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by A Noah Harrison

28 Jun 2017


Photo: Scott MacDonald

Terror Pigeon! (formerly The Terror Pigeon Dance Revolt!) is Nashvillian Neil Fridd’s vehicle for spilling his heart all over the place, in the style of “funcore” or “affirmationcore”.

Funcore is defined by dense and danceable synth music that underpins mantras of undying positivity, often echoed by the audience during performances. These dynamic live shows heavily involve fans in the form of games and props—designed to foster an inclusive and, well, fun environment. (Dan Deacon is a good reference point.)

by Jonathan Frahm

27 Jun 2017


Photo courtesy of artist

Whether it’s across the flatlands of his hometown of Stillwater, OK or through the hustle and bustle of Austin, TX, Johnny Dango has been a hard-working modern troubadour anywhere the world has taken him. Having played alongside the likes of Stoney LaRue and beside such artists as Billy Joe Shaver and Jerry Jeff Walker, Dango has put in his dues with the best of them as a country bluesman before pursuing a solo venture along the lines of psychedelic folk rock.

His latest single, “I Was Wrong”, plays along the lines of the legends he’s played along with, but with a cosmic overlay that all feels like a reflective honky-tonk in outer space. Dango says of the track:

“‘I Was Wrong’ says that even a cynical, jaded bastard such as myself can have his whole world turned upside down by a woman. So, it’s about admitting I was wrong about a lot of things in the context of relationships. A straightforward country song seemed to be a trusty & reliable vehicle for expressing it simply, while also asking the important questions—why do people cling to fairy tale notions of love? Why do so many girls go for scumbags? Why do I always feel like I end up getting burned by love, especially when I can admit I was wrong and my ladyfriend was right? Unfortunately, I still don’t have many answers and thus remain a cynical, jaded bastard.

I have a pal who’s bound and determined to write a string of absolutely gut-wrenchingly god-awful, horrible, terrible and incredibly catchy country songs so he can sell them to the Toby Keiths of the world and get stupidly rich off of people’s poor taste. ‘I Was Wrong’ really started as my answer to a few of his finer numbers, like ‘God & Delta Airlines’, ‘Beer Thirty’, ‘Whiskey Christmas’, and ‘The Rambling Mesothelioma Blues’. Once I started writing the lyrics, though, some actual honest feelings about my ladyfriend crept in, because I hadn’t been in a serious relationship in quite a while and didn’t really want to be in one, either, and then it had just sort of happened. So the song became a lot less of a joke, even though that rhyme of loyalty/royalty manages to keep it somewhat comedic for me. And the relationship ultimately crashed and burned, and that’s just hilarious, too. When I got around to playing it for people, a few of them told me it was a nice song, and I should record it. Otherwise, it might have remained a backyard neighborhood jam.

As far as recording ‘I Was Wrong’ goes, I just wanted to live in that world of 1970s smooth AM country gold for a little while. I think I sometimes subconsciously write in rhythms and sounds I’d like to hear while driving long distances. To me, the tune is rather formulaic, but then I also happen to think that the formula is a pretty good one, and I’d personally rather hear this kind of country music than the swill Nashville is currently churning out. But, I guess it’s easier to sell hick hop songs about trucks and tractors and rivers and parties to the bedazzled jean zombies. Maybe the MXR Phase 90 is the ultimate bedazzled zombie weapon. I don’t know. It’s done a good enough job of keeping them away from my shows.”

by Adriane Pontecorvo

19 Jun 2017


Jazz singer and composer Meklit Hadero, known by the mononym Meklit, has long been bringing her Ethiopian heritage to the forefront of the jazz she sings. Now, on upcoming album When the People Move, the Music Moves Too, exclusively streaming on PopMatters one week before its June 23 release, the blend is more seamless than ever with deeply personal compositions and appearances by Andrew Bird, the Preservation Hall Horns, and a literal star.

by Sarah Zupko

15 Jun 2017


Photo: Talley Media

Los Angeles’ the Dustbowl Revival has been around for ten years delighting audiences with their upbeat American roots music, and now the group has a new album on tap that sees them expanding their sound into new areas. Previous recordings have seen the ensemble explore New Orleans jazz and old-time folk, but their latest self-titled album releasing June 16th on Signature Sounds sees the Dustbowl Revival adding a serious dose of soul and funk to their wide-ranging music. Bright Stax-style horns now punctuate the songs’ rhythms and add an element that’s likely to bring show audiences to their feet.

by Sarah Zupko

12 Jun 2017


Photo: Jesse Dvorak

Now, this is Americana! The Eagle Rock Gospel Singers use gospel music as a foundation for their sound with blues, country, soul, folk, and a little bit rock ‘n’ roll woven in for good measure. Everything the band does is based on American roots musical forms, and the mixture is astounding. On their latest single, “No Glory”, they start from a spare and bluesy place with a solo vocalist and eventually reach a crescendo of joyous, thrilling gospel rock with a full-fledged choir and exciting guitar riffs.

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The Moving Pixels Podcast Discusses 'Tales from the Borderlands Episode 2'

// Moving Pixels

"Our foray into the adventure-game-style version of the Borderlands continues.

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