Three years after the release of their debut album Clean Cuts, New York electronic trio House of Blondes are set to put out the follow-up Stranger Still this summer. As timing would have it, they have a shimmering new electropop track called “First of July” that we’re more than happy to premiere just in time for that symbolic start of a kid’s summer vacation.
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Roots rock cult hero, Dex Romweber, first came to my attention in Flat Duo Jets, back when I was going to all ages shows in Atlanta and Athens, and hiding out in the bathroom to stay for the later 21 and older shows. The Dex Romweber Duo began with his buddy, Crash LaResh, and later with his sister, Sara Romweber (of Let’s Active and Snatches of Pink).
Dex Romweber Duo‘s last album, Images 13, derives its name from the cover art, an existing piece from Romweber’s own portfolio, not referencing the number of tracks (there are 12).
Featuring wicked falsetto singing reminiscent of Jimmy Somerville and a fun take on disco and funk similar to the Scissor Sisters, the Columbus, Ohio project Digisaurus combine elements both new and old to create a sound that’s both classic and contemporary. Helmed by musician James Allison, the band has just released their energetic and very catchy debut EP No More Room For Love, which we’re more than happy to present here at PopMatters.
As an app developer, I’m interested, for self-serving reasons, in app design. But as someone with artistic pretensions, I’d like to consider apps beyond good design. What I’ve been increasingly interested in is app aesthetics in the fullest sense of that word. The other day, I did a little poking around on the intertubes in search of, for lack of a better keyword, “app as art”. I was looking for developers who design and publish apps with the specific intention of making them artistic (however they choose to define that loaded term). As it turns out, there’s not much out there.
As you know, smartphones, and accordingly, the software that makes them “smart”, haven’t been around for long. IBM made the very first smartphone back in 1992. They called it Simon. It was clunky, monochromatic, and not all that smart. It sold for US$899. The first smartphone to sell in decent quantities (at least in the States) was the Kyocera 6035, which came out in 2001. The smart part of its functionality was based on the Palm OS. It was basically a PalmPilot duct-taped to a cell phone. Setting the notorious corporate incursions of the “Crack”-berry aside, smartphone adoption didn’t explode into global consumer consciousness until the release of the very first iPhone, back in the Pleistocene epoch of 2007. The first Android device followed shortly thereafter in 2008.
If the name Eszter Balint doesn’t ring a bell, if you’re a regular viewer of Louie CK’s acclaimed series Louie, you’ll remember her as his character’s love interest Amia last season. In addition to being an actress, though—she’s appeared in films by Jim Jarmusch, Woddy Allen, and Steve Buscemi—the Hungarian-born Balint is an accomplished musician, and has played on albums by Marc Ribot, Angels of Light, and Swans. As you can tell, she’s clearly highly regarded by some of the biggest talents in two different mediums.
Her new album Airless Midnight is her first since 2004’s Mud, and PopMatters is pleased to premiere it here. Featuring appearances by Ribot and Sam Phillips, Balint, who plays guitar, mandolin, violin, and more, creates an eclectic collection of songs, but retains a remarkable consistent tone and theme throughout.
"PopMatters is on a short summer publishing break. We resume Monday, July 6th.READ the article