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by PopMatters Staff

18 Aug 2016


Eritrean-Swedish singer Adiam mashes up R&B, hip-hop, and electronic music into an irresistible, sophisticated, and bound for the charts sound. Adiam challenges boundaries in a way that’s “fearless”, as her new single suggests. “Fearless” is the new song from her upcoming debut full-length LP, Black Wedding, which she recorded in Los Angeles with producer Dave Sitek from TV on the Radio. With her sleek sound and mesmerizing presence, Adiam could be lighting up dancefloors and music sales charts around the world soon.

by PopMatters Staff

17 Aug 2016


Paul Carr: The striking thing about this song is the sheer simplicity of it all. The song begins with a simple drum loop layered with downbeat synths. The defeatist opening is replaced with urgent positivity signaled by the keyboards leaping into life. The effect is like suddenly coming up to the surface after a night time swim. All of this frames the vocals perfectly. This an absolutely gorgeous vocal turn from BANKS. She manages to evoke so many emotions in such a short time. Once again she reaches out and grabs your heart. [8/10]

by PopMatters Staff

17 Aug 2016


Chris Ingalls: The Irish indie darlings are back with a simple, soulful track that is wrapped in lovely analog production (the drums in particular sound warm and fuzzy on headphones). The intimacy of the song, combined with Paul Noonan’s seductive crooning, could potentially put it in the running for Makeout Music Track of 2016. Cool “Star Wars” reference in the lyrics, too. [7/10]

by Cole Waterman

17 Aug 2016


Long in gestation, the full-length debut from Los Angeles-based composer/producer Johnathan Cooper’s lovelesslust is at hand. Steeped in darkwave, post-punk, industrial, and art rock, The Car Crash That Ended Her Life Came as No Surprise is a riveting, pensive work that seems to emanate from a nocturnal dimension. It lacerates in all directions, focusing ire inwardly and outwardly.

by Will Rivitz

17 Aug 2016


Vandoliers’ “Wildflower” is largely based in straightforward country music, a touch of shout-along folk-punk contouring its edges. Instrumentally, it’s a very complex song, horns trading off with strings and banjo under vocalist Joshua Fleming’s strained yell. Its instrumental complications and genre tropes fit its subject matter appropriately — it’s about the lost and broken, those from whom we’ve had to move on. It’s a dark song with a touch of brightness and hope, a tone kept consistent by the way it occasionally soars far above its gloomy guitar spine.

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The Bric-a-Brac of Games

// Moving Pixels

"In gaming generally, relevant and irrelevant objects are forever separated because mixing them up might be too confusing for the player.

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