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by PopMatters Staff

2 Sep 2015


Evan Sawdey: Outside of the somewhat tired trope of a Letterman-Phoenix interview as a staging device for the music video, goddamn if they don’t perfectly capture that late ‘80s Britrock sound down to a T. It’s a sweet spot that gets me every time, although I leave the song not knowing much about their band or personality, instead wanting to go back and listen to similar records instead of Girls Names’ new one. Imitation can be great, but hopefully this is just a set up for something greater. [7/10]

by PopMatters Staff

2 Sep 2015


Photo: Vanessa Heins

Jordan Blum: Does anyone else think that the runner looks like an aging Dave Grohl (or Blake from Workaholics)? Anyway, the music reminds me of Gorillaz, NIN, and Portugal. the Man (although it’s not as interesting or worthwhile). This song only appeals alongside its video, which is equally inaccessible and tedious, yet its Lynchian weirdness makes it the more appealing component for sure. Without the visual accompaniment, I can’t imagine anyone enduring this track for more than a minute. [5/10]

by PopMatters Staff

2 Sep 2015


Steve Horowitz: Carrie Underwood has always relied on her working class persona and rock hard country voice to make it seem like she’s singing something important. The same is true here, aided by a martial beat. The song doesn’t make real narrative sense. Instead, it sets the mood. Carrie lets us know that life is hard, so it’s okay to party. That’s something to believe in. The video tries to keep up with the lyrics but can’t make up its mind whether it should illustrate what’s happening or just offer hot sweaty images. Who cares? Sometimes we all need a smoke break, whether we smoke or not. [8/10]

by PopMatters Staff

2 Sep 2015


Jordan Blum: This combination of old-fashioned icon and leading newcomer[s] reminds me of the relatively recent collaboration between Kayne West, Rhianna, and Paul McCartney. This is more interesting than that, though (which isn’t saying much, to be honest). The video is certainly more unique and absorbing than the run-of-the-mill music (despite its various changes), and Stewart’s contribution fits in well with the rest of the track. Whenever I catch a partnership like this, I can’t help but wonder if the vintage artist is really interested in the product, or if he/she is just trying to remain relevant. [7/10]

by PopMatters Staff

2 Sep 2015


Chris Gerard: British synth-pop duo is best known for their 2010 single “Wonderful Life”, which became a substantial hit in Europe. Their third album, Surrender, is due in October, and they may have stumbled upon a breakthrough. “Lights” goes from sophisticated mid-tempo pop during the verses to a more upbeat dance vibe for the chorus. The dramatic and visually arresting video directed by Dawn Shadforth serves the song well. If given a chance, “Lights” could be the song to break Hurts to a wider audience. [8/10]

//Mixed media
//Blogs

Country Fried Rock: Drivin' N' Cryin' to Be Inducted into the Georgia Music Hall of Fame

// Sound Affects

""If Drivin' N' Cryin' sounded as good in the '80s as we do now, we could have been as big as Cinderella." -- Kevn Kinney

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