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by Sarah Zupko

4 Feb 2016


Photo: Julia Boorinkis-Harper

Respected indie popster Anton Barbeau is back with a new album, Magic Act, releasing Mar 4th on Mystery Lawn Music. Some of these new tunes were originally penned for Barbeau’s UK band Three Minute Tease, but he ended up using them on this release. Barbeau is hyper focused on classic pop songwriting, developing hooks by the truckload and working with the finest pop musicians to translate his songs into memorable nuggets. Magic Act kicks off with “High Noon”—the song we’re premiering today—and true to Barbeau’s delightfully eccentric nature, it poses the question, “Did the CIA really kill the Virgin Mary by sending her on a suicide mission to the moon?” This kind of quirky approach has deservedly earned Barbeau legions of fans worldwide.

by John Garratt

4 Feb 2016


On Friday, February 5, NNA Tapes will release Secret Meeting, the first collaboration between saxophonist Travis Laplante and trumpeter Peter Evans. And as far as collaborations go, it is a pure one. Both are playing from the hip, running back and forth between peaceful pedal tones and lightening-fast skronk. Stylistically falling somewhere between Laplante’s avant-garde super group Little Women and his breathy side-project Battle Trance, Secret Meeting is a sprawling album celebrating “an umbilical cord-like connection” between the two musicians.

by PopMatters Staff

3 Feb 2016


Dustin Ragucos: If you’ve ever decided not to listen to non-western music because something like Jerusalem In My Heart’s If He Dies, If If If If If felt boring, then good news: “Assossamagh” is a steady road-tripper’s dream. Guitars have a serious strut, and Imarhar follows the beat of his own metre. [7/10]

by PopMatters Staff

3 Feb 2016


Steve Horowitz: Come fly with me on soft wings, what a lovely invitation to chill. The music repeats itself repeats itself as a way of making the vibe relaxing. The guitar, in particular, serves as a tour guide of the exotic calm places. The video offers us a view from the sky with no danger of falling or vertigo. [7/10]

by PopMatters Staff

3 Feb 2016


Timothy Gabriele: It was fitting that Karl Hyde’s last album was with Brian Eno because I always thought Underworld’s lyrics had an Eno-esque quality. On classic Underworld tunes like “Born Slippy” or “King of Snakes”, the words were more timbric and tonal than relatable, something Eno definitely strived for on his first three solo records. This is still the case with Underworld, but I think the band is struggling a bit now to decide who they are outside of the club/trance setting where that freewheeling Dadaist ping-pong poetry matches the most acutely. This new one”I Exhale” is slightly pub-ish, which would be an unusual landing point on the trajectory of a band that started as a new wave group (Freuer) who renamed themselves after a horror film they scored and eventually became one of the most recognizable names in ‘90s rave culture who then circled back into some “serious” soundtrack work for Danny Boyle films. And now onto electro-charged pub rock?  Even for a band that doesn’t sit still much, it’s an awkward look for them. [4/10]

//Mixed media
//Blogs

In Motion: On the Emptiness of Progress

// Moving Pixels

"Nils Pihl calls it, "Newtonian engagement", that is, when "an engaged player will remain engaged until acted upon by an outside force". That's "progress".

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