Latest Blog Posts

by Steve Horowitz

9 Feb 2011

England’s VV Brown came out of the South by Southwest Music Festival smokin’ hot. Between her showcase performance at the Latitude 30 Club, several party appearances that included Perez Hilton’s One Night in Austin and’s Pop-Up at the Gas Pipe, and her gig on KGSR radio’s breakfast program, the word was out. Brown was last year’s SXSW most likely to succeed, following in the tradition of females songstresses of the past such as Amy Winehouse, Norah Jones, and Nellie McKay.

Whether Brown will flame out like Winehouse, soar to superstardom like Jones, or remain a beloved cult artist like McKay remains to be seen. One thing for certain is Brown’s driving ambition. Brown sat down with PopMatters at SXSW and discussed her plans to conquer the world.


How different is it playing festivals with artists different than you are versus your own tours?

I love it when I am with artists different than me. I stumbled upon a new band yesterday that I fell in love with called the Octopus Project. And I think it’s just so fun to mingle with other musicians. They challenge you and inspire you as an artist, and it’s a great feeling. It’s really boring when you hang around people that are similar to you or doing the same things as you because you don’t grow. And as an artist, I really want to grow so festivals like this are a platform for discovery for me as an artist.

by Stefan Nickum

8 Feb 2011

Every week an avalanche of sound is let go into the world of electronic music. The merchant alleys, virtual pathways, and myriad communities that exchange music are overwhelming in the age of the Internet. That said, electronic music is atomizing and reinventing itself like few other musical sounds, partly because these avenues of distribution are so widely embraced and promoted by the electronic music community.

Yet, to listen to all of these releases and pick out the head-turners would require as many people as there are releases. Sinking into a piece of music is itself a time consuming process, that is if you’re willing to absorb the sounds with the same care in which they were made.

Here at Sound Affects I will regularly choose an EP or album, a DJ mix, and an unreleased single to highlight and say a few kind, endearing words about. Each of these formats is meant to represent the ways in which electronic music is consumed most commonly these days, with DJ mixes being fascinating albums in their own right, and unreleased, self-released, and bootleg singles being extraordinarily rich realms of sample-based possibility. Now that you know what you’re in for, here are my first three!

by Corey Beasley

7 Feb 2011

If The Lonesome Crowded West is an album born of and fixated upon car culture, “Truckers Atlas” is the engine at the heart of it. Modest Mouse frontman Isaac Brock’s ultimate—and ultimately frustrated—vision of gasoline-fueled escapism, the track fires on all cylinders for upwards of ten minutes. Brock’s narrator here speeds back and forth across the country from Alaska to Florida, New York to Arizona, and finds nothing but emptiness and isolation in America’s open road promises. Jack Kerouac, take a seat and learn something.

Musically, “Truckers Atlas” gives us some of Modest Mouse’s most focused performances, each member of the band locking into rhythm as tightly as the Jaws of Life biting into twisted metal. Jeremiah Green lays down perhaps the most inspired beat of his life, a flurry of toms and snare and hi-hat (and that delectably placed chime on the bell of his ride cymbal) that provides the track with enough muscle to make Brock’s odometer abuse sound believable. If we could figure out a way to liquefy that beat and siphon it into our gas tanks, we’d all be set for life. Brock and Eric Judy hit upon riffs at once raw and smoothly danceable, displaying the mastery of syncopation so integral to the band’s sound. The composition is—all right, fine—a well-oiled machine, never faltering for a moment.

by Jason Mendelsohn and Eric Klinger

4 Feb 2011

Klinger: Let me begin by making a bold proclamation, one that ties in with the last edition of Counterbalance. Patti Smith’s “Gloria” is one of the greatest side one/track ones of all time, on par with Springsteen’s “Thunder Road” (both 1975 albums—coincidence?).

In just under six minutes, “Gloria” takes you on a sexy, slightly scary roller coaster ride, and in those minutes you realize you are in the presence of a master, someone who can take the poetic pretensions of the Lizard King and do them up right. Someone with the same blend of lasciviousness and aloofness as Jagger in his prime. “Gloria” shuts down any pointless academic discussions of gender identity or the role of women in rock or the state of the music industry circa 1975, because it’s too busy whipping you around over its head. I was only seven when “Gloria” came out, so I can only imagine what my reaction to it would have been, but I suspect it would have been similar to when I saw Prince on MTV as a teenager—this is what’s next.

Mendelsohn: That is a bold proclamation, Klinger, one that I’m not inclined to argue with, especially when the opening line is, “Jesus died for somebody’s sins, but not mine.” But if John Lennon taught us anything, it’s not to involve Jesus with rock music. I’m surprised Patti made it out of the ‘70s, considering the all-around religious zealotry that marred parts of the 20th century. I’m so glad we’ve moved past all of that.

But before you go jumping over gender issues, there is one semi-rhetorical question I want to ask. If Patti had been a Patrick, would we be having this conversation?

by AJ Ramirez

4 Feb 2011

Has it really been 20 years since 1991? That year that never seemed all that long ago until now is unequivocally one of the landmark rock album years, a 12-month span whose voluminous output of brilliant records places it in the same hallowed ranks as 1967, 1969, 1977, and 1984. This was the year that gave the world instant classics including Nirvana’s Nevermind, Pearl Jam’s Ten, Metallica’s self-titled “Black Album”, U2’s Achtung Baby, the Red Hot Chili Peppers’ Blood Sugar Sex Magik, Soundgarden’s Badmotorfinger, and Primal Scream’s Screamadelica as well as flawed-yet-still engaging works by R.E.M., Guns ‘N Roses, and the Smashing Pumpkins, not to mention revered cult favorites by My Bloody Valentine, Teenage Fanclub, and Fugazi, just to name a notable few. Even without getting into singles, it’s clear that any fan of rock music should investigate at least a good dozen releases from this year as part of his or her formative musical education.

What makes 1991 such a memorable year in rock is not just that it packed so many fantastic full-lengths into its span (which it undeniably did), but that those releases were (explicitly or not) emblematic of seismic generational and cultural shifts. The key event of 1991 was the collapse of the Soviet Union and the subsequent end of the Cold War, finally putting an end to the collective dread of nuclear annihilation that had cast such a shadow over and informed baby boomer culture the world over in so many profound ways. Meanwhile, a younger generation of restless rock fans only just discovering what daring music existed just outside the mainstream was both looking for icons of its own while chaffing at the previous year’s dominance by dance pop and hip hop. Whether it was by overthrowing the old guard, engaging in self-reinvention, or by modernizing a particular approach for the new decade, change was a concept that imbued many of 1991’s seminal rock albums.

//Mixed media

Indie Horror Month 2016: Executing 'The Deed'

// Moving Pixels

"It's just so easy to kill someone in a video game that it's surprising when a game makes murder difficult.

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