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by Will Rivitz

29 Jul 2016


Photo: Nate Hastings

The Stray Birds make beautiful bluegrass, a lush sound characterized by tight harmonies and all-encompassing instrumentation. “Sabrina” is no exception, three-part vocal harmonies soaring above mandolin, guitars, and fiddle. It’s more upbeat than some of their other work, a dance song extolling Yuengling and living wild. The song’s bright shuffling is a joy, a tightly-wound chunk of down-south cheer and storytelling.

by Will Rivitz

29 Jul 2016


Photo: Derrick Weber

The Bourgeois’ “Summer of George” rocks like it’s 2007, their form of alt-metal ticking all the boxes which made bands like Evans Blue and Mudvayne so good. Drop-tuned guitars noodle, drums skitter forward, and lead singer Zach Mobley drawls seethingly over it all. It’s an immersive song, bass and guitar enveloping in the verse and overpowering in the chorus. It’s a time-tested style, and if “Summer of George” is any indication, it’ll continue testing well for a while.

by Will Rivitz

29 Jul 2016


The downcast pop of Esh is part Adele, part Tove Lo — mournful and slow while retaining a more nasally inflection and immersive electronic production. Esh makes a strong case for merging these two genres more frequently, spectral synths moaning over unobtrusive drums and impassioned vocals. Esh (Sarai Givaty) casts a dusky pall over her music, looming large above the dull brilliance of the production behind her. Pop is always interesting when it takes a turn for the ominous, and Esh is no exception to that rule.

by PopMatters Staff

28 Jul 2016


Chris Ingalls: An excellent collaborative effort that seems completely natural. Producer the Bug teams up with grime MC D Double E and it’s a deft pairing. Everything clicks. The Bug’s stuttering beats and blips are a perfect foil for D Double E’s rapid-fire rhymes, creating a contemporary urgency. The arrangement is dense and stuffed with interesting sonic choices - there’s something new to discover on each listen. [8/10]

by Will Rivitz

28 Jul 2016


decker.’s rock draws from blues, garage-rock revival, and psychedelic—all genres stemming from a dusty, down-home electricity. “The Holy Ghost” stomps in double time, driving 12-bar blues marrying frenetic guitar in an explosion of weariness. decker.’s harried twang holds down center stage, wildly gesticulating in a way that mirrors the live-wire guitar solo midway through. It’s stressful in the most enticing way, driving full speed towards a wall and living off the thrill of being so close to the edge.

//Mixed media
//Blogs

Bad Graphics Are Still Impressive in ‘Spirits of Xanadu’

// Moving Pixels

"Spirits of Xanadu wrings emotion and style out of its low fidelity graphics.

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