CFP: The Legacy of Radiohead's 'The Bends' 20 Years On [Deadlines: 29 Jan / 12 Feb]

 
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Wednesday, Jan 21, 2015
Guarantees may be an early-year indie sleeper, but with any luck its killer guitar riffs and subtle hooks will bring the Athens, Georgia group a new host of attention.

Last fall, PopMatters premiered the track “Pale Hooves”, taken from the Athens, Georgia band Grand Vapids’ new album, Guarantees. Now it’s three months later, and the album has just been released into the world; PopMatters is proud to stream the album in its entirety below. With equal parts driving guitar riffs and catchy hooks, Guarantees is an under-the-radar indie rock LP that, well, should be on everyone’s radar. This is approachable yet somewhat distant rock that draws you in with its melancholy brood—a perfect aural companion to have when the winter skies are still grey.


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Wednesday, Jan 21, 2015
Here are some reasons why Sleater-Kinney's "The Fox" is the greatest opening to a rock record ever.

Quick: what’s the best, most exhilarating opening to a rock record ever? Not the song. Just the opening—the first few seconds, whether a majestic welcome or sonic punch in the gut.


Some think it’s the first note of The Stooges’ Fun House. Nevermind is too obvious. There’s a convincing case to be made for The Jesus Lizard’s Liar album. I prefer the quiet dread of PJ Harvey’s Rid Of Me.


But the best, the unimpeachable album intro to retire all album intros, is the opening passage of Sleater-Kinney’s would-be final album, The Woods.


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Tuesday, Jan 20, 2015
Those still wishing to lose themselves to dance through Giorgio Moroder's music, fear not: the disco legend is back with a brand new tune, as well as his first album in 30 years.

Is 74 Is the New 24? Well, the world is about to find out, as it’s the name of the first record in 30 years by the Italian electronic dance music pioneer Giorgio Moroder. Two years ago, on Daft Punk’s hugely successful Random Access Memories, the world was reacquainted (and many were newly acquainted) with the legendary producer and musician through the song “Giorgio by Moroder”, a disco tune over which Moroder tells the story of his early days as a musician. With 74 is the New 24, he’ll have even more of a chance to tell his story. The first track made available from the LP is “Right Here, Right Now”, which features the lovely pipes of the Australian singer Kylie Minogue.


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Tuesday, Jan 20, 2015
Nick Lutsko's 2013 debut LP is folky with an eccentric undercurrent. With his new album, however, he goes a little off the reservation; as "Predator" evinces, this is definitely for the better.

Etc. is a fitting title for the sophomore studio outing of the Chattanooga, Tennessee songwriter Nick Lutsko. Anyone familiar with the young artist from his 2013 debut recording Heart of Mold—well, let’s just say that anyone that thinks they already know the music of Lutsko should suspend whatever knowledge they might think they have. With Etc., Lutsko breaks out of the largely folksy trappings of his first record and dives headfirst into a colorful mélange of noise. Case in point: lead single “Predator” is a rock song that pays tribute to the beauty of chaos. Atop a funky bassline, Lutsko throws in some sludgy guitars, clipped beats, and an array of other sounds. As a preview of what’s to come on Etc., “Predator” reminds you to strap on your seatbelts—this is going to be an unexpected ride.


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Tuesday, Jan 20, 2015
The beautiful and hip environs of Portland, Oregon, a catchy tune, and a duo with real chemistry... Kool Stuff Katie's "Cars" has it all.

And who says Craiglist has to be completely sketchy? It certainly wasn’t in the case of the Portland, Oregon garage rock/pop duo Kool Stuff Katie, helmed by Shane Blem and Saren Oliver. The two met over the website, and have since then forged a creative union that’s as playful and quirky as the city in which they live. With a few curveballs added, the music video to the track “Cars”, taken from the duo’s self-titled debut, could be a Portlandia sketch in the waits. But, alas, the video chooses (wisely) to focus on the rapport between Blem and Oliver—and their pretty sweet ride, too.


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