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by PopMatters Staff

6 May 2016

Brice Ezell: For a band with such a reputable discography, Radiohead—rather perplexingly—continues to rely on gimmick-heavy album releases. The music cannot simply speak for itself. Sure, there can be an element of artistic ingenuity behind these rollouts, but they have increasingly begun to feel like hype mills, devices through which to generate the impression that an album is better or more important than it actually is. (This, of course, is not unique to Radiohead; no amount of cockamamie high-art justifications for Kanye’s constant alterations of The Life of Pablo can obscure its scattershot quality.) But because Radiohead is Radiohead—and music critics are music critics—the slightest hint of album release provocation will send online outlets and social media channels into a frenetic buzz of self-fulfilling hype. Never mind when Radiohead’s ostensibly innovative LP drops are hardly innovative (2007’s solid In Rainbows, whose pay-what-you-will model had been utilized previously before by a range of artists, including Bomb the Music Industry!) or when the hype deflates upon the arrival of a boring album (see the 2011 flop The King of Limbs): when Radiohead makes a sound, everyone listens with perked ears.

by Cole Waterman

28 Apr 2016

Genre blending is the modus operandi for multi-instrumentalist and producer Kyle Norton, based in Grand Rapids, Michigan. “I Feel Like I’m on Fire”, the lead track of his debut EP under new moniker Norty, is testament to that. With a electronic bedrock, it opens with an anachronistic jazz lounge bassline, piano notes, and brushed drums. The atmosphere is thick and swirls like curlicues of smoke as tempos shift, Norty’s relaxed vocals and hip hop beats join the sound collage.

by PopMatters Staff

26 Apr 2016

Austin’s funky duo of Anthony Farrell and Andrew Trube—aka Greyhounds—have their sophomore album Change of Pace releasing this Friday. The group’s psychedelic soul is a potent and eclectic mix. The cultural and political battlegrounds of America are very much the central preoccupation of this new record. Farrell says, “There’s this polarization of American culture where you’re either on our side or you’re against us, and I don’t think that really helps anybody.”

by PopMatters Staff

21 Apr 2016

Emmanuel Elone: “Flu” is simply the greatest piece of contemporary jazz in 2016 thus far. There’s a lot going on instrumentally, from some plucked acoustic guitar to sharp violins to even colorful synth leads (that I suspect Flying Lotus might have had a hand in), but Jameszoo blends all of the elements brilliantly to form a textured and layered jazz melody. However, what brings all of these instrumental components together are the clear, crisp drums that punch out a complex, pulsing rhythm underneath it all. These elements alone would make “Flu” a beautiful piece of art, but Jameszoo structures the song to have small builds as well as instrumental and rhythmic shifts that add even more texture and harmony. If this is what Jameszoo’s new album, Fool, is going to sound like, it could easily be the best record this year, bar none. [9/10]

by Sarah Zupko

21 Apr 2016

Globally inspired Canadian roots ensemble the Bills has been thrilling fans for 20 years with their blend of dancey styles and now the group is set to release their latest album, Trail of Tales, on April 22nd via Borealis Records. This is the first time that all five members of the band have composed songs for an album and the music’s variety ranges from folky to poppy, from funky to jazzy. “There’s never been a Bills album with five songwriters, that’s a first in the history of the band,” says singer/guitarist Chris Frye. “Hopefully it’s bringing out the best we have to offer because we’re truly together as a unit.”

//Mixed media

Independent Film Festival Boston 2016: 'The Anthropologist'

// Short Ends and Leader

"Spry and crisp, The Anthropologist is a solid documentary that avoids bearing the weight of the austere pessimism surrounding climate change.

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