarely encounter around the internet corners these days. The possibility of the strategic release behind “Formation’s” existence is a rarity, mainly because it represented startlement in unison.

//Mixed media
//Blogs

Hope and Despair in Video Games

// Moving Pixels

"There are moments in games that capture the feud waged in ourselves between hope and despair.

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