Latest Blog Posts

by Brice Ezell

4 Nov 2014

In his 2010 PopMatters review of Whitey Morgan and the 78’s’ self-titled sophomore outing, Stephen Haag wrote that the group “an album meant to be played -– and loud -– in a shitty dive bar jukebox. And yes, that’s a compliment.” He finished his review by saying the music will make you want to “to crank this record and turn up the bottle.”

Now, four years later, Morgan and his band have readied their followup to Whitey Morgan and the 78’s, the live LP Born, Raised, & LIVE From Flint, which was recorded in Morgan’s Michigan hometown.

by Brice Ezell

3 Nov 2014

Fans of Bon Iver will have their ears perk up with they hear the name of the latest project by Albert Cerny (of Charlie Straight fame), called Lake Malawi. While the band’s name is an allusion to that somber American indie titan, Lake Malawi the band makes music for large arenas, not rustic Wisconsin cabins. The group’s latest single, “Chinese Trees”, begins with a verse backed by staccato keyboard notes, which then give way to an anthemic, melodic chorus.

“Chinese Trees” follows the single “Always June”, both of which are the early offerings of this young enterprise.

by Brice Ezell

3 Nov 2014

Described as a “part avant-garde vocal ensemble and part wildly experimental pop group”, the Red Hook, Brooklyn-based Anawan (formerly TWVE) just recently announced the forthcoming release of its newest, self-titled LP. Combining intricate vocal harmonies with visceral and grabbing pop melodies, Anawan writes chamber music for a pop-centric generation. Below you can get a taste of the vocal experimentation that’s to come on Anawan in the form of “One of Us is Dead”.

by Brice Ezell

30 Oct 2014

Emtpy Moon is the name of singer/songwriter Brendan Hangauer’s recently formed solo project, which he devised after departing the band Fourth of July, with whom he spent ten years making three records with. Part of that departure also included moving from Lawrence, Kansas to Oakland, California. Joined by Jason Quever of Papercuts in the recording process, Hangauer crafted the LP The Shark, a stripped-down collection of primarily acoustic tunes. With sonic parallels including alt-country (“High Hopes”) and Bay Area indie folk (“Far Away”), The Shark signals a step in a new direction for Hangauer.

by Alan Ranta

29 Oct 2014

Between the plaintive vocals and evocative piano of Euan McMeeken and the distorted soundscapes of guitarist Matthew Collings, which combine forces under the name of Graveyard Tapes, there is a perplexing magic. Hailing from the fair city of Edinburgh, they have that quietly triumphant, slightly depressing, poetic and thoughtful Scottish joie de vivre. The imagery is apocalyptically epic, yet there is a lightness to the album, a vulnerability in the vocals and an ineffable fragility in the ramshackle, organic percussion and brooding piano-based instrumentals outlined by the creaks and groans of analog instrumentation, like it all might crumble into dust at any moment, but their indomitable spirit keeps their corporeal form together.

//Mixed media

The Hills Are Alive, But Nobody Else Is in 'The Happiness of the Katakuris'

// Short Ends and Leader

"Happiness of the Katakuris is one of Takashi Miike's oddest movies, and that's saying something.

READ the article