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by PopMatters Staff

23 Jan 2017


Adriane Pontecorvo: Sinkane brings the electric funk from start to finish on “Telephone”, an ultra-hip blast of dance music and brassy soul. There’s something about it that sounds familiar in the best way; Sinkane’s voice is smooth and classic, and the sparkly synth blips come together with more traditional instruments in a way that sounds perfectly organic and stunningly balanced. This is what we need to kick off 2017: a song that never loses momentum, a chorus to sing along to, and a video made of neon lights and sheer elation. This is infectious in the best way, and even this early, a contender for best single of 2017. [10/10]

by Jonathan Frahm

23 Jan 2017


One might say that there has always been a certain gravity about Amelia Curran’s music, and—pun-centric jokes aside—her latest, “Gravity”, would back these claims. Complete with bombastic horns and an earworm of a riff, the Newfoundland singer-songwriter, mental health advocate, and activist wistfully embraces female empowerment with this jubilant leap into the world.

by Sarah Zupko

23 Jan 2017


Cilantro Boombox‘s new single “Love For Money” begins life as a ska song with strong echoes of the English Beat and the Specials and then morphs into a straight-ahead funk tune before injecting some salsa into the mix. With all of those components, you might expect “Love For Money” to be too crammed full of ideas to work, but that couldn’t be further from the truth. Cilantro Boombox are masters at blending genres into new combinations that sound organic and natural. “Love For Money” ends up being a hugely fun dance tune that will have you searching for more music from this talented Austin band. Well, you’re in luck as the band has a new album coming in March and “Love For Money” is the first delicious taste.

by PopMatters Staff

19 Jan 2017


Andrew Paschal: The opening track and fourth single from Rennen is also its worst offering. The song is a contrived and affected attempt to meld some idea of bluesiness into his brand of so-called “PBR&B”. Its melody is uncomfortably familiar, sounding not so much like one song in particular as a whole slew of songs, each similarly caricatured and unsubtle. “My baby don’t make a sound / As long as her hard liquor’s never watered down,” he drawls in an on-the-nose attempt to recreate the feel of a seedy tavern. In addition to going for a postindustrial bar song, “Hard Liquor” also has a curious “heave-ho” kind of vibe to it, like a co-opted imitation of the songs people associate with tough, physical labor. Perhaps this is what you would get if you crossed Blade Runner with Holes. [4/10]

by Sarah Zupko

19 Jan 2017


Curtis McMurtry has a famous Texas surname and, yes, he the son of legendary Texas singer-songwriter James McMurtry, but Curtis is very much his own man musically. If you can imagine baroque pop translated into Americana, then you’ll get an idea of Curtis McMurtry’s unique contribution to the ever-broadening definition of Americana music. McMurtry has been as influenced by great songwriting craftsmanship as he has by jazz, folk rock, indie pop, and orchestral pop.

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Moving Pixels Podcast: The Best Games of 2016

// Moving Pixels

"The Moving Pixels Podcast counts down our top five games of 2016.

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