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by PopMatters Staff

4 Oct 2012


It’s a testament to Deacon’s restraint (you heard me) that he can write intimate and complex music that still gets branded minimalist. Deacon relies on simple chord changes to motor his mechanics, but the notes themselves contain all the grime and rust, the spark plugs and fried currents that he can cram into them. The gritty texture of the synth bass on tracks like “Guilford Avenue Bridge” and “Crash Jam”  in particular are nasty and snarled, industrial filth that simultaneously mimes the devastated vista and the mechanisms that brought it down.—Timothy Gabriele, review of Dan Deacon’s America

by William Carl Ferleman

3 Oct 2012


by PopMatters Staff

3 Oct 2012


Director Trevor McMahan describes the video as “the ultimate illustration of the beautiful conflict in the band’s music - that aural struggle between instruments and ideas that is complex, satisfying, and always unmistakably Menomena.”

“You’ll listen to Moms and realize that Harry Nilsson may have gotten it wrong. One is not the loneliest number. Moms easily proves that it is two.”—Zachary Houle

by PopMatters Staff

3 Oct 2012


by PopMatters Staff

3 Oct 2012


Bright Little Field - “We’re Coming Out”

The Replacements - Bastards of Young

//Mixed media
//Blogs

Exposition Dumps Don't Need Dialogue in 'Virginia'

// Moving Pixels

"Virginia manages to have an exposition dump without wordy exposition.

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