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by Ian King

6 Jul 2015


“I mean, Kill the Lights, it’s pretty depressing sometimes, I think.”
—Brian Girgus, Skyscraper, Summer 1999

”Girl you’re a king”

After six unsparing tracks, Kill the Lights theoretically could have ended in any number of ways: perhaps with a short ending piece to ease the listener back into a more emotionally stable place, or even something with a bit of uplift to offer a sliver of hope at the close of such a draining song cycle. What lowercase went with, of course, was an exorcism even longer and more violent than the one that came just before it (“Rare Anger”); one so idiosyncratic and genuinely messed up that it can even be a little bit frightening.

by Scott Interrante

6 Jul 2015


Pop Unmuted is a podcast dedicated to in-depth discussion of pop music from varying critical and academic perspectives. On Episode 13, Scott Interrante and Kurt Trowbridge are joined by music journalist Kira Grunenberg and Atlantic Records A&R consultant and music blogger Adam Soybel to celebrate the podcast’s one year anniversary by discussing pop anniversaries and pop nostalgia. The panel then talks about the latest single by the Weeknd, “Can’t Feel My Face” and its relationship to Apple Music. As always, we end with our Unmuted Pop Songs recommendation segment.

by Evan Sawdey

30 Jun 2015


Photo: Tracey Lee Hayes

Alpine aren’t a mere pop group, no. This Australian sextet is comprised of people who are thoroughly obsessed with pop music, just as much fans as they are creators, and they have managed to synthesize those influences into one hell of a journey, one which has taken them all over the world.

Although formed in 2009, the group’s sparse full-length, A is for Alpine, didn’t come out until 2012, after which the six friends—consisting of singers Pheobe Baker and Lou James, guitarist Christian O’Brien, bassist Ryan Lamb, keyboardist Tim Royall, and drummer Phil Tucker—slowly began their ascent into pop prominence. Although still biggest in their homeland, their appearances on high-profile platforms like NPR’s famed Tiny Desk Concert series helped people get wrapped into the group’s lush sound, spare but pointed, James and Baker’s cooing harmonies helping give warmth to the group’s accessible, tranquil pop pleasures.

by Sloane Spencer

30 Jun 2015


Photo: Anthony Nguyen

Roots rock cult hero, Dex Romweber, first came to my attention in Flat Duo Jets, back when I was going to all ages shows in Atlanta and Athens, and hiding out in the bathroom to stay for the later 21 and older shows. The Dex Romweber Duo began with his buddy, Crash LaResh, and later with his sister, Sara Romweber (of Let’s Active and Snatches of Pink).

Dex Romweber Duo‘s last album, Images 13, derives its name from the cover art, an existing piece from Romweber’s own portfolio, not referencing the number of tracks (there are 12).

by Ian King

29 Jun 2015


“You stand atop the spires / To see your vigil fires/Burn so far away / On a saffron mezzanine”

Skyscraper: …is it mainly a personal thing—for you to write songs as a personal experience?

Brian Girgus: Yeah, it’s weird, see sometimes I wonder if a lot of the things Imaad is singing about, he’ll say things in a song and I’m just like ‘’oh that’s weird, I know exactly what incident he is talking about right now”, and then other times he will just kind of paint these pictures of things that are potentials in his head or things that could happen or things that he had some dream about or something. What was the exact thing you asked me again?

Skyscraper, Summer 1999

“You were a statue liar / Your schisms did conspire / The crumbled stones remain / Covered with bloody stains”

The back half of Kill the Lights is one of the more visceral album sides in any genre. Admittedly, “visceral” is one of those adjectives that get brought out a little too often in attempts to describe passionate records. For clarity’s sake, let’s double check Merriam-Webster’s definition: “coming from strong emotions and not from logic or reason”. When people writing about music use the word “visceral”, they are, more often than not, probably thinking of the first half of its definition, and not intending to demean the artist by suggesting they were neglecting logic and/or reason.

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