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by Sarah Zupko

6 Apr 2017


North Carolina singer-songwriter Malcolm Holcombe possesses one of those deep whiskey-soaked voices that come from a life spent working and playing hard. A voice like that can’t be faked; it has the authenticity born of living life through less than advantageous circumstances, and it can also be a voice of deep wisdom. Holcombe’s music comes from the country blues side of the mountain where plainspoken lyrics rest atop spare acoustic arrangements played with feeling. But Holcombe also weaves folk and country into his work. He’s about as Americana as one can be.

by Jedd Beaudoin

6 Apr 2017


We are pleased to provide a stream of the first Jesters of Destiny release in 30 years, The Sorrows That Refuse to Drown, out April 7 from Ektro Records. Making new music wasn’t difficult for Jesters Bruce Duff and Ray Violet, though the founding masterminds admit they were perplexed by the emergence of new sounds after all this time.

The pair began the writing cycle for The Sorrows That Refuse to Drown independently and without a central goal in mind. When they realized that the songs contained the classic sense of Jesters-style eclecticism, they agreed to work on the third installment in their long and winding story.

by PopMatters Staff

5 Apr 2017


Adriane Pontecorvo: Blood Orange brings us a kaleidoscopic sampler of audiovisual creations, gliding from genre to genre with his masterfully creative eyes and ears. These are intriguing slices of musical cinema that feel deeply intimate and promise to envelop an audience. Their small segments tease rich, layered storytelling. Even setting visuals aside, this is good music, well-written and with smooth production. It might even make it worth buying into Tidal. [8/10]

by PopMatters Staff

5 Apr 2017


PHOTO: JIMMY HUBBARD

Morgan Y. Evans: I am a longtime Mastodon fan, from having flown from New York to see them and Kylesa once in New Orleans for my birthday to having a hysterical memory of blasting Remission in snail pace traffic near the Lincoln Tunnel with original Coheed and Cambria/Shabutie drummer Nate Kelley years ago to get cars inclined to move forward. Their goofy side was good marketing in that it allowed them to cross-over into the mainstream via Jonah Hex, Jack Black props and more, but I still prefer their musical side to the silly side of many of the videos and promotional campaigns. While it is interesting to hear straight drum beats from a band who got famous from songs that were practically all fills, and while the Queens of the Stone Age ambitions were always present (including Josh Homme guesting on classic “Colony of Birchmen”, the new and melodic hard rock direction of this single is still a bit of a shock. That said, it is a fun and rocking number. I just can’t help but miss the old days when there was no one who sounded like the onslaught you’d get from “Crusher Destroyer” or the psychic surge of recognition in the proggy landscapes of Crack the Skye. Let’s just say I prefer the chaotic ending of “Andromeda” to this number, but I do admire their urge to push their sound. [6/10]

by PopMatters Staff

4 Apr 2017


Adriane Pontecorvo: Feist could have gone the way of so many indie singer-songwriters, mellowing out and settling down into easy money singles after a Top 100 hit. “Pleasure” is yet another release that proves that she hasn’t. With a spare and growling guitar and vocals that murmur, strain, and belt with abandon as fits the occasion, Feist is a dynamic blues rocker with a biting edge, juxtaposing heavy twang with aching spaces. She pushes the limits of her voice as she hits high notes and switches ably between eerie and exuberant. It’s been six years since Metals, and it’s great to hear Feist back and in as fine form as ever. [9/10]

//Mixed media
//Blogs

Players Lose Control in ‘Tales from the Borderlands’

// Moving Pixels

"This is an interactive story in which players don’t craft the characters, we just control them.

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