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Monday, Mar 23, 2015
FKA twigs, one of PopMatters's favorite new artists of 2014, has released "Glass & Patron", the first new track to follow her wildly inventive debut LP1.

Writing about FKA twigs’ debut album LP1, which placed at number eight on PopMatters‘s Top 80 Albums of 2014, Adrien Begrand argues, “This is a wildly inventive statement by a new British solo artist that deserves to stand alongside Kate Bush’s The Kick Inside and Tricky’s Maxinquaye.”


FKA twigs, who we at PopMatters also named one of the Best New Artists of 2014, is prepping a yet-to-be-named EP for release later this year, which will mark her first new music since LP1. The first track to be released from the EP, “Glass & Patron”, is accompanied by a music video whose stunning and visceral beauty is of the kind we’ve all come to expect from this daring musician and visual artist.


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Monday, Mar 23, 2015
Bond theme chords and seductive vocals merge on the retro "Oh Josephine", the newest number by the UK duo Vienna Ditto.

The Reading, United Kingdom duo Vienna Ditto may be an under-the-radar act at the moment, but they’re unlikely to stay that way for long given the press they’ve been culling over the past few years. The quote merchants in the media have already begun buzzing about the band’s latest single, “Oh Josephine”: BBC Radio 1’s Huw Stephens calls it “Portishead doing a Tarantino soundtrack.”


Stephens’ description isn’t far off. With frontwoman Hatty Taylor’s alluring vocals and Nigel Firth’s melancholy and darkly romantic guitar chords, “Oh Josephine” becomes something like a would-be Bond theme, a kind of tune that brings to mind inky black silhouettes flowing in and out of an opening credits montage.


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Thursday, Mar 19, 2015
"Number One" is the opening number off of the new album by the bluesy roots rockers the Sideshow Tragedy, Capital.

The Austin, Texas duo the Sideshow Tragedy, comprised of Nathan Singleton (vocals, resonator guitar) and Jeremy Harrell (drums), will release their fifth studio LP, Capital, this May. The album was produced by Kenny Siegal, an Independent Music Award-winning musician. The Sideshow Tragedy’s brand of rock ‘n’ roll draws from the well of the blues and country, a sound that’s an undeniable product of the duo’s native Texas.


Below you can stream the Capital number “Number One”, whose tasty riffs and outlaw country-esque mood provide ample foreshadowing for the release of the record.


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Thursday, Mar 19, 2015
For sleazy, scuzzy rock that sounds like it became sentient in the sewers of Los Angeles, the wicked distortion of Wake Up Lucid's "White Collar Love" fits the bill brilliantly.

The Los Angeles rock trio Wake Up Lucid specialize in a certain kind of distortion. This band’s rock ‘n’ roll is the sort that thrives at night, when the streetlights flicker and the smell of cigarettes and whiskey wafts out of dive bars. Tunes like “White Collar Love” thrive on a kind of energy that’s captivated by the possibilities of the night and all of its dark mystery. That tune, both in mood and its sonic qualities, brings to mind the last two releases by fellow Angelenos the Icarus Line, Avowed Slavery (2014) and Slave Vows (2013). The similarity is no mere coincidence or critical invention, however, as the Icarus Line’s frontman Joe Cardamone is responsible for producing Wake Up Lucid’s newest LP, Gone With the Night, which was recorded at his studio in Burbank, California.


“White Collar Love” now has a hall-of-mirrors music video to boost its intensity, which you can view exclusively below.


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Wednesday, Mar 18, 2015
by Evan Sawdey and Brice Ezell
The latest PopTalk podcast takes a look at whether or not, as Kanye West suggests, the Grammys and awards culture in general can or should care about "true artistry".

When Kanye West almost grabbed the microphone from Beck at the 2015 Grammys, the audience—to say nothing of the large international audience watching the show—held its breath. Although West didn’t say anything at that time, he did later go on to lambast the Grammys for giving the (ostensibly) coveted Album of the Year award to Beck for Morning Phase over Beyoncé, whose self-titled LP was one of the juggernaut releases of the previous year. West claimed that the Grammys didn’t respect “true artistry”. This leads to the obvious question: have the Grammys, or for that matter any other major awards ceremony, ever used “true artistry” as their main metric? Would it even be possible for them to do so?


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