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by PopMatters Staff

23 May 2016


Photo: Holly J. Schumacher

East Tennessee’s Derik Hultquist did what lots of musical dreamers do… he headed straight to Nashville after graduation. Like most, he worked the odd jobs to support himself while working hard on developing his songwriting as well as discovering his true singing voice. Hultquist has released a number of EPs over the years as his music progressed and now, after 10 years in Nashville, he is set to release his full-length debut album, Southern Iron, coming June 17th via Carnival Music/Thirty Tigers. Southern Iron is a well-crafted set of Hultquist’s original songs living in the country/pop sphere with songs that occasionally feature elements of psychedelic and roots rock.

by PopMatters Staff

23 May 2016


Pryor Stroud: In “Vapour Trail”, Lone dexterously melds a muscular hip-hop beat with a fidgety, chrome-coated electronic melody, forging a unique sound that seems, at once, anchored in cracked concrete and suspended in the clouds. As the track progresses, the reduplicated, half-legible vocal sample begins to assume a hypnotic quality—that is, it begins to pull you deeper into the track without announcing its intentions. This opens up a set of questions: where is Lone taking us? Where does this vapour trail lead? [7/10]

by PopMatters Staff

20 May 2016


Emmanuel Elone: It would be really easy to hate this song. Super Furry Animals lays on the “bing bong” line heavily across all five minutes of “BingBong’s” runtime, and there are moments in the beginning that feel obnoxious and frustrating as a result. However, once you look past the lack of lyrical ideas and the fairly excessive runtime, “BingBong” is actually pretty great. The beat is steady, and has a fantastic bass line at its core, while the simple lyrics float over the rhythm as another instrument of sorts. When “BingBong” is not being occasionally annoying, it’s fun, catchy and energetic, making it a great hit for the summer. [7/10]

by PopMatters Staff

20 May 2016


Pryor Stroud: Cryptic, moody, and possessed by a nearly Lynchian sense of unease, “New Age Thriller” is a demented avant-pop vignette that watches two lovers slip behind a wall of shadow to perform strange sexual acts. U.S. Girls—the alias for noise-art iconoclast Meghan Remy—drapes the track’s singsong melody in bizarre synth chimes and dark, monolithic electro tones that seem to rise out of the track’s background. “And I won’t provide it for you / Even though you / Even though you’ll force me to”, Remy sings, and you can sense that her lover is across from her behind a shifting curtain of darkness, his palm outstretched, beckoning her to step away from the light for a while. [7/10]

by PopMatters Staff

20 May 2016


Pryor Stroud: Charged with gargling synths, metronomic percussion, and a vocal ripped straight out of the ‘80s fem-rock playbook, “Never Going to Die” is the debut single from Mary Jane Dunphe’s new synthpop project CC DUST. While on the surface this is a relatively straightforward electro-punk ballad, the details here deserve additional scrutiny: the foregrounded synthesizer drones are rough-edged, thick, even dirty, and Dunphe’s voice—a hoarse, up-from-the-gut warble—seems determined to fight against them. It’s as if she’s trying to free herself from the track’s sonic muck and, by extension, the oppressive sense of mortality that has begun to feel like a shackle against her skin. [7/10]

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Moving Pixels Podcast: Our Own Points of View on 'Hardcore Henry'

// Moving Pixels

"Hardcore Henry gives us a chance to consider not how well a video game translates to film, but how well a video game point of view translates to film.

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